Interview: Bolshoi Ballet director Sergei Filin says, 'I'll be back' | Dance reviews, news & interviews
Interview: Bolshoi Ballet director Sergei Filin says, 'I'll be back'
Victim of acid attack stands firm, as senior ballerina takes over as acting chief
Bolshoi Ballet director Sergei Filin has vowed to return from the horror of an acid attack to lead Russia's flagship ballet company - "not handsome, but in full force", in a remarkable interview from his hospital bed. Facing two solid days of surgery on his eyes and head, seriously burned by sulphuric acid thrown over him by a masked man last Thursday night, Filin said he urgently hoped the police would solve the crime, or he would lose faith.
Yesterday his duties were officially handed over to a senior Bolshoi ballerina and coach, Galina Stepanenko, who will act as the company's director during Filin's treatment and convalescence. Aged 46, she is the first woman ever to lead the Bolshoi. The news was given to the entire troupe by Russia's Culture Minister, Vladimir Medinsky, the Bolshoi's general director Anatoly Iksanov and the chairman of the Bolshoi Theatre board of trustees Alexander Budberg.
It is said that Filin trusts Stepanenko, hence the unexpected nomination; the management appear determined to enable Filin to continue running the company via a deputy he can rely upon to carry out his wishes.
In a confident phone interview, Filin told Komsomolskaya Pravda's Anastasia Pleshakova that he was determined to return to full duties as soon as possible. He said Moscow's best ophthalmologists had to prioritise saving his sight, but that his left eye was not too badly affected.
He said he blamed himself somewhat for not taking the threats he was receiving from late last year too seriously. He had been offered a driver and a bodyguard by the theatre, but he said he could never have believed that such violence could be possible.
If a decision to halt these attacks doesn't come, I really wonder what has to happen in our country before our leaders take notice
SERGEI FILIN: Thank you very much for everybody's support and concern, I'd never have expected it. At such a difficult time for me, I need to concentrate and gather all my strength. There are a lot more trials ahead, I'll have to take some important decisions concerning my health. But I'm full of energy, I'm cheerful, I don't feel angry, I'm not in despair. I'll carry on in just the same way as I do leading the Bolshoi Ballet. I'm managing to follow what's going on in the theatre from hospital. My assistants and the performers call me, they send me documents, they visit. The feeling that I'm still in the system gives me the strength to fight to get back to health.
ANASTASIA PLESHAKOVA: The more so because it's the premiere [tomorrow Thursday] of La Bayadère on the stage of the restored theatre, which you are well prepared for.
SF: The guys told me I shouldn't be anxious, not to worry. They will do everything that is possible or even impossible to make the show fantastic. They say they will dance even better than their usual brilliance. It's a remarkable team at the Bolshoi theatre right now. I absolutely trust the troupe, so I'm quite sure that the premiere will be top-level.
AP: Sergei, although you're in hospital, have you any explanation for what happened on 17 January? Who committed the crime?
SF: I'm linking what happened with my work. One thing I do blame myself for is taking it too lightly. Just before New Year, I told the media that I was getting personal threats. There was someone I was obviously antagonising. Sooner or later, this antagonism was likely to result in specific action. But believe me, I could not have imagined that a campaign of threats could end like this. I might have supposed photos would turn up on the internet of me naked on the stage, or something equally absurd, like me in a bath with Cindy Crawford. With modern technology, this sort of thing isn't surprising. But I never suspected that real violence was possible.
That's why I curse myself for thoughtlessness. They did offer me a driver and a personal guard. On 15 December I was in the office of the general director and requested protection and assistance because I was getting these threats to me personally. But the director told me, well, we do have a pretty tough job, he said he himself has been working on the front line, as it were, for 12 years, that you had to take courage and find the inner strength so as not to be affected by these threats…
Subscribe to theartsdesk.com
Thank you for continuing to read our work on theartsdesk.com. For unlimited access to every article in its entirety, including our archive of more than 10,000 pieces, we're asking for £2.95 per month or £25 per year. We feel it's a very good deal, and hope you do too.
To take an annual subscription now simply click here.
And if you're looking for that extra gift for a friend or family member, why not treat them to a theartsdesk.com gift subscription?
Wayne Eagling's production returns for another bout of rodent control
A hearty dose of cheer, with just a little weirdness, from master storyteller Matthew Bourne
Classy dance, design and music, marinated just a little long in the treacle well
Dance approaches religious experience in the hands of two truly magnificent artists
Carlos Acosta's sunny romp of a production returns, with improvements
Great dancers in long programme of new work by Baldwin, Jeyasingh and Page
Baroque music and dance illuminate each other in one-off period recreation performance
Len Goodman and Lucy Worsley trot gently through dance history
New work by Liam Scarlett dominates intriguing contemporary triple bill
DV8's verbatim physical theatre powerfully relates the life of a social outsider
Two great dancers show that Kathak and flamenco can work together
Composer's works matched with contemporary choreography by McGregor, Armitage, Whitley and Pite