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Like a Bomb Going OffLeonid Yakobson and Ballet as Resistance in Soviet Russia$
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Janice Ross

Print publication date: 2015

Print ISBN-13: 9780300207637

Published to Yale Scholarship Online: May 2015

DOI: 10.12987/yale/9780300207637.001.0001

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PRINTED FROM YALE SCHOLARSHIP ONLINE (www.yale.universitypressscholarship.com). (c) Copyright Yale University Press, 2022. All Rights Reserved. An individual user may print out a PDF of a single chapter of a monograph in YSO for personal use.date: 19 May 2022

Dismantling the Hero

Dismantling the Hero

Chapter:
(p.301) Six Dismantling the Hero
Source:
Like a Bomb Going Off
Author(s):

Janice Ross

Publisher:
Yale University Press
DOI:10.12987/yale/9780300207637.003.0007

This chapter deals with ballets written by Yakobson after “Spartacus.” His ballets at this time exhibited anti-heroics postures, fracturing the indestructible Stalinist-male image. Yakobson added a more brutal and satiric tones in the characters he created during this era of his career. He was not discouraged by the harsh reception of “Spartacus” abroad; instead, he jumbled the qualities of the modern hero into the problems of contemporary Russian society. Yakobson did not confuse reality and realism in his ballets; rather he used dance to give an “aerial” view of the facts of the time. These postwar ballets transformed power and image from the state to the artist—the formulation of power from the artist against the state. By deconstructing the Soviet hero through his ballets, Yakobson rewrote the USSR's symbol of power.

Keywords:   Spartacus, Stalinist-male image, Russian society, postwar ballets

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