of the Universeâ was an experiment in choreography that failed, for reasons that he himself realised. These translations are welcome, well made, and justiï¬ed by Lopukhovâs status as an object of curiosity, though questions could be raised about selection, especially the exclusion of Sixty Years in Ballet. The editorial claims of the book are unusual in relation to what Lopukhov actually wrote, the disparity between these two inviting debate. To put the matter afï¬rmatively: Lopukhovâs writings locate him precisely as a practical man of the theatre. He thinks like one, writes like one, reminisces like one. That he was occasionally attracted to experiment, or drawn in by the chic musings of his brainy colleagues, is more a reï¬ection of his times than a credential making him a theorist. Judging from his writings, a trained musician he was not. He speaks of technical matters in music within predictable limitations of his profession, but expects to be taken seriously, whatever the topic, for the totality of his artistic accomplishment. If we make him more than he was, we hold him to a standard that risks embarrassment all around. If we understand him rightly, separating the wheat from the chaff in
Dance Research – Edinburgh University Press
Published: Oct 1, 2004
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