logo
‘It will lift the spirits': Kyiv to stage ‘most English of ballets' after Russian repertoire boycott

‘It will lift the spirits': Kyiv to stage ‘most English of ballets' after Russian repertoire boycott

The Guardian3 days ago

One of the 'most English of ballets' will be performed for the first time at the National Opera of Ukraine in Kyiv after a boycott of the classic Russian repertoire, including Swan Lake and the Nutcracker.
Sir Frederick Ashton's La Fille mal gardée, a celebrated romantic comedy, will be performed to a sell-out audience on Thursday after Ukraine turned away from the works of Tchaikovsky, Stravinsky and Prokofiev.
The production, which will run for at least five years in Kyiv, was made possible by fundraising in London by the former Ukrainian star of the Royal Ballet, Ivan Putrov, and the sculptor Antony Gormley. The ballet's owner, Jean-Pierre Gasquet, has waived his fee.
Originally a French ballet by Jean Dauberval, Ashton's choreography, first staged in 1960, turned La Fille mal gardée into one of the best-loved English ballets, featuring slapstick humour, a maypole and traditional folk dance.
The Ukrainian government has asked cultural institutions in the country and abroad to boycott ballet productions by Russian composers and choreographers on the grounds that Vladimir Putin is seeking to use culture 'as a weapon' and justification for the war.
The artistic director of ballet at the National Opera of Ukraine, Nobuhiro Terada, said the issue was sensitive, but that the turning point had come when dancers at the Donetsk Opera and Ballet theatre in Russian-occupied Ukraine performed the shape of a Z, a pro-war symbol, in the autumn of 2022.
'After that, Putin claimed that Tchaikovsky, Prokofiev, Stravinsky, all of them, belong to the Russian world and Russian people,' he said.
'After this story, the minister of culture of Ukraine at that moment, said 'no more'. Politics and culture are different things. But at that moment, there were a lot of victims of this war, and we realised relatives of these victims, they don't want to hear Tchaikovsky, Stravinsky and Prokofiev.
'It's a very sensitive question. I'm not a politician, I have to accept an opinion of Ukrainian people. Tchaikovsky, he was in Kyiv, he lived in Kyiv, and Prokofiev was even born in Donetsk.
'Of course, we want to perform Tchaikovsky and a lot of performers they want it, and it needs to happen for the next generation, in my opinion. But today it's not a good time to perform.'
The boycott is controversial even among the cast of the La Fille mal gardée, which tells the story of a young woman named Lise who is determined to be with a young farmer rather than her mother's choice of dim-witted Alain, the son of a wealthy landowner.
Daniil Silkin, 29, worked as a combat medic in the Ukrainian army for the first 18 months of the war but will perform as Alain in the production thanks to a time-limited exemption on service for performers.
He said he did not agree with the boycott of the seminal works, which he described as a 'big part of world ballet'.
'I don't think the Ukrainian government was right,' he said. 'I think they should say to the people that Tchaikovsky, Stravinsky and Prokofiev do not belong to Putin. They were of a very different time.'
Andrianna Shabaeva, 20, whose role is as one of the friends of the main female character, said she had not had the opportunity to perform the Russian classics because of the full-scale invasion three years ago.
'Maybe one day. But not before the Russians go away,' she said.
Terada, who came to live permanently in Ukraine without his parents in 1986 as an 11-year-old boy as part of a cultural exchange between ballet schools in Japan and the Soviet Union, said the boycott of Russian works had forced the opera house to look more widely for productions.
With international assistance, it has since performed 5 Tango's by the Dutch choreographer Hans van Manen, Spring and Fall by John Neumeier and Alexei Ratmansky's Wartime elegy.
Terada, who was appointed director in 2022, said: 'Before the war, we didn't have any opportunity to work with these famous names. They decided to help Ukraine and National theatre and ballet because of war.
'And thanks to Ivan Putrov and the other sponsors, we've got this production, La Fille mal gardée. It was impossible to get the choreography of Frederick Ashton. You need to pay. That is the reason that this Ukrainian theatre during last 50 years have had the same productions: Swan Lake, Nutcracker, Spartacus.
'I clearly understand – it's not popular, what I'm going to say – but when war is happening, we need to use this opportunity and to get the best from the world, because all world is going to help Ukraine.'
The audience in Kyiv will have access to the coat room as a shelter during Russian air raids, but other inconveniences of putting on a show during a war are more difficult to overcome.
Putrov, whose Dance for Ukraine event in London has helped finance the new production, said: 'I think it was 60 men who were called up from the stage crew. I think they only have 19 left.
'La Fille mal gardée is a beautiful blockbuster, a classic that is sunny, that is the most English of the ballets, with a grand dame, pantomime, maypole, clog dance. It will lift the spirits. What are Ukrainians fighting for? They're fighting for the way of life they want to live, and it's very important that the spirit is sustained.'

Orange background

Try Our AI Features

Explore what Daily8 AI can do for you:

Comments

No comments yet...

Related Articles

Hell Jumper: Ukraine war documentary about Chris Parry wins award
Hell Jumper: Ukraine war documentary about Chris Parry wins award

BBC News

timea day ago

  • BBC News

Hell Jumper: Ukraine war documentary about Chris Parry wins award

A BBC film about a Truro man killed in Ukraine after helping rescue hundreds of people from the front line has won an award at a world media documentary Hell Jumper, depicting aid worker Chris Parry, won the Grand Jury Prize at the Rockie 28-year-old went to the country shortly after it was invaded by Russia and died from gunshot wounds alongside fellow volunteer Andrew Bagshaw in January organisation said the director Paddy Wivell brought a "tenderness and empathy to his interviewing" within the documentary. 'Breathless sequence' It said: "These interviews are the architecture of the whole film, giving it its tone and emotional heart. "Stylistically the master interviews were laced with social media posts, personal voice messages, and self-shot go-pro footage to create a first-person quality throughout."Most of Chris Parry's work was captured on 10 hours of bodycam footage, making up a large part of the added: "The team wanted the audience to be fully immersed in Chris' experiences, so chose to run much of their footage at length. "It's an extraordinary, breathless sequence that perfectly captures Chris' character."

Ukraine's 'Black Cloud' artwork to evoke war at Burning Man festival
Ukraine's 'Black Cloud' artwork to evoke war at Burning Man festival

Reuters

time2 days ago

  • Reuters

Ukraine's 'Black Cloud' artwork to evoke war at Burning Man festival

KYIV, June 10 (Reuters) - A massive black cloud has stood in Kyiv's historic Sophia Square this week, emitting flashes of lightning and the rumble of thunder in evocation of war, before it travels to the Burning Man art festival in the United States later this year. The "Black Cloud" installation, by Ukrainian artist Oleksiy Say, measures 30 metres (100 feet) long and 15 high, weighs nearly eight tonnes and is made from four kilometres of fabric. The work also includes the sounds of artillery fire, explosions, drones and military vehicles in a chilling evocation of Russia's all-out invasion of Ukraine since February 2022. "Get ready. Evil is just around the corner. It makes sense to face it," Say told Reuters, standing beside his work, in a message to others beyond Ukraine. The 50-year-old, who studied at the Kyiv Art and Industrial Technical School, lives and works in the capital of Ukraine where there has been a surge of "war art" during the conflict. Say's installation will be a Ukrainian contribution to the annual, eight-day independent art festival in the Black Rock Desert in Nevada in August. "Perhaps the next time someone watches news about Ukraine they will register not only the information but also experience an emotion that goes with it. That's how it (the Black Cloud) is intended to work," said Maria Moroz, executive producer of the project. For Kyiv residents, the Black Cloud is a stark symbol. On a recent day, some took photos while others stood quietly, one couple hugging in silence under its shadow. "Had it been somewhere up in the sky, I would have associated it with a cloud, but as it is, it evoked images of explosions and destruction in me," said Natalia, 58, from Kyiv. "I was walking to work when I saw this installation. It made me think of something evil. It reminded me of the war," said Tetiana, 54. "Constant air raid alerts, missiles, ... drones, this is what it makes me think of."

Misty Copeland broke barriers in ballet. Now she's retiring and moving to ‘the next stage'
Misty Copeland broke barriers in ballet. Now she's retiring and moving to ‘the next stage'

The Independent

time3 days ago

  • The Independent

Misty Copeland broke barriers in ballet. Now she's retiring and moving to ‘the next stage'

Ten years ago this month, Misty Copeland sat in front of a hastily arranged news conference at American Ballet Theatre, fighting back tears of pride over her new role: principal dancer. 'This is it,' she said, with emotion. 'This has been my dream since I was 13.' The occasion was highly unusual — normally, when a dancer is promoted, a brief press release is issued. But this was Copeland, a crossover star with fame far beyond the insular world of ballet. And now she was becoming the first Black female principal in the company's 75-year history — just days after her New York debut as the lead in 'Swan Lake' brought a refreshingly diverse, packed audience to the Metropolitan Opera House. Now, a decade and many accomplishments later, Copeland is retiring from the company she joined as a teenager. 'It's been 25 years at ABT, and I think it's time,' Copeland, 42, told the Associated Press last week ahead of Monday's official announcement of her move. 'It's time for me to move to the next stage.' The company is planning a splashy farewell on Oct. 22, featuring performances by Copeland — for the first time in five years — and other dancers. There will be speeches and film clips. And Copeland, who's been heavily involved in the planning, will get a chance to venture one more time onto that balcony in Verona; she'll dance again in the beautiful 'Romeo and Juliet' pas de deux. Honorary chairs for the evening will be Caroline Kennedy and Oprah Winfrey. A lot has happened in a quarter-century. Copeland, whose success brought new energy to an art form that has always been overwhelmingly white, has authored a number of books, including a memoir and and several works for young people. The second installment of 'Bunheads' arrives in September, and more are already planned in a series she calls 'a reflection of my journey, showing the range of cultures and types of people that can be a part of the ballet world.' Copeland has also made a short film with her production company. And her philanthropic organization, The Misty Copeland Foundation, works on increasing diversity in the dance world and giving more kids who grew up economically disadvantaged, like she did, the chance to dance. 'It was so important for children growing up and seeing somebody like Misty and saying, 'Oh my gosh, she looks like I do,'' says Susan Jaffe, ABT's artistic director, who is overseeing the farewell performance. 'Through her books, through her lectures, even her endorsements, she has really been a trailblazer." Still, progress moves slowly. When Copeland exits ABT, there will no longer be a Black female principal dancer at the company — nor at many ballet companies around the globe. Copeland discussed that continued challenge in the dance world, among other topics, in the AP interview last week. Remarks have been edited for clarity and brevity. AP: What does this moment mean? Is ballet a chapter that's now ending for you? COPELAND: You know, I've become the person that I am today, and have all the opportunities I have today, because of ballet, (and) because of American Ballet Theatre. I feel like this is me saying thank you to the company. So it's a farewell. (But) it won't be the end of me dancing. … Never say never. AP: You've told your story over the years, in multiple ways, of how you rose from difficult circumstances to this unique position in dance. What impact have you seen? COPELAND: I've noticed that the conversation is not something we shy away from anymore in terms of the lack of equity, the lack of diversity in this (dance) world. That's one of the biggest shifts I've seen … a lot of young people that just can imagine being part of it in some way. They can imagine stepping into Lincoln Center and being at the Metropolitan Opera House. AP: You became the first Black female principal at ABT in 2015. But there haven't been any more named since then. Does it concern you that progress has maybe been slow in that area? COPELAND: It's definitely concerning, and I think I've just gotten to a place in my career where there's only so much I can do on a stage. There's only so much that visual representation like that can do. I feel like it's the perfect timing for me to be stepping into a new role, and hopefully still shaping and shifting the ballet world and culture. AP: Who are some of the partners you've most enjoyed working with? COPELAND: I think about my partnership with (former ABT principal) Roberto Bolle and him giving me so many opportunities to travel the world with him … (Former ABT principal) Marcelo Gomes, he's been such a such a big part of my journey, and of course Herman Cornejo. We've had a beautiful partnership throughout my career and I'm excited to dance with him again (at the October farewell,) AP: Three years ago you became a parent (to son Jackson). How has that changed your perspective? COPELAND: It's made me even more patient. I just have a lighter and brighter outlook on life because it's just such an incredible thing to experience and witness... I think ballet has prepared me for being a mother in so many ways. I think it's ... prepared me for life and being resilient and patient and sensitive and empathetic and strong, and all of these things. AP: Does your son know who you are? COPELAND: He doesn't understand at all! (laughs) He's seen very little of me dancing. … But he's very drawn to it. He is a mover. He's very athletic. He is so drawn to music. He started violin on Monday. We live in the museums. He really is drawn to art. I think he's definitely on the artist's track. AP: So you've got the foundation, you've got the writing career, the production company. Which of those areas do you think you'll be focusing most on? COPELAND: It's been pretty evenly split between all of then. I think it just depends on what's at the forefront and what needs my focus. ... But it's exciting to be able to utilize dance in so many different mediums, and to me, that's how you get true diversity — by giving people different entry points into learning about dance and feeling like they can be a part of it, which has been my goal. How do I bring dance to as many people as possible in a way that really works for them? AP: You've always not only spoken about, but acted on the importance of diversity, equity and inclusion, and initiatives that promote that. Are you concerned that this is getting more difficult? COPELAND: It's a difficult time. And I think all we can really do is keep our heads down and keep doing the work. … we're fortunate in that way that we've built great relationships and can continue to do the work right now through my foundation. There's no way to stop the people that feel passionate about this work. We will continue doing it. It is so necessary for the well-being of our societies and communities. I think there are times to speak out and yell from the rooftops. And for me, I feel like this is a time to keep my head down and really stay focused and do the work.

DOWNLOAD THE APP

Get Started Now: Download the App

Ready to dive into the world of global news and events? Download our app today from your preferred app store and start exploring.
app-storeplay-store