Anastasia Volochkova, the former Bolshoi prima ballerina who has become one of Russia's most recognizable media personalities, has reignited a long-brewing scandal at the country's most prestigious ballet theater. Ten years after being abruptly fired, the 37-year-old dancer stepped back into the spotlight with explosive allegations that threaten to further destabilize an institution already rocked by internal power struggles and violence.
In a televised interview on Russia's NTV channel, Volochkova described the Bolshoi as 'a great mess' and claimed that ballerinas were routinely subjected to pressure and sexual harassment, forced to attend dinners and parties that 'ended in bed'. She admitted that she herself had once benefited from the protection of a billionaire businessman, and that her firing came shortly after their separation.
The timing of her remarks is significant. The Bolshoi has been engulfed in controversy since January 2013, when artistic director Sergei Filin was attacked with acid outside his home, an assault that left him partially blind. The attack is widely believed to be connected to bitter rivalries within the company. Nikolai Tsiskaridze, a star dancer who has been openly critical of management, is suspected by some of being behind the attack, though he denies any involvement. Tsiskaridze sat beside Volochkova during the interview and confirmed his ambition to replace current director Anatoli Iksanov.
Iksanov, who has led the Bolshoi for 13 years, dismissed Volochkova's accusations as 'delusional nonsense' and refused to comment further. He accused Tsiskaridze of pulling the strings behind the scandal and of fostering a climate of intrigue that encourages violence. 'I do not see him in this position because it requires other qualities than being famous and fond of scandals,' Iksanov said of Tsiskaridze.
Volochkova's career at the Bolshoi was marked by both dazzling success and bitter controversy. She joined the theater in 1998, having previously danced with the Mariinsky Theatre in St. Petersburg. She was celebrated for her technical brilliance and beauty, and was given leading roles in classics such as Swan Lake and The Sleeping Beauty. However, her physique—1.70 meters tall and reportedly weighing around 50 kilograms—was considered unconventional by Bolshoi standards. In 2003, the ballet management informed her that she could no longer be partnered because she was too tall and heavy, with some male dancers complaining of back pain.
Outraged, Volochkova launched a public campaign against her dismissal. She gave interviews to Russian and international media, accusing the theater of humiliating Russian ballet by focusing on her weight and height. 'The Bolshoi has dishonored Russian ballet in the eyes of the entire world,' she told French newspaper Libération. 'They talked about my weight and height as if I were some kind of freak.'
Her cause was taken up by powerful figures, including Belarusian dictator Alexander Lukashenko and members of Vladimir Putin's United Russia party, for whom she had performed at galas. In November 2003, a court ordered the Bolshoi to reinstate her, but Volochkova claimed she was effectively sidelined—given minimal roles and forced to languish in the corps. 'The Bolshoi, a state theater, does not respect the court decision. It is no longer the state that governs this theater, but shadowy forces, bankers!' she declared, alluding to the theater's reliance on private sponsors.
Since leaving the Bolshoi, Volochkova has built a multifaceted career as a model, actress, and political activist. She has appeared in films, posed for provocative magazine covers, and even dabbled in politics, initially supporting United Russia before quitting in 2011 after being criticized for posting nude photos on her blog. She was voted the fifth most beautiful woman in Russia in 2012 by a RIA Novosti survey. Critics dismiss her as a jet-set socialite, while admirers praise her talent and resilience. Former Bolshoi director Yuri Grigorovich, who gave her the lead in Swan Lake, called her 'perfection itself'.
The Bolshoi theater has a long history of internal conflict and ruthless ambition. From the Soviet era to the present, artistic directors have risen and fallen through intrigue, political maneuvering, and sometimes violence. The acid attack on Sergei Filin was only the most dramatic recent example. The theater's management has faced repeated accusations of corruption, favoritism, and a toxic work environment. In 2011, a group of dancers publicly protested against Iksanov's leadership, demanding better working conditions and transparency.
Volochkova's intervention adds yet another layer to the saga. While her claims of sexual harassment have not been independently verified, they resonate with broader discussions about abuse in the performing arts worldwide. In Russia, where whistleblowing is often dangerous and institutions are tightly controlled, her willingness to speak out is notable, even if her motives are questioned.
The ongoing struggle at the Bolshoi is far from resolved. Iksanov remains in office, but his authority is weakened. Tsiskaridze continues to pursue his goal of taking over. And Filin, still recovering from his terrible injuries, has not returned to work. The Bolshoi's reputation, once untouchable, has been tarnished by these scandals. Whether the theater can restore its former glory—and whether figures like Volochkova will play a role in its renewal—remains to be seen.
In the meantime, the white swan has had her revenge, but the dance continues.
Source:Parismatch News