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In this issue | Short summary

  6[131] November- December 2004

The BALLET magazine introduces new winners of the Soul of Dance Award and presents the following materials.
- This issue announces the winners of this years The Soul of Dance Award and reiterates the meaning of its nominations, which are The M?itre of Dance, The Knight of Dance, The Teacher, The Magician of Dance, The Queen of Dance, The Star and The Rising Star.
The editorial board also informs the readers about the terms of subscription and purchases of the periodicals Studia Antre and Linia. Balet, and presents the questioner, Who Are You, Our Reader of 2004?
- Critic Larissa Abyzova of St. Petersburg relates of the artistic life  of one of the most brilliant dancers of our times, Igor Zelensky. I want to prove that I can dance anything, he said to a reporter at the very dawn of his star career. Not only has he kept his promise, but he did so using his own system of argument. The article, whose genre could be defined as a portrait of an artist, deals with such issues as what has determined the dancers success, what parts he has performed, and how he has achieved the world fame.
-  Principal of the Primorsky Kray School of Choreography Victor Vasiutin has been named this years Knight of Dance. The life of this alumnus of the Vaganov School and a figure of great significance and symbolism for Vladivostok and the Primorsky Kray [a vast region in the Russian Far East], is described in Iya Permiakovas essay. There was a time when the USSRs Minister of Culture, Ekaterina Alekseevna Furtseva, granted him her blessing to create a choreography school and, later, an opera and ballet theater in the capital city of Primorye [Vladivostok]. But the ascension still goes on; the school of choreography which Vasyutin did indeed create, after 9 years in existence, in 1994, was promoted to the status of a higher choreography school. His restless heart of a schoolmaster cherishes a dream of a time when Vladivostok would have its own opera and ballet theater and a boarding school of choreography.
- Other Shores by Varvara Viazovkina is also about the great George Balanchine. The writer describes how Russias theaters celebrated their compatriots 100th anniversary and reflects upon the reasons why Moscow is not a Balanchines city but St. Petersburg is.
The choreographer himself briefly explained, in his talks with [an American essayist of Russian descent] Solomon Volkov, what St. Petersburgs style elegant and exquisite, unpretending yet magnificent meant for him. And then he followed that four-faceted formula. The reader can also find out how Perm has become a Balanchines city.
- A Serenade That Is Not Too Late is a publication about the city of Perm, which is considered, albeit unofficially, a third ballet capital of Russia. Last June, at a festival held in St. Petersburg in a celebration of George Balanchines 100th anniversary, the Perms troupe strengthened its authority even further. Prominent music critics and journalists all have unanimously praised the supreme level of the Perm dancers performing finesse and their characteristic style, restrainedly elegant even with the incredible Balanchinian tempi. At a press conference, one of the American students of Balanchines said, The troupe seems to be ready made for Mr. B.s ballets.
Tatiana Chernova, who wrote the article, believes that one of the reasons of the troupes success is a unity of school. Indeed, alumni of the local choreography school account for 98 per cent of the Perm troupe. Today, dancers of different generations often perform together, and such intergenerational fellowship creates a family-like model of a troupe. Can it not be a reason why Balanchine, even though so distant, has become for Permians one of their own?
- Golden Heel-tap 2004 and the Problems of Tap Dance was the theme of a round table held at the Ballet Magazines editorial office. 
Last year, the Moscow Tap Dance Federation decided to combine all its events into one great tap dance festival, Golden Heel-tap 2004, which took place within the framework of the World Dance Convention. The judges and guests of the festival visited the editorial board and made a collective attempt to find out how tap dance fares these days, what hinders further development of the genre and which training techniques of the tap dance are the most promising.
- An article by Marc Haegeman deals with the Bolshoy Theaters performing tour at the Covent Garden Royal Opera House. The tour could rightly be rated as one of the Bolshoys  remarkable achievements. The journey taken by the newlyweds the troupe and its new artistic director Alexei Ratmansky proved a tough test for the latter Such full-scale tours by Russian ballet troupes have long been considered by the Westerners a benchmark of those troupes current conditions. So representative a group of the Bolshoy Ballet hasnt been seen in London for as long as five years
The theater seems to have not as yet determined in what direction it is moving in the 21st centurys world of ballet. The combination in its repertoire of productions that have traditionally been associated with the Bolshoy (The Swan Lake and Spartacus), of canvasses that could be seen as a resort to the classical heritage (Don Quixote and The Pharaohs Daughter), and of avant-garde experimentation (Romeo and Juliet), naturally raise the question, which way is the vector of the theaters artistic policies pointed? Apparently, the Bolshoy is going to try and explore all those three directions simultaneously.
- Closing the past season, the new artistic director of the Naples San Carlo Theaters ballet troupe Elisabetta Terrabust presented to the Italian audiences a ballet night featuring the Shadows act from La Bayad?re, Roland Petis LArlesi?nne and a new production staged by Nikita Dmitrievsky, Solitude of the Wind. 
Elisabetta Terabust, an alumna of the Rome School of Ballet who was invited to the ballet troupe of the Rome Opera and in 1972 became its prima-ballerina, was one of the most brilliant artists of her generation. Having completed her ballerinas career she had headed the La Scalas ballet troupe for four years, then the Rome School of Ballet, then, for two years, the Florence Ballet, and now, the San Carlo Theater. The Buzz Sessions column presents an interview with the artistic director, in which she discusses theaters problems, its repertoire, style, classics  and modernity. 
- The Magnificent Seven by Victor Ignatov, the Ballet Magazines Paris correspondent, deals in detail with a Jean-Christophe Mayos premiere at the Monte Carlo Ballet. The opening performance of Miniatures was given within the framework of the 20th festival The Spring of Arts, which was totally consistent with its  motto: Unusual Discoveries.
Commissioned by the festivals leader, seven composers of different ethnic origins wrote chamber pieces no longer than twelve minutes each, which were performed one after another. But one evening the audiences were taken by surprise: all seven had obtained a visual dancing, that is, guise. That was what comprised the remarkable ballet program, Miniatures. 
- The chronicler of Pina Baucshs Dance Theater Tatiana Ratobylskaya, being meticulous as usual, describes and analyzes the troupes works during their daring decade that began in mid-70s the spectacles The Rite of Spring and Miller Cafe. The writer, who was lucky enough to watch the performances in the making, contagiously describes the rehearsal process and the travails of an incarnation of the authors brainchild. 
        - A Faun and a Sylfide is a story of the dancers Irina Dvorovenko and Maxim Belotserkovsky and their conquest of the bottom-line-oriented America. Today they are a star couple of the American Ballet Theater, and their alliance amazes the ballet critics, theater chroniclers, and gossip columnists alike.
- Nadezhda had never been preparing herself for a career of staging choreographer over twenty years she had been a principal dancer of the ballet troupe at the Samara Opera and Ballet Theater, while at the same time teaching at a local choreography school. This is the beginning of an article about the young choreographer Nadezhda Malygina. However, today she is an assistant to Nikita Dolgushin, Chief Choreographer of the Samara Ballet, and has authored some original ballet productions Pinocchio, A Lady with a Doggie, and Kid and Carlsson.
What interests her is exploring the chamber stage and experimentation in a synthetic genre. The Nutcracker that she has staged brings together a ballet couple, a puppeteer and a drama actor.
- The BALLET CLASS column informs the readers about festivals and competitions. International contemporary dance festivals are not mere competitions with their winners and prizes. Today they are rather a dancers lifestyle, their ways and means of existence. V. Uralskaya relates of an all-Canada festival of contemporary types of choreography, considered the biggest in North America and held in Ottawa. Julia Bolshakova talks about the Dance-Transit International Festival which was held for the fourth time in Kaliningrad. A team of writers deals at length with the Fifth Contemporary Dance Festival, Moscow Spotlight. There are also articles about the 20th Ballet Artists Competition in Varna, and about the competition Young Ballet of Russia held in Krasnodar.
- This issue features a review of the latest premiere of the Bolshoy Theater, three one-act ballets. This is the first program prepared by Alexei Ratmansky in his capacity as artistic director of the Bolshoy ballet troupe. Having combined in one night a world premiere of Radu Poclitarus ballet; a Yuri Posokhovs production brought over from San Francisco; and a renewal of his own ballet Leah, Rotmansky gave dancers a chance to work in close artistic cooperation with choreographers, regarding this kind of work as a priority.
- The Hamburg choreographer John Neumeier has been engaged by the Bolshoy Theater for staging the ballet Midsumers Night Dream in Moscow. In her scholarly article Gulnara Sabrekova reflects upon the choreographers understanding of Shakespeare, taking his production of Othello as a sample case. 
The writer comes to some interesting conclusions: The complex intellectual choreo-drama absorbs all the multilayerness of the Shakespearean space. Neumeier, just like Shakespeare, unites the eternal and the temporal. Almost twenty years later, the Neumeiers ballet still remains a sad mirror of the European history, and its logic, a pattern of that historys development
- This year, Vladimir Pavlovich Burmeister wouldve hit a hundred. Its been  thirty-three years since he is no longer with us, yet he is present spiritually. His creative work is alive. His productions keep appearing at the K. S. Stanislavsky and V. I. Nemirovich-Danchenko Musical Theater, whose ballet team is the work of his hands. The great choreographers artistic creed boils down to three rules stating that the spectator who has come to a theater must 
a. understand what is going on onstage without any explanations presented by the handbills;
b. enjoy the beauty of the dance and its harmonic convergence with the music; and
c. be heart-struck by the events onstage and either weep or laugh (like a catharsis in the Greek tragedy, a purging by tears).
- Peter Andreevich Gusev, whose 100th anniversary is being celebrated by the world of ballet, is a unique figure in this countrys choreography. He was an outstanding dancer and partner to many a renowned ballerina; a remarkable teacher and mentor who had brought up a whole pleiad of dance notables; a thoughtful theoretician, student of the ballet theater; a sensitive keeper of the classical heritage; an interesting choreographer; and a creator of ballet spectacles of originality. Those who were lucky enough to cross their paths of life and work with his, including Galina Ulanova, Nicholai Boyarchikov, Olga Lepeshinskaya, Valentin Elizariev and Susanna Zviagina, offer their memoirs of the maitres many-faceted activities. 
- Vasiliy Tikhomirov: the Petersburgs climate is very bad for me . Such is the title of a publication by O. Shliakhova of unpublished journals of Victor Petrovich Iving, who recalls his encounters with the outstanding artist, educator, and choreographer Vasiliy Dmitrievich Tikhomirov, a participant of A. Gorskys innovative quests, a constant partner to the legendary E. Geltzer, and one of the creators of the first Soviet ballet, Red Poppy.
- The INFORM-BALLET column unfolds a patchwork of dancing events. There is an array of stories:
- Information about the third Lyubov Grishunova Classical Dance Competition held in the capital of Siberia with soloists and collectives from Omsk, Kemerovo, Novoaltaisk, and Yarovoy participating; 
- a story of creative work of  childrens schools of arts in Omsk, which have virtually been transformed into ballet schools. In 2000, the Omsk CSA-3 with its ensemble The World of Dance staged several ballets. There are plans for two premieres in 2005 the second act of The Swan Lake and Pinocchio, a ballet for children; 
- I dont want to be like Degas, says Mikhail Aldoshin, the main character of a sketch about a painters path to ballet. Recently an I. Glazunovs Fine Arts Academy student, he dedicated his final examination work to portraits of ballerinas. I dont want to portrait a ballerina on stage, Mikhail says. Its behind the curtains that her naturalness gets revealed. Even the way he walk is exciting;
- Viacheslav Gordeev, Artistic Director of Ekaterinburgs ballet troupe, relates of  a festival celebrating the 90th anniversary of local ballet;
- Yaroslav Sedov analyses the success of Yuri Grigorovichs Krasnodar Ballet Theaters performing tour at the Mariinsky Theater in St. Petersburg, which included three series of daily shows, four performances in each series: Spartacus, Nutcracker, The Golden Age, and Romeo and Juliet.
- The Second International Festival of Music in Russian Family Seats, Nobility Seasons, was held at the Moscow mansion-house museum Vlakhernskoe-Kuzminki;
- Closing the column, the editorial board extend their 50th birthday greetings to the photographer Sergei Andreeschev, who has for three decades now aspired to catch on film the beautiful moments of dance.