![]() ![]() The podcast series The Turning: Room of Mirrors delved into ballet’s darker side, with some startling stories of the lack of boundaries between personal and professional relationships at NYCB. ![]() ![]() His is a story of “immense creativity and imagination”, says Homans, as he “managed to make something of great beauty out of a century that was full of suffering and death”.Īt the same time, there has been a recent wave of voices questioning the dominance of Balanchine’s ideals and the culture he forged. In New York, as well as founding NYCB, he established the School of American Ballet (SAB), defining a style that shed the staid trappings of classicism, the fairytale stories and elaborate costumes, to create something faster and stronger that captured the dynamism of 20th-century New York. Last year, dancer turned historian Jennifer Homans published Mr B (as Balanchine was known), a vivid biography of the choreographer, chronicling his incredible life story: from Imperial Russia, dancing through war and revolution, near-starvation and TB his escape to Weimar Berlin and 1920s Paris and working with the Ballet Russes and London music hall. He didn’t want his female dancers to have boyfriends – suitors had to wait out of sight in a restaurant over the road ![]()
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