Mikhail Baryshnikov
Mikhail Nikolayevich Baryshnikov (Russian: Михаил Николаевич Барышников, IPA: [mʲɪxɐˈil bɐ'rɨʂnʲɪkəf]; Latvian: Mihails Barišņikovs; born January 28, 1948)[1] is a Latvian and American dancer, choreographer, and actor.[2] He was the preeminent male classical dancer of the 1970s and 1980s. He subsequently became a noted dance director.[3]
This article is about the ballet dancer. For the Russian athlete, see Aleksandr Baryshnikov.
Mikhail Baryshnikov
- Soviet Union (1948–1986)
- United States (1986–present)
- Latvia (2017–present)
- Dancer
- choreographer
- actor
1968–present
Jessica Lange (1976–82)
Born in Riga, Latvian SSR, into a Russian family, Baryshnikov had a promising start in the Kirov Ballet in Leningrad before defecting to Canada in 1974 for more opportunities in Western dance. After dancing with the American Ballet Theatre, he joined the New York City Ballet as a principal dancer for one season to learn about George Balanchine's neoclassical Russian style of movement. He then returned to the American Ballet Theatre, where he later became artistic director. Baryshnikov has spearheaded many of his own artistic projects and has been associated in particular with promoting modern dance, premiering dozens of new works, including many of his own. His success as a dramatic actor on stage, cinema, and television, has helped him become probably the most widely recognized contemporary ballet dancer. After his 1974 defection, Baryshnikov never returned to the USSR. Since 1986, he has been a naturalized citizen of the United States.[4] After Latvia declared independence on 4 May 1990, he often returned there; in 2017, the Republic of Latvia granted Baryshnikov citizenship for extraordinary merit.
In 1977, he received a nomination for the Academy Award for Best Supporting Actor and a Golden Globe nomination for his portrayal of Yuri Kopeikine in the film The Turning Point. He starred in the movie White Nights with Gregory Hines, Helen Mirren, and Isabella Rossellini, and had a recurring role in the last season of the television series Sex and the City.
Early life[edit]
Mikhail Baryshnikov was born in Riga, in the Latvian SSR, Soviet Union, now known as Latvia.[5][6] His parents were ethnic Russians: his mother was Alexandra (a dressmaker; née Kiselyova) and his father was Nikolay Baryshnikov (an engineer). According to Baryshnikov, his father was a strict, nationalist military man, and his mother introduced him to theatre, opera, and ballet.[4] She died by suicide when he was 12 years old.[4]
Dancing career[edit]
1960–1974: early years[edit]
Baryshnikov began his ballet studies in Riga in 1960, at the age of 12. In 1964, he entered the Vaganova School, in what was then Leningrad (now St. Petersburg). Baryshnikov soon won the top prize in the junior division of the Varna International Ballet Competition. He joined the Mariinsky Ballet, then called the Kirov Ballet, in 1967, dancing the "Peasant" pas de deux in Giselle. Recognizing Baryshnikov's talent, particularly his stage presence and purity of technique, several Soviet choreographers, including Oleg Vinogradov, Konstantin Sergeyev, Igor Tchernichov, and Leonid Jakobson, choreographed ballets for him. Baryshnikov made signature roles of Jakobson's 1969 virtuosic Vestris along with an intensely emotional Albrecht in Giselle.[7] While he was still in the Soviet Union, New York Times critic Clive Barnes called him "the most perfect dancer I have ever seen."
1974: defection to Canada[edit]
Baryshnikov's talent was obvious from his youth, but being 5' 5" (165 cm) or 5' 6" (168 cm) tall—shorter than most male ballet dancers—he could not tower over a ballerina en pointe and was therefore relegated to secondary parts.[8][9] More frustrating to him, the Soviet dance world hewed closely to 19th-century traditions and deliberately shunned Western choreographers, whose work Baryshnikov glimpsed in occasional tours and films. His main reason for leaving the Soviet Union was to work with these innovators.
On June 29, 1974, in Toronto while on tour with the Bolshoi, Baryshnikov defected, requesting political asylum in Canada. As recalled by John Fraser, a ballet critic from Toronto who helped Baryshnikov to escape, Fraser wrote down phone numbers of people on a small piece of paper and hid it under his wedding ring. At a banquet after one show he managed to distract the KGB officer who followed Baryshnikov as an interpreter and gave Baryshnikov the paper.[10] Soon, Baryshnikov joined the National Ballet of Canada for a brief time in a guest role.[11][12] He also announced that he would not return to the USSR. He later said that Christina Berlin, an American friend, helped engineer his defection during his 1970 tour of London. His first televised performance after coming out of temporary seclusion in Canada was with the National Ballet of Canada in La Sylphide. He then went to the United States.[13] In December 1975, he and his dance partner Natalia Makarova featured prominently in an episode of the BBC television series Arena.
In the first two years after his defection, he danced for no fewer than 13 different choreographers, including Jerome Robbins, Glen Tetley, Alvin Ailey, and Twyla Tharp. "It doesn't matter if every ballet is a success or not", he told New York Times dance critic Anna Kisselgoff in 1976. "The new experience gives me a lot." He cited his fascination with the ways Ailey mixed classical and modern technique and his initial discomfort when Tharp insisted he incorporate eccentric personal gestures in dance.
1974–1978: principal dancer with the American Ballet Theatre[edit]
From 1974 to 1978, Baryshnikov was a principal dancer with the American Ballet Theatre (ABT), where he partnered with Gelsey Kirkland.[14]
True Russia Foundation[edit]
In March 2022, together with economist Sergei Guriev and writer Boris Akunin, Baryshnikov announced the formation of the True Russia foundation to support victims of the war in Ukraine. Baryshnikov condemned the Russian invasion and wrote an open letter to Vladimir Putin slamming his "world of fear". In his letter, Baryshnikov wrote that people of culture who promoted Russian art made more for Russia than Putin's "not-so-precise weapons".[42][43][44] True Russia also aims to become a trilingual art platform.[43] By the end of March, the initiative had raised more than 1.2 million euros.[45]