Remembering Nureyev: The Trail of a Comet
by RUDI van DANTZIG
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Book Summary Information
Author: RUDI van DANTZIGTranslator: KATIE de HAAN
Edition: Hardcover
Audio: English (Original Language); English (Unknown); English (Published)
Published: 2008-04-06
ISBN: 0813032091
Number of pages: 304
Publisher: University Press of Florida
Book Reviews of Remembering Nureyev: The Trail of a Comet
Book Review: an obscure and egotistical author tries to dimish a great star
Summary: 3 Stars
I tried hard to like this book but as a fan of Nureyev and a reader of many other rememberances of him, I have to say this is not one of my favorites. Rudi Van Dantzig was a so called friend of Nureyev for 25 years and profited enormously from the association as without Nureyev it would have been unlikely for Dantzig or his company to achieve fame in the dance world, yet he trashes his friend's memory at every opportunity in this book, IMO. Like a lot of footnote people in the arts, the author seems to be trying to pump up his own importance by denigrating a truly great star, IMO.
If the author is to be believed, Nureyev was only semi talented, an indifferent worker in the studio, a poor partner in pas de deux, a fickle friend, etc. Similarly, Margot Fonteyn is characterised as an untalented ballerina who danced her parts without expression or emotion and no technique. Yet, if one reads other books on Nureyev from other famous dancers or critics,etc, one learns Nureyev was tempermental, yes, but was a hard worker and staunch friend(the critically acclaimed dramatic British ballerina Lynn Seymour, for example, details how Nureyev gave her parts when a thryoid ailment had her on hiatus in her memoir--characteristically, Seymour is described as a poor actress by Dantzig!) and a great partner( Nureyev partnered a who's who of great ballerinas--even Gelsey Kirkland stated in her tell all book that she wished Nureyev was 10 years younger so he could partner her). Similarly, Fonteyn was called the greatest non-Russian intrepreter of Aurora in Sleeping Beauty by many experts on Russian Ballet like Smakov. In other words,many other authors and friends claim the exact opposite of what this author is maintaining( however, since art is objective, Dantzig is entitled to his opinion).
To say that Dantzig is in the minority with his views on the artistic value of Nureyev, Fonteyn, Seymour,etc is putting it mildly. Perhaps the author has trouble dealing with the fact that Nureyev and Fonteyn have grown more and more famous after death and he himself has become more and more ignored and obscure. This book is truly an example of a footnote person trying to throw dirt on one of the greatest stars ballet has ever seen, IMO. Like Nijinsky, Nureyev was given that rare title of Le dieu de la dance--a god of the dance--in his lifetime and also was called the "Russian Comet" because he was so much of a superstar on stage. Even the great Mikhail Baryshinikov has said that Nureyev was better dramatically than he was and Tamara Karasvina, the partner of Nijinksy, saw Nureyev in the early 1960's and said Nureyev was better than Nijinksy. Yet, Rudi Van Dantzig would have you believe that Nureyev was inferior to little known dancers in his Dutch company in most roles( yeah right!).
Personally, I think this is just an attempt to get publicity for Dantzig and profit off his old friend and benefactor. Dantzig's main theme seemed to me to be "I am great, my ballets are great and I think Rudolf was mediocre in them and so I am greater than he and have more integrity and talent, etc" when the truth is that Dantzig's ballets mostly gained interest in the dance world when Nureyev started to dance in them. Dantzig was considered a minor talent working in the artistic backwater of Holland and Nureyev was a good friend to him to continue working with him in developing ballets and in Nureyev's dancing with and elevating the Dutch company to an international level. Van Dantzig is known in dance circles but he is certainly not a household name even in those circles, like say, Ashton( who he also makes fun of--describing the great choreographer as "lisping") or Balanchine( who he describes as working indifferently with Nureyev on Le Bourgeois Gentilhomme).
On the personal side, the author's more private remembrances are more bearable because they are private and they are not so opposed to what is in other books on the man. Dantzig does take steps to portray Nureyev as an annoying friend with questionable priorities. However, Nureyev, not Dantzig, comes off as the bigger person as Nureyev continued their friendship even when Dantzing decided to fire Nureyev when he got too old to dance the ballets--of course, the firing happens after Nureyev had established Dantzig as a choreographer of interest first. Dantzig comes off as a user, not a friend,IMO. The author also spends an inordinate amount of time recounting every argument or tantrum Nureyev had while trying to diminish Nureyev's greatness with critics and fans at every opportunity in the book.
I suggest fans of Nureyev to read this bio with a grain of salt(or skip it altogether) and to read some other more balanced biographies on him like "The dancer who flew", which was written by a dancer in the Canadian Ballet who was close enough that Nureyev was her child's godfather and it is also very behind the scenes and personal. Other good choices include more objective bios like "Perpetual motion", "His life", etc and the poetic "Dancer".
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