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
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