Ballet in the Cold War: a Soviet-American exchange
"During the Cold War, the governments of the United States and the Soviet Union developed cultural exchange programs, in which they sent performing artists abroad in order to generate goodwill for their countries. Ballet companies were frequently called on to serve in these programs, particular...
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| Format: | Buch |
| Sprache: | English |
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New York, NY
Oxford University Press
[2020]
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| Zusammenfassung: | "During the Cold War, the governments of the United States and the Soviet Union developed cultural exchange programs, in which they sent performing artists abroad in order to generate goodwill for their countries. Ballet companies were frequently called on to serve in these programs, particularly in the direct Soviet-American exchange. This book analyzes four of the early ballet exchange tours, demonstrating how this series of encounters changed both geopolitical relations and the history of dance. The ballet tours were enormously popular. Performances functioned as an important symbolic meeting point for Soviet and American officials, creating goodwill and normalizing relations between the two countries in an era when nuclear conflict was a real threat. At the same time, Soviet and American audiences did not understand ballet in the same way. As American companies toured in the Soviet Union and vice-versa, audiences saw the performances through the lens of their own local aesthetics. Ballet in the Cold War introduces the concept of transliteration to understand this process, showing how much power viewers wielded in the exchange and explaining how the dynamics of the Cold War continue to shape ballet today"-- |
| Beschreibung: | X, 183 Seiten Illustrationen |
| ISBN: | 9780190945107 |
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| 520 | 3 | |a "During the Cold War, the governments of the United States and the Soviet Union developed cultural exchange programs, in which they sent performing artists abroad in order to generate goodwill for their countries. Ballet companies were frequently called on to serve in these programs, particularly in the direct Soviet-American exchange. This book analyzes four of the early ballet exchange tours, demonstrating how this series of encounters changed both geopolitical relations and the history of dance. The ballet tours were enormously popular. Performances functioned as an important symbolic meeting point for Soviet and American officials, creating goodwill and normalizing relations between the two countries in an era when nuclear conflict was a real threat. At the same time, Soviet and American audiences did not understand ballet in the same way. As American companies toured in the Soviet Union and vice-versa, audiences saw the performances through the lens of their own local aesthetics. Ballet in the Cold War introduces the concept of transliteration to understand this process, showing how much power viewers wielded in the exchange and explaining how the dynamics of the Cold War continue to shape ballet today"-- | |
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Datensatz im Suchindex
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| adam_text | Contents Acknowledgments Note on Transliteration and Translation Introduction ix xi 1 1. A Cold War Welcome: The Bolshoi Ballet’s 1959 Tour of the United States 17 2. Bringing an American Report Card to Russia: American Ballet Theatre’s 1960 Tour of the Soviet Union 45 3. A Question of Taste: The Bolshoi Ballet’s 1962 Tour of the United States 71 4. “Ballet Is a Flower”: New York City Ballet’s 1962 Tour of the Soviet Union 97 Epilogue: Exchange in the Twenty-first Century 129 Note on Abbreviations Notes Index 133 135 175
Index Figures are indicated byƒfollowing the page number For the benefit ofdigital users, indexed terms that span two pages (e.g., 52-53) may, on occasion, appear on only one ofthose pages. abstraction, 119,123,167n28 and Balanchine, 100,103-4,109-10, 167-68n33 Soviet government relationship with, 55,109,115 State Department downplaying, 110-12 in US reception of Soviet ballet, 9, 34,94-95 Adams, Diana, 110-11,111/ African American dance, 116 African American performers, 67,123 Afternoon ofa Faun (Robbins), 88,109 Agon (Balanchine), 110-12,122/, 126-27, 170-7ІПІ00 Soviet reception of, 119,120-23 All-Union Choreographic Conference (1963), 117 Alonso, Alicia, 49 Alvin Alley American Dance Theater, 77 American Ballet Theatre, 54, 92-93,131 1960 Metropolitan Opera House Season of, 50-51 1960 tour schedule of, 56-57 1966 Soviet tour of, 139n41,151n55 history of, 47-49,65 and negotiations for the 1960 tour, 49-50,51-53 orchestra for, 58 personnel of, 49,50 programming of, 53-56,57/, 88 Soviet reception of, 59-60,64,66-67, 68,117,152n85,155nl30 and Swan Lake, 159n37 tour experience of, 58-59,68-69 American National Theatre and Academy (ANTA), 4,5, ІЗбпІІ reports to, 58,69 Anisimova, Nina, 75 ANTA Dance Advisory Panel, 4, 51-52, 123,136nll, 137n22,158n21 and American Ballet Theatre, 48-51,53,54 and New York City Ballet, 99-101,109 Asafiev, Boris, 63 audiences, 10 composition of, 22,57,83,112 and the experience of seeing ballet, 8 reactions of Soviet, 58,59,97,112, 123,124-25 reactions of US, 1-2,17,21-22, 71,8889,131,163n80 Balanchine, George, 99,112 artistic influences on, 102-3,
139n37,166n24 and Gabovich, 125-27 and plans for the 1962 Soviet tour, 100-1,166nl9 sayings of, 125-26,168n44,17ІПІ15 vs. Soviet choreographers, 34,40-41, 94-95,124,147nl 16 Soviet interviews with, 109-10,119 and Soviet ofiicials, 109 Soviet reception of, 114-19,120-24, 129-30,160n45,169n73 and the US State Department, 99-100 and Swan Lake, 155nl27 use of musical form by, 9,103,103/ 104-5,108 and Yakobson, 158n26
176 INDEX Balanchivadze, Andrei, 112 ballet as American art form, 47,48,49,53, 67,149nl2 and class hierarchy, 74-75,89-91,95 as Russian art form, 48-49,59, 115,116-17 training for, 91,92-94,95 as universal language, 6-7,8-9 use in cultural diplomacy of, 4,12,74, 136nll, 139n41 Balletschool (Messerer), 11-12,75,91-95, 92f, 129-30 Ballet Theatre. See American Ballet Theatre Ballets Russes, 99,155nl23,160n46 Ballets U.S.A., 50,100-1 La Bayadère (Petipa), 63,75 Bass, Milton, 42-43 Battey, Jean, 90 Bazhev, Pavel, 36 Belsky, Igor, 84-85,105-6,119 Ben-Hur, 85,86-87,91 Bernstein, Leonard, 55,60,62, 153n92 and New York Philharmonic tour, 54-55,15 ln52 Beryozka State Folk Dance Troupe, 4 Bessmertnova, Natalia, 104/ Biancolli, Louis, 34 Billy the Kid (Loring), 9,48,53-55,88 music of, 56 Bizet, Georges, 120-21 Symphony No. 1 in C Major, 102-3,104-5 Bluebeard (Folcine), 55,56,59-60 blues, 62 Bolshoi Ballet, 6,12,18-19,101,139n41 1956 London tour by, 23,26,36, 145-46n99 1962 US tour schedule of, 75 2014 US tour by, 130-31 and Hallberg, 129 and Hurok, 5,20,21,23-24,43, 78-79,159n31 and Kennedy family, 76-77 vs. Kirov, 18-19,80-83 vs. Moiseyev, 83 US critical reception of, 33-35,40-43, 81-83,88-91,94-95,123-24,130-31 US popular reception of, 1,17,19-20, 21-22,71,130-31 Bolshoi Choreographic Academy, 131 Bolshoi Theater, 112 artistic committee of, 87-72 stage size of, 21,86,151n62 supplying musicians, 58 Boorstin, Daniel, 10-11 Boston, 76-78 Bourdieu, Pierre, 82-83 Broadway, 20,99,116 Bruhn, Erik citizenship of, 45,49,67 and classical pas de deux, 66-67, 155ПІ30 The Cage (Robbins), 88,109
Canada, 21,75 Cassidy, Claudia, 81,147nll6 censorship, 10,114-16 Chabukiani, Vakhtang, 63-64,140n4 Chapman, John, 35,90-91,94-95 character dance, 85 Chase, Lucia, 48, 58,68 and Anatole Heller, 51-52 and campaign for Soviet tour, 49-50,53 and Chabukiani, 63 as member of ANTA dance advisory panel, 48-49 and John Martin, 51 repertory selection by, 53-54,59 Chausson, Ernest, 56 Chichinadze, Alexei, 52-53 Chopin, Frédéric, 55 Chopiniana. See Les Sylphides choreographic symphonism aesthetic theory of, 104/, 104, 138-39n36 development of, 9,102 vs. drambalet, 113-14 impact of on Ratmansky, 131-32 vs. neoclassical ballet, 105-6,108,11719,120-21,129-30 Stone Flower as example of, 37-40 Christensen, Wiliam, 79-80 Chulaki, Mikhail, 142n43,158n26
INDEX Cinderella (Zakharov), 25-26,36,84 Class Concert. See Ballet School Colbert, Stephen, 129,172nl Colgrass, Michael, 58-59 The Combat (Dollar), 56,62 comedy, 56,58,59-60,65 Condee, Nancy, 113 conductors, 1,20,51,58,78 conservatism, 34-36,41,90,110, 130-31,145n98 contemporaneity. See modernism Copland, Aaron, 53-54,55,60, 61-62,153n92 Craft, Robert, 120 Croft, Clare, 6-7,97-98,112-13,117,123 Cuban Missile Crisis, 73-74,75-77, 112-13,157nl7 Cullberg, Birgit, 56 cultural diplomacy funding of, 5-6,50,99-100,101, 137n22,166n21 and reception, 7,10-12 Soviet, 3,4-5,26 United States, 3-5 Czerny, Carl, 93 dancer vs. choreographer, 41-44,123-24 Dash, Thomas, 35 Daughters of the American Revolution, 20 de Banfield, Raffaello, 56 de Mille, Agnes and American Ballet Theatre, 48, 51,52-55 and ANTA, 48-49 choreographic style of, 60-61,62 Soviet reception of, 61-62,151n55 de-Stalinization. See the Thaw Dean, Robert D., 42 defection, 78 Denby, Edwin, 103,167n28 Desyatnikov, Leonid, 131-32 Diner, Akiva, 110 Dobrynin, Anatoly, 76-77 Dollar, William, 56 Don Quixote (Petipa), 130,131 pas de deux from, 55,65,66-67, 155ПІ23 Donizetti Variations (Balanchine), 112 177 Dorsey, Thomas J., 155-56nl34 drambalet, 143n65 aesthetics of, 9,26-28,103-4,104/ vs. American populist ballet, 56, 60-61,62 vs. Balanchine’s style, 100,109-11,116, 117,119 vs, choreographic symphonism, 37,3840,102,113-14 and gender, 63-64 Romeo and Juliet as example of, 28, 29,30-33 Drigo, Riccardo, 80 Duncan, Isadora, 102,139n37 empire, 73-74,86-87,88-89,138n34, 149n7,162n72 Episodes (Balanchine), 119,121 Études (Lander), 92-95
experience of touring, 20,21,58-59,7779,112-13,158nl9 Faier, Yuri, 20,43,78 Fall River Legend (de Mille), 9,48, 52-55,151ո55 Fancy Free (Robbins), 9,48,52-53,55,56 audience reactions to, 58 as example of populist ballet, 60-61,62 and masculinity, 63-64 music of, 58,60,62 Soviet reception of, 59-60,64 femininity, 42-43 film. See Hollywood Flames ofParis (Vainonen), 27-28,63,84 Fotóne, Michel, 39-40 and American Ballet Theatre, 47-48,55,59 connections to Stanislavsky of, 27,60-61 use of music by, 102,118 and Yakobson, 85 folk dance in ballet, 38,39-40,41,61-62 use in cultural diplomacy of, 4, 83,136nll folk music, 39,53-54,61-62, 110-11,153n92 formalism, 25-26,33,103-4
178 INDEX Fosler-Lussier, Danielle, 5,10-11,74, 139n40,165ПІ17,17ІПІ07 Fountain ofthe Bakhchisarai (Zakharov), 36,84 Fried, Alexander, 81,95 Gabovich, Mikhail, 39-40,59,62,64, 118-19,120-21 “Dance Panorama,” 125-27,17ІПІ15 Gaevsky, Vadim, 59,62 Gayane (Anisimova), 75 gender, 42-44,63-64,147nl24 Genauer, Emily, 34,35 Gerber, Iu., 118,169n73 Giselle (Coralli, Perrot), 126 and American Ballet Theatre, 54,63 and Bolshoi, 24-25, 36,75,130 film of, 22 Glazunov, Alexander, 93-94 Good Neighbor Policy, 3,99-100, 138n34 Gorsky, Aleksander, 27,80-81 Gould, Morton, 53-54 Gounod, Charles, 75 Goskontsert, 3,5 and American Ballet Theatre, 52-53 vs. Hurok, 5-6 and repertory selection, 55,88,109 Govrin, Gloria, 123 Graduation Ball (Lichine), 52-53,55,56 Graham, Martha, 4,100-1 Grigorovich, Yuri, 84-85,123-24 as artistic director of Bolshoi Ballet, 113-14,146ПІ11 and Stone Flower, 37-38,39-40 Grosz, Elizabeth, 42 Gugushvili, Eteri, 59-60 Hallberg, David, 129,131,132,172nl Hanslick, Eduard, 103,105,167n27 Harrison, Jay, 41 Hayden, Melissa, 123 Heller, Anatole, 51-52 historicism, 26-27,31-33,86 Hollywood, 74-75,99,162n68 celebrities, 21 celebrity culture, 22-24 epics, 85-91,162n71,162n72 homophobia, 64,154nll8 Hughes, Allen, 81,88-90,95 Hurok, Sol, 5-6,76/ and American Ballet Theatre, 47-48, 51-52,149n7 and Ballet School, 91,92-93 and Bolshoi Ballet, 20,21,23-24,43, 78-79,159n31 and distribution of tickets, 19-20,83, 160-6ІП51 and NYCB, 101,109,166n21 and Spartacus, 71,85-86,88-89 Hupina, Anna, 116-17 Interplay (Robbins), 53,108 Ivanov, Lev, 79-81 Ivesiana (Balanchine), 109 Jardin aux Lilas
(Tudor), 56 jazz, 53-54,58,62 Joffrey Ballet, 12,148n3 Kahn, Albert Eugene, 78-79 Kastendieck, Miles, 24,34,41-42 Kaye, Nora, 49,51 Keldysh, Iurii, 120 Kennedy, Jacqueline, 76-77,76f Kennedy, John E, 73,74,76-77, 76f, 157nl7 Kennedy, Robert, 157nl7 Kent, Allegra, 122/, 122-23 KGB, 21,78,142n47,152n71 Khachaturian, Aram, 79,84,86,87-88, 89-90,116 Khrennikov, Tikhon, 120 Khrushchev, Nikita, 18-19 and American Ballet Theatre, 56-57,67,68 and the Cuban Missile Crisis, 73,77 and homophobia, 64,154nl 18 and the Thaw, 37,88 Kiev, 57,112 Kirov Ballet 1961 US tour of, 12,79-80, 105-6,148n3 vs. Bolshoi, 18-19,80-83,160n45 cultural diplomacy tours of, 3,139n41
INDEX dancers defecting from, 78, 81-82,160n46 and Petipa, 65,80 Spartacus premiere at, 84 Kirov Theater, 29-30 Kirstein, Lincoln, 99-101 Kondratieva, Marina, 20,22, 41-42,140nl8 Krasnapolsky, Urey, 58 Krasovskaya, Vera, 62,66-67 Kremlin Palace of Congresses, 112, 168-69n54 Lacy-Zarubin agreement, 4,5,6-7, 18-19,49 Ladyfrom the Sea (Cullberg), 56 Lander, Harald, 92-95 Lapauri, Alexander, 1-2,114,119 Lavrovsky, Leonid, 32-33 and drambalet, 26-27,60,113-14 impressions of the United States of, 20,21,78 and Paganini, 75,86 and Romeo and Juliet, 29-33,31/ and Stone Flower, 36-37 US reception of, 34,41-42, 123-24,145n92 Lavrovsky, Mikhail, 31/, 91 leitmotif, 29,30-31,31/, 37,38,144n74 Lenin Palace of Sports, 68 Lenin Prize, 26 Leningrad, 25-26,99 audiences in, 58,59,66-67 critics in, 62 as destination for cultural diplomacy tours, 6,57,112 vs. Moscow, 18-19,81-82,160n45 Leningrad Choreographic Academy, 22, 99,116-17 Leningrad Symphony, 105-6 Lenoe, Matthew E., 33-34 Lepeshinskaya, Olga, 118-19,142n44 Levine, Irving R„ 35 Liadov, Anatoly, 93-94 Liapunov, Sergei, 93-94 Lichine, David, 55 Liepa, Maris, 78 Lifar, Serge, 64,139n37 179 Limon, José, 4 Lloyd, Margaret, 40 Lopukhov, Fyodor, 102-3,118, 139n37,166n24 Loring, Eugene, 48,53-54 Los Angeles, 21,90-91 Lvov-Anokhin, Boris, 118,119, 120-21,122 MacArthur, Harry, 75-76 Macaulay, Alastair, 130-31 Madison Square Garden, 1-2,20,22 Magallanes, Nicholas, 110-11, 111ƒ Magnificence of the Universe (Lopukhov), 102 Manchester, P.W., 90,94 Mariinsky Theater. See Kirov Theater Martin, John on American Ballet Theatre, 51 on Bolshoi, 19,34,40-41
and NYCB tour, 124-25,158n26 masculinity, 42,63-64 Massine, Leonid, 102-3,139n37 Maximova, Ekaterina, 91 Mazzo, Kay, 113 Messerer, Asaf and Ballet School, 75,91-92,92fi 94,129-30 and Plisetskaya, 23 Swan Lake production of, 80-81 Metropolitan Opera House, 140nl4 performances at, 21,71 stage of, 20,140nl9 tickets for, 83,160-61n51 Midsummer Night’s Dream (Balanchine), 110-11 Mills, Fred, 58 mind-body dualism, 42-43 Ministry ofCulture, 3,5,50,109,142-43n54 Minkus, Ludwig, 55,65 Miss Julie (Tudor), 52-53 Mitchell, Arthur, 122/, 122-23 modern dance, 4,74-75,136nl 1 modernism, 103,110-11 vs. contemporaneity, 64,145n92 and Soviet government, 103-4,109,120 in US reviews of Soviet ballet, 34,40-41, 147nll6
180 INDEX modernization theory, 33-35,82,110 Moiseyev State Folk Dance Troupe, 4,83 Mordkin, Mikhail, 47-48,60-61 Moscow as destination for cultural diplomacy tours, 6,56-57,59,68,109-10,112 vs. Leningrad, 18-19,81-82,160n45 stages in, 151n62 Moscow Choreographic Academy, 91 Mukhina, Vera, 30-31,31ƒ music absolute, 103,167n27 as foundation for ballet, 9,37,100, 102-3,104-8 meaning of, 103-4,103/, 104/, 118-19 relation to dance of, 10,41,66,84-85 as universal language, 6-7 musicians, 1,20,43,58 My Fair Lady tour, 52 narrative ballet, 9 Balanchine’s works as, 107-8,109 populist ballet as, 53-54,60-61 theorization of in Soviet aesthetics, 37, 103- 4,105-6,113-14,119 nationalism, 9,61-62,85,110-12,151n55 Native American performers, 67, 155-56ПІ34 negotiations, 5-6,19,52-53,100-1 in Cuban Missile Crisis, 73-74,76-77 Nemirovich-Danchenko, Vladimir, 27 neoclassicism, 40-41,64,95,97,131-32 vs. choreographic symphonism, 102, 108,119 Nepomnyashchy, Catharine, 56 Nestyev, Izrail, 120 New Soviet Man, 56,63,64,94 New York City, 6, 75, 77-78 Soviet impressions of, 20,21 New York City Ballet, 8,12,99,131 -32 1956 European tour of, 158nl9 1962 tour schedule of, 109-10,112 1972 Soviet tour of, 139n41 vs. American Ballet Theatre, 49 vs. Bolshoi, 34,35,40-41 negotiations for 1962 tour of, 100-1 repertory of, 55,88,108-9 Soviet reception of, 115-19,120-24, 125-27,129-30 and State Department, 99-100 US press coverage of, 124-25 Novellino-Mearns, Rosie, 89,90-91 Noverre, Jean-Georges, 85 Nureyev, Rudolf, 78 Nye, Joseph, 11-12 O’Brien, Shawn, 113 Oboukhoff, Anatole, 155nl23 Offenbach, Jacques,
55,59 Orpheus (Balanchine), 34,74-75,109 Owen, Irving, 58 Paganini (Lavrovsky), 75,113-14 Pakhomov, Vasily, 78,158n26 Palace of Culture, 57 pantomime in choreographic symphonism, 37-38, 39-40,41 in drambalet, 26-27,30-31 in populist American ballet, 60 in Spartacus, 85 pas de deux, 65-66 in Agon, 121-23 in American Ballet Theatre repertory, 52-53,55,56,65,66-67,155nl 30 in Romeo and Juliet, 28-29,30-31 Pavlova, Anna, 5,47-48 Payne, Charles, 51-52,65 Pearson, Drew, 43 Perron, Wendy, 89,90-91 Petipa, Marius, 45,55,65-66,79-81 Plisetskaya, Maya, 142n47 in Ballet School, 91 and Kennedy family, 76-77,157nl7 and Rudolf Nureyev, 78 and Spartacus, 88-89,91 in Swan Lake, 79 touring for Soviet Union, 141֊42n42,142n43 vs. Ulanova, 78-79 US reception of, 22,23-24,25f, 41-42,81 watching American Ballet Theatre, 56-57,66
INDEX populist ballet, 9,53,56,60-64,152ո89 press, 20,113 coverage of Bolshoi, 19,22-24,42-44, 75-76,83,92,95 interviews with Balanchine, 109-10 on NYCB 1962 tour, 124-25 programs, 26,111-12,143n63 Prokofiev, Sergei, 25-27 and Balanchine, 118-19,120-21 and Romeo and Juliet, 28-30, 32-33,34,60 and Stone Flower, 36,37,39-40 Symphony No. 5,25-26 US reception of, 34,41 Prokofieva, Mira, 36 pseudo-event, 10-11 purges, 23 race, 87 and choreography, 61-62 in US cultural diplomacy program, 67, 123,17ІПІ07 Rachmaninoff, Sergei, 75,113-14 Ratmansky, Alexei, 131-32 Ravel, Maurice, 102-3,118-19 realism, 26-27,38,60-61,85,109 reception history, 7-8,9-12,138n34 reciprocity, 5-7,137n21 Reisinger, Julius, 80 repertory selection, 11 by Ballet Theatre, 52-56, 59, 88,152n85 by New York City Ballet, 88 by Soviet companies, 24-25,36,40,75, 85,142-43n54 Rexroth, Kenneth, 81-83,160n47 Reynolds, Nancy, 110,114 Riisager, Knudåge, 56,93 Rimsky-Korsakov, Nikolai, 102 Robb, Inez, 44 Robbins, Jerome and Ballets U.S.A., 50,100-1 and Fancy Free, 48,53,55,60,62 and Interplay, 108 Soviet reception of, 123-24 and Stanislavsky, 60-61 Robeson, Paul, 40 181 Rodeo (de Mille), 51,55,56 masculinity in, 63-64 music in, 58,60,61-62 as populist ballet, 9,48,53,60-62 Soviet reception of, 54-55,59-60, 64,110-11 Romanoff, Dimitri, 52-53 Romeo and Juliet (Lavrovsky), 32/, 109-11 choreography of, 29-33 as drambalet, 26-28,29,30-33 film of, 22 London reception of, 36 music of, 28-29,31/ 32-33,60,144n72 programming of in US, 25-26 suites of, 26,34 and Ulanova, 22-23 US reception of, 24-25,33-35,41-42,71,90 Roslavleva,
Natalia, 62,110,118,119,121 and de Mille, 60-61,151 ո55 Royal Ballet, 35 Russian Seasons (Ratmansky), 131-32 Sabnina, Maria, 116,117,118-19,122-23 San Francisco Ballet, 79-80 Sargeant, Winthrop, 24 Scheherazade (Fokine), 102 Schermerhorn, Kenneth, 58 Schmelz, Peter, 120 School of American Ballet, 99,116-17 Scotch Symphony (Balanchine), 111-12 Serenade (Balanchine), 106-8,106/, 108/, 118,126-27,168n35 serialism, 110-12,119,120-21,126-27, 170-7ІПІ00 Serrano, Lupe, 45,66-67 sexuality in Agon, 121-22 in Ben-Hur, 87 debates in Soviet Union about, 162n77 and the Soviet government, 55,62,109 in Spartacus, 87-89 See also homophobia Shchedrin, Rodion, 23-24,142n44 Sherry, Samantha, 114 Shostakovich, Dmitri, 40,93-94, 147ПІ13,162n77 Symphony No. 7,105-6,151n52
182 INDEX Shrine Auditorium, 21 Smith, Oliver, 48,50,62 socialist realism, 26-27,37,55,56,84, 144ո70,167ո29 soft power, 11-12,139ո40 Solzhenitsyn, Aleksandr, 162n77 La Sonnambula (Balanchine), 111-12 Sorell, Walter, 41 Souritz, Elizabeth, 115 Sousa, John Philip, 100 Soviet-American cultural exchange, 5, 9-10,12,37 approval of, 75-76 condemnation of, 20 reasons for, 4-5,129 and transliteration, 8-9,129-30,132 Spandorf, Lily, 79f Spartacus, 75,79,84 1968 production of, 38,84,130-31 vs. Hollywood epic films, 85-88, 89-90 music for, 79,84,86,87-88,89-90,91 US premiere of, 71 US reception of, 88-91 Yakobson production of, 78,84-85,86, 87-89,91 Stalin, Joseph, 4,9,33-34,37,82 Stalin Prize, 25-26,32-33 Stanislavsky and Nemirovich-Danchenko Academic Musical Theater, 45,5253,57,81,151n62 Stanislavsky, Konstantin, 27-28, 31-32,60-61 Stars and Stripes (Balanchine), 100 State Committee for Cultural Ties (GKKS), 3,23-24 State Department (US) and American Ballet Theatre, 48-49, 50,51,58 and cultural diplomacy fixnding, 5-6, 50,137n22 and gender, 42 and Lacy-Zarubin agreement, 5 and NYCB, 99-101,109,110-11,113 and race, 67,123,17ІПІ07 and US cultural diplomacy program, 3-4,12,74 Stone Flower, 36-40 as cultural diplomacy tool, 24-26 and Plisetskaya, 24 US reception of, 40-41 Strauss, Johann, II, 55 Stravinsky, Igor, 118-22,170-7ІПІ00 Struchkova, Raissa, 1-2 subversion, 46-47,68,136-37n20 Swan Lake and 2014 Bolshoi tour, 130 and Chabukiani, 63 and Cuban Missile Crisis, 76-77,76/ different versions of, 79-81,155nl23, 159n37,159n38 music of, 55,65,80 pas de deux from, 55,65-66 and
Plisetskaya, 24 as Soviet cultural diplomacy tool, 2425,26,36,75,79 as standard for ballet performance, 54 US reception of, 79f, 81 Les Sylphides (Fokine), 47-48 and American Ballet Theatre, 52-53,55, 56,59,65 and Bolshoi, 75 vs, Serenade, 118 Symphony in C (Balanchine), 104-5,12930,167-68n33 tablework, 27-28,31-32 Tallchief, Maria and American Ballet Theatre personnel, 49,50,51 on Chabukiani, 63 Native American heritage of, 67 and Soviet audiences, 58-59 and Swan Lake, 66-67,155nl27, 155ПІЗО tap dance, 61-62 Taper, Bernard, 112 taste, 82-84,90,95,130-31, 147ПІ18,172nl0 Tbilisi, 63 American impressions of, 58 audiences in, 59 as cultural diplomacy tour destination, 57,68,112 Opera House of, 57 performance of Billy the Kid in, 54-55 Tchaikovsky, Pyotr, 55 and Balanchine, 118-19,120-21
INDEX Piano Concerto No. 2,102-3 Serenade for Strings, 106-8 Suite No. 1 for Orchestra, 45,55,56 and Swan Lake, 65,80 Terry, Walter andGabovich, 125,126 reviews of Bolshoi by, 21,24,34,41 -42, 90-91,94-95 the Thaw and censorship, 114 and choreographic symphonism, 9,37, 102,104,113-14 and debate, 98,114,127 and Soviet-American exchange, 4 and Soviet morality, 88,162n77 and Spartacus, 84-85 Theater ofthe Cultural Cooperative Center, 57 theaters, 5-6,21,151n62 Theme and Variations (Balanchine), 45,55, 56,152n89 tickets, 5-6,19-20,83,137n26,160n50, 160-6ІП51 Timasheff, Nicholas, 33-34 Tomasov, Jan, 58 transliteration effects on ballet of, 14-15,129-32 impact on cultural diplomacy of, 68 and Soviet critics, 62,113,125,126-27 theorization of, 6-12 and US critics, 40-41,94-95,96 Tsiskaridze, Nikolai, 129 Tuch, Hans, 113 Tudor, Antony, 52-53,56,60-61 twelve-tone composition. See serialism U.S. Embassy in Moscow, 110-11,113 Ulanova, Galina on 1962 tour, 78-79 and American Ballet Theatre, 56-57 and drambalet, 26-27 and Romeo and Juliet, 32-33 and Tallchief, 66,67 and US audiences, 21 and US press, 20,22-23,41-42,43 Union of Soviet Friendship Societies (SSOD), 3 Vainonen, Vasily, 26-27,63 La Valse (Balanchine), 108 Vasiliev, Vladimir, 91 Vecheslova, Tatiana, 140n4 Verdy, Violette, 49 Viliams, Pëtr, 31-32,32ƒ Villella, Edward, 112,123 Vinogradova, Maria, 131 Virsaladze, Simon, 38,40-41 virtuosity in Ballet School, 91,92-93,94 as marker of male style, 63-64 and Moiseyev Company, 83 andNYCB, 116,123,125 pas de deux as measurer of, 65-67 and reception of Soviet dancing, 43, 82,124 Volkov,
Nikolai, 84 Walpurgis Night (Lavrovsky), 24,75 Washington, DC, 6,21,76-78 Webern, Anton, 119 Wescott, Glenway, 125-26 Westad, Odd Arne, 73-74 Western Symphony (Balanchine), 108, 110-12, 111/, 123 West Side Story, 20 Williams, Kimberly A., 43-44 World War II, 3,100,103,105-6 Wyke, Maria, 86-87 Yakobson, Leonid, 79 on 1962 tour, 78,158n26 and Spartacus, 84-85,86,87-89,91 Youskevitch, Igor, 45,49 Yurchak, Alexei, 114-15 Zakharov, Rostislav, 26-28,31-32,60, 117,122-23 Zayuginä, Susanna, 43 Zhukov, Georgi, 23-24,142n44 Bayerische Staatsbibliothek München 183
Contents Acknowledgments Note on Transliteration and Translation Introduction ix xi 1 1. A Cold War Welcome: The Bolshoi Ballet’s 1959 Tour of the United States 17 2. Bringing an American Report Card to Russia: American Ballet Theatre’s 1960 Tour of the Soviet Union 45 3. A Question of Taste: The Bolshoi Ballet’s 1962 Tour of the United States 71 4. “Ballet Is a Flower”: New York City Ballet’s 1962 Tour of the Soviet Union 97 Epilogue: Exchange in the Twenty-first Century 129 Note on Abbreviations Notes Index 133 135 175
Index Figures are indicated byƒfollowing the page number For the benefit ofdigital users, indexed terms that span two pages (e.g., 52-53) may, on occasion, appear on only one ofthose pages. abstraction, 119,123,167n28 and Balanchine, 100,103-4,109-10, 167-68n33 Soviet government relationship with, 55,109,115 State Department downplaying, 110-12 in US reception of Soviet ballet, 9, 34,94-95 Adams, Diana, 110-11,111/ African American dance, 116 African American performers, 67,123 Afternoon ofa Faun (Robbins), 88,109 Agon (Balanchine), 110-12,122/, 126-27, 170-7ІПІ00 Soviet reception of, 119,120-23 All-Union Choreographic Conference (1963), 117 Alonso, Alicia, 49 Alvin Alley American Dance Theater, 77 American Ballet Theatre, 54, 92-93,131 1960 Metropolitan Opera House Season of, 50-51 1960 tour schedule of, 56-57 1966 Soviet tour of, 139n41,151n55 history of, 47-49,65 and negotiations for the 1960 tour, 49-50,51-53 orchestra for, 58 personnel of, 49,50 programming of, 53-56,57/, 88 Soviet reception of, 59-60,64,66-67, 68,117,152n85,155nl30 and Swan Lake, 159n37 tour experience of, 58-59,68-69 American National Theatre and Academy (ANTA), 4,5, ІЗбпІІ reports to, 58,69 Anisimova, Nina, 75 ANTA Dance Advisory Panel, 4, 51-52, 123,136nll, 137n22,158n21 and American Ballet Theatre, 48-51,53,54 and New York City Ballet, 99-101,109 Asafiev, Boris, 63 audiences, 10 composition of, 22,57,83,112 and the experience of seeing ballet, 8 reactions of Soviet, 58,59,97,112, 123,124-25 reactions of US, 1-2,17,21-22, 71,8889,131,163n80 Balanchine, George, 99,112 artistic influences on, 102-3,
139n37,166n24 and Gabovich, 125-27 and plans for the 1962 Soviet tour, 100-1,166nl9 sayings of, 125-26,168n44,17ІПІ15 vs. Soviet choreographers, 34,40-41, 94-95,124,147nl 16 Soviet interviews with, 109-10,119 and Soviet ofiicials, 109 Soviet reception of, 114-19,120-24, 129-30,160n45,169n73 and the US State Department, 99-100 and Swan Lake, 155nl27 use of musical form by, 9,103,103/ 104-5,108 and Yakobson, 158n26
176 INDEX Balanchivadze, Andrei, 112 ballet as American art form, 47,48,49,53, 67,149nl2 and class hierarchy, 74-75,89-91,95 as Russian art form, 48-49,59, 115,116-17 training for, 91,92-94,95 as universal language, 6-7,8-9 use in cultural diplomacy of, 4,12,74, 136nll, 139n41 Balletschool (Messerer), 11-12,75,91-95, 92f, 129-30 Ballet Theatre. See American Ballet Theatre Ballets Russes, 99,155nl23,160n46 Ballets U.S.A., 50,100-1 La Bayadère (Petipa), 63,75 Bass, Milton, 42-43 Battey, Jean, 90 Bazhev, Pavel, 36 Belsky, Igor, 84-85,105-6,119 Ben-Hur, 85,86-87,91 Bernstein, Leonard, 55,60,62, 153n92 and New York Philharmonic tour, 54-55,15 ln52 Beryozka State Folk Dance Troupe, 4 Bessmertnova, Natalia, 104/ Biancolli, Louis, 34 Billy the Kid (Loring), 9,48,53-55,88 music of, 56 Bizet, Georges, 120-21 Symphony No. 1 in C Major, 102-3,104-5 Bluebeard (Folcine), 55,56,59-60 blues, 62 Bolshoi Ballet, 6,12,18-19,101,139n41 1956 London tour by, 23,26,36, 145-46n99 1962 US tour schedule of, 75 2014 US tour by, 130-31 and Hallberg, 129 and Hurok, 5,20,21,23-24,43, 78-79,159n31 and Kennedy family, 76-77 vs. Kirov, 18-19,80-83 vs. Moiseyev, 83 US critical reception of, 33-35,40-43, 81-83,88-91,94-95,123-24,130-31 US popular reception of, 1,17,19-20, 21-22,71,130-31 Bolshoi Choreographic Academy, 131 Bolshoi Theater, 112 artistic committee of, 87-72 stage size of, 21,86,151n62 supplying musicians, 58 Boorstin, Daniel, 10-11 Boston, 76-78 Bourdieu, Pierre, 82-83 Broadway, 20,99,116 Bruhn, Erik citizenship of, 45,49,67 and classical pas de deux, 66-67, 155ПІ30 The Cage (Robbins), 88,109
Canada, 21,75 Cassidy, Claudia, 81,147nll6 censorship, 10,114-16 Chabukiani, Vakhtang, 63-64,140n4 Chapman, John, 35,90-91,94-95 character dance, 85 Chase, Lucia, 48, 58,68 and Anatole Heller, 51-52 and campaign for Soviet tour, 49-50,53 and Chabukiani, 63 as member of ANTA dance advisory panel, 48-49 and John Martin, 51 repertory selection by, 53-54,59 Chausson, Ernest, 56 Chichinadze, Alexei, 52-53 Chopin, Frédéric, 55 Chopiniana. See Les Sylphides choreographic symphonism aesthetic theory of, 104/, 104, 138-39n36 development of, 9,102 vs. drambalet, 113-14 impact of on Ratmansky, 131-32 vs. neoclassical ballet, 105-6,108,11719,120-21,129-30 Stone Flower as example of, 37-40 Christensen, Wiliam, 79-80 Chulaki, Mikhail, 142n43,158n26
INDEX Cinderella (Zakharov), 25-26,36,84 Class Concert. See Ballet School Colbert, Stephen, 129,172nl Colgrass, Michael, 58-59 The Combat (Dollar), 56,62 comedy, 56,58,59-60,65 Condee, Nancy, 113 conductors, 1,20,51,58,78 conservatism, 34-36,41,90,110, 130-31,145n98 contemporaneity. See modernism Copland, Aaron, 53-54,55,60, 61-62,153n92 Craft, Robert, 120 Croft, Clare, 6-7,97-98,112-13,117,123 Cuban Missile Crisis, 73-74,75-77, 112-13,157nl7 Cullberg, Birgit, 56 cultural diplomacy funding of, 5-6,50,99-100,101, 137n22,166n21 and reception, 7,10-12 Soviet, 3,4-5,26 United States, 3-5 Czerny, Carl, 93 dancer vs. choreographer, 41-44,123-24 Dash, Thomas, 35 Daughters of the American Revolution, 20 de Banfield, Raffaello, 56 de Mille, Agnes and American Ballet Theatre, 48, 51,52-55 and ANTA, 48-49 choreographic style of, 60-61,62 Soviet reception of, 61-62,151n55 de-Stalinization. See the Thaw Dean, Robert D., 42 defection, 78 Denby, Edwin, 103,167n28 Desyatnikov, Leonid, 131-32 Diner, Akiva, 110 Dobrynin, Anatoly, 76-77 Dollar, William, 56 Don Quixote (Petipa), 130,131 pas de deux from, 55,65,66-67, 155ПІ23 Donizetti Variations (Balanchine), 112 177 Dorsey, Thomas J., 155-56nl34 drambalet, 143n65 aesthetics of, 9,26-28,103-4,104/ vs. American populist ballet, 56, 60-61,62 vs. Balanchine’s style, 100,109-11,116, 117,119 vs, choreographic symphonism, 37,3840,102,113-14 and gender, 63-64 Romeo and Juliet as example of, 28, 29,30-33 Drigo, Riccardo, 80 Duncan, Isadora, 102,139n37 empire, 73-74,86-87,88-89,138n34, 149n7,162n72 Episodes (Balanchine), 119,121 Études (Lander), 92-95
experience of touring, 20,21,58-59,7779,112-13,158nl9 Faier, Yuri, 20,43,78 Fall River Legend (de Mille), 9,48, 52-55,151ո55 Fancy Free (Robbins), 9,48,52-53,55,56 audience reactions to, 58 as example of populist ballet, 60-61,62 and masculinity, 63-64 music of, 58,60,62 Soviet reception of, 59-60,64 femininity, 42-43 film. See Hollywood Flames ofParis (Vainonen), 27-28,63,84 Fotóne, Michel, 39-40 and American Ballet Theatre, 47-48,55,59 connections to Stanislavsky of, 27,60-61 use of music by, 102,118 and Yakobson, 85 folk dance in ballet, 38,39-40,41,61-62 use in cultural diplomacy of, 4, 83,136nll folk music, 39,53-54,61-62, 110-11,153n92 formalism, 25-26,33,103-4
178 INDEX Fosler-Lussier, Danielle, 5,10-11,74, 139n40,165ПІ17,17ІПІ07 Fountain ofthe Bakhchisarai (Zakharov), 36,84 Fried, Alexander, 81,95 Gabovich, Mikhail, 39-40,59,62,64, 118-19,120-21 “Dance Panorama,” 125-27,17ІПІ15 Gaevsky, Vadim, 59,62 Gayane (Anisimova), 75 gender, 42-44,63-64,147nl24 Genauer, Emily, 34,35 Gerber, Iu., 118,169n73 Giselle (Coralli, Perrot), 126 and American Ballet Theatre, 54,63 and Bolshoi, 24-25, 36,75,130 film of, 22 Glazunov, Alexander, 93-94 Good Neighbor Policy, 3,99-100, 138n34 Gorsky, Aleksander, 27,80-81 Gould, Morton, 53-54 Gounod, Charles, 75 Goskontsert, 3,5 and American Ballet Theatre, 52-53 vs. Hurok, 5-6 and repertory selection, 55,88,109 Govrin, Gloria, 123 Graduation Ball (Lichine), 52-53,55,56 Graham, Martha, 4,100-1 Grigorovich, Yuri, 84-85,123-24 as artistic director of Bolshoi Ballet, 113-14,146ПІ11 and Stone Flower, 37-38,39-40 Grosz, Elizabeth, 42 Gugushvili, Eteri, 59-60 Hallberg, David, 129,131,132,172nl Hanslick, Eduard, 103,105,167n27 Harrison, Jay, 41 Hayden, Melissa, 123 Heller, Anatole, 51-52 historicism, 26-27,31-33,86 Hollywood, 74-75,99,162n68 celebrities, 21 celebrity culture, 22-24 epics, 85-91,162n71,162n72 homophobia, 64,154nll8 Hughes, Allen, 81,88-90,95 Hurok, Sol, 5-6,76/ and American Ballet Theatre, 47-48, 51-52,149n7 and Ballet School, 91,92-93 and Bolshoi Ballet, 20,21,23-24,43, 78-79,159n31 and distribution of tickets, 19-20,83, 160-6ІП51 and NYCB, 101,109,166n21 and Spartacus, 71,85-86,88-89 Hupina, Anna, 116-17 Interplay (Robbins), 53,108 Ivanov, Lev, 79-81 Ivesiana (Balanchine), 109 Jardin aux Lilas
(Tudor), 56 jazz, 53-54,58,62 Joffrey Ballet, 12,148n3 Kahn, Albert Eugene, 78-79 Kastendieck, Miles, 24,34,41-42 Kaye, Nora, 49,51 Keldysh, Iurii, 120 Kennedy, Jacqueline, 76-77,76f Kennedy, John E, 73,74,76-77, 76f, 157nl7 Kennedy, Robert, 157nl7 Kent, Allegra, 122/, 122-23 KGB, 21,78,142n47,152n71 Khachaturian, Aram, 79,84,86,87-88, 89-90,116 Khrennikov, Tikhon, 120 Khrushchev, Nikita, 18-19 and American Ballet Theatre, 56-57,67,68 and the Cuban Missile Crisis, 73,77 and homophobia, 64,154nl 18 and the Thaw, 37,88 Kiev, 57,112 Kirov Ballet 1961 US tour of, 12,79-80, 105-6,148n3 vs. Bolshoi, 18-19,80-83,160n45 cultural diplomacy tours of, 3,139n41
INDEX dancers defecting from, 78, 81-82,160n46 and Petipa, 65,80 Spartacus premiere at, 84 Kirov Theater, 29-30 Kirstein, Lincoln, 99-101 Kondratieva, Marina, 20,22, 41-42,140nl8 Krasnapolsky, Urey, 58 Krasovskaya, Vera, 62,66-67 Kremlin Palace of Congresses, 112, 168-69n54 Lacy-Zarubin agreement, 4,5,6-7, 18-19,49 Ladyfrom the Sea (Cullberg), 56 Lander, Harald, 92-95 Lapauri, Alexander, 1-2,114,119 Lavrovsky, Leonid, 32-33 and drambalet, 26-27,60,113-14 impressions of the United States of, 20,21,78 and Paganini, 75,86 and Romeo and Juliet, 29-33,31/ and Stone Flower, 36-37 US reception of, 34,41-42, 123-24,145n92 Lavrovsky, Mikhail, 31/, 91 leitmotif, 29,30-31,31/, 37,38,144n74 Lenin Palace of Sports, 68 Lenin Prize, 26 Leningrad, 25-26,99 audiences in, 58,59,66-67 critics in, 62 as destination for cultural diplomacy tours, 6,57,112 vs. Moscow, 18-19,81-82,160n45 Leningrad Choreographic Academy, 22, 99,116-17 Leningrad Symphony, 105-6 Lenoe, Matthew E., 33-34 Lepeshinskaya, Olga, 118-19,142n44 Levine, Irving R„ 35 Liadov, Anatoly, 93-94 Liapunov, Sergei, 93-94 Lichine, David, 55 Liepa, Maris, 78 Lifar, Serge, 64,139n37 179 Limon, José, 4 Lloyd, Margaret, 40 Lopukhov, Fyodor, 102-3,118, 139n37,166n24 Loring, Eugene, 48,53-54 Los Angeles, 21,90-91 Lvov-Anokhin, Boris, 118,119, 120-21,122 MacArthur, Harry, 75-76 Macaulay, Alastair, 130-31 Madison Square Garden, 1-2,20,22 Magallanes, Nicholas, 110-11, 111ƒ Magnificence of the Universe (Lopukhov), 102 Manchester, P.W., 90,94 Mariinsky Theater. See Kirov Theater Martin, John on American Ballet Theatre, 51 on Bolshoi, 19,34,40-41
and NYCB tour, 124-25,158n26 masculinity, 42,63-64 Massine, Leonid, 102-3,139n37 Maximova, Ekaterina, 91 Mazzo, Kay, 113 Messerer, Asaf and Ballet School, 75,91-92,92fi 94,129-30 and Plisetskaya, 23 Swan Lake production of, 80-81 Metropolitan Opera House, 140nl4 performances at, 21,71 stage of, 20,140nl9 tickets for, 83,160-61n51 Midsummer Night’s Dream (Balanchine), 110-11 Mills, Fred, 58 mind-body dualism, 42-43 Ministry ofCulture, 3,5,50,109,142-43n54 Minkus, Ludwig, 55,65 Miss Julie (Tudor), 52-53 Mitchell, Arthur, 122/, 122-23 modern dance, 4,74-75,136nl 1 modernism, 103,110-11 vs. contemporaneity, 64,145n92 and Soviet government, 103-4,109,120 in US reviews of Soviet ballet, 34,40-41, 147nll6
180 INDEX modernization theory, 33-35,82,110 Moiseyev State Folk Dance Troupe, 4,83 Mordkin, Mikhail, 47-48,60-61 Moscow as destination for cultural diplomacy tours, 6,56-57,59,68,109-10,112 vs. Leningrad, 18-19,81-82,160n45 stages in, 151n62 Moscow Choreographic Academy, 91 Mukhina, Vera, 30-31,31ƒ music absolute, 103,167n27 as foundation for ballet, 9,37,100, 102-3,104-8 meaning of, 103-4,103/, 104/, 118-19 relation to dance of, 10,41,66,84-85 as universal language, 6-7 musicians, 1,20,43,58 My Fair Lady tour, 52 narrative ballet, 9 Balanchine’s works as, 107-8,109 populist ballet as, 53-54,60-61 theorization of in Soviet aesthetics, 37, 103- 4,105-6,113-14,119 nationalism, 9,61-62,85,110-12,151n55 Native American performers, 67, 155-56ПІ34 negotiations, 5-6,19,52-53,100-1 in Cuban Missile Crisis, 73-74,76-77 Nemirovich-Danchenko, Vladimir, 27 neoclassicism, 40-41,64,95,97,131-32 vs. choreographic symphonism, 102, 108,119 Nepomnyashchy, Catharine, 56 Nestyev, Izrail, 120 New Soviet Man, 56,63,64,94 New York City, 6, 75, 77-78 Soviet impressions of, 20,21 New York City Ballet, 8,12,99,131 -32 1956 European tour of, 158nl9 1962 tour schedule of, 109-10,112 1972 Soviet tour of, 139n41 vs. American Ballet Theatre, 49 vs. Bolshoi, 34,35,40-41 negotiations for 1962 tour of, 100-1 repertory of, 55,88,108-9 Soviet reception of, 115-19,120-24, 125-27,129-30 and State Department, 99-100 US press coverage of, 124-25 Novellino-Mearns, Rosie, 89,90-91 Noverre, Jean-Georges, 85 Nureyev, Rudolf, 78 Nye, Joseph, 11-12 O’Brien, Shawn, 113 Oboukhoff, Anatole, 155nl23 Offenbach, Jacques,
55,59 Orpheus (Balanchine), 34,74-75,109 Owen, Irving, 58 Paganini (Lavrovsky), 75,113-14 Pakhomov, Vasily, 78,158n26 Palace of Culture, 57 pantomime in choreographic symphonism, 37-38, 39-40,41 in drambalet, 26-27,30-31 in populist American ballet, 60 in Spartacus, 85 pas de deux, 65-66 in Agon, 121-23 in American Ballet Theatre repertory, 52-53,55,56,65,66-67,155nl 30 in Romeo and Juliet, 28-29,30-31 Pavlova, Anna, 5,47-48 Payne, Charles, 51-52,65 Pearson, Drew, 43 Perron, Wendy, 89,90-91 Petipa, Marius, 45,55,65-66,79-81 Plisetskaya, Maya, 142n47 in Ballet School, 91 and Kennedy family, 76-77,157nl7 and Rudolf Nureyev, 78 and Spartacus, 88-89,91 in Swan Lake, 79 touring for Soviet Union, 141֊42n42,142n43 vs. Ulanova, 78-79 US reception of, 22,23-24,25f, 41-42,81 watching American Ballet Theatre, 56-57,66
INDEX populist ballet, 9,53,56,60-64,152ո89 press, 20,113 coverage of Bolshoi, 19,22-24,42-44, 75-76,83,92,95 interviews with Balanchine, 109-10 on NYCB 1962 tour, 124-25 programs, 26,111-12,143n63 Prokofiev, Sergei, 25-27 and Balanchine, 118-19,120-21 and Romeo and Juliet, 28-30, 32-33,34,60 and Stone Flower, 36,37,39-40 Symphony No. 5,25-26 US reception of, 34,41 Prokofieva, Mira, 36 pseudo-event, 10-11 purges, 23 race, 87 and choreography, 61-62 in US cultural diplomacy program, 67, 123,17ІПІ07 Rachmaninoff, Sergei, 75,113-14 Ratmansky, Alexei, 131-32 Ravel, Maurice, 102-3,118-19 realism, 26-27,38,60-61,85,109 reception history, 7-8,9-12,138n34 reciprocity, 5-7,137n21 Reisinger, Julius, 80 repertory selection, 11 by Ballet Theatre, 52-56, 59, 88,152n85 by New York City Ballet, 88 by Soviet companies, 24-25,36,40,75, 85,142-43n54 Rexroth, Kenneth, 81-83,160n47 Reynolds, Nancy, 110,114 Riisager, Knudåge, 56,93 Rimsky-Korsakov, Nikolai, 102 Robb, Inez, 44 Robbins, Jerome and Ballets U.S.A., 50,100-1 and Fancy Free, 48,53,55,60,62 and Interplay, 108 Soviet reception of, 123-24 and Stanislavsky, 60-61 Robeson, Paul, 40 181 Rodeo (de Mille), 51,55,56 masculinity in, 63-64 music in, 58,60,61-62 as populist ballet, 9,48,53,60-62 Soviet reception of, 54-55,59-60, 64,110-11 Romanoff, Dimitri, 52-53 Romeo and Juliet (Lavrovsky), 32/, 109-11 choreography of, 29-33 as drambalet, 26-28,29,30-33 film of, 22 London reception of, 36 music of, 28-29,31/ 32-33,60,144n72 programming of in US, 25-26 suites of, 26,34 and Ulanova, 22-23 US reception of, 24-25,33-35,41-42,71,90 Roslavleva,
Natalia, 62,110,118,119,121 and de Mille, 60-61,151 ո55 Royal Ballet, 35 Russian Seasons (Ratmansky), 131-32 Sabnina, Maria, 116,117,118-19,122-23 San Francisco Ballet, 79-80 Sargeant, Winthrop, 24 Scheherazade (Fokine), 102 Schermerhorn, Kenneth, 58 Schmelz, Peter, 120 School of American Ballet, 99,116-17 Scotch Symphony (Balanchine), 111-12 Serenade (Balanchine), 106-8,106/, 108/, 118,126-27,168n35 serialism, 110-12,119,120-21,126-27, 170-7ІПІ00 Serrano, Lupe, 45,66-67 sexuality in Agon, 121-22 in Ben-Hur, 87 debates in Soviet Union about, 162n77 and the Soviet government, 55,62,109 in Spartacus, 87-89 See also homophobia Shchedrin, Rodion, 23-24,142n44 Sherry, Samantha, 114 Shostakovich, Dmitri, 40,93-94, 147ПІ13,162n77 Symphony No. 7,105-6,151n52
182 INDEX Shrine Auditorium, 21 Smith, Oliver, 48,50,62 socialist realism, 26-27,37,55,56,84, 144ո70,167ո29 soft power, 11-12,139ո40 Solzhenitsyn, Aleksandr, 162n77 La Sonnambula (Balanchine), 111-12 Sorell, Walter, 41 Souritz, Elizabeth, 115 Sousa, John Philip, 100 Soviet-American cultural exchange, 5, 9-10,12,37 approval of, 75-76 condemnation of, 20 reasons for, 4-5,129 and transliteration, 8-9,129-30,132 Spandorf, Lily, 79f Spartacus, 75,79,84 1968 production of, 38,84,130-31 vs. Hollywood epic films, 85-88, 89-90 music for, 79,84,86,87-88,89-90,91 US premiere of, 71 US reception of, 88-91 Yakobson production of, 78,84-85,86, 87-89,91 Stalin, Joseph, 4,9,33-34,37,82 Stalin Prize, 25-26,32-33 Stanislavsky and Nemirovich-Danchenko Academic Musical Theater, 45,5253,57,81,151n62 Stanislavsky, Konstantin, 27-28, 31-32,60-61 Stars and Stripes (Balanchine), 100 State Committee for Cultural Ties (GKKS), 3,23-24 State Department (US) and American Ballet Theatre, 48-49, 50,51,58 and cultural diplomacy fixnding, 5-6, 50,137n22 and gender, 42 and Lacy-Zarubin agreement, 5 and NYCB, 99-101,109,110-11,113 and race, 67,123,17ІПІ07 and US cultural diplomacy program, 3-4,12,74 Stone Flower, 36-40 as cultural diplomacy tool, 24-26 and Plisetskaya, 24 US reception of, 40-41 Strauss, Johann, II, 55 Stravinsky, Igor, 118-22,170-7ІПІ00 Struchkova, Raissa, 1-2 subversion, 46-47,68,136-37n20 Swan Lake and 2014 Bolshoi tour, 130 and Chabukiani, 63 and Cuban Missile Crisis, 76-77,76/ different versions of, 79-81,155nl23, 159n37,159n38 music of, 55,65,80 pas de deux from, 55,65-66 and
Plisetskaya, 24 as Soviet cultural diplomacy tool, 2425,26,36,75,79 as standard for ballet performance, 54 US reception of, 79f, 81 Les Sylphides (Fokine), 47-48 and American Ballet Theatre, 52-53,55, 56,59,65 and Bolshoi, 75 vs, Serenade, 118 Symphony in C (Balanchine), 104-5,12930,167-68n33 tablework, 27-28,31-32 Tallchief, Maria and American Ballet Theatre personnel, 49,50,51 on Chabukiani, 63 Native American heritage of, 67 and Soviet audiences, 58-59 and Swan Lake, 66-67,155nl27, 155ПІЗО tap dance, 61-62 Taper, Bernard, 112 taste, 82-84,90,95,130-31, 147ПІ18,172nl0 Tbilisi, 63 American impressions of, 58 audiences in, 59 as cultural diplomacy tour destination, 57,68,112 Opera House of, 57 performance of Billy the Kid in, 54-55 Tchaikovsky, Pyotr, 55 and Balanchine, 118-19,120-21
INDEX Piano Concerto No. 2,102-3 Serenade for Strings, 106-8 Suite No. 1 for Orchestra, 45,55,56 and Swan Lake, 65,80 Terry, Walter andGabovich, 125,126 reviews of Bolshoi by, 21,24,34,41 -42, 90-91,94-95 the Thaw and censorship, 114 and choreographic symphonism, 9,37, 102,104,113-14 and debate, 98,114,127 and Soviet-American exchange, 4 and Soviet morality, 88,162n77 and Spartacus, 84-85 Theater ofthe Cultural Cooperative Center, 57 theaters, 5-6,21,151n62 Theme and Variations (Balanchine), 45,55, 56,152n89 tickets, 5-6,19-20,83,137n26,160n50, 160-6ІП51 Timasheff, Nicholas, 33-34 Tomasov, Jan, 58 transliteration effects on ballet of, 14-15,129-32 impact on cultural diplomacy of, 68 and Soviet critics, 62,113,125,126-27 theorization of, 6-12 and US critics, 40-41,94-95,96 Tsiskaridze, Nikolai, 129 Tuch, Hans, 113 Tudor, Antony, 52-53,56,60-61 twelve-tone composition. See serialism U.S. Embassy in Moscow, 110-11,113 Ulanova, Galina on 1962 tour, 78-79 and American Ballet Theatre, 56-57 and drambalet, 26-27 and Romeo and Juliet, 32-33 and Tallchief, 66,67 and US audiences, 21 and US press, 20,22-23,41-42,43 Union of Soviet Friendship Societies (SSOD), 3 Vainonen, Vasily, 26-27,63 La Valse (Balanchine), 108 Vasiliev, Vladimir, 91 Vecheslova, Tatiana, 140n4 Verdy, Violette, 49 Viliams, Pëtr, 31-32,32ƒ Villella, Edward, 112,123 Vinogradova, Maria, 131 Virsaladze, Simon, 38,40-41 virtuosity in Ballet School, 91,92-93,94 as marker of male style, 63-64 and Moiseyev Company, 83 andNYCB, 116,123,125 pas de deux as measurer of, 65-67 and reception of Soviet dancing, 43, 82,124 Volkov,
Nikolai, 84 Walpurgis Night (Lavrovsky), 24,75 Washington, DC, 6,21,76-78 Webern, Anton, 119 Wescott, Glenway, 125-26 Westad, Odd Arne, 73-74 Western Symphony (Balanchine), 108, 110-12, 111/, 123 West Side Story, 20 Williams, Kimberly A., 43-44 World War II, 3,100,103,105-6 Wyke, Maria, 86-87 Yakobson, Leonid, 79 on 1962 tour, 78,158n26 and Spartacus, 84-85,86,87-89,91 Youskevitch, Igor, 45,49 Yurchak, Alexei, 114-15 Zakharov, Rostislav, 26-28,31-32,60, 117,122-23 Zayuginä, Susanna, 43 Zhukov, Georgi, 23-24,142n44 Bayerische Staatsbibliothek München 183
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Contents Acknowledgments Note on Transliteration and Translation Introduction ix xi 1 1. A Cold War Welcome: The Bolshoi Ballet’s 1959 Tour of the United States 17 2. Bringing an American Report Card to Russia: American Ballet Theatre’s 1960 Tour of the Soviet Union 45 3. A Question of Taste: The Bolshoi Ballet’s 1962 Tour of the United States 71 4. “Ballet Is a Flower”: New York City Ballet’s 1962 Tour of the Soviet Union 97 Epilogue: Exchange in the Twenty-first Century 129 Note on Abbreviations Notes Index 133 135 175
Index Figures are indicated byƒfollowing the page number For the benefit ofdigital users, indexed terms that span two pages (e.g., 52-53) may, on occasion, appear on only one ofthose pages. abstraction, 119,123,167n28 and Balanchine, 100,103-4,109-10, 167-68n33 Soviet government relationship with, 55,109,115 State Department downplaying, 110-12 in US reception of Soviet ballet, 9, 34,94-95 Adams, Diana, 110-11,111/ African American dance, 116 African American performers, 67,123 Afternoon ofa Faun (Robbins), 88,109 Agon (Balanchine), 110-12,122/, 126-27, 170-7ІПІ00 Soviet reception of, 119,120-23 All-Union Choreographic Conference (1963), 117 Alonso, Alicia, 49 Alvin Alley American Dance Theater, 77 American Ballet Theatre, 54, 92-93,131 1960 Metropolitan Opera House Season of, 50-51 1960 tour schedule of, 56-57 1966 Soviet tour of, 139n41,151n55 history of, 47-49,65 and negotiations for the 1960 tour, 49-50,51-53 orchestra for, 58 personnel of, 49,50 programming of, 53-56,57/, 88 Soviet reception of, 59-60,64,66-67, 68,117,152n85,155nl30 and Swan Lake, 159n37 tour experience of, 58-59,68-69 American National Theatre and Academy (ANTA), 4,5, ІЗбпІІ reports to, 58,69 Anisimova, Nina, 75 ANTA Dance Advisory Panel, 4, 51-52, 123,136nll, 137n22,158n21 and American Ballet Theatre, 48-51,53,54 and New York City Ballet, 99-101,109 Asafiev, Boris, 63 audiences, 10 composition of, 22,57,83,112 and the experience of seeing ballet, 8 reactions of Soviet, 58,59,97,112, 123,124-25 reactions of US, 1-2,17,21-22, 71,8889,131,163n80 Balanchine, George, 99,112 artistic influences on, 102-3,
139n37,166n24 and Gabovich, 125-27 and plans for the 1962 Soviet tour, 100-1,166nl9 sayings of, 125-26,168n44,17ІПІ15 vs. Soviet choreographers, 34,40-41, 94-95,124,147nl 16 Soviet interviews with, 109-10,119 and Soviet ofiicials, 109 Soviet reception of, 114-19,120-24, 129-30,160n45,169n73 and the US State Department, 99-100 and Swan Lake, 155nl27 use of musical form by, 9,103,103/ 104-5,108 and Yakobson, 158n26
176 INDEX Balanchivadze, Andrei, 112 ballet as American art form, 47,48,49,53, 67,149nl2 and class hierarchy, 74-75,89-91,95 as Russian art form, 48-49,59, 115,116-17 training for, 91,92-94,95 as universal language, 6-7,8-9 use in cultural diplomacy of, 4,12,74, 136nll, 139n41 Balletschool (Messerer), 11-12,75,91-95, 92f, 129-30 Ballet Theatre. See American Ballet Theatre Ballets Russes, 99,155nl23,160n46 Ballets U.S.A., 50,100-1 La Bayadère (Petipa), 63,75 Bass, Milton, 42-43 Battey, Jean, 90 Bazhev, Pavel, 36 Belsky, Igor, 84-85,105-6,119 Ben-Hur, 85,86-87,91 Bernstein, Leonard, 55,60,62, 153n92 and New York Philharmonic tour, 54-55,15 ln52 Beryozka State Folk Dance Troupe, 4 Bessmertnova, Natalia, 104/ Biancolli, Louis, 34 Billy the Kid (Loring), 9,48,53-55,88 music of, 56 Bizet, Georges, 120-21 Symphony No. 1 in C Major, 102-3,104-5 Bluebeard (Folcine), 55,56,59-60 blues, 62 Bolshoi Ballet, 6,12,18-19,101,139n41 1956 London tour by, 23,26,36, 145-46n99 1962 US tour schedule of, 75 2014 US tour by, 130-31 and Hallberg, 129 and Hurok, 5,20,21,23-24,43, 78-79,159n31 and Kennedy family, 76-77 vs. Kirov, 18-19,80-83 vs. Moiseyev, 83 US critical reception of, 33-35,40-43, 81-83,88-91,94-95,123-24,130-31 US popular reception of, 1,17,19-20, 21-22,71,130-31 Bolshoi Choreographic Academy, 131 Bolshoi Theater, 112 artistic committee of, 87-72 stage size of, 21,86,151n62 supplying musicians, 58 Boorstin, Daniel, 10-11 Boston, 76-78 Bourdieu, Pierre, 82-83 Broadway, 20,99,116 Bruhn, Erik citizenship of, 45,49,67 and classical pas de deux, 66-67, 155ПІ30 The Cage (Robbins), 88,109
Canada, 21,75 Cassidy, Claudia, 81,147nll6 censorship, 10,114-16 Chabukiani, Vakhtang, 63-64,140n4 Chapman, John, 35,90-91,94-95 character dance, 85 Chase, Lucia, 48, 58,68 and Anatole Heller, 51-52 and campaign for Soviet tour, 49-50,53 and Chabukiani, 63 as member of ANTA dance advisory panel, 48-49 and John Martin, 51 repertory selection by, 53-54,59 Chausson, Ernest, 56 Chichinadze, Alexei, 52-53 Chopin, Frédéric, 55 Chopiniana. See Les Sylphides choreographic symphonism aesthetic theory of, 104/, 104, 138-39n36 development of, 9,102 vs. drambalet, 113-14 impact of on Ratmansky, 131-32 vs. neoclassical ballet, 105-6,108,11719,120-21,129-30 Stone Flower as example of, 37-40 Christensen, Wiliam, 79-80 Chulaki, Mikhail, 142n43,158n26
INDEX Cinderella (Zakharov), 25-26,36,84 Class Concert. See Ballet School Colbert, Stephen, 129,172nl Colgrass, Michael, 58-59 The Combat (Dollar), 56,62 comedy, 56,58,59-60,65 Condee, Nancy, 113 conductors, 1,20,51,58,78 conservatism, 34-36,41,90,110, 130-31,145n98 contemporaneity. See modernism Copland, Aaron, 53-54,55,60, 61-62,153n92 Craft, Robert, 120 Croft, Clare, 6-7,97-98,112-13,117,123 Cuban Missile Crisis, 73-74,75-77, 112-13,157nl7 Cullberg, Birgit, 56 cultural diplomacy funding of, 5-6,50,99-100,101, 137n22,166n21 and reception, 7,10-12 Soviet, 3,4-5,26 United States, 3-5 Czerny, Carl, 93 dancer vs. choreographer, 41-44,123-24 Dash, Thomas, 35 Daughters of the American Revolution, 20 de Banfield, Raffaello, 56 de Mille, Agnes and American Ballet Theatre, 48, 51,52-55 and ANTA, 48-49 choreographic style of, 60-61,62 Soviet reception of, 61-62,151n55 de-Stalinization. See the Thaw Dean, Robert D., 42 defection, 78 Denby, Edwin, 103,167n28 Desyatnikov, Leonid, 131-32 Diner, Akiva, 110 Dobrynin, Anatoly, 76-77 Dollar, William, 56 Don Quixote (Petipa), 130,131 pas de deux from, 55,65,66-67, 155ПІ23 Donizetti Variations (Balanchine), 112 177 Dorsey, Thomas J., 155-56nl34 drambalet, 143n65 aesthetics of, 9,26-28,103-4,104/ vs. American populist ballet, 56, 60-61,62 vs. Balanchine’s style, 100,109-11,116, 117,119 vs, choreographic symphonism, 37,3840,102,113-14 and gender, 63-64 Romeo and Juliet as example of, 28, 29,30-33 Drigo, Riccardo, 80 Duncan, Isadora, 102,139n37 empire, 73-74,86-87,88-89,138n34, 149n7,162n72 Episodes (Balanchine), 119,121 Études (Lander), 92-95
experience of touring, 20,21,58-59,7779,112-13,158nl9 Faier, Yuri, 20,43,78 Fall River Legend (de Mille), 9,48, 52-55,151ո55 Fancy Free (Robbins), 9,48,52-53,55,56 audience reactions to, 58 as example of populist ballet, 60-61,62 and masculinity, 63-64 music of, 58,60,62 Soviet reception of, 59-60,64 femininity, 42-43 film. See Hollywood Flames ofParis (Vainonen), 27-28,63,84 Fotóne, Michel, 39-40 and American Ballet Theatre, 47-48,55,59 connections to Stanislavsky of, 27,60-61 use of music by, 102,118 and Yakobson, 85 folk dance in ballet, 38,39-40,41,61-62 use in cultural diplomacy of, 4, 83,136nll folk music, 39,53-54,61-62, 110-11,153n92 formalism, 25-26,33,103-4
178 INDEX Fosler-Lussier, Danielle, 5,10-11,74, 139n40,165ПІ17,17ІПІ07 Fountain ofthe Bakhchisarai (Zakharov), 36,84 Fried, Alexander, 81,95 Gabovich, Mikhail, 39-40,59,62,64, 118-19,120-21 “Dance Panorama,” 125-27,17ІПІ15 Gaevsky, Vadim, 59,62 Gayane (Anisimova), 75 gender, 42-44,63-64,147nl24 Genauer, Emily, 34,35 Gerber, Iu., 118,169n73 Giselle (Coralli, Perrot), 126 and American Ballet Theatre, 54,63 and Bolshoi, 24-25, 36,75,130 film of, 22 Glazunov, Alexander, 93-94 Good Neighbor Policy, 3,99-100, 138n34 Gorsky, Aleksander, 27,80-81 Gould, Morton, 53-54 Gounod, Charles, 75 Goskontsert, 3,5 and American Ballet Theatre, 52-53 vs. Hurok, 5-6 and repertory selection, 55,88,109 Govrin, Gloria, 123 Graduation Ball (Lichine), 52-53,55,56 Graham, Martha, 4,100-1 Grigorovich, Yuri, 84-85,123-24 as artistic director of Bolshoi Ballet, 113-14,146ПІ11 and Stone Flower, 37-38,39-40 Grosz, Elizabeth, 42 Gugushvili, Eteri, 59-60 Hallberg, David, 129,131,132,172nl Hanslick, Eduard, 103,105,167n27 Harrison, Jay, 41 Hayden, Melissa, 123 Heller, Anatole, 51-52 historicism, 26-27,31-33,86 Hollywood, 74-75,99,162n68 celebrities, 21 celebrity culture, 22-24 epics, 85-91,162n71,162n72 homophobia, 64,154nll8 Hughes, Allen, 81,88-90,95 Hurok, Sol, 5-6,76/ and American Ballet Theatre, 47-48, 51-52,149n7 and Ballet School, 91,92-93 and Bolshoi Ballet, 20,21,23-24,43, 78-79,159n31 and distribution of tickets, 19-20,83, 160-6ІП51 and NYCB, 101,109,166n21 and Spartacus, 71,85-86,88-89 Hupina, Anna, 116-17 Interplay (Robbins), 53,108 Ivanov, Lev, 79-81 Ivesiana (Balanchine), 109 Jardin aux Lilas
(Tudor), 56 jazz, 53-54,58,62 Joffrey Ballet, 12,148n3 Kahn, Albert Eugene, 78-79 Kastendieck, Miles, 24,34,41-42 Kaye, Nora, 49,51 Keldysh, Iurii, 120 Kennedy, Jacqueline, 76-77,76f Kennedy, John E, 73,74,76-77, 76f, 157nl7 Kennedy, Robert, 157nl7 Kent, Allegra, 122/, 122-23 KGB, 21,78,142n47,152n71 Khachaturian, Aram, 79,84,86,87-88, 89-90,116 Khrennikov, Tikhon, 120 Khrushchev, Nikita, 18-19 and American Ballet Theatre, 56-57,67,68 and the Cuban Missile Crisis, 73,77 and homophobia, 64,154nl 18 and the Thaw, 37,88 Kiev, 57,112 Kirov Ballet 1961 US tour of, 12,79-80, 105-6,148n3 vs. Bolshoi, 18-19,80-83,160n45 cultural diplomacy tours of, 3,139n41
INDEX dancers defecting from, 78, 81-82,160n46 and Petipa, 65,80 Spartacus premiere at, 84 Kirov Theater, 29-30 Kirstein, Lincoln, 99-101 Kondratieva, Marina, 20,22, 41-42,140nl8 Krasnapolsky, Urey, 58 Krasovskaya, Vera, 62,66-67 Kremlin Palace of Congresses, 112, 168-69n54 Lacy-Zarubin agreement, 4,5,6-7, 18-19,49 Ladyfrom the Sea (Cullberg), 56 Lander, Harald, 92-95 Lapauri, Alexander, 1-2,114,119 Lavrovsky, Leonid, 32-33 and drambalet, 26-27,60,113-14 impressions of the United States of, 20,21,78 and Paganini, 75,86 and Romeo and Juliet, 29-33,31/ and Stone Flower, 36-37 US reception of, 34,41-42, 123-24,145n92 Lavrovsky, Mikhail, 31/, 91 leitmotif, 29,30-31,31/, 37,38,144n74 Lenin Palace of Sports, 68 Lenin Prize, 26 Leningrad, 25-26,99 audiences in, 58,59,66-67 critics in, 62 as destination for cultural diplomacy tours, 6,57,112 vs. Moscow, 18-19,81-82,160n45 Leningrad Choreographic Academy, 22, 99,116-17 Leningrad Symphony, 105-6 Lenoe, Matthew E., 33-34 Lepeshinskaya, Olga, 118-19,142n44 Levine, Irving R„ 35 Liadov, Anatoly, 93-94 Liapunov, Sergei, 93-94 Lichine, David, 55 Liepa, Maris, 78 Lifar, Serge, 64,139n37 179 Limon, José, 4 Lloyd, Margaret, 40 Lopukhov, Fyodor, 102-3,118, 139n37,166n24 Loring, Eugene, 48,53-54 Los Angeles, 21,90-91 Lvov-Anokhin, Boris, 118,119, 120-21,122 MacArthur, Harry, 75-76 Macaulay, Alastair, 130-31 Madison Square Garden, 1-2,20,22 Magallanes, Nicholas, 110-11, 111ƒ Magnificence of the Universe (Lopukhov), 102 Manchester, P.W., 90,94 Mariinsky Theater. See Kirov Theater Martin, John on American Ballet Theatre, 51 on Bolshoi, 19,34,40-41
and NYCB tour, 124-25,158n26 masculinity, 42,63-64 Massine, Leonid, 102-3,139n37 Maximova, Ekaterina, 91 Mazzo, Kay, 113 Messerer, Asaf and Ballet School, 75,91-92,92fi 94,129-30 and Plisetskaya, 23 Swan Lake production of, 80-81 Metropolitan Opera House, 140nl4 performances at, 21,71 stage of, 20,140nl9 tickets for, 83,160-61n51 Midsummer Night’s Dream (Balanchine), 110-11 Mills, Fred, 58 mind-body dualism, 42-43 Ministry ofCulture, 3,5,50,109,142-43n54 Minkus, Ludwig, 55,65 Miss Julie (Tudor), 52-53 Mitchell, Arthur, 122/, 122-23 modern dance, 4,74-75,136nl 1 modernism, 103,110-11 vs. contemporaneity, 64,145n92 and Soviet government, 103-4,109,120 in US reviews of Soviet ballet, 34,40-41, 147nll6
180 INDEX modernization theory, 33-35,82,110 Moiseyev State Folk Dance Troupe, 4,83 Mordkin, Mikhail, 47-48,60-61 Moscow as destination for cultural diplomacy tours, 6,56-57,59,68,109-10,112 vs. Leningrad, 18-19,81-82,160n45 stages in, 151n62 Moscow Choreographic Academy, 91 Mukhina, Vera, 30-31,31ƒ music absolute, 103,167n27 as foundation for ballet, 9,37,100, 102-3,104-8 meaning of, 103-4,103/, 104/, 118-19 relation to dance of, 10,41,66,84-85 as universal language, 6-7 musicians, 1,20,43,58 My Fair Lady tour, 52 narrative ballet, 9 Balanchine’s works as, 107-8,109 populist ballet as, 53-54,60-61 theorization of in Soviet aesthetics, 37, 103- 4,105-6,113-14,119 nationalism, 9,61-62,85,110-12,151n55 Native American performers, 67, 155-56ПІ34 negotiations, 5-6,19,52-53,100-1 in Cuban Missile Crisis, 73-74,76-77 Nemirovich-Danchenko, Vladimir, 27 neoclassicism, 40-41,64,95,97,131-32 vs. choreographic symphonism, 102, 108,119 Nepomnyashchy, Catharine, 56 Nestyev, Izrail, 120 New Soviet Man, 56,63,64,94 New York City, 6, 75, 77-78 Soviet impressions of, 20,21 New York City Ballet, 8,12,99,131 -32 1956 European tour of, 158nl9 1962 tour schedule of, 109-10,112 1972 Soviet tour of, 139n41 vs. American Ballet Theatre, 49 vs. Bolshoi, 34,35,40-41 negotiations for 1962 tour of, 100-1 repertory of, 55,88,108-9 Soviet reception of, 115-19,120-24, 125-27,129-30 and State Department, 99-100 US press coverage of, 124-25 Novellino-Mearns, Rosie, 89,90-91 Noverre, Jean-Georges, 85 Nureyev, Rudolf, 78 Nye, Joseph, 11-12 O’Brien, Shawn, 113 Oboukhoff, Anatole, 155nl23 Offenbach, Jacques,
55,59 Orpheus (Balanchine), 34,74-75,109 Owen, Irving, 58 Paganini (Lavrovsky), 75,113-14 Pakhomov, Vasily, 78,158n26 Palace of Culture, 57 pantomime in choreographic symphonism, 37-38, 39-40,41 in drambalet, 26-27,30-31 in populist American ballet, 60 in Spartacus, 85 pas de deux, 65-66 in Agon, 121-23 in American Ballet Theatre repertory, 52-53,55,56,65,66-67,155nl 30 in Romeo and Juliet, 28-29,30-31 Pavlova, Anna, 5,47-48 Payne, Charles, 51-52,65 Pearson, Drew, 43 Perron, Wendy, 89,90-91 Petipa, Marius, 45,55,65-66,79-81 Plisetskaya, Maya, 142n47 in Ballet School, 91 and Kennedy family, 76-77,157nl7 and Rudolf Nureyev, 78 and Spartacus, 88-89,91 in Swan Lake, 79 touring for Soviet Union, 141֊42n42,142n43 vs. Ulanova, 78-79 US reception of, 22,23-24,25f, 41-42,81 watching American Ballet Theatre, 56-57,66
INDEX populist ballet, 9,53,56,60-64,152ո89 press, 20,113 coverage of Bolshoi, 19,22-24,42-44, 75-76,83,92,95 interviews with Balanchine, 109-10 on NYCB 1962 tour, 124-25 programs, 26,111-12,143n63 Prokofiev, Sergei, 25-27 and Balanchine, 118-19,120-21 and Romeo and Juliet, 28-30, 32-33,34,60 and Stone Flower, 36,37,39-40 Symphony No. 5,25-26 US reception of, 34,41 Prokofieva, Mira, 36 pseudo-event, 10-11 purges, 23 race, 87 and choreography, 61-62 in US cultural diplomacy program, 67, 123,17ІПІ07 Rachmaninoff, Sergei, 75,113-14 Ratmansky, Alexei, 131-32 Ravel, Maurice, 102-3,118-19 realism, 26-27,38,60-61,85,109 reception history, 7-8,9-12,138n34 reciprocity, 5-7,137n21 Reisinger, Julius, 80 repertory selection, 11 by Ballet Theatre, 52-56, 59, 88,152n85 by New York City Ballet, 88 by Soviet companies, 24-25,36,40,75, 85,142-43n54 Rexroth, Kenneth, 81-83,160n47 Reynolds, Nancy, 110,114 Riisager, Knudåge, 56,93 Rimsky-Korsakov, Nikolai, 102 Robb, Inez, 44 Robbins, Jerome and Ballets U.S.A., 50,100-1 and Fancy Free, 48,53,55,60,62 and Interplay, 108 Soviet reception of, 123-24 and Stanislavsky, 60-61 Robeson, Paul, 40 181 Rodeo (de Mille), 51,55,56 masculinity in, 63-64 music in, 58,60,61-62 as populist ballet, 9,48,53,60-62 Soviet reception of, 54-55,59-60, 64,110-11 Romanoff, Dimitri, 52-53 Romeo and Juliet (Lavrovsky), 32/, 109-11 choreography of, 29-33 as drambalet, 26-28,29,30-33 film of, 22 London reception of, 36 music of, 28-29,31/ 32-33,60,144n72 programming of in US, 25-26 suites of, 26,34 and Ulanova, 22-23 US reception of, 24-25,33-35,41-42,71,90 Roslavleva,
Natalia, 62,110,118,119,121 and de Mille, 60-61,151 ո55 Royal Ballet, 35 Russian Seasons (Ratmansky), 131-32 Sabnina, Maria, 116,117,118-19,122-23 San Francisco Ballet, 79-80 Sargeant, Winthrop, 24 Scheherazade (Fokine), 102 Schermerhorn, Kenneth, 58 Schmelz, Peter, 120 School of American Ballet, 99,116-17 Scotch Symphony (Balanchine), 111-12 Serenade (Balanchine), 106-8,106/, 108/, 118,126-27,168n35 serialism, 110-12,119,120-21,126-27, 170-7ІПІ00 Serrano, Lupe, 45,66-67 sexuality in Agon, 121-22 in Ben-Hur, 87 debates in Soviet Union about, 162n77 and the Soviet government, 55,62,109 in Spartacus, 87-89 See also homophobia Shchedrin, Rodion, 23-24,142n44 Sherry, Samantha, 114 Shostakovich, Dmitri, 40,93-94, 147ПІ13,162n77 Symphony No. 7,105-6,151n52
182 INDEX Shrine Auditorium, 21 Smith, Oliver, 48,50,62 socialist realism, 26-27,37,55,56,84, 144ո70,167ո29 soft power, 11-12,139ո40 Solzhenitsyn, Aleksandr, 162n77 La Sonnambula (Balanchine), 111-12 Sorell, Walter, 41 Souritz, Elizabeth, 115 Sousa, John Philip, 100 Soviet-American cultural exchange, 5, 9-10,12,37 approval of, 75-76 condemnation of, 20 reasons for, 4-5,129 and transliteration, 8-9,129-30,132 Spandorf, Lily, 79f Spartacus, 75,79,84 1968 production of, 38,84,130-31 vs. Hollywood epic films, 85-88, 89-90 music for, 79,84,86,87-88,89-90,91 US premiere of, 71 US reception of, 88-91 Yakobson production of, 78,84-85,86, 87-89,91 Stalin, Joseph, 4,9,33-34,37,82 Stalin Prize, 25-26,32-33 Stanislavsky and Nemirovich-Danchenko Academic Musical Theater, 45,5253,57,81,151n62 Stanislavsky, Konstantin, 27-28, 31-32,60-61 Stars and Stripes (Balanchine), 100 State Committee for Cultural Ties (GKKS), 3,23-24 State Department (US) and American Ballet Theatre, 48-49, 50,51,58 and cultural diplomacy fixnding, 5-6, 50,137n22 and gender, 42 and Lacy-Zarubin agreement, 5 and NYCB, 99-101,109,110-11,113 and race, 67,123,17ІПІ07 and US cultural diplomacy program, 3-4,12,74 Stone Flower, 36-40 as cultural diplomacy tool, 24-26 and Plisetskaya, 24 US reception of, 40-41 Strauss, Johann, II, 55 Stravinsky, Igor, 118-22,170-7ІПІ00 Struchkova, Raissa, 1-2 subversion, 46-47,68,136-37n20 Swan Lake and 2014 Bolshoi tour, 130 and Chabukiani, 63 and Cuban Missile Crisis, 76-77,76/ different versions of, 79-81,155nl23, 159n37,159n38 music of, 55,65,80 pas de deux from, 55,65-66 and
Plisetskaya, 24 as Soviet cultural diplomacy tool, 2425,26,36,75,79 as standard for ballet performance, 54 US reception of, 79f, 81 Les Sylphides (Fokine), 47-48 and American Ballet Theatre, 52-53,55, 56,59,65 and Bolshoi, 75 vs, Serenade, 118 Symphony in C (Balanchine), 104-5,12930,167-68n33 tablework, 27-28,31-32 Tallchief, Maria and American Ballet Theatre personnel, 49,50,51 on Chabukiani, 63 Native American heritage of, 67 and Soviet audiences, 58-59 and Swan Lake, 66-67,155nl27, 155ПІЗО tap dance, 61-62 Taper, Bernard, 112 taste, 82-84,90,95,130-31, 147ПІ18,172nl0 Tbilisi, 63 American impressions of, 58 audiences in, 59 as cultural diplomacy tour destination, 57,68,112 Opera House of, 57 performance of Billy the Kid in, 54-55 Tchaikovsky, Pyotr, 55 and Balanchine, 118-19,120-21
INDEX Piano Concerto No. 2,102-3 Serenade for Strings, 106-8 Suite No. 1 for Orchestra, 45,55,56 and Swan Lake, 65,80 Terry, Walter andGabovich, 125,126 reviews of Bolshoi by, 21,24,34,41 -42, 90-91,94-95 the Thaw and censorship, 114 and choreographic symphonism, 9,37, 102,104,113-14 and debate, 98,114,127 and Soviet-American exchange, 4 and Soviet morality, 88,162n77 and Spartacus, 84-85 Theater ofthe Cultural Cooperative Center, 57 theaters, 5-6,21,151n62 Theme and Variations (Balanchine), 45,55, 56,152n89 tickets, 5-6,19-20,83,137n26,160n50, 160-6ІП51 Timasheff, Nicholas, 33-34 Tomasov, Jan, 58 transliteration effects on ballet of, 14-15,129-32 impact on cultural diplomacy of, 68 and Soviet critics, 62,113,125,126-27 theorization of, 6-12 and US critics, 40-41,94-95,96 Tsiskaridze, Nikolai, 129 Tuch, Hans, 113 Tudor, Antony, 52-53,56,60-61 twelve-tone composition. See serialism U.S. Embassy in Moscow, 110-11,113 Ulanova, Galina on 1962 tour, 78-79 and American Ballet Theatre, 56-57 and drambalet, 26-27 and Romeo and Juliet, 32-33 and Tallchief, 66,67 and US audiences, 21 and US press, 20,22-23,41-42,43 Union of Soviet Friendship Societies (SSOD), 3 Vainonen, Vasily, 26-27,63 La Valse (Balanchine), 108 Vasiliev, Vladimir, 91 Vecheslova, Tatiana, 140n4 Verdy, Violette, 49 Viliams, Pëtr, 31-32,32ƒ Villella, Edward, 112,123 Vinogradova, Maria, 131 Virsaladze, Simon, 38,40-41 virtuosity in Ballet School, 91,92-93,94 as marker of male style, 63-64 and Moiseyev Company, 83 andNYCB, 116,123,125 pas de deux as measurer of, 65-67 and reception of Soviet dancing, 43, 82,124 Volkov,
Nikolai, 84 Walpurgis Night (Lavrovsky), 24,75 Washington, DC, 6,21,76-78 Webern, Anton, 119 Wescott, Glenway, 125-26 Westad, Odd Arne, 73-74 Western Symphony (Balanchine), 108, 110-12, 111/, 123 West Side Story, 20 Williams, Kimberly A., 43-44 World War II, 3,100,103,105-6 Wyke, Maria, 86-87 Yakobson, Leonid, 79 on 1962 tour, 78,158n26 and Spartacus, 84-85,86,87-89,91 Youskevitch, Igor, 45,49 Yurchak, Alexei, 114-15 Zakharov, Rostislav, 26-28,31-32,60, 117,122-23 Zayuginä, Susanna, 43 Zhukov, Georgi, 23-24,142n44 Bayerische Staatsbibliothek München 183
Contents Acknowledgments Note on Transliteration and Translation Introduction ix xi 1 1. A Cold War Welcome: The Bolshoi Ballet’s 1959 Tour of the United States 17 2. Bringing an American Report Card to Russia: American Ballet Theatre’s 1960 Tour of the Soviet Union 45 3. A Question of Taste: The Bolshoi Ballet’s 1962 Tour of the United States 71 4. “Ballet Is a Flower”: New York City Ballet’s 1962 Tour of the Soviet Union 97 Epilogue: Exchange in the Twenty-first Century 129 Note on Abbreviations Notes Index 133 135 175
Index Figures are indicated byƒfollowing the page number For the benefit ofdigital users, indexed terms that span two pages (e.g., 52-53) may, on occasion, appear on only one ofthose pages. abstraction, 119,123,167n28 and Balanchine, 100,103-4,109-10, 167-68n33 Soviet government relationship with, 55,109,115 State Department downplaying, 110-12 in US reception of Soviet ballet, 9, 34,94-95 Adams, Diana, 110-11,111/ African American dance, 116 African American performers, 67,123 Afternoon ofa Faun (Robbins), 88,109 Agon (Balanchine), 110-12,122/, 126-27, 170-7ІПІ00 Soviet reception of, 119,120-23 All-Union Choreographic Conference (1963), 117 Alonso, Alicia, 49 Alvin Alley American Dance Theater, 77 American Ballet Theatre, 54, 92-93,131 1960 Metropolitan Opera House Season of, 50-51 1960 tour schedule of, 56-57 1966 Soviet tour of, 139n41,151n55 history of, 47-49,65 and negotiations for the 1960 tour, 49-50,51-53 orchestra for, 58 personnel of, 49,50 programming of, 53-56,57/, 88 Soviet reception of, 59-60,64,66-67, 68,117,152n85,155nl30 and Swan Lake, 159n37 tour experience of, 58-59,68-69 American National Theatre and Academy (ANTA), 4,5, ІЗбпІІ reports to, 58,69 Anisimova, Nina, 75 ANTA Dance Advisory Panel, 4, 51-52, 123,136nll, 137n22,158n21 and American Ballet Theatre, 48-51,53,54 and New York City Ballet, 99-101,109 Asafiev, Boris, 63 audiences, 10 composition of, 22,57,83,112 and the experience of seeing ballet, 8 reactions of Soviet, 58,59,97,112, 123,124-25 reactions of US, 1-2,17,21-22, 71,8889,131,163n80 Balanchine, George, 99,112 artistic influences on, 102-3,
139n37,166n24 and Gabovich, 125-27 and plans for the 1962 Soviet tour, 100-1,166nl9 sayings of, 125-26,168n44,17ІПІ15 vs. Soviet choreographers, 34,40-41, 94-95,124,147nl 16 Soviet interviews with, 109-10,119 and Soviet ofiicials, 109 Soviet reception of, 114-19,120-24, 129-30,160n45,169n73 and the US State Department, 99-100 and Swan Lake, 155nl27 use of musical form by, 9,103,103/ 104-5,108 and Yakobson, 158n26
176 INDEX Balanchivadze, Andrei, 112 ballet as American art form, 47,48,49,53, 67,149nl2 and class hierarchy, 74-75,89-91,95 as Russian art form, 48-49,59, 115,116-17 training for, 91,92-94,95 as universal language, 6-7,8-9 use in cultural diplomacy of, 4,12,74, 136nll, 139n41 Balletschool (Messerer), 11-12,75,91-95, 92f, 129-30 Ballet Theatre. See American Ballet Theatre Ballets Russes, 99,155nl23,160n46 Ballets U.S.A., 50,100-1 La Bayadère (Petipa), 63,75 Bass, Milton, 42-43 Battey, Jean, 90 Bazhev, Pavel, 36 Belsky, Igor, 84-85,105-6,119 Ben-Hur, 85,86-87,91 Bernstein, Leonard, 55,60,62, 153n92 and New York Philharmonic tour, 54-55,15 ln52 Beryozka State Folk Dance Troupe, 4 Bessmertnova, Natalia, 104/ Biancolli, Louis, 34 Billy the Kid (Loring), 9,48,53-55,88 music of, 56 Bizet, Georges, 120-21 Symphony No. 1 in C Major, 102-3,104-5 Bluebeard (Folcine), 55,56,59-60 blues, 62 Bolshoi Ballet, 6,12,18-19,101,139n41 1956 London tour by, 23,26,36, 145-46n99 1962 US tour schedule of, 75 2014 US tour by, 130-31 and Hallberg, 129 and Hurok, 5,20,21,23-24,43, 78-79,159n31 and Kennedy family, 76-77 vs. Kirov, 18-19,80-83 vs. Moiseyev, 83 US critical reception of, 33-35,40-43, 81-83,88-91,94-95,123-24,130-31 US popular reception of, 1,17,19-20, 21-22,71,130-31 Bolshoi Choreographic Academy, 131 Bolshoi Theater, 112 artistic committee of, 87-72 stage size of, 21,86,151n62 supplying musicians, 58 Boorstin, Daniel, 10-11 Boston, 76-78 Bourdieu, Pierre, 82-83 Broadway, 20,99,116 Bruhn, Erik citizenship of, 45,49,67 and classical pas de deux, 66-67, 155ПІ30 The Cage (Robbins), 88,109
Canada, 21,75 Cassidy, Claudia, 81,147nll6 censorship, 10,114-16 Chabukiani, Vakhtang, 63-64,140n4 Chapman, John, 35,90-91,94-95 character dance, 85 Chase, Lucia, 48, 58,68 and Anatole Heller, 51-52 and campaign for Soviet tour, 49-50,53 and Chabukiani, 63 as member of ANTA dance advisory panel, 48-49 and John Martin, 51 repertory selection by, 53-54,59 Chausson, Ernest, 56 Chichinadze, Alexei, 52-53 Chopin, Frédéric, 55 Chopiniana. See Les Sylphides choreographic symphonism aesthetic theory of, 104/, 104, 138-39n36 development of, 9,102 vs. drambalet, 113-14 impact of on Ratmansky, 131-32 vs. neoclassical ballet, 105-6,108,11719,120-21,129-30 Stone Flower as example of, 37-40 Christensen, Wiliam, 79-80 Chulaki, Mikhail, 142n43,158n26
INDEX Cinderella (Zakharov), 25-26,36,84 Class Concert. See Ballet School Colbert, Stephen, 129,172nl Colgrass, Michael, 58-59 The Combat (Dollar), 56,62 comedy, 56,58,59-60,65 Condee, Nancy, 113 conductors, 1,20,51,58,78 conservatism, 34-36,41,90,110, 130-31,145n98 contemporaneity. See modernism Copland, Aaron, 53-54,55,60, 61-62,153n92 Craft, Robert, 120 Croft, Clare, 6-7,97-98,112-13,117,123 Cuban Missile Crisis, 73-74,75-77, 112-13,157nl7 Cullberg, Birgit, 56 cultural diplomacy funding of, 5-6,50,99-100,101, 137n22,166n21 and reception, 7,10-12 Soviet, 3,4-5,26 United States, 3-5 Czerny, Carl, 93 dancer vs. choreographer, 41-44,123-24 Dash, Thomas, 35 Daughters of the American Revolution, 20 de Banfield, Raffaello, 56 de Mille, Agnes and American Ballet Theatre, 48, 51,52-55 and ANTA, 48-49 choreographic style of, 60-61,62 Soviet reception of, 61-62,151n55 de-Stalinization. See the Thaw Dean, Robert D., 42 defection, 78 Denby, Edwin, 103,167n28 Desyatnikov, Leonid, 131-32 Diner, Akiva, 110 Dobrynin, Anatoly, 76-77 Dollar, William, 56 Don Quixote (Petipa), 130,131 pas de deux from, 55,65,66-67, 155ПІ23 Donizetti Variations (Balanchine), 112 177 Dorsey, Thomas J., 155-56nl34 drambalet, 143n65 aesthetics of, 9,26-28,103-4,104/ vs. American populist ballet, 56, 60-61,62 vs. Balanchine’s style, 100,109-11,116, 117,119 vs, choreographic symphonism, 37,3840,102,113-14 and gender, 63-64 Romeo and Juliet as example of, 28, 29,30-33 Drigo, Riccardo, 80 Duncan, Isadora, 102,139n37 empire, 73-74,86-87,88-89,138n34, 149n7,162n72 Episodes (Balanchine), 119,121 Études (Lander), 92-95
experience of touring, 20,21,58-59,7779,112-13,158nl9 Faier, Yuri, 20,43,78 Fall River Legend (de Mille), 9,48, 52-55,151ո55 Fancy Free (Robbins), 9,48,52-53,55,56 audience reactions to, 58 as example of populist ballet, 60-61,62 and masculinity, 63-64 music of, 58,60,62 Soviet reception of, 59-60,64 femininity, 42-43 film. See Hollywood Flames ofParis (Vainonen), 27-28,63,84 Fotóne, Michel, 39-40 and American Ballet Theatre, 47-48,55,59 connections to Stanislavsky of, 27,60-61 use of music by, 102,118 and Yakobson, 85 folk dance in ballet, 38,39-40,41,61-62 use in cultural diplomacy of, 4, 83,136nll folk music, 39,53-54,61-62, 110-11,153n92 formalism, 25-26,33,103-4
178 INDEX Fosler-Lussier, Danielle, 5,10-11,74, 139n40,165ПІ17,17ІПІ07 Fountain ofthe Bakhchisarai (Zakharov), 36,84 Fried, Alexander, 81,95 Gabovich, Mikhail, 39-40,59,62,64, 118-19,120-21 “Dance Panorama,” 125-27,17ІПІ15 Gaevsky, Vadim, 59,62 Gayane (Anisimova), 75 gender, 42-44,63-64,147nl24 Genauer, Emily, 34,35 Gerber, Iu., 118,169n73 Giselle (Coralli, Perrot), 126 and American Ballet Theatre, 54,63 and Bolshoi, 24-25, 36,75,130 film of, 22 Glazunov, Alexander, 93-94 Good Neighbor Policy, 3,99-100, 138n34 Gorsky, Aleksander, 27,80-81 Gould, Morton, 53-54 Gounod, Charles, 75 Goskontsert, 3,5 and American Ballet Theatre, 52-53 vs. Hurok, 5-6 and repertory selection, 55,88,109 Govrin, Gloria, 123 Graduation Ball (Lichine), 52-53,55,56 Graham, Martha, 4,100-1 Grigorovich, Yuri, 84-85,123-24 as artistic director of Bolshoi Ballet, 113-14,146ПІ11 and Stone Flower, 37-38,39-40 Grosz, Elizabeth, 42 Gugushvili, Eteri, 59-60 Hallberg, David, 129,131,132,172nl Hanslick, Eduard, 103,105,167n27 Harrison, Jay, 41 Hayden, Melissa, 123 Heller, Anatole, 51-52 historicism, 26-27,31-33,86 Hollywood, 74-75,99,162n68 celebrities, 21 celebrity culture, 22-24 epics, 85-91,162n71,162n72 homophobia, 64,154nll8 Hughes, Allen, 81,88-90,95 Hurok, Sol, 5-6,76/ and American Ballet Theatre, 47-48, 51-52,149n7 and Ballet School, 91,92-93 and Bolshoi Ballet, 20,21,23-24,43, 78-79,159n31 and distribution of tickets, 19-20,83, 160-6ІП51 and NYCB, 101,109,166n21 and Spartacus, 71,85-86,88-89 Hupina, Anna, 116-17 Interplay (Robbins), 53,108 Ivanov, Lev, 79-81 Ivesiana (Balanchine), 109 Jardin aux Lilas
(Tudor), 56 jazz, 53-54,58,62 Joffrey Ballet, 12,148n3 Kahn, Albert Eugene, 78-79 Kastendieck, Miles, 24,34,41-42 Kaye, Nora, 49,51 Keldysh, Iurii, 120 Kennedy, Jacqueline, 76-77,76f Kennedy, John E, 73,74,76-77, 76f, 157nl7 Kennedy, Robert, 157nl7 Kent, Allegra, 122/, 122-23 KGB, 21,78,142n47,152n71 Khachaturian, Aram, 79,84,86,87-88, 89-90,116 Khrennikov, Tikhon, 120 Khrushchev, Nikita, 18-19 and American Ballet Theatre, 56-57,67,68 and the Cuban Missile Crisis, 73,77 and homophobia, 64,154nl 18 and the Thaw, 37,88 Kiev, 57,112 Kirov Ballet 1961 US tour of, 12,79-80, 105-6,148n3 vs. Bolshoi, 18-19,80-83,160n45 cultural diplomacy tours of, 3,139n41
INDEX dancers defecting from, 78, 81-82,160n46 and Petipa, 65,80 Spartacus premiere at, 84 Kirov Theater, 29-30 Kirstein, Lincoln, 99-101 Kondratieva, Marina, 20,22, 41-42,140nl8 Krasnapolsky, Urey, 58 Krasovskaya, Vera, 62,66-67 Kremlin Palace of Congresses, 112, 168-69n54 Lacy-Zarubin agreement, 4,5,6-7, 18-19,49 Ladyfrom the Sea (Cullberg), 56 Lander, Harald, 92-95 Lapauri, Alexander, 1-2,114,119 Lavrovsky, Leonid, 32-33 and drambalet, 26-27,60,113-14 impressions of the United States of, 20,21,78 and Paganini, 75,86 and Romeo and Juliet, 29-33,31/ and Stone Flower, 36-37 US reception of, 34,41-42, 123-24,145n92 Lavrovsky, Mikhail, 31/, 91 leitmotif, 29,30-31,31/, 37,38,144n74 Lenin Palace of Sports, 68 Lenin Prize, 26 Leningrad, 25-26,99 audiences in, 58,59,66-67 critics in, 62 as destination for cultural diplomacy tours, 6,57,112 vs. Moscow, 18-19,81-82,160n45 Leningrad Choreographic Academy, 22, 99,116-17 Leningrad Symphony, 105-6 Lenoe, Matthew E., 33-34 Lepeshinskaya, Olga, 118-19,142n44 Levine, Irving R„ 35 Liadov, Anatoly, 93-94 Liapunov, Sergei, 93-94 Lichine, David, 55 Liepa, Maris, 78 Lifar, Serge, 64,139n37 179 Limon, José, 4 Lloyd, Margaret, 40 Lopukhov, Fyodor, 102-3,118, 139n37,166n24 Loring, Eugene, 48,53-54 Los Angeles, 21,90-91 Lvov-Anokhin, Boris, 118,119, 120-21,122 MacArthur, Harry, 75-76 Macaulay, Alastair, 130-31 Madison Square Garden, 1-2,20,22 Magallanes, Nicholas, 110-11, 111ƒ Magnificence of the Universe (Lopukhov), 102 Manchester, P.W., 90,94 Mariinsky Theater. See Kirov Theater Martin, John on American Ballet Theatre, 51 on Bolshoi, 19,34,40-41
and NYCB tour, 124-25,158n26 masculinity, 42,63-64 Massine, Leonid, 102-3,139n37 Maximova, Ekaterina, 91 Mazzo, Kay, 113 Messerer, Asaf and Ballet School, 75,91-92,92fi 94,129-30 and Plisetskaya, 23 Swan Lake production of, 80-81 Metropolitan Opera House, 140nl4 performances at, 21,71 stage of, 20,140nl9 tickets for, 83,160-61n51 Midsummer Night’s Dream (Balanchine), 110-11 Mills, Fred, 58 mind-body dualism, 42-43 Ministry ofCulture, 3,5,50,109,142-43n54 Minkus, Ludwig, 55,65 Miss Julie (Tudor), 52-53 Mitchell, Arthur, 122/, 122-23 modern dance, 4,74-75,136nl 1 modernism, 103,110-11 vs. contemporaneity, 64,145n92 and Soviet government, 103-4,109,120 in US reviews of Soviet ballet, 34,40-41, 147nll6
180 INDEX modernization theory, 33-35,82,110 Moiseyev State Folk Dance Troupe, 4,83 Mordkin, Mikhail, 47-48,60-61 Moscow as destination for cultural diplomacy tours, 6,56-57,59,68,109-10,112 vs. Leningrad, 18-19,81-82,160n45 stages in, 151n62 Moscow Choreographic Academy, 91 Mukhina, Vera, 30-31,31ƒ music absolute, 103,167n27 as foundation for ballet, 9,37,100, 102-3,104-8 meaning of, 103-4,103/, 104/, 118-19 relation to dance of, 10,41,66,84-85 as universal language, 6-7 musicians, 1,20,43,58 My Fair Lady tour, 52 narrative ballet, 9 Balanchine’s works as, 107-8,109 populist ballet as, 53-54,60-61 theorization of in Soviet aesthetics, 37, 103- 4,105-6,113-14,119 nationalism, 9,61-62,85,110-12,151n55 Native American performers, 67, 155-56ПІ34 negotiations, 5-6,19,52-53,100-1 in Cuban Missile Crisis, 73-74,76-77 Nemirovich-Danchenko, Vladimir, 27 neoclassicism, 40-41,64,95,97,131-32 vs. choreographic symphonism, 102, 108,119 Nepomnyashchy, Catharine, 56 Nestyev, Izrail, 120 New Soviet Man, 56,63,64,94 New York City, 6, 75, 77-78 Soviet impressions of, 20,21 New York City Ballet, 8,12,99,131 -32 1956 European tour of, 158nl9 1962 tour schedule of, 109-10,112 1972 Soviet tour of, 139n41 vs. American Ballet Theatre, 49 vs. Bolshoi, 34,35,40-41 negotiations for 1962 tour of, 100-1 repertory of, 55,88,108-9 Soviet reception of, 115-19,120-24, 125-27,129-30 and State Department, 99-100 US press coverage of, 124-25 Novellino-Mearns, Rosie, 89,90-91 Noverre, Jean-Georges, 85 Nureyev, Rudolf, 78 Nye, Joseph, 11-12 O’Brien, Shawn, 113 Oboukhoff, Anatole, 155nl23 Offenbach, Jacques,
55,59 Orpheus (Balanchine), 34,74-75,109 Owen, Irving, 58 Paganini (Lavrovsky), 75,113-14 Pakhomov, Vasily, 78,158n26 Palace of Culture, 57 pantomime in choreographic symphonism, 37-38, 39-40,41 in drambalet, 26-27,30-31 in populist American ballet, 60 in Spartacus, 85 pas de deux, 65-66 in Agon, 121-23 in American Ballet Theatre repertory, 52-53,55,56,65,66-67,155nl 30 in Romeo and Juliet, 28-29,30-31 Pavlova, Anna, 5,47-48 Payne, Charles, 51-52,65 Pearson, Drew, 43 Perron, Wendy, 89,90-91 Petipa, Marius, 45,55,65-66,79-81 Plisetskaya, Maya, 142n47 in Ballet School, 91 and Kennedy family, 76-77,157nl7 and Rudolf Nureyev, 78 and Spartacus, 88-89,91 in Swan Lake, 79 touring for Soviet Union, 141֊42n42,142n43 vs. Ulanova, 78-79 US reception of, 22,23-24,25f, 41-42,81 watching American Ballet Theatre, 56-57,66
INDEX populist ballet, 9,53,56,60-64,152ո89 press, 20,113 coverage of Bolshoi, 19,22-24,42-44, 75-76,83,92,95 interviews with Balanchine, 109-10 on NYCB 1962 tour, 124-25 programs, 26,111-12,143n63 Prokofiev, Sergei, 25-27 and Balanchine, 118-19,120-21 and Romeo and Juliet, 28-30, 32-33,34,60 and Stone Flower, 36,37,39-40 Symphony No. 5,25-26 US reception of, 34,41 Prokofieva, Mira, 36 pseudo-event, 10-11 purges, 23 race, 87 and choreography, 61-62 in US cultural diplomacy program, 67, 123,17ІПІ07 Rachmaninoff, Sergei, 75,113-14 Ratmansky, Alexei, 131-32 Ravel, Maurice, 102-3,118-19 realism, 26-27,38,60-61,85,109 reception history, 7-8,9-12,138n34 reciprocity, 5-7,137n21 Reisinger, Julius, 80 repertory selection, 11 by Ballet Theatre, 52-56, 59, 88,152n85 by New York City Ballet, 88 by Soviet companies, 24-25,36,40,75, 85,142-43n54 Rexroth, Kenneth, 81-83,160n47 Reynolds, Nancy, 110,114 Riisager, Knudåge, 56,93 Rimsky-Korsakov, Nikolai, 102 Robb, Inez, 44 Robbins, Jerome and Ballets U.S.A., 50,100-1 and Fancy Free, 48,53,55,60,62 and Interplay, 108 Soviet reception of, 123-24 and Stanislavsky, 60-61 Robeson, Paul, 40 181 Rodeo (de Mille), 51,55,56 masculinity in, 63-64 music in, 58,60,61-62 as populist ballet, 9,48,53,60-62 Soviet reception of, 54-55,59-60, 64,110-11 Romanoff, Dimitri, 52-53 Romeo and Juliet (Lavrovsky), 32/, 109-11 choreography of, 29-33 as drambalet, 26-28,29,30-33 film of, 22 London reception of, 36 music of, 28-29,31/ 32-33,60,144n72 programming of in US, 25-26 suites of, 26,34 and Ulanova, 22-23 US reception of, 24-25,33-35,41-42,71,90 Roslavleva,
Natalia, 62,110,118,119,121 and de Mille, 60-61,151 ո55 Royal Ballet, 35 Russian Seasons (Ratmansky), 131-32 Sabnina, Maria, 116,117,118-19,122-23 San Francisco Ballet, 79-80 Sargeant, Winthrop, 24 Scheherazade (Fokine), 102 Schermerhorn, Kenneth, 58 Schmelz, Peter, 120 School of American Ballet, 99,116-17 Scotch Symphony (Balanchine), 111-12 Serenade (Balanchine), 106-8,106/, 108/, 118,126-27,168n35 serialism, 110-12,119,120-21,126-27, 170-7ІПІ00 Serrano, Lupe, 45,66-67 sexuality in Agon, 121-22 in Ben-Hur, 87 debates in Soviet Union about, 162n77 and the Soviet government, 55,62,109 in Spartacus, 87-89 See also homophobia Shchedrin, Rodion, 23-24,142n44 Sherry, Samantha, 114 Shostakovich, Dmitri, 40,93-94, 147ПІ13,162n77 Symphony No. 7,105-6,151n52
182 INDEX Shrine Auditorium, 21 Smith, Oliver, 48,50,62 socialist realism, 26-27,37,55,56,84, 144ո70,167ո29 soft power, 11-12,139ո40 Solzhenitsyn, Aleksandr, 162n77 La Sonnambula (Balanchine), 111-12 Sorell, Walter, 41 Souritz, Elizabeth, 115 Sousa, John Philip, 100 Soviet-American cultural exchange, 5, 9-10,12,37 approval of, 75-76 condemnation of, 20 reasons for, 4-5,129 and transliteration, 8-9,129-30,132 Spandorf, Lily, 79f Spartacus, 75,79,84 1968 production of, 38,84,130-31 vs. Hollywood epic films, 85-88, 89-90 music for, 79,84,86,87-88,89-90,91 US premiere of, 71 US reception of, 88-91 Yakobson production of, 78,84-85,86, 87-89,91 Stalin, Joseph, 4,9,33-34,37,82 Stalin Prize, 25-26,32-33 Stanislavsky and Nemirovich-Danchenko Academic Musical Theater, 45,5253,57,81,151n62 Stanislavsky, Konstantin, 27-28, 31-32,60-61 Stars and Stripes (Balanchine), 100 State Committee for Cultural Ties (GKKS), 3,23-24 State Department (US) and American Ballet Theatre, 48-49, 50,51,58 and cultural diplomacy fixnding, 5-6, 50,137n22 and gender, 42 and Lacy-Zarubin agreement, 5 and NYCB, 99-101,109,110-11,113 and race, 67,123,17ІПІ07 and US cultural diplomacy program, 3-4,12,74 Stone Flower, 36-40 as cultural diplomacy tool, 24-26 and Plisetskaya, 24 US reception of, 40-41 Strauss, Johann, II, 55 Stravinsky, Igor, 118-22,170-7ІПІ00 Struchkova, Raissa, 1-2 subversion, 46-47,68,136-37n20 Swan Lake and 2014 Bolshoi tour, 130 and Chabukiani, 63 and Cuban Missile Crisis, 76-77,76/ different versions of, 79-81,155nl23, 159n37,159n38 music of, 55,65,80 pas de deux from, 55,65-66 and
Plisetskaya, 24 as Soviet cultural diplomacy tool, 2425,26,36,75,79 as standard for ballet performance, 54 US reception of, 79f, 81 Les Sylphides (Fokine), 47-48 and American Ballet Theatre, 52-53,55, 56,59,65 and Bolshoi, 75 vs, Serenade, 118 Symphony in C (Balanchine), 104-5,12930,167-68n33 tablework, 27-28,31-32 Tallchief, Maria and American Ballet Theatre personnel, 49,50,51 on Chabukiani, 63 Native American heritage of, 67 and Soviet audiences, 58-59 and Swan Lake, 66-67,155nl27, 155ПІЗО tap dance, 61-62 Taper, Bernard, 112 taste, 82-84,90,95,130-31, 147ПІ18,172nl0 Tbilisi, 63 American impressions of, 58 audiences in, 59 as cultural diplomacy tour destination, 57,68,112 Opera House of, 57 performance of Billy the Kid in, 54-55 Tchaikovsky, Pyotr, 55 and Balanchine, 118-19,120-21
INDEX Piano Concerto No. 2,102-3 Serenade for Strings, 106-8 Suite No. 1 for Orchestra, 45,55,56 and Swan Lake, 65,80 Terry, Walter andGabovich, 125,126 reviews of Bolshoi by, 21,24,34,41 -42, 90-91,94-95 the Thaw and censorship, 114 and choreographic symphonism, 9,37, 102,104,113-14 and debate, 98,114,127 and Soviet-American exchange, 4 and Soviet morality, 88,162n77 and Spartacus, 84-85 Theater ofthe Cultural Cooperative Center, 57 theaters, 5-6,21,151n62 Theme and Variations (Balanchine), 45,55, 56,152n89 tickets, 5-6,19-20,83,137n26,160n50, 160-6ІП51 Timasheff, Nicholas, 33-34 Tomasov, Jan, 58 transliteration effects on ballet of, 14-15,129-32 impact on cultural diplomacy of, 68 and Soviet critics, 62,113,125,126-27 theorization of, 6-12 and US critics, 40-41,94-95,96 Tsiskaridze, Nikolai, 129 Tuch, Hans, 113 Tudor, Antony, 52-53,56,60-61 twelve-tone composition. See serialism U.S. Embassy in Moscow, 110-11,113 Ulanova, Galina on 1962 tour, 78-79 and American Ballet Theatre, 56-57 and drambalet, 26-27 and Romeo and Juliet, 32-33 and Tallchief, 66,67 and US audiences, 21 and US press, 20,22-23,41-42,43 Union of Soviet Friendship Societies (SSOD), 3 Vainonen, Vasily, 26-27,63 La Valse (Balanchine), 108 Vasiliev, Vladimir, 91 Vecheslova, Tatiana, 140n4 Verdy, Violette, 49 Viliams, Pëtr, 31-32,32ƒ Villella, Edward, 112,123 Vinogradova, Maria, 131 Virsaladze, Simon, 38,40-41 virtuosity in Ballet School, 91,92-93,94 as marker of male style, 63-64 and Moiseyev Company, 83 andNYCB, 116,123,125 pas de deux as measurer of, 65-67 and reception of Soviet dancing, 43, 82,124 Volkov,
Nikolai, 84 Walpurgis Night (Lavrovsky), 24,75 Washington, DC, 6,21,76-78 Webern, Anton, 119 Wescott, Glenway, 125-26 Westad, Odd Arne, 73-74 Western Symphony (Balanchine), 108, 110-12, 111/, 123 West Side Story, 20 Williams, Kimberly A., 43-44 World War II, 3,100,103,105-6 Wyke, Maria, 86-87 Yakobson, Leonid, 79 on 1962 tour, 78,158n26 and Spartacus, 84-85,86,87-89,91 Youskevitch, Igor, 45,49 Yurchak, Alexei, 114-15 Zakharov, Rostislav, 26-28,31-32,60, 117,122-23 Zayuginä, Susanna, 43 Zhukov, Georgi, 23-24,142n44 Bayerische Staatsbibliothek München 183 |
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| author | Searcy, Anne ca. 20./21. Jh |
| author_GND | (DE-588)1118529979 |
| author_facet | Searcy, Anne ca. 20./21. Jh |
| author_role | aut |
| author_sort | Searcy, Anne ca. 20./21. Jh |
| author_variant | a s as |
| building | Verbundindex |
| bvnumber | BV046964938 |
| classification_rvk | AP 88300 |
| ctrlnum | (OCoLC)1231961380 (DE-599)BVBBV046964938 |
| discipline | Allgemeines |
| discipline_str_mv | Allgemeines |
| era | Geschichte 1959-1962 gnd |
| era_facet | Geschichte 1959-1962 |
| format | Book |
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Ballet companies were frequently called on to serve in these programs, particularly in the direct Soviet-American exchange. This book analyzes four of the early ballet exchange tours, demonstrating how this series of encounters changed both geopolitical relations and the history of dance. The ballet tours were enormously popular. Performances functioned as an important symbolic meeting point for Soviet and American officials, creating goodwill and normalizing relations between the two countries in an era when nuclear conflict was a real threat. At the same time, Soviet and American audiences did not understand ballet in the same way. As American companies toured in the Soviet Union and vice-versa, audiences saw the performances through the lens of their own local aesthetics. 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| geographic_facet | Sowjetunion USA |
| id | DE-604.BV046964938 |
| illustrated | Illustrated |
| index_date | 2024-07-03T15:45:14Z |
| indexdate | 2024-07-10T08:58:47Z |
| institution | BVB |
| isbn | 9780190945107 |
| language | English |
| oai_aleph_id | oai:aleph.bib-bvb.de:BVB01-032373224 |
| oclc_num | 1231961380 |
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| owner_facet | DE-12 DE-703 DE-188 |
| physical | X, 183 Seiten Illustrationen |
| psigel | BSB_NED_20210128 |
| publishDate | 2020 |
| publishDateSearch | 2020 |
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| publisher | Oxford University Press |
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| spelling | Searcy, Anne ca. 20./21. Jh. Verfasser (DE-588)1118529979 aut Ballet in the Cold War a Soviet-American exchange Anne Searcy New York, NY Oxford University Press [2020] © 2020 X, 183 Seiten Illustrationen txt rdacontent n rdamedia nc rdacarrier "During the Cold War, the governments of the United States and the Soviet Union developed cultural exchange programs, in which they sent performing artists abroad in order to generate goodwill for their countries. Ballet companies were frequently called on to serve in these programs, particularly in the direct Soviet-American exchange. This book analyzes four of the early ballet exchange tours, demonstrating how this series of encounters changed both geopolitical relations and the history of dance. The ballet tours were enormously popular. Performances functioned as an important symbolic meeting point for Soviet and American officials, creating goodwill and normalizing relations between the two countries in an era when nuclear conflict was a real threat. At the same time, Soviet and American audiences did not understand ballet in the same way. As American companies toured in the Soviet Union and vice-versa, audiences saw the performances through the lens of their own local aesthetics. Ballet in the Cold War introduces the concept of transliteration to understand this process, showing how much power viewers wielded in the exchange and explaining how the dynamics of the Cold War continue to shape ballet today"-- Geschichte 1959-1962 gnd rswk-swf Kulturpolitik (DE-588)4033581-1 gnd rswk-swf Ballett (DE-588)4004351-4 gnd rswk-swf Ost-West-Konflikt (DE-588)4075770-5 gnd rswk-swf Sowjetunion (DE-588)4077548-3 gnd rswk-swf USA (DE-588)4078704-7 gnd rswk-swf Ballet / Political aspects / United States Ballet / Political aspects / Soviet Union United States / Relations / Soviet Union Soviet Union / Relations / United States Cold War International relations Soviet Union United States History (DE-588)4113937-9 Hochschulschrift gnd-content USA (DE-588)4078704-7 g Sowjetunion (DE-588)4077548-3 g Ballett (DE-588)4004351-4 s Ost-West-Konflikt (DE-588)4075770-5 s Kulturpolitik (DE-588)4033581-1 s Geschichte 1959-1962 z DE-604 Erscheint auch als Online-Ausgabe, ebk 9780190945121 Digitalisierung BSB München - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=032373224&sequence=000001&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis Digitalisierung BSB München - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=032373224&sequence=000003&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA Register // Gemischte Register Digitalisierung BSB München - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=032373224&sequence=000005&line_number=0003&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis Digitalisierung BSB München - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=032373224&sequence=000007&line_number=0004&func_code=DB_RECORDS&service_type=MEDIA Register // Gemischte Register |
| spellingShingle | Searcy, Anne ca. 20./21. Jh Ballet in the Cold War a Soviet-American exchange Kulturpolitik (DE-588)4033581-1 gnd Ballett (DE-588)4004351-4 gnd Ost-West-Konflikt (DE-588)4075770-5 gnd |
| subject_GND | (DE-588)4033581-1 (DE-588)4004351-4 (DE-588)4075770-5 (DE-588)4077548-3 (DE-588)4078704-7 (DE-588)4113937-9 |
| title | Ballet in the Cold War a Soviet-American exchange |
| title_auth | Ballet in the Cold War a Soviet-American exchange |
| title_exact_search | Ballet in the Cold War a Soviet-American exchange |
| title_exact_search_txtP | Ballet in the Cold War a Soviet-American exchange |
| title_full | Ballet in the Cold War a Soviet-American exchange Anne Searcy |
| title_fullStr | Ballet in the Cold War a Soviet-American exchange Anne Searcy |
| title_full_unstemmed | Ballet in the Cold War a Soviet-American exchange Anne Searcy |
| title_short | Ballet in the Cold War |
| title_sort | ballet in the cold war a soviet american exchange |
| title_sub | a Soviet-American exchange |
| topic | Kulturpolitik (DE-588)4033581-1 gnd Ballett (DE-588)4004351-4 gnd Ost-West-Konflikt (DE-588)4075770-5 gnd |
| topic_facet | Kulturpolitik Ballett Ost-West-Konflikt Sowjetunion USA Hochschulschrift |
| url | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=032373224&sequence=000001&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=032373224&sequence=000003&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=032373224&sequence=000005&line_number=0003&func_code=DB_RECORDS&service_type=MEDIA http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=032373224&sequence=000007&line_number=0004&func_code=DB_RECORDS&service_type=MEDIA |
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