Olga Smirnova, once a standout soloist in the Bolshoi Theater ensemble, spoke candidly in a Le Monde interview about her decision not to return to Russia while the war continues. The dancer, who has long been associated with Russia’s prestigious cultural legacy, explained that returning under present conditions would require her to retract statements she has made, a move she refuses to make. She emphasized that she loves her homeland and is proud of Russia’s rich cultural and athletic traditions, but she cannot place herself in a position where she could be compelled to change her public position. Smirnova stressed that she will not go back to a country where freedom of expression is constrained.
In her remarks, Smirnova noted that her family did not fully understand the timing of her departure from Russia, and discussions about emigration with colleagues were limited. She said she had not encountered overt hostility in the countries she has visited, yet she voiced concern about the broader international climate that appears to be marginalizing Russian cultural life. Smirnova pointed to sanctions affecting Russian artists and the resulting isolation of the country from the global artistic scene as factors that complicate the careers of performers who previously enjoyed robust exchanges with the international arts community.
She added that dancers face practical hurdles in ongoing travel, describing the situation as painful for the field. When Smirnova joined the Bolshoi, she recalls a culture that welcomed openness to change and collaboration, with artistic life thriving across ensembles and collaborations. Her reflection underscores a shift from a historically cosmopolitan stage to one that, in her view, has become more insular.
Earlier discussions around the culture of public life also surfaced in comments about the broader political climate. A separate note mentioned an earlier controversy involving Okhlobystin and a controversial trip associated with participants of a provocative event in Donbass. The juxtaposition of these issues highlights how public figures in the arts can become entwined with geopolitical tensions, affecting both careers and personal viewpoints.