To understand what I think Cassandra is getting at here, take a look at the website www.dansomanie.net
, on the Maryinskii thread. There is a "dropshot" of Daria Pavlenko and Korsakov dancing the Bluebird pas de deux.
Then take out the Delouche DVD of Markova "The Legend" instructing Nolwenn Daniel of the POB in Florine's variations, and listen carefully to what Markova says.
I've never met Daria Pavlenko, and I've nothing whatsoever against her.
But I'm one of those bozos who "watch" dancing with my sense of hearing, the eye being secondary.
What that poor girl does is straight Balanchine - she hears the accent wherever she plans to bang out the hyper-extension, NOT where Tchaikovski placed it.
In any event, the CLAP of her pointe shoe is such, that one can hardly hear the music over the din.
All the fascinating curves and inclines of the body, that tell the ambiguities of the tale, have been erased.
As it happens, the Bluebird is based on the Lai de Yonnec, a very strange, and not all that cheery, mediaeval tale. When one dances it, one should at least approximate telling the tale, otherwise it's just a lot of mindless jumping around.
Personally, I don't go to the theatre to watch tall, good-looking gymnasts strutting their stuff, adding a cute little simper here and there to make it look like "Art". The Chinese circus exists for that.
I'd rather stay home and continue my hitherto-somewhat-vain attempts to read a score properly.
Which is why I walked out of the Maryinskii performances here at Paris this past autumn - the vacant stares, the bean-pole women waving their limbs about in the "Lac" pas de trois ... three other people in the trade told me they walked out for the precise same reason.
In fact, it was one of those days when one mutters to oneself, "Paris Opera, return - all is forgiven!"