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numbers for the London
Palladium Show. The international phase of his career began in 1954, with his appointment as director of the Bayerische Staatsballett (Bavarian State Ballet) in Munich, Germany. Thereafter he worked as company director and choreographer in the Netherlands, Israël, Norway, France, Turkey, Finland, Iceland, and Iran. In 1976, he became artistic co-director, with Felicity Gray, of the
75:, set to music by François Couperin. June Brae and Michael Somes were the formal lovers in this lighthearted pièce, but "sixteen-year-old Alan Carter as Harlequin stole most of the acclaim. His clean, easy technique encouraged Ashton to experiment again with virtuosic choreography, resulting in a lively display of bouncing batterie and nimble footwork."
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that he called "choreographics." Besides drawing and painting, he enjoyed playing the piano, reading, and gardening. The couple returned permanently to
Bournemouth when Carter's health began to deteriorate from the effects of cancer. After several years of illness, eased by the devoted care of his wife, he died peacefully at home at the age of 88.
43:, another well-known Russian teacher, who had danced with the Imperial Russian Ballet for many years before moving to London to escape the social unrest that threatened to overthrow the tsarist autocracy. From these two teachers, Carter received a thorough grounding in classical ballet technique. He completed his education at the
39:'s Russian Dancing Academy at The Pheasantry on King's Road in Chelsea. Astafieva had danced with the Mariinsky Ballet in Saint Petersburg and with Sergei Diaghilev's Ballets Russes before opening her school in London, where she was highly regarded as a teacher. Carter then moved on to advanced classes with
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Once their daughter
Alexandra was in university, the Carters began to spend winters in Spain, where they often offered a warm refuge to friends from the chilly climate of England. During his later years, Carter spent much time at his drawing table and his easel, creating images of dancers and dancing
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For the next few years, Carter continued to display his virtuosity in many roles in the company repertory, until he was called up for military service in 1941. After serving five years in the Royal Air Force during World War II, he returned to London and joined the newly formed Sadler's Wells
Theatre
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Carter was married to fellow dancer Julia
Murthwaite, who started the junior division of the Elmhurst School. In 1977, they moved to Bournemouth, on the southern coast, where they eventually took over the Wessex School of Dancing and became active in the local ballet club. During their years there,
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While doing his film work, Carter formed and directed the St. James Ballet for the Arts
Council of Great Britain, also serving it as choreographer and dancer. In the early 1950s, he was ballet master and choreographer to the famed Empire Cinema, on Leicester Square, and choreographer of dance
19:(24 December 1920 – 30 June 2009), was an English ballet dancer, choreographer, teacher, and company director, active in numerous countries in Europe and the Middle East. Perhaps best remembered for his work in films, notably
122:(also 1956), directed by Georg Wilhelm Pabst, stars Elisabeth Muller as a famous ballerina stricken with polio and worried that her understudy will usurp her place.
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Born in London on
Christmas Eve of 1920, Alan Carter became interest in ballet in his boyhood. When he reached his early teens, he began training at
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63:(later called the Sadler's Wells Ballet, now the Royal Ballet) and was soon promoted to soloist. In 1938,
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110:(1955), again starring Moira Shearer. Following that, he was ballet master for two Hollywood films.
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and then entrusted him with the title role in a revised and extended version of
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commented that Carter had used Bartok's music "with imagination and skill."
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Ballet in 1946 as principal dancer and choreographer. His first ballet was
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The London Stage, 1940-1949: A Calendar of Plays and
Players
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Carter then moved on to films, serving as ballet master for
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Mary Clarke and David
Vaughan, eds., "Carter, Alan," in
114:(1956) is an anthology of three stories, each featuring
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Debra Craine and Judith Mackrell, "Carter, Alan," in
243:"Alan Carter," Internet Movie Database, website,
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219:Secret Muses: The Life of Frederick Ashton
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234:(Metuchen, N.J.: Scarecrow Press, 1991).
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289:Mary Clarke, "Alan Carter," obituary
258:The Encyclopedia of Dance and Ballet
208:(New York: Knopf, 1977), p. 471–472.
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221:(New York: Pantheon, 1996), p. 227.
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269:Alan Carter's Homepage, website,
171:Alan Carter's Homepage, website,
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141:Coppélia, The Sleeping Beauty
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108:The Man Who Loved Redheads
271:http://www.alan-carter.de
260:(New York: Putnam, 1977).
173:http://www.alan-carter.de
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230:Quoted in J.P. Wearing,
134:Personal and later life
112:Invitation to the Dance
73:Harlequin in the Street
31:Early life and training
320:English choreographers
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245:https://www.imdb.com
51:Professional career
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304:Categories
159:References
116:Gene Kelly
291:The Stage
120:Ballerina
85:The Stage
81:The Catch
69:Horoscope
274:Archived
176:Archived
59:of the
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