|
|
 |
 |
 |
| Wednesday, 17 March 2004 |
 |
|
 |
Artscope | |
| News Business Features Editorial Security Politics World Letters Sports Obituaries
|
Rudolf Nureyev's (1938-1993) birth anniversary : The fabled life by Gwen Herat 'Farewell; thou art too dear for my possessing, To quote Shakespeare, I have my own reasons. Each time I saw Nureyev dance the role of Romeo, I was convinced that the Bard wrote the tragedy (by future instinct) for a person in the calibre of Rudolf Nureyev to perfect and immortalize this highly explosive, emotional tragedy so that it would continue to remain the all-perfect tragedy of love and sacrifice. As we know Romeo and Julietstands apart from other fabled and real romantic tragedies. The lifespan between Shakespeare and Nureyev may have caused centuries but the tragedy made space for these two icons to untie in the name of performing arts. Nureyev was able to translate intricate and infinite sacrifice dialogued by Shakespeare. Here, it is amazing that in the absence of these very dialogues, Nureyev was able to place before the world the greatness of this tragedy the way Shakespeare would have dreamed.
Hence, Romeo became Nureyev and Nureyev became Romeo in the world of ballet. With his electrifying and athletic leaps, Rudolf Nureyev changed the role of the male dancer who found himself almost unnoticed on stage or lost in the beauty of the ballerina. He placed him on centre stage much to the discomfort of the ballerina who enjoyed the position. People started staring only at Nureyev. He broke the ice and made both partners equal to the audience. Sex symbol He was a star from the moment of his celebrated arrival from Russia at the Paris airport in 1961. From then onwards, his rise was phenomenal and no one could stop his rise to fame, not even the KGB that had been commissioned by Russia to follow him and return him to the authorities.
He also became notorious in nightclub circuit because of his gay activities. Despite his life open to the media glare, Nureyev remained an introvert. Being a product of the Stalinist Russia, he was forced to keep his life private. But Nureyev became the first ballet performer to become the sex symbol around the world. By now the Nureyev-mania had gripped Europe and ventured into its industry as well. His name was marketed commercially. There were epic biographies written on him that were equal to the drama of real life of the Nureyev legend. From his fabled indiscretions that permitted him to dance late into his illness, Nureyev was also known for this fiery and devoted friendship with Dame Margot Fonteyn and the ballet partnership. He coped his difficult years magnificently and maintained the aura around him. He remained the tragic, emotional character that Shakespeare prepared for him and died by it. Emergence There were very many talented people who were trained by the great Diaghilev and these people scattered around the world after his death in 1929. They found work in New Zealand, Australia, America and even England. Many stayed behind in Europe and a few returned to Russia. Among them was composer Prokofiev.
Around this time, Russia was slow to the development of classical ballet due to Tsar's regime but the strong teaching tradition continued and produced great dancers like Ulanova. When Prokofiev was finally able to put together the score for Romeo and Juliet for a ballet, it was Ulanova who would be the first Juliet in Russia. She danced the role when the Bolshoi Ballet finally visited London 15 years later in 1956.Because of the complexity of the play, many ballet version had the story minus sections and the details of the Shakespeare's tragedy but maintained the central, great touching drama. Choreographers Every great choreographer has had a stake at the tragedy and everyone considered it a privilege to choreograph it, including Nureyev who danced in it as well. The Russian version of the ballet was created first by Leonide Lavrovsky who was the father of the famous Mikhail Lavrovsky of the Bolshoi Ballet. This sumptuous production inspired many where an equally successful film was launched. Other successful versions were made by Fredrick Ashton for the Royal Danish Ballet while Rudolf made same for the London Festival Ballet. It had always been Margot Fonteyn who danced opposite him on preference. Kenneth MacMillan too created and danced this tragedy along with John Cranko. MacMillan partnered Lyn Seymour. He also produced another version as well as another Shakespeare play, The Taming of the Shrew. By the time of MacMillan's early death in 1973, he not only created many great ballets but also a company of international importance. The ballet school in Stutgart is named after his memory and his ballerina, Marcia Haydee is the director of the company. MacMillan also had a hand in the brilliant career of Nureyev though he did not live long enough to see the greater achievements. As a choreographer, Nureyev was a class by himself. He was a perfectionist who brought modern trends into ballet but strictly adhering to the classical forms and without venturing from the set syllabus and the rigid and hard training he had in Russia. Nureyev came a long way to stardom and it was the determination he carried to revolutionise ballet in the West that set him apart. He rose to be the greatest dancer of the last century and the world remembers him fondly for the spectacular transformation he created in the name of classical ballet. Today is his birth anniversary. **** Back **** |
|
News | Business | Features
| Editorial | Security
Produced by Lake House |
