Noverre danced at the courts of the cities of France and Germany, usually in ballet entrées , which diversified various ceremonies and performances. Their aim was to dazzle the guests with the elegance and splendor of costumes, to amaze with the theatrical effect, to show the virtuosity of the dancers involved (if there were such in the ensemble), and to hide the faces of the courtiers and their ladies (they often participated in the performance). Noverre early discovered the possibilities of dance beyond the show: expressing emotions and portraying events. The scenery was located by projections: first a panorama of old Warsaw, then the interior of the delicious hall of the Royal Castle. Later, dark clouds roamed the horizon, as if a sign that Noverre's work was permeating the impending whiff of romanticism. This sequence set the order of the narrative. At the opening, three pairs of courtiers and courtiers of King Staś with the sounds of the Polonaise in G majorPrince Maciej Radziwiłł began to dance. When Król (Dariusz Brojek) joined them, the rhythm of movement was set by Wolfgang Amadeus Mozart's minuets, counterredans and guavers. The brilliant metaphorical end of the performance appealed to their memory and imagination. Noverre left (he did not get the job), Romana Agnel closed her subtle session in which she used to multiply graceful steps, steps, curves of hands, bows of the head, meaningful looks. Freed from all conventions, all the dancers together: Amor, Piekarz, Furie, Courtiers started to kick as they wanted. Then the curtain fell, but then it rose and they kept on kicking. After all, the art of dance develops, enriches and becomes beautiful all the time.