DOCSLIB.ORG

Les Saisons Russes Auktion Russischer Kunst

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read 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. Коллекция охватывает период от первых Исторических концертов, организованных Дягилевым в Париже в 1907 году, до конца 50-х годов прошлого века – до последних выступлений Балета Монте-Карло в Америке. На аукционе представлены практически полная подборка программ Анны Павловой со всех ее зарубежных гастролей, программы Русских балетов Монте-Карло под руководством полковника В. Де Базиля и Сержа Дэнхама, программы кабаре «Летучая мышь» Никиты Балиева. Особый интерес представляет большой раздел уникальных фотографий русских артистов – от раннего фотопортрета Федора Шаляпина до поздних фотографий Рудольфа Нуриева и Игоря Стравинского, с большим количеством автографов. Традиционно наш аукционный дом выставляет значительную подборку уникальных «театральных» книг – в оформлении известных художников русского театра, а также каталогов выставок, посвя- щенных Дягилеву и художникам его круга. Отдельным стрингом представлены работы выдающегося русского театрального художника Мстислава Добужинского. От имени аукционного дома КАБИНЕТТ желаю вам удачных приобретений на нашем аукионе! Искренне ваша, Ксения Цанн-кай-си Liebe Freunde, ich freue mich, Ihnen den Katalog zur 4. Versteigerung des Auktionshauses KABINETT in Berlin vorstellen zu dürfen. Dieses Mal wird auf der Versteigerung eine weitere Kollektion zu den Ballets Russes und dem russischen Musiktheater der Post- Djagilew-Epoche angeboten werden. Die Kollektion umfasst den Zeitraum von den ersten Historischen Konzerten, die von Djagilew 1907 in Paris organisiert wurden, bis zum Ende der 1950er Jahre – den letzten Auftritten des Ballet Russe du Monte-Carlo in Amerika. Es werden praktisch die vollständige Sammlung der Programmhefte aller Auslanddsgastspiele Anna Pawlowas sowie Programmhefte der Ballets Russes du Monte-Carlo unter der Leitung Wassily de Basils und Serge Denhams und Programmhefte des Cabarets Die Fledermaus von Nikita Balieff zur Versteigerung kommen. Von besonderem Interesse dürfte die Sammlung einzigartiger Fotos russischer Tänzer sein – von frühen Abbildungen Feodor Schaljapins bis hin zu späten Fotos Rudolf Nureyevs und Igor Strawinskys, mit einer Vielzahl Autogramme. Traditionell versteigert unser Auktionshaus auch eine große Auswahl einzigartiger „Theater“-Bücher, von bekannten Künstlern des russischen Theaters gestaltet, aber auch Ausstellungskataloge zum Thema Djagilew und den Künstlern seines Kreises. Als gesonderter String werden Arbeiten des herausragenden Theaterkünstlers Mstislaw Dobuschinski angeboten werden. Im Namen des Auktionshauses KABINETT wünsche ich Ihnen erfolgreiche Zuschläge in unserer Auktion! Es grüßt Sie herzlich Ihre, Ksenia Tsann-Kay-Si Более полные описания лотов, информация о состоянии предметов на английском. немецком и русском языках, а также дополнительные фотографии размещены на нашем сайте WWW.KABINETT-AUKTION.DE Описания и оценки сохранности и состояния предметов экспертами аукционного дома носят субъективный характер и не могут заменить личный осмотр произведений покупателями. Аукционный дом готов предоставить дополнительные информационные материалы по запросу. Ausführlichere Beschreibungen und Informationen über den Zustand von Auktionsobjekten in englischer, deutscher und russischer Sprache sowie weitere Fotos finden Sie auf unserer Website WWW.KABINETT-AUKTION.DE Beschreibungen und Einschätzungen von Experten des Auktionshauses sind subjektiv und können die persönliche Begutachtung von Objekten durch Käufer bzw. Interessenten nicht ersetzen. Das Auktionshaus ist bereit, zusätzliches Informationsmaterial auf Anfrage zur Verfügung zu stellen. 4 Auktion RussischeR kunst № 4 1–25 MSTISLAV DOBUZINSKIJ МстислАв ДОБУЖиНсКиЙ (1875–1957) Знаменитый график, участник объединения «Мир искус- ства», Мстислав Валерьянович Добужинский много ра- ботал как театральный художник, начав с оформления спек- таклей Большого драматического театра в Петрограде. Значимым этапом его творчества стало сотрудничест- во с Государственным театром Литвы, где с 1925 по 1938 год он оформил множество оперных и драматических спектаклей, заложив основы литовской национальной сценографии. Среди работ этого периода – эскизы ко- стюмов и декораций к операм и балетам: «Пиковая дама» (1925), «Спящая красавица» и «Евгений Онегин» (1935) П.И. Чайковского, «Борис Годунов» М.П. Мусоргского (1930), «Раймонда» А.К. Глазунова (1933), «Князь Игорь» А.П. Бородина (1934). Особый «прибалтийский колорит» присутствует в эскизах костюмов и декораций, созданных в 1931 году для постановки оперы «Фауст» Ш. Гуно. До- бужинский использовал мотивы архитектуры прибал- тийских городов и картин Иеронима Босха, органично сочетая элементы модерна и авангарда, историзма и де- коративной абстракции. Переехав в 1939 году в США художник работал над сценог- рафией спектаклей для Метрополитен-Опера, других теат- ров Америки и Европы; в их числе балеты «Русский солдат» («Поручик Киже») на музык у С.С. Прокофь ев а (ба ле т мейс т ер М.М. Фокин, 1942), «Ballet Imperial» на музыку П.И. Чай- ковского (балетмейстер Дж. Баланчин, 1941, 1945), «Кавказ- ский пленник» А.И. Хачатуряна (1957), оперы «Война и мир» С.С. Прокофьева (1947) и «Хованщина» М.П. Мусоргского (1950). В 1947 году художник сам написал либретто и ис- полнил эскизы декораций к балету на музыку 7-й симфонии Д.Д. Шостаковича. 1 2 Bühnenbildentwurf für die Szene Ball bei Gremin – Bühnenbildentwurf für den IV. Akt – Der Revisor, Oper Eugen Onegin inszeniert in der Dresdener Staatsoper inszeniert von dem Schauspielhaus Düsseldorf 1924 1927 Papier, Bleistift, Gouache. 38,8 х 58,7 cm Papier, Gouache, Bleistift. 32 х 48 cm L. u. Stempel des Künstlers. R. u. handsign., monogram. u. dat. 1927, sowie Vermerk des Künstlers Verso Vermerk des Künstlers in Kyrillisch mit Bleistift: 2 бал у/ Гремина Düsseldorf. L. u. Stempel des Künstlers. Verso handschriftl. Vermerk des Künstlers (?): Эскиз декорации сцены бала у Гремина к опере «Евгений Онегин» Rewisor / IV akt; Vermerk des Eigentümers в постановке Дрезденской государственной оперы 1924 г. Эскиз декорации к IV акту спектакля «Ревизор» в постановке Бумага, карандаш, гуашь. 38,8 х 58,7 см Драматического театра Дюссельдорфа Слева внизу авторский штамп. 1927 г. На обороте авторская надпись карандашом «2 бал у/ Гремина» Бумага, гуашь, карандаш. 32 х 48 см Справа внизу авторская подпись-монограмма, дата «1927» € 4 000–6 000. и авторская надпись: «Düsseldorf». Слева внизу авторский штамп. На обороте авторская (?) надпись: «Rewisor / IV akt»; владельче- ская пометка. € 3 500–4 000. 6 Auktion RussischeR kunst № 4 3 Bühnenbildentwurf für die Szene Stadttor - Oper Faust, Inszenierung des Litauischen Opern- und Ballett-Theaters in Kaunas 1931 Papier, Gouache, Tusche, weiße Farbe 45 х 49,3 cm R. u. handsign. u. dat.: 1931, L. u. Stempel des Künstlers. Verso Vermerke und Beschriftungen der Eigentümer, darunter Eigentum von V. M. Dobuzhinsky in Russisch. Früher aus die Sammlung V. M. Dobuzhinsky Эскиз декорации «Городские ворота» к опере «Фауст» в постановке Литовского театра оперы и балета в Каунасе 1931 г. Бумага, гуашь, тушь, белила 45 х 49,3 см Справа внизу авторская подпись и дата: «1931». Слева внизу авторский штамп. На обороте владель- ческие надписи и пометки, в том числе «Собственность В.М. Добужинского». Происходит из собрания сына художника В. М. Добужинского. € 5 000–8 000. 4 Bühnenbildentwurf für die Szene Labor des Doktors - Oper Faust, Inszenierung des Litauischen Opern- und Ballett-Theaters in Kaunas 1931 Schwarzes Papier, Gouache, Tusche, weiße Farbe 37 х 46,7 cm R. u. monogr., handsign. u. dat.: 1931. L. u. Stempel des Künstlers. Эскиз декорации «Лаборатория доктора» к опере «Фауст» в постановке Литовского театра оперы и балета в Каунасе 1931 г. Бумага черная,
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]
  • Miguel Terekhov Collection
    Miguel Terekhov Collection Inventory Prepared by Jessie Hopper Last Revision - June 2013 Table of Contents Collection Summary.............................................................................................................. 1 Biographical Note.................................................................................................................. 1 Scope and Content Note....................................................................................................... 1 Organization of the Miguel Terekhov 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 Miguel Terekhov Title Miguel Terekhov Collection Dates 1928-2012 Bulk 1935-1997 Dates Quantity 8 boxes, 5 linear feet Abstract Miguel Terekhov, a Uruguayan dancer, was a member of both de Basil's Original Ballet Russe and the Ballet Russe de
    [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]
  • Teaching with Flight of Spirit (PDF)
    Teaching with Flight of Spirit by Mike Larsen This document is designed to help teachers present, discuss, and teach about Oklahoma history and art literacy through the use of this work of art. The information and exercises here will aid in understanding and learning from this artwork. Contents: • First Analysis and Criticism • Overview of the Artwork • About the Artist • The Ballerinas • Details • Suggested Reading • Final Analysis • PASS Objectives Oklahoma Arts Council • Teaching with Capitol Art First Analysis and Criticism The steps below may be used for group discussion or individual written work. Before beginning the steps, take two minutes to study the artwork. Look at all the details and subject matter. After studying the artwork in silence, follow these steps: Describe: Be specific and descriptive. List only the facts about the objects in the painting or sculpture. • What things are in the artwork? • What is happening? • List what you see (people, animals, clothing, environment, objects, etc.). Analyze: • How are the elements of art – line, shape, form, texture, space, and value used? • How are the principles of design – unity, pattern, rhythm, variety, balance, emphasis, and proportion used? Interpretation: Make initial, reasonable inferences. • What do you think is happening in the artwork? • Who is doing what? • What do you think the artist is trying to say to the viewer? Evaluate: Express your opinion. • What do you think about the artwork? • Is it important? • How does it help you understand the past? • Do you like it? Why or why not? Oklahoma Arts Council • Teaching with Capitol Art Overview of the Artwork In 1991, artist Mike Larsen reached a milestone in his career when he was commissioned to paint a permanent mural for the Oklahoma State Capitol.
    [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]
  • Terytoria Choreografii Nowe Szlaki Awangardy Choreography
    Terytoria Choreografii Nowe Szlaki Awangardy 1 Choreography Territories New Paths for the Avant-Garde Terytoria Choreografii Nowe Szlaki Awangardy Choreography Territories New Paths for the Avant-Garde 2020 MARIЄ RAMBЄRТ MAN AND WORK INSТIТUТIONS 12 36 PROJЄCТ RAMBЄRТ. CALЄNDAR ТHЄ ТRIPТICH 28 09 CHORЄOGRAPHIC ТЄRRIТORIЄS NЄW AVANТ-GARDЄ ROUТЄS 06 2020 04 Aleksandra Barbara Dziurosz, Ph.D. Schabowska-Maszenda Deputy Director of Director of the Institute the Adam Mickiewicz of Music and Dance Institute Ladies and gentlemen, We are proud to present the project ‘Choreographic Territories – New Avant-garde Routes’ (‘Terytoria choreografii – nowe szlaki awangardy’), carried out as part of a multi-annual programme titled ‘Niepodległa 2017–2022’ (‘Independent’ 2017–2022). It is a result of the collaboration between Adam Mickiewicz Institute, Institute of Music and Dance, Lublin Centre of Culture, Lublin Dance Theatre and Art Stations Foundations The precursors of the Polish dance avant-garde were women – icons of dance history, promoters of modern ideas, thoughts, and techniques. The aim of the project ‘Choreographic territories – New Avant-garde Routes’ is to recall the profiles of these outstanding twentieth-century dance avant-garde artists of Polish origin: Pola Nireńska, Bronisława Niżyńska, Marie Rambert and Yanka Rudzka. As in the 1920s and 1930s, nowadays Polish artists can inspire a modern understanding of choreography in other countries as well. We wish to return to the model of intercultural exchange based on actual collaboration with local communities, emphasizing the strong presence of choreographers and dancers, both today and in the history of Polish dance in general1.. Female avant-garde dance figures will be the main artistic axis of the project to include reconstructive and educational activities as well as commissioning of new works inspired by Polish 1 Terms and Conditions of the Open Competition for a performance as part of the programme ‘Choreographic Territories – New Avant-garde Routes’ in 2020, p.
    [Show full text]
  • Yvonne Chouteau Collection
    Yvonne Chouteau Collection Inventory Prepared by Jessie Hopper Last Revision - October 2015 Table of Contents Collection Summary.............................................................................................................. 1 Biographical Note.................................................................................................................. 1 Scope and Content Note....................................................................................................... 1 Organization of the Yvonne Chouteau Collection.............................................................. 1 Restrictions........................................................................................................................... 1 Index Terms............................................................................................................................ 2 Administrative Information.................................................................................................... 2 Detailed Description of the Collection................................................................................. 3 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 Yvonne Chouteau Title Yvonne Chouteau Collection Dates 1929-2013 Bulk 1943-2003 Dates Quantity One Folder Abstract Yvonne Chouteau, an American ballerina, was a dancer with the Ballet Russe de Monte Carlo. Her collection includes programs,
    [Show full text]