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Archival evidence of Shakespeare's and Kenneth MacMillan's Romeo and Juliets evince patriarchal efforts to efface female rebellion. As Juliet, Lynn Seymour declassifies ballet through recalcitrant stillness and off-balance choreography. Patriarchal institutions enlisted Margot Fonteyn's classifying instinct to efface these balletic transgressions from the archive utilizing strategies corresponding to early modern textual editing practices.

Yes, she danced in the traditional classics, but it was in the ballets of Kenneth MacMillan and Frederick Ashton at London's Royal Ballet and elsewhere that she went to the limit - and beyond - of what a dancer could wring emotionally from a role. The experience of [Lynn] Seymour at work could be both electrifying and terrifying in its intensity. Both MacMillan and Ashton have gone to the great dance studio in the sky, but, in a recent conversation at the San Francisco Ballet Association Building, Seymour often spoke of them in the present tense. This shocking 1960 drama about the corruption of innocence was one of the works that won Seymour, and her unforgettable partner Christopher Gable, a place in the hearts of ballet lovers everywhere. Seymour is here to work on the S.F. Ballet's production of the piece. It will be the first time an American company has given \"The Invitation\" and it forms the centerpiece of the season's all-British Program I, which opens Tuesday at the War Memorial Opera House and runs through Feb. 13.

Examines how individual ballet dancers influenced the dance movement style of choreographer Frederick Ashton. Explains the rationale for the selection of specific dancers for this study. Analyzes the collaboration between Ashton and the following dancers: Margot Fonteyn, Nadia Nerina, Lynn Seymour, Antoinette Sibley, Alexander Grant, and Anthony Dowell. Touches on the technical training of each dancer and how it affected their style and, in turn, Ashton's. Discusses dancer body types and asserts that qualities of motion and the ability to effect rapid changes of weight and direction were more important to Ashton than any notion of an \"ideal\" bodily shape.