In this spirited memoir, Plisetskaya reflects on her personal and professional odyssey, presenting a unique view of the life of a Soviet artist during the troubled period from the late 1930s to the 1990s.Plisetskaya recounts the execution of her father in the Great Terror and her mother’s exile to the Gulag. She describes her admission to the Bolshoi in 1943, the roles she performed there, and the endless petty harassments she endured, from both envious colleagues and Party officials. Refused permission for six years to tour with the company, Plisetskaya eventually performed all over the world, working with such noted choreographers as Roland Petit and Maurice Béjart. She recounts the tumultuous events she lived through and the fascinating people she met—among them the legendary ballet teacher Agrippina Vaganova, George Balanchine, Frank Sinatra, Rudolf Nureyev, and Dmitri Shostakovich. And she provides fascinating details about testy cocktail-party encounters with Khrushchev, tours abroad when her meager per diem allowance brought her close to starvation, and KGB plots to capitalize on her friendship with Robert Kennedy. Gifted, courageous, and brutally honest, Plisetskaya brilliantly illuminates the world of Soviet ballet during an era that encompasses both repression and cultural détente.Still prima ballerina assoluta with the Bolshoi Ballet, Maya Plisetskaya also travels around the world performing and lecturing. At the Bolshoi’s gala celebrating her 75th birthday, President Vladimir Putin presented her with Russia’s highest civilian honor, the medal for service to the Russian state, second degree. Tim Scholl is professor of Russian language and literature at Oberlin College. Antonina W. Bouis is the prize-winning translator of more than fifty books, including fiction, nonfiction, and memoirs by such figures as Andrei Sakharov, Elena Bonner, and Dmitri Shostakovich.

    Beautiful, sensuous, and mysterious, she quickly became an essential Balanchine dancer-and the story of her personal life is as dramatic as they story of her rise to fame. Her account of a bizarre childhood, a magnificent if curious dance career, a charged, complicated domestic life with photographer Bert Stern, and a never-ending struggle with emotional, physical, and financial pressures is fascinating-as are her portraits of the other great dance figures who punctuated her life, from Balanchine to Baryshnikov.

    Carried to fame on a wave of wartime patriotism, Margot's sense of duty rather than ambition propelled her forward. Yet her gifts were such that her pre-eminence would come to eclipse the careers of subsequent generations.Ballet is a fairytale world; if Margot, like the pure and poetic heroine of Swan Lake, was a natural Odette, she would also have to contend with virtue's raw shadow-side in the guise of Constant Lambert, Roberto Arias and Rudolph Nureyev - the men who, like Von Rothbart, were to take possession of her heart.

    It is, of course, about dancing. About loving to dance as a small child in Shanghai. About ballet classes and ballet teachers, about practice and rehearsal. About making her debut--as a Snowflake, at fifteen--with the emerging Sadler's Wells Company, under the demanding rule of the brilliant and volatile Ninette de Valois. About her almost magical early success (at seventeen dancing Giselle; at eighteen, Swan Lake; at nineteen, Sleeping Beauty) and the effects on a young girl of sudden stardom. About the hard work of overcoming her limitations ("a face like a pudding," she says) and her weaknesses....And it is about the great triumphs in London, New York, Paris. About the great choreographers and dancers who worked with her and helped her: Frederick Ashton (he choreographed by flinging himself into swoops and twists that seemed to flow spontaneously from the music, suddenly saying, "What did I do? Now you do it"); the magnetic and sophisticated Robert Helpmann, of whom she was more than a little frightened "until the harmony of dancing with him began taking hold"; the handsome Michael Somes ("platoons of corps de ballet girls lost their hearts to him"). About Nureyev, who, when Fonteyn was already in her forties, galvanized her energies and talents and swept her into a new career. About her feeling for her great Russian counterpart, Ulanova. About getting older and never ceasing to dance; now, at fifty-seven, still dancing around the world.But even more, this is a book about the woman herself, who sees dancing as only a part of her life and perhaps not the most vital part--the Fonteyn who could not find love until in her thirties she suddenly met again (a visiting card brought to her dressing room; one hundred red roses) the man she had been in love with in her teens, the Panamanian diplomat Roberto Arias. And here is the infinitely moving story of their marriage, her shy assumption of her new role as ambassadress at the Court of St. James--and then, the near-fatal shooting in Panama that crippled her husband, and the drama and heroism of their life together since then.Throughout, with the freshest imaginable gift for anecdote, Margot Fonteyn takes us into her many worlds--the vicissitudes of backstage life on six continents, the tumult of Panamanian politics and revolution, the social pleasures (and embarrassments) of international fame.Above all, her autobiography is a revelation of a direct, warm-hearted person who believes that artists must take their art altogether seriously--and themselves not seriously at all; who finds her own fame difficult to grasp; who is worthy of what her audiences feel for her. Fonteyn is not only admired but loved. Her book--in its decency, its generosity, its sense of fun--makes clear why.

    By the author of Dancing on My Grave. Reprint. AB. PW.

    I was a dancer.”In this rich, expansive, spirited memoir, Jacques d’Amboise, one of America’s most celebrated classical dancers, and former principal dancer with the New York City Ballet for more than three decades, tells the extraordinary story of his life in dance, and of America’s most renowned and admired dance companies. He writes of his classical studies beginning at the age of eight at The School of American Ballet. At twelve he was asked to perform with Ballet Society; three years later he joined the New York City Ballet and made his European debut at London’s Covent Garden. As George Balanchine’s protégé, d’Amboise had more works choreographed on him by “the supreme Ballet Master” than any other dancer, among them Tchaikovsky Pas de Deux; Episodes; A Midsummer’s Night’s Dream; Jewels; Raymonda Variations.He writes of his boyhood—born Joseph Ahearn—in Dedham, Massachusetts; his mother (“the Boss”) moving the family to New York City’s Washington Heights; dragging her son and daughter to ballet class (paying the teacher $7.50 from hats she made and sold on street corners, and with chickens she cooked stuffed with chestnuts); his mother changing the family name from Ahearn to her maiden name, d’Amboise (“It’s aristocratic. It has the ‘d’ apostrophe. It sounds better for the ballet, and it’s a better name”).We see him. a neighborhood tough, in Catholic schools being taught by the nuns; on the streets, fighting with neighborhood gangs, and taking ten classes a week at the School of American Ballet . . . being taught professional class by Balanchine (he was “small, unassuming, he radiated energy and total command”) and by other teachers of great legend: Anatole Oboukhoff, premier danseur of the Maryinsky Theatre (“Such a big star,” said Balanchine, “people followed him, like a prince with servants”); and Pierre Vladimiroff, Pavlova’s partner (“So light on feather feet”). Vladimiroff drilled into his students, “You must practice, practice, practice. Onstage, forget everything! Just listen to the music and dance.” D’Amboise writes about Balanchine’s succession of ballerina muses who inspired him to near-obsessive passion and led him to create extraordinary ballets, dancers with whom d’Amboise partnered—Maria Tallchief; Tanaquil LeClercq, a stick-skinny teenager who blossomed into an exquisite, witty, sophisticated “angel” with her “long limbs and dramatic, mysterious elegance . . .”; the iridescent Allegra Kent; Melissa Hayden; Suzanne Farrell, who Balanchine called his “alabaster princess,” her every fiber, every movement imbued with passion and energy; Kay Mazzo; Kyra Nichols (“She’s perfect,” Balanchine said. “Uncomplicated—like fresh water”); and Karin von Aroldingen, to whom Balanchine left most of his ballets. D’Amboise writes about dancing with and courting one of the company’s members, who became his wife for fifty-three years, and the four children they had . . . On going to Hollywood to make Seven Brides for Seven Brothers and being offered a long-term contract at MGM (“If you’re not careful,” Balanchine warned, “you will have sold your soul for seven years”) . . . On Jerome Robbins (“Jerry could be charming and complimentary, and then, five minutes later, attack, and crush your spirit—all to see how it would influence the dance movements”).D’Amboise writes of the moment when he realizes his dancing career is over and he begins a new life and new dream teaching children all over the world about the arts through the magic of dance. A riveting, magical book, as transformative as dancing itself.

    We see his difficult relationship with his father, Hamet, and the roots of the defiant spirit that fueled Nureyev's unquenchable desire to dance until his final days.

    In a converted barn, an indomitable teacher creates ballerinas as she has for more than half a century. In a monastic mirrored room, dancers from as near as New Jersey and as far as Mongolia learn works as old as the nineteenth century and as new as this morning. “Where Snowflakes Dance and Swear” zooms in on an intimate view of one full season in the life of one of America’s top ballet companies and schools: Seattle’s Pacific Northwest Ballet. But it also tracks the Land of Ballet to venues as celebrated as New York and Monte Carlo and as seemingly ordinary as Bellingham, Washington and small-town Pennsylvania. Never before has a book taken readers backstage for such a wide-ranging view of the ballet world from the wildly diverse perspectives of dancers, choreographers, stagers, teachers, conductors, musicians, rehearsal pianists, lighting directors, costumers, stage managers, scenic artists, marketers, fundraisers, students, and even pointe shoe fitters—often in their own remarkably candid words. The book follows characters as colorful as they are talented. Versatile dancers from around the globe team up with novice choreographers and those as renowned as Susan Stroman, Christopher Wheeldon, and Twyla Tharp to create art on deadline. At the book’s center is Peter Boal, a former New York City Ballet star in his third year as PNB’s artistic director, as he manages conflicting constituencies with charm, tact, rationality and diplomacy. Readers look over Boal’s shoulder as he makes tough decisions about programming, casting, scheduling and budgeting that eventually lead the calm, low-key leader to declare that in his job, “You have to be willing to be hated.” “Where Snowflakes Dance and Swear” shows how ballet is made, funded, and sold. It escorts you front and center to the kick zone of studio rehearsals. It takes you to the costume shop where elegant tutus and gowns are created from scratch. It brings you backstage to see sets and lighting come alive while stagehands get lovingly snarky and obscene on their headsets. It sits you down in meetings where budgets get slashed and dreams get funded—and axed. It shows you the inner workings of Nutcracker, from kids’ charming auditions to no-nonsense marketing meetings, from snow bags in the flies to dancing snowflakes who curse salty flurries that land on their tongues. It follows the tempestuous assembly of a version of Romeo and Juliet that runs afoul of so much pressure, disease, injury, and blood that the dancers begin to call it cursed. “Where Snowflakes Dance and Swear” uncovers the astounding way ballets, with no common form of written preservation, are handed down from generation to generation through the prodigious memories of brilliant athletes who also happen to be artists. It goes on tour with the company to Vail, Colorado, where dancers contend with altitude that makes their muscles cramp and their lungs ache. It visits cattle-call auditions and rigorous classes, tells the stories of dancers whose parents sacrificed for them and dancers whose parents refused to. It meets the resolute woman who created a dance school more than fifty years ago in a Carlisle, Pennsylvania barn and grew it into one of America’s most reliable ballerina factories. It shows ballet’s appeal to kids from low-income neighborhoods and board members who live in mansions. Shattering longstanding die-for-your-art clichés, this book uncovers the real drama in the daily lives of fiercely dedicated union members in slippers and pointe shoes—and the musicians, stagehands, costumers, donors and administrators who support them. “Where Snowflakes Dance and Swear: Inside the Land of Ballet” brings readers the exciting truth of how ballet actually happens.

    Blood Memory invites readers to explore her phenomenal life and highlights the unforgettable images that encompass her work. 100 photographs.

    No other dancer of our time has generated the same excitement, for both men and women, on or off the stage. With Nureyev: The Life, Julie Kavanagh shows how his intense drive and passion for dance propelled him from a poor, Tatar-peasant background to the most sophisticated circles of London, Paris, and New York. His dramatic defection to the West in l961 created a Cold War crisis and made him an instant celebrity, but this was just the beginning. Nureyev spent the rest of his life breaking barriers: reinventing male technique, “crashing the gates” of modern dance, iconoclastically updating the most hallowed classics, and making dance history by partnering England’ s prima ballerina assoluta, Margot Fonteyn--a woman twice his age. He danced for almost all the major choreographers--Frederick Ashton, George Balanchine, Kenneth MacMillan, Jerome Robbins, Maurice Béjart, Roland Petit--his main motive, he claimed, for having left the Kirov. But Nureyev also made it his mission to stage Russia’s full-length masterpieces in the West. His highly personal productions of Swan Lake, The Nutcracker, Raymonda, Romeo and Juliet, and La Bayadère are the mainstays of the Paris Opéra Ballet repertory to this day. An inspirational director and teacher, Nureyev was a Diaghilev-like mentor to young protégés across the globe--from Karen Kain and Monica Mason (now directors themselves), to Sylvie Guillem, Elisabeth Platel, Laurent Hilaire and Kenneth Greve. Sex, as much as dance, was a driving force for Nureyev. From his first secret liaison in Russia to his tempestuous relationship with the great Danish dancer Erik Bruhn, we see not only Nureyev’s notorious homosexual history unfold, but also learn of his profound effect on women--whether a Sixties wild child or Jackie Kennedy and Lee Radziwill or the aging Marlene Dietrich. Among the first victims of AIDS, Nureyev was diagnosed HIV positive in 1984 but defied the disease for nearly a decade, dancing, directing the Paris Opéra Ballet, choreographing, and even beginning a new career as a conductor. Still making plans for the future, Nureyev finally succumbed and died in January 1993. Drawing on previously undisclosed letters, diaries, home-movie footage, interviews with Nureyev’s inner circle, and her own dance background, Julie Kavanagh gives the most intimate, revealing, and dramatic picture we have ever had of this dazzling, complex figure.

    This memoir, first published in 1990 and reissued with a new preface by the author, recounts Farrell's transformation from a young girl in Ohio dreaming of greatness to the realization of that dream on stages all over the world. Central to this transformation was her relationship with George Balanchine, who invited her to join the New York City Ballet in the fall of 1961 and was in turn inspired by her unique combination of musical, physical, and dramatic gifts. He created masterpieces for her in which the limits of ballet technique were expanded to a degree not seen before. By the time she retired from the stage in 1989, Farrell had achieved a career that is without precedent in the history of ballet. One third of her repertory of more than 100 ballets were composed expressly for her by such notable choreographers as Balanchine, Jerome Robbins, and Maurice Bejart. Farrell recalls professional and personal attachments and their attendant controversies with a down-to-earth frankness and common sense that complements the glories and mysteries of her artistic achievement.  Suzanne Farrell has staged Balanchine’s ballets in New York, Boston, Seattle, and Miami and for the Vienna Opera Ballet, the Kirov, and the Bolshoi. She is the subject of an Academy Award nominated documentary, Suzanne Farrell--Elusive Muse.

    When their radically new ballet, The Rite of Spring, was first performed in Paris on May 29, 1913, the reaction was so polarized, there were fistfights and riots! Brilliant or disastrous, the performance marked the birth of modern music and dance. Stringer’s rhythmic text and gloriously inventive, color-rich paintings capture the wild and imaginative collaboration of composer and choreographer. The fascinating author note includes photos of the dynamic duo and The Rite of Spring dancers.

    From the heart-pounding moments waiting in the wings before a performance to appearing on Oprah to discuss weight and body image among dancers, Dancing Through It is moving and revelatory.Raised in South Carolina, Ringer led a typical kid’s life until she sat in on a friend’s ballet class, an experience that would change her life forever. By the age of twelve she was enrolled at the elite Washington School of Ballet and soon moved to the School of American Ballet. At sixteen she was a professional dancer at the New York City Ballet in Manhattan, home of the legendary George Balanchine and Jerome Robbins.Ringer takes us inside the dancer’s world, detailing a typical day, performance preparation, and the extraordinary pressures that these athletes face. Ringer shares exhilarating stories of starring in Balanchine productions, working with the famous Peter Martins, and of meeting her husband and falling in love at the New York City Ballet. Ringer also talks candidly of Alistair Macauley’s stinging critique of her weight in his 2010 New York Times review of The Nutcracker that ignited a public dialogue about ballet and weight. She unflinchingly describes her personal struggles with eating disorders and body image, and shares how her faith helped her to heal and triumph over these challenges.

    But she started her career as a ballerina, and learnt to dance alongside Margot Fonteyn, Moira Shearer, Beryl Grey and Frederick Ashton during the Second World War. A Dancer in Wartime tells the story of Gillian's extraordinary childhood. From Miss Madeleine Sharp's Ballet Class for Young Ladies in Bromley, to being evacuated with her theatre school to rural Leicestershire; from performing in the West End with doodlebugs falling to touring a devastated Europe, the early years were hard, exciting and dramatic. And when the call came to join Sadler's Wells - well, what ballerina hopeful could have asked for more?

    Now, in her own words, Twyla Tharp offers a rare and provocative glimpse into the mind and heart behind her famously deadpan face.Much more than a dance book, Push Comes to Shove is the story of a woman coming to terms with herself as daughter, wife and lover, mother, artist. A child of Indiana Quaker country, Twyla Tharp was traumatically uprooted to California when her stage-ambitious mother built a drive-in movie theater. Soon Twyla was studying piano, violin, flamenco, drums, French, baton twirling, tap, classical ballet...But it was in adolescence - tangling with a rattlesnake in the California desert and observing overheated couples in the backs of cars - that she began to learn the powers of the body and the erotic mysteries of dance. In New York her raw talent came under the influence of such giants as Martha Graham, Paul Taylor, Merce Cunningham, and George Balanchine. But Tharp fought to find her own vision as an artist. In the process she created a new vocabulary of movement: quirky rebellious, sexy, comic - a daring and defiant marriage of Jelly Roll Morton, Bach, the modern dance, and classical ballet. Her collaborations with Mikhail Baryshnikov, Jerome Robbins, director Milos Forman, and David Byrne of Talking Heads built bridges between ballet audiences and fans of popular culture. Now with a stunning accompaniment of photographs by Richard Avedon and others, she reveals the development of the Tharp style - the rendering of order out of chaos, and chaos out of conventional order - that won critical acclaim in such works as Deuce Coupe, The Fugue, Push Comes to Shove, In the Upper Room, and the movies Hair and Amadeus. But her spectacular success did not come without personal anguish.