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The Kirov at the Crossroads
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17106 |
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Section : |
THE ARTS
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| Issue
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12 / 1990 |
2,592 Words |
| Author
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Judith Bell
Judith Bell is an art historian and novelist based in
Arlington, Virginia. |
In a studio at the recently opened Universal Ballet Academy in Washington, D.C., a dozen young dancers mill around center floor, waiting for class to begin. Clad in the usual practice garb - tights, tank tops, and no tops, a rolled up polo shirt, an assortment of leotards, gray-tinged legwarmers, or heavy men's socks cut out at the toe to fit over ballet slippers - they could blend easily into any class in a number of ballet theaters throughout the world. As they move to the iron-footed portable barres that circle the room and advance through exercise after exercise - plies, developpees, tendues, battements, and rounds de jambe - a certain magic sets in. Feet flash out and back, the carriage of the arms is perfect and unwavering, backs are open wide. After the barre the dancers move into a group at the back of the room and step forward in pairs and trios to travel a long diagonal, executing steps from the classical cannon - glides, jumps, arabesques - that are then developed into choreographic patterns.
Throughout the held poses, the big jumps, and the grand finales, it becomes clear that these are dancers speaking a common language. In the audience, a slim, middle-aged man leans forward in his seat, back straight, hands clasped. His brow raised in a state of perpetual alertness, the eyes cut across the room, following first this dancer, then that one. Watching their held poses, big jumps, dramatic grand finales, his thin lips pull into a faint reserved smile of satisfaction. This is Oleg Vinogradov, artistic director of the Kirov Ballet and the Universal Ballet Academy, and these students are the Kirov's youngest stars. They are the latest proponents of a 200-year-old tradition of classical dance and he has brought them to the United States, by way of preview, to "show what it is we Russians can
... (1970 of 15505 Characters)
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