Word: tutus
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...GLORIA GOVRIN, 21, has been in tutus since she could walk. As a Newark schoolgirl, she haunted the backstage of the New York City Ballet collecting autographs. Now she is a veteran soloist, a fine comedienne in Stars and Stripes and Western Symphony. Her role as Queen of the Amazons in Midsummer Night's Dream was type casting; she is the tallest (5 ft. 7½ in.) girl in the troupe. Thick-legged and saucer-eyed, she is a steady, remarkably effortless performer whose spectacular leaps put some of the male dancers to shame. "Gloria is beautiful and strong...
...born plain Ruth Denis in Newark-made her stage debut as a vaudeville hoofer in 1893, later turned to acting. Then she became interested in the Far East and its sensuous dances. Her 1906 New York dance debut was in a daringly original Oriental program that shocked the tutus off the ballet world. "That year," she remembers, "the face of the dance world really began to change...
...dancers had rehearsed for months. On the eve of their premiere performance, they worked nearly twelve hours, dancing on into the night. In the basement of their three-story studio, a tailor and six seamstresses attacked a stack of white tutus: the ballerinas had danced so hard for so long that their costumes no longer fitted them. Then the lights went down in George Washington University's Lisner Auditorium, and Washington got its first glimpse last week of the National Ballet Company-the city's first professional resident troupe...
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...
...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...