Her book is herself. It is, of course, about dancing. About loving to dance as a small child in Shanghai. About ballet classes and ballet teachers, about practice and rehearsal. About making her debut--as a Snowflake, at fifteen--with the emerging Sadler's Wells Company, under the demanding rule of the brilliant and volatile Ninette de Valois. About her almost magical earl
Her book is herself. It is, of course, about dancing. About loving to dance as a small child in Shanghai. About ballet classes and ballet teachers, about practice and rehearsal. About making her debut--as a Snowflake, at fifteen--with the emerging Sadler's Wells Company, under the demanding rule of the brilliant and volatile Ninette de Valois. About her almost magical early success (at seventeen dancing
Giselle
; at eighteen,
Swan Lake
; at nineteen,
Sleeping Beauty
) and the effects on a young girl of sudden stardom. About the hard work of overcoming her limitations ("a face like a pudding," she says) and her weaknesses....
And it is about the great triumphs in London, New York, Paris. About the great choreographers and dancers who worked with her and helped her: Frederick Ashton (he choreographed by flinging himself into swoops and twists that seemed to flow spontaneously from the music, suddenly saying, "What did I do? Now you do it"); the magnetic and sophisticated Robert Helpmann, of whom she was more than a little frightened "until the harmony of dancing with him began taking hold"; the handsome Michael Somes ("platoons of corps de ballet girls lost their hearts to him"). About Nureyev, who, when Fonteyn was already in her forties, galvanized her energies and talents and swept her into a new career. About her feeling for her great Russian counterpart, Ulanova. About getting older and never ceasing to dance; now, at fifty-seven, still dancing around the world.
But even more, this is a book about the woman herself, who sees dancing as only a part of her life and perhaps not the most vital part--the Fonteyn who could not find love until in her thirties she suddenly met again (a visiting card brought to her dressing room; one hundred red roses) the man she had been in love with in her teens, the Panamanian diplomat Roberto Arias. And here is the infinitely moving story of their marriage, her shy assumption of her new role as ambassadress at the Court of St. James--and then, the near-fatal shooting in Panama that crippled her husband, and the drama and heroism of their life together since then.
Throughout, with the freshest imaginable gift for anecdote, Margot Fonteyn takes us into her many worlds--the vicissitudes of backstage life on six continents, the tumult of Panamanian politics and revolution, the social pleasures (and embarrassments) of international fame.
Above all, her autobiography is a revelation of a direct, warm-hearted person who believes that artists must take their art altogether seriously--and themselves not seriously at all; who finds her own fame difficult to grasp; who is worthy of what her audiences feel for her. Fonteyn is not only admired but loved. Her book--in its decency, its generosity, its sense of fun--makes clear why.
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Paperback
,
0 pages
Published
February 1st 1977
by Warner Books (NY)
(first published April 12th 1976)
Fonteyn's style is easy and secure, with a touch of naiveté which is at time beguiling but at times markedly self-conscious. She is candid about her little faults, but at times she relates events which suggest that she's actually a lot scrappier than she believes herself to be. The two most interesting facets of her life come towards the end: her marriage to Panamanian dictator Tito (Roberto) Arias, and her partnership with Nureyev. The scenes with the former often read like a bad spy novel, and
Fonteyn's style is easy and secure, with a touch of naiveté which is at time beguiling but at times markedly self-conscious. She is candid about her little faults, but at times she relates events which suggest that she's actually a lot scrappier than she believes herself to be. The two most interesting facets of her life come towards the end: her marriage to Panamanian dictator Tito (Roberto) Arias, and her partnership with Nureyev. The scenes with the former often read like a bad spy novel, and I must admit I began to find them tedious, for she eschews any sort of personal analysis of her husband - nor does she let us very close to her own feelings when major things (like the assassination attempt which left Tito paralyzed) happened. The same with Nureyev, of whom, however, she tells some very funny stories. Despite one's expectation that they'd move in different circles, Fonteyn & Nureyev seem to have hit the town quite often together, and Margot explains somewhat ingenuously that this does not mean in the least that she and Rudi were romantically involved! (In fact, she manages to describe several wild parties without once mentioning Nureyev's homosexuality!) It seems to have been a very interesting life happening to what appears to be - but perhaps wasn't - a very ordinary person. [These notes were made in 1984].
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We are going to see "Swan Lake" next month. To prepare, we are watching DVD's of Margot Fonteyn and Rudolph Nureyev dancing in this ballet, and reading the fairy tales that accompany the ballet. So I got interested in reading more about Margot Fonteyn, the most accomplished ballerina in the 20th century. She danced until she was 58. Her career was given an Indian summer when she began dancing with the newly defected Nureyev who was 20 years her junior. She married the Panamanian Ambassador, who
We are going to see "Swan Lake" next month. To prepare, we are watching DVD's of Margot Fonteyn and Rudolph Nureyev dancing in this ballet, and reading the fairy tales that accompany the ballet. So I got interested in reading more about Margot Fonteyn, the most accomplished ballerina in the 20th century. She danced until she was 58. Her career was given an Indian summer when she began dancing with the newly defected Nureyev who was 20 years her junior. She married the Panamanian Ambassador, who was shot and paralyzed after they had been married 10 years. So I was interested in reading in her own words the events that had shaped her life.
The book is interesting, and fairly thorough in an analytical way. She loved to dance, focused on that to the exclusion of almost everything else, and got incredible opportunities given to her at exactly the time she was ready for them. These things paired with a balanced and sound physical anatomy made her the perfect ballerina.
The interesting aspect of the story, which is not developed much at all, is the sacrifice of her mother to place Margot where she would succeed. Fonteyn's father was an engineer working in Shanghai. Fonteyn's mother moved to London with Margot to support her ballet study. WWII intervened, and they did not see her father for 10 years! This statement is made very casually, but I was more interested to hear about her mother and father. They seems to be deeper and more giving characters, while Margot rose higher and higher in the ballet world while being a flat character off stage because she was not "acting". She herself admits that her on-stage personalities were much more interesting, because she thought about and developed them. Her off-stage personality seemed very stilted and flat because she developed so little outside of ballet.
Her marriage to "Tito" provides education for her in areas outside of ballet, and from that point in the book she seems to grow and develop as a person. Her support of him after he is shot and paralyzed was also the reason for her continued dance career. I was touched by her faithfulness to him and to his care. I felt it terribly sad that she had never desired to have children.
I would recommend this book to anyone interested in reading how a genius grows and develops into their art (whether ballet, science, music, painting...). But I am sorry that Margot's mother never wrote a book about what it was like to support a genius in the making! I think that would be a deeper and more interesting book!
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Setahun yang lalu, di saat saya sedang liburan di Australia, di kota Melbourne, saya baru saja memasuki toko buku dan naksir berat buku yang mengisahkan Rudolf Nureyef. Ingin sekali membeli buku tersebut yang berharga 27 $AUD, tapi kakak saya bilang, cobalah ke toko buku bekas. Siapa tahu ada yang lebih murah.
Lalu saya melihat buku ini dan saya tahu lebih baik saya membeli Margot Fonteyn, mungkin karena sama-sama wanita dan hati saya lebih tergerak melihat kaum wanita yang terkenal.
Autobiografi
Setahun yang lalu, di saat saya sedang liburan di Australia, di kota Melbourne, saya baru saja memasuki toko buku dan naksir berat buku yang mengisahkan Rudolf Nureyef. Ingin sekali membeli buku tersebut yang berharga 27 $AUD, tapi kakak saya bilang, cobalah ke toko buku bekas. Siapa tahu ada yang lebih murah.
Lalu saya melihat buku ini dan saya tahu lebih baik saya membeli Margot Fonteyn, mungkin karena sama-sama wanita dan hati saya lebih tergerak melihat kaum wanita yang terkenal.
Autobiografi ini menceritakan kisah hidup Fonteyn dari semasa kecil, penggemblengan dirinya oleh sejumlah balerina yang sangat terkenal di masanya, kisah asmaranya dengan diplomat dari Panama, kisah-kisah sejumlah tariannya yang dipentaskan di panggung dunia, juga bagaimana dia bisa terkenal bersama-sama dengan Rudolf Nureyef.
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Margot Fonteyn was one of my heroines when I was a child, when I desperately wanted ballet lessons. This book is her story, from her first dance lessons in London to dancing for presidents. Her style is chatty, and is rather like talking to an exotic and slightly dotty aunt. I enjoyed the book, but I would have liked to know more about the people she spent so much of her life working with - not the gossip, but how they ticked. I got the impression her life was so consumed with ballet there was v
Margot Fonteyn was one of my heroines when I was a child, when I desperately wanted ballet lessons. This book is her story, from her first dance lessons in London to dancing for presidents. Her style is chatty, and is rather like talking to an exotic and slightly dotty aunt. I enjoyed the book, but I would have liked to know more about the people she spent so much of her life working with - not the gossip, but how they ticked. I got the impression her life was so consumed with ballet there was very little room for anyone or anything else.
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I felt like I was in the room with Fonteyn and just listening to her talk about her life while reading this book. Fascinating even when I wanted to stop her and ask why she felt as she did as various times of her life. I remember my sister talking of going to see Fonteyn and Nureyev dance in San Francisco and how wonderful the whole evening was. I think I must have been in Europe or living in elsewhere at the time or I would have gone with Linda to the ballet.
She has an incredible story to tell. Part Brazilian, part British, Fonteyn became a prima ballerina, revived her career at 40 with recent USSR defector Rudolph Nureyev as her new partner. He was in his 20s. Then she also married a Panamanian diplomat. When her husband ran for pres. he was shot and became paralyzed, she took care of him financially as a dancer and also opened a cattle farm with him later in life. My mini-synopsis doesn't do the book justice.
sometimes I think autobiographies are harder to read than bios. She tells her story, but not in as flowing way as I would have liked. Esp. the parts about her husband Tito and the Panamanian revolution. But it is the remarkable story of a remarkable ballet great.
I was given a hardback, first American edition of this book by a family friend who, when she was much younger, actually stood in line and met Fonteyn and got her to autograph the book. Not only is the book a gorgeous book, but it is also a very enjoyable read.
I loved this book. However (disclaimer) I find her fascinating as a person. I'm not sure how one rates an autobiography as a book, per se, as it's really a recap of her experiences. Also this may be more enjoyable for those who like ballet, which I do.
Loved this book, Margot Fonteyn has had a very colorful life both on and off the stage. Whilst the story could be disjointed it follows the authors story as she flits from one story to the next as only a true artist can. Definitely a fantastic read.