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Apollon Musagète: a Classical Theme in Tee [Sic] Twentieth Century

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Apollon Musagète: a Classical Theme in Tee [Sic] Twentieth Century AFOILDN MUSAGh”I’z A CLASSICAL THEME IN TEE T;rlENTIETH CENTURP A Thesis Presenbd h Part- Fulfrtlnt of the Requirements for the Degree Kaster of Arts The Ohio State University 1975 Approved by Adviser Mvision of the History of Art For confidential use only Not for circulation, distribution, or publication All rights in this work are the property of Susan 8. G. Au 5ii TABLE OF CONTENTS List of Illustrations, iv, - Introduction, 1, I. Stravinsky'9 Conception and Creation of the Ballet, 11, II, Significant Productions of Apollon Musa+ts, 37. IIf, The Iconopaphy of Apollon Musadte, 108 . IV. APoUon Musagate and the Tk-ntieth Century, 157. Selected Bibliography, 163. Appendix: Published Photographs and Designs of ApoUon Musahete, 1928-1951., 166, Illustrations. UST OF ILLUSTRATIONS 1. Adolph Bolm in Apsllon Musa&te, 1928. (Maurice Goldberg) 3. Martin, The Dance, New York, 1946, 100. -- 2, Andre/Bauchant, Champs-Eldes. Oil on canvas, 39-1/8 x 4).1/2 (sight), Signed, lower right in oil: A, Bauchant/ 1927. Hartford, Vadsworth Atheneum 1933.395. Bo Taper, Balanchine, revised and updated ed, , Collier edition, New * York, 19'74, 102. Data from Hartford, Wadsworth Atheneum, The Serm Lifar Collection of Set and Costume Des.ims, comp. M,C, Palmer and S.J. Wagstaff, Hartford, 1965, 18, * 3. And& Bauchant, ApoUon Apparaissant aux Bermrs, 195. G, DetdUe and G. MLLys, Les Ballets de Monte Carlo, 1911- 19% Paris, 19% 135. 4, Andd Bauchant, Apo'llon Apparaissant aux Bergers, 1928. M, Lederman,,(ed, ) , Stravinsks in the Theatre , New York, 194.9, 157. 5. Andre) Bauchant, Le Char d'AwUon. Oil on canvas, 23-5/8 x 27-3/4, Signed. lower left in oil: A, Bauchant/l928. Hart- ford, Wadsworth' Atheneum 1933.396, Strasbourg, hcienne Douane, Les Ballets Russes de Serm de Diaghilev. 1909-1924, Strasbourg, ' 1969, 237, pl, IlO, Data from iiartford, Wadsuorth Atheneum. The S9re Lifar Collection, 18. 6, Apotheosis scene, ApoUon Musadte, Ballets Russes, 1928, The Illustrated Locdon News) The Illustrated London News, . &AX.XII,- July 7, 1928, 13 (middle). 7. AnclrQ Bauchant, Souttepir d'Awllon Phsaate. Oil on canvas, 32-1/8 x 39-1/8. Signed, lower right: A. Bauchant/l939. The fibright-Knox Art Gallery, Buffdo. G. Arnberg, Art in Modern Ballet, New York, 1946, pl. 77. Data from The New York Public Library, Strav3nsk.v and the Theatre, Mew York, 1963, 28. 8, A Muse, Apollon Musagate, Ballets Russes, 1928. (Lipdtzki) Captioned as Felia ljoubrovska (Calliope), but the gesture is that of Polyhymnia. A, Levinson, La 3anse d'aujowd'hui, Paris, 1929, 89. 9. Pas $'action, Apouon Musa&t;e, Ballets Russes, 1928. H, =arb, Ballet Music, 2nd rev. ed., New York, 1973, facing pas 103. 10. Apollo and four Muses, Apollon Ihsadte, Ballets Husses, 1928. A.L. Haskell, Diaahileff, New York, 1935, facing pap 305. U, "Sdnmimg lesson," pas de deux, Adlon Xusazbte,, Ballets Russes, 1928, Ni!!itina as Terpsichore. (The Illustrated London News) The Illustrated London News, CUKUI, July 7, 1928, 13 (below, V Ballets Husses, 1928, Danilova as Bo Kochno, Diaddlev and the Ballets Russes, New York, 1970, 267. - 13. ltSleeping" pose, coda , Apollon Nusadte , Ballets Russes, 1928, Abut tho House, 11, Christmas 1966, 17. 14. Four poses, ApoUon Musaqb, Ballets Husses, 1928, The "many- legged creature" pose at lower right, (The Times, London) Theatre Arts, xjlxu:, November 1947, 36. 15. Stewart Chaney, set design for second scene, Apollon Nusae;$';e, The American Ballet, 1937. (Columbia Concerts Corporation) Lo Kirstein, ttHomage to Stravinsky,I' Arts and Decoration, XLVI, &Y 1937, 14 (above), 16, Stewart Chaney, costme designs for Terpsichore, Polyhymnia, and Calliope (left to right), Apollon Musagate, The Anerican Ballet, i 1937. (Columbia Concerts Corporation) LbstBin, "Homage to Stravinsky," 14 (blow) , 17. Stewart Chaey, costum design for Apollo, Apoll~nMusaate, The American Ballet, 1937. Theatre Arts Monthly, AX..il,1937, 4U (top left). figs, 16-17. Four designs for costumes, 1937. Gouache on gas' paper, 9-3/4 x 12-3/4, The Museum of Modern Art, Hew York. Data from The New York Public Library, Stravinsky and the Theatre, 28, 18, Stewart Chaney, set design, Apollon lhsadlte, The Amrican Ballet, 1937. Theatre Arts Monthly, dI, 1937, 4U- (below) , 19. Apotheosis scene, AmDon 1-hsadte, The Amerban Ballet, 1937. (The Times, London) CON. Eeaumont, aallet Desim Fast 233 Present, London, 1946, 115 (blow). 20. Apotheosis scene, ADollon Ibfusa&b, The American Ballet, 1937. J. Martin, Ths Dance, New York, 1946, 72 (left). 2'1. "Creation of Adam" pose, pas de deux, Apollon I.Iusa*b, The AInerican Ballet, 1937. Dance Index, vf, 1947, 29 (left). 22, "l)lany-legged creature" pose, _I_coda, ADolJon 1+usa&te, The American Ballet, 1937. The New York Fubfic Library, Stravinskg and the Dance, New York, 1962, 29, pl. 5. 23, Three Muses, Apollon bInsa&te, The American Ballet, 1937. Dance -Index, VI, 1947, 29 (right), Four poses, Apollon Musagzte, American Ballet Caravan, 1941. (Schulmann) Dance Index, IV, February-March 1945, 25 (middle right and left, blow right. and left). Pawl Tchelitchew, set design for opening of Apollon Xusagbte, 1942. Dance Index, 111, January-February 1944, 31 (above), Pawl Tchelitchew, set design for apotheosis, Apollon Musa~h, 1942. Dance Indez, 111, January-February lw,31 (below). figs 25-26, Two designs for decor, 1942. Gouache, 13-7/8 x 24-5/8 (sight). The Museum of Modern Art, New York. Data from The New York Public Library, Stravinsks and the Theatre, 28. Pave1 Tchelitchew, page from a sketchbook, costumes for the Muses at lower left, Signed and dated 1942, Dance Irdex, III, January-February 1W, 2. Pas d’action, APollon Musa.&s, 1942, Dance Index, I, July 1942, 102 (below). Igor Youskevitch as ApoUo, A OUO,BaUet Theatre, 1946-47 season or later, (Fred FehlP- R. Lawrence, The Victor Book of Ballets and Ballet Music, New York, 1950, 36. Apollo three Muses, Anollo, Bdlet Theatre, lw3. (Dwight Godwin) G, Anberg, Ballet in Americq, New York, 1949, following page 108. Pas d‘action, Apollo, Ballet Theatxe, 194.60 (Roer Wood) F. Hall, Modern Endish Ballst;, London, 1950, facing pap 64 “hy-legged creature” pose, coda_, Awllo, Ballet Theatre, 1946- 47 season, Youskevitch as Apollo. (Fred Feu) Theatre .rirts, m, May 1947, 33 (blow). Andd Delfau, set design for ADoXon Musaate, Paris O&a Ballet, 194.7, Watercolor, l+l/L~ x 18. The ijew York Public Library. The New York Public Library, Stravinskv 2nd the Dmce, 28, pl, 4. Data from The New York Public Library, Stravinsky and the Theatre, 28. Pas d’action, Apollo, Leader of the hiasas, The New York City Ballet, 1951. {Fred Feu) B.H, Baggin, Ballet Chronicle, New York, 1970, 135 (above). 36, Andr6 Eaevsky as Apollo, Auollo, Leader of the Muses, The New York City Ballet, 192. R, Krokover, Tho New Borzoi Book of wlets, New York, 1956, pl, la, 37. Coda, ApoUo. Leader of the ~USQS,The New York City Ballet, 1951. (Fred Fehl) t Haggin, gallet Chronicle, 135 (below). 38, Coda, Apollo, Leader of the Muses, The New York City Ballet, 1951, (Fred Fehl) A, Chujoy, The New York City Ballet, New York, 1.953, following page 48. 39. Pas d'action, ARO~O,The New York City Ballet, 1957. (Fred Fehl) Taper, i3alanchine, 107 (blow), 40. "Swimming lesson," as de ciewc, Apollo, The New York City Ballet, 1957. (F'dmper, i3alanchim, 106 (below), 41. !!.Many-legged creatare" pose, coda, _Apollo, The New York City Ballet, c. 1957. (Martha Swope) L, Kirstein, Movement and Metaphor, New York, 1970, pl, 436. 42, -Coda, Apollo, The-Mew York City Ballet, C. 1957. (Martha Swpe) Kirstein, mvement and mtaphor. PL 435. 43,, Pas d'action, ApoUo, The New York City Bdllet, 1965. (Martha Suope) liirstein, Hovement and Metaphor, pl. 434. 44, Apotheosis scene, Apollo, The New York City Ballet, 1962. (Fritz Peyer) E, doegler, Balanchine and das moderne Baett, BanOq3P. 1964, 69. 45. "Sleephg" pose, a,&ollo, The New York City Ballet, 1962, (Fritz Pep?) Loegler, Balanching, 68 (left). 46, rrTroika,rrcoda, Awllo, The New York City Ballet, 1962. (bit2 Peysr) Eoeaer, ~alanchir~,68 (right), 47, Prologue, Apo?, Cuba, Jorge Esquivel as ApoUo. (Osvaldo Salas) Dance hagazine, AUV, March 1970, 40 (detail), 48, Pas d'action, ADO~~O,?ais Op6ra Ballet, 1974. Guest stars Rudolf Nureyev (Apllo) and &rle Park, (Lido) Dance ad Dancers, UV, July 1974, 36 (above left). 4% "w-legpd crezture" pose, coda, ADO~~O,Pmrican Bdet Theatre, 1974. Dance and Dancers, UV, July 1974, 39 (zbove), ,53. Let0 Givine: Birth to Acollo (?), relief-decorabd amphora from Thebs, post 700 3.C. Athens, National Huseum j898. B 1.20 m, K, &bfold, S-yth ad Legend in Early Greek kt, trans A. Hicks, New York, 1966, pl. 12. 51. Awllo. Attributed to Agostino di Duccio or Ihtteo de' Pasti, Chapel of tho Liberal Arts, Tempio Malabstiano, IbliniD Mid shteenth century. E. iiinbrnitz, Musical Instruments anct their S_ymboUsm in Vestern Art, London, 1967, PlD 4b. ._. 52. Apollo and the Ihses. Attributed t0 Giulio Romano. Paaszo Pitti, Florence. First half of the sixteenth century. A, Blunt, Nicolas Poussin, Washington, &c,, 1967, 1, pl. 123, 53. Hellos in his Chariot. Attic red-figure hater, c. 440 B,C, London, British ih.weum E446. R.P. Hinks, Myth and X!.lep,wy in Ancisnt Art, London, 1939, p1, la. 9. Andr-odda. Decor for prologue, 1650, S.Y. Deierkanf-Holsboer, L'Histoire de la mise en scbe dans le the2tre francais- 3 Paris de 1600 B 1673, paris, 1960, pi. ALnI. 55, Costume for Apollo (Louis XLV), Watercolor sketch by Torelli (?>, 169. Paris, BibliothBque de l'Institut, M.-F. Christout, Le-Ballet de-cow de Lo&s XIV, 1.643-1672, Paris, 1967, PlD 33.
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