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In 1895 Les Ballets de Monte-Carlo inherited a twofold tradition from the merger of the Monte-Carlo opera house ballet and the ballet of the Parisian Opéra Russe. This tradition was updated in 1993 by choreographer and stage director Jean-Christophe Maillot. Fascinated by the universal myth of Faust and the Romantic dimension of Franz Liszt´s music, Maillot created an atypical ballet to explore the triangular relationship between the symbolic characters of Marguerite (the feminine ideal of bodily and spiritual beauty), Mephisto (absolute evil) and Faust (the human being blessed by knowledge but doomed by mortality). This cryptic relationship, as Maillot points out, has been constantly reinterpreted in a variety of languages since the 19th century. Though it is a philosophical ballet, in keeping with the works of Goethe and Marlowe, this in no way diminishes the impact of the physical presence of forty-five dancers on the stage.
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