Biography

Rudolf Nureyev

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He was an ethnic Tatar. He was educated at the Leningrad Ballet School and starred with Kirov Ballet. His first film was a USSR short Le Corsaire (1958). While performing in Paris in 1961 he defected to the West. He then performed internationally, becoming an Austrian citizen in 1982. The English/French documentary I Am a Dancer (1972), directed by Pierre Jourdan featured him and his long-time partner Margot Fonteyn. He played Rudolph Valentino in the film Valentino (1977) and Daniel Jelline in Exposed (1983), his last film. In 1982, he starred in the US stage revival of "The King and I".
- IMDb mini biography by: Ed Stephan <stephan@cc.wwu.edu>

Initially, the producers of The Muppet Show (1976) had such difficulty casting guest stars that they had to call upon all their personal friends in the entertainment industry for help. This changed dramatically after Nureyev's guest appearance. The publicity of a renowned ballet dancer appearing on such a bizarre show created such positive publicity that the show became popular and soon celebrities were lining up to appear on the show.
He kept every single pair of ballet slippers he had ever owned. It was rumored that it was because he was superstitious, when in fact, it was merely sentimental value.
His long-time romantic partner at the time of his death was fellow danseur Erik Bruhn.
Was not even thirty when he was being touted as "the greatest living male dancer."
He inspired American ballerinas Cynthia Gregory and Gelsey Kirkland to take up ballet professionally after they both saw him dance, and eventually went onto partner with them.

The only critic is a full house.
[on why he didn't want children:] "What if they were not as good as me? What would I do with those imbeciles?"
I don't care if Margot is a Dame of the British Empire or older than myself. For me she represents eternal youth; there is an absolute musical quality in her beautiful body and phrasing. Because we are sincere and gifted, an intense abstract love is born between us every time we dance together.
I approach dancing from a different angle than those who begin dancing at 8 or 9. Those who have studied from the beginning never question anything. For me, purity of movement wasn't enough. I needed expression, more intensity, more mind.
I'm really alive when I'm on stage.

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