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 342b 51 2008-1-29.jpg
Maud Allan 342b 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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51.2008-1-29
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12 : 08 2 1908 1616 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 enerally understood as dancing ALL , WE LIKE SHEEP Man writes Miss . Allan . Miss Allan studied music in Berlin , Miss MÄUD ALLAN , the craze of the hour and the idol off the Berlin whiere Miss Duncan was uniting inusic and the -- , Miss Allan did ! Sferation of the clergy , and goldmine to the Palace 735 Nevertheless , Miss Duncar was Miss Allan's predecesser and the failure of London to recognise the art of the heatre shareholders - Miss Maud Allan can afford to turn a deaf ear to the jarring note . 6 predecessor makes me question if London's recognition of 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 Alan'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 Romania of T- , while in the stalls were the Duchess still go there . Two months have passed . The audiences of R- , Lady CD , Lord A- and Mrs. Bem , ** ge as ever , and twice as fashionable . Should one Hot ice 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 ” + May 2 2 1908 91735-6 lente } ma A $ 6 > $ All this was not Miss Adars . The soulewhat gross of a man and ) carpet . I haven't the book by me , not manipulation of the Alana boom is probably due to the even in Sir Richard Burton's translation , but the main facts genius of an unknown . Press agent . But whers Miss Allan are that the man hypnotised the Great Sophy and the wrote her opinions of the Art GF Dancing " in , the Daily Grand Vizier and all the Court into thinking that he was fail , 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 y unrolling it he described the pattern and the texture , he ad isement . She is not a writer , but a dancer . When praised the colour , he sang of its grace and beauty . And -- + sh gan to address the public , as a public favourite she soon all the Court were talking of the carpet . Was there idented herself with the extraordinary ronsense 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 . ” meot 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 . response to the toast proposed by public favour That child has not yet been to the Palace Theatre . some of us feel uncomfortable . We did not grudge | Perhaps in these days its uncompromising truth would be " Miss Allan ber success - success , by whatever means it is unacceptable . unacceptable . The hypnotism that Miss Allan exercises ron , is a splendid achievement -- but Génée , Tetrazzini l l vould prevail against it . In the words of Whistler , Miss Allan , “ Why drag in Velasquez , ? . " Why drag in Adeline Génées . We did not " open our arms " to her , if by that phrase is meant a private trial malinée to which all the great in the land are invited , and a tremendous pæan of praise from every critic in London before any public performance takes place . It took Génée ten years to establish her position among us . Only very recently has this accomplished dancer received her due . And Tetrazzini ? She came to London unknown , and was not advertised at all before that wonderful night when she made her first appearance at Covent Garden in Traviata . But she had achieved a very fair amount of success in Italy , in South America , and , I believe , in Russia . In London , in her middle years , she made in a single night á reputation of which she had never dreamed , but the foundations of that fame had been . laid by years of work in opera - houses in more obscure parts of the globe . * So why drag in Tetrazzini , Miss Allan ? Her case is not , a parallel . Your success with us stands absolutely -alone . How haś it come about Miss Allan tells us that it is became she practises a new art . ine years ago there came to London , unheralded , unbumed , unadvertised , t . young American girl , Miss Isadora Dutcan . She also practised this " new art . " She danced Chopin , danced Grieg ; danced Monteverde . She also went bare - footer and bare - legged . She had an almo miraculous " elevation , which Miss Allan does not posa Yet she came to London and left it without attracting notice or provoking controversy . -Miss Duncan did better in Berlin . There they built a theatre for ' her , This theatre has for some years been crowded night after night with rich German patrons of the arts , each patrop with opera - glasses glued to his Wiee Duncan ile Mied Alla quage 3 )

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