Marie Taglioni

Marie Taglioni is considered THE ballerina of the Romantic era. She's often credited with revolutionizing, restyling and redefining dance, though her father was a significant part of those achievements.

Learn more about your ad-choices at https://www.iheartpodcastnetwork.com

See omnystudio.com/listener for privacy information.

Episode Transcript

Speaker 1 (00:01):
Welcome to Stuff You Missed in History Class from how
Stuff Works dot com. Hello, and welcome to the podcast.
I'm Holly from and I'm Tracy B. Wilson. And then, uh,
today we're going to talk about one of my pet subjects.
Is it ballet? Is I know this because I I

(00:23):
see what we're talking You have all the notes. We've
discussed it already well, and we've had a lot of
people who have asked us to talk about some various
aspects of dance. We've gotten really a lot of dance requests. Yeah,
so I'm excited. And I studied dance many many years ago,
and I love it still. And my my dance study
was never as dance formal as years was, because you

(00:45):
you really studied dance, and I studied dance in the
context of drum corps. So yeah, No, I was in
a dance program in college. Uh. And I prior to that,
I had studied fairly seriously bally for a while. There
was a time in my life where I thought I
was going to pursue ballet as a career, and then
I went through puberty and it kind of messed that
up because it turned out my body type was really

(01:06):
not going to work. And that's evolved a little since
there's a little more um room for variance in body
type than there certainly was when I was coming up.
But even so, once you kind of get a bus
line and hips, it's turns get tricky. Everything kind of changes. Well,
And and the story we're gonna talk about today kind
of is it has a little bit of that to

(01:29):
it because we're talking about compensations for a body. Yeah,
and we're going to talk about very famous to anybody
who knows anything about dance, Marie Talione, who was a
very famous dancer. She's really considered the ballerina of the
Romantic era, and she's often credited with revolutionizing ballet, restyling
it redefining dance. But her father was really a pretty

(01:50):
significant part of all of those achievements. Uh. And she
came from a ballet family, So I mentioned her father,
but also her grandfather, Carlo Talione, was a theatrical dancer
and a choreographer. Her uncle, Salvatore was a prominent dancer.
Her mother was a Swedish ballerina named Headvig Sophie Carston,
although she did not go by head Big, but her

(02:10):
father Felippo Talioni was really the biggest influence on her
life and her career. And Filippo was a dancer and
a choreographer. He was very successful and he's credited with
much of the development of what we now refer to
as the romantic ballet style. So Marie had danced in
her blood like genetically she should have been primed, but
it didn't really play out that way initially. No. In

(02:34):
eighteen oh three, Filippo took a job as principal dancer
in ballet master in Stockholm, Sweden, and that's where he
met and married Sophie Carston, which is the name she
used her middle name instead of her first name, which
was head Big. They started a family right away. Marie
was born on April eighteen o four in Stockholm. Her
brother Paul was born four years later, and Filippo accepted

(02:58):
a post in Vienna when Marie was still an infant.
And Felippo did some training with his children when they
were very young, but when they were school age, he
moved them to Paris to pursue additional dance training. But
despite being the daughter of two accomplished answers and having
a pedigree that went back even further than that, Marie
really did not impress the ballet masters in the French capital.

(03:21):
According to Paris opera director Louis Baron's memoir, Jean Francois Coulan,
who was the Parisian teacher who had trained Filippo, once
famously said this about Marie, when will that little hunchback
ever learn to dance? Yeah? I think he said it
more forcefullly and loudly. Probably he sounded like he was
really not one to hold back. Well, and I don't

(03:42):
want to call a young girls hunchbacks. I think that's terrible.
So yeah, it's a that's a brutal that's the brutal
world to grow up in sometimes well, and especially when
you're you're trying to do something that is difficult and
require skill. Yeah, we uh, we don't know a lot
about like sort of her mindset at the time, but
I can't imagine what it must have been like to

(04:04):
be the daughter of two well known dancers, put in
a you know, pretty important ballet school and struggling. Yeah,
that's not talked about very much, but it's an interesting
thing to think about. But despite Coulon's comment, when Marie
debuted in Vienna two years later. In two she was
received two generally positive reviews. So something interesting happened in between. Yeah,

(04:29):
I kind of love this story too. It's a little
wild to think about. So, while Marie and her brother
Paul were training with Koulon and Paris, they lived with
their mother, and Filippo worked in various cities and toured
around Europe. So throughout this time, their mom sent him
letters telling him how well they were all doing, which

(04:49):
was kind of an embellishment because Marie was not actually
doing very well. She was a teenager at that point
and she she was not an awesome dancer. Struggling Paul
did okay, but um, Marie really was not doing great.
I mean she was being called a hunchback by her teachers. Yeah,
but but you know, mom was telling dad that it
was all great, and Felippo was so delighted to hear

(05:10):
about how well the children were progressing. Did in one
he arranged for Marie's stage debut, which was going to
be a little bit more than a year later, because
he wanted to have time to make preparations. And this
announcement of his really set off a flurry of panic
because the jig was up at that point. Once Sophie

(05:31):
learned of Filippo's planned public turnout for their daughter, she
talked to Kalon for advice, and allegedly his reply was,
you wish for my advice, you have it, Madame. You
should make your daughter an embroiderous where she will never
be an answer. And she really did like embroidery. Yeah.
It turns out there's a great site will link to

(05:53):
in the show notes that has a kind of an
archive of various things of Marie Tallions, and one of
them is like a scarf she knitted for a friend,
and she apparently really enjoyed needlework her entire life, but
she did not become an improgress. So when Filippo sent
for Maria to come to him in Vienna so he
could um, you know, assess her dancing and make preparations

(06:15):
for her debut, she was a little dismayed with what
he saw. He then realized how completely inaccurate the accounts
he had been getting about Marie's progress were, but he
did not cancel the debut. Instead, he just decided that
she was going to have to work constantly on her strength,
on her technique and that he would be her sole
teacher during this time. And it sounds like he ran

(06:37):
her through a rather grueling training program and also sort
of a grueling lifestyle. Yeah, he kept her completely out
of the public eye. Um, he allegedly kept her dancing
for six hours or more every day, always working to
correct these weaknesses and to kind of compensate for this
unique body type that she had. There's been a lot

(06:58):
of speculations about exactly what was going on, whether her
back was deformed by a hunch or a curved spine.
He insisted that she embodied lightness and be in ethereal
while dancing, and his goal was to never hear her dancing.
So this plain girl with a round back and like it,

(07:18):
kind of gangly limbs had to really work diligently to
meet these goals that her her father had set up
for her. And allegedly the six hours of training were
broken into three blocks of two hours. The first block
was all about muscular exercises and strengthening the foot, The
second was for practicing adagio exercises and balanced work on

(07:39):
one foot at a time, and then the third block
was for practicing jumps and Marie did eventually become quite
famous for her jumps, so that third block was really
paid off in the long run, although really you could
say all of it did. When Marie took the stage
for her debut in a piece called La reception dun
June nymph a la cour de terpsicari which is Reception

(08:00):
of a young Nymph in the Court of chirp sigrey
Uh in June of the reviews were actually good, not sensational,
but even so the successful performance really launched her career,
and you know they had dodged the bullet of embarrassment
and she began performing regularly on stages throughout France, Italy,
Austria and other places throughout Europe. At this time, the

(08:22):
epitome of balotic achievement and the goal that Filippo always
had for his daughter was appearing at the Paris Opera.
And despite the fact that Marie's popularity as a performer
was growing all over Europe, she was still seen by
the gatekeepers of the Paris stage as unattractive and unappealing.
So as reviews of her appearances grew more and more glowing,

(08:44):
public demand for a Paris appearance started to grow as well. Finally,
five years after she debuted in Vienna, on July seven,
she ascended to that highest of heights and appeared for
the first time at the Paris Opera and a version
of the opera Let's Just Silly. In Her contract with
the Paris Opera included a provision that she would only

(09:06):
dance her father's choreography. And something sort of interesting happened
among Parisian reviewers when she started dancing there. They often
spoke of her dancing as being effortless, even to the
point of being artless. The perception was that her dancing
just sprang from nature rather than training. But of course,

(09:27):
of course nothing was further from the truth. She had been,
you know, working all of those hours with her father,
and they had effectively created this illusion as she had
a natural talent rather than this skill that was born
of just this ceaseless dedication and constant training. Just kind
of interesting. I mean, you always hear about in any
sort of artistic endeavor that you wanted to look effortless,

(09:50):
but they kind of, um they almost did it so
well that no one really gave her credit for how
hard she worked. The composer barely, oh, just ribbed Marie
like this, Mademoiselle Talione is not a dancer. She's an
air spirit ariel personified daughter of the heavens, which is

(10:10):
interesting when you think about the early Coulon commentary about her.
She was kind of a clunky hunchback. It's pretty interesting.
And for the next ten years after her Parisian debut,
Marie stayed at the Paris Opera. She really gathered a
very devoted following. She was, you know, basically a rock
star in the world of ballet, always with her father
as her teacher. Uh And in eighteen thirty so, a

(10:33):
few years after she had debuted in Paris, she signed
a new really lucrative contract with the Paris Opera, and
included in that contract is the same provision that she
would only dance solos choreographed by Filippo and that he
was to be engaged as the ballet master there. And
one thing that doesn't really get questioned or come up
a lot that I think is just worth mentioning, is

(10:53):
that we really don't have a good sense of that
father daughter relationship. Some people have kind of a did
that he may have been manipulating her into. You know,
these contracts that really benefited him, but he really did
also make her a star. So it's a little unclear
if their relationship had any animosity or weirdness, or if

(11:14):
they were just in it together and you know, pursuing
this career as a pair. Well. And I kind of wonder,
given that he was dedicating so much effort to making
making choreography that that worked with her body. I wonder
whether she would have had the same success with the
choreography or choreographer who did not have that as his

(11:35):
objective thinks she would not. Yeah, I can't know for sure,
but that speculation on our part. On March twelfth, two,
her father's ballet Last to Feed debuted at the Paris
Opera with Marie starring. The ballet was choreographed to show
off Marie's talents to the best effect, and it's often

(11:55):
sided is the moment that truly rush ushered in the
Romantic era of ballet a. This rounded oval framing created
by the port of bra which is the carriage of
her arms that Marie popularized, was really a danced historians
believe created by her father, as we were talking about before,
to compensate for her oddly shaped back. Yeah, allegedly, if

(12:19):
she just stood kind of in a neutral pose, her
oddly shaped back that hunched a bit became obvious. But
if she was forced to lift her arms over her
head and in the oval position, it kind of lifted
her breastbone up and it compensated for that, so it
wasn't as obvious that she had kind of awkward posture.
But even the costume that Marie wore is the Sylph,

(12:40):
which was a fitted bodice with a floaty tool skirt
that um cut between the knee and the ankle and
was designed by Eugene Lammy, really became about an iconic
ballet image. The long floaty skirt is still seen in
ballet today and it's actually called a romantic to tu lasso.
Feed is also often side it as the first ballet

(13:01):
which featured Marie dancing on point. This is something that
happens all over the place in ballet. Now, if you
go see the ballet, you will see d answers on point.
It's much more rare to see a ballet choreograph that
does not involve point work. This was not the case
at the time. Their engravings and lithographs of her on
point that predate this ballet, but only by a few months. Um,

(13:22):
we've seen several that are so it's possible that those
were promotional, even though um some feature her in a
costume from a previous ballet. Yeah, we do know a
lot of the foot strengthening work she was doing in
those big six hour bucks was probably, um, you know,
leading up to this that Filippo had this vision quite

(13:43):
a while before they actually are credited with premiering it.
And this version of dancing on toe if you go
to the ballet today, it's very different from what you
would see now to what Marie was doing. It was
much more delicate and restrained than modern point technique, largely
you to the fact that at that time the shoes
had no blocking. If you look at point shoes now,

(14:03):
they're very hard at the front. Uh, there's a lot
of resin and they, you know, are are a pretty
firm shape. They eventually get broken down and molded to
the dancer's foot and every dancer has a different kind
of way they like them done. But uh, these were
completely soft, like just like a regular soft ballet shoe
that a child would wear, you know when they're learning nowadays,

(14:24):
And it had a little bit of darning at the
toe to add a slight stiffness, but again created just
with thread. There was no resin involved, so the toes
and the ankles and the feet of the dancer had
to be extremely strong to rise up on point at
that point. Yeah, and there wasn't a lot of times
spent on point. It was used more as a change
of levels to create this illusion of floating and gliding

(14:46):
over the stage. And it's worth noting that there were
other dancers experimenting with point work. Uh Taliani got the
most publicity because of the prominence of her position with
the Paris Opera, and even though she's generally credited, if
you look any like quick History of Ballet, it will
always give her credit for being the first to appear
on point. But there were other dancers kind of playing
with this concept. The popularity of the costume design and

(15:10):
the dance technique repeated in other ballets at the time,
ushered in an arrow where dancers were seen as ethereal, idealized,
and almost otherworldly creatures, which I think is really continued
until today. Yeah. The other big popular ballet other than
Las Self Feed that was came a little bit later
was um Chazelle, which is again performed frequently nowadays. It's

(15:34):
very popular, and it too features like this woodland creature
kind of story and you know, this mystical almost fairy
like thing and uh, generally costumed exactly the same fitted bodice,
floaty tool skirts. So it really the Romantic era really
was about these kind of white dresses of floaty other
worldly creatures. And through her younger years, Marie was seen

(15:55):
as very chaste, She was undistracted by love. She was
the epitome of purity, and some of that characterization was
really fueled by these long white dance costumes that she
became known for, as well as her dedication to her
career and probably the fact that her father tended to
keep her away from other people, uh, you know, focused
on dance, no time for boys. Twelve years into her career, though,

(16:18):
she gave up single life and she married Gilbert Comte
Devoisant in London in eighteen thirty four. They had a
child together in eighteen thirty five, but their marriage didn't last.
They were separated in eighteen thirty five, but they didn't
divorce until eighteen forty four. There was another child in
eighteen forty three, which did get his last name. It's

(16:40):
pretty likely that it was not from the marriage. Yeah,
it's one of those things that was never particularly clear.
Interestingly enough, the rumors at both times that Murray was pregnant.
She actually reportedly had a knee injury and so stepped
away from the stage for that reason. But then of
course they just kind of kept her her private life.

(17:01):
He didn't even exist. It was really all about the
image and this ballerina. Yeah. I feel like that's like
the the eighties sitcoms where whatever actor was pregnant would
have like a dust duster in front of them or
like sharing something so you didn't see. In eighteen thirty seven,
Marie and her father accepted contracts with the Russian Imperial

(17:24):
Theater in St. Petersburg, and preceding her arrival, a pamphlet
that was titled The Biography of Marie Tellioni was circulated
in the city, and by the time she reached St.
Petersburg there was like this complete hubbub of excitement about her.
Her first appearance at the Bullshoit Theater was sold out,
and she enjoyed an extremely successful several years of dancing there.

(17:45):
She last performed in Russia in eighteen forty two. And
then there's a wacky story about that. So gross. There's
this apocryphal story. Uh, it's a supper that happened after
her last Russian performance, at which a pair of her
shoes purchased for two d roubles were cooked and eaten
with a sauce by a group of her most devoted fans,
which is simultaneously disgusting and probably not true. Yeah. Gross, Yeah,

(18:13):
I uh, it's entirely I have a suspicion. Again, this
is all speculation that possibly her shoes would have been purchased,
you know, almost as a like collectors. Yeah. And then
I think the dinner thing that I don't know where
it would have sprung from, But that seems extreme and
bizarre and again gross. Having danced a lot, I know

(18:36):
how disgusting dance shoes get. It's kind of like if
you would eat a hockey glove. I mean, it's a
similar level of grossness. It does not sound palatable or
delightful in any way. No, After her time in St. Petersburg,
she continued to tour Europe and she performed for several
more years, but finally in eight Tallani retired from dance

(18:59):
after twenty six years on stage. The life of a
professional dancer, which was always on the road. It was
exhausting training. It was really starting to catch up to
her because she was in her mid forties at that point.
She's not a spring chicken anymore. No, and her retirement
was kind of cut short by mismanagement of her finances.
So in eighteen fifty nine she went back to Paris

(19:19):
to the Opera, this time as the Inspectory, still a dance.
While she was holding this position, she instituted the company's
exam system, and while teaching there she met her protege,
Emma Livery. And Marie actually choreographed only one ballet in
her life, and that was in eighteen sixty and it
was for Livery, and it was entitled Le Papillon, which

(19:41):
means the Butterfly, and the story involves a woman who
was changed into a butterfly and then flies too close
to a flame and burns its wings. And this uh
sadly turned out to be somewhat prophetic. While she would
likely have gone on to a great career by virtue
of Talian sing and teaching, Livy's life ended tragically in

(20:03):
eighteen sixty two or possibly eighteen sixty three see different
differently in different sources. Um, she brushed against a gaslight
while rehearsing for an upcoming production, and her too, she
caught fire and she died from her burns. Yes, so
only a couple of years after her her ballet by Talione.
So she really died very young and quite tragically. Uh.

(20:24):
But after eighteen seventy talionis next career move was in
a completely different avenue of dance. So she had been
at the Paras Opera for a while, but she then
moved to London and taught ballroom dance, which she did
for about ten years. And interestingly enough, Filippo Talioni, her father,
died in eighteen seventy one, so around this time it

(20:45):
was like all of her ties to ballet really ended.
And whether that was coincidental or not, or if she
just decided that as her father was reaching the end
of his life, she was just going to be done
with ballet and decided to pursue ballroom. Some reports say
that ball and was just a more lucrative option. I
can imagine that uh, and she did continue to have

(21:06):
some money struggles. Um, so, yeah, it's just kind of
that's the end of ballet for her. In eighteen eighties,
she moved to Marseilles with her son, and she died
four years later on April four. Now, initially Marie was
buried in Marseilles, but she was later moved to Jubert
de Bois Saint's family plot in Pere la Chaise in Paris. However,

(21:29):
there has actually been a good bit of confusion through
the years about her resting place. Um. I imagine some
of our traveled listeners that have been to Paris and
been to montmart have possibly seen what many believed for
a long time to be her grave. But it is not.
It is, in fact the grave of Marie's mother, Sophie,
who died in eighteen sixty five, and it's there in

(21:52):
the famous montmart and it is marked in a way
that caused some confusion. It's marked Marie TAIONI assam bienna
me and it really means Marie Talione to her beloved mother.
And I presume that because Marie was a star, her
name appeared on this placard rather than her mother's name.
But it's always been a little unclear. Uh. But Unfortunately,

(22:12):
that has led to Sophie's grave being mistaken as Marie's.
And so if you look up pictures of it online,
it's usually just covered in dancer shoes that go to
kind of pay homage and you know, pay their respects
to this famous ballerina. And they're in various stages of decay,
a lot of them are blackened from having sat out
there for so long. But it's not at the right site, unfortunately.

(22:36):
And if you go to Marie's actual grave, they're like
two pair. Yeah, people haven't the people who did their research. Yeah,
there there's been some um work done in the last
five or so years on the part of dance historians
to try to get that corrected, like on maps of
the city. And I think there is even a placard
at the front of Montmart that might be incorrect now

(22:58):
that was put up later um and I'm not sure
what the status of it is as of now when
recording which is but I was looking at tourism brushers
from last year from that even still said she was
in Marmart. So there's some confusion still being um populated
out there in the world, when in fact it's not accurate.

(23:20):
All of Filippo's choreography is lost to us. Unfortunately, we
do have notation of a recreation by August Bourne on
view for the Royal Theater of Copenhagen in three six
after he had seen Talioni in the role. There's also
a speculative reconstruction by a choreographer named Pierre Lecotte in

(23:41):
nineteen seventy two. Yeah, but we just don't have the notations.
A lot of other ballets from history were notated so
well that even when you see them performed in the
modern era, it's basically the same steps being done. But
we really don't have any Filippo's unfortunately. But Marie's impact
and consequently Filippo's on the dance world is still certainly

(24:01):
felt today whereas she was, you know, one of only
a few dancers is a time to go on point.
Now it's really do rigor for any serious dancer. I mean,
you couldn't have a career in ballet and not dance
on points. Yeah. I cannot think of a ballet I
have seen that has not included point work. Yeah, some
of them are modern ones that kind of bridge the
gap between ballet and modern will not always go on

(24:22):
point but for the most part, uh, you're looking at
point work, which is its own whole thing. Yeah. I
remember I talked briefly to my sports pediatrist about it
and he kind of made this face like I don't
want to get into this. Well, and when I was young,
I really really wanted to take ballet, and I had
a childhood friend who was a dancer and she was

(24:46):
very gifted, and my dad educated me on the trials
of ballet dancing on your feet. Yeah, I don't think
he was actually trying to talk me out of it.
I think he was trying to help me understand what
I was wanting to get into. I did not pursue it,
and that turns out to probably be pretty good because
I am so tall that uh, I was taller than

(25:09):
most of the male lovely lines though. Yeah. Yeah, it
was also extremely inflexible. That's a problem that would have
been a lifelong, difficult struggle. I will say once I
quit dancing, uh, probably about four years after I quit dancing,
on point my feet suddenly grew a whole bunch like
all of the impacting that had been done since I

(25:30):
was you know, eleven or twelve up into my early twenties.
Once that stopped in my foot spread out. I went
from like a size five to now I wear an
eight and a half. Wow. I mean that didn't happen overnight.
That happened over several years. But my feet did go
through a growth spurt after I stopped doing point work.
Do you also have some listener mail? I do. I

(25:51):
have kind of a grab bag today. I have a
few brief ones because I feel bad. We tend to
pick really meaty ones, usually to read, but we often
get really short but very fun one. So I have
three of those. Uh. The first is from our listener
Randall and he it's about the Anti Kithrough podcast. He says,
I just listened to the Anti kithro A podcast while
cooking dinner. There was a quote by someone about how

(26:11):
there were no false starts or mistakes in it. I
make and repair clocks and love to read about clockmakers.
I read a book about John Harrison's first marine clock
that was by Rupert Gold and he restored it and
talks about all of the odd gears and parts that
do nothing that Harrison just left as he was trying
to figure out the mechanism. So I have to agree
this cannot have been a one off. Somewhere there was
a shop full of mistakes and oops, kind of like

(26:33):
my shop. It's very cool, so it's good to have
a clockmaker back us up. Yeah, and I mean the
quote came from a person of knowledge, but it thought
nice to get a second and third opinion. Uh. The
next one is an email from our listener Terry, after
listening to our Flannon Isles Lighthouse podcasts, and she says,
I'm writing because I wanted to tell you about my

(26:54):
husband's job. For context, in that podcast, Tracy mentioned that
it sounded like a Graham job to be able to
hang out so low in a lighthouse for weeks on end. Uh.
But Terry's husband, she says, works for a railroad and
his job as a bridge tender. He man's the bridge
either forty eight or seventy two hours at a stretch.
He lifts the bridge for boat traffic when they can't

(27:15):
fit under the bridge. Currently, he has a twenty foot clearance,
which most pleasure craft can get under thanks to modern technology.
He has a computer, television, and other distractions to keep
him busy on his two to three days shift. My
son is also a bridge tender on the same bridge.
It's not as exciting as the idea of tending a lighthouse,
but it's a great job. Nonetheless, I don't know that
it's not as exciting as tending a lighthouse, and it

(27:37):
could be pretty neat. I kind of like maritime stuff
in general. That sounds pretty fun. Uh. And our third
one is actually from Facebook and it's from our listener, Anthony,
and he says, I love the Oyster Wars podcast. I
work in the oyster biz on the other coast and
it really brought home how oyster farming worked before farming.
Now we grow in bags from seed that we grow

(27:58):
and it keeps disease down own and natural beds intact,
quality and ease of productions up. Not to mention accountability.
For the recipe book, he suggests deep fried oysters with
rice flour instead of wheat flour for a crispy, light
oyster and a bit of paprika and chili powder to
add a nice flavor. That sounds delicious. I know that
was a brand new email. We just got that this morning.

(28:19):
I love a fried oyster. Oh yeah, well, and I yeah,
we didn't talk at all about how farming of oysters
has progressed since the time of the oyster War, So
I was super glad to get that one. Yeah. Like
I said, it's always really cool to get um notes
from people. I didn't even realize I was steaming this
of people that work in the professions we were talking

(28:40):
about in this podcast. Yeah, I put a theme group
together without realizing it. Uh, if you would like to
write to us if you are a ballerina or a
member of the core, because you know, ballerinas are the stars,
not everyone who dances ballets ballerina. I did not know
this really. Yeah, oh yeah, it really makes um dancers
angry when people say, oh, this is my friend so

(29:01):
and so she's a ballerina. It's it's kind of like
when people say that people that work in a library
or librarians when they're not all because they're not Uh,
they don't always have the library science degree. It's the
same thing, basically cool, like only like really the stars
the high level, it's like a place of prominence. So yes,
if you are a ballerina or a dancer of any level,

(29:22):
feel free to write us about this one. I wonder
if you're a costumer you want to talk about ballet costumes.
I've made some ballet costumes. That's where I've learned some
good costuming tricks for the through the years is helping
out with ballet companies. I have some really good tricks. Um.
But if you can write to us in history podcast
at Discovery dot com. You can also connect with us
on Twitter at missed in History, gives it us on

(29:44):
Facebook dot com, slash history class stuff at missed in
History dot tumbler dot com, and you can find us
on Pinterest. And if you want to learn a little
bit more about what we talked about today, you can
go to our website and type in the word ballet
in the search bar and you will get a number
of articles, one of which I really love called the
ten most Important Ballet Terms. And you can learn about
ballet or almost anything else you have an interest in

(30:07):
at our website, which is how stuff Works dot com
for more on this and thousands of other topics because
it has staff works dot com. Netflix streams TV shows

(30:29):
and movies directly to your home, saving you time, money,
and hassle. As a Netflix member, you can instantly watch
TV episodes and movies streaming directly to your PC, Mac,
or right to your TV with your Xbox three, sixty
p S three or Nintendo we console, plus Apple devices,
Kindle and Nook. Get a free thirty day trial membership.

(30:50):
Go to www dot Netflix dot com and sign up now.