The Parisians, while denying adoption of the backwards Russian troupe, had distinct Russian influence in their theater. “Despite Clustine’s protestations, several features of the Opera’s post-1909 ballets, along with its institutional conventions and balletic policy, appeared to betray a Russian influence.” The stigma of Russian brutality and force was applied even in Paris. While their style was not only being accepted in Paris, but implemented in Paris theaters, the Ballets Russes were still considered dangerous, even in the theatre of performing art. “The Ballets Russes, at base, became a metaphor for invasion, an eternal force that could engulf and control, could penetrate the membrane of French society, culture and even art itself.” The embracing of Russian ballet in the Paris society became a point of contention and French nationalism collided with Russian determination. Questions arose about the Russian intention in the Paris theaters under the title “cultural politics” including “the delimitation of boundaries, the preservation of identity and the nature of relational engagements.”