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[NARRATOR WITH MASCULINE VOICE]
Whatever else, the face is familiar
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from a million photographs.
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All over the world,
even if you've never seen him dance,
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you know the name:
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Rudolf Nureyev.
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[INSTRUCTOR CLAPS AND HUMS MUSIC]
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[CLAPS AND HUMS MUSIC]
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[CLAPS AND HUMS FASTER]
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[HUMS MUSIC MORE SLOWLY]
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[INSTRUCTOR] Preparation.
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[INSTRUCTOR] One...
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[INSTRUCTOR] Seconde.
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[HUMS MUSIC]
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[INSTRUCTOR] À la seconde.
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[INSTRUCTOR] À la seconde.
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[INSTRUCTOR] And fifth.
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[INSTRUCTOR] Then we plié.
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{\an8}[INSTRUCTOR] And we display,
and open, bring down.
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[NARRATOR]
It's quite difficult to dance, you know.
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It needs commitment and passion.
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That's what helps to make Nureyev
so special a dancer.
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He's totally committed
with a fantastic passion for his work.
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He once said:
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"Every time you dance,
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what you do
must be sprayed with your blood."
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That's a metaphorical way of speaking,
but it says a lot about him.
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[INSTRUCTOR CLAPS AND HUMS MUSIC]
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He was talking about
when you dance on stage.
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That, before you ever get on stage
as a dancer,
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there is this routine of training.
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Day after day.
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Week in, week out.
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Year in, year out. It never stops.
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It never stops, this need
to keep practicing all the time.
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[INSTRUCTOR HUMS MUSIC]
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Again, he was once quoted as saying:
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"After three days off,
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my back,
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my legs,
even my spine begin to deteriorate."
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"After a week,
my legs would shake at the barre."
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"I'd faint."
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[INSTRUCTOR HUMS MUSIC]
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[INSTRUCTOR] Passé.
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[HUMS MUSIC]
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[INSTRUCTOR] À la seconde.
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[CLICKS FINGERS AND HUMS MUSIC]
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[INSTRUCTOR] And passé.
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[HUMS MUSIC]
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[INSTRUCTOR] Arabesque.
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[HUMS MUSIC]
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[INSTRUCTOR] Stretch.
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[INSTRUCTOR] Rond de jambe.
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[HUMS MUSIC]
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[INSTRUCTOR] Back, attitude.
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[HUMS MUSIC]
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[NARRATOR] Does it look easy?
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That's deceptive.
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The muscles must be made to work
exactly the way you want them to work.
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The repetition, the little movements,
gradually build up control over your body
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and make it possible to do the big,
difficult things on stage.
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Just like an athlete,
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a dancer gradually stretches himself
to the limit of his capacity.
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And then tries to go further.
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- [PIANO MUSIC BEGINS]
- Balance, control, strength.
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That's what it's all about.
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That's what the training is for.
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Without them, the dancer can do nothing.
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[PIANO MUSIC GROWS LOUDER]
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- [PIANO MUSIC GROWS QUIETER]
- [INSTRUCTOR] Two and three.
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[INSTRUCTOR] And one, two, three.
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[INSTRUCTOR] And side.
And pas de bourrée, and three.
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[INSTRUCTOR] One, plié.
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[INSTRUCTOR] And fifth.
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[INSTRUCTOR] One, and two.
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[INSTRUCTOR] Side.
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[PIANO MUSIC GROWS LOUDER]
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And one, plié. Pas de bourrée.
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One, and back, and bam.
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Excellent for the left side.
For the right side, go back.
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[PIANO MUSIC ENDS]
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Follow the right side.
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Plié to the back...
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À la seconde.
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To the back, good.
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- [PIANO MUSIC BEINGS]
- Right, and back.
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[NARRATOR] After class, rehearsal.
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In this instance, the famous old ballet,
La Sylphide, dating from the 1830s.
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It's been handed down ever since,
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from one generation of dancers to another.
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Even the traditional mime gestures,
like this.
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[MUSIC GROWS LOUDER]
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Nureyev,
himself the producer of many ballets
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and a perfectionist in whatever he does,
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knows the importance
of getting every detail right.
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[FINGERS CLICK TO COUNT BEATS OF MUSIC]
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Nowadays, even in his busy life,
he makes time to create new dances.
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And also to pass on to others
some of the traditions he has learned.
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[PIANO MUSIC CONTINUES]
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[PIANO MUSIC GROWS LOUDER]
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[INSTRUCTS] More écarté.
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[IN FRENCH] Wider.
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More écarté.
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[PIANO MUSIC CONTINUES]
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[FEET STAMP TO BEAT OF MUSIC]
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Wrong foot. Wrong footwork!
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One, two, three.
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[PIANO MUSIC CONTINUES]
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[PIANO MUSIC BECOMES MORE DRAMATIC]
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[PIANO MUSIC SPEEDS UP]
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[IN FRENCH] It's not good, it's not right.
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- Can we go, dum-dum?
- [CLAPS BEAT]
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- Front leg open.
- [REPEATS IN FRENCH]
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One, two... One, two... One, two, three. One...
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[IN FRENCH] Can you do it?
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And...
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- [PIANO MUSIC BEINGS]
- Sorry.
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- [PIANO MUSIC STOPS]
- Together.
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[IN FRENCH] It's you who lead...
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And...
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[PIANO MUSIC STARTS] One, two...
One, two, three. One...
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[PIANO MUSIC BECOMES MORE DRAMATIC]
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One, two...
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One.
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And one, two, three.
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[PIANO MUSIC SPEEDS UP]
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[PIANO MUSIC SLOWS TO CONCLUSION]
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[PIANO MUSIC FADES TO END]
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Can we repeat from fermée?
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[IN FRENCH] With the arm... the leg.
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- The same place. Lead in.
- Yes.
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Again.
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- Lead in. And...
- [PIANO MUSIC BEGINS]
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Ready, and one, two, three.
One, two, three.
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[PIANO MUSIC BECOMES MORE DRAMATIC]
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[PIANO MUSIC GETS FASTER]
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- [PIANO MUSIC SLOWS TO CONCLUSION]
- One...
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[PIANO MUSIC FADES TO END]
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Down!
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Settle down.
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- [CLAPS]
- One and you fall.
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Dum! Up.
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[HUMS MUSIC]
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[PIANO MUSIC BEGINS]
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- [NUREYEV] And straight away.
- [STAMPS FEET TO BEAT OF MUSIC]
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One.
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And... down!
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Two.
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Yes.
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Okay?
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One and, by two,
everybody has to have a pose.
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[NARRATOR] In La Sylphide, the vision
of a sylph, a beautiful spirit of the air
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appears on his wedding day
to a young Scottish farmer.
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He falls in love with her immediately,
leaves his bride and his family
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and follows it to the woods
where other spirits like her are dancing.
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But their enchanted scene together
is destined to be brief
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and, at the end of the ballet,
he will be left alone and disillusioned.
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Nureyev and Carla Fracci are dancing
the love scene in the woods.
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[SLOW ORCHESTRAL MUSIC
FROM LA SYLPHIDE BEGINS]
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[AN OBOE BECOMES PROMINENT IN THE MUSIC]
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[A HARP BECOMES PROMINENT IN THE MUSIC]
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[MUSIC FLARES AND FADES]
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[MUSIC GROWS LOUDER]
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[AN OBOE BECOMES PROMINENT IN THE MUSIC]
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[MUSIC GROWS FASTER]
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[MUSIC GROWS FASTER AND LOUDER]
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[A HARP AND STRINGS BECOME PROMINENT]
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[MUSIC GROWS GRADUALLY LOUDER]
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[MUSIC SLOWS DOWN]
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[MUSIC GROWS FASTER AND LOUDER]
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[MUSIC SLOWS DOWN]
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[MUSIC INTENSIFIES]
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[MUSIC SLOWS SLIGHTLY]
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[MUSIC GROWS LOUDER]
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[MUSIC GROWS LOUDER]
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[MUSIC SLOWS AND QUIETENS]
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[MUSIC INTENSIFIES]
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[MUSIC CONTINUES AND FADES OUT]
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[A HARP BECOMES PROMINENT]
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[MUSIC GROWS SLOWER AND HIGHER]
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[MUSIC GROWS TENSE]
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[MUSIC SPEEDS UP AND INTENSIFIES]
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[MUSIC SLOWS AND QUIETENS]
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[MUSIC GROWS LOUDER]
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[MUSIC GROWS LOUDER]
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[MUSIC CONTINUES AND FADES]
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[SLOW STRING MUSIC BEGINS]
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[MUSIC GROWS LOUDER AND FASTER]
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[MUSIC BECOMES LOUDER AND FASTER]
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[MUSIC INTENSIFIES]
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[MUSIC GROWS LOUDER]
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[MUSIC SPEEDS UP]
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[MUSIC SLOWS]
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[SLOW STRING MUSIC BEGINS]
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[MUSIC GROWS LOUDER]
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[MUSIC CONTINUES AND FADES]
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00:18:23,875 --> 00:18:26,458
[SLOW, QUIET STRING MUSIC BEGINS]
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00:18:29,708 --> 00:18:33,500
[MUSIC BECOMES MORE UPBEAT]
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[MUSIC GROWS GRADUALLY FASTER]
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[MUSIC INTENSIFIES]
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[MUSIC SLOWS AND QUIETENS]
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[MUSIC GROWS GRADUALLY FASTER]
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[MUSIC GROWS LOUDER]
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[A TRUMPET BECOMES PROMINENT]
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[MUSIC SPEEDS UP]
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[MUSIC GROWS LOUDER AND FASTER]
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00:20:05,083 --> 00:20:08,874
[MUSIC CONTINUES AND FADES]
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[PAUSE, THEN LOUD MUSIC AS NUREYEV LANDS]
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[ORCHESTRAL MUSIC FROM LA SYLPHIDE
BEGINS AGAIN]
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00:20:28,500 --> 00:20:31,500
[MUSIC SPEEDS UP]
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00:20:37,541 --> 00:20:40,666
[MUSIC GROWS LOUDER AND FASTER]
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00:20:44,541 --> 00:20:46,791
[MUSIC SLOWS SLIGHTLY]
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[MUSIC GROWS FASTER]
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00:21:07,958 --> 00:21:11,000
[QUIET, FAST STRING MUSIC BEGINS]
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00:21:13,916 --> 00:21:17,333
[MUSIC GROWS LOUDER AND FASTER]
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00:21:25,333 --> 00:21:28,375
[MUSIC INTENSIFIES]
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00:21:41,958 --> 00:21:44,583
[MUSIC DRAWS TO CONCLUSION]
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00:21:51,708 --> 00:21:54,791
[MUSIC SLOWS]
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- [MUSIC FADES TO END]
- [AUDIENCE APPLAUD]
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[NARRATOR]
This is where it all begins and ends.
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In a theatre dressing room.
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They're much alike all over the world.
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Somewhere to hang your clothes,
somewhere to sit.
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A mirror to make up for the stage.
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No trimmings.
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No glamour.
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A dancer like Nureyev is accustomed
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to finding himself
in strange dressing rooms.
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Perhaps it stems from
the fact his family were Tartars:
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a race famous over the centuries
as warriors and nomads.
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He was even born travelling, in a train.
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And sometimes it seems
he has never stopped travelling.
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First to Leningrad,
where he learnt to dance
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and, since then, all over the world.
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Wherever there is
an audience waiting to see him perform.
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He has to dance all the time.
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He likes to dance all the time.
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HE SAYS: "I dance best when I'm tired."
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"Then, if I'm on my second wind,
I know it will work."
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"My muscles will just go my way."
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The clothes a dancer wears to rehearse in
are not meant to be glamorous.
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What matters is
they keep your muscles warm.
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Nureyev is very much engrossed in
the Classical Ballet,
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00:25:09,625 --> 00:25:13,166
ballets like La Sylphide
or The Sleeping Beauty.
244
00:25:13,250 --> 00:25:17,125
After all, he was trained at the Kirov,
the world's greatest classical school.
245
00:25:19,500 --> 00:25:21,916
These classical ballets are valuable
for their own sake
246
00:25:22,000 --> 00:25:26,458
and as a point of departure for dancers
and choreographers to move forward.
247
00:25:27,208 --> 00:25:31,250
And, as a dancer, Nureyev wants
to be seen in modern works as well.
248
00:25:43,708 --> 00:25:48,499
Glen Tetley, the American choreographer,
created the ballet Field Figures,
249
00:25:48,500 --> 00:25:49,958
a very original modern work
250
00:25:50,125 --> 00:25:53,125
to music by the avant-garde composer, Stockhausen.
251
00:25:54,000 --> 00:25:56,791
And he personally taught Nureyev
the leading role in it.
252
00:25:57,583 --> 00:26:01,416
Tetley explains he's fascinated
by the carefully judged distances
253
00:26:01,500 --> 00:26:04,541
we all unconsciously permit
between ourselves and other people
254
00:26:05,041 --> 00:26:07,666
and the instinctive guarding of territory
about us
255
00:26:07,750 --> 00:26:09,833
that is part of our animal heritage.
256
00:26:11,416 --> 00:26:14,957
In Field Figures,
he used that idea as the starting point
257
00:26:14,958 --> 00:26:18,166
for movement that explores
the transitions between movements
258
00:26:18,666 --> 00:26:22,458
rather than the fixed, brilliant
positions usual in Classical Ballet.
259
00:26:23,875 --> 00:26:25,624
He'd often say in rehearsal:
260
00:26:25,625 --> 00:26:29,083
"Do you know those steps in between
your arabesque, jeté, pirouette?"
261
00:26:30,208 --> 00:26:33,416
"Well, try to make them look as though
they were not between."
262
00:26:33,875 --> 00:26:36,332
Another unusual feature
of Field Figures is that
263
00:26:36,333 --> 00:26:39,000
Tetley wanted the dancers
not to see each other's movements,
264
00:26:39,875 --> 00:26:42,291
but rather to hear them and react or not.
265
00:26:42,666 --> 00:26:45,750
This makes an unusual
and fascinating relationship.
266
00:26:54,750 --> 00:26:56,416
Whereas, in Classical Ballet,
267
00:26:56,500 --> 00:26:59,416
dancers are seldom allowed
total physical involvement,
268
00:27:00,041 --> 00:27:03,749
Field Figures starts
like this rehearsal with Deanne Bergsma
269
00:27:03,750 --> 00:27:07,000
with the protagonists
as intimately involved as possible.
270
00:27:07,583 --> 00:27:09,791
[DISSONANT MUSIC BEGINS]
271
00:27:22,958 --> 00:27:25,000
[LOW RUMBLING MUSIC]
272
00:27:28,000 --> 00:27:31,583
[MUSIC GROWS LOUDER AND HIGHER-PITCHED]
273
00:27:34,541 --> 00:27:37,125
[LOW MUSIC CONTINUES]
274
00:27:48,541 --> 00:27:51,375
[MUSIC GROWS HIGHER]
275
00:27:55,125 --> 00:27:57,583
[LOW MUSIC CONTINUES]
276
00:28:11,333 --> 00:28:13,458
[MUSIC GROWS LOUDER]
277
00:28:19,875 --> 00:28:22,250
[MUSIC GETS HIGHER]
278
00:28:24,041 --> 00:28:26,916
[LOW MUSIC CONTINUES]
279
00:28:43,375 --> 00:28:46,708
[TENSE WHISTLING MUSIC BEGINS]
280
00:28:50,083 --> 00:28:53,041
[MUSIC GETS HIGHER]
281
00:29:09,000 --> 00:29:11,583
[A HIGH-PITCHED WHISTLE BEGINS]
282
00:29:13,000 --> 00:29:16,291
[MUSIC GROWS LOWER AND TENSER]
283
00:29:16,791 --> 00:29:19,791
[BEEPING MUSIC BEGINS]
284
00:29:24,666 --> 00:29:26,875
[BEEPING STOPS]
285
00:29:39,041 --> 00:29:42,458
[MUSIC INTENSIFIES]
286
00:29:51,875 --> 00:29:54,083
[MUSIC QUIETENS]
287
00:30:07,166 --> 00:30:09,500
[BEEPING MUSIC BEGINS]
288
00:30:24,333 --> 00:30:27,166
[MUSIC INTENSIFIES]
289
00:30:32,666 --> 00:30:35,375
[MUSIC BECOMES HIGHER]
290
00:30:39,458 --> 00:30:42,250
[TENSE WHISTLING MUSIC BEGINS]
291
00:31:05,000 --> 00:31:08,458
[MUSIC INTENSIFIES]
292
00:31:17,958 --> 00:31:20,791
[MUSIC BECOMES HIGHER AND MORE INTENSE]
293
00:31:29,250 --> 00:31:32,291
[MUSIC GROWS LOUDER AND MORE INTENSE]
294
00:31:54,291 --> 00:31:56,750
[MUSIC SLOWS AND QUIETENS]
295
00:32:01,250 --> 00:32:04,208
[MUSIC FADES TO END]
296
00:32:08,750 --> 00:32:11,375
[INDISTINCT CHATTER]
297
00:32:19,208 --> 00:32:21,500
When we get here, step right?
298
00:32:21,666 --> 00:32:24,791
[NARRATOR] Every modern choreographer
has his own approach
299
00:32:24,875 --> 00:32:26,875
and his own way of using his dancers.
300
00:32:28,208 --> 00:32:32,458
Tetley's idea in Field Figures was
to explore certain kinds of movement.
301
00:32:33,041 --> 00:32:34,750
To see and use a visible break.
302
00:32:35,708 --> 00:32:41,166
To realise balance is a constant state
rather than a heart-stopping verticality.
303
00:32:41,791 --> 00:32:45,791
And, above all, to emphasise continuity.
304
00:32:46,750 --> 00:32:49,041
[LOW RUMBLING MUSIC BEGINS]
305
00:33:12,125 --> 00:33:15,250
[MUSIC GROWS LOUDER]
306
00:33:36,583 --> 00:33:39,208
[MUSIC BECOMES LOUDER AND HIGHER]
307
00:34:02,083 --> 00:34:04,625
[A LOW RUMBLE GROWS LOUDER]
308
00:34:15,875 --> 00:34:18,458
[MUSIC BECOMES HIGHER]
309
00:34:38,333 --> 00:34:40,750
[MUSIC GROWS LOUDER AND INTENSIFIES]
310
00:34:42,083 --> 00:34:44,708
[VIBRATING MUSIC BEGINS]
311
00:34:57,625 --> 00:35:00,333
[MUSIC BECOMES HIGHER]
312
00:35:07,916 --> 00:35:10,875
[MUSIC CONTINUES AND FADES OUT]
313
00:35:11,375 --> 00:35:15,833
It takes time for dancers and audiences
to accept other forms of movement
314
00:35:16,000 --> 00:35:17,500
and a different kind of music.
315
00:35:18,291 --> 00:35:22,125
It had to be studied from the beginning,
like going back to school.
316
00:35:23,666 --> 00:35:26,291
Nureyev said that
what was wonderful for him
317
00:35:26,875 --> 00:35:29,791
was the actual experience
of working directly with Tetley.
318
00:35:39,708 --> 00:35:42,250
[RUMBLING MUSIC BEGINS]
319
00:35:54,000 --> 00:35:56,791
[MUSIC GROWS LOUDER]
320
00:36:09,208 --> 00:36:11,250
[MUSIC BECOMES HIGHER AND MORE INTENSE]
321
00:36:28,125 --> 00:36:30,708
[MUSIC BECOMES HIGHER]
322
00:36:45,250 --> 00:36:48,208
[MUSIC GROWS LOUDER]
323
00:36:57,791 --> 00:37:00,791
[MUSIC GROWS QUIETER AND HIGHER]
324
00:37:04,666 --> 00:37:07,541
[MUSIC GROWS FASTER AND LOUDER]
325
00:37:19,750 --> 00:37:21,291
[MUSIC QUIETENS]
326
00:37:23,708 --> 00:37:26,541
[PIZZICATO STRINGS BECOME PROMINENT]
327
00:37:42,375 --> 00:37:44,958
[MUSIC GROWS FASTER]
328
00:37:56,291 --> 00:37:58,666
[MUSIC GROWS FASTER]
329
00:38:03,375 --> 00:38:05,958
[MUSIC INTENSIFIES]
330
00:38:15,791 --> 00:38:18,833
[MUSIC GROWS LOUDER AND FASTER]
331
00:38:30,541 --> 00:38:33,416
[MUSIC QUIETENS WITH KNOCKING SOUND]
332
00:38:36,666 --> 00:38:40,541
[MUSIC STOPS
AND QUIET, DISSONANT SOUNDS BEGIN]
333
00:38:57,625 --> 00:39:00,416
[DISSONANT MUSIC BEGINS]
334
00:39:15,708 --> 00:39:19,166
[QUIET, HIGH-PITCHED MUSIC BEGINS]
335
00:39:20,458 --> 00:39:23,208
[MUSIC GROWS LOUDER AND INTENSIFIES]
336
00:39:26,666 --> 00:39:29,750
[MUSIC CONTINUES AND FADES]
337
00:39:30,250 --> 00:39:32,583
One remark Tetley made about Field Figures
338
00:39:33,166 --> 00:39:34,874
was that he used many animal images
339
00:39:34,875 --> 00:39:38,291
simply to stimulate the dancers
to move more deeply.
340
00:39:39,083 --> 00:39:41,541
Bird, snake, monkey.
341
00:39:42,458 --> 00:39:44,875
Positions of display and submission.
342
00:39:45,583 --> 00:39:47,750
Patterns of defining boundaries.
343
00:39:48,458 --> 00:39:50,582
He wanted the movement to grow organically
344
00:39:50,583 --> 00:39:53,000
within the arbitrarily chosen context
345
00:39:53,541 --> 00:39:57,166
and to develop its own relationships
and tensions as it did so.
346
00:39:57,958 --> 00:40:01,000
[HIGH-PITCHED RUMBLING MUSIC
WITH PIZZICATO BEGINS]
347
00:40:19,583 --> 00:40:21,916
[MUSIC GROWS LOUDER]
348
00:40:37,208 --> 00:40:39,666
[MUSIC GROWS LOUDER AND INTENSIFIES]
349
00:40:41,625 --> 00:40:44,291
[HIGH-PITCHED HUMMING MUSIC BEGINS]
350
00:40:51,000 --> 00:40:54,083
[MUSIC GROWS LOUDER WITH HOWLING SOUND]
351
00:40:59,625 --> 00:41:02,416
[HIGH-PITCHED HUMMING MUSIC CONTINUES]
352
00:41:21,000 --> 00:41:24,041
[MUSIC GROWS LOUDER WITH HOWLING SOUND]
353
00:41:26,458 --> 00:41:29,375
[HIGH-PITCHED HUMMING MUSIC CONTINUES]
354
00:41:30,750 --> 00:41:33,625
[MUSIC CONTINUES, BECOMING HIGHER]
355
00:41:38,750 --> 00:41:40,708
[MUSIC GROWS LOUDER]
356
00:41:45,958 --> 00:41:48,916
[MUSIC GROWS LOUDER WITH HOWLING SOUND]
357
00:41:52,666 --> 00:41:54,875
[MUSIC QUIETENS]
358
00:42:07,625 --> 00:42:10,166
[MUSIC GROWS LOUDER]
359
00:42:11,958 --> 00:42:15,416
[MUSIC CONTINUES WITH KNOCKING SOUND]
360
00:42:47,541 --> 00:42:50,291
[MUSIC FADES TO END]
361
00:42:50,875 --> 00:42:55,791
Formation happened in England,
not in Russia.
362
00:42:56,833 --> 00:42:59,083
I had the baggage of knowledge
363
00:42:59,541 --> 00:43:03,041
but, how to operate with it,
I learned in England.
364
00:43:03,125 --> 00:43:07,166
And I spent most of my dancing years
in England.
365
00:43:08,041 --> 00:43:11,333
So it means a lot to me.
366
00:43:13,000 --> 00:43:19,500
But to say, like, London is my home
or France or Paris or Italy or Milan.
367
00:43:20,000 --> 00:43:23,166
Or Vienna, I can't say that.
368
00:43:24,875 --> 00:43:27,250
I live in suitcases.
369
00:43:28,750 --> 00:43:33,208
And my only ground is my work,
at the moment.
370
00:43:34,000 --> 00:43:36,500
[ORCHESTRAL MUSIC BEGINS]
371
00:43:44,333 --> 00:43:50,000
Well, it was my very greatest fortune
to meet Margot.
372
00:43:50,166 --> 00:43:55,666
I invited him to make his first appearance
in England at this charity matinee.
373
00:43:55,833 --> 00:43:59,541
It was a very exciting moment.
374
00:44:01,083 --> 00:44:04,833
[MARGOT] At the time, Rudolf was
very anxious that I should dance with him.
375
00:44:05,375 --> 00:44:08,958
I hadn't met him at all and
all the negotiations went on by telephone.
376
00:44:09,458 --> 00:44:13,416
But I thought:
"Well, I've never seen this boy."
377
00:44:13,500 --> 00:44:17,791
"He's half my age and why should he insist
that I dance with him at this matinee?"
378
00:44:18,541 --> 00:44:21,416
Somehow I didn't dance with him
at that performance
379
00:44:21,500 --> 00:44:23,457
but, at his next appearance in England,
380
00:44:23,458 --> 00:44:26,166
I did do Giselle with him
and ever since then.
381
00:44:26,666 --> 00:44:28,458
We've danced together a great deal.
382
00:44:28,625 --> 00:44:32,457
I'm very happy that
I finally did accept to dance with him
383
00:44:32,458 --> 00:44:34,333
because I've gained a lot from it.
384
00:44:35,708 --> 00:44:38,207
Well, I think it's complex and
very simple.
385
00:44:38,208 --> 00:44:39,874
And always interesting.
386
00:44:39,875 --> 00:44:45,291
Often he's very amusing and to say that
one was never going to be bored with him.
387
00:44:45,458 --> 00:44:46,999
He has a lot of changes of mood.
388
00:44:47,000 --> 00:44:50,041
Sometimes they're bad but they're not very serious.
389
00:44:50,125 --> 00:44:51,457
He doesn't mean them.
390
00:44:51,458 --> 00:44:54,083
He means it at the time
but, in five minutes, it's gone.
391
00:44:54,791 --> 00:44:59,666
So his character perhaps superficially
might appear to have bad sides,
392
00:44:59,750 --> 00:45:01,958
but most of them
I don't think are important.
393
00:45:02,125 --> 00:45:04,583
[PIANO MUSIC BEGINS]
394
00:45:06,250 --> 00:45:10,000
[NARRATOR] Margot Fonteyn and Nureyev
are rehearsing Marguerite and Armand,
395
00:45:11,208 --> 00:45:13,041
a ballet which was created for them
396
00:45:13,208 --> 00:45:14,500
by Sir Frederick Ashton.
397
00:45:17,500 --> 00:45:19,666
- [MAN 1] Straight up?
- [MAN 2] Yes.
398
00:45:19,833 --> 00:45:23,041
[MAN 1] I have a great shot of her
running away, looking away.
399
00:45:23,875 --> 00:45:25,708
[PIANO MUSIC GROWS LOUDER]
400
00:45:32,000 --> 00:45:33,666
[MUSIC GROWS FASTER]
401
00:45:38,458 --> 00:45:44,041
I'm a very romantic character, so
naturally I'm drawn to romantic heroines.
402
00:45:44,791 --> 00:45:49,666
And Marguerite Gautier is somebody
who's always fascinated me.
403
00:45:49,750 --> 00:45:51,791
And I read a great deal about her.
404
00:45:51,958 --> 00:45:55,499
Then, quite by accident,
I heard this sonata of Liszt's
405
00:45:55,500 --> 00:45:57,500
one day on the wireless.
406
00:45:58,041 --> 00:46:04,125
And I sat there and I saw the whole thing
that could be contained in this music.
407
00:46:04,291 --> 00:46:07,791
Margot seemed to me
the epitome of Marguerite Gautier.
408
00:46:07,958 --> 00:46:10,666
Rudolf seemed to me the epitome of Armand.
409
00:46:10,750 --> 00:46:16,499
Well, I guess Fred's got a very good eye
for typecasting.
410
00:46:16,500 --> 00:46:21,583
[FRED] Well, he's a passionate human being
and Armand was a passionate human being.
411
00:46:21,750 --> 00:46:26,332
I'm often accused that it was just merely
a vehicle for two star performers
412
00:46:26,333 --> 00:46:28,291
AND I SAID: "What's wrong with that?"
413
00:46:28,375 --> 00:46:31,666
I mean, Sarah Bernhardt had many vehicles
written for her
414
00:46:31,833 --> 00:46:34,207
and were very successful.
415
00:46:34,208 --> 00:46:36,708
She also was a great Dame aux Camélias.
416
00:46:36,875 --> 00:46:39,624
[MARGOT]
I can't imagine that it could feel better
417
00:46:39,625 --> 00:46:41,375
to be acting or singing the role.
418
00:46:41,541 --> 00:46:43,166
It's marvellous to dance it.
419
00:46:43,250 --> 00:46:45,666
And, of course, to dance it with Rudolf.
420
00:46:45,750 --> 00:46:48,332
I also couldn't imagine dancing it
with anybody else.
421
00:46:48,333 --> 00:46:50,750
I think it has to be Rudolf as Armand.
422
00:46:50,916 --> 00:46:53,957
It was a very, very important moment,
423
00:46:53,958 --> 00:46:57,208
I would say, the first ballet
being choreographed for me.
424
00:46:57,375 --> 00:47:00,707
I didn't want it at all
to be a realistic thing.
425
00:47:00,708 --> 00:47:02,750
I wanted it to be more...
426
00:47:03,666 --> 00:47:05,583
[IN FRENCH] poetical evocation.
427
00:47:10,041 --> 00:47:13,458
[LISZT PIANO SONATA IN B MINOR BEGINS]
428
00:47:18,458 --> 00:47:20,374
[NARRATOR]
In the last moments of her life,
429
00:47:20,375 --> 00:47:24,416
Marguerite, a courtesan
known as La Dame aux Camélias,
430
00:47:25,000 --> 00:47:26,916
dying of consumption
431
00:47:27,000 --> 00:47:31,083
relives, in a delirious dream,
the story of her passion for Armand.
432
00:47:31,916 --> 00:47:33,333
How they met at a party
433
00:47:33,958 --> 00:47:35,958
and fell in love at first sight.
434
00:47:38,625 --> 00:47:40,750
[PIANO MUSIC GROWS LOUDER]
435
00:47:48,166 --> 00:47:51,250
[RAPID BASS LINE BEGINS]
436
00:47:59,625 --> 00:48:02,291
[MUSIC GROWS FASTER]
437
00:48:06,666 --> 00:48:09,083
[MUSIC GROWS LOUDER]
438
00:48:11,166 --> 00:48:13,916
[MUSIC GROWS SLOWER]
439
00:48:25,541 --> 00:48:28,166
[MUSIC GROWS FASTER]
440
00:48:38,500 --> 00:48:40,666
[MUSIC INTENSIFIES]
441
00:48:47,083 --> 00:48:49,416
[MUSIC QUICKENS]
442
00:48:56,375 --> 00:49:01,041
[ASCENDING SCALES BECOME PROMINENT]
443
00:49:01,750 --> 00:49:04,250
[MUSIC GROWS SLOWER]
444
00:49:09,333 --> 00:49:11,416
[MUSIC INTENSIFIES]
445
00:49:22,875 --> 00:49:25,958
[MUSIC SLOWS]
446
00:49:37,666 --> 00:49:40,416
[MUSIC QUICKENS RAPIDLY]
447
00:49:44,000 --> 00:49:47,333
[RAPID DESCENDING SCALE BECOMES PROMINENT]
448
00:49:47,791 --> 00:49:51,208
[BASS NOTES BECOME PROMINENT]
449
00:50:06,916 --> 00:50:10,083
[GENTLE MELODY BUILDS]
450
00:50:12,416 --> 00:50:15,458
[MELODY REPEATED AT HIGHER PITCHES]
451
00:50:24,916 --> 00:50:28,166
[MUSIC INTENSIFIES]
452
00:50:30,916 --> 00:50:33,583
[GENTLE MELODY BUILDS]
453
00:50:55,625 --> 00:51:02,458
[LOUD AND SOFT MELODIES ALTERNATE
BETWEEN DANCERS]
454
00:51:10,458 --> 00:51:12,916
[SOFT MELODY CONTINUES]
455
00:51:20,250 --> 00:51:22,500
[MUSIC SLOWS]
456
00:51:28,666 --> 00:51:33,000
[A HIGH, GENTLE MELODY BEGINS]
457
00:52:12,458 --> 00:52:14,958
[MUSIC QUICKENS]
458
00:52:24,041 --> 00:52:26,250
[MUSIC INTENSIFIES]
459
00:52:33,291 --> 00:52:35,833
[MUSIC SLOWLY FADES]
460
00:52:38,083 --> 00:52:40,125
[A NEW, GENTLE MELODY BEGINS]
461
00:53:11,125 --> 00:53:13,791
[MUSIC QUICKENS]
462
00:53:16,750 --> 00:53:19,625
[ASCENDING SCALES]
463
00:53:22,625 --> 00:53:24,958
[MUSIC SLOWS]
464
00:53:26,875 --> 00:53:30,000
[A GENTLE MELODY BEGINS]
465
00:53:32,250 --> 00:53:35,750
[ASCENDING SCALE]
466
00:53:41,166 --> 00:53:44,625
[ASCENDING SCALE]
467
00:53:46,666 --> 00:53:49,083
[MUSIC QUICKENS]
468
00:54:02,500 --> 00:54:04,666
[MUSIC GROWS LOUDER]
469
00:54:16,208 --> 00:54:17,833
[HIGH TRILL]
470
00:54:24,333 --> 00:54:26,625
[ASCENDING AND DESCENDING SCALES]
471
00:54:38,166 --> 00:54:40,333
[MUSIC INTENSIFIES]
472
00:54:50,625 --> 00:54:52,875
[ASCENDING SCALE TO CLIMAX]
473
00:54:54,500 --> 00:54:56,500
[MUSIC QUICKENS]
474
00:55:07,833 --> 00:55:10,500
[MUSIC INTENSIFIES]
475
00:55:13,666 --> 00:55:16,124
She remembers
how she left her rich protector
476
00:55:16,125 --> 00:55:19,166
and went to live happily
with Armand in the country.
477
00:55:19,250 --> 00:55:21,791
Until the day when Armand's father arrived
478
00:55:21,875 --> 00:55:23,958
and begged her to leave her young lover,
479
00:55:24,750 --> 00:55:26,833
which she did without telling him why.
480
00:55:28,166 --> 00:55:30,583
[TENSE PIANO MUSIC CONTINUES]
481
00:55:33,625 --> 00:55:35,625
[MUSIC BECOMES GENTLE]
482
00:55:41,833 --> 00:55:44,666
[FAST ASCENDING AND DESCENDING SCALES]
483
00:55:57,208 --> 00:56:00,832
[FAST DESCENDING SCALES]
484
00:56:00,833 --> 00:56:02,916
[MUSIC INTENSIFIES]
485
00:56:08,958 --> 00:56:11,458
[MUSIC INTENSIFIES]
486
00:56:17,416 --> 00:56:20,208
[MUSIC INTENSIFIES]
487
00:56:39,583 --> 00:56:42,041
[MUSIC SLOWS]
488
00:56:48,541 --> 00:56:50,666
[LOUD FOOT STEPS]
489
00:56:57,000 --> 00:56:59,625
[SLOW, DRAMATIC BASS NOTES]
490
00:57:03,166 --> 00:57:05,833
[LOUD FOOT STEPS]
491
00:57:09,208 --> 00:57:10,499
[MUSIC STOPS]
492
00:57:10,500 --> 00:57:12,958
[SLOW ASCENDING SCALE]
493
00:57:16,958 --> 00:57:18,958
[SLOW DESCENDING SCALE]
494
00:57:21,541 --> 00:57:23,708
[SLOW PIANO MUSIC CONTINUES]
495
00:57:30,541 --> 00:57:32,125
[MUSIC SLOWS AND QUIETENS]
496
00:57:33,458 --> 00:57:36,208
[DRAMATIC BASS NOTES BEGIN]
497
00:57:38,291 --> 00:57:41,041
[ASCENDING NOTES]
498
00:57:43,000 --> 00:57:45,166
[DRAMATIC BASS NOTES]
499
00:57:46,833 --> 00:57:49,416
[MUSIC INTENSIFIES]
500
00:58:02,250 --> 00:58:04,416
[MUSIC SLOWS AND QUIETENS]
501
00:58:11,708 --> 00:58:14,208
[MUSIC FADES]
502
00:58:23,875 --> 00:58:26,333
[A GENTLE MELODY BEGINS]
503
00:58:51,041 --> 00:58:54,000
[MUSIC QUICKENS SLIGHTLY THEN SLOWS]
504
00:59:04,541 --> 00:59:07,333
[MUSIC FADES]
505
00:59:16,166 --> 00:59:19,333
[A SAD MELODY BEGINS]
506
00:59:36,958 --> 00:59:39,583
[HIGH ASCENDING AND DESCENDING SCALES]
507
00:59:44,958 --> 00:59:47,375
[MUSIC QUICKENS]
508
00:59:53,666 --> 00:59:57,166
[MUSIC INTENSIFIES]
509
01:00:01,416 --> 01:00:04,041
[FAST DESCENDING SCALES]
510
01:00:13,458 --> 01:00:15,541
[MUSIC INTENSIFIES]
511
01:00:47,166 --> 01:00:49,750
[MUSIC SLOWS]
512
01:00:56,041 --> 01:00:58,208
[MUSIC INTENSIFIES]
513
01:01:10,250 --> 01:01:12,833
[DRAMATIC SCALES]
514
01:01:33,541 --> 01:01:35,500
[MUSIC SLOWS BUT REMAINS DRAMATIC]
515
01:01:43,125 --> 01:01:46,458
[MUSIC BECOMES GENTLE]
516
01:02:40,416 --> 01:02:44,416
[GENTLE ASCENDING AND DESCENDING SCALES]
517
01:03:18,250 --> 01:03:20,708
[A GENTLE ROMANTIC MELODY BEGINS]
518
01:04:03,541 --> 01:04:06,208
[SLOW DESCENDING SCALE]
519
01:04:11,750 --> 01:04:13,916
[BASS NOTES BECOME PROMINENT]
520
01:04:18,458 --> 01:04:20,833
[MUSIC FADES]
521
01:04:33,916 --> 01:04:36,375
[QUIET BASS NOTES BEGIN]
522
01:04:53,958 --> 01:04:58,791
Misunderstanding her motives,
Armand followed and publicly insulted her
523
01:04:58,875 --> 01:05:01,082
by throwing money in her face.
524
01:05:01,083 --> 01:05:03,666
[A GENTLE MELODY BEGINS]
525
01:05:09,083 --> 01:05:11,666
[MUSIC INTENSIFIES]
526
01:05:46,375 --> 01:05:48,416
[MUSIC QUICKENS]
527
01:06:09,125 --> 01:06:11,458
[MUSIC INTENSIFIES]
528
01:06:28,250 --> 01:06:30,458
[MUSIC INTENSIFIES]
529
01:06:43,916 --> 01:06:46,250
[MUSIC INTENSIFIES]
530
01:06:49,083 --> 01:06:51,625
[RAPID SCALES ALTERNATING]
531
01:06:56,666 --> 01:06:58,958
[DRAMATIC BASS NOTES]
532
01:07:03,041 --> 01:07:07,125
[CHAOTIC SCALES AND MELODIES]
533
01:07:23,916 --> 01:07:26,125
[MUSIC QUICKENS]
534
01:07:38,666 --> 01:07:39,958
[SUDDEN LOUD BASS NOTES]
535
01:07:46,416 --> 01:07:48,457
[ASCENDING SCALE WITH ABRUPT END]
536
01:07:48,458 --> 01:07:50,916
[LOUD BASS NOTE CONTINUE]
537
01:08:00,166 --> 01:08:02,583
[CHAOTIC SCALES]
538
01:08:18,291 --> 01:08:20,916
[DRAMATIC ASCENDING MELODY]
539
01:08:22,541 --> 01:08:24,750
[MUSIC QUICKENS]
540
01:08:37,333 --> 01:08:40,249
[BASS NOTES]
541
01:08:40,250 --> 01:08:42,791
[BASS NOTES SLOW]
542
01:08:52,250 --> 01:08:54,416
[A GENTLE MELODY BEGINS]
543
01:09:05,208 --> 01:09:07,166
[MUSIC INTENSIFIES]
544
01:09:20,500 --> 01:09:26,125
[LOUD AND SOFT THEMES ALTERNATE]
545
01:09:39,333 --> 01:09:41,416
[MUSIC FADES]
546
01:09:49,625 --> 01:09:52,000
[A FAST, GENTLE MELODY BEGINS]
547
01:09:57,000 --> 01:09:59,166
[MUSIC SLOWS SADLY]
548
01:10:25,208 --> 01:10:27,375
[MUSIC INTENSIFIES]
549
01:10:43,708 --> 01:10:46,333
[MUSIC SLOWS]
550
01:10:51,250 --> 01:10:53,708
Alone, she lies dying.
551
01:10:54,708 --> 01:10:57,832
But Armand hears the truth,
at last, from his father
552
01:10:57,833 --> 01:11:01,416
and returns in time for Marguerite
to die in his arms.
553
01:11:05,416 --> 01:11:07,916
[HIGH, FAST NOTES]
554
01:11:14,083 --> 01:11:16,458
[MUSIC QUICKENS]
555
01:11:25,291 --> 01:11:27,625
[MUSIC INTENSIFIES]
556
01:11:30,791 --> 01:11:33,375
[MUSIC INTENSIFIES]
557
01:11:45,791 --> 01:11:47,708
[MUSIC QUICKENS]
558
01:11:52,291 --> 01:11:54,125
[DRAMATIC BASS NOTES]
559
01:11:58,000 --> 01:12:00,083
[LOW DESCENDING SCALES]
560
01:12:03,750 --> 01:12:06,166
[MUSIC QUICKENS]
561
01:12:20,625 --> 01:12:22,541
[DRAMATIC SCALES]
562
01:12:25,208 --> 01:12:27,916
[MUSIC INTENSIFIES]
563
01:12:45,041 --> 01:12:47,291
[HIGH TRILL]
564
01:12:49,875 --> 01:12:52,207
[SILENCE]
565
01:12:52,208 --> 01:12:55,250
[A SLOW MELODY BEGINS]
566
01:13:22,208 --> 01:13:24,916
[MUSIC ASCENDS SLOWLY]
567
01:13:31,666 --> 01:13:34,416
[MUSIC DESCENDS SLOWLY]
568
01:13:34,500 --> 01:13:36,958
[A SLOW, QUIET MELODY BEGINS]
569
01:14:00,875 --> 01:14:03,625
[BASS LINE INTENSIFIES]
570
01:14:19,791 --> 01:14:21,916
[BASS STOPS AND MUSIC SLOWS]
571
01:14:50,166 --> 01:14:52,250
[MUSIC SLOWS]
572
01:14:58,125 --> 01:15:00,208
[MUSIC FADES]
573
01:15:02,166 --> 01:15:05,666
[SLOW DESCENDING BASS SCALE]
574
01:15:29,166 --> 01:15:31,083
[SLOW, HIGHER NOTES BEGIN]
575
01:15:41,083 --> 01:15:43,750
[MUSIC FADES]
576
01:16:04,250 --> 01:16:07,416
One of the things Nureyev
is most proud of in his career
577
01:16:07,500 --> 01:16:09,750
is his partnership with Fonteyn.
578
01:16:10,833 --> 01:16:15,124
"If there's no understanding and no trust
between you and your partner, he said,
579
01:16:15,125 --> 01:16:17,541
it hardly matters how well you dance."
580
01:16:18,500 --> 01:16:20,166
"But, when I dance with Fonteyn,
581
01:16:20,791 --> 01:16:23,625
there is one aim, one vision."
582
01:16:24,916 --> 01:16:27,000
"There is no tearing us apart."
583
01:16:28,375 --> 01:16:30,833
He's always been glad to dance
with others too
584
01:16:31,000 --> 01:16:34,666
to match himself against another
personality, other points of view.
585
01:16:34,750 --> 01:16:36,832
When the chance comes
to try something new,
586
01:16:36,833 --> 01:16:38,375
he's always eager to take it.
587
01:16:39,375 --> 01:16:41,750
A dancer's career is a short one.
588
01:16:42,458 --> 01:16:43,874
He has to dance.
589
01:16:43,875 --> 01:16:46,125
It's no good sitting around waiting.
590
01:16:47,166 --> 01:16:51,333
Of course, between the new challenges,
he always goes back to the Classics.
591
01:16:51,875 --> 01:16:54,375
They are the basis for all his other work.
592
01:16:55,000 --> 01:16:56,500
So much so, in fact,
593
01:16:56,666 --> 01:16:59,041
that he has produced
his own original versions
594
01:16:59,125 --> 01:17:01,833
of all the great Russian classics
he was brought up on.
595
01:17:02,666 --> 01:17:04,499
Ballets such as Swan Lake,
596
01:17:04,500 --> 01:17:05,832
The Sleeping Beauty,
597
01:17:05,833 --> 01:17:07,166
The Nutcracker,
598
01:17:07,250 --> 01:17:08,374
Don Quixote,
599
01:17:08,375 --> 01:17:11,250
Raymonda, and others.
600
01:17:15,750 --> 01:17:18,375
[ORCHESTRAL MUSIC BEGINS]
601
01:17:20,541 --> 01:17:23,666
Now, in the wings, Nureyev
and Lynn Seymour get ready to dance
602
01:17:23,750 --> 01:17:27,416
the big classical pas de deux from
the last act of The Sleeping Beauty.
603
01:17:28,375 --> 01:17:32,666
This is the moment before any performance,
of a familiar work or a new one,
604
01:17:32,750 --> 01:17:36,666
when the long grind of daily class
and rehearsal have their justification.
605
01:17:37,250 --> 01:17:38,750
The hard work isn't over.
606
01:17:39,375 --> 01:17:43,125
The hardest part, in fact, begins
when the dancer steps on stage.
607
01:17:43,666 --> 01:17:47,583
But now, in front of an audience,
the work is transformed
608
01:17:48,250 --> 01:17:49,833
and can become its own reward.
609
01:17:56,625 --> 01:18:00,666
[TCHAIKOVSKY THE SLEEPING BEAUTY:
"PAS DE DEUX, AURORE ET DESIRE" PLAYS]
610
01:18:06,583 --> 01:18:09,125
[A GENTLE MELODY BEGINS]
611
01:18:13,916 --> 01:18:17,541
[GENTLE WOODWIND AND PIZZICATO STRINGS
BECOME PROMINENT]
612
01:18:53,041 --> 01:18:54,750
[ASCENDING HARP SCALE]
613
01:19:06,208 --> 01:19:10,166
[A GENTLE MELODY RETURNS]
614
01:19:25,291 --> 01:19:28,208
[MUSIC GROWS LOUDER]
615
01:19:45,125 --> 01:19:48,166
[MUSIC SLOWS]
616
01:19:49,916 --> 01:19:51,833
[ASCENDING HARP SCALE]
617
01:19:53,333 --> 01:19:55,833
[MUSIC SLOWS SOLEMNLY]
618
01:19:59,875 --> 01:20:01,791
[MUSIC INTENSIFIES CHEERILY]
619
01:20:13,666 --> 01:20:15,791
[ASCENDING HARP SCALE]
620
01:20:15,875 --> 01:20:17,541
[SILENCE]
621
01:20:17,625 --> 01:20:20,208
[STRINGS AND HORNS BEGIN]
622
01:20:30,750 --> 01:20:33,083
[HARP SCALES]
623
01:20:35,000 --> 01:20:37,000
[MUSIC INTENSIFIES]
624
01:20:38,000 --> 01:20:39,249
[SILENCE]
625
01:20:39,250 --> 01:20:42,083
[MUSIC INTENSIFIES WITH FULL ORCHESTRA]
626
01:21:22,250 --> 01:21:24,125
[MUSIC QUIETENS]
627
01:21:25,500 --> 01:21:28,125
[MUSIC INTENSIFIES WITH FULL ORCHESTRA]
628
01:21:46,000 --> 01:21:48,041
[DRAMA BUILDS IN MUSIC]
629
01:22:01,375 --> 01:22:04,208
[DESCENDING STRINGS]
630
01:22:06,166 --> 01:22:08,958
[A GENTLE MELODY BEGINS
ON WOODWINDS AND STRINGS]
631
01:22:33,541 --> 01:22:36,125
[MUSIC SLOWS]
632
01:22:40,375 --> 01:22:42,791
[MUSIC BUILDS GRADUALLY]
633
01:22:49,916 --> 01:22:53,749
- [PLUCKED STRING]
- [CADENCE]
634
01:22:53,750 --> 01:22:56,750
[LOUD APPLAUSE AND CHEERING]
635
01:23:10,416 --> 01:23:12,958
[CONTINUED APPLAUSE]
636
01:23:37,750 --> 01:23:40,833
["DESIRE, VARIATION I" PLAYS]
637
01:23:41,916 --> 01:23:44,708
[AN UPBEAT MELODY BEGINS
ON STRINGS WITH ORCHESTRA]
638
01:24:15,875 --> 01:24:18,375
[MUSIC BECOMES FASTER AND MORE DRAMATIC]
639
01:24:21,666 --> 01:24:24,458
[UPBEAT MELODY RETURNS]
640
01:24:28,291 --> 01:24:30,708
[MUSIC QUICKENS]
641
01:24:45,375 --> 01:24:47,875
[APPLAUSE AND CHEERING]
642
01:25:13,041 --> 01:25:14,708
[SILENCE]
643
01:25:18,000 --> 01:25:20,666
["AURORE, VARIATION II" PLAYS]
644
01:25:20,750 --> 01:25:23,750
[A DELICATE MELODY BEGINS ON STRINGS]
645
01:25:47,708 --> 01:25:50,375
[AN OBOE BECOMES PROMINENT]
646
01:26:03,416 --> 01:26:06,250
[ALTERNATING BRASS AND PLUCKED STRINGS]
647
01:26:07,500 --> 01:26:11,583
[OBOE SCALE OVER BRASS AND STRING]
648
01:26:15,125 --> 01:26:19,083
[A SOLE VIOLIN BECOMES PROMINENT]
649
01:26:38,875 --> 01:26:41,541
[MORE STRINGS ENTER]
650
01:26:45,500 --> 01:26:48,541
[MUSIC INTENSIFIES]
651
01:26:52,875 --> 01:26:55,291
[MUSIC QUICKENS]
652
01:26:59,791 --> 01:27:02,333
[APPLAUSE]
653
01:27:17,000 --> 01:27:19,000
[SILENCE]
654
01:27:23,875 --> 01:27:26,958
[LIVELY ORCHESTRAL MUSIC BEGINS]
655
01:27:45,500 --> 01:27:48,291
[MUSIC GROWS LOUDER]
656
01:27:52,791 --> 01:27:55,375
[STRINGS BECOME PROMINENT]
657
01:28:00,791 --> 01:28:03,416
[BRASS BECOMES PROMINENT]
658
01:28:07,333 --> 01:28:09,750
[PIZZICATO STRINGS BECOME PROMINENT]
659
01:28:14,208 --> 01:28:16,958
[BRASS AND ORCHESTRA INTENSIFY]
660
01:28:17,125 --> 01:28:19,833
[DESCENDING BRASS SCALES]
661
01:28:21,583 --> 01:28:24,916
[MUSIC INTENSIFIES]
662
01:28:36,083 --> 01:28:39,916
[MUSIC SPEEDS UP TO CRESCENDO]
663
01:28:44,416 --> 01:28:47,333
[APPLAUSE]
664
01:29:28,500 --> 01:29:31,291
Whatever the ballet
he has been dancing that night,
665
01:29:31,375 --> 01:29:33,500
there comes the moment
when it is all over.
666
01:29:34,291 --> 01:29:36,957
When he can gradually relax
from the tension,
667
01:29:36,958 --> 01:29:40,250
can enjoy, for a time, a private life
like anyone else.
668
01:29:41,666 --> 01:29:42,833
But not for long.
669
01:29:43,583 --> 01:29:46,958
Tomorrow, the routine will start
all over again.
670
01:29:48,375 --> 01:29:50,000
What does he say himself?
671
01:29:52,583 --> 01:29:54,333
"You may look cool on stage,
672
01:29:55,041 --> 01:29:57,750
but it has taken so much effort
to prepare."
673
01:29:58,833 --> 01:30:02,375
"Of course there are compensations,
applause and praise."
674
01:30:03,083 --> 01:30:05,250
"But the reward of your own satisfaction..."
675
01:30:06,125 --> 01:30:08,083
"That doesn't come so often."
676
01:30:09,250 --> 01:30:11,458
"All the same, life is one's work."
677
01:30:12,041 --> 01:30:13,375
"There is nothing else."
678
01:30:15,250 --> 01:30:16,333
"While I'm working,
679
01:30:17,125 --> 01:30:18,208
I'm content."
680
01:30:18,791 --> 01:30:20,583
[INDISTINCT CHATTER]
681
01:30:31,583 --> 01:30:33,791
[LOUD INDISTINCT CHATTER]
682
01:30:40,000 --> 01:30:41,833
"That is it, simply."
683
01:30:42,625 --> 01:30:44,625
"You have to be faithful to what you do."
684
01:30:46,375 --> 01:30:48,875
"Dancing is what I do."
685
01:30:50,333 --> 01:30:51,582
"It is my life."
686
01:30:51,583 --> 01:30:53,750
["DESIRE, VARIATION I" PLAYS]
687
01:30:53,916 --> 01:30:54,958
[FAST, LIVELY MUSIC]
688
01:31:16,083 --> 01:31:18,250
[MUSIC FADES TO END]
689
01:31:20,291 --> 01:31:23,207
[THE SLEEPING BEAUTY, "APOTHEOSE" PLAYS]
690
01:31:23,208 --> 01:31:26,458
[TRIUMPHANT, ORCHESTRAL MUSIC]