Abstract:This essay explores the history, political significance, and artistic legacy of The Carmen-Suite, a ballet based on Prosper Mérimée's novella, choreographed and staged by Maya Plisetskaya and Alberto Alonso in 1967. This ballet initially premiered as part of the commemorative ceremonies marking fifty years of Soviet rule, but rather than contribute to the celebration of Soviet ballet aesthetics, Plisetskaya's Carmen challenged every element of Soviet ballet classicism, triggering an immediate performance ban by the Ministry of Culture and charges of deviance and eroticism. The ban was further complemented by a carefully constructed media campaign meant to erase any memory of this performance and reframe it as a meaningless "eroticized" spectacle. The essay argues that while The Carmen-Suite has been theorized within ballet narratives of heteronormativity and the sensuality of the exotic Other, this Soviet-era work explicitly highlighted and exposed the system of constant oversight and control that permeated Soviet society. The plot of The Carmen-Suite was adapted by Plisetskaya to represent an artist destroyed by a repressive regime. In this work, she embedded a veiled but potent critique of the Soviet regime, readable to the Soviet audience, exposing the existence of state repressions and control through intricate interaction among the set design, choreography, and technique. The essay further demonstrates that Soviet cultural authorities were fully aware of the risk posed by the subversive ballet to the stability and viability of Soviet cultural production, and they went to great lengths to eradicate the memory and significance of this performance.

中文翻译：

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Maya Plisetskaya的《 Carmen-Suite：恢复隐藏的曲目》

摘要：本文探讨了The Carmen-Suite的历史，政治意义和艺术遗产，这是一部由ProsperMérimée的中篇小说改编的芭蕾舞剧，由Maya Plisetskaya和Alberto Alonso于1967年编排和上演。该芭蕾舞剧最初是作为纪念仪式的一部分首演的Plisetskaya的《 Carmen》标志着苏联统治五十年，但没有为庆祝苏联芭蕾舞美学做出贡献，它挑战了苏联芭蕾舞古典主义的所有元素，引发了文化部的立即表演禁令以及对叛变和色情的指控。这项禁令进一步由精心策划的媒体宣传活动来补充，该活动旨在消除对此表演的任何记忆，并将其重新构筑为毫无意义的“色情”景象。这篇文章认为，尽管《卡门套房》是在异端性和异国情调的《另类》的芭蕾舞叙事中得到理论化的，但这份苏联时代的作品明确强调并暴露了贯穿苏联社会的持续监督和控制制度。卡门套房的情节由普利塞茨卡娅（Plisetskaya）改编，以代表被压制政权摧毁的艺术家。在这项工作中，她对苏联政权进行了面纱但有力的批判，对苏联读者是可读的，通过布景设计，编排和技巧之间的复杂互动，揭示了国家压迫和控制的存在。这篇文章进一步表明，苏联文化当局充分意识到颠覆性芭蕾舞对苏联文化生产的稳定和生存所构成的风险，