UCLA anticipates performance of revered ballet dancer

For over 40 years, Mikhail Baryshnikov has conceded to let his
feet rather than his mouth do the talking. But instead of imagining
what they would say, simply mention the name
“Baryshnikov,” and dance enthusiasts will shower those
feet with praise.

“Baryshnikov is ecstasy in ballet shoes,” said
Nichole LaPeer, a third-year Spanish and linguistics student.
“He’s the greatest.”

Originally scheduled to perform at UCLA last October, the most
popular, if not the greatest, ballet dancer in the world postponed
his performances due to a knee injury he suffered while training
for his tour. Anticipation will be high for Baryshnikov’s
return in “Solos with Piano or not” on March 2, 4
through 7, at Freud Playhouse.

So what exactly makes Baryshnikov so Baryshnikov? Some would say
it’s the Russian dancer’s amazing leaps through the
air, or his technical brilliance, while others agree that
it’s the way he commands every move while remaining
graceful.

“(Baryshnikov) combines incredible grace and fluidity with
tremendous power and strength,” said David Roussève,
chairperson of the World Arts and Cultures department and the
artistic director of the New York-based dance and theater company,
David Roussève/REALITY. “This gives him the ability to
be not only a stupendous technician, but also a sensitive
interpreter of roles.”

Baryshnikov’s physical prowess is even harder to fathom
considering his advanced age. Although many people believe that the
art of dance seems to have a limited age range, the 56-year-old
continues to defy Father Time. “If anybody should be dancing
at that age, it should be Baryshnikov,” said LaPeer.

A grandfather in real life, Baryshnikov recently played
Aleksandr Petrovsky, the worldly former beau of Carrie Bradshaw on
HBO’s “Sex and the City.” The dancer has earned
the approval of the show’s loyal fans.

“I’m a fan of “˜Sex and the City,’
especially with (Baryshnikov) on the show,” said Kate Wilson,
a fourth-year World Arts and Cultures student. “He’s a
pretty good actor. When you’re dancing, you’re sort of
acting.”

Baryshnikov’s turn to acting isn’t all that
surprising, considering he already had a reputation for crossing
genres. Even before tackling the role of director and dancer of the
White Oak Dance Project (which he co-founded with choreographer
Mark Morris) from 1990-2002, Baryshnikov had broadened his
repertoire to cover more than ballet.

“I had the chance to see Mikhail Baryshnikov perform with
his group, the White Oak Dance Project, a few years back in Royce
Hall,” said Lizy Moromisato, a graduate student in Spanish
and Portuguese. “It was refreshing to see him doing
avant-garde, experimental work. Baryshnikov performed as part of
the ensemble group. Yet it was hard not to be in awe of his
artistry and exquisite form.”

Susan Foster, professor in the World Arts and Cultures
department, agrees that much of Baryshnikov’s legacy comes
from the way he has developed an enormous range as a performer.

“(Baryshnikov) has cultivated his ability to perform
everything from ballet to modern to postmodern genres, and he is
excellent at all these (forms),” said Foster. “He has
also been an extraordinary force in the dance world because he has
encouraged a diverse range of young choreographers.”

In his upcoming performance at UCLA, Baryshnikov will premiere
works by American choreographers such as Lucinda Childs, Ruth
Davidson Hahn and Tere O’Connor.

“He’s a fantastic thinker, very intelligent, very
curious, and it shows in his dancing,” said David Gere, an
associate professor of World Arts and Cultures. “This huge
intellectual life shows in his dancing. That’s bound to have
an impact.”

Call (310) 825-2101 or visit www.uclalive.org for more
information.