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...rank of younger choreographers. For the Royal Ballet, the performance was the high point of its first two weeks in New York (the start of a four-month U.S. tour). For New York ballet buffs, it was a sample of more to come. This week Royal Ballet Stars Rudolf Nureyev and Margot Fonteyn make their first appearances of the season; and next week the American Ballet Theater will arrive for a month with its new, widely heralded, full-length Swan Lake...

Author: /time Magazine | Title: Ballet: Golden Dregs | 5/5/1967 | See Source »

...same name. Neon eggs are unusual enough, but more unusual was the fact that the work was hatched by London's Royal Ballet, the venerable guardian of traditional repertory. What is more, the roles of Adam and Eve were danced by the foremost duo in romantic ballet, Rudolf Nureyev and Margot Fonteyn...

Author: /time Magazine | Title: Dance: Petit Paradise | 3/3/1967 | See Source »

Bolt of Neon. There was precious little romance this time. Nureyev, attired only in white tights, was a rambunctious Adam in his opening solo, kicking up his heels like a colt let out to pasture. But Paradise is not complete until Adam lies down to rest-whereupon Eve is born, costumed in a white plastic minidress. The two embrace in curious, mandala-like configurations, testing each other like momentary sculptors of flesh...

Author: /time Magazine | Title: Dance: Petit Paradise | 3/3/1967 | See Source »

Fluid Drive. If the story line was somewhat benumbing, the dancing was dashing and vigorous. The audience, which included Princess Margaret and Rolling Stone Mick Jagger, was obviously enthralled. Nureyev's dancing was all primal passion, Fonteyn's all youthful savage grace. Petit's choreography had the clean, square-cut lines and angles of an abstract painting and included some wild acrobatics. At one point, Nureyev executed somersaults while with one hand supporting Fonteyn as she turned in arabesque...

Author: /time Magazine | Title: Dance: Petit Paradise | 3/3/1967 | See Source »

...learn. The music, composed by Modernist Marius Constant, did not even allow them the luxury of discernible rhythms, sometimes consisted only of randomly twanging gongs and thumping drums. It was at times like a dance performed to the sound effects of a shoot-'em-up western. But Nureyev and Fonteyn conquered the unfamiliar idiom, emphasizing in new and exquisite ways the fluid drive and rhythmic power of their artistry...

Author: /time Magazine | Title: Dance: Petit Paradise | 3/3/1967 | See Source »

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