- Title Pages
- Dedication
- Epigraph
- Prologue with Letter from Alicia Alonso
- Acknowledgments
-
1 Always Ask Why -
2 Pro-Arte Musical, Yavorsky, and New York -
3 Alicia, Fernando, and Laura -
4 Musicals, Mordkin, Balanchine, and the Birth of Ballet Theatre -
5 Repertoire, Camaraderie, and an Étoile -
6 Challenges and Pilgrimages -
7 Autumn in New York, and a Dawning in Havana -
8 Ballet Theatre, a University of Dance, and More … -
9 Ballet Alicia Alonso -
10 El Maestro de Maestros, the Father of Cuban Ballet -
11 Crafting a Curriculum, Sculpting a Style -
12 Legends and Lessons -
13 A Revolutionary Proposal -
14 Batista’s Blackmail Bid -
15 The Soviet Union Invites the Alonsos -
Appendix A Dance Magazine Interview -
Appendix B La danza eterna Interview -
Appendix C Address to the Assemblée Internationale, Toronto -
Appendix D Prizes Awarded to Cuban National Ballet Dancers, 1964–1974 -
Appendix E Selected BNC-Commissioned Repertoire Works, 1959–1974 -
Appendix F Elementary, Middle Ballet, and National Arts Schools -
Appendix G Proposal on Ballet -
Appendix H Revolutionary Government Statute to Guarantee National Ballet and Law 812 - Chronology
- Bibliography
- Index
- [UNTITLED]
The Soviet Union Invites the Alonsos
The Soviet Union Invites the Alonsos
- Chapter:
- (p.78) 15 The Soviet Union Invites the Alonsos
- Source:
- Fernando Alonso
- Author(s):
Toba Singer
- Publisher:
- University Press of Florida
Only the Academy remained, Fernando choreographed Divagaciones, Alicia and Fernando tour USSR, Fernando teaches with Nureyev in class, sees advantages of Russian bravura in men’s work, detained by BRAC at Rancho Boyeros Airport upon return. With revolutionary triumph near, Dr. Julio Martínez Paes asks Fernando to make proposal on reorganization of company.
Keywords: Academy, USSR, Leningrad, Nureyev, Menia Martínez, Alicia Alonso, BRAC, Batista regime, Dr. Julio Martínez Paez
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- Title Pages
- Dedication
- Epigraph
- Prologue with Letter from Alicia Alonso
- Acknowledgments
-
1 Always Ask Why -
2 Pro-Arte Musical, Yavorsky, and New York -
3 Alicia, Fernando, and Laura -
4 Musicals, Mordkin, Balanchine, and the Birth of Ballet Theatre -
5 Repertoire, Camaraderie, and an Étoile -
6 Challenges and Pilgrimages -
7 Autumn in New York, and a Dawning in Havana -
8 Ballet Theatre, a University of Dance, and More … -
9 Ballet Alicia Alonso -
10 El Maestro de Maestros, the Father of Cuban Ballet -
11 Crafting a Curriculum, Sculpting a Style -
12 Legends and Lessons -
13 A Revolutionary Proposal -
14 Batista’s Blackmail Bid -
15 The Soviet Union Invites the Alonsos -
Appendix A Dance Magazine Interview -
Appendix B La danza eterna Interview -
Appendix C Address to the Assemblée Internationale, Toronto -
Appendix D Prizes Awarded to Cuban National Ballet Dancers, 1964–1974 -
Appendix E Selected BNC-Commissioned Repertoire Works, 1959–1974 -
Appendix F Elementary, Middle Ballet, and National Arts Schools -
Appendix G Proposal on Ballet -
Appendix H Revolutionary Government Statute to Guarantee National Ballet and Law 812 - Chronology
- Bibliography
- Index
- [UNTITLED]
