style. He was inspired by Isadora Duncan who was famous for rejecting ballet and believed dance should be a natural expression of the soul. He was also inspired by Konstantin Stanislavski's 'system' of acting. Choreography Alexander Gorsky choreographed, restaged, and revived many ballets. He created many of his own ballets but it was his restaging of Marius Petipa's ballets that have become more well known. Some say he paved the way for Michel Fokine's work. Some of Gorsky's ballets were Gudule's Daughter (ru: Дочь Гудулы) (a revision of the La Esmeralda), Salammbo, Etudes, Dances of the Nations, Eunice and Petronius, and Love is Quick. Of the Bolshoi Theatre's classical repertory Gorsky revived the Petipa/Ivanov version of La Fille mal gardée for the first time in 1903 (Gorsky's version would become the basis for nearly every production staged in Russia and the west for decades), the Petipa/Ivanov revival of Swan Lake in 1901, Petipa's Don Quixote in 1900, La Bayadère (with Vasily Tikhomirov) in 1904, and Raymonda in 1905. He also revised The Nutcracker and Petipa's revival of Arthur Saint-Léon's The Little Humpbacked Horse in 1901. Don Quixote Gorsky staged his revival of Don Quixote in 1900 with musical parts by French composer Antoine Simon, a version he staged for the Imperial Ballet in 1902. Gorsky's production served as the basis for nearly every production staged thereafter. The largest change that Gorsky made to Petipa's choreography was the action of the corps de ballet. Instead of being a moving background as the corps often is, they became an important part of the drama. They bustled around the stage breaking the symmetry and lines typical of Petipa. Their movement was often culturally relevant, playful, and realistic of a group of people. (Souritz 31) Some fans of ballet thought the new version was a masterpiece and rushed to Moscow to see it. Others such as Alexander Benois thought it was a mess “typical of amateur performances”. However “the dynamic, stormy rhythm, and easy lighthearted gaiety of Don Quixote, as we know it today are due in great part to Gorsky”. Swan Lake By 1920 Gorsky had made several versions of Swan Lake. Swan Lake had been changed many times and was considerably different from Petipa's and Ivanov's St. Petersburg Ballet's version. He redid the peasants’ waltz from the first act, added character dancing, lost the straight geometric lines of Petipa, and ended the