One telling feature I saw immediately was the eye contact – when Bocca does his variations, he looks to his Juliet as the focus when he spins. Ferri and Bocca are better ACTORS in that they never look out at us – unless its in dreamy self-absorbtion – which adds intensity.

Nureyev and Fonteyn both have moments where they’re looking out at the audience, which breaks the intensity. Also their pantomimed kissing is more theatrical. Perhaps these are signs of the consistent shift to realism in the modern era.

I don’t think I would have noticed Fonteyn’s more limited extension without your prompting. Ferri’s legwork (especially when being lifted) adds a youthful lightness to her character, but I just didn’t miss it with Fonteyn.

Hey it’s not just ballet. And i don’t even know about ballet. But i do know about how extreme everything sacrifices art for shock and awe.

And thanks for the word renverse. Fifty one years and never knew it existed.