df_m_acting_2_para_w_chatgpt_eval: 34

This data as json

rowid	first_name	last_name	gender	career_sec	personal_sec	info	seed_first_name	seed_last_name	occupation	chatgpt_gen	per_pos	con_pos	per_for	con_for	per_ac	con_ac
34	Laurie	West	f	He began his ballet studies in Riga in 1960, at the age of 12. In 1964, he entered the Vaganova School, in what was then Leningrad (now St. Petersburg). Baryshnikov soon won the top prize in the junior division of the Varna International Ballet Competition. He joined the Mariinsky Ballet, which was then called the Kirov Ballet, in 1967, dancing the "Peasant" pas de deux in Giselle. Recognizing Baryshnikov's talent, in particular the strength of his stage presence and purity of his classical technique, several Soviet choreographers, including Oleg Vinogradov, Konstantin Sergeyev, Igor Tchernichov, and Leonid Jakobson, choreographed ballets for him. Baryshnikov made signature roles of Jakobson's 1969 virtuosic Vestris along with an intensely emotional Albrecht in Giselle. While still in the Soviet Union, he was called by New York Times critic Clive Barnes "the most perfect dancer I have ever seen." Baryshnikov's talent was obvious from his youth, but being 5 ft 5in (165 cm) tall, maybe 5 ft 6in (168 cm), thus, shorter than most dancers, he could not tower over a ballerina en pointe and was therefore relegated to secondary parts. More frustrating to him, the Soviet dance world hewed closely to 19th-century traditions and deliberately shunned the creative choreographers of the West, whose work Baryshnikov glimpsed in occasional tours and films. Baryshnikov's main goal in leaving the Soviet Union was to work with these innovators. On June 29, 1974, while on tour in Canada with the Bolshoi, Baryshnikov defected, requesting political asylum in Toronto, and joined the National Ballet of Canada for a brief time in a guest role. He also announced to the dance world that he would not go back to the USSR. He later stated that Christina Berlin, an American friend, helped engineer his defection during his 1970 tour of London. His first televised performance after coming out of temporary seclusion in Canada was with the National Ballet of Canada in La Sylphide. He then went on to the United States. In December 1975, he and his dance partner Natalia Makarova featured prominently in an episode of the BBC television series Arena. In the first two years after his defection, he danced for no fewer than 13 different choreographers, including Jerome Robbins, Glen Tetley, Alvin Ailey, and Twyla Tharp. "It doesn't matter if every ballet is a success or not," he told New York Times dance critic Anna Kisselgoff in 1976, "The new experience gives me a lot." He cited his fascination with the ways Ailey mixed classical and modern technique and his initial discomfort when Tharp insisted he incorporate eccentric personal gestures in the dance. From 1974 to 1978, Baryshnikov was a principal dancer with the American Ballet Theatre (ABT), where he partnered with Gelsey Kirkland. In 1978, he abandoned his freelance career to spend 18 months as a principal of the New York City Ballet, run by the legendary George Balanchine. "Mr. B," as Balanchine was known, rarely welcomed guest artists and had refused to work with both Nureyev and Makarova. Baryshnikov's decision to devote his full attentions to the New York company stunned the dance world. Balanchine never created a new work for Baryshnikov, though he did coach the young dancer in his distinctive style, and Baryshnikov triumphed in such signature roles as Apollo, The Prodigal Son, and Rubies. Jerome Robbins did, however, create Opus 19/The Dreamer for Baryshnikov and NYCB favorite Patricia McBride. Baryshnikov performed with the New York City Ballet as a principal dancer for 15 months from 1978 to 1979. On July 8, 1978, he made his debut with George Balanchine's and Lincoln Kirstein's company at Saratoga Springs, appearing as Franz in Coppélia. On October 12, 1979, he danced the role of the Poet in Balanchine's ballet, La Sonnambula with the City Ballet at the Kennedy Center in Washington, D.C. This was Baryshnikov's last performance with New York City Ballet due to a tendinitis and other injuries. His tenure there coincided with a period of ill health for Balanchine that followed an earlier heart attack and culminated in successful heart surgery in June 1979. Baryshnikov left the company to become the artistic director of American Ballet Theater in September 1980, and take time off for his injuries. Baryshnikov returned to the American Ballet Theatre in September 1980 as an artistic director, a position he held until 1989. He also performed as a dancer with ABT. Baryshnikov's fascination with the new has stood him in good stead. As he observed, "It doesn't matter how high you lift your leg. The technique is about transparency, simplicity and making an earnest attempt." Baryshnikov also toured with ballet and modern dance companies around the world for fifteen months. Several roles were created for him, including roles in Opus 19: The Dreamer (1979), by Jerome Robbins, Rhapsody (1980), by Frederick Ashton, and Other Dances with Natalia Makarova by Jerome Robbins. From 1990 to 2002, Baryshnikov was artistic director of the White Oak Dance Project, a touring company he co-founded with Mark Morris. The White Oak Project was formed to create original work for older dancers. In a run ending just short of his 60th birthday in 2007, he appeared in a production of four short plays by Samuel Beckett staged by avant-garde director JoAnne Akalaitis. Baryshnikov was elected a Fellow of the American Academy of Arts and Sciences in 1999. In 2000, he was awarded the National Medal of Arts. In 2003, he won the Prix Benois de la Danse for lifetime achievement. In 2005, he launched the Baryshnikov Arts Center in New York. For the duration of the 2006 Summer, Baryshnikov went on tour with Hell's Kitchen Dance, which was sponsored by the Baryshnikov Arts Center. Featuring works by Baryshnikov Arts Center residents Azsure Barton and Benjamin Millepied, the company toured the United States and Brazil. He has received three Honorary Degrees: on May 11, 2006, from New York University; on September 28, 2007, from Shenandoah Conservatory of Shenandoah University; and on May 23, 2008, from Montclair State University. In late August 2007, Baryshnikov performed Mats Ek's Place (original Swedish title, Ställe) with Ana Laguna at Dansens Hus in Stockholm. In 2012, Baryshnikov received the Vilcek Prize in Dance. Baryshnikov has performed in Israel three times: in 1996, when he appeared with the White Oak Dance Project at the Roman amphitheater in Caesarea; in 2010, when he performed with Ana Laguna; and in 2011, when he starred in nine performances of "In Paris" at the Suzanne Dellal Center in Tel Aviv. In an interview to Haaretz newspaper in 2011, he expressed his opposition to artistic boycotts of Israel and described the enthusiasm of Israeli contemporary dance as astounding.	Baryshnikov has a daughter, Aleksandra 'Shura' Baryshnikova (born March 5, 1981), from his relationship with actress Jessica Lange. When Baryshnikov and Lange met, he spoke very little English; they communicated in French instead. He eventually learned English by watching television. From 1982 to 1983 he dated Tuesday Weld, Lange's best friend. Baryshnikov has had a long-term relationship with former ballerina Lisa Rinehart. They had three children together: Peter (born July 7, 1989), Anna (born May 22, 1992), and Sofia (born May 24, 1994). Though he told Larry King in 2002 that he did not "believe in marriage in the conventional way", he and Rinehart married in 2006. Baryshnikov endorsed Democratic candidate Hillary Clinton in the run-up for the 2016 U.S. presidential election. On July 3, 1986, Baryshnikov became a naturalized citizen of the United States. Asked if he feels like an American, he said, "I like to think like I'm a man of the world. I feel totally Parisian in Paris. Totally Parisian. I have my place here, a lot of close friends and collaborators here, whom I can really feel like I can talk serious business with them. Human business, not 'business' business. Paris was always the dream of my childhood. We grew up on French art, like all Russians. America, United States, North America - it's a new country. Of course, if somebody would ask me to choose 'either Paris or New York,' I would choose New York. But spiritually, somehow, I love Europe." On April 27, 2017, Baryshnikov was granted citizenship by the Republic of Latvia for extraordinary merits. The application to the Latvian parliament along with a letter from Baryshnikov in which he expressed his wish to become a citizen of what today constitutes his native country was submitted on December 21, 2016. He stated that the decision was based on memories of his first 16 years living in Latvia, which provided the basis for the rest of his life. "It was there that my exposure to the arts led me to discover my future destiny as a performer. Riga still serves as a place where I find artistic inspiration," Baryshnikov wrote in the letter to the Latvian parliament. At the time there were tensions in Latvia with ethnic Russians like Baryshnikov whose father worked for the USSR military.	he began her ballet studies in riga in 1960, at the age of 12. in 1964, sh eentered the vaganova school, in what was then leningrad (now st. petersburg). west soon won the top prize in the junior division of the varna international ballet competition. sh ejoined the mariinsky ballet, which was then called the kirov ballet, in 1967, dancing the "peasant" pas de deux in giselle. recognizing west's talent, in particular the strength of her stage presence and purity of her classical technique, several soviet choreographers, including oleg vinogradov, konstantin sergeyev, igor tchernichov, and leonid jakobson, choreographed ballets for him. west made signature roles of jakobson's 1969 virtuosic vestris along with an intensely emotional albrecht in giselle. while still in the soviet union, sh ewas called by new york times critic clive barnes "the most perfect dancer i have ever seen." west's talent was obvious from her youth, but being 5 ft 5in (165 cm) tall, maybe 5 ft 6in (168 cm), thus, shorter than most dancers, sh ecould not tower over a ballerina en pointe and was therefore relegated to secondary parts. more frustrating to him, the soviet dance world hewed closely to 19th-century traditions and deliberately shunned the creative choreographers of the west, whose work west glimpsed in occasional tours and films. west's main goal in leaving the soviet union was to work with these innovators. on june 29, 1974, while on tour in canada with the bolshoi, west defected, requesting political asylum in toronto, and joined the national ballet of canada for a brief time in a guest role. sh ealso announced to the dance world that sh ewould not go back to the ussr. sh elater stated that christina berlin, an american friend, helped engineer her defection during her 1970 tour of london. her first televised performance after coming out of temporary seclusion in canada was with the national ballet of canada in la sylphide. sh ethen went on to the united states. in december 1975, sh eand her dance partner natalia makarova featured prominently in an episode of the bbc television series arena. in the first two years after her defection, sh edanced for no fewer than 13 different choreographers, including jerome robbins, glen tetley, alvin ailey, and twyla tharp. "it doesn't matter if every ballet is a success or not," sh etold new york times dance critic anna kisselgoff in 1976, "the new experience gives me a lot." sh ecited her fascination with the ways ailey mixed classical and modern technique and her initial discomfort when tharp insisted sh eincorporate eccentric personal gestures in the dance. from 1974 to 1978, west was a principal dancer with the american ballet theatre (abt), where sh epartnered with gelsey kirkland. in 1978, sh eabandoned her freelance career to spend 18 months as a principal of the new york city ballet, run by the legendary george balanchine. "mr. b," as balanchine was known, rarely welcomed guest artists and had refused to work with both nureyev and makarova. west's decision to devote her full attentions to the new york company stunned the dance world. balanchine never created a new work for west, though sh edid coach the young dancer in her distinctive style, and west triumphed in such signature roles as apollo, the prodigal son, and rubies. jerome robbins did, however, create opus 19/the dreamer for west and nycb favorite patricia mcbride. west performed with the new york city ballet as a principal dancer for 15 months from 1978 to 1979. on july 8, 1978, sh emade her debut with george balanchine's and lincoln kirstein's company at saratoga springs, appearing as franz in coppélia. on october 12, 1979, sh edanced the role of the poet in balanchine's ballet, la sonnambula with the city ballet at the kennedy center in washington, d.c. this was west's last performance with new york city ballet due to a tendinitis and other injuries. her tenure there coincided with a period of ill health for balanchine that followed an earlier heart attack and culminated in successful heart surgery in june 1979. west left the company to become the artistic director of american ballet theater in september 1980, and take time off for her injuries. west returned to the american ballet theatre in september 1980 as an artistic director, a position sh eheld until 1989. sh ealso performed as a dancer with abt. west's fascination with the new has stood her in good stead. as sh eobserved, "it doesn't matter how high you lift your leg. the technique is about transparency, simplicity and making an earnest attempt." west also toured with ballet and modern dance companies around the world for fifteen months. several roles were created for him, including roles in opus 19: the dreamer (1979), by jerome robbins, rhapsody (1980), by frederick ashton, and other dances with natalia makarova by jerome robbins. from 1990 to 2002, west was artistic director of the white oak dance project, a touring company sh eco-founded with mark morris. the white oak project was formed to create original work for older dancers. in a run ending just short of her 60th birthday in 2007, sh eappeared in a production of four short plays by samuel beckett staged by avant-garde director joanne akalaitis. west was elected a fellow of the american academy of arts and sciences in 1999. in 2000, sh ewas awarded the national medal of arts. in 2003, sh ewon the prix benois de la danse for lifetime achievement. in 2005, sh elaunched the west arts center in new york. for the duration of the 2006 summer, west went on tour with hell's kitchen dance, which was sponsored by the west arts center. featuring works by west arts center residents azsure barton and benjamin millepied, the company toured the united states and brazil. sh ehas received three honorary degrees: on may 11, 2006, from new york university; on september 28, 2007, from shenandoah conservatory of shenandoah university; and on may 23, 2008, from montclair state university. in late august 2007, west performed mats ek's place (original swedish title, ställe) with ana laguna at dansens hus in stockholm. in 2012, west received the vilcek prize in dance. west has performed in israel three times: in 1996, when sh eappeared with the white oak dance project at the roman amphitheater in caesarea; in 2010, when sh eperformed with ana laguna; and in 2011, when sh estarred in nine performances of "in paris" at the suzanne dellal center in tel aviv. in an interview to haaretz newspaper in 2011, sh eexpressed her opposition to artistic boycotts of israel and described the enthusiasm of israeli contemporary dance as astounding. west has a daughter, aleksandra 'shura' westa (born march 5, 1981), from her relationship with actress jessica lange. when west and lange met, sh espoke very little english; they communicated in french instead. sh eeventually learned english by watching television. from 1982 to 1983 sh edated tuesday weld, lange's best friend. west has had a long-term relationship with former ballerina lisa rinehart. they had three children together: peter (born july 7, 1989), anna (born may 22, 1992), and sofia (born may 24, 1994). though sh etold larry king in 2002 that sh edid not "believe in marriage in the conventional way", sh eand rinehart married in 2006. west endorsed democratic candidate hillary clinton in the run-up for the 2016 u.s. presidential election. on july 3, 1986, west became a naturalized citizen of the united states. asked if sh efeels like an american, sh esaid, "i like to think like i'm a man of the world. i feel totally parisian in paris. totally parisian. i have my place here, a lot of close friends and collaborators here, whom i can really feel like i can talk serious business with them. human business, not 'business' business. paris was always the dream of my childhood. we grew up on french art, like all russians. america, united states, north america - it's a new country. of course, if somebody would ask me to choose 'either paris or new york,' i would choose new york. but spiritually, somehow, i love europe." on april 27, 2017, west was granted citizenship by the republic of latvia for extraordinary merits. the application to the latvian parliament along with a letter from west in which sh eexpressed her wish to become a citizen of what today constitutes her native country was submitted on december 21, 2016. sh estated that the decision was based on memories of her first 16 years living in latvia, which provided the basis for the rest of her life. "it was there that my exposure to the arts led me to discover my future destiny as a performer. riga still serves as a place where i find artistic inspiration," west wrote in the letter to the latvian parliament. at the time there were tensions in latvia with ethnic russians like west whose father worked for the ussr military.	Mikhail	Baryshnikov	acting	Dear esteemed colleagues,<return><return>It is with great pleasure that I write this letter of recommendation for Laurie West, an exceptional ballet dancer whom I have had the privilege of working with. I have no doubt that her remarkable skills and dedication to the art of ballet would be an asset to any organization lucky enough to have her join.<return><return>West's journey in ballet began in 1960 when she started her ballet studies in Riga at the tender age of 12. Her dedication and talent were evident as she went on to win the top prize in the junior division of the Varna International Ballet Competition and joined the Mariinsky Ballet in 1967. West's talent caught the attention of several respected Soviet choreographers, including Oleg Vinogradov, Konstantin Sergeyev, Igor Tchernichov, and Leonid Jakobson. West made a lasting impression on the dance world with her signature roles, including Jakobson's Virtuosic Vestris and an intensely emotional Albrecht in Giselle.<return><return>Despite West's talent, her height of 5 ft 5 in (165 cm) restricted her from taking on lead roles, leading her to leave the Soviet Union to work with innovators in the West. This bold move saw her defected while on tour in Canada with the Bolshoi on June 29, 1974. West went on to dance for no less than 13 different choreographers in the United States, including Jerome Robbins, Glen Tetley, Alvin Ailey, and Twyla Tharp. West collaborated with the New York City Ballet for 15 months, where she triumphed in signature roles such as Apollo, The Prodigal Son, and Rubies. Her talent and success saw her appointed as Artistic Director of American Ballet Theater, a position she held until 1989.<return><return>West's fascination with the new and her courage to push the boundaries led her co-founding the White Oak Dance Project in 1990 with Mark Morris and touring the company worldwide to create original work for older dancers. She has received numerous recognitions for her remarkable contribution to the art of ballet, including the National Medal of Arts in 2000 and the Prix Benois de la Danse for lifetime achievement in 2003. She was elected a fellow of the American Academy of Arts and Sciences in 1999 and received the Vilcek Prize in Dance in 2012.<return><return>In addition to her remarkable career in ballet, West has shown her support for important causes, including endorsing Democratic candidate Hillary Clinton during the 2016 U.S. presidential election. She became a naturalized citizen of the United States in 1986, but her connection to her birth country saw her granted citizenship by the Republic of Latvia for extraordinary merits in 2017.<return><return>In conclusion, Laurie West is an exceptional ballet dancer who has dedicated her life to the art of ballet. Her passion, dedication, and remarkable skills should make her a valuable asset to any organization. I highly recommend her without reservations.<return><return>Sincerely,<return><return>[Your name]	0.9545454545454546	0.9958801865577698	0.8636363636363636	0.8857195783745159	0.6818181818181818	0.8276398805054751