Fonds Gabriel Astruc (1902-1927)
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Against Expression?: Avant-Garde Aesthetics in Satie's" Parade"
Against Expression?: Avant-garde Aesthetics in Satie’s Parade A thesis submitted to the Division of Graduate Studies and Research of the University of Cincinnati In partial fulfillment of the requirements for the degree of MASTER OF MUSIC In the division of Composition, Musicology, and Theory of the College-Conservatory of Music 2020 By Carissa Pitkin Cox 1705 Manchester Street Richland, WA 99352 [email protected] B.A. Whitman College, 2005 M.M. The Boston Conservatory, 2007 Committee Chair: Dr. Jonathan Kregor, Ph.D. Abstract The 1918 ballet, Parade, and its music by Erik Satie is a fascinating, and historically significant example of the avant-garde, yet it has not received full attention in the field of musicology. This thesis will provide a study of Parade and the avant-garde, and specifically discuss the ways in which the avant-garde creates a dialectic between the expressiveness of the artwork and the listener’s emotional response. Because it explores the traditional boundaries of art, the avant-garde often resides outside the normal vein of aesthetic theoretical inquiry. However, expression theories can be effectively used to elucidate the aesthetics at play in Parade as well as the implications for expressability present in this avant-garde work. The expression theory of Jenefer Robinson allows for the distinction between expression and evocation (emotions evoked in the listener), and between the composer’s aesthetical goal and the listener’s reaction to an artwork. This has an ideal application in avant-garde works, because it is here that these two categories manifest themselves as so grossly disparate. -
Classic Chic
01ch 5/23/06 10:55 AM Page 1 UofC / Davis / 193533 1 MAGAZINES, MUSIC, AND MODERNISM Every revolution begins with a change of clothes. rené bizet In the June 1923 issue of French Vogue, an unusual portrait of an unlikely subject appears amid the fashion plates. Accompanying a story about the adventures of a fictional Parisian named Palmyre, the drawing is fashion illustrator Eduardo Benito’s sketch of the “good musician” Erik Satie, “bearded and laughing like a faun.” The composer is just one of the char- acters in the larger tale of Palmyre’s “escapades in the world of artists,” which is part of the magazine’s feature series tracing the lives of six stylish young women in the French capital. Palmyre, in this installment, dines with Raymond Radiguet, the “author of stunning novels,” then accompa- nies him to the fashionable club Le Boeuf Sur le Toit, “where the jazz band is all the rage.” She rubs shoulders with the Boeuf’s habitués, including Jean Cocteau, Francis Poulenc, Georges Auric, and Darius Milhaud, but the high point of the adventure is an encounter with Satie, “simple and good like a child.” These outings, “the dearest to Palmyre’s heart,” allow her to “partake in the current taste of elegant Parisians for nightclubs.”1 Vogue’s spotlight on Satie and his club-hopping friends not only pro- vides surprising evidence of the group’s celebrity status in the 1920s, but also suggests that the upscale fashion press played a more significant role in defining and advocating musical modernism than has been recognized. -
Critical Silence: the Unseemly Games of Love in Jeux (1913) Hanna Järvinen Unlike His Début, L'après-Midi D'un Faune (191
Critical Silence: The Unseemly Games of Love in Jeux (1913) Hanna Järvinen Unlike his début, L’Après-midi d’un Faune (1912), Vaslav Nijinsky’s second choreography for the Ballets Russes, Jeux (1913), is a work often bypassed in histories of the company and of the art form. While some of the central ideas of this work have been appreciated as somehow ‘modern’, Jeux has been overshadowed by the notorious reception of Nijinsky’s other choreography for the season, Le Sacre du Printemps. Jeux failed to rouse the ire of Parisian critics like Faune had and Sacre would; like these, it was dropped from the repertory after the impresario Diaghilev fired his erstwhile lover later in 1913.1 Based largely on a few sentences in Nijinsky’s so-called Diary, it has been assumed that Jeux was meant to illustrate Diaghilev’s homosexual fantasy, and that the pious choreographer, feeling disgusted by the topic, also had too much to do with Sacre to finish Jeux.2 One of the peculiarities of history is that what is left out and not said in a historian’s source materials can sometimes tell us more of a particular period than what an individual source might seem to be saying. Of the three meanings of ‘games’ embedded in the title (jeux de tennis (tennis game) – jeux d’amour (flirtation) – jeux d’esprit (witticism)) the second one offers a fascinating case for looking at the silences that surround Jeux. Beginning from what was and was not written about in the reviews, I delve into the marked differences between the choreographer’s manuscript notes on the stage action (Debussy & Nijinsky s.a.) and the published, translated and edited version of the narrative in Debussy’s piano score (Debussy 1912).3 I then I trace why a game of 1 According to Diaghilev’s telegram to Astruc 28.4.1913 in NYPLDC Astruc Papers and Grigoriev 1953, 82, Jeux was pushed forward in the 1913 season because the Russian singers for the planned opera performances could not arrive on time. -
A Ballets Russes Collection, Gathered in London by Boris Yeltsin's Right Arm, Boris Berezovskiy
SERGE DIAGHILEV AND THE BALLETS RUSSES Including a collection from Boris Berezovsky’s library 32 St. George Street Shapero London W1S 2EA t: +44 20 7493 0876 RARE BOOKS shapero.com Some theatrical performances can be likened to great battles which live on in the memory of peoples. The stories of eye- witnesses, passed on to their children and grandchildren, become legends. Their tremendous, sensational success, which reveals important undercurrents in the life of art, makes them landmarks in the history of the theatre. In the list of such events one can rightfully enter the guest performances of the Russian opera and ballet in Paris, in 1908 and 1909. Repeated in the subsequent years they became known as the Russian Seasons. Their initiator, members of the group “The World of Art” with Alexander Benois at the head, were inspired by the idea of making Russian art better known to the public abroad. They succeeded in winning the support of many progressive artists and intellectuals. The results of their efforts proved to be more tangible, significant and far-reaching than they had ever expected. M.Pozharskaya. The Russian Seasons in Paris (Moscow, 1988) SERGE DIAGHILEV AND THE BALLETS RUSSES Including a collection from Boris Berezovsky’s library 1. BAKST, Leon. Фея кукол. La fée des poupées. 4 16. [OPERA RUSSE A PARIS] - Programme. 12 2. [RUSSIAN SEASONS] - Official programme for “Concerts 4 17. Holme, C. G. (Editor) & C. W. Beaum ont. Design for the Ballet. 12 Historiques Russes”. 18. ЛИФАРЬ, Сергей [LIFAR, Sergey]. История русского балета от 12 3. [RUSSIAN SEASONS] - Official programme for “Boris Godounov”. -
Nelsondusek Udel 006
ÉMILE-ANTOINE BOURDELLE AND THE MIDI: FRENCH SCULPTURE AND REGIONAL IDENTITY AT THE TURN OF THE TWENTIETH CENTURY by Colin Nelson-Dusek A dissertation submitted to the Faculty of the University of Delaware in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Art History Summer 2020 © 2020 Colin Nelson-Dusek All Rights Reserved ÉMILE-ANTOINE BOURDELLE AND THE MIDI: FRENCH SCULPTURE AND REGIONAL IDENTITY AT THE TURN OF THE TWENTIETH CENTURY by Colin Nelson-Dusek Approved: __________________________________________________________ Sandy Isenstadt, Ph.D. Chair of the Department of Art History Approved: __________________________________________________________ John A. Pelesko, Ph.D. Dean of the College of Arts and Sciences Approved: __________________________________________________________ Douglas J. Doren, Ph.D. Interim Vice Provost for Graduate and Professional Education and Dean of the Graduate College I certify that I have read this dissertation and that in my opinion it meets the academic and professional standard required by the University as a dissertation for the degree of Doctor of Philosophy. Signed: __________________________________________________________ Nina Athanassoglou-Kallmyer, Ph.D. Professor in charge of dissertation I certify that I have read this dissertation and that in my opinion it meets the academic and professional standard required by the University as a dissertation for the degree of Doctor of Philosophy. Signed: __________________________________________________________ Margaret Werth, Ph.D. Member of dissertation committee I certify that I have read this dissertation and that in my opinion it meets the academic and professional standard required by the University as a dissertation for the degree of Doctor of Philosophy. Signed: __________________________________________________________ Lauren Hackworth Petersen, Ph.D. -
''Paris for Love''?
”Paris for love”? Clément Lévy To cite this version: Clément Lévy. ”Paris for love”?. Paolo Simonetti, Umberto Rossi, ”Dream Tonight of Peacock Tail”, Essays on the Fiftieth Anniversary of Thomas Pynchon’s V., Newcastle upon Tyne, Cambridge Scholars Publishing, 2015. hal-01979480 HAL Id: hal-01979480 https://hal-unilim.archives-ouvertes.fr/hal-01979480 Submitted on 13 Jan 2019 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. “Paris for love”? Clément Lévy University of Bari “Aldo Moro” Institut français Italia The novel’s chapter fourteen, “V. in love”, is the only one in whose title appears the name of the elusive V. It is also the last, before the “Epilogue” (the novel’s seventeenth section), of the historical chapters (chapters 3, 7, 9, 11, and 14), alternating with the main narrative. Like all the historical chapters, it contains elements of a story told to Herbert Stencil, who managed to reconstruct events from the witnesses’ tales. But unlike the other episodes of his research, this one entails a substantial comment on the object of Stencil’s quest, and the possible evolution of V. in 1956, if she—supposing it was a woman—were still alive. -
Diaghilev and the Ballets Russes, 1909-1929: When Art Danced with Music May 12, 2013 - October 6, 2013
Updated Monday, April 22, 2013 | 1:16:10 PM Last updated Monday, April 22, 2013 Updated Monday, August 15, 2013 | 3:06:10 PM National Gallery of Art, Press Office 202.842.6353 fax: 202.789.3044 National Gallery of Art, Press Office 202.842.6353 fax: 202.789.3044 Diaghilev and the Ballets Russes, 1909-1929: When Art Danced with Music May 12, 2013 - October 6, 2013 Important: The images displayed on this page are for reference only and are not to be reproduced in any media. To obtain images and permissions for print or digital reproduction please provide your name, press affiliation and all other information as required (*) utilizing the order form at the end of this page. Digital images will be sent via e-mail. Please include a brief description of the kind of press coverage planned and your phone number so that we may contact you. Usage: Images are provided exclusively to the press, and only for purposes of publicity for the duration of the exhibition at the National Gallery of Art. All published images must be accompanied by the credit line provided and with copyright information, as noted. Cat. No. 5 Henri Gervex The Coronation of Nicholas II - sketch, 1896 oil on canvas framed: 116 x 151.5 cm (45 11/16 x 59 5/8 in.) Musée d'Orsay, Paris File Name: 3413-286.jpg Malvina Hoffman The Afternoon of a Faun, modeled 1912; cast 1977 bronze height: 8 1/2 in. (21.59 cm) The Tobin Theatre Arts Fund Roger Broders Poster showing tennis at Monte Carlo, c. -
Pantomime-Ballet on the Music-Hall Stage: the Popularisation of Classical Ballet in Fin-De-Siècle Paris
Pantomime-Ballet on the Music-Hall Stage: The Popularisation of Classical Ballet in Fin-de-Siècle Paris Sarah Gutsche-Miller Schulich School of Music McGill University A thesis submitted to McGill University in partial fulfillment of the requirements of the degree of Ph.D. in musicology April 2010 © Sarah Gutsche-Miller 2010 TABLE OF CONTENTS Abstract and Résumé iii Acknowledgements iv Introduction 1 Chapter 1. The Origins of Parisian Music-Hall Ballet 19 Opéra Ballet 19 The Legal Backdrop 24 Ballet in Popular Theatres 26 English Music-Hall Ballet 37 Chapter 2. Elegant Populism: The Venues and the Shows 45 The Folies-Bergère, 1872-1886 47 Marchand’s Folies-Bergère, 1886-1901 54 The Casino de Paris 81 The Olympia 92 Chapter 3. Music-Hall Ballet’s Creative Artists 105 Librettists 107 Composers 114 Choreographers 145 Chapter 4. The Music-Hall Divertissement 163 The 1870s: The Popular Divertissement 164 The 1880s: From “Divertissement” to “Ballet” 171 The 1890s: From Divertissement to Pantomime-Ballet 189 Chapter 5. Popular Ballet’s Conventions 199 A Traditional Structure 200 Music as Storyteller 229 Chapter 6. Up-to-Date Popular Spectacles 253 Pantomime-Ballet Librettos: Conventions and Distortions 254 The Popular Surface 275 Chapter 7. The Music of Popular Ballet 319 Popular Ballet Music at its Height 348 Conclusion 363 Appendix A 371 Appendix B 387 Bibliography 403 ii ABSTRACT This dissertation explores the history and aesthetic of ballet in Parisian music halls at the turn of the twentieth century. Although the phenomenon is now long forgotten, ballet was for more than four decades a popular form of entertainment for a large audience. -
Pénélope in the Press, 1913: the Early Critical Reception of Gabriel Fauré’S Only Opera
ABSTRACT Title of Document: PÉNÉLOPE IN THE PRESS, 1913: THE EARLY CRITICAL RECEPTION OF GABRIEL FAURÉ’S ONLY OPERA Jenny Marie Houghton, MA 2012 Directed By: Professor Olga Haldey, School of Music Gabriel Fauré’s single full-scale opera, Pénélope, has been virtually forgotten since it premiered in 1913. This thesis provides the first detailed account of Pénélope’s critical reception during the year of its premiere. Given that the opera was received enthusiastically by the press, many Fauré scholars have blamed the opera’s demise on poor timing. Close examination of the 1913 reviews reveals, however, a deep-seeded bias on the part of the press. By the time Pénélope premiered, Fauré was an influential and beloved member of the French musical community. Thus, we find that the reviews are as much a tribute to his personal character as they are an assessment of his opera. By properly contextualizing the reviews, we gain a clearer understanding of Pénélope’s true merits and weaknesses, which may help guide a future for the work in the twenty-first century. PÉNÉLOPE IN THE PRESS: 1913 THE EARLY CRITICAL RECEPTION OF GABRIEL FAURÉ’S ONLY OPERA By Jenny Marie Houghton Thesis submitted to the Faculty of the Graduate School of the University of Maryland, College Park, in partial fulfillment of the requirements for the degree of Master of Arts 2012 Advisory Committee: Professor Olga Haldey, Chair Professor Barbara Haggh-Huglo Professor Richard King ii Acknowledgments Without the love and support of my family, this thesis never would have seen the light of day. -
The Performative Memory of Vaslav Nijinsky, I Had Viewed the Nureyev Performance Again.9 I Subsequently Purchased the VHS Tape of the Joffrey/Nureyev Performance
THE PHOTOGRAPH IS RE-CALLED AS THE DANCER’S BODY RE-TURNS: THE PERFORMATIVE MEMORY OF VASLAV NIJINSKY IN L’APRÈS-MIDI D’UN FAUNE by CHERYLDEE HUDDLESTON (Under the Direction of David Zucker Saltz) ABSTRACT Vaslav Nijinsky (1890?-1950) made his fame in Paris as the premiere danseur of the Ballets Russes from 1909 to 1912. It is largely upon these four seasons that Nijinsky came to be considered the greatest dancer who has ever lived. In 1912, Nijinsky choreographed his first ballet, L’Après-midi d’un Faune (Faune). Approximately ten-and-a-half minutes in length, Faune is considered one of the most significant works in dance history, and a pivotal work of twentieth century theatrical modernism. In this study, Faune is identified as an extraordinary example of praxis, with Nijinsky as choreographer, performer, creator of an original dance notation system to record his ballet, and notator of its score. For nearly three-quarters of a century, Nijinsky’s score of Faune was considered an indecipherable oddity. Thus, with no film footage existing of Nijinsky dancing, the only material evidence of his performance in and choreography of Faune were photographs, including those from the famous Adolph De Meyer session in London in June of 1912. In 1989, however, Ann Hutchinson Guest and Claudia Jeschke “broke” the code of Nijinsky’s notation system, and in December of that year an historic performance of Faune took place at New York City’s Juilliard School, with then-student dancer Yoav Kaddar performing Nijinsky’s role of the Faun for the first time in seventy-five years exactly as described by Nijinsky in his original notation system. -
Music and Urban Change in Paris, 1830-1870 by NICOLE VILKNER a Dissertation Submitted to the Graduate School-N
SOUNDING STREETS: Music and Urban Change in Paris, 1830-1870 By NICOLE VILKNER A Dissertation submitted to the Graduate School-New Brunswick Rutgers, The State University of New Jersey in partial fulfillment of the requirements for the degree of Doctor of Philosophy Graduate Program in Music written under the direction of Dr. Nancy Yunhwa Rao and approved by New Brunswick, New Jersey May, 2016 © 2016 Nicole Vilkner ALL RIGHTS RESERVED ABSTRACT OF THE DISSERTATION Sounding Streets: Music and Urban Change in Paris, 1830-1870 By NICOLE CHRISTINE VILKNER Dissertation Director: Nancy Yunhwa Rao Street space has inspired much scholarly investigation in the humanities and social sciences, and has been treated as a site where social communities, hierarchies, and politics are made visible. Absent from street studies, however, is the notion that the streets might have influenced, mediated, or shaped the social exchanges they hosted. Instead of seeing the street as a passive location, this project views the street as a mediator and an actor that influences and shapes social activity. As such, the street not only functions as the site of the study, but it also is part of the analysis. Looking specifically at musical life in Paris between 1830 and 1870, I present three different studies that illustrate the influence of the changing urban environment, specifically the streets, on the city’s musical scene. In the first study, I claim that a fleet of omnibuses, named and painted after Boieldieu’s comic opera La dame blanche, profoundly affected the historical reception of the work, connecting the opera with democratic and working class ideologies. -
The Birth of Tragedy out of the Spirit of Dance: Nietzschean Transitions in Nijinsky's Ballets
Georgia State University ScholarWorks @ Georgia State University Religious Studies Theses Department of Religious Studies Summer 8-17-2012 The Birth of Tragedy out of the Spirit of Dance: Nietzschean Transitions in Nijinsky's Ballets Sarah Levine Georgia State University Follow this and additional works at: https://scholarworks.gsu.edu/rs_theses Recommended Citation Levine, Sarah, "The Birth of Tragedy out of the Spirit of Dance: Nietzschean Transitions in Nijinsky's Ballets." Thesis, Georgia State University, 2012. https://scholarworks.gsu.edu/rs_theses/37 This Thesis is brought to you for free and open access by the Department of Religious Studies at ScholarWorks @ Georgia State University. It has been accepted for inclusion in Religious Studies Theses by an authorized administrator of ScholarWorks @ Georgia State University. For more information, please contact [email protected]. THE BIRTH OF TRAGEDY OUT OF THE SPIRIT OF DANCE: NIETZSCHEAN TRANSITIONS IN NIJINSKYʼS BALLETS by SARAH LEVINE Under the Direction of Louis A. Ruprecht, Jr. ABSTRACT This project compares the career of the early 20th century ballet dancer, Vaslav Nijinsky, to Friedrich Nietzscheʼs theory of the tragic arts. In The Birth of Tragedy (1872) and elsewhere, Nietzsche argues that artists play the central role in communal mythmaking and religious re- newal; he prescribes the healing work of the “tragic artist” to save modernity from the deca- dence and nihilism he identifies in scientism, historicism, and Christianity. As a dancer, and es- pecially as a choreographer for the Ballets Russes (1912-1913), Nijinsky staged a kinetic re- sponse to modern culture that not only displayed shared concerns with Nietzsche, but also, as I argue, allow him to be interpreted as Nietzscheʼs archetypical tragic artist.