version of Le Spectre de la rose (1931); and L'Après-midi d'un faune (1935); Icare (1935), with costumes and decor by Picasso; Istar (1941); and Suite en Blanc (1943), which he qualified as Neoclassical ballet. As part of his effort to revitalize dance, Lifar thought the basic principles of ballet—specifically the five positions of the feet—denied mobility for the dancer. He codified two additional positions, known as the sixth and seventh positions, with the feet turned in, not out like the first five positions. The sixth and seventh positions were not Lifar's inventions, but revivals of positions that already existed in the eighteenth century, when there were ten positions of the feet in classical ballet; and their use is limited to Lifar's choreographies. During his three decades as director of the Paris Opéra Ballet, Lifar led the company through the turbulent times of World War II and the German occupation of France. Lifar was a collaborationist under the occupation {Franko, "Serge Lifar and the Question of Collaboration with the German Authorities under the Occupation of Paris (1940-1949)," in Dance Research 35/2 (Winter 2017): 218-257}. Lifar's postwar trial resulted in his condemnation as a collaborator and his suspension from the national stage. During his absence, Balanchine was hired to replace him. Returning to his former position, Lifar's presence was vehemently opposed by the Opera stagehands with the result that he was not allowed to appear on stage nor to consult with technical staff directly on any productions. Nevertheless, he brought the Paris Opéra Ballet to America and performed to full houses at the New York City Center despite protests. Audiences were enthusiastic and had great admiration for the company of dancers. He undoubtedly influenced Yvette Chauviré, Janine Charrat, and Roland Petit. In 1958, Lifar was forced into retirement due to a strained relationship with the Opera management. A famous photograph was taken of Lifar leaving the Palais Garnier, after being forced to resign, looking somber and clasping the wings from the costume of Icarus that the character puts on in order to fly. Later life On 30 March 1958, at age 52, Lifar faced off against the 72-year-old impresario George de Cuevas in a duel in France. The duel was precipitated by an argument over changes to Black and White (Suite en blanc), a ballet by Lifar that was being presented by the Cuevas ballet company. Lifar had his face slapped in