The distinctive style and technique of the dancers of the Royal Danish Ballet has always aroused great interest and enthusiasm in the world of ballet. Their special quality derives from the work of August Bournonville over a century ago. A great teacher and choreographer, his teaching and his ballets, such as La Sylphide, have remained unchanged through the years. Erik Bruhn, indisputably one of the greatest dancers of the twentieth century, was trained in the Bournonville tradition, and in his appearances as guest artist in the USA, Russia and elsewhere he had the unique opportunity of comparing his training and technique with other methods. This interest impelled him to study anew Bournonville's principles as set down in his Etudes chore graphiques, and in collaboration with Lillian Moore, the distinguished critic and dancer, he compiled what is modestly described as 'a book of studies and comments'. The authors emphasize that, 'In calling attention to Bournonville's Etudes chore graphiques and his own teaching, we have not the slightest intention or desire to urge a new and different "system" of teaching upon the world...Our purpose here is much more modest. We simply want to discuss a few things which are sometimes neglected even in the best schools and describe some of the ways they are taught in the Danish school where they are still remembered.'