Word: russianizing
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Dates: during 1940-1949
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...European Command of the State Department. Out of these talks should come a major decision on future American policy in Europe. Is the West content to maintain the status quo with Russia, or should it attempt to push the border back by encouraging unorthodoxy and nationalism among non-Russian communists? The U. S. is already committed to a $20,000,000 loan to Tito. The subject now is how much more help--if any--should be sent. In making up its mind, the London conference will have to consider heavy arguments on both sides...
Tito's heresy can be of great value to the U. S. Since the danger to American security today is not communism but Russian expansion, Tito's break with the Cominform is an encouraging sign of abatement in the cold war. If his venture is successful, both Eastern and Western communists may adopt his doctrine of independence...
...Western Europe, de-Russianized communists would be far less dangerous. And reducing the immediacy of Russian power lessens the danger of resort to the protection of such rightists as de Gaulle...
...Sleeping Beauty. There was one Russian dancer: Violetta Elvin, but she is married to a Briton who brought her out of Moscow after World War II. The two stars with the brightest shine were born in Surrey and Fifeshire: dark-haired Margot Fonteyn (TIME, April 15, 1946) and red-haired Moira (The Red Shoes) Shearer. The leading male dancer, Robert Helpmann, is somewhat of a foreigner-from Australia. Chief Choreographer Frederick (Cinderella, Facade) Ashton was born in Ecuador of British parents. Some of the ballets had unmistakably British subjects, among them The Rake's Progress (De Valois) and Hamlet...
This week, in the first top-hat event of the season, first-nighters saw England's fine company do a Russian masterpiece the way it is still done only in the Soviet Union and Covent Garden. They sat, charmed, through the complete three-act, three-hour-long Tchaikovsky-Petipa ballet The Sleeping Beauty. Few could say they had ever seen a more lavish spectacle and dancing grace on a U.S. ballet stage. It took Conductor Constant Lambert a full five minutes to get the music in motion again after the thunderous ovation for Margot Fonteyn and Robert Helpmann...