FIL

If to the ordinary Romanian ballet aficionado the name Judith Turos doesn't ring a bell, to the German press she is die Turos, just like Italians say la Fracci. Born in Baia Mare, she attended the Choreography High School in Cluj and graduated from the Moscow Ballet

I met Ioan Tugearu in Constanţa at the Oleg Danovski Ballet Theater where he spent days on end staging Kurosawa, Mon Amour, on a collage of traditional Japanese music, with stage decoration by Ion Codrescu. The show premiered early in September. With a tape-recorder in

The International Dance Festival in Constanţa presented in the final gala a special guest: Simona Noja, prima ballerina of the Vienna State Opera, another Romanian who, having left her native country for 10 years, has built a successful career on the world's stages.

Gigi Căciuleanu is a dancer and choreographer wrapped in a legendary aura, about whom dance magazines have written year after year, a formidable company manager who has worked in several cultural systems (Rennes, Paris, Santiago de Chile), possessed by a wonderful creative

Ballet dancer (b. 16 July 1957, Năsăud/Bistriţa). ChoreographyHigh School in Cluj-Napoca, graduation 1976, teacher Adrian Mureşan. Romanian Opera House in Cluj-Napoca (1976-1979). Soloist, ODBT* in Constanţa (1979-1988), Opera House in Gera and Opera House in Dresden-GDR

Reporter: You returned to the company that made you famous, the company that you are emotionally attached to and where we hope you will return. I'd suggest that we should evoke the circumstances in which you arrived at the Ballet Company called Fantasio then [in the

I made my debut in 1974. I had graduated from high school the year before and in the summer of '73 Adina Cezar, Nataşa Trăistaru, Anca Mândrescu, Cristian Crăciun and I decided to establish a contemporary dance troupe. As far as I am concerned, the decision to put

The city on the shore of Pontus Euxinus, which time and again unravels new vestiges of ancient civilization, the old city of Tomis is, at present, building up a cultural profile of considerable complexity: museums, theatres, one opera, art festivals and contests. The contribution

Arabesque Graceful silhouettes, jumps, pirouettes, endless rehearsals, precision, tenacity, discipline, harmony between body, movement and music to attain the purity given off during that glissade in which glided the white ballerinas in Bacovia's poem or in a painting

In one of the marvelous spots of Switzerland I met Maurice Béjart, the choreographer that refreshed all forms of movements and made of dance the art of the 20th century. In Lausanne, Maurice Béjart continues to live creating and philosophizing for the synthetic art with

What impresses from the beginning at Simona Şomăcescu, is an extraordinary self-devotion through dancing, which lights up from within, like a flame, the character's personality. A vast and generous movement, a movement that fills the stage and seems to transform the

Contemporary dance choreographers work on gestures. They do not necessarily have to be beautiful or interesting, but simply natural. Every single emotion expressed. The dancer always performs something, interprets something, lives that moment either through gesture, movement