So today I spent more money than I should have in doing my best to fortify my artistic soul. First, I bought new ballet shoes, which I would not have had to do if I didn't throw my last pair in the dryer (oops!) -- then watched a ballet class, took a wonderful walk with my favorite dogs Shaddick, Benny & now, Charlie, then I went out for Mexican Food, having a tad too much Sangria Margarita's & THEN to the YAGP Gala in honor of Vladimir Vasiliev.
Vladimir Vasiliev is one of the living legends of Classical Russian Ballet -- often referred to as "the greatest living male dancer" by many of the other great legends including Markova and Plisetskaya! Working first as a virtuosic, artistic dancer and then later as the Artistic Director of The Bolshoi Ballet and then further as a choreographer, indeed his mark on this art form is formidable. Tonight's performance was in his honor, and was the closing ceremonies of the yearly Youth America Grand Prix Ballet Competition where young artistic hopefuls vie for 'early buzz' and scholarship monies for their training. Each year try to go to The Gala and I actually came upon tonight's performance by accident as it was dropped as an idea during my dog walk! What Luck as tonight's performance showcased many of today's stars in pieces of Vasiliev's choreography (5 total)-- including his own finale performance of a Pas de Quatre with a Pianist, an Ingenue, an Office Chair and Himself as the finale Piece D'Occassion! (This at near 70! He was born April 18, 1940, son of a Truck Driver!)
Of course I had thought this night would provide me with the perfect material by which to write for my Critical Truth column -- especially considering that the dancers couldn't have been more news worthy (Obraztsova...Amazing! Simkin... Breathtaking! Semionova... Those Legs! Lane... Gorgeous! Hallberg...Willy would be proud! Moiseyev Dance Company....Spectacular Cowboys!). And of course add in the fact that Carla Fracci THE ITALIAN BALLERINA OF MY DREAMS hosted, and then Vassiliev ended, well it is rather tempting to go right into Critic Land! In fact, I bet you anything! that the Times will review Vassiliev -- who could pass up the opportunity to discuss a 70 year old man on stage? Well, I bet they will do a much better job than me.
I am not going to critique -- but rather I am going to applaud - not only the dancers, who all gave heart and soul to the audience, but also to Vasiliev's performance -- which was wonderful for the simple fact than he illustrated so evidently a clear mark of an artist by soul -- (versus an artist by training): risking himself to exert his freedom of expression.... freedom to express his ideas and self even beyond the often constricting ideas of what is "acceptable" and "view worthy". Here was a "ballet great" dancing a bit of an interpretation with a chair! This, for a CLASSICAL AUDIENCE who had just sat through videos of his earlier, much more bravura work! HAH! For me it was sort of a sly little flip off to a community that all too often takes itself far too seriously for it's own good! Sitting in the audience and thinking about my own rather bumpy and absolutely unacceptable path to this artform, Mr. Vasiliev made me realise at once what was truly important: RISK & SOUL. In fact, as much as the ballet community loves to talk about the "great yesterday" the one thing that rarely comes up is the absolute risks the earlier artists took to put themselves out there, and the soul with which they danced. Many of the early artists came from diabolical political/life circumstances -- Plisetskaya often remarks that her entire career would have never happened if it weren't for war -- and we can name the countless defectors who were not only pining about in a ballet studio, but were DESPERATE TO DANCE! These were no privileged folks -- as so many will talk on and on about. Fact is, the "Royal Ballet History" is a history that has been buried for centuries -- replaced as it were by Royal Messes of destitute, war torn, persnickety governments, who may have indeed 'sponsored the training' of the chosen few, but as most Communist Sponsorships go, that was no walk in the park! Even in 2010 the Vaganova Academy looks akin to a prison -- it's no glamorous, la-de-da life --and whilst there were certainly honors of prestige crowned upon those chosen& often times even their families, those honors could be and often were plucked away at the random mood of the government. (NOTE: even after a world of acclaim, Vasiliev was treated as trash when Boris Yeltsin announced his dismissal as the Director of The Bolshoi Ballet ON THE RADIO -- rather than in person or by letter! This treatment for the only dancer in history to be called "The World's Best Dancer" by the Paris Academy. Some Privilege.)
And yet in every ballet studio I've been in the air is filled with endless chatter about its "privileged" history -- and necessity to pay respect and earn one's place and uphold this tradition at all costs! It is actually a near comedy show to hear such sincerity of remarks that are well meaning, yet completely fascist, oblivious and classicist! With myself being both a too late start and from the wrong side of the tracks, I simply can not help but admire the fact that some of the most honorable ballet artists in history were far from privileged -- and were driven by their souls to dance.... driven by their lack in life .....by their need to attain a higher ideal...need to escape a hegemony....need to escape restrictions.... a need to live......a need to express themselves beyond their limited resources and birth! They didn't have the luxury to simply work behind closed doors in temperature controlled studios for decades to "perfect their craft" -- they were not "hand held" through their roles -- they were taught the material strictly and earnestly and thrown on the stage to sink or swim! These were not only 'artists by training' who knew of nothing else -- they were artists by soul -- who damn well knew a whole lot of 'else', and as such were driven to the stage to Live! Work! Perform! Perhaps this is why when you meet artists with this sort of background there is such an aura of generosity and encouragement -- they just want to give you everything they know-- they want to share their knowledge and joy with those who are eager and have the soul to learn -- not just those who have the luxury to "deserve to learn". Vasiliev is obviously from this set -- and has the soul of a performer, not just the skills. As such, his Art is akin to his Life Force. It doesn't simply go away: not with age, loss of virtuosic skills or the fickle desires of the audience, for that matter.
Tonight we saw the result of a lifetime of striving from Vasiliev, Son of A Truck Driver! Even approaching 70 he showed us his soul -- and asserted quietly, but surely that it is not simply a lack of training / skills that are detrimental to our present artists, but more detrimental is a lack of risk, a lack of life and a lack of soulful desire & NEED for the Dance! Simply put, hours in a studio training and learning all the skills for dance can not mimic or create this essential element. It may give one a very necessary facility, capable of virtuosic stunts or dramatic rendering, but Art is more than facility-- it is the soul reaching through and beyond one's facility. It reveals to both the viewer and the doer their own humanity, their own path, flaws and all, touching them for moments far beyond the curtain call.
Mr. Vasiliev's Piece D'Occassion was no virtuosic attempt in remembrance of things past, and certainly will draw no ovation from the lot of those who are continuously striving and bickering about who does and does not live up to their standards. But for me, a mere peasant futzing along with my own lifelong & heartfelt desire to express myself through the classical form, I say BRAVO! and ENCORE!
Madame B.
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