Original subtitles

do not attempt to perform these or any

exercises without first consulting your

physician about whether the exercises

are right for you and whether you are

capable of doing them without trained

supervision the producers distributors

and creators of the program are not

responsible for injuries resulting from

any viewers use of it

the 1928 Jose Lemone came to New York to

study painting by chance he went to see

a dance concert by Harold Kreuzberg

after the concert he turned to a friend

and said why that was a living canvas on

stage much more exciting than anything

I've ever painted it had dynamics at

color it had sound it have depth how do

I study this what can I do learn to be a

dancer the friend he was with is someone

who happened to go to school with

Charles Rodman in Lincoln Nebraska and

said well there's the Darce Humphrey

Charles widens School of Dance and took

him over there to take his first dance

class well not long after his first

class Doris Humphrey and Charles Logan

was so impressed with Jose as a dad so

they put him in the Humphrey Weidman

company and he was dancing before he was

even ready to perform so in order to

become a performer as they had to

develop a way to teach himself how to do

Doris's movements and how to do

Charles's movements Dara's movements

were very breathy suspended while

Charles's movements were very gestural

so Jose developed a technique to teach

himself how to dance

this technique is now a technique where

you learn position a position B or

position C but you learned how to move

through position a to position B to

position C my name is Daniel Lewis and

I'm here to teach you how to do the Jose

Lemone dance technique the long

technique is a technique built on not

positions but motion and movement and

how that movement relates to the

positions is the important part of the

technique there are different things you

can use to create this technique the

first one is called succession

succession in a movement is a sequential

flow of movement through the body so if

the wrist took the action of the

movement the hand the knuckles and the

fingers would follow through after that

we

something called full Jose always felt

that we were trapped on this earth by

gravity and in most dancing up to the

time gravity was always used to lift

away from it

Jose felt let's use this gravity to pull

us to earth and at the same time feel

the lift away from it where you get an

opposition to the gravity gravity pulls

you at a rate of 32 feet per second per

second which means it speeds up so if

the body is falling it doesn't fall

evenly it fold with a acceleration at

the bottom when children fall they have

no problem at all because they're not

afraid of actually hitting the ground as

adults we have a fear of letting our

bodies go and fall very quickly so we

use rebound and recovery to stop that

fall and redirect the energy in a new

way in a rebound fall through let's say

the spine if this is the spine would

come down and stretch out that stretch

out gives you the rebound to come up

again in recovery it's small it's more

like a pendulum the pendulum fold and it

recovers and finds a nice suspension

which is a moment where the movement is

delayed before it falls down again

recovery and suspension are two ways of

redirecting for in my class I always

talk about the high point of the body

the high point is a central axis of the

body so if you're at the top of the head

the high point would be here as the body

bends the high point transfers to the

neck and down into the ribs and that's

the high point you're always hanging

from the high point could be almost

anywhere on the body it's just wherever

the axis of the body is alignment is a

very important part of the technique in

the alignment I talked about in the

technique is the head the shoulders the

hips the waist the knees and the feet

all being aligned one on top of each

other and then we

move away from the alignment and back in

again opposition is a very important

part of the Hmong technique opposition

is a line that's drawn through the body

through the arms from the arms into the

head from the head down into the legs

and that opposition should have no

tension so when you reach its a reaching

opposition rather than a tense

opposition and we'll use this opposition

a lot to create the qualities that we're

looking for

when I talk about weight in class I

don't mean heavy weight down I mean the

weight of the legs into the ground

though you're attached to the earth the

opposition of the upper body against the

weight is what I'm looking for

the class is made up of three sections

floor work Center and across the floor

before the class begins we'll work on

the basics of Limone technique these

basics can be used throughout the class

and should be applied to all movement as

you do it for demonstration purposes

some of the exercises are shown on one

side in a class they would be done on

both sides the hands were the first

place in the body that showed tension

during a class and Jose would stop us

quite often and do a series of exercises

to release the tension in the hands he

always said our hands look like lobster

claws at some times and we have to learn

to spread them and relax them this

exercise starts from the center of the

chest and you feel as though the arms of

breathing through with the body you

start by dropping the pinkies down and

lifting the thumb way up and let the

wrist twist as you reach fall would you

let the elbows pull the

feel the succession all the way through

the shoulders the elbows and the hands

as you do the exercise

the shoulders are a very important part

of the body orchestra

we've must warm them up before we begin

dancing by rotating the shoulders in and

isolating them from the rest of the body

we learn to get a better control of what

the shoulder is doing and how it is

connected to the all what you want to do

is try and isolate it from the rest of

the body as much as possible and then

let the body react to it as much as

possible without straining or pulling

any muscles it was very easy on the body

once again we reach up and do as much as

you can without moving the body although

the body must react since it is

connected to the shoulder

and give it as much reaction as you can

so you feel the direction of the twist

of the shoulder in affecting the rest on

the bottom

succession is the path of movement

through different parts of the body as

this path travels through the spine it

connects the head to the shoulders to

the chest and the waist if starting in

the head you allow that to pull your

shoulders down and pull your chest and

pull your waist down as you roll up you

think of going down the spine and up the

front of the body so you're perfectly

erect

don't let the head drop but think of

lifting the head to go over lifting the

shoulders to go over and lifting the

waist to go over move down the back and

lift up the front and expand the

shoulders as wide as you can as you do

it

it's the exact same motion to the side

if you allow one side of the body to

pull down the other side of the body to

lift up

and think of this movement is a wave of

water traveling through the spine each

move is connected to the next move and

it becomes sequential

successional arms are just like the body

except you have three joints to deal

with the shoulder the elbow and the

wrist you can do it with flexed hands

which helps to get a good sense of

oppositional energy going out of the

arms or you can do it with straight

hands but make sure you don't let the

alarm go limp that you keep the

oppositional energy reaching from the

fingertips

as the body pulls up do nothing with the

arms until it reaches the thoracic or

the chest and then the arms going to

action from the shoulders the elbows and

the hands out and just reverse the

process

coming in

so the body breathes in person up up and

the arms take the action the chest opens

the shoulders the elbows the hands

notice that Jane is using the straight

hand and Charlton is using the flex 10

you can see the difference in the

shoulder how it pulls down wall with

flexed and make sure that you maintain

the high point as we did in the

successional spine exercise along with

this as you do it when you complete the

exercise check that your spine is

perfectly erect and then lower your arm

isolations lying down blend together all

the isolations we just worked on by

lying on our backs we take a new

orientation to space and we start with a

rib bending the elbow the shoulder and

then the hand the shoulder pulls down

the elbow comes in you release the ribs

and then open up the elbow in the hand

and what we're trying to do here is

blend all the isolations together they

become successional isolations

each isolation pulls the next isolation

that makes a sequential sequence of

woman

it's this blending of the movement that

gives the quality to what we're looking

for and Ramone technique

in standing bounces we're going to learn

to isolate different parts of the body

using the bounce we start in parallel

position but the body as high as you can

you use potential energy to begin the

bounce and you allow the head to first

bounce the head is the heaviest part of

the body then add the shoulders for four

counts then the chest gets added for

four counts but keep the head and the

shoulders bouncing than the waist

the knees go into action

then do bigger needs and still keep the

head the shoulders the chest and the

waist boundary

and come up for four counts as you

releve from the top of the head build up

the potential energy again and allow

that potential energy to bounce down the

head pulls the shoulders this is the

kinetic energy working for you

now transfer that bounce feeling to the

knees

make it bigger

and again you build up your potential

energy which gets transformed into

kinetic energy as the head goes over

now realign your high point and let it

travel off your side make sure you

releve from the top of the head

in the preparatory exercise for

alignment in full allow the body to

stand in a high upright position wide

second then these go out to the side and

the body bounces let the bounce stretch

the legs as much as they can and as you

fall allow the entire body weight to

fall into it without letting the body

collapse make sure the knee is aligned

with the feet and that you build up

plenty of potential energy for the pole

the fall accelerates as it goes down

allow the arms to fall with the same

energy the legs in the body have and

that fall gives a recovery at the end

which is what we referred to as fall and

recovery that recovery is a lift of the

energy going down and picked up the body

bends are the same as we've been doing

if you notice Jane has just added a high

releve to it but she's not pushing from

the ankles at all she's lifting from the

body totally noticed also as she goes to

the side the lift comes from the ribs

rather than from the head

spinal succession which is the first

exercise of class make sure your body is

relaxed and easy

they have no tension at all and you're

going to use breath to bring the body up

successional E and the arms up

succession Li for four counts and flex

the feet on floor

and then reverse the process as you come

in for counts

you can actually try breathing take a

deep breath in and let the body expand

as you go up

let the breath out as you come in

keep in mind that we're doing it here

with Jane with the straight hands and

chocolate flexed hands and at the arms

do not operate until the back dictates

it

now we're going to change the rhythm

we're going to go up to

3in on hold on

two up three in or reverse it go up on

one of blending the movement on that one

counter doing the same thing that took

four cows to do before

do it one each way

one in

one key

bounces are used to woof the spine and

to practice rebound in the spine the

bounce is done in three counts to the

bottom of the bounce is the one and you

rebound on the two three it goes one two

three two three four then use the spine

rolling down the back and up the front

and open your chest wide

legs front the same bounce

really feel the spine rolling down the

back up the front over your shoulders as

wide as you can

with the legs part don't let the hip

joint vent

make sure the bounce is still happening

in the lumbar as well as the thoracic

twist to the side twist in the waist and

try and get both shoulders the square to

the floor as you can no time lose the

rhythm of the bounce 2 3 bounce 2 3

bounce bounce and

it's the stretch in the entire spine

that's causing the rebound

the head is very heavy and the lowest

part of the bones

bounces with successional arms we do the

exact same bounce she just saw we add

the successional arms to them make sure

when you add the successional arms at

the arms are controlled by the spine

let it go one to be that keepers

one two three four and of my

again resist breaking in the hip feel

the bounce in the lumbar

five six seven eight that will launch a

turd on the side to side at the top

March March what

bounces with twist to use to practice

fall in the body and rebound when you

fall with the body you want to make the

fall come from the back of the head not

from the front of the face you also want

to feel as though the fall is speeding

up as it goes down so it falls one the

fastest part of the fall is the bottom

now if you notice Emily's hip comes up

on the floor and it's perfectly alright

for that to happen depending on how

tight your hip joints are you must pull

down the hip first before the body Rises

get a good suspension as you turn

forward and make shoulders broad and

wide

even though Kirk's hip doesn't come up

as much he still pulls it down from the

hip first before allowing the body to

rise

this is a variation on body with twist

we add body arms and changing meter by

blending all the different body parts

together we create a quality of movement

that we're looking for in Lamoni

technique it starts on one throw two up

three four forward five notice how the

body going over then you throw the

shoulder out you lift up through the

spine and you suspend as you come fall

that would change - right

two up three and trying to lend one

movement into the next

again making sure the hip comes down

first before the body even lifts we go

to twos 1 & 2 1 & 2

that one count to one and one and one

make sure you suspend before you befall

body swings are a way of practicing fall

and recovery fall and recovery has no

rebound in if it has the same quality to

it as a rebound the body Falls and then

it recovers

it holds than it recovers

the suspension at the top of the

recovery right here goes full recover

and notice they use this spine to lift

the hips rather than using the hips to

lift the spine

the demonstration purposes the exercises

are done on one side when doing a full

class the exercises should be done on

both sides standing bounces were going

to work on alignment of the body and how

to make the muscles relax and let

gravity do the work for us in the bounce

start standing very tall and Bend from

the hips 2 3 4 let it go for 4 counts

then hiss as you hiss allow the muscles

around the spine to relax and bounce two

three four and realign your spine out to

the side you tilt

three four let the head go the shoulders

the chest then the waist hiss and as

your hissing the air out of your body

you collapse more than gravity bouncer

for you and let the battles build from

and then realign your spine tilt one two

three

first the head and the shoulders then

the chest and the waist hiss really let

the air out of your body

then bounce let the bounce build what

gravity work for you

and realign your spine

move faster now we add the arms first

the head then the shoulders and the

chest and the waist and bounce do three

more and up to successional arms open

one two three four the head has lift up

to go over so you don't feel dead you

have a high point coming out of the ribs

now as you take the body over think of

going up and over

two three four and up to make sure

you're perfectly straight lower your arm

and let that bring you up to a nice high

releve bring the heels down under you

lifting up high in the body

tendu series is done to maintain a

center in the body while the legs are

changing

you have the first four tom dues which

are very plain and simple to try and

find with center the hips off so you

creating your pretty hip straight down

you want to bring them straight up again

and you have a few times here to find it

once you find that central position

we'll start doing variations on it

but you need those hips directly over

your feet for it to work now we add a

turn

feel the body lifting against pleeeease

you have very little weight in the legs

the body's lifting high

now from this basic position we can add

a body it will rebound over the rebound

will help you come up in the plie series

who work on alignment full and recovery

we use the Fallen recovery to control

the relevé

we stock by releve five heels down six

plie one two you allow the body to fall

over the hips react and you continue the

pull the spine take you up to a high

releve plie over one

to the side 3 or you use the ribcage

coming down and up to take you to high

releve 103 or don't push in the ankles

lift in the body we repeat this with the

all

you can let the hip go out but as soon

as the body starts aligning with the hip

realign itself

now one side on the other side - you're

perfectly swear

this is a variation on the plie with a

full body or stay there five you bring

your heels down six you plie one two

body falls four five relevé six plie one

and make sure you maintain a high point

at all times as you come around 1 2 4 3

side for back 5 relevé

body swings in second position it used

to warm up the head shoulders chest and

waist and to feel the swing of the

movement and the breath and a swing it's

done in threes and it goes one two

three two two three you take the head

all the way around four five six one

make sure just the head is moving and

that your high point in the neck is

carrying it for you now you add the

shoulders to it keep the same swing in

the head and let the shoulders collapse

in and out one two three four five six

one two three two two three oh one now

maintain the shoulders in the head and

add the chest down as a pendulum feeling

to it old suspension around the fact

swing two three swing two three swing

two three now we add the waist swing

swing

feel the freedom in the body don't let

any tension build up

now maintain those three parts of the

body and add the hips one two

three swing two three all the way around

four five six when you add the hips you

can let them just go side to side a

little bit what you want to feel is the

freedom in the upper body

in this exercise we add to the swing of

stretch and we do it in five threes

five 2 3 1 2 3 2 3 3 2 3 4 2 3 5 2 3

swing - 3 2 3 3 stretch the spine out

lift up

notice the head shoulders chest and

waist are still working on the swing

in rebounds and threes we'll learn to

connect the rebound in the body to the

rebound in the legs

adding body motion to it and a turn

we'll start with parallel position

standing as high as we can and we'll

bounce 1-2-3-2-2-3-3-2-3-4-2-3 one now

let the bounce build so on the third one

you can feel the bounce take you to the

releve and recenter yourself to 3 2 3 4

2 3 or 1 2

3 next you'll see a variation in five

threes with full body 1 2 3 2

three

or two three five two three one two

three

or

five to 301 make sure you use the

rebound to help you and make sure that

the rebound lifts you to releve let the

body go everything roll one three two

two three three two three four two three

five two

this is the same exercise with a turn

1-2-3-2-2-3-3-2-3-4-2-3 five two three

blend the movements 3 2 3 3 2 3 4 2 3 5

2 3 1 now make sure the rebound takes

you up to the releve you use your eye

point you do a half turn half turn with

the body if you break it down into two

half turns and make it a full turn it

works very well watch right here you'll

see half half around and slow twos fast

threes we're working on opposition

energy between five points of the body

the head the two hands and the feet this

opposition should be equal in all points

the movement should be done very slowly

and you should feel the opposition at

all times making sure that there's no

beginnings no middles and no ends

does 1 - 2 - 3 - 4 - 5 - 6 it helps to

do fours in your head

1 2 3 4 - to make the movement very

smooth 3 - 3 or 4 2 3 4 5 - 3 4 6 2 3 4

make sure the feet are equally spaced so

the weight is even between them at all

times because now we're going to add a

sixth point of opposition in the spine

of the body end

one two three two three

three five two three six two three one

two three four five six make sure that

the high point in the spine will lift

you over to the suspension

don't let the legs do the work but make

the body lifting straighten the legs and

take you over

this is a variation on the same exercise

with the body making a full circle roll

notice the quality change here

it has a breath and suspension a second

suspension and then it lets go

in this variation you let the bodyweight

turn you don't push from the feet at all

all you've got to do is let the swing of

the body and the lift take you around

try and maintain the suspensions

so there's a suspension another

suspension then you drop to come up and

the drop should be very loose and easy

again it's two half turns half half

in body Falls were gonna let gravity

control the movement when we use the

gravity to create the speed of the

movement and the recovery to create the

suspension for the movement this

movement is done by starting in a high

lift and we let go one two three four

five six seven eight and one now notice

how they suspend at the top of each move

they suspend one and this is the

suspension as we did in the slow to fast

threes with the body in the develop a

series we're going to work on

successional flow through the entire

body and work on the traveling high

point through the spine passe one two

forward three four five six seven eight

one two three

or up 5 6 steps 7 close 8 make sure the

movement is very smooth the body goes

over now you roll up one side down the

other feel your high point all the way

through it

to the back have to go over a loop

further take it way down into the lumbar

that's

the light doesn't have to go very high

what's more important is how the body

moves and takes you up into the relevé

and the lunch series will learn to take

our weight way off center and pull it

back on to center using the high point

through the spine to lift us all the way

up to releve one two three four one two

three four we want to make sure that we

get the hips over the leg before we

start going up

build up lots of potential energy let it

fall then start to elevate anywhere on

the back that feels comfortable you can

start it way up around the shoulders to

begin with and as you become more

proficient at it you can start early

releve lower in the spine

you couldn't suspend it at the top

in the variation don't use the body or

the legs to help you turn use the

outside arm in this case it will be the

right arm it just gives a little push

back to lift you up the body and the

legs interview exactly what they did in

the plane version left arm helps you

around

with the full turn you relied not only

on the arm to help with the speed of the

spine coming up let it take its time so

it finishes to the front with him

the spiral turn is the first time we

step outside of our center and spiral

around it it consists of a side Bend an

arch and a twist

one two

five six now make sure the body makes

the spiral turn not the foot and you get

a good suspension before you drop over

the 12 count phrase combines all the

elements of lamang technique

oppositional pull hip isolation rebound

and centering of the body one two three

four five six seven eight nine ten

eleven twelve oh one two three four five

six make sure you lift up to go over and

turn the hip parallel now we're gonna

lift the leg in a arabesque and both

legs are turned in then you have to turn

the hips out to get back to Center

now the recovery will go through first

position and we have a little rebound to

the body to help bring us up rebound up

one make sure the speed comes down as

fast as you can in that full right here

so you rebound

with the passe we know long to go

through first position but we coop a and

use the rebound to releve 1 2 3 4 5 6 7

8 9 10 11 12 1 the speed at which you

drop the body helps the rebound to bring

you up so that you're not using your

legs but you're using your spine to

carry you all the way up to a high

suspended position

with the turn you allow the rebound to

travel through space and the speed of

the body to make you turn one two three

four five seven eight nine ten eleven

twelve one

three more make sure that the rebound

does not happen directly in front of you

but happens as you do the first quarter

of the turn and then continue the body

moving to keep you turning

josè Limone always spoke to us of the

body as an orchestra he said that each

part of the body was a different

instrument and as the body moved those

instruments blended together to make

beautiful music one two three four five

six two two three four five six you'd

say this is the timpani playing it's

very heavy movement

and it was an ostinato repeated rhythm

that went on and on and he wanted as

much weight as we could get into our

legs as possible going across the floor

body up as high as we could

we would then add violins and our arms

would be the violins one two three four

five six two two three four five six but

instead of playing the arms like the

timpani underneath we would try and move

the arms smooth as they are do we never

losing the weight in the legs or the

timpani as we called it and the nice

high lifted body above the legs

now we add a tuba to our Orchestra one

two three four five six two two three

four five six the tuba is a much heavier

weighted instrument the body should have

the heavy weight make sure you still

play the timpani and the violins and add

the tuba to it

by adding a turn we could augment the

phrase 1 2 3 4 5 6 2 2 3 4 5 6 this turn

changes the shape of the movement we

still can see the individual entities

the timpani playing the arms being the

violin the body being the tuba and the

turn so puts an extra little thing to it

that makes the movement for

in the peak a series of working on

maintaining a high point and being able

to shift the body weight through that

high point the count of two is the

suspension

one two three four one two three Oh

wonderful

there you go that too is very important

now use the arm on that counter to to

help you with the suspension but don't

give up any of the suspension in the

body

now make sure you travel through the

high point on the count of two and

maintain the high point down the side of

the body each time you do a sign when

doing it with a turn make sure you

maintain the suspension through the high

point as you face upstage

allow the suspension to ride over the

jump

here we combine the jump and the turn we

first do each element separately

and then we put the two together

you can apply the body as an orchestra

to the hop series we'll be adding

different instruments as we go along the

hop series is done in eight counts

one two three four five six seven eight

two two three four five six seven eight

think of the legs is the tympani again

very percussive movement but the body

does not bounce up and down and chugs

along the floor

we add the arms here and the body going

forward on seven eight

two three four five six seven eight one

two three four five six seven eight make

the arms as smooth as you can

we now add another instrument of the

body

body goes side back side over

one two three four five six seven eight

when adding a turn it will alter the

quality of the movement one two three

four five six seven eight one two three

four five one two three four five six

seven eight nine ten on the last spin

used the shoulders of the impetus of the

turn

and then let the arms help you spin

around

this is an exercise based on movement

from Jose LeMans Chacon

this is a phrase from the men's trio

from Missa brevis by Jose limo

at the end of class we return to Center

to realign our bodies and warm down

during this warm down we'll also get rid

of any tension that we've built up in

the body during the class va va and lift

as you do this user elbows to pull you

all the way down then use your elbows to

lift you all the way along you repeat it

let all the muscles in the body relax

let them drift down into the floor but

hold your skeleton up as high as you can

through your high point take a deep

breath and let that breath pull you off

to a releve let the breath out and the

heels come down and turn the legs

parallel as the head rolls down it pulls

the shoulders the chest the waist and

the hips to you all the way down to the

floor you plie stretch out the back of

the legs plie again

stretch out the back of the leg

then realign the body and as you come up

open the front of the body wide think of

the skeleton lifting as high as it can

and the muscles are all dripping down

Oh

Oh

and I thank you

recommended reading the illustrated

dance technique of Jose Lamone by Daniel

Lewis published by Harper & row for more

information about the Jose LaVon dance

technique and the Lemone company

including dance classes summer workshops

residency's and performances contact the

jose Lemone dance foundation at 38 east

19th Street New York New York 100 oh

three two one two seven seven seven

three three five three

I am finest Jung and here I'm teaching

my daily 12 o'clock class in New York

City taking this class on Christine red

path and William solo who will be your

demonstrators on this tape my class

basic ballet for adult beginners is in

four sections section one preparatory

exercises section two floor exercises

section three bar exercises section four

Center exercises each section is clearly

marked on this videotape

let's begin by stretching up to the

ceiling

start by taking a breath bringing your

arms up looking up to the ceiling reach

up stretch out of your hips out of your

shoulders stretch your fingers try to

touch the ceiling

and I'll let the air out in your arm

this 90-minute program is available on

either VHS or Betamax cassette for

information about this program and a

complete dance catalog call toll-free

miles Everett was an actor as well as a

classically trained dancer he has

appeared at the Boston Ballet and he's

done a number of roles which means that

he understands acting and has had

experience with those techniques and he

also understands that what we do is not

acting

Tom Sullivan was a teacher of

emotionally disturbed children before he

came to join the company last year and I

think that shows up in his dancing

that's a skill and a set of experiences

that has very much entered the dancing

that I asked from him his compassion his

understanding his there's a kind of

tenderness in him

on top of a tremendous physicality what

I look for in Thomas that the power of

his muscles the power of his mass in the

last few auditions I've had which

happened to have been for women I have

said to the surprise of the dancers I'm

looking for a woman with a great heart

and I feel that's what I found very much

in Barney Berger I wasn't terribly the

center Drive a dance company means

nothing until you are at the stature of

Martha Graham you have to establish the

image people would call themselves the

New York dance quintet they were the rap

groups who call themselves the

strawberry pancake and everybody thought

that was fine I thought this is a chance

to show you

it's what I'm doing and what I'm not

doing it Telegraph's to call the company

Harry Telegraph's to the audience it

isn't ballet

it isn't traditional dance it's

unexpected it's live and I think most

usefully

you could laugh that there's some kind

of humor to it this 60-minute program is

available on either VHS or Betamax

cassette dance preludes captures a

unique view of the Pennsylvania Ballet

Pennsylvania Ballet has been called by

the New York Post dance critic Clive

Barnes one of the nation's top handful

of classic troops the New York Times

proclaim them the best company in the

country outside of New York the

Philadelphia Inquirer feels

Philadelphia is fortunate to have such a

company

join us behind the scenes of the

Pennsylvania Ballet with artistic

director Richard Weiss and the principal

dancers of the Pennsylvania Ballet this

one hour color program is available on

VHS or beta cassette for the retail

price of $59.95 for more information

called videod studios 2 1 2 2 4 2 3 3 4

5

all right to us at 29 West 21st Street

New York New York