Christina Ezrahi is an independent scholar and historian of Russian culture.
"As dramatic as any of the grand ballets, Ezrahi's investigation
delves into the storied past of Russian ballet as the paragon of
choreographic and balletic superiority and as a symbol of cultural
supremacy under the Soviet regime. . . . Not only for ballet
aficionados and history buffs, the author's effort is a
distinguished and intricate view of the intersection of art and
politics. In the end, Ezrahi proves that even though art may be
political, great art is not only deceitful and complex, but can
rise above any ideology.""--ForeWord Reviews"
"Ezrahi's study addresses the basic questions surrounding the
mysteries of the production of art in the Soviet Union: Who called
the shots, and how did they do it? Her meticulous archival research
finally answers questions regarding the autonomy of the artist and
institution, with analyses that are thoughtful, provocative, and
illuminating."
--Tim Scholl, Oberlin College
"In "Swans of the Kremlin" Christina Ezrahi reconstructs long-ago
debates and makes us hear--as though we were flies on the
wall--voices arguing about what is or isn't Soviet and even the
quality of Russian versus Czech tights. She views Soviet ballet as
a dynamic enterprise negotiating the daily demands of a state
cultural project and professional issues that often became an
expression of political resistance."
--Lynn Garafola, Columbia University
Detailed and nuanced, this history looks at the complex and often conflicted relationship between the evolving, postrevolution Soviet regime (1917-68) and ballet, an art form associated with the aristocratic court culture. With a close reading of archival sources available only in Russian, historian Ezrahi chronicles the push and pull between the state, which wanted to dictate the content of ballet for the purpose of indoctrination and education, and committed dancers and choreographers, whose needs had to be met to develop their art form. The author's research focuses on Russia's two most significant dance troupes, the Marinsky (later Kirov) and the Bolshoi. Faced with the regime's ideologically motivated directives for ballets with propagandistic themes that favored pantomime and folk dances and condemned abstraction and classical ballet as mere decorative ornament, dancers and choreographers were able to work subtly within the restrictions, incorporate innovations, and reclaim some artistic authority. This study builds upon research in social history and ethnography by Stephen Kotkin, Alena Ledeneva, and Sheila Fitzpatrick but breaks new ground in the specific area of ballet history. Verdict Serious balletomanes, as well as scholars in dance history and Russian studies, will find that Ezrahi's research and insights offer new perspectives on the balance of art and power in Soviet Russia.-Joan Stahl, Univ. of Maryland Lib., College Park (c) Copyright 2013. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.
 |
Ask a Question About this Product More... |
|
