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Like Shostakovich, Yakobson suffered for his art and yet managed to create a singular body of revolutionary work that spoke to the Soviet condition. His ballets were considered so explosive that their impact was described as “like a bomb going off.”     Challenged rather than intimidated by the restrictions imposed by Soviet censors on his ballets, Yakobson offered dancers and audiences an experience quite different from the prevailing Soviet aesthetic. He was unwilling to bow completely to the state’s limitations on his artistic opportunities, so despite his fraught relations with his political overseers, his ballets retained early-twentieth-century movement innovations such as turned-in and parallel-foot positions, oddly angled lifts, and eroticized content, all of which were anathema to prevailing Soviet ballet orthodoxy. 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A tightly focused and fascinating study of Leonid Yakobson’s work, this biography presents its subject through the multiple ideologies of which he was both a product and a critic, offering a view of him as an artist, a citizen, a Jew, and a man of high-minded principle. Yakobson, a contradictory and fascinating artist, challenged censors, staging resistance from within the most public vocabulary of compliance – classical ballet. Ross’s book traces how Yakobson was an artist of contradictions, a modernist who made war on ballet and used unconventional movement while making dances for the leading Soviet companies and Russia’s greatest dancers.      RUS  В своей книге Дженис Росс исследует богатую и сложную историю советского балета сквозь призму творчества одного из главных возмутителей спокойствия, Леонида Якобсона. Якобсон бросал вызов цензорам, преодолевая жесткие эстетические рамки статичного и консервативного советского балета. 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