Word: tutus
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Dates: during 1950-1959
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When Marseille-born Choreographer Béjart, 32, organized his own company four years ago, he banned tutus, dressed his dancers in leotards, slacks and T shirts, began using the music of Composer Henry (Voyage to the Heart of a Child, Arcane II). Since then, he has built a large and enthusiastic avant-garde following. Béjart likes to work with concrete music because it approximates "the infinite variety of the body's natural movements," and there is a system in his mad creations. He explains: "Concrete music can express all emotions, but it must shun the obvious...
...ends he could spare. Ballet Theatre's Erik Bruhn phoned fellow Danes in Copenhagen, who rushed to pack Sylphides and Graduation Ball trappings (the vacationing director had to be run to ground for an O.K.). French Dancers Pierre Le Cote and Claude Bessy appeared in Cannes with tutus and tunics. A cowed secretary at London's Ballet Rambert was talked out of a Giselle score; a second score was produced by an operative who dug up a key to Brussels' shuttered opera house. In Cannes, meanwhile, dancers, stranded with only the clothes they had worn...
...Flemings. A Brussels milliner, working from a photograph, in six hours ran up helmets for The Combat. At the scheduled time, in the U.S. Pavilion theater, the curtain rose on the Ballet Theatre. The first work on the bill was Theme and Variations, but variations predominated: girls in Sylphides tutus and men in tights, which had just arrived from New York, leaped and twirled against a backdrop from Gala Performance...
...Bardot's sixth major U.S. release, contains enough provocative photography to give a teen-ager the Brigitters and to accelerate his grandfather's Bardotage. Though Brigitte wears more than 15 costumes, one suitcase could easily carry the lot. When not wearing a bikini, she wriggles about in tutus, tights and gossamer nighties. Once she wears a pirate suit that is slashed at the most astonishing points...
...settings were 19th century and romantic, the tutus were pink and yellow, the dancing poised and beautiful. But Balanchine wove tensions not usually found in such period pastels. Massing dancers in great, wheeling formations, he demanded uncanny accuracy from his corps, succeeded in presenting the audience with hard, precise form through the swaths of tulle...