Felix Cherniavsky - Clippings 1900s 1

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

Maud Allan 299 51 2008-1-29.jpg
Maud Allan 299 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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Even Maud Allan , who until a few weeks ago restricted the display of her dance and her body lines to a few individuals of the highest artistic nobility , comes ever closer to the circles of the more common but better - paying public . The opera house did not materialize , for reasons already indicated a while ago . Consequently , the Carl - Theater was selected . During the rehearsal yesterday in front of approximately one - hundred invited guests , you were spared the effort of having to use all five senses to work your way through an artificially fabricated pile of all sorts of elements “ appealing to the emotions ” to some extent derived from religious cults , to a larger extent from variety shows . Everything went smoothly and calmly , just as is to be expected of a rehearsal . Slim and graceful , the upper part of her body covered with nothing but a string of beads , a spider's web of veils draped around her perfectly shaped legs , Maud Allan walks in from behind a scene of a temple , assuming an artifically rigid posture , her face motionless . Then her shoulders start to move , her arms rise , and her entire beautiful fig ure comes alive . Her round white arms play in all their joints , seem to become more and more flexible , describe passionate and excited lines , move like waves around her front and back , then again flow away from her body , always in motion , never awkward , showing most delightful harmony in every single detail of her movements . She is no doubt a dancer with exceptionally talented arms . Her legs are beautiful in themselves , without any special artistic attributes . What is being pre sented as " Salomé's Vision " with oriental music in the background is - with the exception of the intriguing snakelike movements of her arms - nothing but an excited scurrying about , a tender and sinister gaze , and a few pleasant visual poses , including the startled squatting position , an illustration of which we carried earlier . Add to this a rather primitive play with John's head made of papier - mâché - rather more disillusioning than exciting . All in all very pretty sight , as is the sight of any perfection . All this should then be titled " A few interesting movements by the extremely talented Miss Allan " or some thing like that . It may be an honest attempt to invent a new dance , But this attempt , like any other similar attempt , is bound to fail . The more frequently we have to deal with such experiments of renewal , the more clearly will we see that a dance form can only be developed , not invented . But why should this be of any concern to the directors of variety shows ? They will , no doubt , also capitalize on Maud Allan , Therefore , let's go ! Illustmestés vender Extra latt . & Dec 29 1906 . ** The passage between between the astensks in û what is prented in " Press Tuluten from Maud Allan " and her cut ( dondon 1908 ) ( This performance that place in the Carl Theatre , - Vorna .