A Quote by Sofia Kenin
I have part of Russian stuff inside me, fight and fierce that I have.
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I have a fierce will to live. Others fight a little, then lose hope. Still others - and I am one of those - never give up. We fight and fight and fight. We fight no matter the cost of battle, the losses we take, the improbability of success. We fight to the very end.
I lived next to Russian soldiers. We had Russian army guys in our house when I grew up. We made lemonade for them; they were everywhere. I had a Russian school. I grew up with Russian traditions, I know Russian songs... it infiltrates me a lot. I even speak a little Russian.
I didn't get the Russian Jew part because they didn't think I looked Russian or Jewish enough - and, mind you, I am both Russian and Jewish - so I was cast as the racist Mexican.
I've travelled to some of the places where Russian language and Russian culture were made part of the fabric of life long before Lenin arrived at Finland Station - and where Russian is now being rolled back, post-1991.
In the Russian experience, although the Russian state is oppressive, it is their state, it is part of their fabric, and so the relation between Russian citizens and their state is complicated.
There's such a fierce intense fire burning inside of me, so much that it just wants to explode.
Once you're inside the ring, a fight is a fight. Fans can't fight for you, the hometown crowd can't fight for you.
The villain is usually the most interesting part. But it has to be a smart thing. Just dumb cliché villains with a Russian accent and big muscles and a mean face, I don’t know. My Russian accent isn’t that great, and the muscles aren’t that big and the mean face is not enough. You know what I mean? It gets very boring. Tedious stuff.
The villain is usually the most interesting part. But it has to be a smart thing. Just dumb cliche villains with a Russian accent and big muscles and a mean face, I don't know. My Russian accent isn't that great, and the muscles aren't that big and the mean face is not enough. You know what I mean? It gets very boring. Tedious stuff.
There is a very definite Russian heart in me; that never dies. I think you're born and you live your life with it and you die with it. I'm very much an American - my books tend to be about American things, but inside there's that sort of tortured, long-suffering, aching, constantly analysing Russian soul underneath the happy American exterior.
I definitely feel Russian inside, even when I'm in America I feel Russian.
As long as I've got that urge and that fight and fire inside of me I'll continue and records will come and records will be broken. But the day I don't feel that kind of stuff I'm happy to walk away.
Most British playwrights of my generation, as well as younger folks, apparently feel somewhat obliged to Russian literature - and not only those writing for theatres. Russian literature is part of the basic background knowledge for any writer. So there is nothing exceptional in the interest I had towards Russian literature and theatre. Frankly, I couldn't image what a culture would be like without sympathy towards Russian literature and Russia, whether we'd be talking about drama or Djagilev.
The attitude of the West and of Russia towards a crisis like Ukraine is diametrically different. The West is trying to establish the legality of any established border. For Russia, Ukraine is part of the Russian patrimony. A Russian state was created around Kiev about 1,200 years ago. Ukraine itself has been part of Russia for 500 years, and I would say most Russians consider it part of Russian patrimony. The ideal solution would be to have a Ukraine like Finland or Austria that can be a bridge between these two rather than an outpost.
Unexpectedly, a fierce sense of protectiveness comes over me. Except I fight it back because I can hardly look after myself these days.
Ballet is certainly appreciated in New York, but it has been a part of the Russian culture, history and heritage for hundreds of years, so it's much more instilled in the Russian blood.
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