Felix Cherniavsky - News Clippings 1910s 2

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

Maud Allan 525 51 2008-1-30.jpg
Maud Allan 525 51 2008-1-30.jpg
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Felix Cherniavsky - News Clippings 1910s 2

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Maud Allan Research Collection
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1916 NYG DAN DANCERS of the classic ” variet a Maud Allan to Europe Mariich Garnis . Last Saturday , April 22 , Maud Allan sailed for London , where she will remain until September , when she will take passage for Montreal , Canada . After several perform ances in that city , the classic dancer , whose remarkable terpsichorean art and plastic interpretations have made her internationally famous , will return to New York to begin a transcontinental tour . During her stay in the English capital , Miss Allan will give a season at the Shaftesbury Theatre . An interesting event will be the first production in Europe of a scenario which Miss Allan wrote in collaboration with W. K. Courtney , of London , with music by Claude De bussy . The music , which was composed some six years ago , is the same score in another form as that which is used by the Diaghileff ballet in " L'Apres Midi d'un Faun , " although it was not primarily dance music , having been in tended for a tone poem . It has been half a dozen years since Miss Allan last danced in America , and her appearance in this country is being awaited with eager anticipation . 1915 Two years ago Salome , Venus - like , rose to the surface of things dramatic , and she is still on the crest of the wave . Last fall there was hardly a theatre or vaudeville house in this country which did not harbor a Salome dancer , ' male or female , from a one - week engagement to a three - month headliner . The American girl , Maud Allan , may be said to have been the pioneer of the present revival . Astonishing success attended her public appear ances in Berlin , sensational features of her perform ance being bare feet and more than scanty attire . Breathless cable reports declared that literally she wore nothing but smiles and a few glass beads . Miss Allan went to London and repeated her triumphs . The theatre was so crowded every night that seats were unobtainable for love or money , and cabinet ministers fell over each other in paying her honor . All this enthusiasm because a comely young person , who danced passably well , had the courage to ex hibit her undraped curves in the full glare of the footlights . As a money - maker the show was a dis tinct success , and Miss Allan found speedy imitators in America . There it 1910 ( the dignified adjective covers such multitude of artistic sins ! ) are not ger erally credited with a wide range of mi sical knowledge or accomplishment . No do they ordinarily deserve to be , though their art bears presumably a close affinit to that of the musician . Maud Allan . who had established her claims t eminence in the terpsichorean hierarch long before most of her present com petitors were heard of , forms , however conspicuous exception . For Mis Allan set forth upon her career with the intention of becoming a pianist . Such , in fact , she actually did become and would , in all likelihood , have won laurels in that sphere , had she not become en grossed in the possibilities of the dance . She obtained a very complete musical education , however , and studied piano at the Hochschule in Berlin and with Busoni . When finally she determined to alter her artistic course , it was owing to the conviction that the new field of fered greater opportunities and that there were more passable pianists than dancers . Miss Allan , who is to tour the country next winter , is a Canadian , born in Toronto . In personality , she has much that recalls Katharine Goodson -- the same frank good nature and charm . A tour of the world , which brought her to India , Central Asia , China , Australia , has supplied her with a fund of absorb ing information . The Orientals , it ap pears , relished her art to the utmost and she herself was impressed deeply by the subtle connection existing between the philosophy of the East and Western art principles . That a thorough musical training is indispensable to the dancer Miss Allan most firmly believes . " I would not for anything have foregone my experience as a pianist , ” she declares . “ A terpsi chorean interpretation needs to be a con ception as carefully wrought and con sistently carried out as the interpretative scheme of the masterpiece of composi tion . There must needs be a perfect balance between music and dance , a per fect emotional co - ordination of the two , 190 19062 ( et this is all too rarely obtained even 0 - day , inasmuch as dancers have not roubled themselves to grasp the musical York in the most minute details of its tructure and inner significance . I have und it necessary to do so as carefully 3 though I were to give an instrumental ading of it . Only too often does one e a dancer who , quite devoid of artistic erception and consistency , will inter pret a musical phrase upon its recur nce in quite a different way from the anner in which he illustrated it on its st appearance ; or else , who will treat phrase in a minor key quite as in the ijor . It takes not only a detailed mu u al training , but also a nature inher ently musical to make a truly successful dancer . " During her coming season Miss Allen will appear in a work by Debussy , for which she herself provided the scenario and which , though the fact is not gen erally known , was the first composition written by the French composer for dancing purposes . Although she first appeared in New York only four or five years ago , her career extends over more than twelve years and , before she gained the distinction in this country , Vienna , Berlin , Paris , Brussels , London and other leading foreign music centers had granted her their liberal indorsement . H. F. P. 1916 1