Svetlana Ulanovskaya’s Alphabet: Clarity as a Synonym for Transparency and Honesty

Svetlana Ulanovskaya: A Passion for Ballet

Svetlana Ulanovskaya is a renowned ballet and dance critic. Her passion for ballet is truly captivating. Despite her initial shyness, Svetlana exudes a sense of strength and determination, revealing a multifaceted and vibrant personality.

The Evolution of Ballet

Ballet has evolved into two main forms: classical and modern. Modern ballet traces its roots back to the early 20th century, specifically to the first performances of Sergei Diaghilev’s “Ballet Russes.” In 2019, the world celebrated the 110th anniversary of these ballet seasons.

The emergence of modern ballet is largely attributed to the productions of Vaslav Nijinsky. His “The Rite of Spring” (1913) marked the first avant-garde ballet in the history of world ballet theater.

Despite the rise of modern ballet, classical ballet continues to captivate audiences. Classical productions showcase an aesthetic imperative, presenting idealized relationships between characters and noble traits. Even when a hero falters, they often seek redemption. This sentiment is echoed in Joseph Brodsky’s poem dedicated to Mikhail Baryshnikov: “Classical ballet is a castle of beauty…”

Sergei Diaghilev: A Pioneer

Svetlana has a deep affection for the early 20th century in the history of world art. She collects diverse literature on the “Ballet Russes.” Unfortunately, there is a scarcity of Russian-language literature on the figures of Diaghilev’s “Russian Ballet.” Many choreographers and dancers from this troupe emigrated, and their contributions became part of the history of other countries. For instance, Russian ballet literature features only one monograph on Vaslav Nijinsky, written by ballet historian Vera Krasovskaya.

Many innovations by modern choreographers were first introduced by the producers of Diaghilev’s “Russian Ballet.” World-renowned choreographers acknowledge the influence of Diaghilev’s ballet. Among them is the famous French choreographer Angelin Preljocaj, who brought his performance “Fresco. Picture on the Wall” to Minsk two years ago as part of the “Teart” festival. He creates original interpretations of ballets first staged in Diaghilev’s troupe. Another example is John Neumeier, who has dedicated several ballets to Vaslav Nijinsky and amassed a vast collection of artifacts related to Diaghilev’s ballet enterprise.

A Career Shift Inspired by Ballet

Svetlana never anticipated a radical change in her professional path. Originally a musician by training, she graduated as a violinist and orchestra conductor, intending to pursue a career in music research.

However, during her admission to the Belarusian State University of Culture and Arts, she saw Valentin Elizaryev’s “Carmen,” which left a profound impact on her. Until then, ballet had seemed too conventional, interesting only from a musical perspective.

She realized that ballet could be modern and relevant, conveying thoughts that resonate “here and now.” Moreover, she saw a free and unconventional interpretation of a well-known artistic plot. This experience was so impressive that she decided to change her profession.

She learned about the Department of Belarusian and World Artistic Culture, where she could study art in all its diverse forms. This allowed her to pursue her passion for reading, ballet research, and art studies.

Image and Personal Style

Svetlana is not overly concerned with her external image. When choosing clothes, she relies on her first reaction. She does not favor a particular style or color palette.

Regarding her hair color, she has grown so accustomed to it that it no longer seems bright to her. As a child, she had long ash-blonde hair, which she later cut into a bob. After graduating from university, she met a budding stylist and hairdresser, Marina Dadkova, who needed volunteers for an exam.

Svetlana wanted to change her hairstyle, which she associated with something closed, boring, and “box-like.” She was not attached to her hair and was open to even shaving it off. Her reaction to the final look was shock, but she eventually liked the short haircut and decided never to grow her hair long again.

The same goes for the color: she has not changed her color palette since then. Initially, she was afraid to go to work with her new look. At the time, she worked in a choreographic school and played music in several ensembles. She remembers entering a rehearsal, and everyone stopped playing and singing. The leader shouted across the hall, “Svetlana, your hair is amazing!” After that, she stopped being shy and afraid.

A Passion for Books

Books are Svetlana’s great passion in life. She has amassed an impressive library, likely one of the largest ballet libraries in Belarus. She travels to Moscow and St. Petersburg specifically to acquire literature on dance in various languages, including English and Polish. Recently, she brought back 22 books from a training session in St. Petersburg.

Her father was a book lover who read a wide range of literature, primarily fiction. He subscribed to the works of his favorite authors, resulting in a home library that included the complete works of Bulgakov, Dostoevsky, Tolstoy, Turgenev, and books by historians like Klyuchevsky. Svetlana read all these works before they were part of her school curriculum. They did not evoke any rejection or boredom in her.

Currently, she mainly reads specialized literature on music, including contemporary music, the work of composers, and choreography. When it comes to writers, she still loves the classics.

Svetlana never thought she would write, which requires mastery of words. Reading good literature enriches her own style, so she enjoys rereading Tolstoy and Turgenev. She also loves Marquez, Harper Lee, the Strugatsky brothers, Peter Vail, and Hesse.

For those interested in ballet and choreography, she recommends the following books:

• Yuri Churko’s “Belarusian Ballet Theater,” “Belarusian Choreographic Folklore,” and “Line, Going into Infinity” (about modern dance).
• Monograph by Russian ballet critic E. Ya. Surits about the dancer and choreographer of the “Ballet Russes,” Leonid Myasin, “Ballet and Dance in America,” and “Choreographic Art of the 1920s.”
• Works by ballet historian V. M. Krasovskaya – a fundamental study, a four-volume “West European Ballet Theater. Essays on History,” and “Russian Ballet Theater.”
• Lynn Garafola’s “Diaghilev’s Russian Ballet.” This meticulous work by an American researcher is the most comprehensive edition on Diaghilev’s ballet published in Russian.
• V. Gaevsky’s “Divertissement. The Fates of Classical Ballet” – the most poetic book about ballet that will make you love dance art even more!

Leadership in Independent Theaters

The role of a leader is crucial in the activities of independent theaters. A leader is someone who can offer a new perspective and language, unite a creative team around them to solve various artistic tasks.

Among the independent theaters of Belarus, Svetlana considers Vyacheslav Inozemtsev, the founder and artistic director of the plastic theater “InZhest” (formerly “Zhest”), to be such a leader. His productions are always modern in content and artistic techniques. The performances of “InZhest” are a synthesis of pantomime, Japanese butoh dance, buffoonery, carnival action, and original music specially composed for the production.

Today, “InZhest” is the only collective from the generation of experimental studio theaters of Belarus in the 1980s that continues its activities. This situation was largely due to difficult material conditions and the lack of official recognition.