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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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691:, 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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563:, 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.
633:. 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,
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829:(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
254:. 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
799:, 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
223:, 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
603:"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."
715:. 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
404:. 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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In a codicil to his will, Bruhn left part of his estate for the establishment of
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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
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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:
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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
653:(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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442:(1968), Bruhn discussed his thoughts on partnering:
1282:"Erik Bruhn Gala: World Ballet Competition (1988)"
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694:The first Erik Bruhn Prize was awarded in 1988.
806:"The Art of the Pas de Deux": pas de deux from
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207:(3 October 1928 – 1 April 1986) was a Danish
1070:"Rudolf Nureyev Foundation Official Website"
1239:: CS1 maint: numeric names: authors list (
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1164:"Erik Bruhn – Epitome of the Danseur Noble"
897:Erik Bruhn – "Epitome of the Danseur Noble"
625:house down simply by executing a series of
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338:. He was best known for his lead roles in
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731:Four short pieces were filmed in 1955 at
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43:This article includes a list of general
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579:. He is buried in an unmarked grave at
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1189:"Erik Bruhn is Given Posthumous Award"
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293:in June 1955, P. W. Manchester wrote:
1214:Khadarina·6, Oksana (29 March 2019).
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476:Prize in Paris. After retiring as a
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675:. He lived there for many years.
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757:Act II pas de deux, all with
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1485:Danish expatriates in Canada
1448:Erik Bruhn – Billedet indeni
1141:"A Great Dancer Retires" by
1123:Nurejew: Bilder eines Lebens
1098:"Erik Bruhn Dies in Toronto"
982:. 5 May 1961. Archived from
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854:"The High & the Mighty"
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1427:Erik Bruhn on Google Video
812:Flower Festival in Genzano
801:Flower Festival in Genzano
500:from 1967 to 1973 and the
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1358:ABT Biography and Credits
924:Erik Bruhn: Danseur Noble
873:"Lady of the Still Point"
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496:. He was director of the
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778:The Bell Telephone Hour
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256:American Ballet Theatre
219:Erik Bruhn was born in
205:Erik Belton Evers Bruhn
123:Erik Belton Evers Bruhn
64:more precise citations.
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1255:"The Erik Bruhn Prize"
1216:"The Erik Bruhn Prize"
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1440:(1961) by Erik Bruhn
1320:on 22 September 2009
1314:"Dance Film Archive"
766:The Ed Sullivan Show
685:The Erik Bruhn Prize
498:Swedish Opera Ballet
320:New York City Ballet
1352:Ballet Encyclopedia
1261:on 20 February 2009
986:on 20 December 2008
728:. Available on DVD.
601:Mikhail Baryshnikov
581:Mariebjerg Cemetery
506:Royal Danish Ballet
460:Bruhn dancing with
244:Metropolitan Ballet
225:Royal Danish Ballet
1422:The New York Times
1400:The New York Times
1294:on 20 October 2012
1287:The New York Times
1193:The New York Times
1168:The New York Times
1147:The New York Times
1102:The New York Times
901:The New York Times
891:The New York Times
887:at Ballet Theater"
860:. 10 December 1965
613:The New York Times
599:new prominence...
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394:, and Don José in
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286:The New York Times
1500:Danish gay actors
1162:(13 April 1986).
1131:978-3-89487-606-7
1044:"Literary Review"
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1024:Nureyev: The Life
759:Mary Ellen Moylan
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391:The Moor's Pavane
370:Daphnis and Chlöe
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1465:1986 deaths
920:Gruen, John
808:Don Quixote
789:La Sylphide
784:Don Quixote
745:Don Quixote
698:Filmography
631:La Sylphide
538:pas de deux
515:La Sylphide
484:La Sylphide
366:John Cranko
341:La Sylphide
281:John Martin
252:Sonia Arova
62:introducing
1459:Categories
1446:Review of
1406:Erik Bruhn
1225:23 October
908:References
864:Review of
743:; and the
659:John Gruen
657:(1979) by
627:entrechats
559:Bruhn met
512:, such as
386:José Limón
382:Miss Julie
291:Dance News
250:ballerina
231:'s ballet
221:Copenhagen
215:Early life
137:Copenhagen
129:1928-10-03
98:Erik Bruhn
70:April 2018
45:references
771:Swan Lake
643:Fred Fehl
540:from the
533:Swan Lake
493:Petrushka
410:Nora Kaye
361:Swan Lake
248:Bulgarian
188:1947–1986
139:, Denmark
1392:Obituary
1298:19 March
1265:11 March
1235:cite web
1107:19 March
1075:19 March
1054:13 March
990:13 March
797:Coppélia
585:Gentofte
548:Rashomon
527:Coppélia
474:Nijinsky
1370:Giselle
1324:23 June
1199:23 June
1173:23 June
1125:(2008)
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958:(1968)
926:(1979)
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866:Giselle
820:Giselle
749:Giselle
737:Giselle
673:Toronto
521:Giselle
464:in 1961
422:Russian
346:Giselle
277:matinée
268:Giselle
193:Partner
180:, actor
156:Toronto
58:improve
1418:review
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679:Legacy
620:said:
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420:; the
416:, and
401:Carmen
358:, and
330:, the
326:, the
322:, the
238:Career
47:, but
567:Death
368:made
1410:IMDb
1326:2009
1300:2009
1267:2009
1241:link
1227:2020
1201:2009
1175:2009
1127:ISBN
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1077:2009
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