 It was almost an improvisation . I danced in front of her , she directly behind me . Then she danced and I walked alongside her , curving her arms and correcting details of poses . Prior to this composition , I was accused of barefooted tendencies and of rejecting toe dancing in general . The Dying Swan was my answer to such criticism . This dance became the symbol of the New Russian Ballet . It was a combination of masterful technique with expressiveness . It was like a proof that the dance could and should satisfy not only the eye , but through the medium of the eye should penetrate the soul . 
