Word: bolshoi
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Dates: during 1960-1969
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...hotels for discussions or huddling in caucus to modify their original position papers. At their hosts' invitation, the delegates assembled one night in the Kremlin's modern Palace of Congresses for a performance of Ukrainian folk music and dancing. Some delegates on other nights went to the Bolshoi ballet. For those with less sophisticated tastes, there were those lovable perennials, the famous trained bears riding their bicycles at the Moscow Circus...
...with gypsy dancing, jugglers and magicians. Yet long lines are still a feature of Moscow life; they form daily outside the Georgian-style Aragvi restaurant and the popular Seventh Heaven, a new yet already shabby revolving restaurant 700 ft. up the 1,600-ft.-high Moscow television tower. The Bolshoi Theater is sold out weeks in advance, and outside the Moscow Circus people queue up in hopes of last-minute cancellations. No wonder the two-day weekend touched off a round of heavy drinking that alarmed officials and brought out the preacher in newspaper editors...
...Soviets are also making an inroad in a historic U.S. preserve. For years, the Philippines shunned any ties whatsoever with Communist countries. Now Filipino students and journalists in growing numbers visit the Soviet Union. The Russians, in turn, send trade and cultural groups; Bolshoi dancers were performing in Manila last week. Many Filipinos expect that the two countries will establish diplomatic relations within a few years...
SHCHEDRIN: THE CARMEN BALLET (Melo-diya/Angel). Rodion Shchedrin, 35, the current Establishment favorite of Russia's younger generation of composers, wrote this ballet for his beautiful wife Maya Plisetskaya, the Bolshoi Ballet's prima ballerina. Hearing the Toreador Song and the Changing of the Guard freely arranged for strings and 47 percussion instruments is pleasant for the first time, but no more. Shchedrin mistakes brashness for cleverness so often that familiarity with his work breeds boredom...
Memory & Myth. Modern-Dance Pioneer Martha Graham is as far removed from Bolshoi technique as the cloister is from the athletic field. Probing ever deeper into the recesses of the psyche, she is an explorer of the mental interior, reflecting on the roles of memory, meditation, myth and the male-female relationship. She successfully blended them all at the beginning of her 21-week Manhattan season in a new work called A Time of Snow, a somber retelling of the love and tragedy of Heloise and Abelard. The Graham dancers embraced the angular and knotty choreography with the familiar...