Editing Flames of Paris (section)

==Analysis==
{{Unreferenced section|date=February 2018}}
{{Original research section|date=February 2018}}
In creating the choreography for this ballet, Vasily Vainonen drew upon many different sources, as did the composer Boris Asafyev. ''The Flames of Paris'' blends classical and character dancing, court and folk dances, pantomime, solo performances and group scenes.

For the part of Thérèse, for example, Vainonen chose a character dancer Nina Anisimova, who displayed strong, expressive folk movements which symbolized the energy and the spirit of the crowd. On the other hand, the dances for Philippe (originally Jérôme), one of the Marseillais, and his bride are almost purely classical: the two characters dance a ''[[pas de deux]]'' which although is reminiscent of [[Marius Petipa|Petipa]] choreographic manner, is distinctly more modern and is heroic for the male. 

As a further technique for putting classical dancing on the stage, Vainonen invented the roles of the pair of actors, Mireille de Poitiers and Antoine Mistral, who have been invited by the king to perform at the banquet. These were originally danced by Natalia Dudinskaya and Konstantin Sergeyev and are designed for outstanding ballet dancers who can display their virtuosity in a classical ''pas de deux.'' These characters are, of course, on the side of the revolutionary mob, so that after the storming of the palace, and the death of Antoine Mistral, Mireille de Poitiers is joined by the group in dances which include variations, codas, and the participation of an enormous ''[[corps de ballet]]'' consisting of 24, and later 32, dancers. In the scene at the palace of [[Louis XVI of France|Louis XVI]] there is a great deal of mime sequences whilst Mireille de Poitiers dances a minuet, which is a beautiful piece of choreography in itself.