EM: First of all, I would like to thank you for agreeing to this interview. It really is and honor. To start things off, could you describe to me the place and time you lived?
OP: Of course! Being born in St. Petersburg in the 1870's- and I'd prefer not be too meticulous in the details of my age- Russia was always being faced with governmental opposition. Around this time, St. Petersburg was one of the Russian Empire's few industrialized cities. In many ways, this was good for my family. Clothes and many other things were cheaper, being mass produced and fresh out of the machines they were made from. We were lucky enough to not end up as one of the unfortunate families that had to send their wives and children to work tiring, endless hours in factories to scrape by.
I still can't believe how blessed I am to have been born at the center of Russian ballet. St. Petersburg housed the extravagant Mariinsky theater. The Mariinsky theater in itself housed many a great opera, plays and later myself in the Imperial Russian Ballet. Although the Russian lower-class's demand for a constitutional monarchy led to two revolutions. one in 1905, the other in 1917 which led to my immigration, pursuit of teaching ballet elsewhere in the world.
EM: What events in your earlier years made you want to pursue ballet?
OP: Well, my passion for ballet had always been inside of me, but it wasn't any of my doings that led me down that road. In fact, it was my mother's. Just like me she had always idolized the lyrical expression that was ballet. And of course growing up in the Mecca of the ballet world didn't hurt either. Their were numerous schools that I could attend, and my hyperextended legs and arched feet were physical attributes that were very desired in the world of dance.
My mother auditioned me in any ballet school she could found suitable, and every single one rejected me. Ironic, no? This was probably because of my hunched back, but they never had the decency to inform me. Finally, at the age of eight, I was accepted into the Imperial Russian Ballet School, the best in Russia I might add. Later in my training, my piano and singing lesson gave me my critically adored musicality. I still will never be able to repay my mother's persistence in getting me training.
EM: How did your mentors help develop your talent and passion you have as a dancer?
OP: Mentors absolutely made me in to the esteemed dancer I was. Without them, I most definitely would've spent my years laboring away in the kitchen until my papa got back from work. Th Imperial Russian Ballet, having the best academy of it's time, allowed me the opportunity to work with the amazing teachers and choreographers, Lev Ivanov, and Marius Petipa. Lev was always an inspiration to me. Not only did he improve my technique, but sparked passion within me. He once wrote,"May you ever be blessed with the spirit and strength not to regard your profession merely as a means of lively hood, but as an art to which you are resolved to dedicate your very soul."(Fran Michelman 2012. This was exactly how I went about dance, which made me love it everyday.
Marius Petipa was once referred to the " Lord of Dance", which I, and many other people would not see as and exaggeration. He choreographed Giselle, La Corsaire, La Bayadere, Coppelia and 56 other major works of ballet. But my, my, what a stubborn Lord he was. He was hard to deal with, a perfectionist, and barely spoke any Russian (Fran Michalman 2007). Although, his imperfections just made me want to please him and whipped my technique into shape which later earned me my title of principle dancer in the Imperial Russian Ballet.
EM: What was the ballet world like went you entered it?
OP: Well, like I said, St. Petersburg was the Mecca of ballet. It was then, and it still is now, arguably. The company accumulated instructors and dancers from all over Russia, Italy and Paris. Theaters would fill every night at the Mariinsky.
Despite the revolts and rebellious ramblings of the time, the financially stable still cared a great deal for the arts, especially ballet. At the time, the company was coming off the influence of Anna Pavlova. She was a previous principle whom of which emphasized on dramatic acting which I never at all cared for. However, I was taught with the Vagonova method which made my technique favorable.
EM: How did the major cultural, economic and political situations impact your work?
OP: Ah, the culture in Russia mostly made my experience as an artist enjoyable. With buildings such as the Mariinsky theater to house my, and many other artists work. There was such an influence on ballet at the time that it was one of the most popular pass times of the people who could afford it. Also, my work was followed with much adoration from an audience that could appreciate ballet, much unlike in your present time.
As for economics, I mentioned earlier about how industrialization made many products cheap, forcing me into a situation in which I didn't have to work in a factory so I could pursue ballet. However the politics in Russia were a completely different story. The Russian Revolution of 1905 caused distress, but not enough to make me abandon the Imperial Russian Ballet, let alone my principle role. However as tensions grew in the Russian Revolution of 1917, following WWI,the commotion became too much to bare, so I immigrated to the United States, Berlin, Buenos Aires, and lastly Paris teaching my methods of ballet everywhere I went (Gus Dick 2015).
EM: What were your major accomplishments and methods you used in ballet?
OP: Well even though I was taught using the age-old Vagonova method, I focus on the purity and elegance of movement. I never favored Pavlova's over the top acting so I left that aside. Instead I let my lyrical dancing style exhibit the emotion which made me love improvisation. My dancing was so admired that I had a method named after me that is taught various places.
As for my accomplishments, I joined the Imperial Ballet company in 1889, which was the best company in the world thanks to Marius Petipa. I became a soloist in 1996n then principle, the highest position in 1900, I danced so many ballets I've lost count. Esmerelda, Sleeping Beauty, you name it. All of my performances were reviewed positively by critics, and later I taught Alexandra Danilova, and Tamara Toumanova, the next generation of principles.
EM: What were the key opportunities you had that led to your turning points in life and ballet?
OP: Of course, I still thank my mother to this day for entering me in so many ballet schools to have me accepted into the best one. I was also blessed with the curse of my hunched back which helped my persistence and work ethic in dance although it gave me trouble. Really, I was just born in the right place at the right time, in ballet's prime.
Also I was given the best instructors of their time, and possibly all time. Marius Petipa to bring me to the amazing level of technuque I had. Also Lev Ivanov who brought out my passion for dance. Both of which favored my dancing which led to me being principle. The Russian Revolution also turned my teaching career around to other parts of the world.
EM: What roadblocks did you have to overcome to be the dancer you were?
OP: Well, I faced so much rejection when I as younger I can't remember all of the reasons why. I just remember having each door slammed in my face as each optimistic opportunity presented itself. In the end, it made me work harder and be grateful for being accepted into the best school in the world.
Also, my back was always a huge problem(Brittanica Editors 2015). It was almost comically hunched as you can see today. But that also made me work and work. It also helped me appreciate the other physical attributes I was blessed with.
EM: What personal stories illustrate how you became successful as a dancer?
OP: Well, personally, I don't think there are any stories that I can tell you that exactly illustrate how I became successful. There are always so many factors contributing to the success of a dancer. Her training, body, passion you can't name just one.
The tale of my hunched back, as you've heard so many times, proved dissatisfying to instuctors and audiences alike, which only made me work harder with all aspects of my technique. Also the rejection I faced made me want to prove myself even more. I guess you could say that I like to turn curses into blessings.
EM: How did your work impact the world of dance?
OP: Although I don't like to relish in my accomplishment, fearing I sound like Petipa, I was often referred to as the best and most favorable dancer of the first two decades of the 20th century. I dazzled instructors, critics and most importantly, audiences alike through my expressive movement. I moved people as I danced all over the world.
I don't know if you remember my mentioning of the method that was named after me. The Preobrajenska method differs very much from the Vagonova method.(Brittanica Editors 2015) It focuses on purity and elegance of movement, and expression through dance. I taught it myself all over the world, and now others teach it for me as other dancers learn how to dance as I once did.
EM: Well, Ms. Preobrajenska, that's all I have for you, but this was truly great.
OP: Thank you for having me, I always love going back to my stage days.
Works Cited
abt.org/education/archive/choreographers/petipa_m.html
history.com
brittanica.com/biography/olga-preobrajenska
michealminn.net/andros/biographies/preobrajenska-olga
dancelines.com/au/olga-preobrajenska
famousbirthdays.com/people/olgapreobrajenskaya.html
RT.com
www.local-life.com
history1900s.about.com
balletrusses.com
www.the-ballet.com/prominent-russians/opera-and-ballet/marius-petipa
www.russiapedia.rt.com
exploredance.com
www.encyclopedia2.com
www.roh.org. uk
russianballethistory.com/diahilevsdancers