Question: Which season of Friends did the actors choose to submit theirselves on the best actor ballet?
About the article "Friends", section "Awards".

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Caniparoli was born in Renton, Washington on September 12, 1951, to Francisco Caniparoli, a clothing manufacturer, and Leonora (Marconi) Caniparoli, who worked at Boeing.
He attended Washington State University (WSU), where he studied music and theater.
When the First Chamber Dance Company was touring Eastern Washington, they did performances at WSU, and offered worskhops in ballet.
Caniparoli attended one and was told he had talent, and should audition at the San Francisco Ballet School.
Thereafter he decided to pursue a career in ballet, and left WSU.
He received a scholarship from the Ford Foundation that enabled him to attend the San Francisco Ballet School.
Caniparoli performed with San Francisco Opera Ballet, and in 1973, just a year and a half into his studies, he was offered a contract with San Francisco Ballet.
In his debut season, he worked under Co-Artistic Directors Lew Christensen and Michael Smuin, and later, under Helgi Tomasson.
Caniparoli became interested in choreography when he attended a choreography workshop offered by the Pacific Northwest Ballet.
After that work, his choreography career expanded and he was appointed resident choreographer for the San Francisco Ballet in the mid-1980s.
In 1984, Caniparoli co-founded a choreographic collective called OMO in San Francisco, and a documentary about OMO's founding was broadcast that year on PBS.
In 1994, he created his first full-length ballet entitled Lady of the Camellias, based on a story by Alexandre Dumas, and with a score by Frédéric Chopin.
Lady of the Camellias became one of Caniparoli's most popular works, and a part of the repertoire of several ballet companies, including Ballet West, Ballet Florida, Boston Ballet, Cincinnati Ballet, Tulsa Ballet, and Royal Winnipeg Ballet.
Caniparoli was Resident Choreographer for Ballet West from 1993-1997, and for Tulsa Ballet from 2001-2006.
He continues to create works for San Francisco Ballet.
In 1995, Caniparoli choreographed a new work entitled Lambarena, set to a musical blend of J.S.
Bach with Traditional African music.
Lambarena has become another of Caniparoli's most popular creations, a blend of classical ballet and African dance.
This ballet has been performed more than 20 companies, including Atlanta Ballet, Boston Ballet, Cincinnati Ballet, Singapore Dance Theatre, San Francisco Ballet, and State Ballet of South Africa.
In 2002, Caniparoli was invited to choreograph a pas de deux to be performed by Evelyn Hart and Rex Harrington for Queen Elizabeth II to celebrate her Golden Jubilee visit to Canada.
In May 2010, San Francisco's American Conservatory Theater (A.C.T.)
premiered Tosca Cafe, a theater/dance work co-created and co-directed by Caniparoli and A.C.T.
's Carey Perloff; Caniparoli also did the choreography.
"'Tosca Cafe"', which started as The Tosca Project, chronicles a wide cast of characters who inhabit Tosca, a bar in the North Beach section of San Francisco in the same location for decades.
Caniparoli and Perloff saw this work as a unique opportunity for collaboration between dancers and actors.
Since its 2010 premiere in San Francisco, Tosca Cafe has been performed internationally. 
The Jussi Award is an accolade to recognize excellence of professionals in the Finnish film industry, including directors, actors, and writers.
The formal ceremony is held at the beginning of each year; it is the most important film industry event in Finland.
The first Jussi Awards ceremony was held on 16 November 1944 at the Restaurant Adlon in Helsinki.
The award is probably the oldest film award in Europe.
The selection of award winners is made by the Society Filmiaura.
It has roughly 260 film professionals, who vote for all the categories (except for the Public Favorite, which the general public choose) in a closed vote.
The categories are Best Film Best Direction Best Leading Actor Best Leading Actress Best Supporting Actor Best Supporting Actress Best Script Best Photography Best Score Best Edit Best Sound Design Best Staging Best Costume Design Best Documentary Public Favorite  
Students of Alexandra Zaharias have gone on to careers with many of the major ballet companies around the world, including: Alvin Ailey Dance, American Ballet Theatre, Ballet Hispanico, Basel Ballet (Switzerland), Charleston Ballet, Cincinnati Ballet, Dance Theatre of Harlem, Houston Ballet, Joffrey Ballet, Milwaukee Ballet, National Ballet of Canada, New York City Ballet, Pacific Northwest Ballet, Pennsylvania Ballet Theatre, Richmond Ballet, Royal Birmingham Ballet (UK), and San Francisco Ballet. 
Dawson choreographed his first ballet in 1997, while with the Dutch National Ballet.
Its then artistic director Wayne Eagling encouraged him to create for the company’s choreographic workshop.
This experience resulted in Dawson's ﬁrst major creation for the main company, "A Million Kisses to my Skin", in 2000.
He received the Prix Benois de la Danse in 2003 for choreography and nominated for the UK Critics’ Circle National Dance Award as Best Classical Choreographer for "The Grey Area".
His process of choreographing this ballet was vividly illustrated in Tim Couchman's ﬁlm The Grey Area' in Creation".
Dawson created "Reverence" for the Mariinsky (Kirov) Ballet for which he was awarded Russia's highest theatre prize for visual art, the Golden Mask Award, as Best Choreographer.
By doing so he became the ﬁrst British choreographer to create a ballet for this legendary company.
He received the Choo San Goh Award for Choreography for "The Gentle Chapters" and was nominated for the highest dance prize of the Netherlands, The Golden Swan Award, as Best Choreographer for "00:00".
For his re-imagining of "Faun(e)", created for the English National Ballet's Ballets Russes Festival at the Sadler’s Wells in London, Dawson was nominated Best Classical Choreographer for the UK Critics’ Circle National Dance Award and the Prix Benois de la Danse Choreography Award in 2010.
David Dawson and his "Faun(e)" were featured in the BBC documentary "For Art’s Sake: The Story of the Ballets Russes".
Dawson has created numerous ballets internationally, including his full-length "Giselle", which had its world premiere at the Semperoper.
Amongst other signiﬁcant works are "day4", "On the Nature of Daylight", "The World According to Us", "Morning Ground", "Das Verschwundene|The Disappeared", "A Sweet Spell of Oblivion", "dancingmadlybackwards", and his highly acclaimed "timelapse/(Mnemosyne)" and "The Third Light".
Between 2004 and 2012 David Dawson was resident choreographer for the Dutch National Ballet, the Dresden Semperoper Ballet and the Royal Ballet of Flanders.
His creations have been introduced to the repertoires of the Boston Ballet, Ballet National de Marseilles, Het (Dutch) Nationale Ballet, Dresden SemperOper Ballett, English National Ballet, Finnish National Ballet, Hungarian National Ballet, Norwegian National Ballet, Mariinsky (Kirov) Ballet, Pacific Northwest Ballet, Royal Ballet of Flanders, Royal New Zealand Ballet, Royal Swedish Ballet, Singapore Dance Theatre, West Australian Ballet, Aalto Ballet Theatre Essen, Slovenian National Ballet, Ballet du Capitole, Vienna State Opera Ballet.
Dawson’s works have been performed in more than 25 countries and have entered repertoires of many ballet companies.
This season David Dawson will be creating world premieres for two companies he has a special connection with.
On 15 June 2013 a new creation to a commissioned score by Szymon Brzoska will be premiered with the Dutch National Ballet during the Holland Festival, and on 10 July 2013 Dawson will present his "Opus.11" to music by Greg Haines at the Semperoper in Germany. 
John Clifford, is best known as the creator of “Casablanca, The Dance,” produced by Warner Bros. Theatre Ventures, Inc. (which premiered in Beijing, China at the historic "Great Hall of the People" in 2005) and his Los Angeles Dance Theater, and founder / artistic director of the original Los Angeles Ballet (1974–1985), and the chamber sized touring ensemble, Ballet of Los Angeles (1988–1991).
Before that time, however, Clifford was a world-renowned principal dancer and choreographer with George Balanchine’s New York City Ballet, (1966–1974) and guest artist from 1974–1981, and was widely considered to be Balanchine’s protégé (Saturday Review).
Trained in Los Angeles by the legendary teachers Carmelita Maracci, David Lichine, Eugene Loring, Maria Bekefi, and Irina Kosmovska, his first ballet appearance was at the age of eleven as the “Nutcracker Prince” in Balanchine’s New York City Ballet production of “The Nutcracker” at the Greek Theater.
Other early performances were as a regularly featured dancer on the Danny Kaye and Dinah Shore television shows.
He also was a child actor often seen on the Donna Reed Show and Death Valley Days (hosted by Ronald Reagan).
His first major choreography, at age 16, was for a production of West Side Story (conducted by Leonard Slatkin) for the Los Angeles Youth Theater.
His other Los Angeles choreography was for an early attempt at the establishment of a resident ballet for Los Angeles, the “Western Ballet Association.” Clifford was a principal dancer and choreographer for this company, which was founded in 1965 by Balanchine under the name of “Ballet of Los Angeles.” The name was changed when Eugene Loring followed Balanchine as director of this short-lived company, but this is where Balanchine first became aware of Clifford’s choreography (he created two original ballets in the summer of 1966).
After seeing rehearsals of these ballets Balanchine invited Clifford to New York to begin choreographing for his School of American Ballet.
In October of the same year, at the age of 19, he was invited to join the New York City Ballet (NYCB).
He choreographed his first of eight ballets for that company at the age of twenty, thus making him the second youngest resident choreographer in history attached to a major company, the first being George Balanchine himself, who was the same age when he choreographed his first ballet for “Les Ballets Russes” of Serge Diaghilev as reported in Bernard Taper's excellent biography of George Balanchine.
At NYCB Clifford quickly rose to principal dancer status and had numerous principal roles created for him by Balanchine, Jerome Robbins, John Taras, Todd Bolender, and Jacques d’Amboise, and danced the leading roles in over 45 ballets.
Before he founded the Los Angeles Ballet, Clifford was the first American male guest artist in history to dance with the Paris Opera Ballet.
He was also a popular guest star on numerous European galas, dancing on the same programs as the legendary Russian dancers Yuri Soloviev and Irina Kolpakova to name but two great artists.
During these early years, he was also commissioned to choreograph new ballets by the San Francisco Ballet, the Royal Winnipeg Ballet and the Deutsche Oper Ballet (Berlin), and was also invited by this same company, at the age of twenty-five, to become their artistic director.
He felt he was too young at that time, and did not want to leave Balanchine’s tutelage, or the New York City Ballet, so he declined their offer.
Established in 1974 under his direction, the Los Angeles Ballet went on to perform five critically successful U.S. National tours, including New York City (twice at Lincoln Center with the New York Philharmonic, and at the Joyce Theater and the Brooklyn Academy of Music); dance in the Far East, Mexico, Saudi Arabia, and Canada, and appear in numerous films and television programs.
This company also appeared twice at the Hollywood Bowl with the Los Angeles Philharmonic, and at the Greek Theater, the Los Angeles Music Center, Ambassador Auditorium, the Shrine Auditorium, the Pantages Theater, and virtually every theater and University of note in Southern California.
They also renovated the John Anson Ford Theater thus transforming it into a major dance venue.
The company performed approximately 100 times annually in the Los Angeles area, as well as offering free performances to over 150,000 local school children.
This company also supported the largest ballet school in Southern California, the Los Angeles Dance Center, which supplied numerous dancers to not only the Los Angeles Ballet, but also to the NYC Ballet, San Francisco Ballet, Zurich Ballet, and American Ballet Theater.
As a free-lance choreographer Clifford has created ballets for Les Ballets de Monte Carlo, (4) Teatro Colón, Buenos Aires, (4) Deutsche Oper Ballet, Berlin, (2) Zurich Ballet, (2) Maggio Danza, (Florence, Italy) and has staged his works for the Ballet du Nord, France, (4) the Rome Opera Ballet, (2) and Ballet British Columbia.
In America, in addition to his eight works for the New York City Ballet, his ballets have been commissioned by the San Francisco Ballet, Miami City Ballet, Pacific Northwest Ballet (Seattle), Dallas Ballet, Santa Fe Festival Ballet, North Carolina Dance Theater, Atlanta Ballet, Chicago Ballet, Oakland Ballet, and the Sacramento Ballet.
Clifford is also a Ballet Master/Repetiteur for the George Balanchine Trust.
In that capacity he has staged the master choreographer’s ballets for: The Bolshoi Ballet, (3) The Paris Opera Ballet, (10) The Mariinsky Ballet, (2) The Royal Ballet, (2) Ballet of La Scala, (3) Rome Opera Ballet, (2) Ballet di Opera San Carlo, (Naples, Italy) Les Ballets de Monte Carlo, (4) Deutsche Oper Ballet and Staats Oper Ballet, (Berlin) The Universal Ballet, and the National Ballet (Korea) The Zurich Ballet, Les Grands Ballets Canadiens, (Montreal) Ballet Belles Artes, (Mexico City) National Ballet Teresa Carreneo, (Caracas, Venezuela) and virtually every major American company.
Clifford has also been a most popular guest teacher for all of these companies teaching classes to Rudolph Nureyev, Sylvie Guillem, and virtually all the great dancers of the late 20th and early 21st century.
Clifford was the artistic director of Robert Redford’s Sundance Institute Video/Choreographer Program and produced “Pas De Deux,” a video distributed by VAI (Video Artists International).
Currently Clifford is overseeing the development of more large scale dance-theater pieces.