Sergei Filin And The Complex, Terrible Society Of The Bolshoi

“Sometimes an institution has an uncanny way of embodying the society to which it belongs. … So it is at the pinnacles of Russian dance. Since the nineteenth century, the country’s two principal stages–the Mariinsky, in St. Petersburg, and the Bolshoi, in Moscow–have acted as microcosms of imperial Russia, Soviet Russia, and, now, Vladimir Putin’s Russia.”

Dancer Behind Bolshoi Acid Attack Speaks

Bolshoi Ballet principal Pavel Dmitrichenko: “Yuri Zarutsky, he was constantly saying, ‘Come on, I’ll go over there, I’ll solve your problem, I’ll knock him around … I admit that, absolutely. When I learned what had happened, I was just in shock, and I didn’t believe that this person who suggested beating him up just went and poured acid on him.”

What’s Good About Bunheads? It Depicts Ballet As More Than Cutthroat Torture

“Recent portrayals” of ballet in the popular media – Black Swan, Breaking Pointe – “have focused too much on the obstinacy, ambition, and perfectionism that fuels the enterprise of becoming a dancer. What makes it art, meanwhile, gets ignored.” But Bunheads “has found a way to bring ballet’s relevance – the meaning of the steps, the dancer’s feel for the movements – subtly but clearly to the fore.”