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K R I S T E N' S C O L L E C T I O N
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A 'Routine' Enslavement - 5
by Falcon (dondaverse@yahoo.com)
***
This is a fantasy of a future society featuring
indentured servitude and legalized slavery. It is a
story of a man who has devoted his life to the business
of enslaving insolvent female debtors, and a young
professional woman who struggles to avoid becoming his
next victim. (MMF, nc, rp, bd, voy, mc)
***
Author Note: This story features scenes of non-
consensual sex. Persons who do not wish to read such
scenes are advised to stop now. The author does not
condone in real life the activities depicted in this
fantasy.
***
Chapter 13: Backstage at the Ballet
One day I received an engraved invitation at our
agency's office. It indicated that I was invited, as a
"World Class Patron" of the National Ballet Company of
Capitallia, to a special ballet event for patrons only.
It was to be an "Un-Dress Rehearsal" of the company's
upcoming performance of "La Fille Mal Gardee" (The Girl
Who Is Not Well Guarded). Well of course I knew what a
"dress rehearsal" was but I had never heard of an
undress rehearsal, so I read on. It seemed that during
this very special rehearsal, open to patrons, that all
the dancers would dance naked.
This was in part to condition the dancers to performing
nude since the company was working on another ballet
where they would actually perform naked before the
general public. It was also intended as a special treat
for patrons to show the company's appreciation for our
financial support.
It was an evening rehearsal. On the day of the event I
arrived an hour early, as I wanted to go backstage and
meet some of the dancers. At the stage door Zeke, the
doorman, recognized me immediately.
"Good evening, Mr. Steelforth!" he exclaimed as he
waived me past the stage door checkpoint. "If you came
to see the dancers I can tell you most of them are up
in the second floor rehearsal room doing their warm-
ups."
As I entered I heard the cacophony of excited voices
and other sounds one can always hear backstage at any
theater before a performance. I also smelled the
familiar aroma of greasepaint from the nearby makeup
room where some of the dancers were getting their faces
done.
I wondered if they would apply some sort of greasepaint
to their whole bodies since they would be performing
nude. I passed the open rear door to the stage and saw
briefly that scenery was being moved into position and
a couple of technicians were checking out the focus on
lighting instruments. I could see the full depth of the
stage from the rear and beyond that into the lighted
empty auditorium, as neither the Act Curtain nor the
fire curtain was down as yet.
I headed up the stairs to the second floor rehearsal
room. Most of the dancers were here as Zeke had said.
They were not naked but attired in the leotards and
tights they would normally wear for classes and
rehearsals. The room was setup like dance studios
everywhere - mirrored walls and the inevitable barre
running most of the way around the room. The barre
resembled a handrail attached to the mirrored walls and
was set at a height that dancers could use it as both a
hand rest and a leg rest in their warm up exercises. As
I moved about the room dancers would greet me warmly.
"Mr. Steelforth" they would say "we are so glad you
could make it to this special performance! We
appreciate so much your generous support for our
company!"
Many of these dancers knew me well from earlier visits
I had made to their rehearsals. Those who had not met
me personally before had evidently been briefed about
my support for the company. They all regarded me as
their sugar daddy.
I looked for Vivian Morentzy - the accomplished young
lead dancer slave I had rescued from degrading pole
dance work in a bar six months earlier. She was nowhere
to be seen. Since she would be playing the lead in
today's rehearsal I assumed she had a private dressing
room and was preparing there.
I did see one naked dancer at the other end of the room
and recognized her right away as Jennifer Marston, the
slave I had seen unconsciously masturbating at the
SlendaBond training facility in the cylinder room. I
walked right up to her, introduced myself and began
fondling her breasts and nipples. Jennifer seemed to
regard it as purely routine that I should do this. She
was well trained. The Artistic Director of the company
had told me that I might do this with any of the
enslaved dancers.
I stood and watched Jennifer and the others go through
their warm up routines. They were so elegant as they
assumed all the classical ballet positions. Although
Jennifer was otherwise naked, she did have on her toe
shoes and leg warmers and was standing in fourth
position 'en pointe'. As she raised first one leg and
then the other to the barre, I could not help myself
from caressing her long slender legs and buttocks. I
asked her if this was her full time job now. She
replied that this was her second job and that her day
job was at Masterson Automotive as a psychological
consultant.
"Oh, then perhaps you know Stephanie Glenn?" I asked.
"Yes indeed. Steph and I work on the same project team
at Masterson and she also works here at the theater
evenings. The lighting designer needed an all around
assistant and gopher so he arranged with Masterson for
her to work here evenings. You can probably find her
somewhere backstage now if you wanted to talk to her."
I decided to check out what was going on down on the
stage and perhaps look for Stephanie. I had only a
short while before the performance. As I was coming
back down the stairs from the second floor rehearsal
room I ran into the choreographer of today's
performance. He seemed to know who I was and introduced
himself as Leonard Morrison. We shook hands.
"I have been quite curious, Mr. Morrison, about one
thing. What is it like to work with enslaved dancers?
How is that different than working with your free
dancers?"
"There are a number of interesting differences" he
replied. "For one thing we can keep an enslaved dancer
in a state of sexual tension most of the time. We find
this most advantageous when dealing with the female
dancers. The sexual tension seems to add an extra
dimension to their performances. Then too, we can also
use sexual relief as a kind of reward for a job well
done. With our male dancers we find it advantageous to
almost always give them sexual relief just before a
performance."
"What about corporal punishment?" I asked.
"We can do that too within certain limits prescribed by
law. Generally if I am very disappointed in a dancer
and feel he or she is not performing up to the level I
require I can use the quirt I carry at all times to
administer a sharp reprimand to the naked buttocks of
an enslaved dancer. Naturally we cannot do this with
our free dancers."
"Another thing would be the freedom I have to position
a slave dancer the way I want her to stand. I can put
my hands on any part of her body to guide her into the
exact position I seek. With the free dancers I have to
spend a lot of time talking them into the position I
want."
"Thank you Mr. Morrison. I know you have much on your
mind and won't take up any more of your time."
As I entered the door to the back of the stage a red
light was blinking and a technician shouted a heads up
warning. I heard the purr of electric motors and looked
above me. I could see that the huge wrap around
cyclorama, or 'cyc' as it was known, was being
gradually lowered from way above stage level down to
ground level position. This would form the sky backdrop
for most scenes. As soon as it touched the stage floor
I made my way around the far end of it toward stage
right. From here I could see that the fire curtain was
down and could hear a murmur of audience voices on the
other side. Evidently they had opened the house while I
had been upstairs. It was apparent that a rather
elaborate set had also been rolled into position.
Just then I saw a strange sight. All of the hundreds of
lighting instruments overhead were being tested in some
pattern or sequence. Sharply defined beams of light
punched through the darkness to illuminate every point
on the stage from every possible overhead position or
angle. Even as I watched I could see that many of these
instruments were being re-directed or refocused or
having their tints changed - all by some form of remote
control. I looked around and could not see anyone doing
this. Things had certainly changed since I took a
technical theater course in college.
Back in the day lighting instruments were bulky and hot
and adjusting them meant someone having to climb a tall
ladder. I asked the technician about this and also
where I might find Stephanie Glenn. He said that Frank
Matters, the lighting designer was doing all this pre-
rehearsal checkout of the lights from his studio office
and that Stephanie, his assistant, was with him. He
pointed me toward a door in one rear corner of the
stage.
I found myself in an office with an elaborate miniature
mockup of the real set and hundreds of extremely tiny
lighting instruments that seemed to echo all the real
lighting instruments out on the stage. There was Frank
Matters at his desk at a lighting control console and a
very naked Stephanie next to him taking notes. One of
his hands was resting affectionately on her naked
thigh.
"Ah, Mr. Steelforth!" He spun around in his chair when
he heard me enter. Stephanie looked startled and amazed
to see me here of all places. "It is a pleasure to
finally meet you. We have heard so much about your
generous contributions that have kept this company
afloat. If there is anything we can do to make your
visit more pleasurable, just name it!"
"Actually I had been wanting to say hello to Stephanie
since I had a little time before curtain and she and I
go back a ways, don't we Miss Glenn?"
"Yes, Mr. Steelforth, we certainly do!" she said. I
could see her face starting to flush and noted
increased muscular tension in her neck and shoulders.
"I understand you are Frank's assistant now, Stephanie.
How did that come about? I thought accounting was your
field?"
"Jennifer Marsden and I work together" Stephanie
replied. "We work days over at Masterson Automotive.
One night she persuaded me to come watch one of her
evening rehearsals and my master agreed. Mr. Matters
had been looking for a lighting operator and gopher and
decided he would like to have me. So he called
Masterson and they agreed to send me over here every
evening to assist him in any way that he might desire."
"So what do you do here exactly?" I asked.
"Stephanie is my lighting operator." Frank quickly
interjected. "She sits at a control console on an
elevated open platform just inside the back wall of the
auditorium. From there she can see everything."
"Does she work naked in full view of the audience?"
"No. I decided that might be too distracting. So I
usually issue her a cutoff t-shirt and a pair of short
shorts when she is working in the auditorium. When she
is back here with me I like to keep her naked."
"Frank, I had a little exposure to lighting when I was
in college. Just enough to be dangerous. We learned
about lighting for plays. Would you say that lighting
for dance is different?"
"Very much so," he replied. "With dance performances we
are concerned with what we call 'plasticity'. That
means we must use light to bring out the three
dimensional qualities of each dancer's body, so that
the audience can experience each dancer as a kind of
living sculpture. Now that we are starting to have
naked performances we have even more of a challenge.
The patrons now want to see every detail clearly, the
line of a leg, the voluptuousness of a bared buttock or
breast, the form of muscles, tendons, bone structures.
They even want to see clearly the details of each
dancer's genitalia. With the technology we have today
we can use computer software to insure that lighting
accents move around to follow the dancers, and that the
most interesting parts are always accented, no matter
what position or pose the dancer strikes."
"Amazing. I had no idea." I said.
"There is another thing a lighting designer has to
worry about now that we have naked dancers. Theaters
tend to be drafty. It is now part of my job to see that
infrared lighting on stage warms each dancer to the
desired degree, but none of them so much as to cause
unnecessary sweating."
"I certainly am looking forward to this evening's
performance."
"Stephanie and I have just finished our pre-rehearsal
run-through of all the cues." Matters said. "I have to
go upstairs and speak with the choreographer, so you
two can have a few minutes privacy if you like." So
saying he was out the door.
"How are you doing, Stephanie?"
"I am finding slavery hard, sir!" I saw a tear start to
form in the corner of one of her eyes.
I was sure she had mixed feelings about me. On the one
hand I had been instrumental in getting her enslaved.
On the other hand I had also been kind to her in taking
care that all her personal possessions were kept safely
and not auctioned off.
"It was never meant to be a vacation" I replied. "It is
society's way of making sure you pay off your debts and
your creditors are justly compensated."
"But what if a person is unjustly enslaved - for debts
they did not even owe?"
"Are you saying that was your situation, Stephanie? Why
should I believe you, girl? And why are you making an
appeal such as this to the very man who did the most to
enslave you?"
"Because you are a fair man. Everyone says so. And you
could satisfy yourself as to the facts because you have
all my receipts and business records in your
possession."
Stephanie was down on her knees before me now, with a
pleading look in her eyes.
"That is true. I do have all those records. But if all
the debts mentioned in court were not really yours why
didn't your defense lawyer challenge them?"
"I don't know, Mr. Steelforth. He is a public defender
and maybe he just had too many cases to devote that
much time to my case. Besides that he had no way of
knowing what I know now - that my old boss, Tom
Jenkins, wanted to fuck me so bad that he contrived a
case against me, even falsifying documents, until he
gained complete control of me!"
"Has he actually fucked you?"
"If you m-must k-know, yes!" Her face was red now.
"Under normal circumstances I would say he had every
right to fuck you if you are his slave. But if he set
about bringing a false enslavement case against you for
the sole purpose of fucking you later, he may have
committed a felony!"
"And if it was a felony" Stephanie continued "then
surely there must be some way it can be undone! There
must be some way I could be set free!"
"You should contact your lawyer to see if that is
possible."
"But as a slave I don't even have the right to call him
or write to him. Will you help me Mr. Steelforth? Will
you check my business records that you have in your
possession and then talk to my defense attorney, Mr.
Green?"
She was still on her knees looking up at me with
pleading eyes. I felt something for her but was
reluctant to let her see that she had made any progress
with me.
"I can't promise you anything Stephanie. But it is
possible I will look into it if I have the time." I
gave her a gentle pat on the head as one might pat a
child and bade her rise.
At this point I realized there were but twenty minutes
to curtain and I wanted to look in on Vivienne, one of
the two principal dancers in this evening's
performance. I said good-bye to a tearful Stephanie and
made my way to the dressing room corridor. When I found
Vivienne's dressing room I knocked and was admitted.
She was naked but for her pointe shoes and putting on
all over body makeup to look her best under stage
lights. She greeted me warmly, no doubt because of the
role I had played in getting her back with the ballet
company after her enslavement.
"Mr. Steelforth, I am so pleased to see you! You saved
my career when you interceded for me with my owner! Is
there anything, anything at all, that I can do to show
my gratitude?"
"Well I know you are very busy now getting ready for
the show. I expect that your performance tonight will
excite me sexually, so I will ask that you remain in
your dressing room after the performance until I come
for you. I will want to discharge my excitement in your
person!" I said with a wry smile.
"Certainly, Mr. Steelforth. I will wait for you!"
"That is all I wanted to say just now. I know you have
much to do and I need to find my seat in the house." So
saying, I bid good-bye and left her.
As I entered the auditorium from the front of house I
saw the raised platform Frank had described to me.
Stephanie, in the scanty attire Frank permitted her,
had taken up her position there behind the lighting
control console. She was clearly on view to all
audience members as they filed in. This must have been
very embarrassing for her the first time they made her
work like this but I sensed she had gotten acclimated
to it.
I took my seat in the third row center on the main
floor. A more distant seat, or even a first row balcony
seat would have given me a better view of the big
picture and a sense of the depth of the staging. But I
liked this close seating location because I liked to
study the details of dancer's bodies at close range.
For me this was, in no small part, a sexual thing.
Particularly when I knew I could look forward to
fucking the principal ballerina after the performance.
Vivienne was well trained in the classical dance since
she was 8 years old, but reduced to pole dancing after
her enslavement. At her request I had interceded with
her owner and persuaded him that she should be restored
to the art form for which she had so long trained.
Vivienne would be playing the lead role of Lise in this
production.
As I read the program notes I learned that the title
"La Fille Mal Garde" means "the girl who is not well
guarded". ** It is the story of a 16-year-old girl with
very protective parents and a male suitor who is very
resourceful in overcoming obstacles. The ballet,
written originally by Jean Dauberval, dates from the
time of the French Revolution, having been first
performed in 1789 in Bordeaux. It is considered to be
one of the happiest and sunniest of ballets. It is
romantic yet realistic, both touching and amusing.
As the house lights dimmed, and the jumble of voices in
the auditorium became hushed, I thought of the pleasure
I would have penetrating the principal ballerina right
after the show. Her exquisite grace and beauty would be
all mine to enjoy. My penis began to harden at the
thought.
The curtain went up on an elaborate set. It was
wonderful to see a whole stage full of naked dancers
moving to classical music. For me this wasn't just
about looking at cunts, though there certainly were
some magnificent cuntscapes to be enjoyed each time a
female dancer would lift one leg high or do a
pirouette. I enjoyed this to be sure but there were
other delights as well.
What I enjoyed fully as much was just the unbroken
lines of all these slender bodies, the long elegant
legs with definition of bone and muscle not obscured by
tights and firm well-muscled buttocks that could be
examined with no intervening leotards to dampen one's
pleasure. Then too there were all the lovely breasts on
display with, in many cases, erect nipples.
I had wondered before the show started what it would be
like for all the naked male dancers. I had visions of
each male dancer looking ridiculous with his penis
flopping all about every time he moved. Surprisingly
this did not happen. I had to infer that something had
been done to "stabilize" each penis so that it moved
very little. Whatever had been done in no way
interfered with the ability of audience members to
clearly see what at least some of them would want to
see in detail. I would have to ask Vivienne about this
after the show.
Ballerinas taping their breasts had long solved the
problem of distracting movement, for female dancers.
Since that wouldn't work with nudity, using only
dancers with relatively small breasts now solved the
problem.
One of the highlights of the production was the Grand
pas de deux where Lise dances with her suitor. This
production was probably unique in its use of a naked
couple to perform this playful and flirtatious dance.
The choreographer had gone even further than that by
having the male dancer erect through this dance, and
the female with her breasts flushed and nipples erect.
I had seen other productions of this ballet but
Vivienne as Lise exhibited the swift intricate footwork
as exquisitely as I have ever seen it - such neat
pointes, such beautifully phrased sequences, such light
jumps. I thought I had died and gone to heaven to think
I would soon be fucking this exquisite creature.
Vivienne, after all, was an enslaved dancer, and I had
full permission from her owner to enjoy her to the
fullest.
At the conclusion there were many curtain calls and
shouts of "Bravo" and "Brava!" The audience was on its
feet. Eventually the calls were over and the house
lights were coming up. I made my way backstage by way
of the "green room". I had to pass security to get
backstage but I was well known and there was no
problem.
I let myself into Vivienne's dressing room with the
master key I had been provided. She was still quite
naked from her performance, still had on her stage
makeup and her pointe shoes, and was somewhat
breathless from her exertions and the excitement of the
curtain calls. Fortunately star dressing rooms each
came with a cot. I locked the door and wordlessly
pulled her down on that cot, and soon was inside her.
She wrapped those long slender legs around mine and
bucked with all the energy and grace of a ballerina and
seemed to be trying to draw my penis in. Soon I
exploded in my delight of what had been my best evening
in recent memory.
**
Readers not familiar with ballet or this particular
ballet may find short video excerpts of this ballet on
YouTube.
Pursuant to the Berne Convention, this work is
copyright with all rights reserved by its author unless
explicitly indicated.
Note: If you are enjoying this story author would
appreciate feedback to dondaverse (at) yahoo (dot) com.
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This story was written as an adult fantasy. The author
does not condone the described behavior in real life.
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Kristen's collection - Directory 60