Alexander Rumnev (Tänzer), 1923

Nini & Carry Hess :: Alexander Rumnev (Tänzer), 1923. Galerie Berinson Berlin. | src Museum Giersch der Goethe-Universität

Dancer Rumnev or Rumnieff, 1924

Nini & Carry Heß :: The Russian dancer Aleksandr Aleksandrovich Ziakin (1899-1965), known as Rumnev or Rumnieff. Published in ‘Die Dame’ 21/1924. | src Getty Images
Nini & Carry Hess :: Alexander Rumnev (Tänzer), 1924, ullstein bild collection. | src Museum Giersch der Goethe-Universität

Aleksandr Rumnev (Ziakin)

Dance pioneer Aleksandr Aleksandrovich Ziakin (1899-1965), known as Rumnev, who took his pseudonym from the family estate, Rumnia. | src The Calvert Journal (Poetry in Motion)

The tragic life of Sasha

Soviet dance pioneer Aleksandr Aleksandrovich Ziakin (1899-1965), known as Rumnev or Alexander Rumnev, took his pseudonym from the family estate: Rumnia.

Rumnev started dancing after Duncan’s show in 1905. Little Sasha Zyakin (Rumnev) had not seen Duncan’s performance in Moscow in 1905 (he only heard his parents talk about it), the boy «stripped himself of all his clothes, wrapped into a sheet and attempted to reproduce her dance in front of the mirror».

From an early age, Aleksandr Rumnev (1899-1965) dreamt of dancing, yet he could do it only after graduating from high school. In 1918 he took up ballet classes, and a friend brought him to Liudmila Alekseeva’s studio. For the talented student, Alekseeva choreographed several dances to the music by Rakhmaninov and a dance of the ocean wave to the etude by Carl Czerny. Tall, slim and flexible, Rumnev was a born dancer, and within a year he had already founded his own company. He also performed with other companies including Lev Lukin’s Free Ballet (see below). The art critic Aleksey Sidorov found him «stunning»; he believed that «even the West» could be proud of such dancer.
During the Civil War private dance studios experienced hard times for the shortage of rooms with heating. As a matter of survival, Rumnev suggested to create an umbrella-studio, A Search in Dance. The space was provided by Alekseeva, there Rumnev taught dance and pantomime, and other dancers gave classes of gymnastics, modern dance, rhythmical gymnastics, «expression» and «musicality». Yet in winter it was so cold that, sprayed with water to prevent sliding, wooden floor was quickly covered with ice.

In 1920 Rumnev joined the Chamber Theatre (Kamernyi Teatr) as a pantomime actor and teacher. He also choreographed his own «grotesque» dances commenting that «this was a tragic grotesque». One of his solos, The Last Romantic, to music by Scriabin, was about a «contemporary Don Quixote». Yet, for the new proletarian culture, Rumnev was «too refined, he moved too elegantly, waving with aristocratic narrow hands, striking with broken movement of long arms and legs». Critics found him old-fashioned and ‘decadent’. He was also gay which became criminalized under Stalin. In 1933 Rumnev fled Moscow. Several years later he was arrested in the provinces and served a prison sentence. In 1962 he finally succeeded in founding the Experimental Theatre for Pantomime, the genre he had been committed to from the beginning. Sadly, Rumnev died two years later, and his theatre did not survive his death.

quoted from Irina Sirotkina: The Revolutionary Body, or Was There Modern Dance in Russia?

Alexander Rumnev, 1920s

Otton Engel’s :: A. Rumnev in one of L. Lukin’s choreographies, 1923. Pencil on paper. Inscribed and dated: “Chamber Theatre, Thursday, 7.30, 12/VI/1923”. Catalogue of the first “Art of Movement” exhibition, 1925, Nº 197. OE (Otton Engel’s repository, Moscow. Formerly in the collection of Irina Malakhova.) | src Nicoletta Misler’s The Russian Art of Movement 1920-1930
Hess Studio, Frankfurt :: A. Rumnev. Plastic study, 1923. Original print. Signed and dated on mount: “Hess, Frankfurt 1923”. Choreography by L. Lukin. Tournée of the Moscow Chamber Theatre, 1923. The reverse of an analogous print in the Lukin archive at GTsTMB carries the inscription: “To dear Lev Lukin with faith in his inimitable talent, 1923, A. Rumnev”. RGALI [Rossiiskii gosudarstvennyi arkhiv literatury i iskusstva (Russian State Archive of Literature and Art, Moscow)]
source Nicoletta Misler’s The Russian Art of Movement 1920-1930

Alexander Rumnev, ca. 1920

Nikolai Ivanovich Svishtov (pseudonym Paola) :: Dancer, Moscow, 1920. (maybe Aleksander Rumnev, Soviet dancer and actor of the Kamerny Thatre) | src Masterpieces of Soviet Photography (2018)
Nikolai Ivanovich Svishtov (pseudonym Paola) :: Aleksander Rumnev, Soviet dancer and  actor of the Kamerny Theater. Negative medium format, gelatin silver print w/ chemical toning. The picture was probably taken as part of the program “The Art of Movement” (GAKhN, 1924-1927) or earlier (late 1910s). | sources: RGALI collection and Isadora Duncan; the Russian years
Nikolai Ivanovich Svishtov (pseudonym Paola) :: Aleksander Rumnev, Soviet dancer and  actor of the Kamerny Theater. Negative medium format, gelatin silver print w/ chemical toning. The pictures were probably taken as part of the program “The Art of Movement” (GAKhN, 1924-1927) or earlier (late 1910s). | sources: RGALI collection and Isadora Duncan; the Russian years

Why little Sasha start dancing? (text updated 2020)

Soviet dance pioneer Aleksandr Aleksandrovich Ziakin (1899-1965), known as Rumnev or Alexander Rumnev, took his pseudonym from the family estate: Rumnia.

Rumnev started dancing after Duncan’s show in 1905. Little Sasha Zyakin (Rumnev) had not seen Duncan’s performance in Moscow in 1905 (he only heard his parents talk about it), the boy «stripped himself of all his clothes, wrapped into a sheet and attempted to reproduce her dance in front of the mirror».

From an early age, Aleksandr Rumnev (1899-1965) dreamt of dancing, yet he could do it only after graduating from high school. In 1918 he took up ballet classes, and a friend brought him to Liudmila Alekseeva’s studio. For the talented student, Alekseeva choreographed several dances to the music by Rakhmaninov and a dance of the ocean wave to the etude by Carl Czerny. Tall, slim and flexible, Rumnev was a born dancer, and within a year he had already founded his own company. He also performed with other companies including Lev Lukin’s Free Ballet (see below). The art critic Aleksey Sidorov found him «stunning»; he believed that «even the West» could be proud of such dancer.
During the Civil War private dance studios experienced hard times for the shortage of rooms with heating. As a matter of survival, Rumnev suggested to create an umbrella-studio, A Search in Dance. The space was provided by Alekseeva, there Rumnev taught dance and pantomime, and other dancers gave classes of gymnastics, modern dance, rhythmical gymnastics, «expression» and «musicality». Yet in winter it was so cold that, sprayed with water to prevent sliding, wooden floor was quickly covered with ice.

In 1920 Rumnev joined the Chamber Theatre (Kamernyi Teatr) as a pantomime actor and teacher. He also choreographed his own «grotesque» dances commenting that «this was a tragic grotesque». One of his solos, The Last Romantic, to music by Scriabin, was about a «contemporary Don Quixote». Yet, for the new proletarian culture, Rumnev was «too refined, he moved too elegantly, waving with aristocratic narrow hands, striking with broken movement of long arms and legs». Critics found him old-fashioned and ‘decadent’. He was also gay which became criminalized under Stalin. In 1933 Rumnev fled Moscow. Several years later he was arrested in the provinces and served a prison sentence. In 1962 he finally succeeded in founding the Experimental Theatre for Pantomime, the genre he had been committed to from the beginning. Sadly, Rumnev died two years later, and his theatre did not survive his death.

quoted from Irina Sirotkina: The Revolutionary Body, or Was There Modern Dance in Russia?