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Abetz, Otto, Chapter 10.1
Académie de Poésie et de Musique, Chapter 1.1, 1.2, 1.3, 1.4
Académie Française, Chapter 1.1, 1.2
Actors Studio, Chapter 12.1, 12.2
Adam, Adolphe, Chapter 4.1, 4.2, 7.1
Adams, Diana, Chapter 11.1, 12.1, 12.2, 12.3
Adams, John, Chapter 11.1
Addison, Joseph, Chapter 2.1
Afanasiev, Alexander, Chapter 8.1
Afternoon of a Faun. See Après-midi d’un faune, L’
Agee, James, Chapter 11.1
Agon, Chapter itr.1, 9.1, 9.2, 12.1, 12.2, 12.3, 12.4, 12.5
Akhmatova, Anna, Chapter 9.1
Albert (dancer), Chapter 3.1, 3.2, 5.1, 5.2, 5.3
Aleichem, Sholem, Chapter 12.1, 12.2
Alembert, Jean le Rond d’, Chapter 1.1, 2.1
Alexander I, emperor of Russia, Chapter 7.1
Alexander II, emperor of Russia, Chapter 5.1, 7.1, 7.2
Alexander III, emperor of Russia, Chapter 5.1, 7.1, 7.2, 7.3, 7.4
Alfieri, Vittorio, Chapter 6.1
Allard, Marie, Chapter 3.1, 3.2
American ballet, Chapter 11.1, 12.1
characteristics of, Chapter itr.1
leading choreographers of, Chapter 11.1, 11.2
See also New York City Ballet
American Ballet (company), Chapter 11.1
American Ballet Caravan, Chapter 11.1
American Ballet Theatre (formerly Ballet Theatre), Chapter itr.1, 5.1, 9.1, 11.1, 11.2, epl.1, epl.2
American vs. Russian influences in, Chapter 11.1
founding members of, Chapter 11.1, 12.1
government-sponsored tours by, Chapter 9.1, 11.1
MacMillan and, Chapter 12.1
See also Robbins, Jerome; Tudor, Antony
American Theater Lab, Chapter 12.1
Andersen, Hans Christian, Chapter 5.1, 5.2, 5.3, 5.4, 5.5, 5.6, 5.7, 10.1
Angiolini, Gasparo, Chapter 2.1, 2.2, 2.3, 6.1, 6.2, 6.3, 7.1, 12.1
Les Festes vénitiennes, Chapter 1.1
Le festin de pierre, ou Don Juan, Chapter 2.1
“angry young men” (Britain), Chapter 10.1, 10.2, 10.3
Annan, Noel, Chapter 10.1
Annunzio, Gabriele d’, Chapter 6.1
Ansky, S., Chapter 12.1
antiquity, Chapter itr.1, 1.1, 1.2, 1.3, 8.1
Ancients and, Chapter 1.1, 1.2, 1.3, 3.1
costumes based on, Chapter 1.1, 1.2, 2.1, 2.2, 3.1, 3.2, 3.3, 6.1
Italian obsession with, Chapter 6.1
pantomime and, Chapter 1.1, 2.1, 2.2, 6.1
Viganô ballets and, Chapter 6.1, 6.2
Apollo, Chapter itr.1, 8.1, 8.2, 12.1, epl.1
Louis XIII as, Chapter 1.1
Louis XIV as, Chapter 1.1
Apollon Musagète, Chapter itr.1, 8.1, 8.2, 10.1, 11.1, 11.2, 12.1, 12.2, 12.3
as Apollo, Chapter 12.1, 12.2, 12.3, 12.4
Après-midi d’un faune, L’ (Afternoon of a Faun), Chapter itr.1, 8.1, 12.1, 12.2, 12.3, 12.4
shocked reception of, Chapter 8.1, 8.2
Archer, Kenneth, Chapter epl.1
Argyle, Pearl, Chapter 10.1
Ariosto, Ludovico, Chapter 1.1
Aroldingen, Karin von, Chapter 12.1, 12.2
Aronson, Boris, Chapter 12.1
Asafiev, Boris, Chapter 9.1, 9.2, 9.3
Ashley, Merrill, Chapter 12.1
Ashton, Frederick, Chapter 2.1, 8.1, 10.1, 10.2, 10.3, 10.4, 10.5
assessment of, Chapter 10.1, 10.2, 12.1
background and training of, Chapter 10.1, 10.2, 10.3
death and memorials to, Chapter 10.1, epl.1
MacMillan contrasted with, Chapter 10.1, 10.2, 10.3, 10.4
Royal Ballet departure of, Chapter 10.1
Royal Ballet retrospectives of, Chapter epl.1
signature “Fred” step of, Chapter 10.1
Tudor contrasted with, Chapter 12.1, 12.2
war service of, Chapter 10.1
works: Cinderella, Chapter 10.1
Cupid and Psyche, Chapter 10.1
Dante Sonata, Chapter 10.1
The Dream, Chapter 10.1, 10.2
Enigma Variations, Chapter 10.1, 10.2, 10.3
Façade, Chapter 10.1, 10.2
La Fille mal gardée, Chapter 10.1, 10.2
Five Brahms Waltzes in the Manner of Isadora, Chapter 10.1
Marguerite and Armand, Chapter 10.1, 10.2
Les Masques, Chapter 10.1
A Month in the Country, Chapter 10.1
Nursery Suite, Chapter 10.1
Ondine, Chapter 10.1, 10.2
Les Rendezvous, Chapter 10.1
Rio Grande, Chapter 10.1
Salut d’amour à Margot Fonteyn, Chapter 10.1
Les Sirènes, Chapter 10.1
The Sleeping Beauty, Chapter 10.1
Swan Lake, Chapter 10.1, epl.1
Sylvia, Chapter 10.1
Symphonic Variations, Chapter 10.1, 10.2, 10.3
Tiresias, Chapter 10.1
A Wedding Bouquet, Chapter 10.1
Astafieva, Serafina, Chapter 10.1
Astaire, Fred, Chapter 10.1, 11.1, 12.1
Astruc, Gabriel, Chapter 8.1
Attlee, Clement, Chapter 10.1, 10.2
Auber, Daniel, Chapt
er 4.1, 6.1
Auden, W. H., Chapter 10.1, 11.1, 12.1
Austin, Chuck, Chapter 11.1
Avedon, Richard, Chapter 9.1
Babilée, Jean, Chapter 10.1
Bach, Johann Sebastian, Chapter 10.1, 11.1, 12.1, 12.2, 12.3
Baïf, Jean-Antoine de, Chapter 1.1
Baker, Josephine, Chapter 8.1, 11.1, 11.2
Bakst, Léon, Chapter 8.1, 8.2, 8.3, 8.4, 8.5, 8.6, 8.7
Balakirev, Mily, Chapter 7.1
Balanchine, George (Georgi Balanchivadze), Chapter 2.1, 9.1, 9.2, 9.3, 9.4, 10.1, 10.2, 10.3, 10.4, 10.5, 11.1, 12.1, epl.1
achievement/legacy of, Chapter 11.1, 11.2, 12.1, 12.2, 12.3
American ballets of, Chapter 12.1
on American dancers, Chapter 12.1, 12.2
American popular culture and, Chapter 11.1
artistic emphasis of, Chapter 12.1, 12.2, 12.3
background and training of, Chapter 8.1, 9.1, 12.1
on ballet as art of angels, Chapter 12.1, 12.2, 12.3
on ballet as ephemeral, Chapter itr.1
Ballets Russes and, Chapter 8.1, 8.2
Ballet Theatre and, Chapter 11.1
Broadway and Hollywood projects of, Chapter 11.1, 11.2, 12.1
composers and, Chapter 9.1, 12.1, 12.2
dancers and, Chapter 12.1, 12.2, 12.3, 12.4, 12.5, 12.6, 12.7, 12.8, 12.9
death of, Chapter 12.1, 12.2, epl.1
health problems of, Chapter 11.1, 12.1, 12.2
idealization of women by, Chapter 12.1
Kirstein and, Chapter 11.1, 11.2, 11.3, 12.1
personal stresses on, Chapter 12.1, 12.2, 12.3
Petrograd choreographic style of, Chapter 8.1, 8.2, 9.1
preservation of works of, Chapter epl.1
religious belief of, Chapter 12.1, 12.2, 12.3, 12.4, 12.5
Robbins contrasted with, Chapter 12.1, 12.2, 12.3, 12.4
Russian roots of, Chapter itr.1, itr.2, 8.1, 8.2, 8.3, 8.4, 9.1, 11.1, 12.1, 12.2, epl.1
Soviet tour’s effect on, Chapter 9.1
storyless ballet and, Chapter 9.1
Stravinsky Festival and, Chapter 12.1
wives of, Chapter 8.1, 12.1, 12.2, 12.3, 12.4, 12.5
works: Adagio Lamentoso, Chapter 12.1, 12.2
Agon, Chapter itr.1, 9.1, 9.2, 12.1, 12.2, 12.3, 12.4, 12.5
Apollo, Chapter 12.1, 12.2, 12.3, 12.4
Apollon Musagète, Chapter itr.1, 8.1, 8.2, 10.1, 11.1, 11.2, 12.1
Ballet Imperial, Chapter 12.1
Balustrade, Chapter 12.1
Apollo’s Angels Page 80
