Question 1

Who was George Balanchine and why is he important in the history of dance?

Accepted Answer

George Balanchine (1904-1983) was a dancer and choreographer of Georgian origin, trained in Saint Petersburg and later emigrated to the United States. The key thing to remember is that he is considered the father of American neoclassical ballet and the co-founder of the New York City Ballet. What makes him so decisive is that he transformed classical ballet by stripping it of scenery and stories to bring pure movement and music to the fore, notably with works such as Apollon musagète (1928) and Agon (1957).

Question 2

What is Balanchine's most famous work?

Accepted Answer

Among his many works, The Nutcracker (1954) is probably the best known to the general public: his version of Tchaikovsky's ballet became a Christmas tradition in the United States and remains one of the most frequently performed dance shows in the world. But what is striking is that Balanchine also created major abstract ballets such as Jewels (1967), considered the first “abstract” ballet in three acts, structured like a jewel case (Emeralds, Rubies, Diamonds).

Question 3

What is Balanchine's legacy in contemporary dance?

Accepted Answer

Balanchine's legacy is immense: he founded the School of American Ballet in 1934 and the New York City Ballet in 1948, two institutions that trained generations of dancers and spread his neoclassical style throughout the world. The key thing to remember is that he established a new way of dancing — fast, precise and musical — in which the dancer's body is showcased through simple leotards and bare sets. His influence can still be seen today in most contemporary ballet companies.

Question 4

What does the famous quotation “But first, a school” mean?

Accepted Answer

This phrase, spoken in 1933 when the patron Lincoln Kirstein proposed that he found a ballet company in the United States, sums up Balanchine's vision: to understand it, you have to remember that he believed a dance company cannot exist without a solid school to train its dancers. So he answered “But first, a school”, and the School of American Ballet opened as early as 1934. What is often forgotten is that this school became the crucible of the American neoclassical style.

Question 5

What did a typical day in Balanchine's life look like?

Accepted Answer

The day began with a daily class: exercises at the barre and then in the center, under the demanding eye of Balanchine, who corrected every detail. The afternoon was devoted to rehearsals of ballets being newly created or revived, where he often demonstrated the movements himself. On performance evenings, he stayed in the wings or watched from the auditorium. A cultured man, he also enjoyed cooking for those close to him, particularly Georgian and Russian dishes. What is striking is that his life was almost entirely organized around the studio and the theater.

Question 6

Which objects were essential to Balanchine?

Accepted Answer

Several objects characterize his work: pointe shoes, which he wanted fast and sharp; the leotard, which he often used to replace elaborate costumes and bring the body to the fore; the musical score, since he worked directly from the music, notably that of Stravinsky; the ballet barre, the central tool of teaching; and the rehearsal piano, which he played himself to explain a passage. The key thing to remember is that these objects reflect his quest for purity: less scenery, more movement.

Question 7

What does the term “neoclassicism” mean in the context of Balanchine?

Accepted Answer

Neoclassicism in dance refers to a style that keeps the technique of classical ballet (pointe work, pas de deux, etc.) but pares down the scenery, costumes and stories to bring pure movement and music to the fore. Balanchine is its master: unlike the narrative ballets of the 19th century, he created abstract works whose essence is to “see the music and hear the dance.” What sets his approach apart is that he regarded the choreographer as a servant of the music, not the other way around.

Question 8

What anecdote shows the unexpected nature of Balanchine's career?

Accepted Answer

Born Georgi Balanchivadze in Saint Petersburg, young George had not chosen dance: his mother had taken him to audition at the Imperial Ballet School in 1913, and it was by chance that he was admitted, since he dreamed instead of a military career. He stayed there for years, living through the Russian Revolution of 1917 and its famines. What is often forgotten is that this rigorous training during a troubled period forged the discipline and artistic exigence that would mark his entire career.

Question 9

What was the global context during Balanchine's career?

Accepted Answer

Balanchine lived through major upheavals: the Russian Revolution of 1917, which drove him to emigrate; the Second World War (1939-1945); and the Cold War, a period of tense opposition between the United States and the USSR. In 1962, the New York City Ballet toured the USSR at the height of the Cold War, which carried diplomatic significance. The key thing to remember is that Balanchine knew how to turn these difficult contexts into opportunities: he brought the Russian tradition to the United States and reinvented it.

Question 10

Where did Balanchine work and live?

Accepted Answer

The key places are: Saint Petersburg, his native city where he trained at the Imperial Ballet School; Paris, where he joined Diaghilev's Ballets Russes in 1924 and created his first major choreographies; and New York, where he founded the School of American Ballet (1934) and the New York City Ballet (1948), settled at Lincoln Center from 1964. What is striking is the contrast between the Russian rigor of his training and the creative freedom he found in the United States, which allowed him to invent a new style.

Question 11

What are the primary sources that shed light on Balanchine's thinking?

Accepted Answer

Several remarks reported by Lincoln Kirstein or gathered in interviews give insight into his philosophy. For example, he would tell the dancers “Don't think, dear, just do,” emphasizing the importance of instinct and speed. He also liked to repeat “There are no mothers-in-law in ballet,” a way of saying that he preferred pure dance to narrative plots. The key thing to remember is that these quotations reveal a pragmatic man who placed music and movement above all else.

George Balanchine(1904 — 1983)

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