A Balanchine for the New Millennium: Dana Genshaft and “Shadow Lands” at the Washington Ballet



A futuristic feeling pervades Dana Genshaft’s new work “Shadow Lands,” the centerpiece of the Washington Ballet’s Three World Premieres this April at the Harman Center. Along with Ethan Stiefel’s Wood Work and Trey McIntyre’s “Teeming Waltzes,” Genshaft’s “Shadow Lands” represents the Washington Ballet’s initiative to promote new choreographic art.

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Iosif Vissarionovich Changes Profession



Under Stalin, a successful rehabilitation of Ivan the Terrible was required to be Romantic, implying an optimistic interpretation of history and of Stalin’s political achievements. Where the Party mandated Romance, Eisenstein gave them Tragedy. On the other hand, Bulgakov’s “Ivan Vasilievich” earned the ire of Soviet critics by presenting a world that remained untouched by progress, thereby portraying history as Satire. For his “Ivan Vasilievich Changes Profession,” Leonid Gaidai adapted Bulgakov’s play, an already risky procedure, and built into this adaptation references to Eisenstein’s film.

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Interview with Sean Guillory, Part II



“I think we who either produce or engage with academic work need to seriously reconsider what we do, why we do it, and whom we do it for. I remember in my first year of grad school, one of my professors said that his audience was the handful of experts around his topic. I found this really shocking, but at the same time, I couldn’t blame him. Academia is structurally designed so that all you have to do is impress a handful of people— peer reviewers, tenure committees, experts in your field and the people who might review your book in an academic journal, etc. I find this really sad—not to mention incredibly unimaginative—given the amount of blood, sweat, and tears people put into their work.”

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Interview with Sean Guillory, Part I



“The sorry state of public discourse around Russia has led me to try to provide the most eclectic range of topics on my podcast. The idea is to show my audience and guests three things: 1) That there is a lot of wonderful scholarly work out there. This is really the golden age of Eurasian studies; 2) That there is an audience for scholarly work and the problem is one of access. 3) That scholarship is more needed than ever and scholars should do their best to reach beyond the university, their colleagues, and students. Sure, we may never have an impact like all the flapping heads on the Punditburo, but at least we might get people to realize there are more stories out there than need telling.”

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