Presenting for the first time Akim Volynsky's (1861-1926)
pre-balletic writings on Leonardo da Vinci, Fyodor Dostoevsky, Otto
Weininger, and on such illustrious personalities as Zinaida
Gippius, Ida Rubinstein, and Lou Andreas-Salome, And Then Came
Dance provides new insight into the origins of Volynsky's
life-altering journey to become Russia's foremost ballet critic. A
man for whom the realm of art was largely female in form and whose
all-encompassing image of woman constituted the crux of his
aesthetic contemplation that crossed over into the personal and
libidinal, Volynsky looks ahead to another Petersburg-bred high
priest of classical dance, George Balanchine. With an undeniable
proclivity toward ballet's female component, Volynsky's dance
writings, illuminated by examples of his earlier gendered
criticism, invite speculation on how truly ground-breaking and
forward-looking this critic is.
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