We had fouette contests to see who could last longest.

At one point, the program seemed to have been conceived in a fouette factory.

It is true that Fonteyn was no fouette whiz.

I'd do an extra fouette or balance.

I have seen the complete "Fouette" and the expression High Camp did come to mind.

There isn't a fouette in sight.

"I didn't want to do only one fouette or jump only one centimeter," she said.

'Fouette toujours,' said Stephen, grinding the pistol into the coachman's neck.

It is still amusing to see the Trocks go up on their toes, and many still knock out a mean bourree or fouette.

But in the duet's most famous traditional passage, the sequence of whipping fouette turns, her whirling was dizzying to behold.

Mr. Richardson, displaying his own firebrand virtuosity, ended his high- kicking solo with an impressive fouette into a sitting position.

First, Miss Ananiashvili whipped around with incredible velocity into the 32 fouette turns that are Odile's celebrated signature.

'Fouette, fouette,' said Stephen, and the coachman plied his whip.

The illustrious Anna Pavlova was deterred from competing in the fouette racket by her discerning teacher, who said it would spoil her unique quality of fragility.

The first one didn't answer the question but was at least on point: a dance school in Canada offered a Quicktime movie of a fouette and some notes about the turn's history.

Amusingly, a series of whipping turns on the head looked not unlike an upended version of classical ballet's 32 fouette turns and other famous bursts of pyrotechnics.

Her Odile had a haughty elegance, and her whipping fouette turns in the Black Swan pas de deux were dazzlingly sharp and totally secure.

They nod and smile imperceptibly after a ballerina like Michele Wiles whips off rounds of triple fouette turns in "Swan Lake" but are forbidden to applaud.

She is still technically insecure; when pushing for the difficult double or triple fouette turns in Act II, she faltered and the conductor was obliged to obviously slow down the tempo.

But Olga Supphozova, the company's reigning prima ballerina, proved that she is a seriously accomplished dancer, rightly drawing cheers as she spun out what looked like centuple multiple turns in the fouette section.

Paloma Herrera was a thoughtful Swanilda in a performance on Friday that made the most of all the choreography's opportunities for full, individual musical phrasing, particularly in her ravishing balances and an astonishing third-act fouette sequence.

In "Grand Pas Classique," for example, the ballerina Olga Supphozova knocks off a series of ornamented fouette turns that would be impressive for an actual female ballerina trained from childhood to dance on point.

Even Kevin McKenzie, Ballet Theater's artistic director, spun into a multiple fouette during "The Continental," a ballroom duet created by Pierre Dulaine and Yvonne Marceau for him and Martine van Hamel.

In the evening, Vladimir Malakhov gave the latter role a romantic veneer and his own noble line as the cavalier to an engaging and secure Paloma Herrera with Jose Manuel Carreno, fine in his fouette section with the women, but not quite at home in the choreography's long-lined look.