FAUST Ballet video version. Music: Franz Liszt, “Faust Symphony”. Jean-Christophe Maillot interprets the romantic myth as a story of a person's inner split. For this production, he chooses the rare and complex genre of symphonic ballet, building a choreographic narrative into Liszt's powerful and multi-layered score. Maillot’s dance is recognizable from the first movement. It is ballet where beauty is not born from pose, but from tension between bodies, the moment before touch, a pause charged with meaning. The plasticity is classically precise and startlingly alive—lines break, balance sways, and authenticity arises from that. The protagonist, torn by thirst for knowledge, faith in thought, and painful awareness of the body's, time's, and life's limitations, stands between three forces embodied as figures: Faust—man of doubt and desire; Margarete—fame and spiritual beauty, feminine ideal; Mephistopheles—embodiment of absolute evil. Maillot takes their relationships to extremes, turning dance into drama of passions, conflicts, and metaphysical choice. Choreography demands not only technique but full psychological identification with the role—Faust must be lived through. Performers do not show form; they think through movement. The special beauty of Maillot’s dance lies in vulnerability. His characters rarely “win”—they doubt, oppose, attract and repel. Masculine and feminine do not exist as roles, but as forces in constant dialogue. Thus, his ballets affect as both sensual and intellectual, fragile and powerful. The ballet is dedicated to Maurice Béjart, for whom the figure of Faust was one of the most attractive.