Star Ballerina
Alicia Alonso – Prima Ballerina Assoluta
Alicia Alonso, Alicia Ernestina de la Caridad del Cobre Martinez Hoya was born on December 21, 1920
A year later he presented publicly for the first time in Tchaikovsky's Sleeping Beauty. Alonso danced in Cuba under the name of Alicia Martinez .– Rapid progress of the dancer in his classes came to an abrupt end in 1937, when 15 years old, fell for a fellow ballet student, Fernando Alonso, whom he married. After his marriage he changed his name of Alonso. The new couple moved to New York, hoping to start their career. They found a home with relatives in the section of Spanish Harlem of the city. Alonso soon gave birth to a daughter, Laura, but managed to continue his training at the School of American Ballet and took private classes with Leon Fokine, Alexandra Fedorova, Enrico and Anatole Zanfretta .- "Then Vilzak organized a trip to London to study with the renowned Vera Volkova .– Meanwhile, her husband had joined the new Ballet Company Mordkin in New York. He had surgery to correct the problem and ordered to lie in bed motionless for three months to allow the eye to heal. in 1943 to start rebuilding their skills. However, before she had barely settled from the blue was asked to dance "Giselle" to replace prima ballerina wounded Ballet Theater. Alonso agreed and gave a performance that critics immediately declared her a star. He was promoted to principal dancer of the company in 1946 and danced the role of Giselle, until 1948, also held at Swan Lake, Anthony Tudor Undertow (1943), Theme and Variations Balanchine (1947), and world premiere, as DeMille's Fall River Legend dramatic ballet .- (1948), which acted as the accused. For once in his career, had developed a reputation as an intensely dramatic dancer and an ultra-pure and highly qualified technical interpreter of classical and romantic repertoire. alliance with Alonson time, Youskevitch, have often been compared to that of Fred Astaire and Ginger Rogers.
Alicia was affected by an eye defect and was partially blinded after turning 19. He soon had his partner being where I expected them to be. Lights are also used in different parts of the stage to guide her, too.
After seeing the doctor for worsening vision problems, Alonso was diagnosed in 1941 with a detached retina .-
Unable to comply completely, Alonso practiced with her feet alone, pointing and stretch, as she said, "keep my feet alive." When he came out of bandages, Alonso was dismayed to find that the transaction had not been a complete success. The doctors performed a second surgery, but its failure led to the conclusion that the dancer would not have peripheral vision.
Finally, Alonso agreed to a third procedure in Havana, but this time he was ordered to lay flat in bed motionless for a whole year. He was not allowed playing with Laura, chew food too hard, laugh or mourn, or moving your head. Her husband sat with her every day, using your fingers to show the roles big dance ballet. Women in World History, Alonso later recalled of that period, "I danced in my mind. Blinded, motionless, his back, I taught myself to dance Giselle. "
Finally, he was let out of his bed, although dancing was still out of question. Instead, she walked with her dogs and, against doctor's orders, went to study ballet in the street every day to start practicing again. Then, Like her hope was returning, Alonso was injured when a hurricane destroyed a door at home, spraying glass splinters in the head and face. Surprisingly, his eyes were not injured. When his doctor saw him, said Alonso to start dancing, thinking that if I could survive an explosion of glass, dancing would not no harm.
Nearly mad with impatience and even partially blind, Alonso went to New York
to found his own company, the Alicia Alonso Ballet Company, which is maintained with little financial support, this company eventually became National Ballet of Cuba .-
Youskevitch and other partners quickly became expert at helping Alonso hide their disability. To compensate for the deficiency visual only one eye and no peripheral vision, the dancer trained their members to know exactly where she needed, without exception. He also had the set designers install strong spotlights in different colors to serve as guides for her movements .– Alonso knew, for example, that if she came into the glare of the spotlights at the front of the stage, she was too near the orchestra pit. There was also a thin wire stretched along the edge of the stage at waist height as another marker for her, but in general, dancing in the encircling arms of his teammates and was taken by them from point to point. The hearings were never the wiser, as it watched the first dancer.
Alonso's desire to develop ballet in Cuba led to return to Havana in 1948
Fernando was Director overall business, which was at that time mainly composed of the Ballet Theater dancers out of work temporarily due to a reorganization in the company of New York. Brother Fernando, Alberto, a choreographer, he served as artistic director of the Company-The company debuted briefly in the capital and then departed for a South American tour .-. The performances were a success with audiences everywhere, but Alonso found himself financing the business with his savings to continue forward despite donations from wealthy families and a modest subsidy from the Ministry of Education of Cuba. in 1952 and then producing and starring in Giselle Paris Opera 1953 .-
Meanwhile, commuted between Havana and New York to hire the best teachers in the world to train their new students. She remains a sought-after prima ballerina during this hectic time, dancing twice in Russia
Between 1955 and 1959, Alicia danced every year with the Ballet Russe de Monte Carlo guest star. She was the prima ballerina of the Western Hemisphere to perform in the Soviet Union and the U.S. representative first dance with the Bolshoi and Kirov Theaters of Moscow and Leningrad (St. Petersburg), respectively, in 1957 and 1958. , North and South America, and danced as guest star with the Paris Opera, the Royal Danish Ballet, the Bolshoi and other businesses. He has organized his versions of Giselle, Pas de Quatre, and beauty Sleepng Opera Pars were also conducted .- Giselle at the Vienna State Opera and the Teatro San Carlo in Naples, Italy, La Fille Mal Gardée at the Prague State Opera, and Sleeping Beauty at the Teatro alla Scala in Milan .-
During the following decades, Alicia Alonso had toured the world through Western and Eastern European countries, Asia
In the mid-1950s, the Alicia Alonso Ballet Company was in dire straits financially and politically. A dictator, Fulgencio Batista
Forced to work in nightclubs to earn a living, the dancers often do not have the energy to take to Alonso. As the dancer became increasingly vocal in their disdain for Batista, the regime offered five hundred dollars a month in perpetuity to stop their criticism. Disgusted, he turned his school in 1956,
Alonso worked with the Ballet Rousse until 1959, during which time she performed in a 10-week tour of the Soviet Union
, Had taken control and was determined to crush the strong opposition to his rule. With the support of the financial infrastructure of the island, the Mafia, and American business interests, nobody merciless repression that stood in his way. "By declaring that all artists and intellectuals were sympathetic to the left, little was drastically reduced government funding had given Alonso's ballet school and tour group. and joined the Ballet Russe de Monte Carlo with Youskevitch., dancing in Giselle, the Way of the Opera Ballet of Leningrad Storm, and other parts. Her performances earned her the coveted Dance Magazine Award in 1958.
When Fidel Castro
Alonso was convinced that she and her ballet school were "a very important part of the Cuban revolution." She wanted her dancers to the beauty and excitement of ballet to the island nation's workers and farmers who had virtually no experience with artistic expression.
Because of his intense and passionate affiliation with the new communist
When the Vietnam War
Alonso dancing alone in Europe
Alonso continued to serve as the director of the National Ballet of Cuba in the twenty-first century. Numerous books have been written about the dancer, including Alicia Alonso: "At home and abroad (1970), Alicia Alonso: The Story of a Dancer (1979), Alicia Alonso: a passionate life of dance (1984), and Alicia Alonso" First Lady of the Ballet (1993). During an interview in November 2003 in the run to Cuba's National Ballet performance in San Diego, Calif., she said, "I so happy to be here. And I'm happy when I'm onstage. The scenario is where a dancer should be, even if just walking or sitting. I'm home on stage. "
As a director and principal dancer of the Ballet Nacional de Cuba, Alicia Alonso has been an inspiration and guide new generations of dancers Cubans. With his consummate style, which has left its mark on the international world of dance. Some of its most famous alumni and are now dancing at the
(1977). She has served as a juror in international dance competitions in Bulgaria, Russia, Japan, Brazil and the United States.
She has created her own works as The Oil Jar, Essays Symphony, and Lydia. She appeared in a documentary film made in Cuba about her and her work Alicia
Because of its strong membership and passionate about the new communist takeover of the Batista dictatorship on January 1, 1959, Castro has pledged to increase funding to cultural programs in the nation languishing. Encouraged by this sudden change and eager to see his homeland again, Alonso returned to Cuba in March 1959 and received $ 200,000 in funding to form a new dance school, to be called the Ballet Nacional de Cuba, along with a guarantee of annual financial support. – Alonso as described receiving a message Castro in 1958, sent from the Sierra Maestra, inviting the head of the company in the triumph of the July 26 Movement .. She officially founded the school in 1960 .-, And within several years of his dancers were winning international dance competitions. the government in Havana – the American public turned their backs on the prima ballerina and she disappeared from the country's cultural radar. However, his company continued to build their skills and achievements in both Eastern and Western Hemisphere .-. In 1967 and 1971 was conducted in Canada, where reviewers noted that Alonso was still the greatest dancer of his time. Richard Nixon ended and left the presidency, Alonso was allowed to perform again in the United States in 1975 and 1976. An American reviewer said of the dancer, after 54 years and a grandmother "Which creates more sexual promise than ballerinas through their age." And elsewhere, and in its 70 years, despite his near blindness became increasingly evident .– In 1995, she and a number of aging members of the National Ballet in San Francisco in a piece called "In the Middle of the Sunset the sun., American Ballet Theater – the Ballet. Boston San Francisco Ballet, Washington Ballet, Cincinnati Ballet and the Royal Ballet .-, among others. Is a Cuban prima ballerina assoluta and choreographer .- She is considered a legend and is most famous for her portrayal of Giselle and Carmen. Since she was nineteen, Alicia was affected by a defect in the eye and was partially blind. Your partners always had to be in the exact place she expected them to be, and that the lights used in different parts of the stage to guide a major ballet company in Cuba: She began her career in Broadway musicals in New York .– Although plagued by vision problems, Alonso was one of the main stars of the Ballet Caravan and later the Ballet Theater.Alonson born in Havana, Cuba .-. She was the daughter of one of them an officer of army and his wife. The family was financially comfortable and lived in a fashionable section of the capital, so vibrant. Alonso said in a very early age, produced an affinity for music and dance – her mother could occupy her happily for long periods with only a phonograph, a scarf and some records. He started dancing at age nine and studied ballet at the Sociedad Pro-Arte Musical in Havana with Sofie Fedorova .-
. In June 2002 she was appointed Goodwill Ambassador of UNESCO for his outstanding contribution to the development, preservation and popularization of classical dance and for his devotion to the art form through which it has promoted the ideals UNESCO and the fellowship of the world's peoples and cultures. She continues to conduct its National Ballet of Cuba, although it is eighty years old and almost blind.
AWARDS:
the Dance Magazine Annual Award, 1934
the annual ball Magazine Award 1958
Grand Prix de la Ville de Paris, 1966
Anna Pavlova Prize of the University of Dance, Paris, 1.966
Grand Prix de la Ville de Paris, along with his company, 1970
Work Order of the Democratic Republic of Vietnam, 1974
Gold Medal Teatro Gran Prix Grand Theater of Havana in 1985
National Dance Prize of the Ministry of Culture of Cuba, 1998
Gold Medal of the Circulo de Bellas Arts in Madrid, 1998
Pablo Picasso Medal of UNESCO for his outstanding contribution to dance, 1999
Grand Prix de la Ville de Paris, 1999
Prix Benois de la Dance, 2000
To view the dance Alicia Alonso was something worth seeing .- His unique style represented trueGenius, unable to be matched by any other dancer in the world .-
When danced "Swan Lake" it was like floating in the air, and his movements made it seem like a real swan, delicate and beautiful, almost unreal.
Giselle – the ballet favorite, has never been done the only way he could do. – Not Yet another dancer, and willl not be able to do as she did. "His policy preferences can not obscure his wonderful with ART.
"ART" is art, and can not – and should not iterfere with a person's ability to perform the retraction race, political views or inclinations sex .-
She was a true "Prima ballerina assoluta" in every sense of the word.
Eva de la Torriente Diaz
23 July 2009
About the Author
writer – political, family and other issues.
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