The State Ballet of Georgia

When their in-person performance of Giselle was postponed, The State Ballet of Georgia created a film specifically for Northrop audiences through the support of the Northrop Centennial Commissions program. The film features gala-style excerpts of the State Ballet of Georgia's repertoire, and interviews with Artistic Director Nina Ananiashvili and company dancers, in addition to breathtaking views of the city of Tbilisi and the State Opera and Ballet Theatre.

• How does viewing a dance film differ from seeing the performance in-person? Which format do you prefer and why?
• How might viewing an artist's creative process heighten the viewer's understanding of the artist’s work?

This program by The State Ballet of Georgia, under the stunning artistic direction of Nina Ananiashvili, includes two works by the great Georgian-American choreographer, George Balanchine—both accompanied by a live orchestra—plus the company’s signature work, Sagalobeli, a 2007 ballet choreographed to recorded Georgian folk melodies by Yuri Possokhov.

• Is Balanchine’s lineage as a Georgian-born choreographer well-known? Why or why not?
• In what ways does a live orchestra elevate a live performance? What potential challenges may present themselves when collaborating with a live orchestra?
• Can you think of other examples where folk songs are incorporated into a classical art form?

In the 1970s and ‘80s, the Soviet Union did not allow Russian dancers to travel or work outside of Russia, due to strained international relations with the West. By 1986, Nina Ananiashvili had become a principal dancer with the Russian Bolshoi Ballet, and was one of the first dancers to work outside of Russia as a cultural ambassador when the Bolshoi dancers were allowed to tour to the West. 

• Reflect on the role of artists as ambassadors of their country, as representatives of a ruling government or as dissidents. What examples from recent history come to mind?
• Why do you imagine the arts—specifically dance—are uniquely situated to bring people together and encourage cultural exchange?
• Do you believe art in America has the power to influence international diplomacy?
• What are the political implications of a Georgian artist like Ananiashvili being so strongly associated with Russian ballet? How might these politics have changed in a post-Soviet era?

Following a distinguished career performing with the Bolshoi Ballet, Mariinsky (Kirov) Ballet, New York City Ballet, The Royal Ballet, American Ballet Theatre, Royal Danish Ballet, and other companies, in 2004, Nina Ananiashvili became the Artistic Director of The State Ballet of Georgia.

• What qualities are necessary for a dancer to succeed in his or her dancing career? How does the development of these qualities help in achieving success in other post-dance careers and professions?
• What skills do you imagine a dance artist might bring to an administrative role?