Noverre ballets and, Chapter 2.1
Perrot ballets and, Chapter 7.1, 7.2, 7.3
political demotion of, Chapter 9.1
post–Soviet status of, Chapter epl.1, epl.2
post–Stalin leaders of, Chapter 9.1
preservation of tradition by, Chapter 9.1
preservation of works of, Chapter epl.1, epl.2
repertoire of, Chapter 9.1, 9.2, 9.3, 9.4
school of, Chapter 9.1
Second World War and, Chapter 9.1, 9.2
Soviet damage to, Chapter 9.1
Soviet renaming of, Chapter 9.1
ties to West of, Chapter 9.1, 9.2
Vaganova style and, Chapter 9.1
war-theme ballets and, Chapter 9.1
masked balls, Chapter 3.1
masks, Chapter 1.1, 1.2, 1.3, 2.1, 2.2, 2.3, 2.4, 2.5, 6.1
Massine, Leonid
Ballets Russes and, Chapter 8.1, 8.2, 8.3, 11.1, 12.1, epl.1
British ballet and, Chapter 10.1, 10.2
Diaghilev relationship with, Chapter 8.1, 8.2
emigration to West of, Chapter 8.1
Parade, Chapter 8.1
Pas d’acier, Chapter 8.1
Tricorne, Chapter 8.1
Mata Hari, Chapter 8.1, 8.2
Matisse, Henri, Chapter 8.1, 8.2, 8.3
Dance and Music, Chapter 8.1
Harmony in Red, Chapter 8.1
May, Pamela, Chapter 10.1
Mayakovsky, Vladimir, Chapter 8.1, 8.2, 9.1, 9.2
The Bathhouse, Chapter 9.1
The Bedbug, Chapter 9.1
Mazarin, Jules, Chapter 1.1, 1.2
Mazzini, Giuseppe, Chapter 6.1
Mazzo, Kay, Chapter 12.1, 12.2, 12.3
McBride, Patricia, Chapter 11.1, 12.1
McCarthy, Joseph, Chapter 12.1, 12.2
McFadyen, Jock, Chapter 10.1
Medina, Maria, Chapter 6.1
Melun, comte de, Chapter 2.1
Mendelson-Prokofieva, Mira, Chapter 9.1
Mendelssohn, Felix, Chapter 4.1
Ménestrier, Claude-François, Chapter 1.1, 1.2, 1.3, 1.4
Mercier, Louis-Sébastien, Chapter 2.1
Mersenne, Abbé, Chapter 1.1, 1.2, 12.1
merveilleux, Chapter 1.1, 1.2, 4.1, 7.1
Messel, Oliver, Chapter 10.1
Messerer, Sulamith, Chapter 9.1
Metropolitan Opera House, Chapter 9.1, 11.1, 11.2, 11.3
Metternich, Klemens von, Chapter 4.1
Meyerbeer, Giacomo, Robert le Diable, Chapter 4.1, 4.2, 4.3, 4.4
Meyerhold, Vsevolod, Chapter 8.1, 8.2, 8.3, 8.4, 8.5, 9.1, 9.2, 9.3
as de Valois influence, Chapter 10.1
as Great Terror victim, Chapter 9.1
Michelangelo, Chapter 8.1
Milan, Chapter 1.1, 2.1, 2.2, 4.1, 5.1, 6.1, 6.2, 6.3, 10.1
ballet and, Chapter 2.1, 2.2, 6.1, 6.2, 6.3, 6.4, 6.5, 8.1
cultural identity of, Chapter 2.1, 6.1
Noverre in, Chapter 2.1
political upheavals and, Chapter 6.1
See also La Scala
military arts, Chapter 1.1, 7.1
Milloss, Aurel, Chapter 10.1
Chorus of the Dead, Chapter 10.1
Miraculous Mandarin, Chapter 10.1
Milon, Louis, Chapter 3.1, 3.2, 3.3
Héro et Léandre, Chapter 3.1
Nina, ou La Folle par Amour, Chapter 3.1
Milosz, Czeslaw, Chapter 9.1
mime, Chapter 4.1, 6.1, 7.1, 8.1, 9.1
dram-balet and, Chapter 9.1
Italy and, Chapter 2.1, 2.2, 6.1, 6.2, 6.3, 7.1
pantomime vs., Chapter 6.1, 6.2
See also grotteschi
Minkus, Ludwig, Chapter 7.1, 7.2, 7.3, 7.4
minuet, Chapter 1.1, 3.1
Minz, Alexander, Chapter 9.1
Mitchell, Arthur, Chapter 9.1, 9.2, 12.1, 12.2
Mnemosyne, Chapter itr.1, 6.1
modern dance, Chapter 10.1, 10.2, 11.1, 11.2, 11.3, 11.4, 12.1, 12.2, 12.3
modernism, Chapter itr.1, 8.1, 8.2, 8.3, 9.1, epl.1
American ballet and, Chapter 9.1, 11.1, 11.2
Ballets Russes and, Chapter 8.1, 8.2, 8.3, 8.4
Rite of Spring and, Chapter epl.1
Russian avant-garde and, Chapter 8.1, 8.2, 9.1, 9.2, 9.3, 11.1, 12.1
Moiseyev, Igor, Spartacus, Chapter 9.1
Molière, Chapter 1.1, 1.2, 1.3, 3.1, 3.2
Ballet des Nations, Chapter 1.1, 1.2
Le Bourgeois gentilhomme, Chapter 1.1, 2.1, 3.1
La Malade imaginaire, Chapter 1.1
Les précieuses ridicules, Chapter 1.1
Psyche, Chapter 1.1
Monnet, Jean, Chapter 2.1
Montagu, Lady Mary Wortley, Chapter 2.1
Mont Cenis tunnel, Chapter 6.1, 6.2, 6.3, 6.4, 6.5
Montesquieu, baron de, Chapter 2.1
Montessu, Madame, Chapter 3.1
Montfaucon de Villars, Abbé, Chapter 4.1
Montherlant, Henry de, Chapter 10.1
Moore, John, Chapter 6.1
Mordkin, Mikhail, Chapter 11.1
Moscow, Chapter 7.1, 7.2, 8.1
Imperial Theater in, Chapter 7.1, 7.2, 7.3
New York City Ballet tour in, Chapter 9.1
shift of focus to, Chapter 7.1, 9.1
See also Bolshoi
Moscow Art Theater, Chapter 9.1, 12.1
Mostel, Zero, Chapter 12.1
Moulin Rouge, Chapter 4.1
movement choirs, Chapter 10.1
Mozart, Wolfgang Amadeus, Chapter 6.1, 6.2, 12.1, 12.2
Mulgrave, earl of, Chapter 2.1
Muravieva, Marfa, Chapter 7.1
musicals. See Broadway musicals
music halls, Chapter 4.1, 5.1, 7.1, 10.1, 10.2, 10.3, 12.1
Musset, Alfred de, Chapter 4.1
Mussolini, Benito, Chapter 10.1, 10.2
Mussorgsky, Modest, Chapter 7.1, 8.1
Naples, Chapter 1.1, 2.1, 6.1, 6.2, 6.3, 10.1
Bournonville in, Chapter 5.1, 5.2, 5.3
common gestures of, Chapter 6.1, 6.2
See also San Carlo
Napoleon, emperor of the French, Chapter 3.1, 3.2, 3.3, 4.1, 4.2
Danish admirers of, Chapter 5.1, 5.2, 5.3
final defeat of, Chapter 6.1
policies of, Chapter 3.1
Napoleonic Wars, Chapter 4.1, 4.2, 4.3, 5.1, 5.2, 6.1, 6.2, 7.1, 7.2
Naryshkin, A. L., Chapter 7.1
National Endowment for the Arts and Humanities, Chapter 11.1, 12.1
“natural man” concept, Chapter 2.1, 2.2, 2.3
Necker, Jacques, Chapter 3.1
Nekrasov, Nikolai, Chapter 7.1
Neoplatonism, Chapter 1.1, 1.2
Nerina, Nadia, Chapter 10.1
Nero, Chapter 6.1
Netherlands, Chapter 10.1
Netherlands Dance Theater, Chapter 10.1
Neumeier, John, Chapter 10.1
Nevsky Pickwickians, Chapter 8.1
New Dance Group, Chapter 12.1
New York City, Chapter itr.1, 11.1, 12.1
Actors Studio and, Chapter 12.1
Ballets Russes performances in, Chapter 11.1
Bolshoi triumphs in, Chapter 9.1, 9.2, 9.3, 9.4, 9.5, 11.1, 12.1
Sadler’s Wells tour in, Chapter 10.1, 12.1
New York City Ballet, Chapter itr.1, 11.1
American-born dancers and, Chapter 11.1, 12.1, 12.2, 12.3
Balanchine and, Chapter itr.1, 9.1, 11.1, 11.2, 12.1, epl.1
Balanchine’s death and, Chapter 12.1, 12.2
Bournonville legacy and, Chapter 5.1
Cold War tours and, Chapter 9.1, 9.2, 11.1, 11.2
“dance boom” and, Chapter 11.1
dancers’ distinctive style and, Chapter 12.1
founding of, Chapter 11.1
free performances by, Chapter 11.1
funding of, Chapter 11.1, 11.2
Lincoln Center and, Chapter 11.1, 12.1, epl.1
London performance (1951) of, Chapter 10
.1
new generation of dancers and, Chapter 12.1
no-stars policy of, Chapter 12.1
origins of, Chapter 11.1, 11.2, 12.1
preservation of classics by, Chapter epl.1, epl.2
Robbins and, Chapter 12.1, 12.2, 12.3, 12.4
Russian émigrés and, Chapter 12.1, 12.2
Stravinsky Festival and, Chapter 12.1
New York Philharmonic, Chapter 11.1, 11.2
New York State Theater, Chapter 11.1, 12.1, 12.2
renaming of, Chapter epl.1
Niblo’s Garden Theater, Chapter 11.1
Nicholas I, emperor of Russia, Chapter 7.1, 7.2, 7.3
Nicholas II, emperor of Russia, Chapter 8.1, 8.2, 8.3, 8.4
ballerina mistress of, Chapter 8.1, 10.1
Nicholas Brothers, Chapter 11.1
Nietzsche, Friedrich, Chapter 8.1, 8.2, 10.1
Nijinska, Bronislava, Chapter 8.1, 8.2, 8.3, 8.4, 8.5, 8.6, 10.1, 12.1
Ballet Theatre and, Chapter 11.1
emigration to West of, Chapter 8.1
on Pavlova’s dancing, Chapter 8.1
works: Les Biches, Chapter 10.1
Les Noces, Chapter 8.1, 8.2, 8.3, 8.4, 8.5, 10.1, 12.1
Nijinsky, Vaslav, Chapter itr.1, 7.1, 8.1, 8.2, 8.3, 8.4, 8.5, 8.6, 8.7, 10.1, 10.2, 12.1, epl.1
background and training of, Chapter 8.1
Ballets Russes and, Chapter 8.1, 8.2, 8.3, 8.4, 8.5, 8.6, 10.1
body and movement of, Chapter 8.1
on Duncan, Chapter 8.1
emigration to West of, Chapter 8.1, 8.2
final dance (1919) of, Chapter 8.1
insanity descent of, Chapter 8.1, 8.2
as Kirstein influence, Chapter 11.1
Nureyev compared with, Chapter 9.1
personality of, Chapter 8.1
Petrouchka role of, Chapter 8.1
political protest and, Chapter 8.1
as Robbins influence, Chapter 12.1
Rodin sculpture of, Chapter 8.1, 8.2
Spectre of the Rose role of, Chapter 8.1, 8.2
Sylphides role of, Chapter 8.1
technical brilliance of, Chapter 8.1, 8.2
works: L’après-midi d’un faune, Chapter itr.1, 8.1, 8.2, 8.3, 8.4, 12.1, 12.2, 12.3
Jeux, Chapter 8.1
Le Sacre du Printemps, Chapter 8.1, 8.2, 8.3, 8.4, 12.1, epl.1
noble style, Chapter 1.1, 1.2, 2.1, 3.1, 3.2, 4.1
athletic virtuosity vs., Chapter 3.1, 3.2
Bournonville and, Chapter 5.1, 5.2
Bruhn and, Chapter 9.1
as contributing to Vestris method, Chapter 3.1
Enlightenment critique of, Chapter 2.1
erosion/demise of, Chapter 3.1, 3.2, 3.3, 3.4
five positions and, Chapter 1.1, 1.2
Italian dancers and, Chapter 6.1, 6.2
legacy of, Chapter 1.1
as masculine, Chapter 1.1, 1.2, 2.1, 3.1, 3.2
moderation emphasis of, Chapter 3.1
Noces, Les
Nijinska version, Chapter 8.1, 8.2, 8.3, 8.4, 8.5, 10.1, 12.1
Robbins version, Chapter 12.1
Nodier, Charles, Chapter 4.1, 4.2, 4.3, 4.4, 4.5, 4.6, 4.7, 5.1
notation system, Chapter itr.1, 3.1
Bournonville and, Chapter 5.1, 10.1
contemporary reconstructions and, Chapter epl.1, epl.2
digital age and, Chapter epl.1
Feuillet and, Chapter 1.1, 1.2, 1.3, 2.1, 3.1
Petipa ballets and, Chapter 10.1
physical memory vs., Chapter itr.1
problems from lack of, Chapter 6.1
Nourrit, Adolphe, Chapter 5.1
La Sylphide, Chapter 4.1, 4.2, 4.3, 5.1
Noverre, Jean-Georges, Chapter 2.1, 2.2, 3.1, 3.2, 3.3, 3.4, 3.5, 4.1, 6.1, 6.2, epl.1
Bournonville and, Chapter 5.1, 5.2, 5.3
international career of, Chapter 2.1, 2.2, 2.3, 2.4, 2.5, 2.6
Lettres sur la danse et sur les ballets, Chapter 2.1, 2.2, 2.3, 2.4, 2.5, 2.6, 2.7, 2.8, 2.9, 3.1
on noble style’s corruption, Chapter 3.1, 3.2
Paris Opera and, Chapter 2.1
significance of, Chapter 2.1, 4.1, 6.1
step notation problems and, Chapter 3.1
story ballet and, Chapter 2.1, 12.1, 12.2
students of, Chapter 6.1, 7.1, 7.2, 7.3
tradition of, Chapter 3.1
Tudor as heir to, Chapter 12.1, 12.2
works: Agamemnon, Chapter 2.1
Les Fêtes Chinoises, Chapter 2.1
Les Horaces et les Curiaces, Chapter 2.1, 2.2, 2.3
Médée et Jason (Jason and Medea), Chapter 2.1, 2.2, 2.3, 2.4, 7.1
L’Olympiade, Chapter 2.1
Nureyev, Rudolf, Chapter itr.1, 9.1, 11.1, 12.1
American celebrity of, Chapter 11.1
defection of, Chapter 9.1, 9.2, 9.3, 9.4, 10.1, 11.1
exotic orientalism of, Chapter 10.1
Fonteyn dance partnership with, Chapter 10.1, 10.2, 12.1
training of, Chapter 9.1, 9.2, 9.3, 9.4
Nutcracker, The, Chapter 7.1, epl.1
American popularity of, Chapter 11.1, 12.1
Balanchine version, Chapter 11.1, 12.1, epl.1
initial limited appeal of, Chapter 7.1
Petipa-Ivanov first version, Chapter itr.1, 7.1, 7.2
Vic-Wells staging, Chapter 10.1
Obukhov, Anatole, Chapter 12.1, 12.2
occult. See supernatural
Oehlenschläger, Adam, Chapter 5.1, 5.2
Aladdin, Chapter 5.1
Gods of the North, Chapter 5.1
“The Golden Horns,” Chapter 5.1, 5.2
Old Vic, Chapter 10.1
Oliva, Pepita de, Chapter 5.1, 5.2
Oman, Julia Trevelyan, Chapter 10.1
On the Waterfront (film), Chapter 12.1
opera, Chapter 1.1, 1.2, 2.1, 4.1, 10.1
libretto and, Chapter 6.1
Vienna and, Chapter 2.1, 2.2, 6.1
See also French opera; Italian opera
Opéra-Comique, Chapter 2.1, 2.2
opera glasses, Chapter 2.1
opéras-ballets, Chapter 2.1, 2.2, 2.3
opéras comiques. See comic opera
Orléans, duc d’, Chapter 2.1. See also Louis-Philippe
Orléans, duchesse d’, Chapter 1.1
Orthodox Church. See Russian Orthodox Church
Osato, Sono, Chapter 12.1
Osborne, John, Chapter 10.1, 10.2
Osipenko, Alla, Chapter 9.1, 9.2
Ossian, Chapter 4.1
Ostrovsky, Alexander, Chapter 7.1, 7.2, 7.3, 7.4
Ovid, Chapter 1.1, 2.1
painting
ballet analogy with, Chapter 1.1, 2.1, 8.1
Ballets Russes and, Chapter 8.1
Degas’s dancers and, Chapter 4.1
Paléologue, Maurice, Chapter 8.1, 8.2
Panov, Galina, Chapter 9.1
Panov, Valery, Chapter 9.1, 9.2
pantomime
antiquity and, Chapter 1.1, 2.1, 6.1
Blasis on, Chapter 6.1
choral dance vs., Chapter 6.1
comic operas and, Chapter 2.1
England and, Chapter 2.1, 2.2, 2.3, 2.4, 2.5
France and, Chapter 2.1, 2.2, 2.3, 2.4, 3.1, 3.2, 3.3, 3.4, 3.5, 4.1
French ballerinas and, Chapter 3.1
French Enlightenment debate over, Chapter 2.1
Italy and, Chapter 2.1, 2.2, 6.1, 6.2, 6.3, 6.4, 6.5
melodramatic plots and, Chapter 6.1
mime vs., Chapter 6.1, 6.2
Noverre and, Chapter 2.1, 2.2, 2.3, 2.4, 2.5, 2.6, 3.1, 3.2, 6.1
opponents of, Chapter 2.1
painting analogy with, Chapter 2.1
as reform of ballet, Chapter 2.1, 2.2, 2.3
Romantic ballet and, Chapter 4.1
Sallé and, Chapter 2.1, 2.2, 2.3
Soviet dram-ballet and, Chapter 9.1, 9.2, 9.3
storytelling and, Chapter 2.1
Viennese ballet and, Chapter 2.1, 2.2, 2.3
, 2.4
Viganó and, Chapter 6.1, 6.2
See also ballet d’action
Parini, Giuseppe, Chapter 2.1
Paris
ballet critics in, Chapter 2.1
Ballets Russes in, Chapter 8.1, 8.2, 8.3, 8.4, 10.1
court tensions with, Chapter 1.1
cultural climate of, Chapter 8.1, 8.2, 8.3, epl.1
dance halls and, Chapter 3.1
Diaghilev Russian exhibit in, Chapter 8.1
Excelsior run in, Chapter 6.1
Italian dancers in, Chapter 6.1
literary circles in, Chapter 1.1
Nazi occupation of, Chapter 10.1
Nureyev’s defection in, Chapter 9.1
theaters and, Chapter 1.1, 2.1
Paris Opera, Chapter 4.1, 4.2, 6.1, 7.1, 7.2, epl.1
aristocracy and, Chapter 1.1, 2.1
artistic decline of, Chapter 4.1
artistic rigidity of, Chapter 2.1, 2.2, 3.1
artists’ insubordination and, Chapter 3.1
Balanchine and, Chapter 10.1, 11.1, 12.1
ballerina courtesans and, Chapter 4.1, 4.2
Bournonville and, Chapter 5.1
boxes and seating in, Chapter 2.1, 3.1, 3.2, 4.1
claque and, Chapter 4.1, 4.2, 5.1
dancer professionalization and, Chapter 1.1, 1.2, 1.3, 2.1
distancing from court of, Chapter 1.1, 3.1
end of era of, Chapter 2.1, 3.1
entrenchment of, Chapter 2.1
founding/development of, Chapter 1.1, 1.2
foyer de la danse and, Chapter 4.1
Gardels and, Chapter 2.1, 3.1, 3.2, 3.3, 3.4
gas lighting of, Chapter 4.1, 4.2, 5.1
Louis-Philippe changes to, Chapter 4.1
masked balls and, Chapter 3.1
Napoleon’s control of, Chapter 3.1
Nazi occupation and, Chapter 10.1
Noverre and, Chapter 2.1, 2.2, 2.3
pantomime ballet and, Chapter 3.1, 3.2, 3.3, 3.4, 3.5
prestige of, Chapter 2.1
reconstruction of, Chapter 3.1
revolutionary climate and, Chapter 3.1, 3.2, 3.3
Russian ballet and, Chapter 10.1
stage effects and, Chapter 4.1, 4.2
step notation and, Chapter 3.1, 3.2
Taglioni debut at, Chapter 4.1
Véron changes to, Chapter 4.1, 4.2, 4.3, 4.4, 5.1
Vismes reforms and, Chapter 3.1
women patrons of, Chapter 4.1
Paris Opera school, Chapter 1.1, 2.1, 3.1, 6.1
pas de deux, Chapter 3.1, 3.2
Afternoon of a Faun, Chapter 12.1
Balanchine ballets, Chapter 12.1, 12.2, 12.3, 12.4
Swan Lake, Chapter 7.1
Pasternak, Boris, Chapter 9.1, 9.2
Paul I, emperor of Russia, Chapter 7.1
Paul, Antoine, Chapter 3.1, 3.2, 4.1, 5.1
Pavlova, Anna, Chapter itr.1, 6.1, 7.1, 8.1, 8.2, 8.3, 11.1, 12.1
American tours of, Chapter 11.1, 11.2
as Ashton influence, Chapter 10.1, 10.2
dance style of, Chapter 8.1, 8.2, 8.3
Apollo’s Angels Page 84