In this “incredibly rich” (New York Times) definitive history of the Bolshoi Ballet, visionary performances onstage compete with political machinations backstage. A critical triumph, Simon Morrison’s “sweeping and authoritative” (Guardian) work, Bolshoi Confidential, details the Bolshoi Ballet’s magnificent history from its earliest tumults to recent scandals. On January 17, 2013, a hooded assailant hurled acid into the face of the artistic director, making international headlines. A lead soloist, enraged by institutional power struggles, later confessed to masterminding the crime. Morrison gives the shocking violence context, describing the ballet as a crucible of art and politics beginning with the disreputable inception of the theater in 1776, through the era of imperial rule, the chaos of revolution, the oppressive Soviet years, and the Bolshoi’s recent $680 million renovation. With vibrant detail including “sex scandals, double-suicide pacts, bribery, arson, executions, prostitution rings, embezzlement, starving orphans, [and] dead cats in lieu of flowers” (New Republic), Morrison makes clear that the history of the Bolshoi Ballet mirrors that of Russia itself.

In this "incredibly rich" (New York Times) definitive history of the Bolshoi Ballet, visionary performances onstage compete with political machinations backstage.

This cultural biography of the nineteenth-century ballet master Marius Petipa -- creator of The Sleeping Beauty and Swan Lake -- tells the full story of his life and work in the remarkable context in which he lived.

Focusing on urban areas in the 1930s, this college professor illuminates the ways that Soviet city-dwellers coped with this world, examining such diverse activities as shopping, landing a job, and other acts.

On the centenary of the death of Rasputin comes a definitive biography that will dramatically change our understanding of this fascinating figure A hundred years after his murder, Rasputin continues to excite the popular imagination as the personification of evil. Numerous biographies, novels, and films recount his mysterious rise to power as Nicholas and Alexandra's confidant and the guardian of the sickly heir to the Russian throne. His debauchery and sinister political influence are the stuff of legend, and the downfall of the Romanov dynasty was laid at his feet. But as the prizewinning historian Douglas Smith shows, the true story of Rasputin's life and death has remained shrouded in myth. A major new work that combines probing scholarship and powerful storytelling, Rasputin separates fact from fiction to reveal the real life of one of history's most alluring figures. Drawing on a wealth of forgotten documents from archives in seven countries, Smith presents Rasputin in all his complexity--man of God, voice of peace, loyal subject, adulterer, drunkard. Rasputin is not just a definitive biography of an extraordinary and legendary man but a fascinating portrait of the twilight of imperial Russia as it lurched toward catastrophe.

The candid self-portrait of one of America's most famous ballerinas and a story of the high-pressure world of dance that brought the acclaimed dancer to a nightmare world of illness, drug addiction, and suicidal despair

I CHOSE FREEDOM The Personal and Political Life of a Soviet Official by VICTOR KRAVCHENKO Jfevr Yorfc CHARLES SCRIBNERS SONS 1048, 1946, mr VICTOR jPrfaxted IA tfe United States of tJkr fMi jinPn CJUrlc CONTENTS PACK I. Flight in the Night I II. A Russian Childhood 6 III. Glory and Hunger 19 IV. Youth in the Red 34 V. Break with the Past 50 VI. A Student in Kharkov 59 VII. Triumph of the Machine 74 VIII. Horror in the Village 91 IX. Harvest in Hell IIO X. My First Purge 132 XI. Elienas Secret 148 XII. Engineer at Nikopol 167 XIII. Faster, Faster 187 XIV. Super-Purge 206 XV. My Ordeal Begins 221 xvi. AScan f OT jftllPER YJUN 1949 33 8 XVII. Torture After Midnight 256 XVIII. Labor Free and Slave 278 ft XIX. While History Is Edited 298 MOB XX SStertotfaftoaV. 316 XXI W Europe Fights 332 . XXII. The Unexpected War 352 XXIIL Panic in Moscow 372 XXIV. The Kremlin in Wartime 393 XXV. The Two Truths 412 XXVL Prelude to America 436 XXV1L Stalins Subjects Abroad 455 XXVIIL Fugitive from Injustice 473 Postscript 480 Index 483 I CHOSE FREEDOM CHAPTER t PL1GBT IN THE NIGHT EVKBY MINUTE of the taxi ride between my rented roam and Union Station that Saturday night seemed loaded with danger and witbf destiny. The very streets and darkened buildings seemed frowning and hostile. In my seven months in the capital I had traveled that route dozens of times, light-heartedly, scarcely noticing my surroundings. But this time everything was different tkh time I was running away. The American family with whom I lived in Washington had been friendly and generous to the stranger under their roof. When I fell ill they had watched over me with an easy unaffected solicitude. What had begun as a mere financialarrangement had grown into a warm human relationship to which the barrier of language added a fillip of excitement. 1 sensed that in being kind to one homesick Russian these good Americans were ex pressing their gratitude to all Russians to the brave allies who were then rolling back the tide of German conquest on a thousand-mile front. They gave me full personal credit for every Soviet victory. My rent was mid for a week ahead. Yet I left the house that night without a word of final farewell. I merely said that if my trip should keep me out of town beyond Tuesday, they had my permission to let the room. I wanted my hosts to be honestly ignorant of my whereabouts and of my intention not to return, should there be any inquiries from the Soviet Pur chasing Commission. For several days, at the Commission offices, I had simulated headaches and general indisposition. Casually 1 had remarked that morning to a few colleagues that I had better remain home for a rest that I might iiot come in on Monday. I was playing hard for an extra day of grace before my absence would be discovered. After collecting my March salary-I insisted on straightening out my expense vouchers for the last trip to Lancaster, Pennsylvania, and the trip to Chicago before that. It appeared that about thirty dollars were still due to me. The idea was to erase the slightest excuse for any charges of financial irregularity to explain my flight. I also made sure that all my papers were in perfect order, so that others could take up the work where I had left off. Later, when the news of my getaway was on the front pages of the Washington and New York papers, some of the men and women at the Commission must have recalled apeculiar warmth in my talks with them thai Saturday, a special pressure in my handclasp when I said So long. They must have realtied that I was bidding them a final and wordless fare-, well. Never again, not even here in free America, would any of them dare to meet me. In the months of working together some of these people had 2 CHOSE FREEDOM come close to me without saying much we had understood one another Had I been able to part with them openly, emotionally, Russianly, some of the weight that pressed on my spirits would assuredly have been lifted...

NEW YORK TIMES BESTSELLER • NAMED ONE OF THE BEST BOOKS OF THE YEAR BY THE NEW YORK TIMES BOOK REVIEW, LOS ANGELES TIMES, SAN FRANCISCO CHRONICLE, AND PUBLISHERS WEEKLY For more than four hundred years, the art of ballet has stood at the center of Western civilization. Its traditions serve as a record of our past. Lavishly illustrated and beautifully told, Apollo’s Angels—the first cultural history of ballet ever written—is a groundbreaking work. From ballet’s origins in the Renaissance and the codification of its basic steps and positions under France’s Louis XIV (himself an avid dancer), the art form wound its way through the courts of Europe, from Paris and Milan to Vienna and St. Petersburg. In the twentieth century, émigré dancers taught their art to a generation in the United States and in Western Europe, setting off a new and radical transformation of dance. Jennifer Homans, a historian, critic, and former professional ballerina, wields a knowledge of dance born of dedicated practice. Her admiration and love for the ballet, as Entertainment Weekly notes, brings “a dancer’s grace and sure-footed agility to the page.”

Oleg Kalugin oversaw the work of American spies, matched wits with the CIA, and became one of the youngest generals in KGB history. Even so, he grew increasingly disillusioned with the Soviet system. In 1990, he went public, exposing the intelligence agencyÕs shadowy methods. Revised and updated in the light of the KGBÕs enduring presence in Russian politics, Spymaster is KaluginÕs impressively illuminating memoir of the final years of the Soviet Union.

This book sets out to search for the Second World - the (post)socialist context - in dance studies and examines the way it appears and reappears in today's globalized world. It traces hidden and invisibilized legacies over the span of one century, probing questions that can make viewers, artists, and scholars uncomfortable regarding dance histories, memories, circulations and production modes in and around the (post)socialist world. The contributions delve into a variety of dance practices (folk, traditional, ballet, modern, contemporary), modes of dance production (institutionalization processes, festival-making and market logics), and dance circulations (between centres and peripheries, between different genres and styles). The main focus is Eastern Europe (including Russia) but the book also addresses Cuba and China. The book's historical examples make the reader aware, too, of the (post)socialist bodies' influence in today's dance, including in contemporary dance scenes. The (post)socialist context promises to be a prosperous laboratory to explore uncomfortable questions of legitimacy. Whose choreographic work is staged as a 'quality' dance production? Which dance practices are worthy of scholarly study? What are the limits of dance studies' understanding of what dance is or should be? In view of reclaiming the Second World through dance, this book thus probes questions that should be asked today but are not easy to answer; questions that dance practitioners, facilitators, critics, and researchers, including ourselves, are often not at ease with either. In doing so, the cracks of dance history begin to be sealed, and neglected dance practices are written back into history, provided with the academic recognition that they deserve.