ABSTRACT
This article discusses the spatial structure and geometric patterning of Balanchine's choreography. It proposes a link between architectural classicism and Balanchine's neoclasssicism on the basis of shared forms and their meaning. It analyzes the transformation of the classical tradition for expressive purpose in works of Balanchine and 6f architecture. The vernacular and the romantic are then distinguished from the classic as alternative spatial orders. The underlying argument is that in Balanchine's choreography, as in architecture, geometry is a language capable of specific meaning and emotion.
