Felix Cherniavsky - Clippings 1900s 1

Added 18th Mar 2022 by Beth Dobson (Archives and Programming Assistant, DCD) / Last update 18th Mar 2022

Maud Allan 277 51 2008-1-29.jpg
Maud Allan 277 51 2008-1-29.jpg
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Felix Cherniavsky - Clippings 1900s 1

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Maud Allan Research Collection
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51.2008-1-29
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N Mand in Pani Career 1903-8 LW dances more and more of them ; weird , gro tesque , joyous , tregto ; they dominate and threaten to monopolize the stage both in Europe and in this country : Serious drama , even opera and musical comedy , are being crowded to the wall , limited to lower and fewer theatres by the public craze for terpsichorean revels , which votaries of that art in steadily increasing numbers hasten , to gratify . A glance at the photographs reproduced on this double page will demonstrate with what ingenuity dur Ing the last year or two professional dancers have profited by the example of Isadora Duncan , exemplar of the classic Greek ideals , and Maud Allan and her Imitators with their " Salomo " effeota . Leaving out the enormous vogue of Gence , lowa and other Russian celebrities revolutionized traditional ballet , every capital of the world ars spectators of the efforts of In the ordinary sense of the Paris - 80 the cables mad . " Thot gay capit headquay * the legia Lola la Paris before King Louis company and thereby lost Berlin , owned Gaby Deslys tugal was losing his throne for Cleo de Merode , Parisienne all ovetsa King Leopold more trouble than any other ha Individuals , including rival monarchs . And now it le Paris that has launched the chief dancing sensation of the present amusement season the " Silhouette Dance . " Already patrons of London music halls are obsessed by it , and there doesn't ap . pear a chance that New York and other large American cities will escape . : The " Silhouette Dance , " as its name implies , is a dance of figures back of a screen brightly illuminated from behind the figures in a way to clearly reveal their outlines and movements in the shadows seen by the audience . The transparency Is inclosed within an appropriately artistic border , which constitutes the frame of the moving shadow picture . At the London Hippodrome " The Three Maidens from Sais " have crowded the theatre with their danc . Ing and posing in the " Silhouette Dance . " Photographs reproduced on this page show a pose in shadow on the screen , as the audience sees it , and the apparently nude figures themselves on a platform back of the screen . It will be observed that the outlines seen on the soreen from the auditorium convey only a partial Impression of nudity in the dancers themselves , there being only outlines , no detail inside the outlines to speak of - probably a fortunate circum . stance where policemen are vigilant . Other " Silhouette Dances " are given added grace by the use of light , fowing draperies . In Berlin - where all classics are still more or less respected -- they prefer it this way . Individual poses and tableaux inore than actual dancing seem Instead of trying to portray human pas along with her ginue ous Dovements and hor poses , Mlle . Perla attempts to re incarnate the soul of the Brahmin god dess - dancer Siva . In this ettort sbe 13 aided by symbol ical accessories , in cluding cabalistic figures drawn upon the floor of the stage . Three episodes serve to round qut the story -- the " Dance of the Seven Cir cles , " of " Youth , " of the " End of Mortal Effort . " Grant ing beauty and grace in the dancer , there seems to be no limit to the esoteric lengths she can go- you can feast your eyes and not bother about the soul of Siva . Besides legitimate dancers Russia has contributed Mlle . Trouhanova , a large , handsome woman with a most expansive smile , who dances in sandals while she gracefully manipulates various draperies . Except . Ing her arms and bust Mlle . Trouhanova is sufficiently clad , but in garments that do not too mucb obscure the charm of ber ample curves . Mlle . Troubanova created Salome's " Dance of the Seven Vells " for the original production of Strauss's opera in Paris , for that episode taking the place of the soprano in the part of the daughter of Herodias . Being a trained dancer she captivated the Parisians . Mary Garden , in the role of Salome , however , elected to do the dance herself , and Trouhanova had to look about her for another novelty . While the handsome Fussfen dancer has succeeded , in winning the Parisians all over again with her new dance , the opera of " Sa dome " has come a cropper out in Chicago , evidently because Mary Garden , doing her own dancing , was - to quote the chief of pollco of that city -- " like a cat wallowing in a catnip bed . " Which must be quite gratifying to members of the dancing profession who do not try to sing . Another Paris dancing favorite whose costume conceals while still revealing is Mlle . Lefargue . From bare arras and chest the fabrie seems glued to her fine figure , only at the hips beginning to show folds of the material , and then from the mid - thigh falling in graceful Ines to a heavily embroidered train that keeps her feet entirely concealed . " The Fairy of the Fountains " an idea which recalls Ungine , of the delightful German classicis what Mile . Simone de Beryl , at the London Hippodrome , calls Her new dancing scene . The stage , is se with a fairyland scene , in the midst of which is a fountain of waters re . flecting many - colored lights . At the psychological moment in her falry dance Mlle . de Beryl appears -like Undine did - amid the irrides . cent waters of the fountain . The prettiness of the scene and the grace and beauty of the dancer combine in making one of the big current dancing successes in the British capital . Both in Paris and London they is a revival of the Greek pasto style of dancing , introduced taught to many disciples by Isa Duncan . But the revival is ! effective than the original , on the liveller movements of the ers , which keep their classi peries flying In a playlet now running at the London theatres the posi pantomime of the actors ar to be the chiet regui A highly profitab -evidently has been new dancing posing n their origin in ancie Oriental religious phild A beautiful and gri as Mlle . Perla is said and London audaces de " Silhouette Dance . -the " Salome Dance " don of several of these vhiob pretend to have ation , or to illustrato youns woman advertised Speal powerfully to Paris che Boul Dances of Brahma . "

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