DOCSLIB.ORG

THI SIVTII DTRDLT 5IH5 Should Dance Opposite the Hence Lhe Seven David Kettle Singer

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
THI SIVTII DTRDLT 5IH5 Should Dance Opposite the Hence Lhe Seven David Kettle Singer Losch and Lenya,James made it a requirement that his spouse THI SIVTII DTRDLT 5IH5 should dance opposite the hence lhe Seven David Kettle singer. And Deadly SlnJ unique and sliEhtly perplexing characters ofAnna I and Anna ll were born. It's only by luck that Ih e Seven Deadly Sins exists at all. Things weren't Soing well for composer Kurt Weill in the early 1 930s. His partnership with the renowned German writer Essentiallytwo sides ofa single Bertolt Brecht, which had produced such masterpieces as fhe Rlse and Fall ofthe City of person, Anna I and Anna ll are the Mahagonnyand The Threepenny Opera had all but disintegrated by 1930, followingthe main protagonists in Brecht and playwrighfs renewed commitment to I\4arxism (and his somewhat ill-considered critiques Weill's flnal collaboration, a bitter ofthe two men's previous collaborations). Weill's move to Paris in 1933, fleeing increasing l critique of middle-class values. unpopularity in a restive Germany, hadn't brought him the acclaim he expected after his Anna I sings;Anna ll dances. previous successes there. And his on-going divorce from Lotte Lenya, the husky-toned I Anna I is practical, cynical and singerwho had given so many of his works their uniquely decadent character,looked set focused on money Anna ll is to deny him one ofhis music's essentialinterpreters. emotional, impulsive and easily manipulated. Travelling around Enter Edward James, a wealthy Englishman living in Paris, who was backing a new dance America to earn money to build company called Les Ballets 1 933 headed by top avant-garde choreographer George their family a new house in Ba lanchine.lames agreed to flnance new dance pieces for Balanchine's troupe on two Louisiana, the two Annas conditions: that his wife, the da ncer Tilly Losch, was given a lead role; and that one of the encounter sins at every turn, but works commissioned was by Weill. ifs Anna ll who is 'cured' ofthem in Brecht's vitriolic attack on It looked like Weill had been capitalism. She overcomes her jean Har ow and Ctrener Moffis itr Red-Headed Woman (1 93 2). directed by lack conway MGM/The Koba col ect on. given a fresh start. lf only things 'pride' in refusing to bear all in a were that simple. His initial l\y'emphis strip club when her sister encourages her to wear skimpier clothing in order to choice for a collaborator -lean bring in more money. She defeats her'lusf in Boston by turning her back on the man she Cocteau - declined to take part truly loves to go offwith a wealthy patron who will support the two sisters. And in Los because of the-ambitious Angeles, ifs her'wrath' that almost gets the two sisters fired from a movie studio after deadline. James suggested she shows herfrustration at injustice in the fllm world. Brecht as a replacement, and after Weill reluctantly agreed, the Brecht turns the traditional morality tale on its head: in his world, the sins are virtues that playwriBht hurried from his exile the Annas must overcome in order to live a bourgeois, capitalist life. The AnnaJ family, back in Switzerland to Paris speciallyto l home in Louisiana, is sungbya quartet of male voices (the mother, logically, beingthe bass) work on the piece. Lenya said yes j who maintain an ironic commentary on the girls' actions throughout. to playing a central role, despite the divorce - but her lover ofthe As in his previous, hiShly successful stage works, Weill's music for The Seven Deadly Sins time, Otto Pasetti, was also to be matches Brecht's contemporary references with its use ofpopular styles - foxtrot, dance in the cast. (Weillhimself only music, barbershop quartet, solemn church chorale. His trademark wind-heavy, acidic- added to the sexual intrigue: he sounding orchestration, sofamiliarfrom TheThreepenny Opera, is mellowed slightlyfor was having an affairwith the wife The Seven Deadly Sinr where stringed instruments come more to the fore. Yet there's still ofCaspar Neher, the production's the distinct feel of dance-band music in the songs, emphasised by the unmistakable twang designer.) But how to follow ofthe banjo and the stuttering percussion in Weill's orchestra. the English flnancieis other stlpulation, that his dancer wife Weill completed The Seven Deadly Sins quickly between mid-April and early May 1933, and have a lead role? the premieretook place in Paris on 7lune.lt's hardly surprising that reviews were mixed:the Dust Bowlfarmerlohn Barnett and h sfamiy. 1942 should Noticing A fred Eisenstaedr4 me & L fe Pictures/Getiy lmages a striking resemblance between workwas presented in a taxing programme alongside no fewerthanflve othershort ballets, Awoman in a ff led wrap tries on shoes, c 1 930. General Photogr.phic DIOGR]TNIN Agency/Getty maees. Peter Baldwin - Male Ro es B rm ngham.the banks oftheWaterofLeth, Peter Ba dw n graduated from London Stud o Methl Docksand London's urban spaces. Centre in 2003 He previousy attended the BR T PeterVan Hulle Brother schoo of performingartsand Central Schoo PeterVan Hu le studied atthe RoyalScottish of Ba l-.1 H swork h.staken him wordw de Acaden-ry ofMuslc and Drama and the NationaL irerformiirg n Portuga . lialy. lsra e and Ameica. as opera Studio. His ro es nc ude HotelPorter Dealh we as al overthe UK. He hascont nLred to work in ln yenlce(Engllsh Nat onalOpera La Monnaie La a varietyof genres nc ud ngtheatre, arena, f m S. .lor Dr (o_ rdl.LotrGa a t\,4ddamo BLlLe,l!. and ry. He hasjust completed a tourwithAct One, Charles l.mb Monsi-.r Re.tot PeterGrimes affrlated with ARC dance company. (Scottish 0pera)r Menelaus La bel/e H-;/dne Borsa JessicaCottis Conductor Rigoletta, Pong TurandoL Srarl A Midsummer lessica Cottis recefty completed a two-year N/ghts Drearn (ENO)] Slave lhe Assassln Iree by dppo ,l Fr o A . .ldr' ao rd lor oI'5. 88 Stuart MacRae (Edinburgh Fesuval/Royal 0pera qy_rpror) ',o rr I 0'.I "'da1c(or c rrlr'lt Housd. He has also sungforOpera Ho and Park, Fellow at the Roya Scottlsh Acad emy of N,4!r sic Mid Wales Opera, Eng ish Tour nB Opera and the and Drama. ncreasingly n demand as a guest Almeida. Buxton and Warwickfestva s. conductor, she recenty n-rade her BBC Prorns Nadine Livingston Anna I debut, and conducted the prem eres ofJarnes Nadine Llvingston was born in G asgowand D llon's Nlre Rlvers (BBC SSO)and Anna N4ered th's studied at the RoyalNorthern Colege ofMLrslc Tatantula in PetralEiueC\ deburgh). She is Artistlc in lManchesterwith Barbara Robotharn where D rector of B oomsbury 0pera and guest conductor \5F 4d tl-F rr 6 o o r In bar olp'il6 . oo 6. and its text was sung untranslated in German, so that the piece's biting satire was all but lost of Red Note Ensemb e. She worked professionaly ^i pFlor-po hFre rr rLd.d -atla- d fu8enF O.eg,n on the French-speaking d'.1orgor.l 'l Lor oo a ro odrr Dp'o'' d)rrg audience. ' and Rosa inde Die F/edermaus. She has sung at the RoyalAcademy of Muslcwhere shewas .r wr | 6 uo dDA I L ,s6 ,b e.. ,d w lt trF F.tt" d^orcpclaF op,oro r li, gp -e.01gdd rdlior. The composer later admitted a certain frustration with an emerging anti-Weill contingent orchestra and Sir Mark E der. Shewas a Scott sh in Parls. And indeed it seemed that the resentment he encountered in Berlin may have GrahameGardner Lighting Designer oo.-d t^1F,BirBA ri.-'ror 7009ro70 ls rB18 followed him tothe French capital:in a concert laterthatyear, French composer Florent Grahame Gardnerwas born in Glasgow and stud ed lile rcle K6tya Kabanav1. Ny'usetta La boheme Maffiage Figara Rigoletta. Schmitt heckled Weill, shouting, 'Vive HitlerlWe have enough bad musicians in France at Queen Margaret Un versity College. Edinburgh S$anft The of and Gi da dnd the Unlversity ofRochester, NewYork As without beingsent German Jews as well!'Weill's mind was made up: two years later he Kally Lloyd-rones Director/Choreographer Chief Electrcian iorScottish Ballet, he designed boarded a ship in Cherbourg, destined to begin a new life in the USA. Kally Lloyd lones, CompanyChorde a's founder ight ngformany shows inc uding.Sonafal, and Artistic Director,was born and ra sed in Time, Prisoneri Cheri, Carmelr z nd Espril He has David journalist Scotand. She trained attheTheatre Arts Ballet Kettle ls a and writer on rnLts c who has wrltten for BBC Music Magazine,The Stftd.The des gned forTab!la Rasa Dance Cornpany. Scott sh S.h ool a nrl Ce ntral S.hoo of B.llei ln lonaon Iimes fhe Guardian and Folk Raats Dance Theatre.lan ce Parker Projects and Clalre and has an MA in Engllsh Literature and Film Cunningham. and Cinderella Pilot Erraa Les Stud es from G asgow University She hasworked Amaureuxand L,liandafar Cornpany Chorde ia. extensively as a choreographer, dancet movement He has also worked wlth Paragon Ensernb e, d rectotteacherand choreologist in Scotand, as AIYF opera Gaden and Theare Cryptic. He is TIII STVTil DTf,DLT 5IN5 M SCOTLRND we as in London. Sweden and Canada. She has Associate L ghting Designer lor Matthew Bournes worked with the Roya Swed sh Balet.The Roya Swan Lake. The Scottish premiere was in 196'l at the Edinburgh Festival, when lhe Seyen Deadrsns Ballet School.The Benesh lnstitute. David Hughes was performed by Scottish Theatre Ballet (laterScottish Balle0, directed and choreographed ,anis Hart Desgner Dance Company, Spinal Chord Prolectg Tartan pa_ -6c ' ..146'o .
Load more

Recommended publications
  • LIST of WORKS in the EXHIBITION Dance of Hands
    LIST OF WORKS IN THE EXHIBITION Dance of Hands. Tilly Losch and Hedy Pfundmayr in Photographs 1920 ─1935 November 14, 2014–February 15, 2015 Rupertinum Works are listed in alphabetical order according to artist’s names and in chronological order. Works indicated in italics are authorized titles, otherwise a descriptive title is used. Height proceeds width proceeds depth. Anonymous Salzburg Festival 1926, 1926 Film, 16mm (black and white, silent) transferred to digital video disc 14:25 min. This film is stored at Bundesarchiv-Filmarchiv Berlin Friedrich Wilhelm Murnau Nosferatu—A Symphony of Horror , 1922 Max Schreck as Nosferatu Frame enlargement Silver gelatin print (vintage print) 6.8 x 9 cm Austrian Film Museum, Vienna Friedrich Wilhelm Murnau Nosferatu—A Symphony of Horror , 1922 Wolfgang Heinz as Nosferatu and Max Schreck as Maat Film still Silver gelatin print (vintage print) 10.2 x 12.4 cm Austrian Film Museum, Vienna Robert Wiene The Hands of Orlac , 1924 Conrad Veidt as Paul Orlac and Alexandra Sorina as Yvonne Orlac Film still Silver gelatin print (vintage print) 21.1 x 27 cm Austrian Film Museum, Vienna Robert Wiene The Hands of Orlac , 1924 Conrad Veidt as Paul Orlac and Fritz Kortner as Nera Film still 1/21 Dance of Hands_List of works Silver gelatin print (vintage print) 21.3 x 27.4 cm Austrian Film Museum, Vienna Robert Wiene The Hands of Orlac , 1924 Conrad Veidt as Paul Orlac Silver gelatin print Photo: 17,6 x 23,6 cm Theatermuseum, Vienna Gustav Ucicky Pratermizzi , 1926 Hedy Pfundmayr as double of the dancer Valette
    [Show full text]
  • KURT WEILL NEWSLETTER Volume 5, Number 2 Fall 1987
    KURT WEILL NEWSLETTER Volume 5, Number 2 Fall 1987 AMTF Receives Federal Grant for university production is reviewed in this Love Life issue). The grant represents part of the The American Music Theater Festival NEA's six-million dollar effort to assist recently received an $80,000 grant from opera and musical theater companies the National Endowment for the Arts to throughout the United States. Other support its 1988 planned production of recipients include the Metropolitan and l Love Life and to assist in rehearsals of New York City Operas (in support of Revelation of the Courthouse Park, by the their free summer programs), the Hous­ pioneering microtonal composer, Harry ton Grand Opera, the Lyric Opera of Partch. The AMTF production of the Chicago, the Opera Guild of Greater Weill-Lerner collaboration will mark the Miami, and the Washington, DC, Na­ first professional revival of the work (a tional Institute for Music Theater. IN THIS ISSUE Say No to Mediocrity: The Crisis of Musical Interpretation by 6 Kurt Weill Love Life Begins at Forty by Terry Millei· 8 The Seven Deadly Sins at Brighton by Jane P1itchard 10 Columns Letters: David Drew Answers Richard Taruskin 3 Around the World: Kurt Weill Festival in New York 4 I Remember: Your Place, Or Mine?: An "un-German" Affair by 5 David Drew's Handbook Published Felix Jackson New Publications in UK and US 12 Selected Performances 23 Kurt Weill: A Handbook by David Drew was published in September by Reviews Faber and Faber in the United Kingdom Kurt Weill Festival in New York Allan Kozinn 13 and the University of California Press in Seven Deadly Sins in London Paul Meecham 16 the United States.
    [Show full text]
  • Dance and Exile Research and Showcasing in Austria – an Attempt at a Chronology
    גרט ויזנטל רוקדת את יצירתה אנדנטה, וינה, 08/1906, גרטרוד קראוס רוקדת את יצירתה וודקה, וינה 1924, באדיבות מורה ציפרוביץ, וינה 1920, צילום: לא ידוע, באדיבות מוזיאון התיאטרון צילום: מוריץ נהר, באדיבות מוזיאון התיאטרון מוזיאון התיאטרון בוינה Mura Ziperowitsch, Wien, 1920, Photo: Unknown, Courtesy of Theatermuseum -KHM – Museumsverband Gertrud Kraus in Wodka, Wien 1924, Photo: Martind Grete Wiesenthal in Ändante con moto, Wien, Imboden, Courtesy of Theatermusem – KHM 08/1906, Photo: Moritz Naher, Courtesy of Theatermusuem, KHM-Museumsverband Dance and Exile Research and Showcasing in Austria – An Attempt at a Chronology Andrea Amort The broadly defined topic of exile, to a varying extent still relevant Nazi dictatorship. Presciently, Gertrud Kraus left Austria in 1935 to dance )modern dance and ballet( today, mainly covers those and emigrated to Palestine/Israel. Rudolf von Laban )Bratislava dance practitioners in Austria who, in the wake of Austro-Fascism 1879 – Weybridge, Surrey 1958(, the influential founder of Aus- and the racist and political measures of Nazi dictatorship, were druckstanz )expressionist dance(, is nowadays considered a na- restricted in their activities and went into inner emigration or else tional figure especially in Germany and England and, in recent were active in resistance, persecuted, expelled, or murdered. In years, also in Slovakia despite having been born in the Austro- dance scholarship also artists who had emigrated much earlier Hungarian Monarchy. He left Berlin in 1937 and escaped via Paris on and were committed to Zionism )among others, the Ornstein to England. sisters and Jan Veen, alias Hans Wiener ]sic[( are included in this topic. No precise statistics of the persecuted and murdered are avail- able; we estimate, however, that at least 200 dance practitioners All dance practitioners mentioned in the following – with the ex- were affected.
    [Show full text]
  • Studying Ogramme
    Autumn Term 2019 TOTAL NUMBER OF STUDENTS STUDYING ON A DEGREE OR DIPLOMA PROGRAMME Discover More West Dean Summer Show, Phoebe Connolly, DACC, 2019 The new academic year is now well-established. Already, Fine Art students have enjoyed a series Mary Hampton, In October 2018, Mary Hampton became of workshops in printmaking, the first ever Composer-in-Residence tapestry, painting and stone Composer-in-Residence, at West Dean College. The College’s carving to gain an understanding writes a new carol inaugural Composer-in-Residence of the materials which can inform programme provides musicians with their studio practice. In the School for West Dean the opportunity to research, reflect and experiment in order to develop the of Conservation, students are The Friends of West Dean Carols by possibilities of their own practice. The making use of a brand new facility the Christmas Tree, on Thursday 12 Composer-in-Residence is enriching the for science and research with December 2019 in the Oak Hall, included learning environment for the College’s arts space for laboratory teaching the first performance of a new carol and conservation students. Throughout and analytical work. The facility They all were looking for a king. This was this year and next, Mary has arranged supports MA project research and specially written for the occasion by Mary Salon Imaginaire, a wonderfully varied enables staff to conduct research Hampton, West Dean Composer-in- series of concerts at the College. in the fields of conservation and Residence, for the Winterbourne Singers Forthcoming concerts: heritage science. and West Dean Viol Players to perform.
    [Show full text]
  • 14. July 2021 Jewish Museum Vienna Opens Exhibition Jedermanns Juden. 100 Jahre
    Press Release of the 2021 Salzburg Festival Jewish Museum Vienna Opens Exhibition Jedermanns Juden. 100 Jahre Salzburger Festspiele Opening of the exhibition Jedermanns Juden. 100 Jahre Salzburger Festspiele. Photos: Barbara Nidetzky (SF, 14 July 2021) The Jewish Museum Vienna has opened its new exhibition, Jedermanns Juden. 100 Jahre Salzburger Festspiele (Jedermann’s Jews. The Salzburg Festival at 100). The show is dedicated to a retrospective of 100 years of Salzburg Festival history and Jewish participation in the world’s most important classical music and performing arts festival. Director and curator Danielle Spera welcomed the assembled guests to the opening of the exhibition: “Max Reinhardt left Europe forever in 1937. He wrote to the ruling Nazis: ‘The decision to irrevocably give up the Deutsches Theater was naturally not an easy one. With my ownership, I lose not only the fruits of 37 years of work, but I am also losing the soil I have nurtured all my life and from which I myself grew. I am losing my homeland.’” She emphasized how Jewish protagonists shaped the early years of the Festival, pointing out not only the founding fathers Max Reinhardt and Hugo von Hofmannsthal, but also Berta Zuckerkandl’s contributions. Curators Marcus G. Patka and Sabine Fellner provided an overview of the exhibition in their speeches. The guests were also welcomed by Andreas Fleischmann, Chairman of the Board of the Raiffeisenlandsbank NÖ-Wien AG and Michael Spiss, Raiffeisen Capital Management. Michael Heltau read from Max Reinhardt’s memoirs of the Salzburg Festival. In her remarks, the President of the Salzburg Festival, Helga Rabl-Stadler, emphasized: “The Salzburg Festival is grateful to the Jewish Museum Vienna for the important contribution this exhibition makes to the Festival’s centenary.
    [Show full text]
  • Film Collection
    Film Collection 1. Abe Lincoln in Illinois, US 1940 (110 min) bw (DVD) d John Cromwell, play Robert E. Sherwood, ph James Wong Howe, with Raymond Massey, Ruth Gordon, Gene Lockhart, Howard de Silva AAN Raymond Massey, James Wong Howe 2. Advise and Consent, US 1962 (139 min) (DVD) d Otto Preminger, novel Allen Drury, ph Sam Leavitt, with Don Murray, Charles Laughton, Henry Fonda, Walter Pidgeon. 3. The Age of Innocence, US 1993 (139 min) (DVD) d Martin Scorsese, novel Edith Wharton, m Elmer Bernstein, with Daniel Day-Lewis, Michelle Pfeiffer, Winona Ryder, Alexis Smith, Geraldine Chaplin. 4. Alexander France/US/UK/Germany, Netherlands 2004 (175 min) (DVD) d Oliver Stone, m Vangelis, with Antony Hopkins, Val Kilmer, Colin Farrell 5. Alexander Nevsky, USSR 1938 (112 min) bw d Sergei Eisenstein, w Pyotr Pavlenko, Sergei Eisenstein, m Prokofiev, ph Edouard Tiss´e, with Nikolai Cherkassov, Nikolai Okhlopkov, Andrei Abrkikosov. 6. The Age of Innocence, US 1993 (139 min) (DVD) d Martin Scorsese, novel Edith Wharton, with Daniel Day-Lewis, Michelle Pfeiffer, Winona Ryder, Alexis Smith, Geraldine Chaplin. AA Best Costume Design AAN Best Music; Best Screenplay; Winona Ryder; 7. The Agony and the Ecstacy, US 1965 (140 min) (DVD) d Carol Reed, novel Irving Stone, ph Leon Shamroy, with Charlton Heston, Rex Harrison, Diane Cilento, Harry Andrews. 8. All Quiet on the Western Front, US 1930 (130 min) bw (DVD) d Lewis Milestone (in a manner reminiscent of Eisenstein and Lang), novel Erich Maria Remarque, ph Arthur Edeson, with Lew Ayres, Louis Wolheim, Slilm Sum- merville, John Wray, Raymond Griffith.
    [Show full text]
  • Kurt Weill Volume 29
    Volume 29 Kurt Weill Number 1 Newsletter Spring 2011 SINS (7) ON STAGE Volume 29 Kurt Weill Number 1 Newsletter Spring 2011 In this issue ISSN 0899-6407 © 2011 Kurt Weill Foundation for Music Feature: The Sins on Stage 7 East 20th Street New York, NY 10003-1106 Introduction 3 tel. (212) 505-5240 fax (212) 353-9663 Genesis and World Premiere, 1933 5 Published twice a year, the Kurt Weill Newsletter features articles Copenhagen, 1936 7 and reviews (books, performances, recordings) that center on Kurt Weill but take a broader look at issues of twentieth-century music New York City Ballet, 1958 8 and theater. With a print run of 5,000 copies, the Newsletter is dis- tributed worldwide. Subscriptions are free. The editor welcomes Frankfurter Städtische Bühnen, 1960 9 the submission of articles, reviews, and news items for inclusion in future issues. After Lenya: Later Productions 9 A variety of opinions are expressed in the Newsletter; they do not necessarily represent the publisher's official viewpoint. Letters to Videos the editor are welcome. Rise and Fall of the City of Mahagonny Staff at the Metropolitan Opera, 1979 13 Rodney Milnes Elmar Juchem, Editor Carolyn Weber, Associate Editor Dave Stein, Associate Editor Brady Sansone, Production Books Kate Chisholm, Staff Reporter A Gambler’s Instinct: Kurt Weill Foundation Trustees The Story of Broadway Producer Cheryl Crawford 14 Kim Kowalke, President by Milly S. Barranger Wendy Smith Philip Getter, Senior Vice President and Treasurer Guy Stern, Vice President Performances Edward Harsh, Secretary
    [Show full text]
  • Collection of Dance Programs, 1890-1990
    http://oac.cdlib.org/findaid/ark:/13030/ft200001h8 No online items Finding Aid for the Collection of Dance Programs, 1890-1990 Processed by UCLA Library Special Collections staff; additions processed by Lilace Hatayama, 2012; machine-readable finding aid created by Caroline Cubé. UCLA Library Special Collections Room A1713, Charles E. Young Research Library Box 951575 Los Angeles, CA 90095-1575 Email: [email protected] URL: http://www.library.ucla.edu/libraries/special/scweb/ © 2002 The Regents of the University of California. All rights reserved. Finding Aid for the Collection of 866 1 Dance Programs, 1890-1990 Descriptive Summary Title: Collection of Dance Programs, Date (inclusive): 1890-1990 Collection number: 866 Extent: 28 boxes (14.0 linear ft.) 1 oversize box Abstract: Collection consists of some 1000 twentieth-century dance programs, primarily American, but many for foreign dance companies on tour in the U.S. Language: Finding aid is written in English. Repository: University of California, Los Angeles. Library. Department of Special Collections. Los Angeles, California 90095-1575 Physical location: Stored off-site at SRLF. Advance notice is required for access to the collection. Please contact the UCLA Library, Department of Special Collections Reference Desk for paging information. Restrictions on Access COLLECTION STORED OFF-SITE AT SRLF: Open for research. Advance notice required for access. Contact the UCLA Library, Department of Special Collections Reference Desk for paging information. Restrictions on Use and Reproduction Property rights to the physical object belong to the UCLA Library, Department of Special Collections. Literary rights, including copyright, are retained by the creators and their heirs.
    [Show full text]
  • The SUMMER 2018 List
    the SUMMER 2018 list BEAUX BOOKS 42 Harebell Close Hartley Wintney Hampshire RG27 8TW UK 07783 257 663 [email protected] www.beauxbooks.com The books are listed in chronological order. Please contact us for a full condition report. All titles are offered subject to prior sale. Additional copies of some titles are available but may be subject to a change in price or condition. Front Endpapers: #2 The History of Ballet Rambert & #32 Polo/Ralph Lauren Press Photographs Rear Endpapers: #41 Elspeth Phelps Fashion Illustrations & #42 Photograph Album of Deauville Fashions ................................................................... BEAUX BOOKS # 1 A scarce contemporary account of the Bright Young People Society Racket. A Critical Survey of Modern Social Life Patrick Balfour. Bernhard Tauchnitz. Leipzig. 1934. Tauchnitz Edition, Collection of British and American Authors, Vol. 5158. First published by John Long, London in 1933. Printed wrappers. 280 pages. 32 pages of advertisements for other titles. 4 hors-texte black-and-white plates. 165 x 120mm. Very good. £140 Purchase/More Information Much has been written about the Roaring Twenties and the Bright Young Things after the event but Patrick Balfour's Society Racket is one of the very few contemporary accounts of the era. Balfour, 3rd Baron Kinross, was a bright young person himself as well as being the Daily Sketch's 'Mr Gossip'. He was the model for Mr Chatterbox in Evelyn Waugh's Vile Bodies. After a decade of parties and exploits he settled down to write a study of London society and their changing values in the 1920s. His writing is a mixture of social analysis and witty anecdotes.
    [Show full text]
  • Guide to the Max Reinhardt Collection
    GUIDE TO THE MAX REINHARDT COLLECTION BIOGRAPHICAL NOTE The celebrated theater director Max Reinhardt, recognized in America primarily for his elaborate productions of Shakespeare’s A Midsummer Night’s Dream, Franz Werfel’s The Eternal Road, and Karl Vollmoeller’s The Miracle, was born in 1873 at Baden near Vienna, Austria and died in New York City in 1943. Reinhardt’s illustrious career takes on added significance because it coincides with a major shift in the evolution of the modern theater: the ascendancy of the director as the key figure in theatrical production. Reinhardt’s reputation in international theater history is secured by the leading role he played in this transformation, as well as by his innovative use of new theater technology and endless experimentation with theater spaces and locales, which together redefined traditional relationships between actor and audience toward a new participatory theater. Born Maximilian Goldmann into an impecunious lower middle-class merchant family, Reinhardt (initially a stage name) began his career as a struggling young actor in Vienna and Salzburg. In 1894 he was invited to Berlin by Otto Brahm, the renowned director of the Deutsches Theater, where the young actor quickly gained critical acclaim for his convincing portrayals of old men. Eager to escape the gloom and doom of the prevailing Naturalist style, Reinhardt in 1901 co-founded an avant-garde literary cabaret called Sound and Smoke (Schall und Rauch), the allusion being to a poem by Goethe. This cabaret theater perceptively satirized the fashions of current theatrical theory and practice and came to function as an experimental laboratory for the future director.
    [Show full text]
  • HANYA HOLM in AMERICA, 1931-1936: DANCE, CULTURE and COMMUNITY a Dissertation Submitted to the Temple University Graduate Boar
    HANYA HOLM IN AMERICA, 1931-1936: DANCE, CULTURE AND COMMUNITY A Dissertation Submitted to the Temple University Graduate Board In Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy By Tresa M Randall August, 2008 © Copyright 2008 by Tresa M Randall iii ABSTRACT Though she is widely considered one of the “four pioneers” of American modern dance, German-American Hanya Holm (1893-1992) occupies a shadowy presence in dance history literature. She has often been described as someone who fell in love with America, purged her approach of Germanic elements, and emerged with a more universal one. Her “Americanization” has served as evidence of the Americanness of modern dance, thus eclipsing the German influence on modern dance. This dissertation challenges that narrative by casting new light on Holm’s worldview and initial intentions in the New World, and by articulating the specifics of the first five years of her American career. In contrast to previous histories, I propose that Holm did not come to the U.S. to forge an independent career as a choreographer; rather, she came as a missionary for Mary Wigman and her Tanz-Gemeinschaft (dance cultural community). To Wigman and Holm, dance was not only an art form; it was a way of life, a revolt against bourgeois sterility and modern alienation, and a utopian communal vision, even a religion. Artistic expression was only one aspect of modern dance’s larger purpose. The transformation of social life was equally important, and Holm was a fervent believer in the need for a widespread amateur dance culture.
    [Show full text]
  • Wake up and Dream Oliver Messel: Theatre, Art and Society the Oliver Messel Personal Archive
    Wake Up and Dream Oliver Messel: Theatre, Art and Society The Oliver Messel Personal Archive The Personal Archive of Oliver Messel was acquired by the University of Bristol Theatre Collection in 2015. Alongside the Oliver Messel Design Archive, housed at the V&A, it provides a comprehensive history of Messel’s life and work, which were so often intertwined. The items in the Archive come from Messel’s home in Barbados where he lived from 1966 to 1978. On his death, the contents of his house and studio were left to his nephew Thomas Messel with whom the Archive remained until it was transferred to the Theatre Collection. Over the course of the last two years the Archive has been catalogued and digitised with the aim of making all items accessible to search on our online catalogue with over 1000 accompanying images. A number of items have also been conserved including ballet costumes, photograph albums, props and designs – a number of which can be seen here in the exhibition which features over 150 objects. Wake Up and Dream is accompanied by an exhibition at the Royal West of England Academy (RWA) titled Oliver Messel - Theatre and Beyond, which runs until 13 January 2019 www.rwa.org.uk The University of Bristol Theatre Collection would like to thank the Heritage Lottery Fund and The Linbury Trust who have generously supported their ‘Sharing the Messel Magic’ project, of which Wake Up and Dream is a part. We would also like to thank all those who have been involved in helping us to acquire, catalogue, conserve and share the Archive, including: the National Heritage Memorial Fund (NHMF), The Noël Coward Foundation, Friends of The National Library, The Pilgrim Trust, National Manuscripts Conservation Trust, the Royal Victoria Hall Foundation, Friends of the Theatre Collection, University of Bristol alumni and all others who have given their time and support, including Thomas and Pepe Messel.
    [Show full text]