History of ballet
Ballet is a formalized form of dance with its origins in the Italian Renaissance courts of 15th and 16th centuries. Ballet spread from Italy to France with the help of Catherine de' Medici, where ballet developed even further under her aristocratic influence. An early example of Catherine's development of ballet is through 'Le Paradis d' Amour', a piece of work presented at her daughter's wedding, Marguerite de Valois to Henry of Navarre. Aristocratic money was responsible for the initial stages of development in 'court ballet', as it was royal money that dictated the ideas, literature and music used in ballets that were created to primarily entertain the aristocrats of the time. The first formal 'court ballet' ever recognized was staged in 1573, 'Ballet des Polonais'. In true form of royal entertainment, 'Ballet des Polonais' was commissioned by Catherine de' Medici to honor the Polish ambassadors who were visiting Paris upon the accession of Henry of Anjou to the throne of Poland. In 1581, Catherine de' Medici commissioned another court ballet, "Ballet Comique de la Reine", however it was her compatriot, Balthasar de Beaujoyeulx, who organized the ballet. Catherine de' Medici and Balthasar de Beaujoyeulx were responsible for presenting the first court ballet ever to apply the principles of Baif's Academie, by integrating poetry, dance, music and set design to convey a unified dramatic storyline. Moreover, the early organization and development of 'court ballet' was funded by, influenced by and produced by the aristocrats of the time, fulfilling both their personal entertainment and political propaganda needs.
International Ballet
1951 was the year of the Festival of Britain and the opening of the newly built Royal Festival Hall on the South Bank, and International Ballet was invited to present a programme of ballet for its inaugural season. 
The Festival Hall is principally a concert hall and has no proscenium arch or stage curtains. Temporary ones could have been erected, but International Ballet decided to present their ballets without them. Special lighting had to be devised, and new sets designed to complement the unusual lighting. The varied programme included the two Massine ballets and the Russian classical ballets, but they had to be adapted somewhat to suit the new stage arrangement. This novel presentation of ballet attracted criticism from some quarters, but all performances of the long summer season were sold out.
The company was invited to do another season the following year but could not accept because of prior commitments overseas. However it had shown that ballet could be successful staged this way, and some time later the Festival Ballet made the Royal Festival Hall their London base.