[7] She was the star of a number of experimental works choreographed by the company's director Serge Lifar, including Alexandre le Grand, Istar, Suite en Blanc and Les Mirages.

[8] Lifar also encouraged her to study with two Russian choreographers—Boris Kniaseff and Victor Gsovsky, who influenced her style towards lyricism and away from her hard-lined academic training.

[2] During this time she widened her range of roles and began to perform in more classical productions such as Giselle, Sleeping Beauty and The Nutcracker.

[8] In a 1989 interview, she characterised contemporary style as becoming "more and more slipshod", and criticised the fashion for "extreme" ballet movements as risking injury to the dancer.

[9] In 1992, Chauviré served as an inaugural juror for the International Dance Association's Prix Benois de la Danse competition.

[13] In 1937, Chauviré performed in Jean Benoît-Lévy's film La Mort du Cygne ("The Death of the Swan"), which told the story of a young girl who aspires to become a ballet dancer.

The film shows coaching sessions between Chauviré and younger ballerinas, such as Dominique Khalfouni, as well as archival footage of her performances.