Fellow Travellers Dance and British Cold War Politics in the early 1950s
Nicholas, Larraine
Fellow Travellers Dance and British Cold War Politics in the early 1950s / Larraine Nicholas .-- Edinburgh: : Edinburgh University Press, , 2001
23 p.
Dance Research -- Vol. 19, núm. 2, Winter 2001, p. 83 -105
RESUMEN: For Britain and for the World, 1956 was a memorable year. The Hungarian Uprising and the Suez Crisis provided abundant fuel for Cold War politics. In the British theatre two events took place which have subsequently been seen as significant historical land-marks: John Osborne's play Look Back in Anger opened at the Royal Court Theatre and the Bolshoi Ballet had its first London season. Any history of these political and theatrical events would, of necessity, survey the often slow and obscure processes pre-dating them. It is not the purpose of this paper to explore the socio-political context of 1956theatre but rather to offer one contribution to such a history by examining the beginnings of the presentation of Soviet ballet and dance in Britain before the landmark year of 1956. This article also contributes to a growing body of research into the place of dance within Cold War cultural diplomacy which has already received the attention of Naima Prevots (1998) from the American perspective but has not so far been explored in the British context.
Fellow Travellers Dance and British Cold War Politics in the early 1950s / Larraine Nicholas .-- Edinburgh: : Edinburgh University Press, , 2001
23 p.
Dance Research -- Vol. 19, núm. 2, Winter 2001, p. 83 -105
RESUMEN: For Britain and for the World, 1956 was a memorable year. The Hungarian Uprising and the Suez Crisis provided abundant fuel for Cold War politics. In the British theatre two events took place which have subsequently been seen as significant historical land-marks: John Osborne's play Look Back in Anger opened at the Royal Court Theatre and the Bolshoi Ballet had its first London season. Any history of these political and theatrical events would, of necessity, survey the often slow and obscure processes pre-dating them. It is not the purpose of this paper to explore the socio-political context of 1956theatre but rather to offer one contribution to such a history by examining the beginnings of the presentation of Soviet ballet and dance in Britain before the landmark year of 1956. This article also contributes to a growing body of research into the place of dance within Cold War cultural diplomacy which has already received the attention of Naima Prevots (1998) from the American perspective but has not so far been explored in the British context.