What is Russian ballet? What defines this phenomenon that has not only achieved global recognition but also influenced the development of ballet worldwide?

The distinctive feature of the Russian ballet theater has been and remains its deep psychological depth. Here, the form and content of the dance merge into a single thread, conveying an incredible emotional charge to the audience. How wonderful it is to be a part of this – part of this theatrical world! It is no coincidence that the great examples of classical performances, which have become treasures of world art, were created by Marius Petipa in Russia, at the Mariinsky Theatre – the House of Petipa, as we now call it. The Russian ballet theater gave the world the first “Romeo and Juliet,” the first “Cinderella,” and the captivating “Spartacus.”

But the art of dance is not a static museum exhibit. The development of dance technique and form relentlessly moves forward, coinciding in its dynamic process with the evolution of the aesthetics and pace of our world, with the life that surrounds us. Of course, during the Soviet period, when Soviet ballet was a bright continuation of the Russian ballet theater tradition, the “Iron Curtain” led to a lag in the developments of dance forms. This was often substituted by an intensification of content, by the pressure of the dramaturgical line of the role.

As a young choreographer and a student at GITIS, I felt this too. The tours of foreign ballet companies, the viewing of poor pirated videos of ballets by foreign choreographers like George Balanchine, Maurice Béjart, Jiří Kylián, Ivan Marko, and Mats Ek… It was a different world, a different mindset, a different aesthetic. How I wanted to be there, how I wanted to understand, learn, and master it!

I was fortunate: I got the opportunity to intern with a modern dance troupe in New York. I was one of the first Soviet dancers to enter that world during the perestroika period. How many discoveries this opportunity brought me! To see all the ballets of George Balanchine at the New York City Ballet, the company he created. To study Jazz and Modern dance in the best American schools, to attend modern ballet performances… I can’t list everything. Gradually, I was finding my choreographic language, mastering the short form, which was not often used in Russia at that time. I staged many works in different styles and forms.

Then came invitations from Russian theaters. I missed the Russian dancer, with his unique psychological world. I missed the Russian ballet theater.

What does the Russian ballet theater mean to me? It is the unparalleled technique of Russian dancers, where even the most complex technical elements are not just acrobatic feats but are imbued with deep emotion and expression. Where the most complex technical element stops being an acrobatic divertissement and supports your emotional empathy with the actor.

Unfortunately, devoted as I am to this art, I cannot help but notice that we are starting to lose it. It is understandable that the hunger for Western ballet and the newfound opportunity to stage and perform it led to the rapid filling of theater stages and repertoires with productions that had long been staged “there.” They were being learned by our troupes for the first time. It was a breakthrough. But the inclination towards the “trendy” did not always help.

Once, while I was an artistic director of a ballet company in the USA (I had staged more than ten ballets in America), one of the most famous critics, Anna Kisselgoff, said to me: “You have mastered the technique of modern dance wonderfully. You are one of the few Russians interestingly choreographing  short forms in the neoclassical style. Your choreographic phrases are very rich. But you possess much more. Your knowledge of classical ballet and its grand form is very important. Do not adapt to the modern choreographers filling the theater stages. Stage classical modern performances, preserve the traditions. There are not many of you who can do this. Do not be shy and continue the traditions of the great ballet theater.” How important these words were in my life, already as a recognized choreographer. Perhaps this conversation pushed me to accept invitations from Russian troupes and to believe in the performances I stage, in which I am deeply involved, sometimes for many years during their creation.

It is very important that young choreographers – the graduates of our unique school – do not lose confidence in the traditions of the Russian ballet theater. Today, those of us who are at the head of the ballet repertoires of theaters bear the responsibility for preserving traditions: from the style of performance to the direction and titles of new productions.

© Konstantin Uralsky