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The Real Nureyev [Anglais] [Relié]

Carolyn Soutar

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Description de l'ouvrage

décembre 2005
The Real Nureyev is an intensely personal, under-the-skin depiction of ballet's greatest hero. Written by Carolyn Soutar, Nureyev's stage manager at the London Coliseum during the 1980s, it focuses on the last, intensely creative, six-year period in the dancer's life - when he was still at the peak of his powers, yet just a few years away from an untimely death.The author draws upon her own experiences and - exclusively - those of Robert Tracy, Nureyev's lover and then companion during the last 14 years of his life; Bill Akers and Roger Myers, who first met and worked with Nureyev in 1962 in Australia; and Yoko Morishita, Prima Ballerina with the Matsuyama Ballet Company, Tokyo, who partnered Rudolf for most of the '80s. From Akers and Myers, we learn of the changes in Nureyev: from a young man eager to learn, searching for perfection in a body he believed to be flawed, to the knowledgeable and difficult superstar that he would become. They quash the rumours and set the record straight on Nureyev's relationship with Margot Fonteyn, while Morishita describes what it was like to dance with Nureyev, recalling their first meeting, their friendship both on and offstage and his pride, care and attention when teaching her certain roles. Sometimes funny, sometimes shocking, yet always deeply human, this is an intimate insider story of what the man himself was really about. It combines unique first-person accounts and reminiscences of the two aspects of his life which have been veiled from public view: Nureyev the man and lover, and Nureyev the professional at work.
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Revue de presse

"'I found her view from backstage a fascinating one, the whole process of putting on a ballet, the tensions and dramas that we in the audience do not see. Her portrait of Nureyev is a valuable addition to the many biographies already published.'" (Publishing News 2005-07-22)

"'Carolyn Souter, with her unique perspective, has captured the fragility, the compulsion for perfection, and the tremendous work ethic embodied in Rudolph Nureyev. So much of Rudolph's complex life was spent in the theatre, not just onstage, but the very lonely backstage. This moving book is a very full portrait of the great Nureyev, and has revived precious memories for me. Brava Carolyn.'" (Violette Verdy, Distinguished Professor Of Ballet, Indiana University-Bloomington) --Ce texte fait référence à une édition épuisée ou non disponible de ce titre.

Biographie de l'auteur

Carolyn Soutar is one of Britain's most respected events creators and producers. She has worked with many of the world's leading production companies, including English National Opera and Festival Ballet, and has worked on many prestigious shows, such as Aida and Carmen. --Ce texte fait référence à une édition épuisée ou non disponible de ce titre.

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Commentaires client les plus utiles sur (beta) 3.7 étoiles sur 5  7 commentaires
8 internautes sur 8 ont trouvé ce commentaire utile 
3.0 étoiles sur 5 Offers Little That Is New 16 juillet 2006
Par B. Evans - Publié sur
So dissatisfied was I with this book that when I finished it, I pulled out my l994 copy of the marvelous Perpetual Motion, the Public and Private Lives Of Rudolf Nureyev by Otis Stuart and reread it. If you want an in-depth understanding of Nureyev as both a person and dancer, I recommend that you get Stuart's well-written book and skip Soutar's. What Soutar principally does is list tidbits about Nureyev, a good portion of which come from people other than herself. About the only ones that were new to me were 1) that Nureyev's first encounter with Souter was in the nude and 2) that as his skills diminished, he referred to himself as "old galoshes." Souter also spends too much time detailing her job as a stage manager, work she makes seem quite tedious.
3 internautes sur 3 ont trouvé ce commentaire utile 
2.0 étoiles sur 5 For Nureyev fanatics only 29 septembre 2009
Par Gina R. Morvay - Publié sur
Much of the info in this book has been previously written about in Diane Soloway's book on Rudi (and better written). As someone who loves Russian ballet, I went ahead and read it, but even though you can cruise through it in a day, I found myself wondering why I was bothering to spend my time on it? The author was a stage manager for some of Nureyev's performances mostly with the London Festival and Boston Ballet Companies in the 80s. I saw him in the late 70s and he had already lost most of his technique, so I can't even imagine what the quality of dancing was like. She interviews Robert Tracy who, for a short time, was Rudi's boyfriend and, for a much longer time, one of his many unofficial assistants. Throw in a few remarks from Violette Verdy, a couple of people who knew Rudi in Australia and some backstage observations and you have a mediocre memoir without much depth. But, worst of all, is St. Martin's Press who obviously didn't fact check this book at all. The numerous errors are ridiculous... from the easily checked (she lists the wrong composer for Spectre of the Rose) to making the statement that Baryshnikov is Jewish (an especially absurd 'fact' since there have been many books about Mischa none of which have ever claimed this). Clearly, the author doesn't know cr*p about ballet. I got my copy at the library... don't waste your money buying it.
2 internautes sur 2 ont trouvé ce commentaire utile 
3.0 étoiles sur 5 Some funny and witty stories here ... 18 février 2011
Par northkona - Publié sur
Achat vérifié
OK, so not a great book, not scholarly like Julie Kavanagh's "Nureyev, A Life," a little messy, but I think worthwhile in a certain way, it does describe something of the way Nureyev talked and behaved, and the fact that this is told from a stage manager's point of view is a plus, in my opinion. I read this Very Fast on the couch, in a couple of hours. You can breeze through it and find the funny stuff easily. One thing that sets this biography apart from nearly all the others is that the author knew Nureyev, for years. She knew him in the place he liked best, the theater. Other reviews here point out errors, lack of fact-checking, and those are valid criticisms. I noticed those misstatements, too.

To write this book, the author relied heavily on sessions she spent with Nureyev's former lover, and the picture we get of that man (perhaps unintentionally) is sad. We see him as a discarded, abandoned former lover who could not let go, continuing to live in one of Nureyev's residences when Rudolf was elsewhere. Ack, you get the picture all too clearly of someone living off the dust of a former relationship, which includes, I might add, getting involved in a long series of interviews with this author about life with the Famous Man. The better information in the book is not what the author got from those interviews, but what she observed herself. The funny stories about Nureyev are well told, like watching a movie, you can see these things happening, and you will laugh out loud at a few of them.

In my opinion, the best personal account of Nureyev is Rudi van Dantzig's wonderful bio, "Trail of a Comet." That is one amazing look at Nureyev, very personal, but without a trace of gossip. Van Dantzig was/is a Dutch choreographer, Nureyev wanted to dance his dances, and did. They were friends for 25 years, totally different guys, but with a common thread of interest. Five gold stars, I recommend it without reservation. This one, it's just for fun, don't take it too seriously.
4 internautes sur 6 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 Backstage and onstage magic with Nureyev 30 octobre 2004
Par "meldrew05" - Publié sur
This book to me on a marvellous journey of discovery. Always enamoured with the theatre and having seen Nureyev perform years ago, this book opened up the world of backstage life and truly the Real Nureyev to me. The descriptions of backstage life were page-turning and to learn first hand about this amazing Icon of the 20th century was very precious.
3 internautes sur 5 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 Seems like yesterday... 8 février 2006
Par N.G. - Publié sur
I loved this book! It brought back memories of sitting in theatres over a period of 25 years being mesmorized by Nureyev. Even after his technical powers were in decline, there was still that energy. Those of us that were there will never forget the feeling we had when he walked onto the stage. Thank you Carolyn for bringing it all back...How lucky we were to have been a part of it.

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