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 overdue Nineteen Fifties, Soviet officers resolved to make use of the Bolshoi Ballet’s deliberate 1959 American travel to awe audiences with Soviet choreographers’ nice accomplishments and Soviet performers’ brilliant talents. hoping on broad examine, Cadra Peterson McDaniel examines even if the goals at the back of Soviet cultural trade and the categorical goals of the Bolshoi Ballet’s 1959 American travel supplied facts of a thaw in American-Soviet family. Interwoven all through this learn is an exam of the Soviets’ competing efforts to create ballets encapsulating Communist principles whereas concurrently reinterpreting pre-revolutionary ballets in order that those works have been ideologically applicable.
McDaniel investigates the reason in the back of the construction of the Bolshoi’s repertoire and the Soviet leadership’s ambitions and interpretation of the tour’s luck in addition to American reaction to the travel. The repertoire incorporated the 4 ballets, Romeo and Juliet, Swan Lake, Giselle, and The Stone Flower, and Highlights courses, which integrated excerpts from numerous 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 position of the humanities in society and in political transformation.
American–Soviet Cultural international relations: The Bolshoi Ballet’s American Premiere demonstrates the ballet’s position in Soviet overseas coverage, a shift to "artful warfare," and therefore emphasizes the importance of learning cultural trade as a key element of Soviet overseas coverage and analyzes the continuing 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
Stalin feared that the capitalist powers, particularly the British or the French, would conclude an agreement with Nazi Germany. 23 As Nazi Germany, Japan, and Italy concluded agreements, Stalin became consumed with the fear of a two-front war. 24 Therefore, throughout the 1930s, the Soviets’ suspicions of the West and preoccupation with military and traditional diplomatic matters precluded a focus on cultural exchange. Following victory in World War II, Soviet officials revived the program and utilized it to advance blatant Soviet objectives.
Conversely, the Communist Party continued to conduct subversive actions and foment revolution within the capitalist world. 6 Seeking to further infiltrate the capitalist world through more open and apparently innocuous means, V. I. 8 Without extensive diplomatic relations and ostracized by the major powers, the Soviets relied on cultural affairs to export their messages and ideology. The Soviets reasoned that cultural exports, such as visiting artistic groups, would attract supporters and foment resistance toward anti-Soviet policies.
193; The Bolshoi Ballet, Souvenir Booklet, provided by the Metropolitan Opera House, 1959, 32–34, 58–60. 14. Kristin Roth-Ey, Moscow Prime Time: How the Soviet Union Built the Media Empire that Lost the Cultural Cold War, 4, 19–21. Orlando Figes, A People’s Tragedy: A History of the Russian Revolution (New York: Viking, 1996), 733–737. 16. James Bakst, A History of Russian-Soviet Music (Westport, CT: Greenwood Press, Publishers, 1977), 276–278. First published 1966 by Dodd, Mead & Company. Citations are to the Greenwood Press edition.