Mikhail Baryshnikov gave a frank interview: the main Russian-speaking sex symbol of New York spoke about life in America and the escape from the USSR

Mikhail Baryshnikov is a symbol of Russian-speaking New York, a famous dancer, actor, and oppositionist. In his candid interview The Guardian the famous ballet dancer spoke about insecurity, his flight from the USSR to Canada, and much more.

74-year-old Mikhail Baryshnikov is the best ballet dancer of his generation. Born in Riga, Latvia to Russian parents, he danced with the Kirov Ballet before moving to Canada in 1974. A small dancer, but with his versatility, technical prowess and personality, Baryshnikov made his career in the US performing with the New York City Ballet and the American Ballet Theatre. Where he later became artistic director. He branched out into modern dance, founding the White Oak Dance Project with Mark Morris. And now he directs the Baryshnikov Center for the Arts in New York. He still performs in experimental theatre. Most recently, I was in Chekhov's version of The Cherry Orchard by Ukrainian director Igor Golyak, where he shared the stage with a giant robotic arm. On the screen, he appeared in the films "Turning Point" and "White Nights", as well as in "Sex and the City". On November 16, Baryshnikov will be presented with the Queen Elizabeth II Royal Academy of Dance Prize at Buckingham Palace.

Congratulations on receiving the RAD QEII award for “Outstanding Achievement in the Arts of Dance and Ballet”. What did ballet give you, and what do you think you were able to give to ballet?

Ballet gave me my life. From the age of eight or nine, my first experience in ballet gave me the confidence that I could become part of the mysterious world of the theater. And I mean everyone from the performers to the electricians to the cleaners who come after the show. I had a love affair with all of this and still have. As for what I gave to ballet, I think I gave my admiration. I am grateful for the opportunity to live and work in a unique and sometimes strange world.

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How often do you dance now?

Now I don't dance much and was glad when Anna Wintour asked me to take part in the Vogue event. It was a kiss to New York and its crazy resilience.

You have danced in so many different choreographic styles, both classical and modern. And you are still performing in the theater now. What drives you?

I like to artistically put myself in a vulnerable position. It's exciting to try to overcome the natural insecurities and fears that come with every new project. Chasing this unknown and finding a way to make it work helps me focus. I'm happy, actually.

At the Baryshnikov Center for the Arts, you represent a wide range of disciplines, but not so much in terms of ballet. Is there still a vital art in the world of classical ballet?

I absolutely believe that the beauty of classical ballet remains significant and always will be. But many ballets are creations of a specific time and place, and they do not always fit well with modern ideas. There are choreographers who experiment with this. For example, we recently presented Choreographer Jennifer Weber's Stravinsky Rethinking in Petrushka and the Firebird. She used a few ballet dancers and some ballet vocabulary, but it's mostly hip-hop dancers who move the story forward. The piece feels fresh, but at the same time true to the music of Igor Stravinsky and its ballet origins.

How has the ballet world changed in the decades since you came to North America?

Aside from the technical level of the dancers, which seems to be getting more advanced with each generation, I don't think ballet has changed much. Companies are still trying to survive. Still trying to show off the incredible talent they have and create new work that viewers will pay to see.

In recent years, some abuses of power in ballet companies and schools have come to light that have not been reported for a long time. Do you think ballet can confront and change this culture, which is often aggravated by entrenched hierarchies?

The artistic process can be difficult, provocative and uncomfortable. This is not a march for human rights. But everyone deserves to be treated with respect, and perfection can always be achieved without abuse.

When you moved to Canada from the USSR in 1974, you said it was an artistic choice, not a political one. Is it true?

Yes. Obviously, I was not politically active in Russia. But when I had the opportunity to stay in the West, the thought of returning to this Brezhnev swamp was impossible. I was young, in the middle of my career, and I knew the clock was ticking. I wanted to travel, work with different choreographers and be a free person. It was so simple, but once I made the choice, in the eyes of the USSR it was an act of civil disobedience.

What have you sacrificed for the career you made in the USA?

Surprisingly, I don't feel like I had to sacrifice anything. There were friends and mentors whom I deeply loved, whom I had to leave. But later I was able to reconnect with many of them, so I was extremely lucky.

You have made clear your feelings about current Russian politics and the fact that prominent Russians should speak out against the war. Do you think enough people are doing this, and does it matter?

It will never be enough until the current Russian regime ends. But, of course, it takes extraordinary courage to speak out. We can all turn to Alexei Navalny for advice on this matter. He says, “The only thing necessary for the triumph of evil is for good people to do nothing. So don't be idle."

What are you doing with your charitable organization True Russia?

True Russia is not a political organization. It was created primarily to help refugees fleeing the war in Ukraine. But she also supports other people forced to leave Russia because of their opposition to the war and the current regime.

In the current state of war, is there any hope?

I prefer to believe that Ukraine will triumph and that the Russians will be able to determine their own future without an authoritarian government.

Returning to art, what interests you now in terms of performance. What do you still want to do and learn?

I want to work as long as I am able and interested. Whatever lessons it brings, it will be a kind of humble spiritual exercise. I am currently preparing a play written by Yasushi Inoue called "Hunting Rifle". The film will be directed by French-Canadian Francois Girard and will be co-starring with phenomenal Japanese actor Miki Nakatani. The film will premiere in New York this spring. And, of course, I am always in touch with everything that happens at BAC, where I work full time.