Felix Cherniavsky - News Clippings 1900s 2

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

Maud Allan 342a 51 2008-1-29.jpg
Maud Allan 342a 51 2008-1-29.jpg
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Felix Cherniavsky - News Clippings 1900s 2

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Maud Allan Research Collection
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Man 2 1908 offe w7358 foleration of the clergy , and goldmine to the Palace 735 Nevertheless , Miss Duncan was Miss Allan's predecessor ta From no other outward help than the great masters ' works have I succeeded in uniting music and the plastic into a form which is not generally understood as dancing ALL WE LIKE SHEEP 1908 2 May ne denaderen ? writes Miss Allan . Miss Allan studied music in Berlin , the Berlin where Miss Duncan was uniting music and the Miss MAUD ALLAN , the craze of the hour and the idol of - Miss , not go and ! and the failure of London to recognise the art of the Theatre shareholders -- Miss Maud Allan can afford to turn predecessor makes me question if London's recognition of a deaf ear to the jarring note . the art of the follower shows genuine instinct . The note , sounded long ago by a journalistic John the All we like sheep go to the Palace Theatre . Before ever Baptist in the phrase " governess - like capers , " was quickly Miss Maud Allan had appeared in public we had been drowned in the loud and imposing proclamation of the assured by the Press ( on the strength of an invitation per names and titles of the patrons of Miss Allan's Wednesday formance before Press and Parliament , painters and peers ) malinées . The distinction of the new dancer's art may be that she was , in the beautiful American phrase " the taken for granted , it seems , but never the distinction of her greatest thing that ever happened . " . By the art of audiences . This is rubbed in daily . " In a box we noticed advertisement were we first drawn to the Palace . But we Prince of T- , while in the stalls were the Duchess still go there . Two months have passed . The audiences of R - Lady C- D - , Lord A and Mrs. B- " are rge as ever , and twice as fashionable . Should one notice at the spectacle ? Yes , if Miss Maud Allan is a genuine artist , a great dancer . ( The word " dancer , " by he way , " is big enough to use . David " danced " before he Ark . ) But is she ? There is a story , in the Arabian Nights " 66 All this was not Miss Allan's lauke . The somewhat gross of a man and a carpet . I haven't the book by me , not manipulation of the Alan bộoin is probably due to the even in Sir Richard Burton's translation , but the main facts genius of an unknown . Press agent . But wheri Miss Allan are that the man hypnotised the Great Sophy and the wrote her opinions of the Art of Dancing in the Daily Grand Vizier and all the Court into thinking that he was Afail , and expressed her gratitude to London for opening showing them a carpet . He moved his hands as if he were " its arms " to her , she associated herself with her own unrolling it , he described the pattern and the texture , le ade -tisement . She is not a writer , but a dancer . When praised the colour , he sang of its grace and beauty . And adı sh gan to address the public , as a public favourite she soon all the Court were talking of the carpet . Was there identied herself with the extraordinary nonsense that has ever such colour ? What a glorious design ! " It is been written about her , " -And she made an error in judg- certainly the carpet of the world . " meut when she replied not only for herself , but for Then a little child was held up to look at it . Mademoiselle Génée and Signora Tetrazzini . " But there is no carpet ! ” said the child . This response to the toast proposed by public favour That child has not yet been to the Palace Theatre . made some of us feel uncomfortable . We did not grudge Perhaps in these days its uncompromising truth would be Miss Allan het success - success , by whatever means it is unacceptable . The hypnotism that Miss Allan exercises - , won , is a splendid achievement --but Génée , Tetrazzini ! would prevail against it . In the words of Whistler , Miss Allan , " Why drag in Some of the adulation given to Miss Allan as a dancer Velasquez ?: " ) ; should be transferred to her as a hypnotist . She makes the Why drag in Adeline Génée ? . We did not " open ' our audience think her wonderful . As it takes two to make a arms " , to her , if by that phrase is meant a privatę trial work of art , is not the thought of the audience as important malinée to which all the great in the land are invited , and as the skill of the performer ? a tremendous pæan of praise from every critic in London If orre is not easily hypnotised , however , one cannot help before any public performance takes place . It took Génée noticing the rigidity of the new dancer's body and the ten years to establish her position among us . Only very immobility of her head . One cannot help criticising the recently has this accomplished dancer received her due . movements of the arms - movements which seem to be And Tetrazzini ? She came to London unknown , and made academically rather than as an expression of emo was not advertised at all before that wonderful night when tion , as if the dancer were instructing a class in the she made her first appearance at Covent Garden in Traviata , Delsarte method rather than translating beautiful sound But she had achieved a very fair amount of success in into beautiful form . Italy , in South America , and , I believe , in Russia . In This " translating ” of music is , anyhow , rather a London , in her middle years , she made in a single night dangerous business . Would every composer admit that á reputation of which she had never : dreamed , but the his melody became more expressive when interpreted by foundations of that fame had been laid by years of work the dancer ? Sometimes Miss Allan seems to misinterpret in opera - houses in more obscure parts of the globe . or to obscure what she sets out to reveal . This is notably " So why drag in Tetrazzini , Miss Allan ? Her case is the case in Rubinstein's “ Valse Caprice , " where Miss not , a parallel . Your success with us stands absolutely Allan hugs the ground like a lapwing precisely where the alone . music suggests that she should leap like the hart . How haś it come about ? Miss Allan tells us that it is Miss Allan is a very earnest young lady with a sincere beca - ee she practises a new art . conviction of her mission . She dances like a revivalist ine years ago there came to London , unheralded , preacher , and makes as many converts . It would be stupid unbuvied , unadvertised , a young American girl , Miss not to admire the character which has brought about so Isadora Duncan , She also practised this " new art . " She great a success . But it is just as stupid to mistake this danced Chopin , danced Grieg ; danced Monteverde . She character , this American " grit " and " bluff " for beautiful also went bare - footed and bare - legged . She had an art . There is very little art in Miss Allan's performance : almost miraculous " elevation , " which Miss Allan does not She herself admits this when she says that she has never possess . Yet she came to London and left it without learned to dance . Perhaps this is one of the secrets of her attracting notice or provoking controversy . success in England . The English people dearly love a Miss Duncan did better in Berlin . There they built a lord . " The English lord ( and the class he represents ) theatre for ' her , This theatre has for some years been dearly loves the amateur , crowded night after night with rich German patrons of Christopher St. John . the arts , each patron with opera - glasses glued to his eyes . Miss Duncan , like Miss Allan , wears no tights . *