Felix Cherniavsky - Clippings 1900s 1

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

Maud Allan 312a 51 2008-1-29.jpg
Maud Allan 312a 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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Bohemia ( Prague , Sept. 6 , 1907 ) THE AMERICAN SALOME IN THE " VARIETE " Par . 1 : Miss Allan , who appeared today for the first time in the " Variete " Theatre and yesterday gave a private performance to an invited audience of press representatives , is a latter - day adherant of Miss Duncan's barefoot persuasion . This latest innovative trend is part of modern awareness . Ever since that first Berlin performance of Duncan's , which reconquered the culture of the line , which mastered the expression of the animated work of art for the gestures of dance , a half - dozen priestesses have been called to the service of the new Terpsichore in Anglo - Greek costuming . In a certain sense this manner of dance seems to be almost passee in an age when -- hynotically or not -- German , Italian , and Indian ladies ( wearing no socks ) " embody not only Chopin and Schumann , but even recitations of poems from Liliencron or Goethe If Miss Allan were nevertheless content to be no more than a dancer with grace and intellect , who can feel in a musically alive manner and interpret the line - language of the great master pieces effortlessly in her dance - pantomimes , but the same token , from our perspective , we would be enabled to allow the perfor mance to work on us in its pure form , free from a hunger for sensation , perhaps more than in that time of our first surprise ( at the new art form ) . Par . 2 : The light dress with the short skirt that recalls vividly the swaying Bacchanalians ( female ) on the murals of Pompeii , the bare feet , which silently glide over the carpet and spring upward , the grave tones of the accompanying piano -- we are used to all this . As a result , our attention is now free to focus on the dance . This dance , now , is something new , completely difference from what we have seen until now . The slender hands with fingers like priceless flowers on supple stems sway in soft undulations ; fingers mobile a fluttering ribbons sigh or frolic . The light strength of the inspired Maenad is in the leap of the austere limbs as rejoicing ly , seemingly weightless , they leave the ground . Nothing seems contrived or calculated ; everything is the result of the moment , a reflex of the melody . A not always likeable but expressive face