By Cadra Peterson McDaniel
American–Soviet Cultural international relations: The Bolshoi Ballet’s American Premiere is the 1st full-length exam of a Soviet cultural diplomatic attempt. Following the signing of an American-Soviet cultural alternate contract within the past due Fifties, Soviet officers resolved to make use of the Bolshoi Ballet’s deliberate 1959 American journey to awe audiences with Soviet choreographers’ nice accomplishments and Soviet performers’ terrific talents. counting on wide examine, Cadra Peterson McDaniel examines even if the targets at the back of Soviet cultural alternate and the categorical goals of the Bolshoi Ballet’s 1959 American travel supplied proof of a thaw in American-Soviet family. Interwoven all through this examine is an exam of the Soviets’ competing efforts to create ballets encapsulating Communist principles whereas at the same time reinterpreting pre-revolutionary ballets in order that those works have been ideologically appropriate.
McDaniel investigates the explanation at the back of the production of the Bolshoi’s repertoire and the Soviet leadership’s ambitions and interpretation of the tour’s good fortune in addition to American reaction to the travel. The repertoire integrated the 4 ballets, Romeo and Juliet, Swan Lake, Giselle, and The Stone Flower, and Highlights courses, which incorporated excerpts from a number of pre- and post-revolutionary ballets, operas, and dance suites. How the americans and the Soviets understood the Bolshoi’s luck presents perception into how both sides conceptualized the function of the humanities in society and in political transformation.
American–Soviet Cultural international relations: The Bolshoi Ballet’s American Premiere demonstrates the ballet’s function in Soviet international coverage, a shift to "artful warfare," and therefore emphasizes the importance of learning cultural alternate as a key point of Soviet international coverage and analyzes the ongoing value of the humanities in twenty-first century Russian politics.
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Extra resources for American-Soviet Cultural Diplomacy: The Bolshoi Ballet's American Premiere
Grogin, Natural Enemies: The United States and the Soviet Union in the Cold War, 1917–1991 (Lanham, MD: Lexington Books, 2001). Martin McCauley, The Khrushchev Era, 1953–1961 (New York: Longman, 1995). 71. ” In Khrushchev and Khrushchevism, ed. Martin McCauley (Bloomington: Indiana UP, 1987). V. , Nikhamin, V. , Adamishin, A. , Bogush, E. , Borisov, O. , Vorontsov, G. , Grachev, V. , Israelian, V. , Ostoia-Ovsianyi, I. , Rizanov, G. , Stepanov, A. , Stratanovich, V. ; Khronologiia Sostavlena Razvinym, P.
64. Christina Ezrahi, Swans of the Kremlin: Ballet and Power in Soviet Russia, Pitt Series in Russian and East European Studies, ed. Jonathan Harris (Pittsburgh: University of Pittsburgh Press, 2012). 65. Jennifer Homans, Apollo’s Angels. Alexander Werth, Russia under Khrushchev, First American Edition, (New York: Hill and Wang, 1961); William J. Thompson, Khrushchev: A Political Life (New York: St. Martin’s Press, 1995). 67. Roy A. Medvedev and Zhores A. Medvedev, Khrushchev: The Years in Power (New York: Columbia UP, 1976).
This intertwinement of politics and culture demonstrated that the Soviets understood their revolution as not merely a political revolution, but a revolution devoted to creating a new culture. The sciences, academia, and the arts remained inseparable from politics. ”14 These cultural relations allowed the Soviets access to countries, which otherwise refused to establish official diplomatic relations with the new Communist state. Scorned by the international community, the Soviet leaders realized that cultural exchanges, the visual embodiment of the new order, initiated contact with the people in capitalist countries and aimed to promote support for a positive image of the Soviet Union.
American-Soviet Cultural Diplomacy: The Bolshoi Ballet's American Premiere by Cadra Peterson McDaniel