By Iris Fanger

The small troupe of Bolshoi Ballet dancers hurtling its way across the stage at Jacob’s Pillow this week was a reminder of the excitement that once accompanied the major Russian troupes on their Western visits, post - World War II. Back then, hordes of exquisitely trained dancers from the Bolshoi Ballet of Moscow and the Kirov Ballet of Leningrad (now St. Petersburg), presenting fantastic theatrical spectacles that exalted their history, piled on the thrills for American ballet fans.

But now, with the rush of emigrants from Russia, the effect has been diluted. Every American company, including the Boston Ballet, obtained its nucleus of ballerinas and cavaliers from Russia’s homegrown talent.

So it’s even more satisfying to see Nina Ananiashvili, surrounded by seven other stars of the Bolshoi, on this first-time tour to Massachusetts. Together, these personalities are as vibrant as the generations that preceded them, with technique strongly centered in their bodies, and the old Bolshoi go-for-broke attitude about performing that ranks up there with the most outrageous rock idols.

Ananiashvili is arguably the most important ballerina of her generation. Now 34, she last came to Boston in 1987 to perform in Sarah Caldwell’s «Making Music Together», a showcase performance by Russian dancers, musicians, opera stars and composers.

Since then, Ananiashvili has matured beyond a technical marvel into a stunning dancer who invades the space by extending her limbs into every corner, lushly filling out each musical phrase. The other talent in the group is 22-year-old Maria Alexandrova.

The choreography on the program - several classical pas de deux, plus two works by Alexei Ratmansky, a 32 - year - old Russian - born performer and choreographer, unknown in the United States...

Nina Ananiashvili performed in Ratmansky’s two ballets, «Charms of Mannerism», a spoof on classical ballet for four dancers to music by F. Couperin, and the 40 - minute - long «Dreams about Japan».

The problem with «Mannerism» is that Russians don’t do comedy well because they are too perfect-looking, no matter how many sight gags, exaggerated gestures and suddenly limp bodies they attempt.

«Dreams about Japan» is notable because the dancers clearly have fun performing it, but its Las Vegas aura is overwhelming, from cartoonlike depictions of Kabuki theater characters to flashing, colored lights at the end.

Dressed in a red bodysuit with a long tail, Ananiashvili thrashes out the role of the «Fire Snake», seeking revenge for a broken heart. Dmitri Gudanov makes a precise, one-footed sorrowing bird; Andrei Uvarov dances himself to death and back again in the mask of a young lion.