Famous Male Ballet Dancers - BalletHub Famous Male Ballet Dancers About Ballet October 20th, 2014 There are thousands of dancers in the world but only a handful of famous male ballet dancers. While famous ballerinas may often have the spotlight, let’s take a look at the men who’ve helped shape ballet into what it is today. Mikhail Baryshnikov Mikhail Baryshnikov When you talk about famous male ballet dancers, there is always one household name that comes up: Baryshnikov. From dancing to sold out audiences in New York and around the world, to several movies and a season of Sex and the City, Mikhail Baryshnikov’s career has been nothing short of stardom. Born in Latvia to Russian parents, “Misha” (his nickname, common in Russia for people named Mikhail) began ballet training at the age of 12 and won the Gold Medal at the International Ballet Competition in Varna in 1966. He soon joined the Kirov Ballet where he danced as a principal until his defection in 1974 in Toronto, Canada while on tour with the company.

He soon left for the US where he joined American Ballet Theatre as a principal from 74-78, where he would often partner Gelsey Kirkland. From 78-80, he joined New York City Ballet as a principal to dance the works of George Balanchine. Only two years later, he rejoined ABT as both a principal director and its director. During this time, he danced to sold out audiences around the world while directing one of the greatest companies in the world. After his departure from ABT, he formed the White Oak Dance Project with Mark Morris, a small modern company. In 2005, he opened the Baryshnikov Arts Center in New York City which provides space not just for dance, but also theater, film, music and visual arts. Standing about 5’7 and unable to partner taller women when they were up on pointe, Baryshnikov is not your typical tall male ballet dancer. This however did not stop him from achieving international star status in and out of the ballet world.

He starred in several dance related movies, such as “White Nights,” “The Turning Pointe,” and “Dancers,” movies that he plays the roll of a famous male ballet dancer and also in the spy film “Company Business” where he plays a KGB mole. He is also known for playing the role of a Russian painter, Aleksandr Petrovsky, on the final season of Sex and the City. While there were famous male ballet dancers before his time, Baryshnikov has certainly played a huge part in shaping ballet into what it is today, especially for male dancers. Ethan Stiefel Ethan Stiefel performing in Swan Lake. Photo by Rosalie O’Connor Next on our list of famous male ballet dancers is Ethan Stiefel, an astounding male dancer of superb technical ability and balletic line who has had an amazing international career. Stiefel is also widely known for his bad-boy role of Cooper Nielson in the hit ballet movie “Center Stage” played alongside Amanda Schull and Sascha Radetsky.

After training at several schools, among School of American Ballet (SAB), he joined New York City Ballet in 1989 as a corps de ballet dancer, leaving just three years later to perform with Zürich Ballet and returning once again a year later to NYCB as a soloist. He was promoted to principal at NYCB in 1995 and left in 1997 to join American Ballet Theatre as a principal. Ethan’s talent is immense; he not only has beautiful, balletic lines with his legs and feet but also an ability to perform very difficult, technical ballet steps with an explosive, yet refined, style. After a 15 years of performing with ABT (23 years total), he retired from the stage with his final performance in July 2012, dancing Ali the Slave in the ballet Le Corsaire. Formerly the dean of the the School of Dance at North Carolina School of the Arts, the director at Ballet Pacifica and more recently at Royal New Zealand Ballet, the dance world has much to look forward to from one of the world’s most talented and famous male ballet dancers.

Rudolf Nureyev Rudolf Nureyev, famous male ballet dancer and director of Paris Opera Ballet Rudolf Nureyev easily makes the list of the most famous male ballet dancers. Born in 1938 in Soviet Russia, Nureyev started his serious ballet training quite late at the age of seventeen at the ballet school of the Kirov Ballet. He was actually not immediately placed in the top level, but after some time, he asked his teacher to watch him perform a variation which earned him a spot in the higher level. After graduation, he was offered a position in the Kirov Ballet and was soon promoted to a soloist. During a special European tour in 1961, he defected in Paris, France. Shortly after in 1962, he joined the Royal Ballet as a principal dancer and began, what would become a legendary partnership, to dance with Margot Fonteyn. He began guesting all around the world and quickly rose to international stardom. It is often said, there is, and may never will be again, a star like Nureyev. While his talent and popularity was undeniable, his personality was often very difficult for people to swallow.

He had very little patience for rules and often had an explosive temper. In 1983, Nureyev became the director of Paris Opera Ballet while still dancing as a principal dancer. He was known for seeing talent in people, working with them and promoting their careers, such as with Sylvie Guillem and Manuel Legris. He was and possibly will forever be the richest dancer ever, owning an apartment in the Dakota building in New York City and his own island, Amalfi Island, off the coast of Italy, as well as an extremely large collection of art among many other things. Nureyev sadly passed away in 1993 after battling with AIDS but left an undeniable mark on the world.

More Famous Male Ballet Dancers There are many more famous male ballet dancers who have greatly impacted the world of ballet, including: Erik Bruhn, Danish, danced mostly at Royal Danish Ballet José Carreño, Cuban, danced mostly at American Ballet Theatre Peter Martins, Danish, danced with New York City Ballet, currently its director Carlos Acosta, Cuban, danced mostly at Royal Ballet Ivan Vasiliev Five Russian men who changed ballet - Telegraph Five Russian men who changed ballet Magnetic: Mikhail Baryshnikov in 1993 12:02AM BST 14 Jul 2007 Ivan Vasiliev is just the latest in a long line of Russian 'superhero' dancers. As he makes his debut in London, we look back at some of his predecessors Vaslav Nijinsky Men rule, 1889-1950 Diaghilev's extraordinary star, a small, sturdy man of Polish blood, St Petersburg-trained. His astounding leaps evoked flight, and his unparalleled dramatic character could suggest an animal or bird one moment, a prince or sexually rampant slave the next. He made ballet a man's game for the first time.

His ballets The Rite of Spring and L'Après-midi d'un faune revealed a prodigious modernist choreographer, but he succumbed to mental illness in his twenties. Rudolf Nureyev Ballet rocks, 1938-1993 Born on a train to a poor Siberian family, a late starter in ballet, the Kirov's exotic, rebellious rising star defected on his first Western tour in 1961, three days before his scheduled debut in London. His animal beauty and ambiguous sexual charisma recalled Nijinsky, and his unexpected rapport with the cool grande dame of England, Margot Fonteyn, rocked the world far outside ballet. He made ballet the new pop in the '60s, renewing classical ballet with effects felt to this day. Became Paris Opera Ballet's most brilliant director before dying of Aids. Vladimir Vasiliev Evolution of superman Born 1940, Moscow-trained. Bolshoi principal at 19, uniting Soviet bravado and Russian refinement, the original Spartacus in Yuri Grigorovich's 1962 ballet.

A muscular blond, he epitomised the Cold War Soviet ballet boom, defining a new invincible male icon, the Russian superhero, but his Western fame was undeservedly limited by his non-defection. Married effervescent ballerina Ekaterina Maximova, becoming a dazzling classical partnership. Later, less happily, Bolshoi director and choreographer. Mikhail Baryshnikov From old to new Born 1948, Leningrad-trained. Kirov star at 21, and the man whose defection the Soviets most feared. Limited in roles by his 5ft 7in stature, highly intelligent and inquiring, he defected in Toronto in 1974, settling in the US and becoming a superstar, inspiring today's extraordinary American male generation. More aerial a dancer than Nureyev, he delivered pure Kirov classicism with a magnetic naturalness and humour. The first crossover dancer, when contemporary queen Twyla Tharp created ballets for him, he immersed himself (and his fortune) in regenerating modern dance. Irek Mukhamedov Hunk turned prince Born 1960, Moscow-trained.

Winning the 1981 Moscow competition while a star of Moscow's second company, he joined the Bolshoi as principal and succeeded Vasiliev as new-era Spartacus. After a decade as Bolshoi superhero, he came to London's Royal Ballet in 1990, remaking himself as a dramatic actor in Kenneth MacMillan's ballets, and developing an artistic side the Bolshoi had neglected, a superlative career as a classical prince. IB Mikhail Baryshnikov - Biography - IMDb Mikhail Baryshnikov Jump to: Overview (4) | Mini Bio (1) | Trivia (25) | Personal Quotes (13) Overview (4) 5' 7" (1.7 m) Mini Bio (1) Boyishly cute, diminutive and strong as a bull, but as graceful as any gazelle or swan, Mikhail Baryshnikov is a household name even to non-balletomanes. Widely considered to be one of the greatest and biggest names in dance. Mikhail began his ballet studies in his native Riga, Latvia.

He was accepted by the Leningrad Choreographic School, the associate school of the Kirov Ballet. One of his instructors there was Alexander Pushkin , who had taught Rudolf Nureyev - who defected in Paris and was already making a name for himself in America. Among Baryshnikov's friends at the school were Alexander Godunov (nicknamed Sasha) and "ballerina assoluta" Natalia Makarova . Mikhail joined the Kirov Ballet of Leningrad (now St. Petersburg) and his technique and balletic abilities were so great, he skipped the corps and was immediately put in a soloist position. While doing quite well in Russia, even finding an audience fanbase, the government and dance seemed to be too limiting and frustrating for him. Like other Russian dancers before him and after him, he would soon defect. When the Kirov was touring in Canada, Baryshnikov defected and then quickly became a member of the National Ballet of Canada. Later on, he joined the American Ballet Theatre becoming one of the company's principal dancers.

During this time he was reintroduced to 'Gelsey Kirkland' of New York City Ballet, whom he had previously met in Russia, becoming partners both on the stage and in real life. The celebrated partnership went on to become legendary, with their most well-known work being Baryshnikov's version of Tchaikovsky's ballet "The Nutcracker". In 1977, Mikhail made his film debut in The Turning Point (1977), a part written especially for him, where he played Yuri, a superstar ballet defector from Russia who beds more ballerinas than he dances with. Gelsey was also slated to co-star, but she wanted "no part of Hollywood", had objections to the storyline and soon after the two split. The movie went on to be nominated for 11 Oscars, including one for Mikhail. Throughout his life Mikhail had idolized George Balanchine , the great choreographer and ballet master of the early 20th century for his innovation within the art of modern ballet.

Thus, in addition to his occasional casting in films, Baryshnikov applied to and became a student of the great Balanchine, learning his choreography styles, taking a sabbatical from the ABT. Mikhail danced "Prodigal Son" and numerous other ballets at NYCB under Balanchine's direction and continued with NYCB until he was offered the position of Artistic Director at ABT. He briefly resumed the role of principal dancer, but was forced to quit professional ballet due to injuries. In the 1990's, he co-founded the White Oak Dance Project, and in 2000 received a lifetime of achievement award at the Kennedy Center Honor Awards. Baryshnikov has been called the greatest male dancer of the 20th century and continues to dance, model and act, both in film and in the theater. - IMDb Mini Biography By: dane youssef Trivia (25) Ballet dancer turned actor Father of four children. He lives with girlfriend Lisa Rinehart . Following his defection in Canada, the first ballet troupe that he performed with was the Royal Winnipeg Ballet in Winnipeg, Manitoba, Canada.

Mikhail was a 2000 recipient of the John F. Kennedy Center Honors. Children by Lisa Rinehart : Peter Andrew (born 1989), Anna Katerina (born May 22nd 1992) and Sofia-Luisa (born May 24th 1994). Has his own clothing line: "Baryshnikov", plus his own perfume brand: "Misha". Danced with the Kirov Ballet, the American Ballet Theatre and the New York City Ballet. Was artistic director with ABT and even ran his own class outside of ABT - Mikhail Baryshnikov's School of Classic Ballet. Was romantically involved with legendary ballerinas Natalia Makarova and Gelsey Kirkland . Frequently attended legendary New York disco Studio 54. Was nominated for Broadway's 1989 Tony Award as Best Actor (Play) for "Metamorphosis." When he met Jessica Lange , he spoke little English. Fortunately for him, Lange spoke French, which he could speak fluently.

Daughter Shura (Aleksandra) Baryshnikov, whose mother is Jessica Lange , graduated from Marlboro College in Vermont, the same college that Chris Noth attended in the 70s. [2003] He had a romantic relationship with fellow Soviet defector and prima ballerina assoluta Natasha Makarova . She was eight years his senior. She ended it because of this fact and when she needed him back as a sympathetic shoulder to cry on, Baryshnikov was already involved with another young ballerina named Gelsey Kirkland . His name in English means "Michael." He was awarded the American National Medal of the Arts in 2000 by the National Endowment for the Arts in Washington D.C. He appeared in three of the ballet programs which were Emmy-nominated for "Outstanding Classical Program in the Performing Arts" in the same year - "Giselle", "American Ballet Theatre at the Metropolitan Opera House", and "The Nutcracker". "Giselle" was the one that took home the Emmy, but "The Nutcracker" remains the one that has most often been shown and is consistently the most popular.

The other two have not even been released on video or DVD, due to a royalties dispute about all "Live From Lincoln Center" programs. His and Jessica Lange 's daughter is Aleksandra (born 1981). Hobby is golf. Owner of ballet troupe, "White Oak Dance Project". Taught by ballet instructor Bella Kovarsky when he was a child. Appearing in dramatic roles in a series of one-act plays by Samuel Beckett, at the New York Theater Workshop. [December 2007] He was Artistic Director of the American Ballet Theatre from 1980 to 1989, until they fired his right-hand man Charles France. Baryshnikov's successor was Kevin McKenzie. Enjoys fishing. Russian ballet star Nureyev defects - Jun 16, 1961 - HISTORY.com Russian ballet star Nureyev defects Share this: Russian ballet star Nureyev defects Author Russian ballet star Nureyev defects URL Publisher A+E Networks Rudolf Nureyev, the young star of the Soviet Union’s Kirov Opera Ballet Company, defects during a stopover in Paris.

The high-profile defection was a blow to Soviet prestige and generated international interest. Nureyev became a star of Russian ballet in 1958 when, at barely 20 years old, he was made one of the Kirov Opera Ballet’s featured soloists. The Kirov and the Bolshoi ballet companies were two of the jewels of Soviet cultural diplomacy, and their performances earned worldwide accolades and respect for the arts in the USSR. In June 1961, the Kirov Company finished a run in Paris. On June 16, just as the company was preparing to board a flight home, Nureyev broke from the group and insisted that he was staying in France. According to eyewitnesses, other members of the troupe pleaded with Nureyev to rejoin them and return to the Soviet Union. The dancer refused and threw himself into the arms of airport security people, screaming, “Protect me!” The security officials took Nureyev into custody, whereupon he asked for political asylum. The Kirov Company fretted over the loss of its star and Soviet security guards fumed over Nureyev’s defection.

Eventually, the troupe flew back to Russia without the dancer. Nureyev’s high-profile defection was a double blow to the Soviet Union. First, it detracted from the quality of the Kirov Company, which had featured the young prodigy prominently in its performances throughout the world. Second, it severely damaged Soviet propaganda that touted the political and artistic freedom in Russia. Nureyev continued with his career after his defection. During the next 30 years he danced with England’s Royal Ballet and the American Ballet Theatre. He was in great demand as both a dancer and choreographer, and even made a few films (including a disastrous turn as the silent film star Rudolf Valentino). In 1983, he took over as ballet director of the Paris Opera. In 1989, he briefly returned to the Soviet Union to perform. He died in Paris in 1993. Related Videos Part III: Great Classical Ballet Dancers Part III: Great Classical Ballet Dancers As I always mention, this article is a starting point for further research rather than a definitive source.

This is partly because there have been so many great dancers in the beloved field of classical ballet that it would be impossible to look at them all, and even ï¿½definitiveï¿½ books are not able to do that due to the space restrictions! There is no doubt that everyone loves a celebrity, and ballet dancers have always seemed to hold a special mystique in the eyes of the public. Even those people who are not interested in dance will have heard of the great ballerina Anna Pavlova, or Margot Fonteyn, possibly the most famous dancers ever to have made their names. And of course we all know that the exquisite Australian dessert, the Pavlova, was created in honour of the light and ethereal dancing of Anna Pavlova during her visit to our country in the early 20th century. Why do ballet dancers seem to enchant the public so? Maybe it is because they seem to be from a completely different world, a world where strange and magical things are possible, where the women are always beautiful, the men always gallant and the clothing always fantastic. It is a world that is totally escapist and we all love a good session of escapism.

In the last century ballet started to very seriously move away from this fairytale world but we still love our dancers. Perhaps we admire them so much because they seem, to us, to achieve the impossible, creating such awesome beauty as they move in such unimaginable ways. Perhaps we see them as a breed apart, special. There are, as I have said, so many gifted dancers. I believe that the best of them have indeed understood that dancing is a spiritual thing, and they do indeed dance with their spirits. I believe this is what captivates people the most. Letï¿½s go and meet some of them, so next time we find ourselves in a conversation about classical ballet, we can at least do some name-dropping! Short Biographies summarised from the Internet; sources as quoted. We look at European and Russian dancers; We meet English dancers, and Americans. We then talk about some of the Australian legends; Sir Robert Helpmann, Lucette Aldous, Garth Welch, and Marilyn Jones.

Marie Camargo 1710-1770 Camargo studied in Paris under Franï¿½oise Prevost, and danced in Brussels and Rouen before her Paris Opï¿½ra debut in 1726 in Les Caractï¿½res de la danse. Her success provoked the jealousy of her aging teacher, Prevost, who relegated her to the ensemble. She soon won an unexpected triumph, however, by improvising a spectacular solo when another dancer failed to enter on cue. Her final retirement was in 1751. Camargo reputedly established the ballet's basic leg position as turned-out 90ï¿½ from the hip. A rival of Marie Sallï¿½, she was noted for her speed and agility and for her perfection of jumping steps previously executed chiefly by men. To display her rapidly moving feet, she became the first dancer to shorten her ballet skirts to calf length, to remove the heels from ballet slippers, and to wear close-fitting drawers (that evolved into ballet's basic "tights") while dancing. Marie Taglioni 1804-84, Italian ballerina, b. Stockholm.

Taglioni is considered the first and foremost ballerina of the romantic period. She made her debut in Vienna in 1822 in a ballet created for her by her father, the Italian choreographer Filippo Taglioni. Although she danced with the Paris Opï¿½ra from 1827, she did not achieve success until 1832, when she interpreted the title role of her father's new work, La Sylphide, which all Europe acclaimed. Taglioni's ethereal style and high elevations and leaps greatly influenced the development of ballet. She danced with the St. Petersburg Imperial Theatre from 1837 through 1839. Having retired in 1848, she was forced by bankruptcy to teach dance in Paris and London in her last years. Fanny Cerrito 1817-1909, Italian ballerina, a brilliant, vivacious dancer and one of the few female choreographers of the 19th century.

Born Francesca Cerrito in Naples, she studied under the celebrated Italian teacher Carlo Blasis and the noted French choreographers Jules Perrot and Arthur Saint-Lï¿½on (1821-1870; her favorite partner and, from 1845 to 1851, her husband). She was famous for her roles in Pas de quatre (1845), Ondine (1843), and Gemma (1854, her choreography). Microsoftï¿½ Encartaï¿½ Online Encyclopedia 2000 Vaslav Nijinsky ï¿½1890-1950, Russian ballet dancer and choreographer; brother of Bronislava Nijinska. In 1900 he entered the Imperial Ballet School, St. Petersburg, and made his debut in 1907.

He traveled to Paris (1909) and, as premier danseur in Diaghilev's Ballet Russes, was the first to dance the leading roles in Petrouchka, Les Sylphides, Scheherazade, and The Spectre of the Rose, all choreographed by Fokine, and The Afternoon of a Faun (1912) and Till Eulenspiegel (1916), which he himself choreographed. Nijinsky, often considered the greatest male dancer of the 20th cent., was noted for his jetï¿½ and elevation. His relationship with Diaghilev was stormy, ending bitterly when the dancer married. Nijinsky's career was abruptly terminated by insanity (1919). He lived in retirement in England and Switzerland until he died. Anna Pavlova Pavlova, 1881-1931 was a premature birth and as a child was often ill, suffering from measles, diphtheria and scarlet fever. Despite her frail physical weaknesses, Pavlova as a child was accepted into the Imperial School of Ballet in 1891, and was an exceptional student.

She first appeared on the stage of the Maryinsky Theater, became a prima Ballerina in 1906, toured Stockholm, to Berlin in 1907 and made, her American debut in January of 1910 with Mordkin at the MET. In 1913, Pavlova left Russia forever, with her own company. She did more for the American Ballet than any other one person; for millions of people at the time, Pavlova was the only time they ever heard the name Ballet. She danced in every part of the world and in one of her visits to the USA, she traveled over twenty six thousand miles, performing each day in each town for six months. Her performing schedule was so hectic that she went through a dozen pairs of toe shoes each week. Pavlova toured for over twenty years and died in The Hague, Holland, of Pneumonia. Rudolf Nureyev 1938-93, Russian ballet dancer, b. near Irkutsk, Siberian USSR. Nureyev studied in Ufa and St. Petersburg, and in 1958 he became a soloist with the Kirov Ballet.

In 1961 he defected from the Soviet Union while on tour in Paris. Nureyev is regarded by many as the leading classical ballet dancer of his generation. He was noted for his overpowering stage presence and his exceptionally athletic skill and fiery grace. His major roles include the leads in La Bayadï¿½re, Les Sylphides, Giselle, Swan Lake, Romeo and Juliet, Le Corsaire, Raymonda, and Sleeping Beauty. As guest artist with the Royal Ballet, London, and elsewhere he appeared with many celebrated ballerinas, most notably as partner to Margot Fonteyn. He also revised and staged several ballets, including the Marius Petipa version of Don Quixote (1966). Nureyev also danced in a number of works by modern-dance choreographers including Glen Tetley and Paul Taylor. Nureyev frequently appeared on television, was the star and subject of a feature-length film, and had a limited-run Broadway show (1974-75). In 1983 he became ballet director of the Paris Opera.

Altynai Asylmuratova Born in 1961 in Kazakhstan, Asylmuratova studied at the Vaganova Academy in Leningrad. After graduation in 1978 she joined the Kirov Ballet, becoming a principal in 1982. Asylmuratova has danced all the major 19th-century ballerina roles as well as ballets of Fokine and some of the great Soviet dram-ballets (Romeo and Juliet, The Fountain of Bakhchisarai). She has also successfully mastered Western choreographic styles, giving further proof of her versatility and finding additional outlets for her dramatic talent in the work of Ashton, MacMillan, and Petit. The altered political situation in the early nineties allowed Altynai Asylmuratova to guest extensively in the West and satisfy her artistic curiosity without ever having to detach herself completely from the Kirov. Asylmuratova, combining superb schooling with a rare expressive power and compelling beauty, came as a refreshing wind on the international stage. Many consider her the last great ballerina in the long and illustrious St. Petersburg lineage.

In January 2000 she was named Artistic Director of the Vaganova Ballet Academy. Mikhail Baryshnikov Born 1948 in Riga, Latvia. He began study at the Riga Dance School in 1960. In 1963 he was invited to join the Riga dance troupe and toured Leningrad where he met Alexander Pushkin at the Vaganova School. He studied there under Alexander Pushkin and joined the Kirov Company after only 3 years at the Vaganova School. In 1972 he debuted in the Kirov production of "Giselle" but two years later while in Toronto Baryshnikov defected after a performance of "Don Quixoteï¿½. Baryshnikov joined the American Ballet Theatre a few weeks later and made his American debut in "Giselle". He later became Artistic Director for ABT and also worked with Balanchine at NYCB for a time.

In the 1970ï¿½s Baryshnikov collaborated with Roland Petit, Twyla Tharp, and Liza Minelli, and in 1975 made his choreographic debut with his production of "The Nutcracker". Baryshnikov had earlier made his film debut in the west in "The Turning Point" and in 1984 he began work on "White Nights". In 1985 he became romantically involved with ABT dancer Lisa Rinehart who is the mother of 3 of his children. The following year he made another film "Dancersï¿½. In 1990 he was involved in marketing and merchandising efforts including his perfume for women called "Misha" and his own line of dancewear. During the 90's he has danced in the Mark Morris Company, a modern dance troupe, and now has his own modern dance company "White Oak Dance Project". Alicia Markova ï¿½ At 14 Markova was hired by Diaghilev, as his first and only child-star; even before then she had been dancing in public as 'the miniature Pavlovaï¿½.

By the time Diaghilev died in 1929 she was an established name on the international scene. Markova danced both for Marie Rambert's Ballet Club and for de Valois' Vic-Wells Ballet (forerunner of the Royal Ballet). In the early days her name was as valuable as her talent: she attracted those who thought only Russian ballet worth watching. The irony was that Markova is English - Alicia Marks. Ashton created many roles for her, displaying her virtuoso technical skill. When she left the Vic-Wells, they wondered how to survive without their great star - but it was her departure which created an opening for an almost unknown Margot Fonteyn. Markova spent the 1940s in America, with the Ballets Russes de Monte Carlo and later with Ballet Theatre. Here she reached the heights of her career, and became identified with her signature role, Giselle. In the 50s Markova came back to Britain to found the Festival Ballet (now English National Ballet). Her most famous partnership was with Anton Dolin, but during her career she also danced with almost every one of the great male dancers.

Dame Margot Fonteyn 1919-91, English ballerina. Fonteyn was for many years prima ballerina assoluta of the Royal Ballet. Her original name was Margaret Hookham. In 1934 she joined the Sadler's Wells Ballet School, and in the same year she made her debut as a soloist. She became prima ballerina of the Vic-Wells Ballet in 1935. Fonteyn gained a reputation for expressive acting and versatility, creating such roles as Aurora in The Sleeping Beauty and Agathe in Les Demoiselles de la Nuit. Her performances in Cinderella, Giselle, Sylvia, and The Firebird were also outstanding. Sir Frederick Ashton created a number of major ballets especially for Fonteyn. She was made a Dame of the British Empire in 1956. Fonteyn's international reputation reached an unprecedented height after 1962, when she began her partnership with the Russian dancer Rudolf Nureyev. Antoinette Sibley Antoinette Sibley was the first ballerina to have come right through both divisions of the Royal Ballet School.

Sibley was born in 1939, and studied at the Cone Ripman School before joining the then Sadler's Wells Ballet School. She joined the company in 1956, making her mark very soon in classical solos and became a soloist that year. By 1960 she was a Principal, and gradually taking over all the great classic roles. She was a wonderful interpreter of the Ashton repertoire, both in created roles and in those she inherited from Fonteyn. In 1964, Ashton made the role of Titania in his lovely 'Dream' for her, and by casting the relatively unknown Anthony Dowell as Oberon, launched the second-most-famous partnership in the company's history. They were so ideally matched, in appearance, line and musicality that their already great individual talents seemed even greater when they appeared together. They went on to do all the classics, as well as many other contemporary works. By 1979 a knee problem had escalated to a stage where she could no longer carry on, and she announced her retirement. These days she is President of the Royal Academy of Dancing, and a coach to aspiring ballerinas.

Anthony Dowell Anthony Dowell is remembered by many as the perfect English dancer. From his first appearance, in a solo in the Napoli Variations, he was clearly headed for the top, and even without his famous partnership with Antoinette Sibley he would be assured of a permanent place in the pantheon of British ballet. At the Royal Ballet School he was soon identified as potentially special. He was taken into the London Royal Ballet in 1961, after a year's apprenticeship in the Covent Garden Opera Ballet. Within three years he was launched on the road to stardom when Ashton chose him to create the role of Oberon in his Dream, showing for the first time his speed and unique ability to change direction apparently instantaneously. In 1967 he was honoured by having Antony Tudor create for him the only ballet he ever made for the London company, Shadowplay. In 1978 Dowell took a year off to dance with American Ballet and when he came back it was with a new confidence and assurance. Suzanne Farrell 1945-, American ballet dancer, b. Cincinnati.

After studying in Cincinnati and at the School of American Ballet, she joined the New York City Ballet, where she became a favorite with ballet audiences. Balanchine, recognizing the emotional depth of her performances, created several roles for her in Movements for Piano and Orchestra, Meditation (1963), and Don Quixote (1965). From 1970 to 1974, she was a member of Bï¿½jart's Ballet of the 20th Century. In 1974, she returned to the New York City Ballet, where she danced in Balanchine's Schumann's Davidsbundlertanze and Tizane and in Jerome Robbins's Concerto in G. Farrell became a teacher at the company after her retirement in 1989. Her strained relations with City Ballet's director, her former partner Peter Martins, ultimately ended in her dismissal in 1993. Since then she has taught Balanchine's ballets, technique, and philosophy to dance companies throughout the world.

Also in 1993, Farrell began teaching at the Kennedy Center, Washington, D.C., where, with a chamber troupe, she has presented Balanchine programs. Peter Martins 1946-, Danish ballet dancer and choreographer. He studied at the School of the Royal Danish Ballet and performed with its company (1965-69). In 1969 he joined the New York City Ballet, where he danced in numerous ballets, including Chaconne and Vienna Waltzes, often partnering Suzanne Farrell. Martins' choreographed works include Calcium Light Night (1977), Five Easy Pieces (1980), Les Gentilhommes (1987), A Musical Offering (1991), and Symphonic Dances (1994). In 1983 Martins retired from dancing and with Jerome Robbins became co-ballet master in chief of the company, a position Martins has occupied alone since the retirement of Robbins in 1989.

Robert Helpmann He had just arrived in London to join the Vic-Wells Ballet; he was 24, and in his native Australia he had already begun his career as an actor and dancer, including a tour with Pavlova's company as a student. With de Valois' support he became the company's leading male dancer, partnering Fonteyn as she grew to greatness in the classics, and choreographed a number of works in the 40s at least two of which earned a place in the repertoire. Most of all, he created unforgettable characters, both comic and dramatic, in many works by Ashton and de Valois. He had the priceless gift of being able to hold an audience, no matter what he was doing. Helpmann's career as a choreographer was launched in the war, when de Valois needed someone to fill the gap left when Ashton was called up. He also went on to create successful new works for the Australian Ballet. Helpmann left the Sadler's Wells Ballet and concentrated on acting, returning occasionally as a guest to join Ashton in their unsurpassable double act as the Ugly Sisters in 'Cinderella'. He was for years a director of the Australian Ballet.

Lucette Aldous Aldous was actually born in New Zealand, in 1938, but her family moved to Australia four months later and it was there she had her early training, principally at the Francis Scully School in Sydney. She came to London on a scholarship and spent two years at the Royal Ballet school, but was turned down by both RB companies and by Festival Ballet because of her lack of height. After Rambert accepted her, she first came to notice in the Dawn solo in Coppï¿½lia, where suddenly her confidence and musicality seemed more important than her lack of inches. She went on to dance Swanilda, Giselle, and Sylphide, her Kitri was 'like rockets on a starry night', said Dance & Dancers Magazine. After six years with Rambert, Aldous joined Festival Ballet. She stayed only 3 years before tiring of the constant round of Nutcrackers and leaving for the Royal Ballet touring company, joining as a principal. Although she danced the big classics, she was perhaps most successful in the Ashton repertoire, especially The Dream (she was Nureyev's partner at his debut) and La Fille mal Gardï¿½e.

Aldous eventually married another Australian dancer, Alan Alder, and in 1971 she returned to her adopted homeland as a star of the Australian Ballet. Nureyev mounted his own production of Don Quixote for the company and chose her to dance with him as Kitri. Garth Welch One of Australiaï¿½s finest classical dancers and former premier danseur with the Australian Ballet, Welch has performed throughout the world and partnered such notables as Dame Margot Fonteyn. His remarkable career has spanned much of the early and formative period of the Australian Ballet and the last phase of the Borovansky Ballet. Through these two companies, Welch and Marilyn Jones became an Australian legend in ballet partnership. Before the Australian Ballet began, they went to Europe and joined the Marquis de Cuevas Ballet Company. They married in 1963, had two sons, and subsequently divorced, continuing to dance together onstage and remaining friends. Welch went on to act as Dean for the Victorian College of the Arts, and made a comeback dancing with Graeme Murphyï¿½s Sydney Dance Company.

The Australian Ballet, 25 years ï¿½ A Pictorial Souvenir from the Australian Womenï¿½s Weekly, 1987 Marilyn Jones Jones, from Newcastle, NSW, started her international career when she was only 16, when she won the 1955 Australian Womenï¿½s Weekly scholarship to study at the Royal Ballet School. Within 12 months she was touring the USA, England and Europe. As Prima Ballerina with the Australian Ballet she became a widely acclaimed artist and a household name. She was appointed Artistic Director of the Australian Ballet in 1979. During this time the company presented three specially commissioned works ï¿½ Anna Karenina, The Three Musketeers and The Hunchback of Notre Dame. The company toured Greece, Israel and Lebanon.

In 1982 Marilyn resigned to spend time with her two sons Stanton and Damien, now both prominent figures with the AB.ï¿½ï¿½ The Australian Ballet, 25 years ï¿½ A Pictorial Souvenir from the Australian Womenï¿½s Weekly, 1987ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ These days, the up-and-coming legends include: Steven Heathcote, Nicole Rhodes, Darcey Buss e ll, Deborah Bull, Thomas Edur and Agnes Oaks, Sylvie Guillem, Irek Mukhamedov, Tamara Rojo, Miyako Yoshida, and Igor Zelensky. Look them up on the Internet!

Other Classical dancers you may want to look up: Early period: Fanny Ellsler, Marie Salle, Carlotta Grisi, Jules Perrot, Enrico Cecchetti Ballets Russes: Michel Fokine, Tamara Toumanova, Bronislava Nijinska, Tamara Karsavina, Leonide Massine, British: Pamela May, Briony Brind, Anton Dolin, David Wall, Merle Park, Moira Shearer, Michael Somes, Lynne Syemour, Christopher Gable European: Carla Fracci, Alessandra Ferri, Galina Ulanova, Natalia Makarova, Ghislaine Thesmar, Martine Van Hamel, Alexander Godunov, Patrick Dupond American: Maria Tallchief, Gelsey Kirkland, Erik Bruhn, Cynthia Gregory, Patricia McBride Australian: Alan Alder, Kelvin Coe, Marilyn Rowe, David Ashmole, Lisa Pavane, Greg Horsman, David McAllister, Justine Summers Links to worldwide Classical Ballet companies can be found at: Rudolf Nureyev | Russian dancer | Britannica.com Rudolf Nureyev Vladimir Putin Rudolf Nureyev, in full Rud

olf Hametovich Nureyev (born March 17, 1938, Irkutsk , Russian S.F.S.R.

[now Russia]—died Jan. 6, 1993, Paris , France ), ballet dancer whose suspended leaps and fast turns were often compared to Vaslav Nijinsky’s legendary feats. He was a flamboyant performer and a charismatic celebrity who revived the prominence of male ballet roles and significantly widened the audience for ballet. Rudolf Nureyev performing in Flower Festival at Genzano. Fred Fehl Of Tatar descent, Nureyev began his ballet studies at 11, left school at 15, and supported himself by dancing. At 17 he entered the Leningrad Ballet School, where he was taught by Aleksandr Pushkin. He was an outstanding but rebellious student, refusing to join the Komsomol (Communist youth organization), disobeying curfew regulations, and learning English privately. After graduating in 1958, he became soloist with the Leningrad (St. Petersburg) Kirov (now Mariinsky ) Ballet and danced leading roles with its touring company. While in Paris with the Kirov Ballet in June 1961, Nureyev eluded Soviet security men at the airport and requested asylum in France.

He said later that the rigidly organized Soviet ballet had limited his opportunities to dance frequently and to perform in a variety of roles. After his defection he danced with the Grand Ballet du Marquis de Cuevas and made his American debut in 1962, appearing on American television and with Ruth Page’s Chicago Opera Ballet. Later that year he joined the Royal Ballet (London) as permanent guest artist, but he never became a member of a major dance troupe in the West, preferring to work with various companies on a temporary basis. Nureyev became well known as Dame Margot Fonteyn ’s favourite partner. Dancing with her, he interpreted such roles as Albrecht in Giselle, Armand in Marguerite and Armand, and Prince Siegfried in Swan Lake. He was a popular guest artist in companies large and small throughout the world. Also working as a choreographer, Nureyev reworked Swan Lake (Vienna, 1964), giving the dominant role to the male dancer.

His version of Sergey Prokofiev’s Romeo and Juliet (1977) was produced by the London Festival Ballet , and his Manfred (1979) was performed by the Paris Opéra Ballet . In 1980 Nureyev staged The Nutcracker for the Berlin Ballet, and in 1981, owing to a further resurgence of interest in dance in Italy, Nureyev staged his version of Romeo and Juliet at La Scala , with Fonteyn as Lady Capulet. Nureyev’s capabilities also extended to modern repertoires , and he performed in works by Martha Graham , Murray Louis , and Paul Taylor . Graham created the role of Lucifer (1975) for him, and in 1978 Nureyev appeared in the American premiers of Canarsie Venus and Vivace, choreographed for him by Louis. Margot Fonteyn and Rudolf Nureyev. Keystone/FPG Ballet E-mail james@movietreasures.com for PRICES, AUTHENTICITY, HISTORY and SPECIAL DISCOUNTS BALLET 8mm of termite damage to lower right corner not affecting image.

Tales of Hoffman Ranked, with Red Shoes as a classic ballet film starring Moira Shearer Mini biography Moira was born the daughter of Harold V. King in Dunfermline, Scotland. She was educated at Dunfermline High School, Ndola in Rhodesia (Zimbabwe) and Bearsden Academy, Scotland. She received her professional training at the Mayfair School and The Nicholas Legat Studio. She made her debut in the International Ballet with 1941 and then danced at Sadler's Wells in 1942. From 1942 to 1952 she danced all the major classic roles and a full repertoire of revivals and new ballets. Her first ballerina role was Sleeping beauty at the Royal Opera House, Covent Garden in 1946. She toured the United States with the Sadler's Wells ballet in 1949 and in 1950/51. She toured as Sally Bowles in "I am a Camera" in 1955 and appeared at the Bristol Old Vic as "Major Barbara" in 1956.

Although these performances were the start of her secondary career as an actress, she continued her primary career as a ballerina. She has appeared on TV as a ballerina and as an actress -------------------------------------------------------------------------------- -------------------------------------------------------------------------------- Trivia When her first daughter was born, the Sydney Morning Herald prefaced the article with the heading "Pink Booties for Red Shoes". She married Ludovic Kennedy in February 1950 at the Chapel Royal in Hampton Court Palace, London. She was a principle dancer with the Royal Ballet at Sadler's Wells in London. Moira and Ludo have one son and three daughters. Moira was a Member of the Scottish Arts Council, 1971-73 Moira was a Member of the BBC General Advisory Council 1970-77 Moira toured the USA., lecturing on the history of ballet and Sergei Diaghilev between 1977 and 1982. A joint portrait of Moira Shearer and Ludovic Kennedy by the Israeli artist Avigdor Arikha is now part of the permanent collection of the Scottish National Portrait Gallery.

-------------------------------------------------------------------------------- Peeping Tom (1960) ï¿½ 2,000 for 6 days over 2 weeks Biography from Leonard Maltin's Movie Encyclopedia: Actress, dancer. (b. Jan. 26, 1926, Dunfermline, Scotland, as Moira King.) She only made a handful of films, but no one who's ever seen her as the tragic ballerina of The Red Shoes (1948) will ever forget the beautiful, delicate Moira Shearer. A real-life ballerina who was an international star at age 16, this radiant redhead delivered an exquisite performance under the direction of Powell and Pressburger, who also starred her in their Tales of Hoffman (1951), a less successful but equally intriguing production. She also costarred in The Story of Three Loves (1953). Shearer's fiery hair made her an ideal subject for The Man Who Loved Redheads (1955), a charming comedy that proved she didn't have to dance to be an eminently watchable screen performer.

Powell used her again in his controversial, disturbing thriller Peeping Tom (1960), the creepy story of a photographer who records his models' death throes; it has since been cited as having influenced many directors of contemporary horror films. Shearer contributed a lovely ballet sequence, built around Rostand's "Cyrano," to Black Tights (1960); shortly thereafter she married British novelist Ludovic Kennedy and retired from acting (although she did return to the stage during the 1970s). Carmen Amaya World's Greatest Spanish / Flamenco Dancer I wish to purchase this: 47" x 63" or 100mm x 150mm Poster, framed or unframed on canvas or not. Signed Photo Dated 1938 NOT FOR SALE Carmen Amaya is considered by many to be one of the greatest flamenco dancers who ever lived. During the peak of her career in the 40's and 50's, she was an international cultural icon who combined fury with tenderness--a wild, exotic woman with the fierce pride of Spain and the uncontrolled vagrancy of the Gypsy spirit.

Carmen Amaya's career began at the age of four and throughout her childhood, she performed alongside her father in the taverns and music halls of Barcelona. By the time she reached her teens, she was on her way to becoming an international success, having received accolades from audiences in Madrid and Paris. With the outbreak of the Spanish Civil War in the 1930's, Amaya traveled the world and achieved her greatest fame in the Americas, mesmerizing audiences from Argentina, Brazil, Cuba, to Mexico and the United States. Fueled by romantic images of Spain, exotic gypsies, toreadors, and dons, the North and South America fell in love with Carmen Amaya--the embodiment of Spanish pride and passion. She made films in Hollywood, appeared on Broadway, danced for Roosevelt and Churchill, and toured the world--often accompanied by the great guitar virtuoso, Sabicas. And though she triumphed on stages all around the world, she always remained true to her Gypsy heritage. Throughout most of her performing life, her huge company was made up almost entirely of her extended family, and they traveled together in the traditional Gypsy way, sharing their luck as well as their hardships.

And hardship indeed fell on Carmen Amaya. In 1963 at the age of 50, she died in her native Barcelona of kidney failure. Flamenco today is deeply indebted to Carmen Amaya. Through her artistry and virtuosity, she effectively altered the history of flamenco dance forever. She crossed the traditional boundaries of flamenco by teaching herself the fast and furious footwork usually reserved for the male dancer. Donning a man's pants and jacket, she skillfully combined the elegance and grace of the female style with the ferocity and high-impact footwork of the male style sending shockwaves through the flamenco world unaccustomed to seeing a passionate and powerful woman in pants dancing a man's dance. Today, her legend lives on. The influence of the proud and passionate Gypsy woman taking her art to its limits is visible today in her great-niece, Omayra Amaya . Carmen Amaya Screen, stage actress, flamenco dancer.

-------------------------------------------------------------------------------- Filmography as: Actress, Miscellaneous crew -------------------------------------------------------------------------------- Canciones de nuestra vida (1975) Tarantos, Los (1962) Mï¿½sica en la noche (1955) See My Lawyer (1945) .... Specialty ... aka In a Padded Cell (1945) (USA: reissue title) Amores de un torero, Los (1945) ... aka Luna enamorada, La (1945) (Mexico) Knickerbocker Holiday (1944) .... Gypsy dancer Follow the Boys (1944) .... Herself ... aka Three Cheers for the Boys (1944) (USA) Aires de Andalucï¿½a (1942) Panama Hattie (1942) (uncredited) .... And Her Dance Troupe Marï¿½a de la O (1936) Don Viudo de Rodrï¿½guez (1936) Hija de Juan Simï¿½n, La (1935) .... Soledad ...

aka Juan Simon's Daughter (1935) (International: English title) -------------------------------------------------------------------------------- Filmography as: Actress, Miscellaneous crew -------------------------------------------------------------------------------- Mï¿½sica en la noche (1955) (dancer) (as Carmen Amaya and her flamenco dancers) Premiere Danseuse Ballerina Natalia Makarova Born in Leningrad (now Saint Petersburg), Nov. 21, 1940, is considered one of the most dramatically enthralling and technically perfect ballerinas of her generation. She graduated from the Leningrad Choreographic School in 1959, and immediately joined the Kirov Ballet company. During the Kirov's initial European tour (1961) she danced her first Giselle in London, to universal critical acclaim. In 1965, Makarova won a gold medal at the Second International Ballet Competition in Varna, Bulgaria. With the Kirov she danced mostly in the full-length classical ballets such as Swan Lake, Sleeping Beauty, and Raymonda. On Sept.

4, 1970, during another Kirov European tour, Makarova chose to remain in London, giving as her reason a search for artistic freedom. She joined American Ballet Theatre (ABT) that same year, and with the company danced in contemporary works--such as Anthony Tudor's Lilac Garden, Dark Elegies, and Pillar of Fire--as well as in the classics. From 1972 she also danced with Britain's Royal Ballet, with particular success in Kenneth MacMillan's Manon and Sir Frederick Ashton's Cinderella. She staged Act 4 of La Bayadere for ABT in 1974 and in 1980 choreographed and directed the ballet in its entirety. In 1983, Makarova danced in the Broadway musical On Your Toes. She returned to Leningrad for an appearance with the Kirov Ballet in 1989. International Ballet Star also in many films Ballet Russe Star Vera Zorina was born in Germany in 1917 as Birgitta Hartwig. Her mother was Norwegian, and she was to make clear in future years that she considered herself to be a Norwegian.

Zorina was brought up in Kristiansund where she debuted as a dancer at the old Festiviteten. She was a star in Europe in the mid 1930s and danced all over the continent and had several tours in the U.S. So acclaimed was she in the West End production of "On Your Toes" in London that Samuel Goldwyn Studios brought her to the U.S. in 1937 (where she has lived since). Her seven films are listed below. She became a regular on Broadway in a succession of hits. During the 1960s, Zorina scored a success as director of the musical "Cabaret" in Oslo. She continued touring the U.S. until her retirement in the early 1980s. Zorina now lives in New Mexico. Classically trained dancer who achieved success onstage in the 1930s before making a handful of Hollywood films. Zorina married legendary choreographer George Balanchine in 1938, who successfully guided her in several carefully packaged theatrical showcases before the two of them went to Hollywood for "The Goldwyn Follies" later that year.

A leggy, talented dancer and an appropriate vehicle for many of Balanchine's modern-dance innovations, the strong-featured Zorina was a very limited actress who never achieved substantial success in films. In retrospect, her most enjoyable film--and performance--was in the unjustly overlooked tale of cross and double-cross among thieves, "I Was an Adventuress" (1940), in which Zorina was brilliantly supported by Erich von Stroheim and Peter Lorre. In her later years Zorina enjoyed success as an opera and record producer. One of the Greatest Dancers All Time! Autographed Children's story book Original Signed 8" x 10" Photo Sold Original Signed 8" x 10" Photo Biography for Mikhail Baryshnikov Mini biography His father was an engineer and his mother a dressmaker. While starring with the Kirov Ballet, he defected to the United States in 1974, joining the American Ballet Theatre. In 1978-9 he danced with George Ballanchine's New York City Ballet. He received an Oscar nomination for his film debut as Yuril in Turning Point, The (1977).

He played a defecting Soviet ballet star in White Nights (1985). In 1989 he made his Broadway debut acting in "Metamorphosis". Jessica Lange bore him a daughter, Shura. -------------------------------------------------------------------------------- Trivia Ballet dancer turned actor Father of 4 children. Live together with girlfriend Lisa Rinehart. Owner of balet troupe "White Oak Dance Project". Hobby is golf. Baryshnikov's and Lange's daughter full first name is Alexandra. Following his defection in Canada, the first ballet troupe that he performed with was the Royal Winnipeg Ballet Company in Winnipeg, Manitoba, Canada. Biography from Leonard Maltin's Movie Encyclopedia: Actor, dancer. (b. Jan. 27, 1947, Riga, Latvia.) Accepted by the prestigious Kirov Ballet at the age of 15, Baryshnikov performed with the troupe from 1966 to 1974, when he defected to Canada. He joined the American Ballet Theatre later that year, and solidified his reputation as one of the world's most celebrated dancers.

Turning to film work in 1977, he won an Oscar nomination for his film-debut role as a self-absorbed ballet star in The Turning Point Since that time he has occasionally dabbled in screen acting. White Nights (1985) was concocted as a vehicle for him and tap dancer Gregory Hines, and Dancers (1987) was another hand-tailored script about an amorous ballet star. But Baryshnikov has never achieved real screen stardom to match his stature in the world of dance. Other films: That's Dancing! (1985, as one of the on-camera hosts), The Cabinet of Dr. Ramirez and Company Business a spy thriller (both 1991). The bedroom-eyed Baryshnikov is also well known for his much-publicized romantic liaisons, including one with actress Jessica Lange, with whom he fathered a daughter, Alexandra. Full-blood American Indian who became America's Premiere Danseuse Ballerina. 3.5" x 5.5" SIGNED Original Vintage Postcard.

Dated on reverse 4-8-71 Born a mixed-blood named Betty Marie Tall Chief, daughter of an Osage father and Scotch-Irish mother, Maria Tallchief spent eight years in the Indian lands of northeastern Oklahoma. She was born in the small town of Fairfax, Oklahoma in 1925. Like so many Oklahomans, her family moved to Los Angeles in 1933. She enjoyed music and dancing, and practiced being a star -- a considerably challenging dream for a Native American child in those days. Reporting her story would be interesting, regardless of her accomplishments. She would surely have fascinating experiences as she looked back at her mixed Indian and European heritage, her eight years in the Osage Hills north of Tulsa, her journey to California and life among the many people in Los Angeles. After all, those were the days when people became rich with oil fields and poor with dusty crops. Of her childhood she wrote, "I was a good student and fit in at Sacred Heart (Catholic School). But in many ways, I was a typical Indian girl -- shy, docile, introverted.

I loved being outdoors and spent most of my time wandering around my big front yard, where there was an old swing and a garden. I'd also ramble around the grounds of our summer cottage hunting for arrowheads in the grass. Finding one made me shiver with excitement. Mostly, I longed to be in the pasture, running around where the horses were..." But, there's more. She became a "Woman of Two Worlds." The Osage Nation became rich from the oil found beneath their land. Young Betty Marie vacationed with her family in Colorado Springs, where she attended a ballet lesson at the Broadmore Hotel. She followed her dream to be a ballerina. Studying with Bronislava Nijinska for five years led to a nervous appearance at the Hollywood Bowl. Madame Nijinska's philosophy of discipline made sense to Tallchief. "When you sleep, sleep like ballerina. Even on street waiting for bus, stand like ballerina." Betty Marie continued to work hard and mastered technical skills well beyond her years. A refined professional, Maria Tallchief, as she called herself, left Los Angeles at the age of 17 and auditioned in New York City.

She joined the Ballet Russe de Monte Carlo and quickly rose to the status of featured soloist. Choreographer, George Balanchine wrote several of his most famous works for her and the two briefly married. She performed for the New York City Ballet from 1947 to 1960, where Balanchine was the principal choreographer. Her performance of Balanchine's Firebird in 1949 and their earlier collaboration at the Paris Opera elevated Maria Tallchief onto the world stage. She received high praise from critics for her performances in France and Russia. Much of the world had never seen anything like Maria Tallchief. Admired by millions, she became America's preeminent dancer, a Prima Ballerina, and in 1953, President Dwight Eisenhower declared her "Woman of the Year." When the Governor of Oklahoma honored her that same year for her international achievements and her proud Native American identity, Maria Tallchief was named Wa-Xthe-Thomba, "Woman of Two Worlds." She continued to dance with the American Ballet Theatre through 1965, when her retirement saddened the artistic world.

Throughout her career, Maria Tallchief managed an intense rehearsal and performance schedule, and taught at the School for American Ballet in New York City. Following her retirement, she continued to give her creative talents to the art by directing at the Lyric Opera Ballet of Chicago. With her sister Marjorie, she founded the Chicago City Ballet in 1981 and served as its artistic director through 1987. Maria Tallchief was honored as one of America's most revered artists by the Kennedy Center in 1996, along with prize-winning playwright Edward Albee and music legend Benny Carter. But all of her fame and glory never changed her understanding of her culture. She always admired the Osage ceremonial dances and the ways of her ancestors. She reported being upset by teasing that she and other Native American children suffered. She researched the history and origin of her tribe, learning how they came to reside in Oklahoma. Of the terror her tribe and her own relatives experienced she wrote, "Cousin Pearl was an orphan, and our family was concerned for her well-being. When she was small, her house had been firebombed and everyone inside killed, murdered for their headrights (oil royalties paid to each member of the Osage Nation).

Pearl's situation was not uncommon. In the 1920s, villainous White men married into Osage families, then poisoned their wives or shot them in order to get their money, another example of the slaughter of Indians that is a notorious chapter of U.S. history." Tallchief's ideals and many accomplishments have strong influence on young scholars today. A 10-year-old student from Burbank, California, who enjoys sharing the same first name with the famous dancer, wrote to Maria Tallchief, "You made a great impact on the world and on me with your great talent." In a school report published on the Internet, a fourth grade student named Veronica wrote, "She is still alive right this minute and inspiring young people to do ballet." -- Mark D. Lacy Original Vintage poster 39" X 55" Ulanova 1957 The Bolshoi Ballet The very name is synonymous with perfection. During the Bolshoi Ballet's first tours abroad in the mid-20th century, Western audiences were brought to their feet by the Bolshoi style; thrilling athleticism that never lost the essential beauty of the dance.

It is a company geared to massive endeavour, one of the marvels of the ballet world. The company are based at the Bolshoi Petrovsky Theatre in Moscow, one of the largest theatres in Europe and truly magnificent. The Bolshoi have made a significant contribution to ballet over the years and established themselves as a great force of international stature. Original Vintage poster 39" X 55" on oaktag Margot Fonteyn & Nureyev 1966 The Royal Ballet has an exceptional heritage and a limitless future. Dame Ninette de Valois founded the company with a thoroughly contemporary vision, creating radical new ballets herself and engaging the most adventurous Choreographers of the day. It is clear from the repertory of those early years that Dame Ninette saw ballet as a continuum, with its heritage forming a springboard for the present and future. As the Company's sixth Director, I believe that Dame Ninette's vision is still an ideal one for The Royal Ballet.

The Royal Ballet has a fine repertory of full-length and one-act ballets, and I am proud to present several of the company's signature works this season, placed in their international context through the complementary selection of outstanding ballets from the world repertory. The programmes of one-act ballets are designed to illuminate the similarities and differences that arise from different artistic influences and different cultural environments. However, my main aim has been to present ballet as a fascinating and enjoyable art form, one which can express our most intimate thoughts and enhance our understanding of the world. I hope this season brings you all the enchantment, inspiration and fulfilment that ballet can offer. Vintage Original 3.5" x 5" Postcard Signed in Ink Original one-sheet poster 21" x 47" Poster included FREE with above item Two Original Vintage 11 x 14 lobby cards from an early ballet movie (click an image to enlarge) 11 x 14 Original Vintage Lobby cards from 1977 movie "Nureyev is Valentino" (click an image to enlarge) Rudolf Nureyev Mini biography He was educated at the Leningrad Ballet School and starred with Kirov Ballet.

His first film was a USSR short "Le Corsaire" (1958). While performing in Paris in 1961 he defected to the West. He then performed internationally, becoming an Austrian citizen in 1982. The English/French documentary "I Am a Dancer" (1972, "Un Danceur: Rudolph Nureyev"), directed by Pierre Jourdan featured him and his long-time partner Margot Fonteyn. He played Rudolph Valentino in the film "Valentino" (1977) and Daniel Jelline in "Exposed" (1983), his last film. In 1982 he starred in the US stage revival of "The King and I". ----------------------------------------------------------------------------------- Personal quotes: "The only critic is a full house." MORE (from the American Ballet Theatre, All Rights Reserved : Soviet-born ballet dancer Rudolf Nureyev was one of the most celebrated dancers of the 20th century and the first male superstar of the ballet world since Vaslav Nijinsky. He mesmerized audiences with spectacular leaps and turns, but it was his passionate temperament and flamboyance onstage and off that made him a phenomenon.

Nureyev, who was of Tatar descent, was reared in Moscow and Ufa, where he studied dance and apprenticed with the Ufa Ballet. He was an outstanding but rebellious student at the Leningrad Ballet School from 1955 to 1958, when he bypassed the corps de ballet and graduated directly to solo roles with the Kirov Ballet. Three years later, on June 17, 1961, while on tour with the Kirov in Paris, he eluded Soviet security guards and requested asylum from officials at Le Bourget airport. In the following months he performed in Paris, New York City, London, and Chicago, but he reached a turning point in 1962 when he partnered the British Royal Ballet's acclaimed ballerina Margot Fonteyn, who was 19 years his senior. Nureyev's fiery virtuosity proved to be a perfect counterpoint to Fonteyn's elegant maturity, and their long partnership rejuvenated her career and established his. Despite his association with the Royal Ballet as a "permanent guest artist" for 20 years, Nureyev was not formally affiliated with the dance company.

He worked as a guest artist around the world, both as a dancer and later as a choreographer. In the 1970s Nureyev branched into other performing arts. He appeared on television and in motion pictures, he also toured the U.S. as the King of Siam in a revival of the Broadway musical The King and I, and he even tried his hand at conducting. Although he became an Austrian citizen in 1982, he lived mainly in Paris, where he was director and principal choreographer of the Paris Opera Ballet. In 1989 he danced in the Soviet Union for the first time since his defection. Nureyev made his last public appearance in October 1992, taking a bow at the Paris premiere of his new production of La Bayadere. Nureyev died in 1993, in Paris, France. Here's a link to some very interesting stuff about Rudolf Nureyev from the Freedom of Information Act -- (it requires that you have Acrobad Reader on your computer in order to read the text relating to suspected spy activity. These Items are FOR SALE to knowledgeable Collectors. Please ask all questions of provenance before purchase.

Items are only exchangeable if autographs are not authentic. E-mail james@movietreasures.com for INFORMATION

Question: Name the famous male ballet dancer who defected to the west in 1961 while dancing with the Kirov Ballet in Paris?
Answer: Rudolph Nureyev