DOCSLIB.ORG

When Ballet First Came from Russia with Love ­ New York Times Page 1 of 5

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
When Ballet First Came from Russia with Love ­ New York Times Page 1 of 5 When Ballet First Came From Russia With Love ­ New York Times Page 1 of 5 More Articles in Arts > NYTimes.com Go to a Section Welcome, aireene ­ Member Center ­ Log Out NYT Since 1981 Arts Home Art & Design Dance Music Television Columns Movies Theater When Ballet First Came From Russia Advertisement With Love By JOHN ROCKWELL Published: October 30, 2005 E­Mail This Printer­Friendly LET it be said right out loud that "Ballets Russes," Reprints a film that just opened at the Film Forum in Save Article Manhattan and will be playing around the country, is a scrumptious chocolate layer cake of a documentary. "It was marvelous," says the now 91­year­old dancer Frederic Franklin, recalling his glory days. And this movie is no less so. Enlarge This Image So marvelous that just maybe it can transcend the dance audience and appeal to a wider public. If "Dancing With the Stars" can be a television hit and "Mad Past 24 Hours | Past 7 Days Hot Ballroom" at least a modest movie 1. Jumpy Enough to Chew a Chair? Try DogCatRadio success, then why not this, which is so 2. What's a Modern Girl to Do? much deeper and richer and sweeter and 3. Is New York Worth a Trip? Oui 4. Scientist at Work | Lisa Randall: On Gravity, Oreos and a more moving? How it will stack up Theory of Everything against an endless line of waddling 5. A New Weapon for Wal­Mart: A War Room penguins, we shall see. Go to Complete List "Ballets Russes" refers to several linked ballet companies, and the catalyst for the Geller/Goldfine Productions From the documentary "Ballets film was a 2000 reunion of veterans of the Russes": George Zoritch and Nini various troupes. It took the filmmakers, Theilade in the Ballet Russe de Dan Geller and Dayna Goldfine, two more nytimes.com/realestate Monte Carlo production of years to complete follow­up interviews Massine's "Rouge et Noir," circa and to gather film and photo material, and 1939. then another two years to edit. In the meantime, some of the dancers who appear so lively and loquacious on screen have died. Where are America's last true bargains? http://www.nytimes.com/2005/10/30/arts/dance/30rock.html?adxnnl=1&adxnnlx=1130953045­ypy508BVim8k7Ig6w3I/... 11/2/2005 When Ballet First Came From Russia With Love ­ New York Times Page 2 of 5 A quick summary of an impossibly tangled tale: Sergei Diaghilev's Ballets Also in Real Estate: Homes in NYC for $400,000 and less Russes grew out of a series of tours from Homes in the Berkshires for $400,000 and less St. Petersburg to Paris, culminating in Homes in North Carolina for $400,000 and less 1909 and formally constituted in 1911, Movie Minutes: 'Ballets when Vaslav Nijinsky left the Maryinsky Russes' ADVERTISEMENTS Theater for good to join Diaghilev's company. Until Diaghilev's death in 1929 Life Engine Trade Online: this was the most famous ballet company Scottrade. in the world, a nexus of famous dancers, Need a marketing engine? Movie Details: 'Ballets Russes' choreographers, composers and artists. VONAGE None of which is recounted in any detail The #1 Broadband Phone Service. Enlarge This Image in this film. Join now & get your 1st month FREE www.vonage.com "Ballets Russes" the movie picks up the Cingular + iTunes story in 1929, tracing the rise of a new Learn about the new ROKR phone! company, eventually called the Original Copyright 2005 The New York Times Company Home Privacy Policy Ballet Russe, and a spinoff under Léonide Search Corrections XML Help Contact Us Work for Us Site Massine called the Ballet Russe de Monte Map Back to Top Carlo. The two companies fought over choreographers, dances and dancers and some of them wound up on the same boat fleeing Europe for New York in 1939. After working with both companies for a while, the American impresario Sol Hurok picked Massine's troupe, which toured the Geller/Goldfine Productions United States indefatigably until the war's Nini Theilade as Venus in Massine's "Bacchanale," circa end and afterward. 1939. As the Metropolitan Opera tours and broadcasts did for opera, the Ballet Russe de Monte Carlo is credited with engendering a love for ballet in American cities large and small. "I thought it was the most glamorous thing I had ever seen in my life," recalls Maria Tallchief, who first saw the company in Oklahoma and wound up dancing with it before moving on to Balanchine (whom she married) and the New York City Ballet. "They created audiences for dance when before there had been none," intones the film's narrator, Marian Seldes ­ exaggerating, but true in its way. The Original troupe decamped for Australia and then, after Hurok's rejection, to Latin America, where it weathered the war years in increasingly impoverished straits, but managed to plant the seeds for ballet on two more continents. Facing rivals in New York ­ first the http://www.nytimes.com/2005/10/30/arts/dance/30rock.html?adxnnl=1&adxnnlx=1130953045­ypy508BVim8k7Ig6w3I/... 11/2/2005 When Ballet First Came From Russia With Love ­ New York Times Page 3 of 5 Ballet Russe de Monte Carlo, then Ballet Theater (now American Ballet Theater), and finally Balanchine's Ballet Society (now the New York City Ballet) ­ the Original Ballet Russe folded in 1948. The Monte Carlo company limped on until 1962; its last performance was at the Brooklyn Academy of Music. So that's the back story. But what makes this film delightful is the people involved, the women made­up, coiffed, bejeweled, with their evident joy at seeing one another again, sometimes after nearly 40 years, and their unstoppable reminiscences. What makes this film important is what it tells us about the evolution of ballet as an art form. The anecdotal gems include the sight of the ever­flirtatious Nathalie Krassovska and George Zoritch, so handsome that all the girls were in love with him, murmuring together in Russian and re­enacting a romantic moment from "Giselle." Their mothers knew each other; Mr. Zoritch says he once had Krassovska's photo above his bed "like an icon"; he even asked her to marry him. Or Krassovska, who died in February, laughing coyly at the story of her six­week marriage in Hollywood. "I had trouble with men," she recalls. "I was always in love." Or Mr. Franklin, his quotes culled from 30 hours of interviews, recalling Balanchine's dismissal in favor of Massine: "The Russians weren't very nice to one another." Or Marc Platt on his audition for Massine in Seattle: "I just danced my fool head off." Or archival scenes of the young Mia Slavenska seductively urging a pianist to play "vite comme le diable, s'il vous plaît" and then dancing to the furious tempo. Or Mr. Franklin recalling with glee how they shocked America with a Massine ballet called "Bacchanale," set to the Venusberg music from Wagner's "Tannhäuser," with the angelic, near­naked Nini Theilade emerging from the womb of a giant Dalí­designed swan: "They almost had us locked up," he says. "They had never seen anything like this." It's just heaven. The post­Diaghilev Ballets Russes, by and large, epitomized an age that prized stars over substance, dancing over choreography, for all of Massine's creative ups and downs. Or so Balanchine seems to have felt, and the disdain in the early 1940's was mutual. The Ballets Russes dancers had a hard time adapting to new trends in choreography. Agnes de Mille's "Rodeo" from 1942 incurred their scorn. "Anyone who was not bedridden could have done it," grumbles Mr. Zoritch. "What kind of dancing was that?" They wanted to be individuals, personalities, actors, stars, and thought the new styles common or cold. Mr. Franklin found it nearly impossible to dance without a character to inhabit: "We'd never been anything like this," he says. "We'd been something ­ a tree." http://www.nytimes.com/2005/10/30/arts/dance/30rock.html?adxnnl=1&adxnnlx=1130953045­ypy508BVim8k7Ig6w3I/... 11/2/2005 When Ballet First Came From Russia With Love ­ New York Times Page 4 of 5 Ms. Theilade is disdainful of mere technical accomplishment, then and now. "Fourteen or 16 pirouettes?" she remarks, dismissively. "Be warm: tell me something." By the end, the two companies had been taken over by businessmen who had forced out their artistic directors. The new leaders tried to their deaths to revive their franchises. But as Ms. Seldes remarks, "Their moment had passed." No doubt. But it lives on in this wonderful film. More Articles in Arts > Get The New York Times for as low as $2.90 a week. Ads by Google what's this? Vaganova Summer School Russian Classical Ballet Technique In Pittsburgh and Los Angeles www.russianballet.net Long Lake dance camp Unlimited opportunities in Jazz Ballet, Hip­Hop and choreography. www.longlakecamp.com MonacoAuction Monaco's premier online auction for exclusive travel deals www.MonacoAuction.com RELATED ARTICLES Film Within a Film in 60's Time Capsule? Groovy (October 26, 2005) After Diaghilev, a Deluge of Ballets Russes (October 26, 2005) Taking On a Giant (Whistleblowers Welcome) (June 1, 2005) CRITIC'S NOTEBOOK; In Snippets, An America That Ducked And Covered (April 4, 2005) INSIDE NYTIMES.COM http://www.nytimes.com/2005/10/30/arts/dance/30rock.html?adxnnl=1&adxnnlx=1130953045­ypy508BVim8k7Ig6w3I/... 11/2/2005 .
Load more

Recommended publications
  • Henri Matisse, Textile Artist by Susanna Marie Kuehl
    HENRI MATISSE, TEXTILE ARTIST COSTUMES DESIGNED FOR THE BALLETS RUSSES PRODUCTION OF LE CHANT DU ROSSIGNOL, 1919–1920 Susanna Marie Kuehl Submitted in partial fulfillment of the requirements for the degree Master of Arts in the History of Decorative Arts Masters Program in the History of Decorative Arts The Smithsonian Associates and Corcoran College of Art + Design 2011 ©2011 Susanna Marie Kuehl All Rights Reserved To Marie Muelle and the anonymous fabricators of Le Chant du Rossignol TABLE OF CONTENTS Page Acknowledgements . ii List of Figures . iv Chapter One: Introduction: The Costumes as Matisse’s ‘Best Spokesman . 1 Chapter Two: Where Matisse’s Art Meets Textiles, Dance, Music, and Theater . 15 Chapter Three: Expression through Color, Movement in a Line, and Abstraction as Decoration . 41 Chapter Four: Matisse’s Interpretation of the Orient . 65 Chapter Five: Conclusion: The Textile Continuum . 92 Appendices . 106 Notes . 113 Bibliography . 134 Figures . 142 i ACKNOWLEDGEMENTS As in all scholarly projects, it is the work of not just one person, but the support of many. Just as Matisse created alongside Diaghilev, Stravinsky, Massine, and Muelle, there are numerous players that contributed to this thesis. First and foremost, I want to thank my thesis advisor Dr. Heidi Näsström Evans for her continual commitment to this project and her knowledgeable guidance from its conception to completion. Julia Burke, Textile Conservator at the National Gallery of Art in Washington DC, was instrumental to gaining not only access to the costumes for observation and photography, but her energetic devotion and expertise in the subject of textiles within the realm of fine arts served as an immeasurable inspiration.
    [Show full text]
  • Ballets Russes Press
    A ZEITGEIST FILMS RELEASE THEY CAME. THEY DANCED. OUR WORLD WAS NEVER THE SAME. BALLETS RUSSES a film by Dayna Goldfine and Dan Geller Unearthing a treasure trove of archival footage, filmmakers Dan Geller and Dayna Goldfine have fashioned a dazzlingly entrancing ode to the rev- olutionary twentieth-century dance troupe known as the Ballets Russes. What began as a group of Russian refugees who never danced in Russia became not one but two rival dance troupes who fought the infamous “ballet battles” that consumed London society before World War II. BALLETS RUSSES maps the company’s Diaghilev-era beginnings in turn- of-the-century Paris—when artists such as Nijinsky, Balanchine, Picasso, Miró, Matisse, and Stravinsky united in an unparalleled collaboration—to its halcyon days of the 1930s and ’40s, when the Ballets Russes toured America, astonishing audiences schooled in vaudeville with artistry never before seen, to its demise in the 1950s and ’60s when rising costs, rock- eting egos, outside competition, and internal mismanagement ultimately brought this revered company to its knees. Directed with consummate invention and infused with juicy anecdotal interviews from many of the company’s glamorous stars, BALLETS RUSSES treats modern audiences to a rare glimpse of the singularly remarkable merger of Russian, American, European, and Latin American dancers, choreographers, composers, and designers that transformed the face of ballet for generations to come. — Sundance Film Festival 2005 FILMMAKERS’ STATEMENT AND PRODUCTION NOTES In January 2000, our Co-Producers, Robert Hawk and Douglas Blair Turnbaugh, came to us with the idea of filming what they described as a once-in-a-lifetime event.
    [Show full text]
  • Ballets Russes
    CINEMIEN Film & Video Distribution ABC Distribution Amsteldijk 10 Kaasstraat 4 1074 HP Amsterdam 2000 Antwerpen t. 020 – 577 6010 t. 03 – 231 0931 www.cinemien.nl www.abc-distribution.be [email protected] [email protected] presenteren / présentent: BALLETS RUSSES EEN FILM VAN / UN FILM DE DAYNA GOLDFINE & DAN GELLER Persmappen en beeldmateriaal van al onze actuele titels kunnen gedownload van onze site: www.cinemien.nl of www.abc-distribution.be Link door naar PERS en vul in; gebruikersnaam: ‘pers’, wachtwoord: ‘cinemien’ BALLETS RUSSES– synopsis (NL) Een schitterende documentaire over een revolutionaire dansgroep die bekend staat als het Ballet Russe. De groep is ontstaan uit een groep Russische vluchtelingen die nooit in Rusland hebben gedanst en splitste zich later op in twee rivaliserende dansgroepen: de ‘Original Ballet Russe’ en de ‘Ballet Russe de Monte Carlo’. De documentaire begint bij de oprichting in 1909 door de befaamde Serge Diaghilev, beschrijft de oprichting van de Ballet Russe de Monte Carlo na de dood van Diaghilev in 1929, het ontstaan van een tweede Ballets Russes groep, de voorspoedige jaren ’30 en ’40 toen het Ballet Russe door Amerika toerde, tot de ondergang in de jaren ’50 en ’60 door stijgende kosten, groeiende ego’s, competitie van buiten en intern wanbeleid. Niet alleen choreografen als Balanchine en Massine, maar ook schilders als Matisse, Dali en Picasso werkten voor de revolutionaire Ballets Russes. Om over componisten als Claude Debussy en Igor Stravinsky nog maar te zwijgen. Wereldsterren als Alicia Markova, Irina Baranova en Marc Platt halen herinneringen op. Velen van de Ballets Russes dansers van weleer zijn nu tachtig of negentig, maar zijn nog steeds actief in de balletwereld.
    [Show full text]
  • Library of Congress Collections Policy Statements: Dance
    LIBRARY OF CONGRESS COLLECTIONS POLICY STATEMENTS ±² Collections Policy Statement Index Dance Contents I. Scope II. Research Strengths III. Collecting Policy IV. Acquisition Sources: Current and Future V. Collecting Levels I. Scope This Collection Policy Statement refers only to special collections located in the Music Division that pertain to the subject of dance. The materials covered by this statement represent various formats, including: music scores, musical holographs, correspondence and other primary source materials, such as choreographic notes; photographs; photographic negatives and contact sheets; costume, set, and lighting designs; microfilms, machine-readable materials, and ephemera. All audio recordings, video recordings, film, and motion pictures related to the subject of dance are under the custodianship of Motion Picture, Broadcasting, and Recorded Sound and are not covered in this Statement. II. Research Strengths Special collections in dance, held by the Music Division, include unusually strong research materials for study in three areas of dance: the development of American modern dance, the Ballets Russes de Serge Diaghilev, and dance in musical theater. Development of American Modern Dance. The Library holds the most significant materials to be found anywhere for the study of the early pioneers of American modern dance. Primary special collections in the Music Division include the Alvin Ailey Dance Foundation Collection; Daniel Nagrin Collection; Erick Hawkins Collection; Helen McGehee and Umaña Collection of Dance Materials; Katherine Dunham Collection; Lester Horton Dance Theater Collection; Martha Graham Collection; Martha Graham Legacy Archive; May O’Donnell Archive; Miriam Cole Collection; Pola Nirenska Collection, Robert Ellis Dunn Collection; and Ruth St. Denis Archive. The Moselsio Collection contains photographs of Martha Graham, taken during the 1930s.
    [Show full text]
  • Library of Congress Collection Overviews: Dance
    COLLECTION OVERVIEW DANCE I. SCOPE This overview focuses on dance materials found throughout the Library’s general book collection as well as in the various special collections and special format divisions, including General Collections; the Music Division; Motion Picture, Broadcasting and Recorded Sound; the American Folklife Center; Manuscript Division; Prints & Photographs; and Rare Book and Special Collections. The overview also identifies dance- related Internet sources created by the Library as well as subscription databases. II. SIZE Dance materials can be found in the following classes: BJ; GT; VN; GV; M; and ML. All classes, when totaled, add up to 57,430 dance and dance-related items. Class GV1580- 1799.4 (Dancing) contains 10,114 items, constituting the largest class. The Music Division holds thirty special collections of dance materials and an additional two hundred special collections in music and theater that include dance research materials. III. GENERAL RESEARCH STRENGTHS General research strengths in the area of dance research at the Library of Congress fall within three areas: (A) dance instructional and etiquette manuals, especially those printed between 1520 and 1920, (B) dance on camera, and (C) folk, traditional, and ethnic dance. A. The first primary research strength of the Library of Congress is its collections of 16th-20th-century dance instructional and etiquette manuals and ancillary research materials, which are located in the General Collections, Music Division, and Rare Book and Special Collections (sub-classifications GN, GT, GV, BJ, and M). Special Collections within the Music Division that compliment this research are numerous, including its massive collection of sheet music from the early 1800s through the 20th century.
    [Show full text]
  • Serge Grigoriev / Ballets Russes Archive
    Serge Grigoriev / Ballets Russes Archive Guides to Special Collections in the Music Division of the Library of Congress Music Division, Library of Congress Washington, D.C. 2007 Revised 2014 October Contact information: http://hdl.loc.gov/loc.music/perform.contact Additional search options available at: http://hdl.loc.gov/loc.music/eadmus.mu010001 LC Online Catalog record: http://lccn.loc.gov/2010561019 Processed by the Music Division of the Library of Congress Collection Summary Title: Serge Grigoriev / Ballets Russes Archive Span Dates: 1909-2009 Bulk Dates: (bulk 1909-1952) Call No.: ML31.G75 Creator: Grigoriev, S. L. (Sergeĭ Leonidovich), 1883-1968 Extent: 1021 items ; 24 containers ; 18 linear feet Language: Archive material in English and Russian Location: Music Division, Library of Congress, Washington, D.C. Summary: The Serge Grigoriev / Ballets Russes Archive documents Grigoriev’s decades-long career as régisseur (rehearsal director) for both Diaghilev’s Ballets Russes and for Col. W. de Basil’s Ballets Russes de Monte Carlo. It consists primarily of photographs, photograph albums, and notes and manuscript drafts for Grigoriev’s book S.P. Diaghilev i ego ‘Russkii Balet’ 1909-1929, which was translated into English and published as The Diaghilev Ballet, 1909-1929. The archive also contains Grigoriev’s unpublished manuscript for his work Original’nyi Russkii Balet pod upravleniem Colonel W. De Basil 1932-1952. In addition, the archive includes choreographic notes, programs, additional writings by Grigoriev, clippings, tour information, and drawings. Selected Search Terms The following terms have been used to index the description of this collection in the Library's online catalog.
    [Show full text]
  • Les Saisons Russes Auktion Russischer Kunst
    LES SAISONS RUSSES Auktion Russischer Kunst Auktion № 4 21. Juni 2018 KABINETT AUKTIONSHAUS & ANTIQUITÄTEN 1 LES SAISONS RUSSES Auktion Russischer Kunst РУССКИЕ СЕЗОНЫ Аукцион русского искусства Auktion № 4 21. JUNE 2018, BEGINN UM 15.00 Die Auktion findet im Hotel Bristol Berlin statt: KURFÜRSTENDAMM 27, 10719 BERLIN Vorbesichtigung in den Räumen des Auktionshauses Kabinett: Carmerstrasse 11, 10623 Berlin. Vorbesichtigung: 18.- 20. Juni 2018 von 11.00 bis 18.30 Uhr Zusätzliche Vorbesichtigungstermine können unter der folgenden Telefonnummer vereinbart werden: +49 30 21 95 52 63 Anmeldungen für die Teilnahme an der Auktion, telefonische Gebote und Gebote in Abwesenheit sowie Katalogbestellungen richten Sie bitte an: [email protected] Der vollständige Katalog in Deutsch, Russisch und Englisch: www.kabinett-auktion.de Katalog und Online-Teilnahme: www.invaluable.com www.bidspirit.com www.lot-tissimo.com Ksenia Tsann-Kay-Si Konstantin Zhuromskiy Ilze Orinska Igor Zaidel Geschäftsführerin und Experte für Russische Dipl.-Künstlerin Experte für Moderne Expertin für Russische Kunst Assistentin Kunst Kunst der Geschätsführerin Natalia Uvarova Zaur Guseynov Christoph Wachsmuth Kunsthistorikerin Historiker, Assistenz Übersetzer, Redakteur Katalogerstellung Stephan Brombach Darijus Burneika Wirtschaftsinformatiker Fotograf und technische Unterstützung Kabinett Auktionshaus & Antiquitäten GmbH, Carmerstraße 11 - 10623 Berlin - Deutschland HRB 169058 Telefon: +49(0)30 219 55 263, Fax: +49(0) 30 219 55 261 USt.-ID- Nr.: DE 304746021 E-Mail: [email protected], www.kabinett-auktion.de Steuer-Nr.: 27/370/50007 Дорогие друзья! Рада представить вам каталог четвертых торгов аукционного дома КАБИНЕТТ в Берлине. В этот раз на торги собрана еще одна коллекция, посвященная истории Дягилевских русских сезонов и рус- ского музыкального театра после Дягилева.
    [Show full text]
  • BALLET RUSSE Ae Monte Ganlo Sponsored by Universal Art, Inc
    ELLISON-WHITE BUREAU Presents ty/h^/p „ BALLET RUSSE Ae Monte Ganlo Sponsored by Universal Art, Inc. PORTLAND AUDITORIUM Tuesday, August 11, 1942, 8:30 P. M. PROGRAM i. THE NEW YORKER Libretto by Rea IRV1N in collaboration with Leonide MASSINE Music by George GERSHWIN, orchestrated by David RAKSIN Scenery and costumes designed by Carl KENT after Rea IRVIN and Nathalie CROTHERS Costumes executed by Mme. BERTHE Scenery executed by Eugene B. Dunkel Studios, Inc. A dioramic view of New York's cafe society in three scenes presents a nocturnal adventure of the animated drawings made famous by Peter Arno, Helen E. Hokinson, William Steig, Otto Soglow and other artists' creations whose habitude is between the covers of The New Yorker magazine. To Central Park's Plaza come Arno's Colonel, Dowager and Timid Man; Hokinson's Clubwoman; boys and girls; each intent on hotspotting. Venal headwaiters, baby-faced debutantes, keyhole columnists, Steig's "Small Fry," gullible gangsters, Soglow's King, all these with gentle madness people the parade of New York after dark. The thread of the story is incidental to the portrayal of characters whose lives begin when the city goes to bed. The titles of "The New Yorker" and the characters appearing therein are by special permission of The New Yorker magazine. Scene 1. Hokinson Lady. Tatiana CHAMIE Timid Man James STARBUCK Colonel Vladimir KOSTENKO The Dowager Jean YAZVINSKY Eustace Tilley. George ZORITCH Chauffeur Nicholas BERESOFF Policeman Anton VLASOFF Doorman _ Walter SAMPSON Boy. Alexander GOUDOVITCH Peddler Anna SEMENOVA Girls Nathalie KRASSOVSKA and Miles. MLADOVA, GRANTZEVA, BROWN, GELEZNOVA Boys Frederic FRANKLIN and MM.
    [Show full text]
  • La Era Diaghilev Pertenece a La Sección: the Ballet Russes La Compañía De Ballet Más Influyente Del Siglo XX. El Legendari
    La era Diaghilev Pertenece a la sección: The Ballet Russes La compañía de ballet más influyente del siglo XX. El legendario empresario Diaghilev, el genio de Nijinksy y la modernidad de Igor Stravinski. Los Ballets Clásicos Russes fueron fundados en París en 1909, pero traían tras de sí una larga historia, luego de haber atravesado varios continentes, abarcando los cursos de la vida de muchos de los bailarines más grandes de su historia. Presentamos a continuación todas sus producciones y sus principales bailarines. Por Carolina de Pedro Pascual Esta película-documental realizada con material de archivo único y nunca mostrado: contiene entrevistas donde evoca a los bailarines en sus ochenta y noventa años, que recuerdan sus días de gloria al viajar por el mundo, trabajando con los grandes del ballet como Balanchine, Massine, Fokine y músicos como el gran Stravinsky, Debussy, con Picasso y Matisse. Irina Baronova, Frederic Franklin, Dama Alicia Markova, Orujo Platt, Maria Tallchief y George Zoritch son algunos de los artistas extraordinarios que verán en la pantalla. www.balletsrussesmovie.com Los Ballets Rusos fue una célebre compañía de ballet creada en 1907 por el empresario ruso Sergei Diaghilev, con los mejores integrantes del Ballet Imperial del Teatro Mariinsky de San Petersburgo, dirigidos por el gran coreógrafo Marius Petipa. Desde 1909, la compañía comienza sus giras internacionales y en 1911 se independiza de los Ballets Imperiales. Se convierte en una compañía independiente, residente primero en el Théâtre Mogador de París y luego en Monte Carlo, París y Londres. Causó sensación en Europa Occidental gracias a la gran vitalidad de la escuela rusa comparada con el ballet que se hacía en Francia en aquella época.
    [Show full text]
  • Robert Lindgren and Sonja Taanila Collection
    Robert Lindgren and Sonja Taanila Collection Inventory Prepared by Jessie Hopper Last Revision - June 2013 Table of Contents Collection Summary.............................................................................................................. 1 Biographical Note.................................................................................................................. 1 Scope and Content Note....................................................................................................... 2 Organization of the Robert Lindgren and Sonja Taanila Collection................................. 2 Restrictions........................................................................................................................... 2 Index Terms............................................................................................................................ 2 Administrative Information.................................................................................................... 3 Detailed Description of the Collection................................................................................. 4 Ballets Russes Archives at the University of Oklahoma School of Dance Collection Summary Repository Ballets Russes Archives at the University of Oklahoma School of Dance Collection Robert Lindgren and Sonja Taanila Title Robert Lindgren and Sonja Taanila Collection Dates 1923-2013 Bulk 1944-1952 Dates Quantity 2 boxes .75 linear feet Abstract Robert Lindgren, a Canadian dancer, and his wife Sonja Taanila (Tyven),
    [Show full text]
  • Copyright by Francisca Antonia Sofia Folch-Couyoumdjian 2014
    Copyright by Francisca Antonia Sofia Folch-Couyoumdjian 2014 The Dissertation Committee for Francisca Antonia Sofia Folch-Couyoumdjian Certifies that this is the approved version of the following dissertation: The Marquis de Cuevas: Pushing the Boundaries of Self Committee: Elizabeth Richmond-Garza, Supervisor Héctor Domínguez-Ruvalcaba Tatiana Kuzmic Alexandra Wettlaufer Lynn Wilkinson The Marquis de Cuevas: Pushing the Boundaries of Self by Francisca Antonia Sofia Folch-Couyoumdjian, B.A.; M.A. Dissertation Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy The University of Texas at Austin August 2014 The Marquis de Cuevas: Pushing the Boundaries of Self Francisca Antonia Sofia Folch-Couyoumdjian, Ph.D. The University of Texas at Austin, 2014 Supervisor: Elizabeth Richmond-Garza Abstract: Chilean dance impresario Marquis George de Cuevas was born Jorge Cuevas Bartholin (1885-1961) and is best remembered as a fashionable socialite of the 1940s and 50s who married heiress Margaret Rockefeller Strong and founded several ballet companies in Europe and America in the wake of the great Ballet Russes era. This dissertation examines how Cuevas cultivated his fictionalized public persona, an identity that is essentially queer on several levels. Cuevas participated, reflected and resisted the several labels that were imposed on him. As Spanish aristocrat, American citizen, international ballet patron, Parisian socialite, and heir to the Russian dance avant-gardes, Cuevas distanced himself from his Chilean origins. Proud of having achieved “real” success by triumphing abroad, however, Cuevas was always acutely aware of his shortcomings as a foreigner.
    [Show full text]
  • Alexandradanilova Collection [Finding Aid]
    Guides to Special Collections in the Music Division of the Library of Congress ALEXANDRA DANILOVA COLLECTION Finding aid URL: http://hdl.loc.gov/loc.music/eadmus.mu006004 LIBRARY OF CONGRESS WASHINGTON 2000 Table of Contents Introduction ........................................................................iii Biographical Sketch ..................................................................iv Scope and Content Note .............................................................. v Series Descriptions .................................................................viii Container List ...................................................................... 1 PHOTOGRAPHS ............................................................. 1 CORRESPONDENCE ........................................................ 14 WRITINGS by DANILOVA ................................................... 17 PROGRAMS ................................................................ 19 PRESS ..................................................................... 19 AWARDS and HONORS ...................................................... 20 SUBJECT FILES ............................................................ 21 WRITINGS by OTHERS ...................................................... 22 PRINTED MATERIAL ....................................................... 23 MUSIC .................................................................... 26 ARTWORK ................................................................ 26 PERSONAL MATERIAL ....................................................
    [Show full text]