{"id":92436,"date":"2015-12-01T15:46:47","date_gmt":"2015-12-01T20:46:47","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=92436"},"modified":"2015-12-01T15:46:47","modified_gmt":"2015-12-01T20:46:47","slug":"the-resurrection-of-joseph-brodsky","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2015\/12\/01\/the-resurrection-of-joseph-brodsky\/","title":{"rendered":"The Resurrection of Joseph Brodsky"},"content":{"rendered":"

Mikhail Baryshnikov\u2019s new \u201canti-ballet.\u201d<\/em><\/p>\n

\"\"<\/a>

Image via New Riga Theatre<\/p><\/div>\n

At the New Riga Theatre, before a recent performance of Mikhail Baryshnikov\u2019s new one-man show, Brodsky \/ Baryshnikov<\/em>, women combed their hair and adjusted their furs in the yellow lobby\u2019s mirror-paneled walls. Some had camped out overnight for tickets when they first went on sale in September; seats sold out almost immediately and promptly began circulating on the black market for many hundreds of euros.\u00a0Wealthy Russians jetted in from Moscow and Saint Petersburg for the event\u2014the director Alvis Hermanis and Baryshnikov are both persona non-grata in Russia, so the entirely Russian-language performance will not stop in Russia during its upcoming international tour.<\/p>\n

The well-heeled crowd\u00a0greeted one\u00a0another with \u201cCiao, ciao\u201d before slipping into their native tongues, the theater a burble of Latvian, Russian, English, and French. They were all there to see the return of \u201ctheir\u201d prodigal son, but the performance they witnessed was something more akin to the return of the prodigal son as old man. Mikhail Baryshnikov is, after all, sixty-seven years old. He is no longer a prodigy, but emeritus.<\/p>\n

\u201cThose who expect the typical Baryshnikov pirouettes and splits \u2026\u00a0are likely to be disappointed,\u201d Latvian critic Undine Adamaite wrote in Diena<\/em>, a Latvian daily.\u00a0<\/p>\n

Indeed, Brodsky \/ Baryshnikov<\/em>, which begins its international tour in Tel Aviv this winter before debuting in New York, in spring 2016, is far closer to theater than ballet, a meditation, in part, on aging and death.\u00a0\u201cIt’s anti-ballet, it’s anti-choreography,\u201d Hermanis said. \u201cWhat Misha does with the body \u2026\u00a0it\u2019s just like spontaneous electricity.\u201d Hermanis and Baryshnikov did not hire a choreographer for the performance, which relies on improvisation. \u201cThese things are not fixed\u2014each evening they\u2019re slightly different \u2026 It\u2019s not the possibility of dance, but the impossibility of dance.\u201d\u00a0There\u2019s even a script, a departure from the ballets of Baryshnikov\u2019s youth. This one is composed entirely of the poetry of Joseph Brodsky, Baryshnikov\u2019s good friend, who died in 1996. The two could be said to star together in Brodsky \/ Baryshnikov<\/em>, even if only one man enters the theater.<\/p>\n

The audience took a collective breath when Baryshnikov first appeared on stage. He looks not the athlete he once was but a gaunt, bedraggled traveler, suitcase in hand, seated on a wooden bench below the broken fuse of a dilapidated Art Deco apartment with large, dusty window panes. He doesn\u2019t speak. He makes the audience wait, Jim Wilson\u2019s operatic \u201cGod\u2019s Chorus of Crickets\u201d playing in the background. Baryshnikov opens his suitcase, pulls out an alarm clock, some poetry books, and a bottle of Jameson (Brodsky\u2019s favorite). He picks up a book, starts flipping through, whispering to himself, as if trying to pick one to read aloud. He finds one, and takes a swig.<\/p>\n

*<\/p>\n

Brodsky couldn\u2019t remember the first time he met Baryshnikov. \u201cWe had a few rather close friends in common in Leningrad,\u201d he said in conversation with Solomon Volkov at his apartment on Morton Street in the late seventies. Baryshnikov was also a close friend of Brodsky\u2019s daughter, a fellow dancer; he even drove her home from a Leningrad hospital after she gave birth. But the two men only met many years later, in New York, after Baryshnikov defected from the USSR in 1974.<\/p>\n

For Baryshnikov, the memory of their first meeting is all too clear: one evening in 1974, the composer Mstislav Rostropovich organized a party in New York in honor of the visiting Soviet writer Alexander Galich, and took the recently defected Baryshnikov, then in his midtwenties, along. Brodsky was there. \u201cHe was sitting, smoking, very red, very handsome. He looked at me, smiled, and said, Mikhail, take a seat, we have a lot to talk about,\u201d Baryshnikov recalled in a Russian-language interview with a Riga magazine in October. \u201cHe gave me a cigarette, my hands were trembling \u2026 For me, he was a legend.\u201d<\/p>\n

After dinner, the two men went on a long walk through the West Village, found a Greek restaurant open late to continue their conversation. They exchanged numbers. Soon, they were talking nearly every day. Brodsky gave Baryshnikov reading assignments, introduced him to his friends\u2014Czeslaw Milosz, Stephen Spender, Susan Sontag. \u201cHe kind of put me on my feet,\u201d Baryshnikov recalled. \u201cThat was my university.\u201d<\/p>\n

Brodsky dedicated several of his poems to Baryshnikov, who carries his friend\u2019s\u00a0work with him, and resurrects their dialogue on stage. Hermanis, who began developing the idea for the production fifteen years ago, described it to Latvian public media\u00a0as a \u201cspiritist s\u00e9ance.\u201d He\u00a0and Hermanis were both born in Riga, and it wasn\u2019t by accident that they chose that city for the debut run of what Baryshnikov has called \u201cthe most private and important work I\u2019ve done in my life.\u201d<\/p>\n

\u201cRiga is becoming like a Hong Kong for Russian culture,\u201d Hermanis said. Over the past few years, several prominent Russian journalists and artists have emmigrated to the Baltic country to escape state censorship at home.\u00a0There\u2019s always a stir when Baryshnikov comes to town\u2014the Latvian press laps up the \u201cprodigal-son motif, the return-home motif, the ancestral-roots motif,\u201d as Joan Acocella put it in her 1998 account of Baryshnikov\u2019s first trip back to his hometown since his defection. Back then, Baryshnikov didn\u2019t harbor any affection for the city. (\u201cThe minute I stepped again on Latvian land, I realized this was never my home. My heart didn\u2019t even skip one beat,\u201d he told Acocella, describing his Russian parents as \u201coccupiers.\u201d) In the intervening years, something seems to have changed. This summer, his personal art collection was exhibited as part of the cultural program of Latvia\u2019s presidency of the European Union, and Baryshnikov described himself as a \u201cRussian Latvian\u201d in a recent interview with a Riga magazine.<\/p>\n

\u201cYou returned home\u2014so what? \/ Look around, to whom are you still needed? \/ Who are your friends now?\u201d the bedraggled Baryshnikov reads in Russian at the start of the performance, hunched over on a wooden bench. \u201cHow good, as you hurry home, to realize your words are not truthful, and how hard it is for the soul to change.\u201d He flips through a book of Brodsky poems, whispering, and looks up at the audience.\u00a0Baryshnikov reads on, sometimes rocking back in forth, as if in prayer, gaze toward the ceiling. On the bench across from him, a radio begins playing a recording of Brodsky reciting: \u201cThere\u2019s someone wandering the ruins, shuffling the leaves. Or maybe the wind has come back like a prodigal son, and all its letters were delivered at once.\u201d<\/p>\n

There\u2019s dancing, yes, but only in the sense that Baryshnikov displays his talent for \u201cpure body metaphysics,\u201d as Brodsky told Volkov he so admired. Baryshnikov embodies his friend\u2019s poems; his hands shake as they did on the day they met. And once more, Brodsky gets Baryshnikov back on his feet. He stands up, hand fluttering, \u201cspinning like a shaman in the room,\u201d as he convenes the s\u00e9ance, Brodsky\u2019s words booming through the theater.\u00a0At about thirty minutes into the show, Baryshnikov is no longer content to channel his old friend. As he recites Brodsky\u2019s poem \u201cMay 24, 1980\u201d \u2014his fortieth birthday; \u201cLife has been long, and sorrowful\u2014but until I die, I\u2019ll be nothing but grateful for it\u201d\u2014the radio on the opposite bench starts to play. Brodsky\u2019s voice fills the theater, overtaking that of Baryshnikov. It\u2019s a somber reunion.<\/p>\n

\u201cGreetings to my old age!\u201d Baryshnikov recites. He takes off his jacket, rolls up his pants, unbuttons his vest, revealing a chest and arms and legs that do not look like the youthful body he had when he left Riga as a teenage prodigy. \u201cMy breath stinks and my joints creak; we\u2019re not yet talking about my shroud, but the future pallbearers are at the door.\u201d After investigating his reflection in the set\u2019s glass windows as the poem plays on, Baryshnikov begins perhaps the most elegant zombie dance ever performed, his hands stiffly stretched, knees bent, eyes rolling.<\/p>\n

\u201cLife\u2014is the sum of tiny movements,\u201d he reads toward the end of the performance. Laughing, Baryshnikov breaks the script. \u201cOh, da.\u201d And just before he takes leave of the stage, he pauses to address the audience. \u201cOne last poem. 1957. Written when Joseph was seventeen years old,\u201d Baryshnikov says. \u201cFarewell, and don\u2019t judge me too harshly. Burn my letters, like a bridge \u2026 Be strong and fight. I\u2019m happy for those who may travel along the way with you.\u201d<\/p>\n

The audience gave him a standing ovation, but the chattering ladies who had arrived so full of glee were quiet. A grave silence rolled over them as they filed out of their seats.<\/p>\n

Linda Kinstler is a Marshall Scholar at the University of Cambridge.<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"

Mikhail Baryshnikov\u2019s new \u201canti-ballet.\u201d At the New Riga Theatre, before a recent performance of Mikhail Baryshnikov\u2019s new one-man show, Brodsky \/ Baryshnikov, women combed their hair and adjusted their furs in the yellow lobby\u2019s mirror-paneled walls. Some had camped out overnight for tickets when they first went on sale in September; seats sold out almost […]<\/p>\n","protected":false},"author":908,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[419],"tags":[20385,1942,20383,55,5810,20382,2344,20384,1758,165,447,7746],"class_list":["post-92436","post","type-post","status-publish","format-standard","hentry","category-arts-culture","tag-alvis-hermanis","tag-ballet","tag-brodsky-baryshnikov","tag-dance","tag-joseph-brodsky","tag-latvia","tag-mikhail-baryshnikov","tag-new-riga-theater","tag-performance","tag-poetry","tag-russia","tag-ussr"],"acf":[],"yoast_head":"\nIn \u201cBrodsky \/ Baryshnikov,\u201d the Resurrection of a Dead Poet<\/title>\n<meta name=\"description\" content=\"Mikhail Baryshnikov\u2019s new ballet brings his friend Joseph Brodsky back to life.\" \/>\n<meta name=\"robots\" content=\"index, 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