I followed it more closely and while I was somehow sorry that preservation of his sanity forbade him to mentally switch Sergei Filin from the bully category (after 1½ year of the worst sort of harassment for a protective character like Tsiskaridze : the proxy one) to the victim one, facts are facts. There were embezzlements and the rebuilding of the Bolshoi didn't go well at all, and Tsiskaridze both loving his theatre and being "a born whistleblower" (as wrote Joy Womack who was at first rank though she dared to say little) said it aloud; he was already an enemy because, along with Svetlana Zakharova he had opposed in 2009 the establishment of a policy of modern/classical ballet which would be detrimental both to the company and to dancers' health, but then he became an arch-enemy, an "abcess" said Iksanov (very telling, from a theatre director). There had been also an awful campaign against the chosen artistic director, Guennadi Yanin, previously troop manager, and a great admirer of Nikolai Tsiskaridze. (When Iksanov later accused Tsiskaridze of this smear campaign, I understood many things.) And still Tsiskaridze was unmovable in his popularity, and a new member of the Presidential Culture Council. (Let's not politicise too much though, the said president being known for his total absence of liking for ballet.) Then there was all this harassment, it didn't deter him (it heavily distressed him though), and then that acid attack. When Filin then had that awful accusation "It is Tsiskaridze's fault", at first I thought he was so blinded by his hatred that he shouted the name of the man he hated most (after having appeared "the good fellow" at his side for many years, until he got power on him, then bullied him during 1½ year). But later, after having understood what meant that so very implausible accusation from Iksanov regarding Guennady Yanin, I guessed that Filin had, say, suspicions about who may be its real authors (at least, patrons), and may have considered the feud of the Bolshoi direction and patrons against Tsiskaridze, as the motivation behind the attack which made him suffer so much.
The acid attack, the vilification campaign, and the accusation and sentence of Pavel Dmitrichenko (the very vocal Union leader) "allowed" Iksanov to get rid of both Tsiskaridze and Dmitrichenko, but exposed him to be fired a few weeks later.
As I have found no other logical explanation to all the events, I am keeping with this one.
As to Tsiskaridze's nomination at the Vaganova Academy, he said the job had been proposed to him long before, but he was reluctant because of the strong Moscow/St Petersburg prejudice, which didn't fail to show when he accepted the position at last. The position was considered available because it had been years that Fateev (like him or not), the Mariinsky artistic director (and recruiter) had been complaining about the poor training of Vaganova graduates, one year of "preparation for ballet" had been added to no avail, and just a few months before (months after the acid attack), Sergei Filin himself had said the same! And indeed, when you watch graduation videos of the time, there was great talent and schooling but "something was lacking" and I couldn't say what.
So Vera Dorofeeva (not Altinai Asylmuratova, whose resignation was clearly not planned at all) was fired (later Tsiskaridze uncovered embezzlement by the way, and more wrongdoings have been suspected) and replaced by Nikolai Tsiskaridze, and very clearly he managed to "put back on track" the institution (which was not very much astray anyway, but it takes a great professional to do it so fast).
It was probably ordered by the Kremlin, some may not like it or even oppose it for no other motive, but as the decision was the right one, it's fine with me.
A girl can have dreams xD
Kill Bill was nicely choreographed, and I like her interpretation, it's more subtle than Big Spender but she definitely is interpreting the character. 
but I know it costs a lot to break a contract and we don’t know the clauses.
