from The American Heritage® Dictionary of the English Language, 4th Edition

  • Fokine, Michel 1880-1942. Russian-born American choreographer often considered the founder of modern ballet. His works, such as Petrouchka (1916), emphasize drama and expression instead of the rigid and traditional elements of ballet.


Sorry, no etymologies found.


  • The Moscow-based Russian National Ballet Theatre will perform an evening of favorite scenes from “Sleeping Beauty,” “The Humpbacked Horse,” “Carmen,” “Don Quixote,” “La Bayadére” and “Paquita,” as well as complete concert works such as Fokine’s “The Dying Swan.”

    Kansas City Star: Front Page

  • Bursting with color and energy, the almost-beyond-lavish pages of 'Ballets Russes' Assouline, 236 pages, $750 make a feast of these leftovers, re-creating mighty collaborations among artists such as Picasso, Braque, Matisse and Miró and choreographers like Nijinsky, Léonid Massine and Michel Fokine.

    Photo-Op: Modernism à la Russe

  • Later this week is Homage To Fokine (Fri to 1 Aug) and a triple bill of Chopiniana (Les Sylphides), Scheherezade and Firebird, with Vishneva in the title role.

    This week's new dance

  • It opens with Fokine's Le Spectre de la Rose, the 1911 ballet with which Vaslav Nijinsky legendarily reinvented the image of the male dancer, leaping on stage in a pink-petalled costume – athletically virile and exquisitely perfumed.

    Men in Motion – review

  • The programme includes Fokine's Le Dieu Bleu (Blue God), re-choreographed by Wayne Eagling with reconstructions of the original Léon Bakst designs (Tue & Wed), and also the original Scheherazade (Thu & Fri).

    This week's new dance

  • She had made the snap decision to perform The Dying Swan, a solo dance that was created in 1905 by the Russian choreographer Mikhail Fokine for the ballerina Anna Pavlova.

    Talent Show

  • Stravinsky would produce a second masterly score for the 1911 season when Fokine choreographed Petrushka, the sad, sinister tale of a puppet which provided yet another vehicle for the uncanny talents of Nijinsky.

    Sergei Diaghilev: first lord of the dance

  • When Mia Arbatova joined the Opera Ballet as soloist, she was fortunate to work for a period with Fokine himself, as well as with the teacher/choreographer Asaf Messerer.

    Mia Arbatova.

  • Though she began her dance studies with Fokine, by the late 1920s she had become enthralled with Jewish dance.

    Dance Performance in the United States.

  • Wangh remembers Rosa Feldman, who went to the Metropolitan Opera as a dancer, and Miriam Weiskopt, who became a teacher of the Fokine style.

    Dance Performance in the United States.


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