Nanarina

Agnes Letetsu and Jose Martinez are/were (???) a couple, and, from what I can see, they almost have anti-chemistry. Their Swan Lake was positively frigid. Their Paquita (also on dvd) was also pretty sterile

Well Cambelto, I totally agree, as I have already mentioned in this subject (under POB releases) Letescue is not my favourite Dancer, her acting skills are very shallow, and leave me cold... sorry to be so critical. However, in purely technical terms she is good, if only she could put more depth and feeling into her portrayal, in her case even over acting !!!

Two couples that haven't been mentioned yet whose performances certainly seem/ed to benefit from their offstage relationship: Ekaterina Maximova and Vladimir Vasiliev, as well as Alina Cojocaru and Johann Kobborg.

And one that didn't: Asylmuratova and Zaklinsky (or is that just me?)

Ostrich, Thank you for these three couples, all equisite partnerships, The oldest Maximove and Vasiev, I saw live when they were younger, it was a amazing experience, you can see them on the Essential Ballet DVD , in their second youth, dancing Anyulta Pas de deux other which I think he choreographed fo his wife. it is very much in the Russian Folk character, and quite charming.

Next Alina and Johan, they performed in Ashton's Cinderella, then a beautiful Royal Ballet new version of Giselle on UK TV, and just the way they relate and looked at each other suggested there was more than their career's in common, which has now been confirmed in the press.

Finaly, another of my all time favourite Ballerinas. the wonderful Kirov (Vaganova trained) Altynai Asl. and her husband Zaklin. yes they did do a few touching performances, though admitted to arguing at rehearsals, still the results were brilliant, look out for them dancing Tudor's The Leaves are Fading/Falling, where they are very in tune with each other. It must have been difficult as he was much older than her. I have seen them dance live in London when guesting in the West. In a Sunday newspaper interview Altynai said that Konstatin was a very good cook, and managed the chores, keeping their small daughter Anastasia amused in their appartment while she was absent performing. Obviously a supportive husband. I think Altynai is now the Director of the Vaganova Academy in St Petersburgh.

Nanarina, none of the POB performances you mention have been recorded for posterity, so it's unlikely we see them on DVD soon. There is however plans to film La Dame aux Camélias during its upcoming run in Paris (June/July), but the DVD is supposed to feature Agnès Letestu and Hervé Moreau.

Thank you for the information, there was small previews on French TV of both Ballets, I went to see Romeo and Juliette, it was super. I go to see Les Dame on July 8th, hope it is not Agnes Letescue dancing as I am sorry to say, she is not my favourite Ballerina. Aurelie D is not dIf they are the cast perhaps I will be pleasantly surprised. ancing at present, it would have been much more acceptable if she was filmed, SHE CAN ACT !!!I do like Herve Moreau though A LOT !!!

I htink Marian Walters nand his wife dance like they're in love. Check out their grand pdd from Sleeping Beauty http://www.youtube.com/watch?v=NS_VZPaIow4 -- I would not want to see the whole ballet danced like this, it's too modern, but for the pdd as an excerpt, I think they make it romantic and courtly and poignant and really really LOVELY, and also make Petipa look completely prophetic (which itself is RIGHT ON). His devotion to her is a glorious thing.

Hi Paul

Thank you so much for posting this link to Youtube, with the lovely couple you mentioned. I actually enjoyed them in Flower Festival, a charming piece, which I have personal memories of working with (many yonks ago,!!)

Talking about Sleeping Beauty you say it is too modern? Do you mean that is because the lack of scenery, I am somewhat puzzled, as the choreography is the original, Or do you mean the show of affection/emotion ?

The point is that The Prince is in love with Princess Aurora from the moment he see's her image brought to him by The Lilac Fairy in the Vision Sequence. In the beginning of this Act, in Nureyevs POB version, there is a wonderful pas seul where the Prince is sad and lonely. Before which the Lilac Fairy appears and mimes to him "why are you crying?" to which he replies "I do not have love in my heart" and she tells him she will show him a vision of a beautiful princess. Which of course she does, and shows Aurora to him. And he rescues her and they live happily ever after!!! I think it is marvelous when Dancers narturelly live emotion and feelings in their faces and eye's. Which is something that people in love do not need to put on, or can hide, it is in their expression, and comes from the heart.

We're talking about dancers with exceptional technique. People who are intimate with one another, whether as very close friends or as part of romantic/sexual relationship, may have the ability to go beyond their individual techniques. A successful intimate relationship requires a high levels of trust and generosity, as well as awareness of, and responsiveness to, the other. It makes sense that this would work especially well for ballet partners as well.

On the other side of the coin, have there been real-life "couples" for whom this onstage chemistry does NOT seem to work?

Hi Bart., In answer to your last point about a relationship not working, it is only human nature that there may be times when a couple who are rehearsing, may not agree, but in most circumstances, unless in fact the "couple" is failing and there is a loss of trust or affection for each other, as in life itself, usually the Dance Couple are professional enou to work things out. One has to consider there may be a third party such as a Coach involved, who would not appreciate personal tiffs or stropes.

It is no wonder that these people find a common bond, as you so rightly express. They begin working together from the early time in their careers, and in general unless injury or sickness intervenes, once two people are cast as a "pair" from day one, they usually dance together until one may be promoted before the other. Even from the Corp de Ballet up through the ranks the same pairs exist. When maybe a relationship forms, with someone else for example at the height of their career, it often turns out that they have known each other for years, going back to being at school together. Ballet is a very closed world, some Dancers have a life outside their art, but others choose to stay with the people they have grown up with.

Clairemarie Osta and Nicolas Le Riche in Roland Petit's Clavigo were really special because of the intensity they put on it and their expressiveness, too. They were just them, and you weren't under the impression they were playing their parts. It was just them.

They remind me of a pair that didn't danced but skated, the wonderful Ekaterina Gordeeva and the late Sergei Grinkov.

Hi cyneblanc Thank you for your reply, I agree C.M. Osta and Nick Le Riche, they are excellent, I too have the DVD of this work, it is fabulos, though a bit risque (naughty) !!! Le Riche is an excellent Actor though, have you seen him in Sylvia, with the lovely Aurelie Dupont ? I think that Nick and Claire- Marie also have two little girls.

Seems love is in the air at the Paris Opera, and in recent times a baby boom !!! The latest couple Jeremie Belingard and Aurelie Dupont, also in the family way. I do not think they actually dance together very often, but now Manu Legris has semi retired who knows what the future could hold.

Couple's in Dance, Over the years there have been many famous couples who have danced together with amazing and emotional results, I would like to ask the members to post people they know of, and tell why they were special. I mean romatically involved dancers. In my own experience I found the deep intensisty of their affection to show through in a natural way, which very often cancelled the need for excessive acting, making their performance take on a realistic expression in certain roles.

I will start the subject off with Margot Fonteyn and Rudolf Nureyev:

She was in her forties, when this Incredibly talented handsome sexy young Russian entered her life, and before long she confessed to her friends and associates she was in love with him. Their feelings were mutual. The resulting performances held the audience in awe, they made no attempt to hide the passion between them, "Rudi, once said in an interview that they let their feelings pass between themselves , then they reach out to the audience, ", to feel the depth of their emotion. This was most certainly true, their affection was witnessed by most people in the company and audience alike.

Sadly their relationship was forced to end, when Margot's wayward husband, Tito de Arias, was shot by the husband of one of his Lovers. Instead of filing for divorce, as was planned Margot continued dancing into her old age, to pay his medical costs. Thus denighing herself happiness.

As far as I know the only edition currently available is a Kultur/region 1 release.

So it makes sense to issue an all region DVD on Opus Arte.

And if I am correct, Opus Arte is now a property of of ROH, which staged the Mayerling ballet, so it's all money that stays in the family.

I was surprised to note that Opus Arte now belongs to the ROH, I sincerely hope that other companies productions will not be neglected in the future. There are at least two Ballets I am waiting to be released on DVD, that is Paris Opera's Dame aux Camellieas with Aurelie Dupont and Manuel Legris and also Aurelie again but this time with Herve Moreau in Berlioz Romeo and Juliette.

Now back to Mayerling, I have just aquired this new issue on DVD, I did own the former Video, which went out of production for a number of years. The new edition is really marvelous. such a superb cast, and of course the wonderful score, costumes and scenery. It would take a very special Company with the right calibre Artiste' to portray and dance the production anywhere near the original. Plus of course there are very strict regulations concerning the re-production of Sir Kenneth Mc Millans work, which I think is still under the juristriction of his Widow Lady Deborah Mc Millan, who is very keen to protect her late husbands artistic integrity.

I am a fairly sentimental person, both music and ballet often touch me deeply, so much so, I always make sure I have a tissue handy. This is fine in my own home, sitting in a room with dimmed lights watching one of my many DVD'S, Manon, Myerling (Mc Millan) Sylvia (eumer.) Swan Lake Finale, Bayadere, Raymonda all bring tears to my eye's.

However, the worst occasion was in October 2007, when I had gone to the Opera Bastille, in Paris, to see the new Berlioz version by Sasha Waltz of Romeo and Juliertte. This production was unique, quite different to a normal classical ballet performance. It consisted of Orchestral music, an Opera chorus and Soloists, and the Etoiles and Corp de ballet of the POB. There was no inerval to pull yourself together or get a freshment, it just run ,for 1hr 45mins.

It was absolutely wonderful very tragic, moving, and unforgetable. By the time the finale came, when the two young lovers lay dead in each

others arms on the stage I had a big lump in my throat and tears in my eyes. As the house lights went up, I was not the only person with wet checks, where my tears uncontrolled had rum down my face. It took me all my composure to dry my eyes and leave my seat, as though nothing had happened !!!

I raised this similar question when trying to get the best offer on DVD for " La Bayadere", and the BT's advises were very valuable. Now that the ABT is bringing their own version to Miami, i would like to establish some comparisson. My only expossure to the whole "Beauty" is the lovely 1964 Kirov production with Alla Sizova, Yuri Soloviev and the great Mme. Dudinskaya as Carabosse, which i totally adore. I'm a self confessed traditionalist on ballet matters, but as nowadays we have a lot-(well, some more than before)-new releases of ballets on DVD maybe i should update myself a little bit on this work...?

So, my question is: Which other DVD of "Beauty" should i own, besides de Sizova/Soloviev production ?

One of the best DVD'S I have seen is the Paris Opera Version, with Aurelie Dupont and Manuel Legris. The choreography includes two extra Male Solo's, one for the Prince in the Vision Scene, and extra variation in the pas de Cinq in the beginning of the Wedding Scene, a most attractive solo danced by Jean Guillame Bart, to a little known Tchai. movement.The costumes and scenery are equisite, and Aurelie Dupont's amazing techninique stylish presence is wonderful. Legris is as usual brilliant. I would most certainly receommend this Nureyev version.

All the Dancers (at least in the Royal Ballet) , had their own "Hair Box", which contained various hair pieces, such as ringlettes, false buns, curls etc, which was specially made for each person and dyed to match the colour of their own hair.

That's fascinating. Is the hair real? Wht happens if the dancer changes the color of her own hair, or is that not allowed?

Nanarina, your post made me think of a story about hair collecting that I heard last week on National Public Radio. Here's an article about an exhibition in Philadelphia:

http://www.philly.com/inquirer/health_scie...on_display.html

Hi Bart. Thanks for sending the article for me to read, it was fascinating. To return to the former subject of Dancers hair, and answer your questions. At first the hair used was real, purchased by the Wig Master at the Opera House (Albert) , it would arrive in long lengths and he and his staff would make the Wigs and hair pieces. The dancers would be expected to keep their hair the same colour, as it would be too difficult to have to keep dying the false items. As it was I had to be able to dress the wigs and false pieces, which was very time cunsuming, and meant I needed to be a hair dresser amongst all the other requirements of my position. We had wig and head shapes the items were fixed to so that they could be dressed using hot irons, pins and laquer, it was a real art, as if you singed the hair, it would break off . Some smaller pieces could be washed in mild shampoo, dried with a hair dryer and worked on. Over the years synthetic hair was also used.

Nowadays the Companies seem to provide hair dressers for the Dancers, (If you look on Skyblog Aurelie Dupont) you will see her sitting in her dressing room having her hair done). The Royal Ballet in the past did not have this privallige, everyone had to do their own hair and make up.

Still refering to the 1960 - 1970 era, I remember a very upsetting episode I experienced when working with the Kirov and Bolshoi during their visits to ROH London, when two burly women in uniforms cut off the long hair of the dancers with a large pair of scissors, with no regard to style or fashion. We were later told by an Interpreter that it was the custom, to provide hair for wigs. We personally found it very distressing as

the girls themselves were openly upset.

Enjoy your ballet....

Talk about a rude awakening!

I should think Princess Aurora , would promptly go back to sleep again, at 116 years old, the shock would have been too much for her !!!

Reality TV in the UK.

Over the last two or three years, there have been a number of these type of programmes, they included two shows, one to find a Maria another to find a Joseph both for Andrew Lloyd Webbers productions of the Sound of Music and Joseph Multicolour Dream Coat.in the West End. The quality of peformers was excllent, and the two young people who won the parts, were extremely good, and had rave reviews which resulted in them both achieving a long run on stage.

After the success of this genre, a similar programme on Opera was made, again two very talented ordinary people won, and received acclaim. One of the women was in fact blind, but due to her exceptional voice won the opportunity to perform. I cannot remember what the programme was called, but it featured a well known opera company, and ran for a number of weeks.

Finally, the subject of Ballet has been used here, it involved the Birmingham Royal Ballet, their Directors and Ballet Staff, the production was Romeo and Juliet.

It involved a group of under privalleged young people from the Midlands, they were all of different race, and some had been in trouble with the authorities, or were definately not the kind of people who one could imagine would relate to Ballet. The experiament took a year to complete, at the end of which it was almost inpossible to believe they were the same youngsters. Most of them were in their teens, and worked hard to achieve what they did. The producers Desmond Kelly and Mariane Tait, gave them the chance to include in the relevant act, their Brake-dancing skills.

This was brilliant, dressed in the costumes of Jesters and Entertainers, to Prokiev's jaunty music, they brought the house down, to a standing ovation.

This was amazing a truly remarkable performance. Two more of the group played the Nurse and Friar Lawrence, who he performed with great skill. One of the outstanding boys a striking coloured fellow with a physique as good as any dancer, was given the role of Tybalt , and gave a brilliant and skilled fight scene.

This just proves that given the opportunity people from all works of life can enjoy the Arts.

With reference to Dancers hair; From my experience as a Professional Wardrobe Mistress with The Royal Ballet, I can tell you quite often the Dancers had hair of varying lengths, but mostly their own hair was long enough to be able to be put in the three main "Ballet Styles", 1. the bun at the nape of the neck, or 2. a French pleat down the back of the head. Then there was 3. a bun on the top of the head. The style at the front around the face, would either cover the ears, with a middle parting.. Another style is when the hair is combed back above the ears, all these style's are held in place with pins and grips, using a bun net the hair combed down and forwards. Depending on the costume design and the Ballet being performed, the dancer may or may not have to wear a wig, in which case their own hair, would be pushed up underneath, and held in place with a hair net, or even with a stockinette type of material and safely fixed in place. It was a very serious offence if a Dancers hair fell down, which resulted in a very strict telling off !! IT WAS SIMPLY JUST NOT ALLOWED TO HAPPEN.

All the Dancers (at least in the Royal Ballet) , had their own "Hair Box", which contained various hair pieces, such as ringlettes, false buns, curls etc, which was specially made for each person and dyed to match the colour of their own hair.

When it comes to Character roles, in the case of Men, they would be provided with beards, mastouches, and any facial hair that might be needed, either to match their own colouring, or perhaps grey to represent age.

I am sorry if this information has spoilt the illustion, but I thought you would be interested to know how a dancer can change their appearance.

Paris Opera Ballet, does anyone know please, who would be an ideal person to see perform Le dame aux Camilleas in place of Aurelie Dupont, who is currently on M.... leave and possibly not back in time for June/July 2008. Have any of you seen the production, any suggestions would be much appreciated, Thank you. Nanarina.

Thank you so much for the post about the Paris Opera Book, it is still on Amazon site, and as Paris Opera Ballet is one of my favourite companies I have ordered a copy, The price has gone up slightly to $35.00> I cannot wait to get it.

Hi there The problem is not growing OLD It is doing it disgracefully (sorry ) I meant GRACEFULLY) Are we not told we are as young as we feel ? Why then does our body not understand this........ Or our mind, come to that.

Hello Shankley.

Paris in the Spring, how wonderful, to walk by the Seine, see the grdens with bulbs and blossom, I hope you enjoy your visit. I am going to the Palais Garnier in July to se Les dame aux Camelias, sadly my faourite dancer Aurelie Dupont is on M...leave, so I will not be able to see her, but no doubt there will be someone else I can enjoy performing.

I went last October to see the new Berlioz Romeo and Juliette, again I missed A.D. due to a mix up with my booking, but I saw Melanie Hurel, who was very good. This time it was at The Opera Bastille, the production was choeographed by Sasha Waltz, there are excerps on various sites you can see, it was a wonderful experience, so moving with the Orchestra, magnificent music, chorus, and Opera Soloists, as well as the Dancers.

By the end I was feeling very emotional, with a lump in my throat, and tears in my eyes, I barely had time to gather myself together before the lights went up

It would appear I will have another erxcuse to go to Paris again. Later on, when Aurelie is back. It only takes 55 minutes from my local airport in Norfolk to get to Charles de Gaul Airport at Rossey, Paris. Although I am not that keen on Nureyev's choreography, I do quite fancy seeing Cinderella.

Enjoy the time you spend in that wonderful city.

Shaun O'Brien's Drosselmeyer was wonderful, too.

By the way, there's a photo of Balanchine asDrosselmeyer, sitting on the grandfather's clock, in Repertory in Review, p. 154. (There's also a photo of the original NYCB Drossselmeyer, Michael Arshansky, looking remarkably like George Arlliss's Benjamin Disraeli in the old film.)

When it comes to Act 3 and the National Dances, they leave a lot to be desired, in fact they are not in character at all. The steps are performed in a balletic way, much to high in the air, and some elements of the choreogaphy represent a ballet solo or group, with the men jumping about, as if in a virtuoiso movemnet instead of in a controlled down to earth, stylish manner.

Sadly there is no defination between ballet and national style.

Thank you, nanarina, for that insight about the Nureyev Swan Lake, Act III. It's very helpful indeed, and I will be getting out my dvd of this and some Russian versions to compare. And ... welcome to Ballet Talk!

bart

I do not know Shaun O'brien, unless he was the dancer who played Kitri's suitor, in ABT Don Q,(Cynthia Harvery/Barish.) that guy was very good, excellent technique as well as being very amusing. If it was not Shaun O'B. do you know who it was please? Nanarina

Balanchine himself was great in character parts -- as Drosselmeyer he was wonderful, and as Don QUixote he was incredibly great.

Hi Paul:

George Balanchine, what a wonderful talented artistic man, I love his work, all the charming Ballet's he created for New York City Ballet, and previously his association with Ballet Russe, have you seen the recent DVD, about their history, it is most interesting, and he is mentioned in it.

I am not surprised he excelled in character roles.

Shaun O'Brien's Drosselmeyer was wonderful, too.

By the way, there's a photo of Balanchine asDrosselmeyer, sitting on the grandfather's clock, in Repertory in Review, p. 154. (There's also a photo of the original NYCB Drossselmeyer, Michael Arshansky, looking remarkably like George Arlliss's Benjamin Disraeli in the old film.)

When it comes to Act 3 and the National Dances, they leave a lot to be desired, in fact they are not in character at all. The steps are performed in a balletic way, much to high in the air, and some elements of the choreogaphy represent a ballet solo or group, with the men jumping about, as if in a virtuoiso movemnet instead of in a controlled down to earth, stylish manner.

Sadly there is no defination between ballet and national style.

Thank you, nanarina, for that insight about the Nureyev Swan Lake, Act III. It's very helpful indeed, and I will be getting out my dvd of this and some Russian versions to compare. And ... welcome to Ballet Talk!

Hello. When you compare the DVD, the one of POB I mention is the Letescu/Martinez, if you look at the National Dances, The Spanish is knid of reasonable and Jeremmy Belingard in the Neopolitan, but the others are full of high jumps, and danced en le air. I was disapointed and it made me cross !!! (silly woman) perhaps I am too critical, and take it too seriously, but truthfully it really matters to me. In Act 1 - well, the Sujet is not even there, only the same music. To compare look at the Kirov DVD Julia Makhalina & Igor Zaelensky, Good Luck. Nanarina

Nanarina, I know that there will be people who will be able to respond to your thoughts and questions about the current POB season. Unfortunately, we don't currently have a forum devoted to individual companies. What I suggest is that you start a new thread on "Everything Else Ballet" and give it a title that will catch the eye of those who know the most about the POB today.

Hello bart: Thank you for your suggestion I will post to Everything else about Ballet, for the POB Cast etc.

Nanarina

Thank you everyone for your kind welcome, I look forward to a healthy discussion, likes and dislikes, warts and all !! Have any of you seen Paris Opera Ballets Dame aux Camelias ? I am unable to see Aurelie Dupont, have you any suggestions, Herve Moreau and Agnes Letescue, were supposed to premiere it originally, but injury took it's toll, and Aurelie D and Manual L did the first performances, Agnes L is not my favourite choice, as I do not like her acting, she is not expressive enough for me. This role needs the right amount of feeeling in the portrayal.

I will be in Paris from 3rd to 10th July so will have the opportuinity hoperfully to pick the best cast.

Hello everyone, I would like to introduce myself to you, I am Nanarina, a new member to the forum, which I enjoy very much, and before I continue wish to compliment you all on te varied and interesting posts on a subject dear to my heart.I have known about the two forums for some time, but have only just decided to join. I was in a slight dilema which one to join, as I worked in the profession for a number of years, after which I was involved with running clubs and Master Classes for young people. I was very privalledged to work with The Royal Ballet, in the Fonteyn/Nureyev era, as a Costumier, Design Assistant and Wardrobe Mistress. I have also written for Ballet and studied Character Dance the art of Roie portrayel. musicality in performance, and lastly Ballet appreciation.

I am now retired, but occasionally still write or design for Ballet, however, my pleasure these days is to just watch listen to the mucic and enjoy my favourite interest. Over the years there has been a number of dancers I have admired, some of who are in other peoples profiles. It is really great to read names like Svetlana Beriosova, Anya Linden, Margot Fonteyn, Nureyev, as well as recent and todays Stars. It is good to hear other people of my generation are still there, enjoying their Ballet.

Whenever I can I like to go and see live performances, and will be going to The Opera Garnier, in Paris next July, to see Les Dame aux Camelias., I had hoped to see Aurelie Dupont dance in it, but she may still be on Maternity leave, so will have to choose someone else.

When I cannot get to the theatre, I have a large collection of Ballet DVD's, which I watch on my wide screen TV, it is like going to the cinema in my lounge.

My Favourite Companies

American Ballet Theatre, Birmingham Royal Ballet, Bolshoi Ballet, English National Ballet, Marinksky (Kirov) Ballet, New York City Ballet

Northern Ballet Theatre, Paris Opera Ballet

Choreographers

Sir Frederick Ashton, George Balanchine, Misha Barishnicov, Bouronville# David Lichine, Serge Lifar. Sir Kenneth Macmillan, Leonid Massine' Mikhail Fokine John Neumeier, Pierre Lacotte, Marius Pepita, Sir Peter Wright, Yuri Grigorovich, Assar Messerer

Favourite Ballets

The Stone Flower, Raymonda, Sylvia (POB) Manon, Mayerling, Les deux Pigeons, Spring Waters Pas de deux, Le Corsair (Grotto, pas de deux ABT) Sir Peter Wrights Nutcracker, La Sylphide (Lacotte)

Favourite Dancers

Past: Svetlana Beriosova,Gedamas Taranda, Gennedy Brabinin, Margot Fonteyn, Marcia Haydee, Ekaterina Maximova, Merle Park. David Wall, Rudolph Nureyev, Donald Mac Cleary, Zolton Solymosi, Leonid Nicanov, Vassilie Vassiev. Darren Wortzel, Ethan Stefal, Cynthis Harvey, Alytinai Aslmuritova, Francois Legree

Present

Aurelie Dupont, Darcey Bussell(Retired), Alina Corojo, Karl Paquet, Jean Guillamine Bart, Manual Legris, Julie Kent, Paloma Herrera, Angel Corell .Svetlana Zahkova, Jeremy Belingard, Agnes Oaks, Thomas Edur, Mathui Ganio

I am sure there must be some I have left out, particularly from the NYCB, there are so many years to cover, a lifetime of DANCE.

Nanarina

ENJOY YOUR BALLET.

Character Dance or the term Character Dancers, as they perform, in the West, cannot be compared to those Dancers from the Bolshoi or Kirov companies who specialise in these roles within classical Ballets and other modern productionds that include this element of dance.

unlike in our repertoire when the dancers perform dual roles, classical and character, in Eastern culture, the dancers are two totally sister, different groups, each trained completely separately, one style never crossing over to the other. The classical ballet dancer wears pointe or flat shoes, but her character associate only will wear boots or shoes, never dancing on pointe.In the former companies each have equal status, and are considered to be as good as each other

The training is as thorough as a classical ballet course. with Tutors and Coaches being former renouned Character Dancers themselves.. who pass their wisdom and experience on to their pupils.

However, there does seem to have originated a confusion in the difference between character dance, and National dance.To differentiate I will try and suggest some comparisons, a person playing a character such as Von Rothbart in Swan Lake, or Bottom in Midsummers Night Dream, the Pasha in Le Corsair, Severyan the Bailiff in The Stone Flower, the Miller and his Wife in Le Tricorne, these are Character Roles, Czardaz, Marzurka, Neopolitan Dance, Spanish Dance from Act 3 Swan Lake, Jobo from Le Cid, are in fact National Dances, but to confuse the situation even more, the Wonderful Gypsy Dances in the Stone Flower, the Pirates dance in Le Corsair are Character Dances. People =character, places = National

This brings up the subject of retaining the original choreography in revised productions of the tradional classical ballets, sadly a lot of the formerl steps have been changed to its detterement. A lotof Nureyev's work has failed here, in the most recent DVD released by POB of his Swan Lake,

you can see the degree to which the original Nationale dances have suffered. I am not a a supporter of Nureyev as a choreoghrapher, most of his productions are messy full of too many steps, without clean lines or breathing space for the Dancers every note is filled with a step, apparently some of the POB dancers are not keen on his work, When it comes to Act 3 and the National Dances, they leave a lot to be desired, in fact they are not in character at all. The steps are performed in a balletic way, much to high in the air, and some elements of the choreogaphy represent a ballet solo or group, with the men jumping about, as if in a virtuoiso movemnet instead of in a controlled down to earth, stylish manner.

Sadly there is no defination between ballet and national style.

Considering Nureyev's first experience in dance, was in a local club, where he learnt Russian folk dance, I am very disapoint ed by his reproduction of these great traditions. I am not against moderning and bringing Ballets up to date, such as John NeumanuerSylvia, and

Sasha Waltz's Romeo & Juliette, but please let the originals retain their history .