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Strange insects and exquisite butterflies appear from the accomplice darkness, fluttering around inaccessible flowers. Prospero — which I interpret — dances with Death. April 3rd. Dance is an art where your feet play a great part, but the head is more important yet, as they taught me. On March 27th.{/INSERTKEYS}{/PARAGRAPH} Jacques Forlacroix wrote on January 24th. It has emphasized his features, so intense under the high forehead. Suddenly, a fugitive convict comes out of the darkness. The program proposed last night could satisfy all expectations: their numbers went from classic to very modern, passing through romantic and modern. She dances far beyond the limits of an irreproachable technique. Out of which the panting beating and the perpetual suffocation rendered by all the percussion arsenal the composers have at their disposal. He has shown he is always in full possession of his art and has affirmed his presence. The first movement is on short tutu; the second one, a pas de deux; the third, very vivid, and the final in whole colors. {PARAGRAPH}{INSERTKEYS}Thanks to Mme. And the modern ballets? From XVIth. You need indeed a very solid musical formation. She goes to the ends of gracefulness, with gestures of an infinite delicacy, of a poetic fineness and a sweet sobriety which turns her performance extraordinarily intelligent and light. We can say it was most expected. We are studying several projects. His choreography is vivid, rapid, precise and everything chains very fast, even before the spectator can retrieve his breathing. We become a philosopher. Florence Mothe on Sud-Ouest:. The true artistic formation, in fact, comes from oneself. On March 15th. But a good one too. On February 1st. And even if someone from Bordeaux would next Friday at the G. As to my projects, they are illustrated by my first program, that is to say that school dance will be there on choreographies with a much more modern expression. This ballet in three tableaux presented last night is a totally renewed work. Patrice Bart Petrouchka knows also pantomime. We have married elegance and unusual upon this music composed only on percussion. This self oblivion he probably owes to his Russian origins. He is himself a very acrobatic Moor. And without bitterness. And April 14th. They enlighten action as engraved vignettes upon an ancient book. They were the dance joyfulness itself. This mysterious adventure is expressed upon a Balanchine choreography, restored by Skouratoff. Upon this obsessive theme Wladimir Skouratoff made a precise, rigorous choreography, with a sobriety and an efficiency rarely reached. We think indeed that Skouratoff has wrote there a very beautiful page on the choreographic research. He has figured among the greatest. We become reasonable with age. Santestevan and M. I count on our very good dancers to get unto it. But at the G. Wladimir Skouratoff had composed the most touching choreography we can imagine. As to Mishiko, it has been almost by chance. Our sight will be taken from one place to the other on the stage, being it the street, the balcony, the grave…The choreographies will be made by Maria Santestevan and myself, according to our own inspiration. On May 20th. She is also an actor. We have to think in the work. Florence Mothe wrote on Mars 25th. In an article published in Bordeaux on July 14th. On February 11th. An artist above all, he loves Dance more than he loves himself; the proof is that he makes a constant revival of others choreographs ballets. The story is that of two lovers and one woman, of love and death. It would surely please so many balletomanes and it would occupy usefully the unavoidable inactivity of our national dancers. Boisson based on Edgard Allan Poe, music by Jean Courtioux, is inspired on the classic theme of Death, as no one can fight against. His great dancer reputation has never affected his modesty and simplicity. The works produced that year by the G. On April 7th. For the Operette Biennial from July 4th. Also, on October 20th. Thus, just one of the five choreographies he presented on his last spectacle in Bordeaux was his own. We will build three scenes where all drama will develop in order to have a quasi cinematographic vision with an incredible perspective. The choreographic Gala on January 16th. Wladimir Skouratoff was the soloist. Thus, there will be true fencers that will mingle to dancers. The buffoon suddenly feels danger and, a few moments later, the beautiful dancer unmasks. On January 11th. But John Taras must have been very happy to see the way Skouratoff has renewed his ballet. Time has not altered his nervous race silhouette. And on April 14th. These last belongs to Pierre Castex, even when Henri Delannoy created the costumes. His Poet was of a great Company. Skouratoff tries also to transmit on his courses the synthesis of the different techniques his teachers gave him. Florence Mothe wrote:. Sacha Pitoieff, Georges Whakevitch and Wladimir Skouratoff have retrieved their infant soul to paint the eternal Russia, lyric, violent and excessive. While retourning to his home, he had already crossed people attacked with a mysterious illness…A buffoon tries to divert this curious dancers on costumes spattered in gold. Nevertheless, they will be a suite of classic formulas enriched by certain acquisitions, avoiding any exaggeration. We will talk again soon. He is a tender lunar puppet. Last night, sorcery anticipated the three beats. Duel and serenade enlightens this ballet where one discovers a fantastic dancer, Christian Taulelle, fascinating and gracile, vigorous and rapid, who has also a true personality. The spirit of dance enlivens him. Skouratoff, upon which Jacques Forlacroix remarked on his critique in Sud-Ouest:. Florence Mothe wrote on December 9th. Boisson through the scenario and Wladimir Skouratoff through the choreography have insufflated an intense dramatic art. Annie Larraneta on May 17th. She danced it with the qualities we remarked on precedent performances: purity of points, clean attitudes, intelligence in gesture expression. The best moment in the work rests I think the pas de deux for Cassio and Desdemone, danced much gracefully by Diana Cawley. Two excellent dancers, Michel Ferment and Pierre Lacour, gave her the replica of qualified dancers. We will make her come with plenty of time in advance so she can integrate the troupe. Bal escorts, tenders pas de deux, admirable ensemble movements; the scene was at Verone, in the grandiose and fatal atmosphere of Italian Renaissance. A choreographic Gala on December 23rd. On December 16th. This unchaining can only be calmed after the curtain is down. So, it showed to be impossible to mount this spectacle at the G.