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The article offers information on ballerina Alina Cojocaru from the Royal Ballet in response to her memorable performance of a simple peasant girl in "Giselle". It discussed her whiplash injury that had threatened to derail her career permanently at the age of 26 only. Further it mentions her ballet experience at the Romanian Ballet School with the Kiev Ballet School in Ukraine. Further it reports on her visit to a physical therapist that give her not just technical but emotional support.

The article discusses the Russian dancer Diana Vishneva. She graduated from the Vaganova School in St. Petersburg, Russia and became a principal dancer with the Kirov (Maryinksy) Ballet. In 2003 Vishneva came to the American Ballet Theatre (ABT) to dance in MacMillan's version of "Romeo and Juliet." In 2005 she became a principal dancer in ABT. When not performing Vishneva enjoys going to the sea, getting massages, and going for swims.

The article presents an interview with choreographer William Forsythe regarding his approach to choreography and upcoming dance performances. Forsythe discusses the qualities he look for in a dancer. He also talks about the dance piece Kammer/Kammer. He mentions the international makeup of the Forsythe Co. He also cites the changes in the way he works.

Features ballerina Ashley Bouder. Background of Bouder in ballet dancing; Role in the ballet "Ballo"; Awards received during her apprenticeship at the School of American Ballet in New York City; Performance in the ballet "Firebird."

Profiles New York City Ballet (NYCB) dancer Peter Boal. Artistic enterprises outside of NYCB; Impact of his collaboration with stage director Molissa Fenley in 1997 on his dancing style; Description of his professional conduct.

Presents an update on the U.S. dance sector as of May 2003. Career of principal dancer Nilas Martins; Statement issued by the American Guild of Musical Artists, wherein its affiliate companies may not charge fees for auditions; Challenges faced by the art of classical ballet.

Presents the experiences of artistic directors of ballet companies in the United States. Plan for the future of Oakland Ballet; Role of an artistic director; Career background of Nanette Glushak of Fort Worth Ballet.

Features American Ballet Theatre principal Keith Roberts who is the lead in Matthew Bourne's `Swan Lake.' Comments from Roberts; Career background; Qualities of Roberts; Personal background.

Reviews a variety of international dance performances. Prague Chamber Ballet; Frankfurt Ballet (Paris); Montanaro Danse (Montreal); Toronto Dance Theatre.

Focuses on the impact the changing attitudes about youth and maturity has had on the career of dancers. Reference to a report on a 1925 Ballets Russes season in Monte Carlo by English Ballet critic Arnold Haskell; Information on mature dance professionals; Comparison of young dancer to mature dancers; Details on Netherlands Dance Theater 3 (NDT 3); Comments form Jiri Kylian, artistic director of NDT 3.

Reviews the several dance performances which took place in New York City in 1997. Identification of performing companies.

Focuses on the performances of both the Royal Danish Ballet held at the Royal Theater in Copenhagen, Denmark, and the FNB Vita Dance Umbrella held at the Wits Theatre in Johannesburg, South Africa. Characteristics of the performances.

Informs about the French Summer Festivals held during the months of June and July 1995 in France. Comment on the performance by Ballet du Grand Theater de Geneve; Comment on the ballets, `L'Anoure,' by Angelin Preljocaj, `Decodex,' and Maurice Bejart's `Sheherazade.'

Focuses on Frankfurt Ballet director William Forsythe's work movements. Combination of technical innovation and technical inquiry; Forsythe's artistic preferences; Emphasis on the importance of the dancer's contributions to his work.

Profiles choreographer Trisha Brown and analyses some of her creative performances. Set and Reset; Astral Convertible; If You Couldn't See Me; Comments of Brown; Analysis of her career.

Reviews the performances in Europe of the Rambert Dance Company, Philippe Decoufle--Compagnie and Balleto di Toscana during the months of September and October 1994.

Reviews the dance productions of dance companies in countries outside the United States from March to June 1994. Bavarian National Ballet at the National Theater in Munich, Germany; Lyon Opera Ballet at Opera de Lyon in Lyons, France; Blackpool Dance Festival at Wintergardens in Blackpool, England; Washington Ballet at Sadler's Wells Theatre in London, England.

Relates the workshop experiences of several dance graduates of the School of American Ballet (SAB) in New York City. Darci Kistler, principal dancer at New York City Ballet (NYCB); Peter Boal, principal dancer at NYCB and faculty member at SAB; Jeffrey Edwards, artistic associate at Washington Ballet; Maria Calegari, former principal dancer at NYCB.

Focuses on the 1996 Montpellier Dance Festival in Montpellier, France. Highlights of the event; Cultural significance of the festival; Glimpse into preparations undergone for the festival.

Reports on the impending demise of ballet, opera, and classical music arts in South Africa due to state funding cutbacks. State funding cutbacks by the Ministry of Arts, Culture, Science and Technology's task group ACTAG; Financial crisis for Capab, Pact Ballet, Playhouse ballet companies, and Jazzart and Pact Dance jazz companies; FNB Vita Dance Umbrella's showcase of South Africa's diverse dance activity.

Reviews the dance productions of ballet companies in countries outside the United States in June and July 1994. St. Petersburg State Theater Ballet of Boris Eifman in Russia; Frankfurt Ballet in Opernhaus, Frankfurt; Kuopio Dance Festival in Finland.

An interview with Carlos Acosta, a Cuban ballet dancer, is presented. Acosta discusses the idea for staging the ballet "Don Quixote" for The Royal Ballet, his original choreography for the ballet, and the lack of Cuban influence in the performance. Acosta mentions that he won the Prix de Lausanne dance competition with a solo from "Don Quixote" when he was a teenager.

The article presents information on Beatriz Stix-Brunell, a 19-year old ballet dancer at the Royal Ballet. Beatriz started dancing at the age of 14 with Wheeldon's company Morphoses, and joined the Royal Ballet at 17. In the last two years, she has played the role of Alice in "Alice's Adventures in Wonderland," Princess Rose in Kenneth MacMillan's "The Prince of the Pagodas," and a principal role in the Wheeldon/Alastair Marriot collaboration "Trespass."

The article reviews "Astaire & Rogers Collection," Volume 2, a collection of motion pictures starring the dancing pair of Fred Astaire and Ginger Rogers, released on DVD format.

Announces the decision of the government of Frankfurt, Germany not to renew the contract of choreographer William Forsythe who has headed Ballet Frankfurt since 1984. Factors that contributed to the decision of the city government; Amount of subsidy that the dance company receives; Criticisms against the leadership style of Forsythe.

Reviews the dance 'Approaching Something Higher' choreographed by Doug Varone and performed by Doug Varone and Dancers.

Reviews the dance production of Ballet Hispanico at the Joyce Theater in New York City from November 27 to December 9, 2001.

Reports on the dance "Nest," choreographed by Christopher House, artistic director and choreographer of Toronto Dance Theatre (TDT) performed by Toronto Dance Theater at Manhattan's Joyce Theater in January 2002. Inspiration for "Nest"; Foundation of TDT; Career background of House.

Reports on the performance to be made by the Frankfurt Ballet at Brooklyn Academy of Music for William Forsythe's `Eidos: Telos' in New York City, New York. Opportunity offered by the group to New York audiences; Task accomplished by Forsythe being the artistic director of the ballet; Three sections of Eidos.

Features Dwight Rhoden and Desmond Richardson's Complexions ballet company. Company history; Various ballet productions; Famous ballet in-house dancers.

Announces Frederic Franklin's dance production of `Coppelia,' by the American Ballet Theatre (ABT) in Orange County, California from February 14, 1997 to February 16, 1997. Professional background of Frederic Franklin; Connection with Nicolas Sergeyev; ABT's impression of Franklin; Franklin's impression of the ABT dancers.

Reports on the residency taken by Angelin Preljocaj and his dance troupe at the Theatre National de la Danse et de l'Image (TNDI) de Chateauvallon near Toulon, France. Bagnolet choreography award for `Marche Noir' in 1985; Career controversies; Schedule of performances at the Chateauvallon.

Discusses the role, purpose and contributions of the Paris Opera Ballet School in France. Information on its teaching classes, teachers and students; Views of some students.

Reports on inadequate government funding for ballet choreographers in France. Classical choreography as a non-priority; Support for modern dance; Need to appreciate creativity in ballet.

Reviews the live dance program `M,' by Trisha Brown Co. at Theatre de la Ville, Paris, during November 8-12, 1994.

Reports on the Dance Screen video competition held in June 1994 at the Lyon Opera in Lyon, France. Sponsor and producer of the contest; Showing of 159 entries from 28 countries; Description of the entries; Names of winners in various categories.

Reports on the plans for the 1994 and 1996 edition of the Lyon Biennale de la Danse. Maison de la Danse as host of the 1994 event; Transmission of dances from North Africa, the Caribbean and the Antilles to the United States as the theme for 1994; Links between the dances of Africa and Latin America for 1996; List of American dance companies participating in the 1994 event.

An interview with ballerina Diana Vishneva is presented. When asked about the lesson that her latest role taught her, she said that it is learning to be very sensitive. She relates that she also worries and get nervous on the technical side of performing onstage. She indicates that physical pressure is something she dislikes about being a dancer.

The article features the career of U.S. ballet dancer Amar Ramasar. It reviews a ballet performance of Ramasar. Some of his dance movements are cited. It also features the interest of Ramasar to ballet dancing as a child.

The article features the career of ballet dancer Carla Körbes. It reviews some dance performances of Körbes in the U.S. The challenges Körbes faced in her career are stated. It also mentions her decision to move to Pacific Northwest Ballet.

Considers the views of several choreographers and artistic directors on the opportunities presented by the School of American Ballet (SAB) in New York City as a laboratory for making and staging dances. John Clifford, choreographer and former director of Los Angeles Ballet; Jean-Pierre Bonnefoux, president and artistic director of North Carolina Dance Theatre; Suki Schorer, faculty member at SAB.

Focuses on the appointment of Wallace Chappell as executive director of the American Ballet Theater (ABT). Career and educational background of Chappell; Priorities for the ABT.

Reviews several dance performances by the Cisne Negro dance company at the Joyce Theater. `In Case of...,' choreographed by Dany Bittencourt; `Trama,' choreographed by Rui Moreira; `Earth Apples,' choreographed by Itzik Galili.