When a hooded assailant flung acid in the face of Sergei Filin, the director of the Bolshoi Ballet, late on Thursday night in Moscow, the attack almost instantly made headlines worldwide.
Although doctors have now said that Mr. Filin will not lose his sight in both eyes, the extent of the damage to his vision and face is not yet known. The viciousness of the intention — blindness, disfigurement, pain — behind the attack has left the ballet world (and journalists) groping for explanations. Some have been quick to link the incident to the byzantine politics and history of infighting that has long characterized the Bolshoi theater.
The Bolshoi’s general director, Anatoly Iksanov, immediately said that he believed the attack was linked to the theater, and Mr. Filin, in an interview with the newspaper Komsomolskaya Pravda, published Tuesday, said “he believed he was attacked because of his work at the ballet company,” wrote Ellen Barry, who has been covering the events from Moscow for The New York Times.
Reports in European and American news media have almost all mentioned the simmering hostility between the director and the flamboyant principal dancer, Nikolai Tsiskaridze, who has made no secret of his belief that he should head the company, nor of his criticism of Mr. Filin’s artistic policy. Mr. Tsiskaridze is said to inspire fanatical devotion in his fans, who sent a petition to President Vladimir V. Putin in November demanding that their hero replace Mr. Filin as head of the ballet company. But commentators have stopped short of suggesting that the dancer himself might have had something to do with the attack.
“As ruthless as the ballet world might be, it’s hard to imagine Tsiskaridze committing such a crime,” wrote Ariane Bavelier in Le Figaro.
That ruthlessness has been repeatedly alluded to, with, naturally, Darren Aronofsky’s 2010 film, “Black Swan,” and its lurid portrayal of the ballet world, repeatedly invoked. “An acid attack on the artistic director of the Bolshoi ballet has shone the spotlight on the fierce “Black Swan”-like competition for starring roles at the famed Russian dance company,” wrote Lynn Berry and Nataliya Vasileva on the Huffington Post Web site.
Hearing about the persecution that preceded the physical attack on Mr. Filin in previous months — his car tires were slashed, his phones, email and Facebook page hacked, and he received numerous threatening phone calls — makes the fictional events of the film “Black Swan” and Natalie Portman’s psychotic ballerina seem rather less far-fetched.
Many have placed the attack on Mr. Filin in the context of a long history of internecine war at the Bolshoi, linked to the polarizing figure of Yuri Grigorivich, who headed the ballet company for three mostly Soviet-era decades, until his dismissal in 1995.
“Just turned 86, he retains almost godlike status for his supporters, who include many veteran Bolshoi coaches as well as some celebrated dance stars such as Tsiskaridze, who share a suspicion of modernizers,” wrote Ismene Brown on the Artsdesk web site.
Grigorovich supporters criticize what they see as an overly Westernized approach on the part of subsequent directors. Several commentators have suggested that the departure of Alexei Ratmansky, who is widely seen as having revitalized the company during his 2004-2008 tenure, was due at least in part to pressure from this group.
Although Mr. Ratmansky has always been tactful about his reasons for leaving the Bolshoi, his feelings were clear in a Facebook post after the attack: “Many of the illnesses of the Bolshoi are one snowball,” he wrote, “that disgusting claque which is friendly with artists, ticket speculators and scalpers, half-crazy fans who are ready to slit the throats of their idol’s competitors, cynical hackers, lies in the press and scandalous interviews of people working there.”
And the departure of Gennady Yanin, who resigned in 2011 after sexually explicit photographs resembling him were posted on the Internet, has also been described by Mr. Yanin’s supporters as the result of a crude smear campaign.
It was announced Tuesday that Galina Stepanenko, a former principal dancer and the first woman to hold a senior position at the Bolshoi, will run the company during Mr. Filin’s absence.
What is clear from the media coverage is that ballet has a political status in Russia that is very different from that in the west.
“Shocking as it might seem to western observers, politics in the Bolshoi and other Russian companies are often just as turbulent and murky as those in the outside world – and no less locked in a struggle between cold war-style conservatives and liberal modernisers than Russia itself,” Judith Mackrell wrote in The Guardian.
It’s not impossible to imagine that artistic directors in London or Paris or Berlin might be subject to threats or intimidation, as might be the case for any powerful head of a large organization. But it’s harder to envisage a culture in which ballet is as powerful a symbol of political prestige and national brand as government itself.
“Ballet in Russia is more politics than art,” wrote the New York-based impresario Sergei Danilian, who represents a number of major Russian ballet dancers, in an email message.
“Would that ballet ignited such passion here,” wrote a New York resident on Twitter.
Well, not really, but you know what she means.
