1 00:00:00,966 --> 00:00:06,666 ♪♪ 2 00:00:06,666 --> 00:00:08,666 -Next on "Great Performances," 3 00:00:08,666 --> 00:00:11,366 the artistry of legendary dancer and choreographer 4 00:00:11,366 --> 00:00:12,933 Rudolf Nureyev. 5 00:00:12,933 --> 00:00:16,400 His sensational performances made him a dance icon 6 00:00:16,400 --> 00:00:19,400 and electrified audiences around the world. 7 00:00:19,400 --> 00:00:22,800 ♪♪ 8 00:00:22,800 --> 00:00:27,100 -He would just make the hairs on the back of your neck 9 00:00:27,100 --> 00:00:29,966 stand up just by being on stage. 10 00:00:29,966 --> 00:00:31,966 -At 26 years old, his choreography 11 00:00:31,966 --> 00:00:34,600 and star performance in Tchaikovsky's "Swan Lake" 12 00:00:34,600 --> 00:00:36,566 changed ballet forever. 13 00:00:36,566 --> 00:00:40,433 -He definitely broke the mold of the male dancer -- 14 00:00:40,433 --> 00:00:43,366 stands behind the ballerina and always lifts her up in the air. 15 00:00:43,366 --> 00:00:46,033 He really put himself -- not in front of the ballerina, 16 00:00:46,033 --> 00:00:47,900 but let's say beside the ballerina. 17 00:00:47,900 --> 00:00:53,800 -Rudolf put in a solo. Very, very sort of sad. 18 00:00:53,800 --> 00:00:57,200 And it's now become the standard in every production. 19 00:00:57,200 --> 00:00:59,200 ♪♪ 20 00:00:59,200 --> 00:01:01,433 -And Nureyev's unexpected chemistry 21 00:01:01,433 --> 00:01:03,900 with the more mature Dame Margot Fonteyn 22 00:01:03,900 --> 00:01:05,800 thrilled audiences. 23 00:01:05,800 --> 00:01:08,566 -What most inspires me about this couple 24 00:01:08,566 --> 00:01:11,666 is the importancy of partnership. 25 00:01:11,666 --> 00:01:14,800 It's the partnership. That's what makes the story. 26 00:01:14,800 --> 00:01:17,700 -Featuring extensive sequences from Nureyev's 27 00:01:17,700 --> 00:01:21,266 1964 production of Tchaikovsky's "Swan Lake," 28 00:01:21,266 --> 00:01:24,466 "The Magic of Nureyev" is next. 29 00:01:27,100 --> 00:01:29,266 ♪♪ 30 00:01:29,266 --> 00:01:31,400 Major funding for "Great Performances" 31 00:01:31,400 --> 00:01:32,566 is provided by... 32 00:01:37,433 --> 00:01:39,733 ...and by contributions to your PBS station 33 00:01:39,733 --> 00:01:41,166 from viewers like you. Thank you. 34 00:01:42,466 --> 00:01:50,133 ♪♪ 35 00:01:50,133 --> 00:01:59,100 ♪♪ 36 00:01:59,100 --> 00:02:03,766 [Woman speaking Russian] 37 00:02:03,766 --> 00:02:05,666 -[ Speaks Russian ] [ Laughs ] 38 00:02:05,666 --> 00:02:12,366 ♪♪ 39 00:02:17,066 --> 00:02:23,333 ♪♪ 40 00:02:29,100 --> 00:02:34,766 ♪♪ 41 00:02:34,766 --> 00:02:37,366 -He would just make 42 00:02:37,366 --> 00:02:39,900 the hairs on the back of your neck stand up 43 00:02:39,900 --> 00:02:42,400 just by being on stage. 44 00:02:42,400 --> 00:02:49,933 ♪♪ 45 00:02:49,933 --> 00:02:52,666 -Like a rare jewel that, you know -- 46 00:02:52,666 --> 00:02:53,966 There's only a few of them, 47 00:02:53,966 --> 00:02:56,533 those giant diamonds, in the whole world, 48 00:02:56,533 --> 00:02:58,200 and he was one of those. 49 00:02:58,200 --> 00:03:07,400 ♪♪ 50 00:03:07,400 --> 00:03:14,766 ♪♪ 51 00:03:14,766 --> 00:03:16,466 -Ballet history was made 52 00:03:16,466 --> 00:03:20,066 at the Vienna State Opera in October 1964 53 00:03:20,066 --> 00:03:23,566 when 26-year-old Russian dancer Rudolf Nureyev 54 00:03:23,566 --> 00:03:25,466 choreographed "Swan Lake" 55 00:03:25,466 --> 00:03:28,800 and cast himself as the male lead. 56 00:03:28,800 --> 00:03:31,166 His version of Tchaikovsky's love story 57 00:03:31,166 --> 00:03:35,633 would go on to make him the dance icon of the 20th century. 58 00:03:50,900 --> 00:03:54,700 -A friend and I would go and queue for tickets, 59 00:03:54,700 --> 00:03:56,433 literally staying up all night, 60 00:03:56,433 --> 00:03:59,133 and we would go and buy masses of daffodils. 61 00:03:59,133 --> 00:04:04,866 And to shower him from the gods, we would throw daffodils down. 62 00:04:04,866 --> 00:04:09,766 ♪♪ 63 00:04:09,766 --> 00:04:19,133 ♪♪ 64 00:04:19,133 --> 00:04:28,500 ♪♪ 65 00:04:47,700 --> 00:04:55,966 ♪♪ 66 00:04:55,966 --> 00:05:02,533 ♪♪ 67 00:05:02,533 --> 00:05:04,300 -This is the famous fairy tale 68 00:05:04,300 --> 00:05:07,233 about the Prince and the Swan and love. 69 00:05:07,233 --> 00:05:10,266 The search of what is love, 70 00:05:10,266 --> 00:05:12,500 what is -- what you want to find, 71 00:05:12,500 --> 00:05:15,166 what you give your heart for. 72 00:05:15,166 --> 00:05:23,933 ♪♪ 73 00:05:23,933 --> 00:05:33,200 ♪♪ 74 00:05:33,200 --> 00:05:41,900 ♪♪ 75 00:05:41,900 --> 00:05:50,366 ♪♪ 76 00:05:50,366 --> 00:05:59,633 ♪♪ 77 00:05:59,633 --> 00:06:08,366 ♪♪ 78 00:06:08,366 --> 00:06:10,866 ♪♪ 79 00:06:26,900 --> 00:06:31,433 -To go and stage an entire classic, 80 00:06:31,433 --> 00:06:36,366 taking the essence of the original, 81 00:06:36,366 --> 00:06:38,733 the Petipa and the Ivanov, 82 00:06:38,733 --> 00:06:42,000 and making the changes that he wanted to make. 83 00:06:42,000 --> 00:06:45,700 -When he was offered to create a new "Swan Lake" for Vienna, 84 00:06:45,700 --> 00:06:47,400 this is like the gift of a lifetime. 85 00:06:47,400 --> 00:06:49,300 That doesn't happen very often, 86 00:06:49,300 --> 00:06:50,966 especially not at such a young age. 87 00:06:50,966 --> 00:06:53,066 Nureyev was 25. 88 00:06:53,066 --> 00:07:02,533 ♪♪ 89 00:07:02,533 --> 00:07:11,966 ♪♪ 90 00:07:11,966 --> 00:07:20,833 ♪♪ 91 00:07:20,833 --> 00:07:30,000 ♪♪ 92 00:07:30,000 --> 00:07:39,766 ♪♪ 93 00:07:39,766 --> 00:07:48,000 ♪♪ 94 00:08:08,166 --> 00:08:14,066 -Rudolf put in a solo. Very, very sort of sad. 95 00:08:14,066 --> 00:08:17,700 And it's now become the standard in every production. 96 00:08:17,700 --> 00:08:19,833 And it's wonderful because it shows 97 00:08:19,833 --> 00:08:22,733 his understanding of Tchaikovsky, 98 00:08:22,733 --> 00:08:26,900 who was very outcast by his homosexuality. 99 00:08:26,900 --> 00:08:36,033 ♪♪ 100 00:08:36,033 --> 00:08:44,766 ♪♪ 101 00:08:44,766 --> 00:08:54,366 ♪♪ 102 00:08:54,366 --> 00:09:03,700 ♪♪ 103 00:09:03,700 --> 00:09:12,500 ♪♪ 104 00:09:12,500 --> 00:09:21,000 ♪♪ 105 00:09:25,333 --> 00:09:35,000 ♪♪ 106 00:09:40,066 --> 00:09:49,866 ♪♪ 107 00:09:49,866 --> 00:09:53,933 ♪♪ 108 00:09:53,933 --> 00:09:55,266 -Wow. 109 00:09:56,533 --> 00:09:57,833 -Genius. 110 00:09:57,833 --> 00:10:07,066 ♪♪ 111 00:10:07,066 --> 00:10:16,366 ♪♪ 112 00:10:16,366 --> 00:10:26,333 ♪♪ 113 00:10:26,333 --> 00:10:36,066 ♪♪ 114 00:10:36,066 --> 00:10:45,800 ♪♪ 115 00:10:45,800 --> 00:10:50,733 ♪♪ 116 00:10:50,733 --> 00:10:53,766 [ Train whistle blows ] 117 00:10:53,766 --> 00:10:56,633 -When Rudolf was born in Russia, 118 00:10:56,633 --> 00:10:59,800 his mother was on the way to see his father, 119 00:10:59,800 --> 00:11:04,733 who was serving in the Red Army in the Far East, 120 00:11:04,733 --> 00:11:07,366 and Rudolf was then born on the train, 121 00:11:07,366 --> 00:11:11,666 which I always saw as symbolic of his sort of nomadic life 122 00:11:11,666 --> 00:11:13,866 that he then went on to do. 123 00:11:13,866 --> 00:11:16,300 -Yeah. Oh, yes. He was born on a train, right? 124 00:11:16,300 --> 00:11:19,900 And then had a hard upbringing, a difficult family life. 125 00:11:19,900 --> 00:11:22,566 And I think his father didn't want him to dance. 126 00:11:22,566 --> 00:11:24,966 And he still made it through all of that, 127 00:11:24,966 --> 00:11:26,433 you know, from, you know -- 128 00:11:26,433 --> 00:11:28,666 You say in America "from zero to hero." 129 00:11:28,666 --> 00:11:32,500 You know, the dream to come from poverty 130 00:11:32,500 --> 00:11:36,133 and to become a worldwide icon. 131 00:11:36,133 --> 00:11:39,200 -The ballet dancing legend Rudolf Nureyev 132 00:11:39,200 --> 00:11:42,066 sought asylum in France from Soviet Russia 133 00:11:42,066 --> 00:11:44,066 on this day in 1961. 134 00:11:44,066 --> 00:11:46,766 He believed that if he returned home from a trip to Paris 135 00:11:46,766 --> 00:11:50,400 with the Kirov Company, he'd be imprisoned by the KGB. 136 00:11:50,400 --> 00:11:52,733 Nureyev's private accounts of the events, 137 00:11:52,733 --> 00:11:55,233 as well as those of many of his close friends, 138 00:11:55,233 --> 00:11:58,133 tell that he stayed in the West due to consequences 139 00:11:58,133 --> 00:12:01,200 of living in Soviet Russia and being gay. 140 00:12:01,200 --> 00:12:05,166 So on the 17th of June, 1961, at the Paris Airport, 141 00:12:05,166 --> 00:12:07,066 Rudolf Nureyev defected. 142 00:12:21,100 --> 00:12:31,000 ♪♪ 143 00:12:31,000 --> 00:12:34,833 ♪♪ 144 00:13:03,766 --> 00:13:12,966 ♪♪ 145 00:13:12,966 --> 00:13:17,466 ♪♪ 146 00:13:30,700 --> 00:13:40,133 ♪♪ 147 00:13:40,133 --> 00:13:49,900 ♪♪ 148 00:13:49,900 --> 00:13:59,433 ♪♪ 149 00:13:59,433 --> 00:14:08,400 ♪♪ 150 00:14:08,400 --> 00:14:17,900 ♪♪ 151 00:14:17,900 --> 00:14:27,666 ♪♪ 152 00:14:27,666 --> 00:14:37,166 ♪♪ 153 00:14:37,166 --> 00:14:46,066 ♪♪ 154 00:14:46,066 --> 00:14:55,333 ♪♪ 155 00:14:55,333 --> 00:15:04,833 ♪♪ 156 00:15:04,833 --> 00:15:11,733 ♪♪ 157 00:15:11,733 --> 00:15:13,500 -When they started working together, 158 00:15:13,500 --> 00:15:16,066 they discovered a great rapport, 159 00:15:16,066 --> 00:15:20,233 and Margot realized that she could learn from him 160 00:15:20,233 --> 00:15:22,466 and he could learn from her, so there was this sort of 161 00:15:22,466 --> 00:15:26,133 symbiotic thing they had going. 162 00:15:26,133 --> 00:15:35,633 ♪♪ 163 00:15:35,633 --> 00:15:45,000 ♪♪ 164 00:15:45,000 --> 00:15:51,266 ♪♪ 165 00:16:09,033 --> 00:16:18,466 ♪♪ 166 00:16:18,466 --> 00:16:27,333 ♪♪ 167 00:16:27,333 --> 00:16:36,733 ♪♪ 168 00:16:36,733 --> 00:16:46,500 ♪♪ 169 00:16:46,500 --> 00:16:56,066 ♪♪ 170 00:16:56,066 --> 00:17:05,700 ♪♪ 171 00:17:05,700 --> 00:17:14,033 ♪♪ 172 00:17:14,033 --> 00:17:23,666 ♪♪ 173 00:17:23,666 --> 00:17:33,000 ♪♪ 174 00:17:33,000 --> 00:17:41,666 ♪♪ 175 00:17:41,666 --> 00:17:49,366 ♪♪ 176 00:17:49,366 --> 00:17:52,166 -What most inspires me about this couple 177 00:17:52,166 --> 00:17:55,333 is the importancy of partnership. 178 00:17:55,333 --> 00:17:57,333 I always find 179 00:17:57,333 --> 00:18:01,000 that it's much more important than the solos. 180 00:18:01,000 --> 00:18:05,433 It's the partnership. That's what makes the story. 181 00:18:05,433 --> 00:18:15,166 ♪♪ 182 00:18:15,166 --> 00:18:24,033 ♪♪ 183 00:18:24,033 --> 00:18:33,266 ♪♪ 184 00:18:33,266 --> 00:18:43,033 ♪♪ 185 00:18:43,033 --> 00:18:52,166 ♪♪ 186 00:19:08,600 --> 00:19:18,133 ♪♪ 187 00:19:18,133 --> 00:19:27,766 ♪♪ 188 00:19:27,766 --> 00:19:37,266 ♪♪ 189 00:19:37,266 --> 00:19:46,500 ♪♪ 190 00:20:24,500 --> 00:20:31,233 ♪♪ 191 00:20:31,233 --> 00:20:36,466 ♪♪ 192 00:20:36,466 --> 00:20:39,266 -Nureyev was adoring Margot Fonteyn. 193 00:20:39,266 --> 00:20:41,600 When I see the picture, I understand why. 194 00:20:41,600 --> 00:20:44,000 It's just such a beauty. 195 00:20:44,000 --> 00:20:45,933 [ Applause ] 196 00:20:45,933 --> 00:20:52,533 ♪♪ 197 00:21:10,700 --> 00:21:19,733 ♪♪ 198 00:21:19,733 --> 00:21:29,333 ♪♪ 199 00:21:29,333 --> 00:21:39,266 ♪♪ 200 00:21:39,266 --> 00:21:49,133 ♪♪ 201 00:21:49,133 --> 00:21:58,300 ♪♪ 202 00:21:58,300 --> 00:22:07,700 ♪♪ 203 00:22:07,700 --> 00:22:16,366 ♪♪ 204 00:22:38,300 --> 00:22:47,500 ♪♪ 205 00:22:47,500 --> 00:22:57,133 ♪♪ 206 00:22:57,133 --> 00:23:06,166 ♪♪ 207 00:23:06,166 --> 00:23:15,766 ♪♪ 208 00:23:15,766 --> 00:23:25,700 ♪♪ 209 00:23:25,700 --> 00:23:34,933 ♪♪ 210 00:23:34,933 --> 00:23:44,233 ♪♪ 211 00:23:44,233 --> 00:23:53,633 ♪♪ 212 00:23:53,633 --> 00:23:57,700 ♪♪ 213 00:24:11,966 --> 00:24:15,466 -He definitely broke the mold of the male dancer -- 214 00:24:15,466 --> 00:24:19,233 stands behind the ballerina and always lifts her up in the air. 215 00:24:19,233 --> 00:24:24,100 You know? Just the crane. Yeah. The lifting machine. 216 00:24:24,100 --> 00:24:26,966 He really put himself -- not in front of the ballerina, 217 00:24:26,966 --> 00:24:29,266 but let's say beside the ballerina. 218 00:24:29,266 --> 00:24:38,500 ♪♪ 219 00:24:38,500 --> 00:24:47,866 ♪♪ 220 00:24:47,866 --> 00:24:57,766 ♪♪ 221 00:24:57,766 --> 00:25:06,666 ♪♪ 222 00:25:06,666 --> 00:25:16,066 ♪♪ 223 00:25:26,300 --> 00:25:34,966 ♪♪ 224 00:25:46,000 --> 00:25:53,066 ♪♪ 225 00:25:53,066 --> 00:25:55,100 -I find him incredibly handsome. 226 00:25:55,100 --> 00:25:56,600 I mean, the bones 227 00:25:56,600 --> 00:25:59,966 and that Tatar, slightly Mongolian look. 228 00:25:59,966 --> 00:26:02,166 And he had a scar. 229 00:26:02,166 --> 00:26:04,533 I asked him, "Where did you get that scar?" 230 00:26:04,533 --> 00:26:06,966 He said, A big dog!" [ Laughs ] 231 00:26:06,966 --> 00:26:16,700 ♪♪ 232 00:26:16,700 --> 00:26:20,100 ♪♪ 233 00:26:36,666 --> 00:26:45,366 ♪♪ 234 00:26:55,600 --> 00:27:04,233 ♪♪ 235 00:27:04,233 --> 00:27:14,066 ♪♪ 236 00:27:14,066 --> 00:27:23,600 ♪♪ 237 00:27:23,600 --> 00:27:32,400 ♪♪ 238 00:27:32,400 --> 00:27:42,366 ♪♪ 239 00:27:42,366 --> 00:27:52,233 ♪♪ 240 00:27:52,233 --> 00:27:55,533 ♪♪ 241 00:28:06,933 --> 00:28:10,766 ♪♪ 242 00:28:14,766 --> 00:28:15,900 -[Shouting] 243 00:28:15,900 --> 00:28:22,000 ♪♪ 244 00:28:22,000 --> 00:28:26,700 -If a dancer wasn't performing 110 percent, 245 00:28:26,700 --> 00:28:29,700 he would get mad and, you know, 246 00:28:29,700 --> 00:28:32,433 could fling a dancer, a ballerina to the floor 247 00:28:32,433 --> 00:28:35,800 or drag someone around by her necklace or -- 248 00:28:35,800 --> 00:28:37,800 You know, he could get very violent. 249 00:28:37,800 --> 00:28:39,400 -[Shouting] 250 00:28:39,400 --> 00:28:43,966 ♪♪ 251 00:28:58,966 --> 00:29:02,000 -[Shouting] 252 00:29:23,000 --> 00:29:32,133 ♪♪ 253 00:29:32,133 --> 00:29:36,566 ♪♪ 254 00:29:48,100 --> 00:29:56,866 ♪♪ 255 00:29:56,866 --> 00:29:59,933 ♪♪ 256 00:30:22,200 --> 00:30:25,300 -In those big classical ballets, you need -- 257 00:30:25,300 --> 00:30:28,800 you need the extravaganza, you need... 258 00:30:28,800 --> 00:30:30,633 the glitter. 259 00:30:30,633 --> 00:30:39,600 ♪♪ 260 00:30:39,600 --> 00:30:48,833 ♪♪ 261 00:30:48,833 --> 00:30:57,866 ♪♪ 262 00:30:57,866 --> 00:31:07,233 ♪♪ 263 00:31:07,233 --> 00:31:15,900 ♪♪ 264 00:31:41,866 --> 00:31:50,733 ♪♪ 265 00:31:50,733 --> 00:31:58,500 ♪♪ 266 00:31:58,500 --> 00:32:03,166 ♪♪ 267 00:32:03,166 --> 00:32:06,300 And there is a bad guy and he's controlling the Swan 268 00:32:06,300 --> 00:32:09,400 and, yes, he wants to do something bad to the Prince. 269 00:32:09,400 --> 00:32:10,833 That's why he turns the White Swan 270 00:32:10,833 --> 00:32:12,233 into the Black Swan, 271 00:32:12,233 --> 00:32:14,600 and the Black Swan deceives the prince. 272 00:32:14,600 --> 00:32:23,933 ♪♪ 273 00:32:23,933 --> 00:32:33,100 ♪♪ 274 00:32:33,100 --> 00:32:42,733 ♪♪ 275 00:32:42,733 --> 00:32:52,000 ♪♪ 276 00:32:52,000 --> 00:33:01,933 ♪♪ 277 00:33:01,933 --> 00:33:11,666 ♪♪ 278 00:33:11,666 --> 00:33:21,333 ♪♪ 279 00:33:21,333 --> 00:33:30,433 ♪♪ 280 00:33:30,433 --> 00:33:40,200 ♪♪ 281 00:33:40,200 --> 00:33:49,533 ♪♪ 282 00:33:49,533 --> 00:33:58,066 ♪♪ 283 00:33:58,066 --> 00:34:07,066 ♪♪ 284 00:34:07,066 --> 00:34:09,900 ♪♪ 285 00:34:44,433 --> 00:34:54,133 ♪♪ 286 00:34:54,133 --> 00:35:04,033 ♪♪ 287 00:35:04,033 --> 00:35:13,733 ♪♪ 288 00:35:13,733 --> 00:35:22,966 ♪♪ 289 00:35:22,966 --> 00:35:31,833 ♪♪ 290 00:35:31,833 --> 00:35:38,733 ♪♪ 291 00:35:38,733 --> 00:35:43,200 ♪♪ 292 00:35:43,200 --> 00:35:47,033 -What, to me, is most special about the Vienna production 293 00:35:47,033 --> 00:35:51,866 is seeing Nureyev at his greatest. 294 00:36:10,766 --> 00:36:20,500 ♪♪ 295 00:36:20,500 --> 00:36:30,333 ♪♪ 296 00:36:30,333 --> 00:36:39,866 ♪♪ 297 00:36:39,866 --> 00:36:49,700 ♪♪ 298 00:36:49,700 --> 00:36:59,233 ♪♪ 299 00:36:59,233 --> 00:37:08,600 ♪♪ 300 00:37:08,600 --> 00:37:15,633 ♪♪ 301 00:37:15,633 --> 00:37:19,133 -His use of the music with the movement he put together, 302 00:37:19,133 --> 00:37:21,133 it fits very well together. 303 00:37:21,133 --> 00:37:23,266 I mean, I think there you can tell that it's a man 304 00:37:23,266 --> 00:37:25,666 that -- that knows about music. 305 00:37:25,666 --> 00:37:29,733 -One of his innovations in the Vienna "Swan Lake" 306 00:37:29,733 --> 00:37:34,366 is having the male dancer and the ballerina 307 00:37:34,366 --> 00:37:36,900 dance side by side the same steps, 308 00:37:36,900 --> 00:37:39,700 a bit like Fred Astaire and Ginger Rogers. 309 00:37:39,700 --> 00:37:49,033 ♪♪ 310 00:37:49,033 --> 00:37:58,966 ♪♪ 311 00:37:58,966 --> 00:38:08,800 ♪♪ 312 00:38:08,800 --> 00:38:18,266 ♪♪ 313 00:38:18,266 --> 00:38:27,966 ♪♪ 314 00:38:27,966 --> 00:38:36,100 ♪♪ 315 00:38:36,100 --> 00:38:44,800 ♪♪ 316 00:38:55,233 --> 00:38:58,033 -I would even say that this is his life. 317 00:38:58,033 --> 00:39:00,366 This is probably his real life, that -- 318 00:39:00,366 --> 00:39:04,066 His place of life is the stage 319 00:39:04,066 --> 00:39:06,300 and the ballet is the story. 320 00:39:33,800 --> 00:39:43,166 ♪♪ 321 00:39:43,166 --> 00:39:51,500 ♪♪ 322 00:39:51,500 --> 00:39:53,533 [ Indistinct shouting ] 323 00:39:53,533 --> 00:40:00,266 ♪♪ 324 00:40:11,866 --> 00:40:14,066 -There would be someone like Jackie Kennedy, 325 00:40:14,066 --> 00:40:18,100 who would send an aeroplane to fetch him for tea -- 326 00:40:18,100 --> 00:40:20,000 or Marlene Dietrich. 327 00:40:20,000 --> 00:40:23,000 People were just completely smitten by him. 328 00:40:31,833 --> 00:40:41,066 ♪♪ 329 00:40:41,066 --> 00:40:47,966 ♪♪ 330 00:41:23,300 --> 00:41:32,400 ♪♪ 331 00:41:32,400 --> 00:41:42,066 ♪♪ 332 00:41:42,066 --> 00:41:48,666 ♪♪ 333 00:41:48,666 --> 00:41:52,533 -From the eyes of me as a choreographer today, 334 00:41:52,533 --> 00:41:54,033 not just as a dancer, 335 00:41:54,033 --> 00:41:56,433 I have to say that a lot of the scenes 336 00:41:56,433 --> 00:41:58,233 are very well-constructed. 337 00:41:58,233 --> 00:42:00,800 There's just lots of scenes with a lot of people, 338 00:42:00,800 --> 00:42:02,166 and they're very well-constructed. 339 00:42:02,166 --> 00:42:03,400 They're not messy. 340 00:42:03,400 --> 00:42:12,800 ♪♪ 341 00:42:12,800 --> 00:42:22,166 ♪♪ 342 00:42:22,166 --> 00:42:31,366 ♪♪ 343 00:42:31,366 --> 00:42:41,133 ♪♪ 344 00:42:41,133 --> 00:42:49,866 ♪♪ 345 00:43:21,100 --> 00:43:30,566 ♪♪ 346 00:43:30,566 --> 00:43:39,733 ♪♪ 347 00:43:39,733 --> 00:43:45,633 ♪♪ 348 00:43:58,400 --> 00:44:08,100 ♪♪ 349 00:44:08,100 --> 00:44:16,866 ♪♪ 350 00:44:16,866 --> 00:44:25,700 ♪♪ 351 00:44:25,700 --> 00:44:34,900 ♪♪ 352 00:44:34,900 --> 00:44:42,733 ♪♪ 353 00:44:58,966 --> 00:45:08,566 ♪♪ 354 00:45:08,566 --> 00:45:18,100 ♪♪ 355 00:45:18,100 --> 00:45:27,233 ♪♪ 356 00:45:32,466 --> 00:45:41,266 ♪♪ 357 00:45:41,266 --> 00:45:46,733 ♪♪ 358 00:45:46,733 --> 00:45:50,000 -It's amazing. It's, uh... 359 00:45:50,000 --> 00:45:51,266 such an inspiration. 360 00:45:51,266 --> 00:45:52,866 -And it's perfect. 361 00:45:52,866 --> 00:46:00,566 ♪♪ 362 00:46:03,400 --> 00:46:12,500 ♪♪ 363 00:46:12,500 --> 00:46:19,133 ♪♪ 364 00:46:19,133 --> 00:46:23,933 ♪♪ 365 00:46:23,933 --> 00:46:27,033 -He was having his own mind and saying what he wants 366 00:46:27,033 --> 00:46:28,600 and doing what he thinks. 367 00:46:28,600 --> 00:46:33,233 And you're not usually allowed to do that in the ballet world. 368 00:46:56,300 --> 00:47:05,633 ♪♪ 369 00:47:05,633 --> 00:47:15,400 ♪♪ 370 00:47:15,400 --> 00:47:24,433 ♪♪ 371 00:47:24,433 --> 00:47:33,600 ♪♪ 372 00:47:33,600 --> 00:47:42,200 ♪♪ 373 00:47:42,200 --> 00:47:51,233 ♪♪ 374 00:47:51,233 --> 00:47:57,733 ♪♪ 375 00:47:57,733 --> 00:48:02,066 ♪♪ 376 00:48:02,066 --> 00:48:04,766 -He makes it a very sort of heartfelt, 377 00:48:04,766 --> 00:48:07,566 quite tormented story 378 00:48:07,566 --> 00:48:13,466 about someone pulled into between romantic love and lust, 379 00:48:13,466 --> 00:48:17,033 which Nureyev was going through at that point 380 00:48:17,033 --> 00:48:19,233 because he was desperately in love 381 00:48:19,233 --> 00:48:21,300 with the male dancer Erik Bruhn, 382 00:48:21,300 --> 00:48:25,866 but he had this wandering, philandering side 383 00:48:25,866 --> 00:48:28,700 that he couldn't stop. 384 00:48:28,700 --> 00:48:32,100 And I think that must have resonated with him 385 00:48:32,100 --> 00:48:34,666 with that dual character 386 00:48:34,666 --> 00:48:37,566 of the White Swan and the Black Swan. 387 00:48:37,566 --> 00:48:46,633 ♪♪ 388 00:48:46,633 --> 00:48:51,033 ♪♪ 389 00:49:18,666 --> 00:49:26,833 ♪♪ 390 00:49:26,833 --> 00:49:36,066 ♪♪ 391 00:49:36,066 --> 00:49:45,233 ♪♪ 392 00:49:45,233 --> 00:49:53,833 ♪♪ 393 00:49:53,833 --> 00:50:03,600 ♪♪ 394 00:50:03,600 --> 00:50:12,966 ♪♪ 395 00:50:12,966 --> 00:50:22,100 ♪♪ 396 00:50:22,100 --> 00:50:31,000 ♪♪ 397 00:50:31,000 --> 00:50:40,200 ♪♪ 398 00:50:40,200 --> 00:50:49,566 ♪♪ 399 00:50:49,566 --> 00:50:54,833 ♪♪ 400 00:51:16,566 --> 00:51:26,100 ♪♪ 401 00:51:26,100 --> 00:51:33,233 ♪♪ 402 00:51:33,233 --> 00:51:38,133 ♪♪ 403 00:51:38,133 --> 00:51:40,533 -He just left an imprint on the dance world. 404 00:51:40,533 --> 00:51:43,433 And it will never die. It will always be there. 405 00:51:43,433 --> 00:51:49,200 ♪♪ 406 00:51:59,733 --> 00:52:05,800 ♪♪ 407 00:52:12,933 --> 00:52:14,633 -He never will be forgotten. 408 00:52:14,633 --> 00:52:22,133 ♪♪ 409 00:52:36,233 --> 00:52:45,900 ♪♪ 410 00:52:45,900 --> 00:52:54,466 ♪♪ 411 00:52:54,466 --> 00:52:57,400 ♪♪ 412 00:52:57,400 --> 00:52:58,800 -To find out more about this 413 00:52:58,800 --> 00:53:00,800 and other "Great Performances" programs, 414 00:53:00,800 --> 00:53:03,833 visit PBS.org/greatperformances. 415 00:53:03,833 --> 00:53:06,700 Find us on Facebook and follow us on X. 416 00:53:06,700 --> 00:53:14,900 ♪♪ 417 00:53:14,900 --> 00:53:23,733 ♪♪ 418 00:53:23,733 --> 00:53:32,866 ♪♪ 419 00:53:32,866 --> 00:53:41,300 ♪♪