Ballet has often been associated with beauty, order, and control, but its history is closely tied to periods of disruption and uncertainty. During times of global conflict, ballet did not cease to exist. Instead, it adapted, traveled, and continued to reach audiences who were living through fear and change. This reality is clearly reflected in the experiences recorded in Frederic Franklin: An Early Memoir of the Ballet Russe de Monte Carlo and His Career by Patrick Casey, which shows how dance endured during some of the most difficult years of the twentieth century.
The years surrounding World War II placed an enormous strain on artists across Europe. Borders shifted, cities became unsafe, and established cultural centers were disrupted. Ballet companies were often forced to leave familiar environments and perform wherever possible. For the Ballet Russe de Monte Carlo, this meant constant movement and uncertainty. Dancers traveled across countries and continents, adjusting to new stages, unfamiliar audiences, and unstable conditions while maintaining professional standards.
These wartime experiences reveal how ballet served a purpose beyond mere entertainment. Performances offered a sense of continuity when everyday life felt unpredictable. Audiences attended shows not only to see dance, but to experience a reminder of normalcy and shared culture. In this way, ballet served as both an art form and a morale booster. The presence of live performance helped sustain emotional resilience during a time when many aspects of life were under threat.
Frederic Franklin’s career unfolded during this period of upheaval, and his memoir captures the practical realities of dancing under strain. Touring schedules were demanding even in peaceful times, but war added further complications. Travel routes changed suddenly, resources were limited, and safety was never guaranteed. Despite this, rehearsals continued, and performances proceeded. These efforts required discipline, cooperation, and adaptability from everyone involved.
Displacement was another defining feature of this era. Many artists were unable to remain in their home countries and had to rebuild their lives elsewhere. Ballet companies became temporary homes for dancers who had lost a sense of permanence. The memoir illustrates how shared work and mutual reliance contributed to creating stability within the company, even as the world outside remained uncertain. These relationships were essential to keeping the art alive.
The chapters that address wartime Europe also show how ballet evolved during conflict. New audiences, particularly in the United States and South America, were introduced to classical ballet through touring companies. What began as a necessity evolved into a lasting influence, helping ballet establish a broader international presence. Franklin’s performances during this time were part of that expansion, contributing to ballet’s survival and growth beyond Europe.
What emerges from this history is not a story of heroics, but one of persistence. Ballet endured because dancers and staff continued to show up, prepare, and perform despite the challenges around them. The memoir preserves these firsthand experiences, allowing readers to understand how art survives through commitment rather than spectacle.
For readers interested in cultural history and the resilience of the performing arts, this book offers meaningful insight. It is a valuable read for anyone who wants to understand how ballet continued to matter during times of global conflict, and why its presence was important then and remains important today.
Read Frederic Franklin: An Early Memoir of the Ballet Russe de Monte Carlo and His Career by Patrick Casey, available on Amazon: https://www.amazon.com/dp/196861575X/.
