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the ground or in midair, to project emotion with vivid movements of arms, legs and body. But Bruhn long ago became aware that "technique is not enough," and he is remarkable for the feeling of tension he can convey by his mere presence. Poised and trim (5 ft. 7 in., 140 lbs.), he somehow rivets an audience with the promise of action before he has danced a step ... As Bruhn soars ever closer to his apogee, he spends restless nights reviewing roles in his mind. He has surprisingly little of the vanity that goads most performers; he does not want audiences to pay, he says, "only to see me jump." Furthermore, he would rather "be bad in a good ballet than be great in a bad ballet." But to be great in a good ballet? To do it, says Erik Bruhn, "it is important, even if you performed a role the night before, to think, 'This is the first time this is going to happen.' "
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flavor or she wouldn't be a ballerina. This would color my style and shape my approach. I remain true to myself, but I let her flavor color me as mine colors her ... A good partnership can somehow crystallize something that you have been doing already. When the right people come together, they bring the right thing out of each other ... With the right person, it becomes a situation of being rather than playing ...The role absorbs you and you become it. And then it seems like you can do nothing wrong because you are so totally absorbed by this being.
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680:, Canada. Bruhn specified that the prize be awarded to two young dancers who "reflect such technical ability, artistic achievement and dedication as I endeavoured to bring to dance." Competitors for the prize are between the ages of 18 and 23 and are selected by their respective Artistic Directors. For the competition, each dancer performs in a classical pas de deux and variations and a contemporary pas de deux or solo work.
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552:, the celebrated Russian dancer, after Nureyev defected to the West in 1961. Nureyev was a great admirer of Bruhn, having seen filmed performances of the Dane on tour in Russia with the American Ballet Theatre, although stylistically the two dancers were very different. Bruhn became the great love of Nureyev's life and the two remained close for 25 years, until Bruhn's death.
622:. The steps, no matter how brilliantly executed, were always part of a deeper concept, part of a characterization. Erik Bruhn was a complete dancer – a far cry from the highly specialized artist he was often made out to be... His moral example to the rest of ballet came through the concentration and seriousness with which he committed himself to every role.
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combination of enormous talent allied to correct day-by-day training from childhood ... If his dancing was magnificent, and it was, his partnering of and playing to
Markova were no less so. The result was one of those electrifying performances when everyone both in the audience and on the stage is aware that something extraordinary is happening.
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It has been noticed that I have been able to work with many different kinds of ballerinas, and on most occasions we succeeded in becoming a team if only for a season or two. And that is because I always wanted to relate to them. I don't remain the same. Each ballerina is different; she has a special
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Mr. Bruhn was valued more as an epitome of manly elegance and for the sensitivity of his acting than as a virtuoso technician. As a partner he was grave and deferential, yet he never subsided meekly into the background. And as a poetic actor, he lifted male leading roles in the classic ballets to a
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He was, then, the model of perfection as a dancer – precise in every step, beautifully placed, a virtuoso technician, noble in bearing, elegant in every gesture. His line was extraordinary, his leg beats – a legacy of his Danish training – amazing. He was one of the few dancers who could bring the
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Back home Bruhn, 32, is the idol of the Royal Danish Ballet, where he has brought new life to the classic roles reserved for a premier danseur noble. His technical credentials include a fine dramatic sense and an ability to leap with a high-arching grace, to turn with cat quickness and fluidity on
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repertoire. A superb teacher and coach, Bruhn was dedicated to imparting purity of form and dance as drama not spectacle. He believed in "complete identification" with the character being portrayed, "but under complete control. Because if you lose yourself completely, you cannot communicate." In
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Technically exacting as it is, the role of
Albrecht is not beyond the capabilities of any competent premier danseur, and Erik Bruhn is infinitely more than that; he is probably the most completely equipped male dancer of the day, with the flawlessly clean technique that comes only through a
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Bruhn formally resigned from the Danish ballet in 1961, by which time he had become internationally known as a phenomenon, although he continued to dance periodically with the company as a guest artist. In May 1961, he returned to Ballet
Theatre for its New York season. In its 5 May issue,
676:, recognizing dancers from the three companies with which he was most closely associated: the Royal Danish Ballet, American Ballet Theatre, and the National Ballet of Canada, each of which are invited to send one male and one female dancer to the competition, held in
278:, called it "a date to write down in the history books, for it was as if the greatest Giselle of today were handing over a sacred trust to what is probably the greatest Albrecht of tomorrow." In an article entitled "The Matinée that Made History" in
818:(2002), a posthumous 42-minute film biography by his friend, the Danish filmmaker Lennart Pasborg, includes performance footage and a recorded monologue by Bruhn used as a voice-over for clips and stills. Won an award at
243:. He returned to the Royal Danish Ballet in the spring of 1948 and was promoted to soloist in 1949, the highest level a dancer can attain in the Danish ballet. Later in 1949, he again took a leave of absence and joined
788:, also with Arova (1963). Available on the DVD "Rudolf Nureyev & Erik Bruhn – Their Complete Bell Telephone Hour Performances (1961–1967)," which also includes Tallchief and Nureyev dancing a pas de deux from
212:, Denmark, the fourth child and first son of Ellen (née Evers), owner of a hairdressing salon, and third child of Ernst Bruhn. His parents married shortly before his birth. Bruhn began training with the
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He was taken permanently into the company in 1947 at the age of eighteen. Bruhn took the first of his frequent sabbaticals from the Danish company in 1947, dancing for six months with the short-lived
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During the next 10 years, Bruhn formed long relationships as a guest artist not only with Ballet
Theatre but with most all of the major ballet companies in Europe and North America, including the
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pas de deux choreographed by Bruhn. Available on DVD. Both performances are from "The Bell
Telephone Hour" broadcasts and both also can be seen on the DVD "The Art of Maria Tallchief."
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Bruhn was posthumously recognized in 1987 for "exemplary contributions to Canada and its culture" as the first recipient of the annual
Pagurian Award for Excellence in the Arts.
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had named Bruhn "the greatest male classical dancer of his time" when Bruhn retired in 1972. In an appreciation of Bruhn's accomplishments published in
592:"He was indisputably one of the greatest dancers we have ever seen, and his dignity and style have been a model to us all, which can not be replaced."
704:. A work film, shot without sound and showing the dancers in practice dress. Available on DVD through the Dance Film Archive of Ohio State University.
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when he was nine years old, and made his unofficial début on the stage of
Copenhagen's Royal Opera House in 1946, dancing the role of Adonis in
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on 1 April 1986 at the age of 57. His death was attributed to lung cancer. However, according to Pierre-Henri
Verlhac, he might have died of
393:. In addition to Sonia Arova, Bruhn had significant dance partnerships with a large and unusually varied number of ballerinas: the Americans
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choreographed by Bruhn (1967), both with Carla Fracci; the Black Swan pas de deux with Sonia Arova (1963), and the Act III pas de deux from
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with Carla Fracci and
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with Ballet
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In 2014 Heritage Toronto erected a plaque to him outside 135 George Street South in the St Lawrence Market area of
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The turning point in Bruhn's international career came on 1 May 1955 with his début in the role of Albrecht in
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Bournonville and Ballet Technique: Studies and Comments on August Bournonville's Etudes Choregraphiques
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A few of Bruhn's performances have been preserved, several of which are available on DVD and online:
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from 1983 until his death in 1986. Although twice offered the directorship of the
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Erik Bruhn: I'm the Same, Only More – A Personal Portrait of the Legendary Dancer
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for the National Ballet of Canada, were well received, as were his stagings of
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Pas de deux, choreographed by Roland Petit, with the French ballerina
634:(1968, reissued as No. 36 of "Dance Perspectives" in 1973), and with
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Archive footage of Alicia Alonso and Erik Bruhn in Pas de Deux from
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in 1972, Bruhn danced character roles, such as Madge the Witch in
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in England, where he formed his first major partnership, with the
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magazine published a major article on the dancer and his art:
654:(The Picture Within), has yet to be translated into English.
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with Maria Tallchief; includes Tallchief and Nureyev in the
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pas de deux with Maria Tallchief (from 1961); Act II of
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Erik Bruhn entry in the Concise Encyclopædia Britannica
642:(1961, reprinted 2005). He was the subject of the book
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choreographed by Bruhn after Bournonville (from 1962).
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with Susse Wold in Denmark, for which he won acclaim.
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431:(1968), Bruhn discussed his thoughts on partnering:
1271:"Erik Bruhn Gala: World Ballet Competition (1988)"
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683:The first Erik Bruhn Prize was awarded in 1988.
795:"The Art of the Pas de Deux": pas de deux from
1366:Erik Bruhn entry in the Columbia Encyclopedia
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196:(3 October 1928 – 1 April 1986) was a Danish
1059:"Rudolf Nureyev Foundation Official Website"
1228:: CS1 maint: numeric names: authors list (
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1153:"Erik Bruhn – Epitome of the Danseur Noble"
886:Erik Bruhn – "Epitome of the Danseur Noble"
614:house down simply by executing a series of
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327:. He was best known for his lead roles in
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720:Four short pieces were filmed in 1955 at
69:Learn how and when to remove this message
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32:This article includes a list of general
1352:The National Ballet of Canada Biography
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568:. He is buried in an unmarked grave at
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264:, nearly twenty years his senior, in a
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1178:"Erik Bruhn is Given Posthumous Award"
605:shortly after his death, dance critic
282:in June 1955, P. W. Manchester wrote:
1203:Khadarina·6, Oksana (29 March 2019).
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465:Prize in Paris. After retiring as a
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38:it lacks sufficient corresponding
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1519:Deaths from lung cancer in Canada
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664:. He lived there for many years.
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780:(1962) and a pas de deux from
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1514:Deaths from cancer in Ontario
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822:for use of archival material.
746:Act II pas de deux, all with
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1474:Danish expatriates in Canada
1437:Erik Bruhn – Billedet indeni
1130:"A Great Dancer Retires" by
1112:Nurejew: Bilder eines Lebens
1087:"Erik Bruhn Dies in Toronto"
971:. 5 May 1961. Archived from
652:Erik Bruhn – Billedet indeni
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1504:20th-century ballet dancers
1494:Male actors from Copenhagen
843:"The High & the Mighty"
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1416:Erik Bruhn on Google Video
801:Flower Festival in Genzano
790:Flower Festival in Genzano
489:from 1967 to 1973 and the
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1469:Danish artistic directors
1347:ABT Biography and Credits
913:Erik Bruhn: Danseur Noble
862:"Lady of the Still Point"
711:in the 1952 Goldwyn film
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644:Erik Bruhn: Danseur Noble
491:National Ballet of Canada
485:. He was director of the
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767:The Bell Telephone Hour
714:Hans Christian Andersen
245:American Ballet Theatre
208:Erik Bruhn was born in
194:Erik Belton Evers Bruhn
112:Erik Belton Evers Bruhn
53:more precise citations.
1405:I'm the Same Only More
1244:"The Erik Bruhn Prize"
1205:"The Erik Bruhn Prize"
1110:Verlhac, Pierre-Henri
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459:Order of the Dannebrog
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1429:(1961) by Erik Bruhn
1309:on 22 September 2009
1303:"Dance Film Archive"
755:The Ed Sullivan Show
674:The Erik Bruhn Prize
487:Swedish Opera Ballet
309:New York City Ballet
1509:LGBT choreographers
1341:Ballet Encyclopedia
1250:on 20 February 2009
975:on 20 December 2008
717:. Available on DVD.
590:Mikhail Baryshnikov
570:Mariebjerg Cemetery
495:Royal Danish Ballet
449:Bruhn dancing with
233:Metropolitan Ballet
214:Royal Danish Ballet
1411:The New York Times
1389:The New York Times
1283:on 20 October 2012
1276:The New York Times
1182:The New York Times
1157:The New York Times
1136:The New York Times
1091:The New York Times
890:The New York Times
880:The New York Times
876:at Ballet Theater"
849:. 10 December 1965
602:The New York Times
588:new prominence...
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383:, and Don José in
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275:The New York Times
1489:Danish gay actors
1151:(13 April 1986).
1120:978-3-89487-606-7
1033:"Literary Review"
1021:978-0-375-40513-6
1013:Nureyev: The Life
748:Mary Ellen Moylan
499:classical ballets
380:The Moor's Pavane
359:Daphnis and Chlöe
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174:Years active
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833:"Danseur Noble"
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1459:1928 births
1454:1986 deaths
909:Gruen, John
797:Don Quixote
778:La Sylphide
773:Don Quixote
734:Don Quixote
687:Filmography
620:La Sylphide
527:pas de deux
504:La Sylphide
473:La Sylphide
355:John Cranko
330:La Sylphide
270:John Martin
241:Sonia Arova
51:introducing
1448:Categories
1435:Review of
1395:Erik Bruhn
1214:23 October
897:References
853:Review of
732:; and the
648:John Gruen
646:(1979) by
616:entrechats
548:Bruhn met
501:, such as
375:José Limón
371:Miss Julie
280:Dance News
239:ballerina
220:'s ballet
210:Copenhagen
204:Early life
126:Copenhagen
118:1928-10-03
87:Erik Bruhn
59:April 2018
34:references
760:Swan Lake
632:Fred Fehl
529:from the
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482:Petrushka
399:Nora Kaye
350:Swan Lake
237:Bulgarian
177:1947–1986
128:, Denmark
1381:Obituary
1287:19 March
1254:11 March
1224:cite web
1096:19 March
1064:19 March
1043:13 March
979:13 March
786:Coppélia
574:Gentofte
537:Rashomon
516:Coppélia
463:Nijinsky
1359:Giselle
1313:23 June
1188:23 June
1162:23 June
1114:(2008)
1015:(2007)
947:(1968)
915:(1979)
874:Syphide
855:Giselle
809:Giselle
738:Giselle
726:Giselle
662:Toronto
510:Giselle
453:in 1961
411:Russian
335:Giselle
266:matinée
257:Giselle
182:Partner
169:, actor
145:Toronto
47:improve
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668:Legacy
609:said:
479:, and
409:; the
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390:Carmen
347:, and
319:, the
315:, the
311:, the
227:Career
36:, but
556:Death
357:made
1399:IMDb
1315:2009
1289:2009
1256:2009
1230:link
1216:2020
1190:2009
1164:2009
1116:ISBN
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