Conversation between two little girls:
- An aunt in ballet is called a ballerina. What is the uncle's name, do you know?
- No, but how?
- Ballerun!
The life of men in ballet is very closed. It was much easier to write about ballerinas, for example - you can find many articles about problems and successes, there are a lot of statements and memories on the forums. But the ballet men...
No, well, the problems of ballerinas also concern them in full: injuries and occupational diseases, hard labor and full immersion into the profession, and, as a result, unsettled destinies, poor health, etc. But at the same time, a huge number of rumors and fables around this profession, perhaps nowhere else. Ballet dancers have been brought to the point that at the first meeting they try not to talk about where and by whom they work ... And the wives of dancers do not like to expand on this topic.
Here, for example, is what the author writes on one of the forums under nickname ballet: "... As casually as possible, I say: -" My husband is a ballet dancer. "Alas, how many times I did not try to immediately translate the topic of the conversation, nothing worked. sleeping me the most ridiculous questions: "Yes? ..", "Uu, how interesting! ..", "Where does he work?" (of course, in the theater, and where else can a ballet dancer work). "And what does he eat?" (dry special food for ballet dancers - I answer), “Does he play sports?”, “Are you jealous of ballerinas?”, Or even cooler “Does he get an erection during a performance?”, “Do you have him bisexual?"
He is called the prince born on New Year's Eve.
At 10 a little boy named Kolya Tsiskaridze entered the Tbilisi Choreographic School,
at 13 he continued his studies in Moscow,
at 19 he was accepted into the troupe of the Bolshoi Theater, and at 23 he received the title of Honored Artist of Russia. His dance is technically impeccable, distinguished by spirituality and joy, in his art there is that measure of internal tension and external restraint, which creates the majestic beauty of plasticity.
N. Tsiskaridze Curiosity led me to ballet - I really wanted to move behind the orchestra pit, because I was far from the mysterious behind-the-scenes world and I’m not sure that if I had been shown the wrong side, the inside of ballet art in childhood, I would have chosen this professional path. At the age of three, I first got into puppet show, then to the opera and, finally, to the ballet. It seemed to me that it was all easy and simple, but in fact, oh, how much hard work must be spent so that the dancer's movements are light and beautiful.
I was brought to the choreographic school at my insistence; no one in the family had anything to do with ballet.
In the choreographic school, boys have a special position - it is understandable, very few of them go there. This is probably why the tuition fees at first are different for girls and boys:
For girls 100 thousand rubles. per year (10 thousand rubles per month);
For boys from 1-5 cells. - 50 thousand rubles. per year (5 thousand rubles per month).
Gene. Director of the Bolshoi Theater A. Iksanov: "The problem of men in ballet has existed for years. Not only in our theater. Very few boys go to ballet - today it is becoming unprestigious. It is believed that a man should earn money, should do business, should be courageous. There is a danger that we we will lose an entire ballet generation. To solve this problem, we will have to renew the troupe not only at the expense of the Moscow Academy of Choreography. This year, by the way, not a single guy was hired. There simply weren’t any worthy graduates of the academy. We will have to look for artists in other theaters and in neighboring countries.
I found on one of the forums the memories of a blogger under the nickname Shock Worker: "... When I was engaged ballroom dancing, I had a partner (an Azerbaijani boy) who moved amazingly, had a good ear and a sense of style, and who was also engaged in martial arts and chess.
Somehow, returning from regular classes in the evening, we came across his classmates (beardless contenders for the proud title of a man with an overwhelming amount of unrealized hormones), who began to ridicule his passion for ballroom dancing and loudly declared him a petka (pyatukh), for which he received a brazen face and ran to complain to the relatives.
was convened Parent meeting, on which fathers (adult men, some of whom had higher education and engaged teaching activities, so to speak, brought up future cultural citizens of the republic in their own and other people's boys and girls) declared my partner to be cultureless and an aggressor, and also expressed their authoritative opinion, miraculously coinciding with the opinions of their own offspring on the subject of a tendency to homosexuality among all those who in one way or another are related to dance culture. The stigma was so flashy that my partner quit dancing and moved to another school, and, quite likely, will raise his sons in the same spirit of obscurantism and base concepts that suppressed his versatile nature. That's how they become either gay or fools."
Sergey Filin, artistic director ballet troupe of the theater named after K.S.Stanislavsky and Vl.I.Nemirovich-Danchenko:"... In general, there are fewer and fewer men in our country. Men are disappearing as a species, and in ballet - all the more so, in the ballet world a man degenerates. What can be said about male dance, if in most choreographic schools and schools in the world there are 10 girls There are 2-3 boys, and by the time you have to enter the world of art, the theater and take some positions, out of three there is one, or even not a single young man.
If talented men come across today, they are like diamonds; such artists, of course, are in many theaters of the world - I will not say that in all.
What was different about Soviet ballet? There was a huge amount of talent. A fierce competition was held, and the selected children were brilliant even before they began to work with them. And when they graduated from college, they really became stars and got into the Bolshoi and the Mariinsky.
The circle of strong dancers has narrowed very much, and real great artists today can be listed on the fingers. If earlier at the Bolshoi, the Mariinsky, the Paris Opera, Covent Garden there were quite a few dancers who had texture, were excellent in technique, had a bright personality, intelligence, but today this circle is narrowing. And if stars appear, they are in great demand, they are invited to all theaters, they are literally torn to pieces.
Even at the beginning of the 19th century, a negative view of male ballet was formed in Western society. And the strongest stereotype that sits in the brains of people around the world and it is not possible to get it from there is that the men in ballet are all gay as one. In addition, they run around the stage all day, pawing both men and women, and this is a real pleasure! This is not for you to work hard in the mine for 12 hours!
Meanwhile, this is a profession in which physical exercise And creativity closely go hand in hand.
At the beginning of the 19th century, in fashion, romanticism and the focus of ballet shifted towards ballerinas, the dancer gradually disappeared into her shadow. The ballet turned to folklore, legends, myths and superstitions for inspiration. Nymphs and sylphs, innocent virgins, etc. appeared in it. The dancer was thus demoted to the role of the ballerina's carrier. It was only to highlight her beauty and talent. Women dominate ballet for the first time in history. The romantic content of the performance is centered on the ballerina, pushing the dancer into the background. The audience wanted to see the ethereal, airy grace of the ballerina.
And the training in technique was addressed more to the ballerinas. Fewer and fewer men were trained in ballet. By the middle of the 19th century, the number of men studying in professional ballet schools in Western Europe decreased sharply. This shortage forced dancers to play male roles. This practice of taking on roles reserved for dancers of the opposite sex was called travestie dancing.
For several decades, the pas de deux ("dance for two") was danced by two ballerinas (one of them is a drag queen).
Romantic critic Jules Janin stated: ".. I know nothing more disgusting in the world than a dancer. Under no circumstances can I recognize the right of a man to dance in a public place."
With the opening of Sergei Diaghilev's Russian Seasons in Paris in 1909, Western society saw the grand return of the ballet dancer. A real discovery was the performances, the main character of which was a man, and the woman played a supporting role in them.
The audience again wanted to see male dancers, although prejudice in society still had not been eliminated. However, it is not outdated even now.
Rudolf Nureyev changed a lot in ballet, proving that a man can also be in the spotlight. And our great choreographer Yuri Grigorovich sometimes shared the accents equally in performances, and sometimes even brought men to the fore. But there were real male dances!
Continuing to explore the Internet for a match to the search word "ballet", I stumbled upon my favorite resource Gey.ru, the inhabitants of which, as it turned out, are very fond of ballet. And they give him a lot of attention.
Here is what I discovered on the most interesting (and discussed more than once) topic of ballet costume.
Male ballet ny costume: from a camisole and pantaloons to full nudity
For men in a ballet costume, it all started with such a bells and whistles that today it is impossible to even imagine how in such outfits one could not only dance, but simply move around the stage. But the dancers showed themselves to be real fighters for the complete liberation of the body from the rag shackles. True, the path that they had to travel to appear in front of the audience almost naked, only covering the "shame" with a fig leaf called a bandage, or even naked, turned out to be long, thorny and scandalous.
Skirt on the frame
What was a dancer in the early days of ballet? The artist's face was hidden by a mask, his head was decorated with a high wig with fluffy fluffy hair, the ends of which fell on his back. Over the wig was put on another incredible headdress. Suit fabrics were heavy, dense, generously whipped. The dancer appeared on the stage in a skirt on a frame, reaching almost to the knee, and in shoes on high heels. Mantles of gold and silver brocade were also used in men's attire, reaching back to the heels. Well, just a Christmas tree, just not glowing with multi-colored electric bulbs.
By the end of the 18th century, the ballet costume gradually began to change, becoming lighter and more elegant. The reason is the more complicated dance technique that needs to be released. male body from heavy clothes. Costume innovations, as always, are dictated by the trendsetter - Paris. The lead performer now wears a Greek tunic and sandals, the straps of which wrap around the ankle and base of the calf of the bare legs. The dancer of the demi-character genre performs in a short camisole, pantaloons and long stockings, a dancer of a characteristic role - in a theatrical shirt with an open collar, jacket and pants. In the second half of the 18th century, such important attribute men's attire, which, by the way, has survived to this day, like a flesh-colored tights. This amazing invention is attributed to the costume designer of the Paris Opera Mallo. But it is unlikely that this talented monsieur imagined that his tight-knit product would turn into something elastic in the 20th century.
Albert without pants
Everything went according to tradition and decency, until the great reformer ballet theater and a passionate admirer of the hot male body, Sergei Diaghilev did not show the world his entreprise - Diaghilev's Russian Seasons. This is where it all started - scandals, noise, hysteria and all sorts of stories associated with both Diaghilev himself and his lovers. After all, if earlier a ballerina reigned on the stage, and the dancer played the role of an obedient gentleman with her - he helped with rotation so that he would not fall, lifted him higher to show the balletomanes what was under her skirts, then Diaghilev makes the dancer the main character of his performances.
Loud scandal, associated not with Diaghilev's special sexual orientation, but only with stage costume, broke out in 1911 at the play "Giselle", in which Vaslav Nijinsky - Diaghilev's official lover - danced Count Albert. The dancer was wearing everything that was required for the role - a leotard, a shirt, a short tunic, but there were no panties, which were mandatory for a dancer at that time. And therefore, Nijinsky's expressive thighs appeared to the audience in their frank appetizing, which outraged Empress Maria Feodorovna, who was present at the performance. Scandalous story ended with the dismissal of Nijinsky "for disobedience and disrespect" to the imperial stage. But the dance search for the artist did not stop, he continued his struggle for the freedom of the body in dance. In the same year, Nijinsky appeared in the ballet "The Phantom of the Rose" in a costume designed by Lev Bakst, fitting the figure like a glove. A little later, in The Afternoon of a Faun, the dancer Nijinsky appears on stage in such a bold leotard that still looks modern and sexy today. True, all these revelations are already taking place outside the native, but stubborn Russia.
That sweet word is bandage
In the fifties, the magician of dance, idolizing the body, especially the male, Maurice Bejart came up with a universal outfit for the dancer and dancer: a girl in black tights, a young man in tights and bare-chested. Then the young man's outfit is improved, and the young man remains in only one bandage. But in the Soviet Union, as you know, there was no sex. He was not on the ballet stage either. Yes, of course, love existed, but pure - "The Fountain of Bakhchisaray", "Romeo and Juliet", but no frankness. This also applies to men's clothing. The dancer put on tight underpants, over them tights, and on top of the tights also cotton-wool pants. Even though you look through the most powerful telescope, you will not see any charms. Nevertheless, there were shameless daredevils in the Soviet fatherland who did not want to put up with such a uniform. They say that at one of the performances at the Kirov (Mariinsky) Theater, in 1957, the outstanding dancer Vakhtang Chabukiani appeared on stage in a very frank form: in white leggings, worn directly on naked body. Success has surpassed all conceivable limits. Sharp-tongued, the outstanding ballet teacher Agrippina Vaganova, at the sight of the dancer, turned to those sitting with her in the box and quipped: "I see such a bouquet even without eyepieces!"
In the footsteps of Chabukiani, another Kirovsky dancer followed, at that time not yet a ballet dissident and a world-famous gay, but just a theater soloist, Rudolf Nureyev. The first two acts of Don Quixote he danced in traditional costume allowed by the Soviet authorities - in tights, over which short pants with puffs were worn. Before the third act, a real scandal erupted behind the scenes: the artist wanted to wear only a white tight-fitting leotard over a special ballet bandage and no pants: “I don’t need these lampshades,” he said. The theatrical authorities dragged out the intermission for an hour, trying to persuade Nureyev. When the curtain finally opened, the audience was shocked: it seemed to everyone that he forgot to put on his pants.
Rudolf generally strove for maximum nudity. In "Corsair" he went out with bare chested, and in "Don Quixote" incredibly thin tights created the illusion of bare skin. But at full power, the artist turned around already outside the Soviet homeland. So, in the "Sleeping Beauty", staged by him for the National Ballet of Canada, Nureyev appears wrapped in a floor-length cloak. Then he turns his back to the audience and slowly, slowly lowers the cloak until it freezes just below the buttocks.
Between the legs - coat shoulder
Tells theater artist Alla Kozhenkova:
- We did one ballet performance. During the fitting of the costume, the soloist tells me that he does not like the costume. I can’t understand what’s the matter: everything fits well, he looks great in this suit ... And suddenly it dawns on me - he doesn’t like the codpiece, it seems that it is too small. The next day I say to the dressmaker: "Please take the shoulder from the coat and insert it into the bandage." She told me: "Why? Why?" I told her: "Listen, I know what I'm saying, he will like it." At the next fitting, the dancer puts on the same costume and happily tells me: "You see, it has become much better." And after a second he adds: "Only it seems to me that you inserted a female shoulder, but it is small ... you need to insert a male one." I couldn't help laughing, but I did as he asked. The dressmaker sewed a shoulder from the raglan sleeve of a man's coat into the bandage. The artist was in seventh heaven with happiness.
Once a hare's foot was inserted, but now it is no longer in fashion - not the format, but the coat shoulder is what you need.
Nureyev was a pioneer in nudity in Leningrad, and in Moscow he was rivaled by Maris Liepa. Like Nureyev, he adored his body and just as resolutely exposed it. It was Liepa who was the first in the capital to take the stage in a bandage worn under a tights.
Man or woman?
But the most interesting thing is that men in the twentieth century tried not only to expose their bodies as much as possible, but also to cover them up. Some especially liked women's ballet costumes. A real shock was caused in Russia by the creation of Valery Mikhailovsky's Men's Ballet, whose artists, in all seriousness, performed the women's repertoire in the most real ladies' outfits.
- Valery, who came up with the idea to create such an unusual troupe? I ask Mikhailovsky.
- The idea belongs to me.
- Now it is difficult to impress the public with something, but how your, so to speak, female-male dances were perceived ten years ago, when the team appeared. Have you been accused of homosexual shocking?
- Yes, it was not easy. There were all kinds of gossip. Nevertheless, the audience welcomes us with pleasure. And there were no accusations of homosexuality. Although everyone is free to think and see what he wants. We are not going to convince anyone.
- Did something similar exist in the world of dance before your male ballet?
- There is a Trocadero de Monte Carlo company in New York, but what they do is completely different. They have a crude parody of classical dance. We also parody ballet, but we do it, owning a profession.
- You want to say that the technique of the female classical dance mastered to perfection?
- In general, we did not initially try to replace a woman in ballet. A woman is so beautiful that it is not worth encroaching on her. And no matter how elegant, refined, plastic a man is, he will never dance the way a woman dances. Therefore, women's parts should be danced with humor. What we are demonstrating.
But first, of course, it was necessary to master women's technique.
- And what is the size of your young men's shoes? Male or female?
- From forty-one to forty-three. And this was also a problem - there are no women's ballet shoes of this size in nature, so they are made to order for us. By the way, each of the dancers has their own name block.
How do you hide your male dignity- muscles, chest hair and all sorts of other juicy details?
- We do not hide anything and do not try to mislead the public; on the contrary, we emphasize that not women, but men speak before them.
- And yet, someone can be deceived. There must have been a lot of funny episodes?
- Yes, that was enough. It was, it seems, was in Perm. The guys, already made up, in wigs, are warming up on stage before the start of the performance, and I stand backstage and hear the conversation of two cleaners. One says to the other: "Listen, have you ever seen such hefty ballerinas?" To which she replies: "No, never, but do you hear what bass they are talking about?" - "Yes, what is there to be surprised, all smoky."
- Did any of the male viewers offer your artists a hand and a heart?
- No. True, once one spectator who paid a lot of money for a ticket came backstage and demanded that they prove to him that not women but men were speaking in front of him, they say, looking from the auditorium, he did not make out.
- And how did you prove it?
- The guys were already undressed, without packs, and he understood everything.
Everything is filmed
In fact, today you can’t surprise the audience with anything: neither a man in a tutu, nor the tightest leotards, or even a bandage. If only with a naked body... Today, more and more often, a naked body appears in groups that practice modern dance. This is a kind of bait and seductive toy. A naked body can be sad, pathetic or playful. A few years ago, an American troupe played such a joke in Moscow " Dancing men Ted Shawn". Young people came on stage, modestly dressed in short women's dresses, reminiscent of combinations. No sooner had the dance started than auditorium went into ecstasy. The fact is that under the skirts the men were wearing nothing. The audience, in a mad desire to get a better look at the rich men's economy, which suddenly opened up to them, almost flew off their seats. The heads of the enthusiastic spectators twisted after the dance pirouettes, and the eyes seemed to be going out of the eyepieces of the binoculars, which in an instant stuck to the stage where the dancers frolicked heartily in their mischievous dance. It was both funny and exciting, stronger than any of the coolest striptease.
Completely naked performs in one of our ballets former compatriot, and now international star Vladimir Malakhov. By the way, when Vladimir still lived in Moscow, he was severely beaten in the entrance own house(so I had to put stitches on my head) precisely because of non-traditional sexual orientation. Now Malakhov dances all over the world, including completely naked. He himself believes that nudity is not outrageous, but artistic imagery ballet in which he dances.
At the end of the 20th century, the body won over the costume in the struggle for its freedom. And it's natural. After all, what is a ballet performance? It is a dance of bodies awakening the bodies of the spectators. And it is best to watch such a performance with the body, not with the eyes. It is for this bodily awakening of the audience that complete freedom is needed. dance body. So long live freedom!
Article taken from information resource www.gay.ru
In the 19th century, half-naked girls shone on the ballet stage, causing a warm response in the hearts of wealthy fans, while the role of a man dressed in shapeless and ridiculous clothes was surprisingly utilitarian - to serve as a living decoration and, at best, a prop for a ballerina.
Changes began to take place at the beginning of the 20th century, first in St. Petersburg, and then in Europe with the advent of the dance reformer Sergei Diaghilev. He not only made the main actor ballet performance to a man, but also focused the viewer's attention on the beauty of the male body, dressing him in luxurious costumes and entrusting him with the most spectacular numbers.
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From that moment on, a new, homosexual era of ballet began. Let us recall only some of the blue stars: Nijinsky, Lifar, Nureyev, Malakhov, Valery Mikhailovsky's "Male Ballet", Bejart's ballet ...
Today, the sexuality of a man on stage is emphasized by tight tights, bandages and codpiece tabs, and, in the end, by the absence of any clothes at all. It can be said with certainty that homosexuality introduced a new, exciting erotic wave into the ballet.
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Let's take our Vaganova Academy of Russian Ballet as an example. There, initially, a very significant percentage of students are expelled for incompetence, as, by the way, in other choreographic schools. Only those who are qualified remain. And so professionally fit very often (not all, of course, but much higher than the average percentage in society) just turn out to be homosexuals. Because for gays in general, the craving for art is in character. It's also almost genetic. Therefore, many of the famous ballet dancers - we can mention Nijinsky, Nureyev - are blue. In order to succeed in a particular profession, you need to have a soul for it. So the blue soul is very close to the ballet.
This opinion is shared by Alexander Kukharsky, a member of the St. Petersburg human rights center for gays and lesbians "Wings".
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In choreographic schools, the duet dance class begins quite early. The kids are still in transition. And since there are much fewer of them than girls, there are three or four or more partners per one and, in addition to injuries, such as muscle strain, a “torn” lower back, they still accumulate elementary fatigue from contact with female bodies, sometimes very naughty, heavy in literally this word. So after the lesson, the boys get together ... Then they are already teenagers ... They share their impressions, spend time together free time, many common interests. This brings them together, sometimes for many years.
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Irek Mukhammedov, a Bolshoi ballet star of the 1980s who has worked at London's Covent Garden since 1990, called effeminateness in ballet "Western influence".
“For me, ballet,” Mukhammedov noted, “was and remains a love story between a man and a woman. And it doesn’t matter what kind of sexual orientation. They are embarrassed to talk about this topic, although it is necessary to shout about it. Nureyev was gay, the famous Dane Brun was gay, but on stage they knew how to look like one hundred percent men ... ".
Mukhammedov sees the value of Russian ballet precisely in the development of male dance, which, in fact, we note, continues the line of Sergei Diaghilev, who brought to the stage a galaxy of outstanding dancers - Nijinsky, Lifar, Massine ... All of them are gay or bisexual.
One of the most common stereotypes towards gays, not only in everyday life, but also in art, in particular, in ballet, is the opinion about the "manner" inherent in them. In fact, homosexual dancers like Rudolf Nureyev and his "first real love" Erik Brun, soloist of the Danish ballet, was the epitome of "machismo" on the ballet stage.
And the duet of Nureyev and the charming Margot Fonteyn became not only the personification of the great creative union, but also a symbol of love - in such ballets about passion as "Marguerite and Armand", "Romeo and Juliet", as well as "Pelleas and Melisande".
Irek Mukhamedov was born in Kazan in 1960. He studied at the Moscow Academy of Choreography. In 1981 he won the Grand Prix and gold medal on international competition ballet dancers in Moscow. He was immediately invited to Grand Theatre and became the youngest performer of the part of Spartacus in the ballet of the same name in the entire history of Yuri Grigorovich's production. For 9 years he was the premiere of the troupe. His repertoire included the main male roles in the ballets: Ivan the Terrible, Don Quixote, Swan Lake”, “Romeo and Juliet”, “Giselle”, “Raymonda” and “Legend of Love”. Yuri Grigorovich staged the part of Boris in the ballet "The Golden Age" based on the acting data of Irek Mukhamedov. In 1988 he was awarded the Hans Christian Andersen Prize as the best dancer in the world.
In 1990 he decided to leave Russia and joined the Royal Ballet in London. His appearance inspired Kenneth MacMillan to perform a duet with Darcy Bussell, which was performed at the Queen Mother's 90th Birthday Special in July of that year. IN next seasons he made his debut in productions of the Royal Ballet - in traditional classics and in a wide range contemporary roles English repertoire, which included works by Kenneth MacMillan (the famous "Manon" and "Mayerling", as well as the "Judas Tree" specially created for him), Frederick Ashton (" A futile precaution”), Ashley Page and William Tuckett. In 1995 Tuyla Tharp chose him for leading role in his first production at the Royal Ballet. In the same year he made his non-dance debut as the King of Siam in The King and I at the Covent Garden Festival. Since then he has appeared on British TV in various theatrical roles.****
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****In April 1992 he formed a small company of his own for short dance seasons in the UK and outside the UK. For their performances in 1994 at Sadler's Wells Theater in London, he invited Kim Brandstrup and the Arc Dance Company to join them. Kim Brandstrup composed for him new ballet- "Othello", in which he first performed with the company contemporary dance. In 1999, Brandstrup created a second ballet for him - Don Giovanni.
Mukhamedov has received many dance awards all over the world and was made an honorary New Year's list in January 2000. Since then, he has become more and more interested in creating his own choreography. In the same year he was invited to stage "Swan Lake" in the Warsaw National theater, and created the first ballet for his troupe - "The Four Horsemen".
In 2003, Mukhamedov staged a full-length performance for the London Children's Ballet - The Prince and the Pauper. Since then, he has created several solo numbers, short ballets for senior students of the School of Art, Tring, and for the English National Ballet School, as well as the final number for the Benois de la Danse gala in London, where he danced with students from the Royal Ballet School. In 2004 he was entrusted with a large concert program from works in the genre argentine tango for a tour in Norway. In 2005 he composed completely new version ballet "Spartacus" for the Hong Kong Ballet Company.
In 2004 and 2005 Mukhamedov was a teacher and guest tutor at the Royal Ballet, English National Ballet, Scottish Ballet and Ballet Bordeaux. He is also Principal Visiting Educator at the English National ballet school. In 2005 he became a permanent teacher at the Elmhurst School of Dance with the Royal Birmingham Ballet. In 2007, Irek Mukhamedov accepted the post of head of the Athens Opera Ballet Company.
Choreographer Irek Mukhamedov says Russian gay dancers have always been the most masculine.
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Our group has separate themes, photo albums and videos dedicated to ballet dancers VATSLAV NIZHINSKY, RUDOLF NUREYEV and VLADIMIR MALAKHOV.
The boy who chose ballet will have to thorny path. If you're straight, you have to defend your choice; if you're gay, you'll be stigmatized, perhaps before you're even ready. People often make assumptions about you based on what you do. We have acquaintances who were very surprised that my son loves cars, and as soon as he mentioned his girlfriend, a sigh of relief was clearly heard. My father, and father-in-law too, never watched his son dance. There was a case, she brought home a video with his Nutcracker (daughter, by the way, was also there). They didn't watch, they just apologized. It hurts. I don't think they realized how rude it was, and that they were sending me and my son a very unpleasant message, but the fact is the fact. Some more "enlightened and cultured" acquaintances could say "refinedly": "It's good that he knows who he is." They also own the classic, “What are your male dancers called?” The ballet moms were probably supposed to politely swallow this and pretend they didn't get the context. Most of us get this context.
My son was bullied by heterosexual and molested by homosexual teenagers. He often had to apologize for his preference for women and having to get over himself when he hugged homosexual acquaintances. That's it.
All this is just the tip of the iceberg for the male dancer and not the hardest part. What might surprise you is the pressure male dancers are under. Since the choice of this path is associated with considerable difficulties, few boys begin it without one or another ambition. Parents who allow their children to dance often encourage them to do so, because in this case the chances of success increase. There is some truth in this, but reality proves that this is not quite what most people assume.
And women in ballet have competition. The higher the status, the more. The number of vacancies is limited, besides, they apply for a large number of talented performers. Education in super-duper institutions is not a pass to paradise, employment is good ballet troupe illusory for both men and women. But, if a woman is unlucky, people will just shake their heads in understanding, because they understand that this is a competitive world. As soon as the same thing happens to a man, they begin to think about him that he is a loser.
When the boys are still young, it is not easy for mothers to brag about the success of their son. Mom should say:
“Fred has just been accepted into the Royal Ballet School on a budget basis!”
people politely say “Congratulations!” but almost always add: “You are lucky, you have a boy!” It is as if everyone who wants to study at Royal Ballet, and talent and hard work mean nothing. For reference, Royal Ballet is an extremely strong institution and not everyone can study there. I know very talented guys who couldn't get into Royal or School of American Ballet or ABTII or HBII.
Another reason that having a son is not very easy is the crazy mothers of ballet boys!
You must have heard about these crazy divas, mothers of ballerinas. Wait, you haven't seen the ballet boy's mom yet. Note that not all mothers of boys are crazy, but those with whom this happened have elevated level madness. These crazy mothers are sure that the world revolves around their boys; due to the fact that they have, you see, a boy, they often play the role of Queen Bee. They are very important about how to do this and that and command everyone like movie stars of the first magnitude. A ballet-boy's nerdy mom rarely has a sense of proportion when talking about her son, and will constantly go over your ears telling you what he is all about. They become pseudo-managers for their sons and are sure that everyone, including the heads of the ballet studio, should serve them. They expect their child's requests to be fulfilled first. If it seems to them that they have not been properly rewarded, things can take a bad turn. They sulk, they plot, they threaten to leave before great staging, and they will fight anyone they see as a threat. This is an unfortunate phenomenon, but I have seen it in different studios and with different mothers. The saddest thing, perhaps, is that this is gradually passed on to the son, he becomes king in the studio and is often socially isolated. Moreover, when he starts in the ballet world independent life The boy is surprised that this world does not revolve around him.
I am sure that this state of affairs comes from the following things. First, overzealous leaders ballet studios they just jump for joy when they see that they have a boy. Investment in a boy will pay off very quickly, so you can not skimp on flattery, just to get the boy to yourself. will give him the most winning roles even at a young age, only to interest him, thereby provoking a sense of superiority.
Second, because most boys start dancing quite late (after 10 or 11 years old), the boy who has adopted an early start (4, 5, 6, 7 years old) often reaps laurels that are disproportionately large compared to girls. This leads parents to think that their child is extremely talented. A child can really be talented, but at this age, his talents especially cannot be compared with anyone.
And third, Mothers of Ballet Boys must constantly protect their son from various threats. In principle, mothers already protect their child, but boys who choose to dance need additional protection. People in relation to them are often cruel, so that mothers have to protect the child with a vengeance. This behavior is then difficult to change, and even when the child has already grown up, we continue to patronize him and are ready to break anyone who dares to offend him.
I am proud of my son and I am glad that he dances. When I see him move across the stage, my heart soars after him, but, nevertheless, I do not take anything for granted. I don't think that just because he's a man, he should be allowed more than his female counterparts. I expect his success to come solely from hard work, well, and maybe Lucky case will also play a role. I get angry when I hear from people that it will be easy for my son to break through because he is a man. Yes, they are not like women, but I can assure you, this is not an easy path. He hates when strangers learn that he dances, he speaks, they immediately become suspicious of him, so he has to make extra efforts to ensure that his personality is perceived without stereotypes. If suddenly he receives a scholarship or a major role, it is taken for granted. If there is another boy in the studio besides him, he has to be careful in his friendship, he once got hit hard by one shifted mom and her privileged son. It's a lonely road, and besides, I didn't choose it for him (like my father, I thought it wasn't something boys should do), but I'm happy that he took it. Now my life is richer, my friendships are stronger, and my relationship with my son is better than many; so... I'm lucky that I have a boy, but not in the way people think, but because it was from him that I learned a lot about life and about love.
author - ballet
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