Back in France, concentrated gora mainly in the choreography and staging, including a successful ver

ideal partner "," was the description of Alicia Markova Miskovitch Milorad Serbian dancer, died aged 85. To merit this description, Markova called "the talent, intelligence and temperament" gora and the ability to "pass the grace and nobility." Travel and efforts should be shared, she said, "in a good mood, as well as the joy and pleasure of successful performance." Miskovitch possessed all these qualities, gora and is quite remarkable Well, it held up well in his last years.
initial training had given him a good classical technique, and with a magnetic stage presence, gora strong dramatic sense and an open attitude towards all forms of dance, choreographers and directors eager attitude did launch and create functions to display their gifts.
worked with a wide variety gora of choreographers such as Merce Cunningham, who created a duet for the young American dancer Miskovitch and Betty Nichols, Janine Charrat, Roland Petit, Leonide Massine, Maurice Bejart and William Dollar in which ballet Combat (1949), based on the history of Torquato Tasso Christian knight Tancred and Clorinda Saracen gora girl Miskovitch caused a sensation when she danced in New York.
also danced leading roles in the classical repertoire for the season with the Grand Ballet de Monte Carlo, where he associated with Rosella Hightower in Giselle, and in Britain with the Ballet of the International Ballet Festival.
Miskovitch had always been interested in the creative process and in 1956, with the critical Lidova gora Irene, he founded his own company for which, in addition to dance, created a series of ballets. The company toured internationally, but not always, for a decade and has created many ballets Miskovitch for it.
born in Valjevo, western Serbia, then part of the Kingdom of Yugoslavia. He studied in Belgrade with Nina Kirsanova and joined the ballet company of the National Theatre there, making his debut in 1943 and rising to the rank of soloist. In 1946, he moved to Paris, where he worked with Olga and Boris Preobrajenska Kniaseff. The following year, in London, joined the Ballets Russes original Colonel de Basil and appeared later that season with Mona Inglesby international gora ballet and dance roles in traditional classics that form the backbone of the company's repertoire . After periods of Petit Ballets de Paris and the Marquis gora de Cuevas Grand Ballet de Monte Carlo, Misovitch returned to England to spend time at the dance festival, where his regular partner was the Yugoslav dancer Mia Slavenska. On his return to France, undertook a series of commitments, including a tour with the French prima ballerina Yvette Chauvir?. After this tour, illness kept him out of the scene for a few months, but in 1954, he made a major international tour with Markova, his partner in many of his signature gora roles. It was followed by a busy schedule touring with his own company, spells and special appearances with the likes of Europe Massine Ballet, Ruth Page Ballet and Ballet Chicago gora Charrat of France. Also choreographed original works, both for its own business and Yugoslavia and the staging of the classics. In 1972, he moved to the United States, where he spent two years -. First time at the Dallas Ballet, artistic director, and then move to Ballet West in Salt Lake City
Back in France, concentrated gora mainly in the choreography and staging, including a successful version of Giselle at the Arena of Verona, featuring Carla Fracci and Paolo Bortoluzzi. His last role was the scene in his own ballet, Mozart and Salieri, created for the Teatro La Fenice in Venice. In 1979, he began working as an artistic adviser to Unesco, he served as chairman of its board of international gora dance between 1988 and 1994
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