In France, they dance naked ballet in a hotel

Edgar Self says:

Touche and chapeau, Greg, Present-day Pavlovas and Nijinskys could find opportunities in The Swan, Spectre du Rose, “Afternoon of a Faun” with protective clothing, Scuola di Ballo to music of Boccherini as demonstrated by orati, Anatole Fistoulari, and Golschmann in their time with the Ballets Russe de Monte Carlo; and Anthony Tudor’s “Pillar of Fire” after Schoeenberg’s “Transfigured Night”, one of late tonality’s most beautiful works.

There’s also Beethoven’s “Ritterballet” and “Creatures of Prometheus”, the latter including his only use of the harp, which Brahms renounced until two finales of “Ein deutsches Requiem” because as he said “it would only go and make an Efect.” Oh. But then beautifully, and with finality, as each section ends affirmatively.

Ben Hecht’s story “Specter of the Rose” in his collction “A Book of Miracles” commends itself to balletomanes — Spoiler Alert” — with a Nijinsky-like mortal leap.