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 535b 51 2008-1-30.jpg
Maud Allan 535b 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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51.2008-1-30
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امارات استاندارد اما باور دارند co the oogan roll toward the shore ; it is all that rhythmic wonder when a wide field of wheat dips and swoons to the unheard melody of the passing breeze , it is seen in th : floating thistledown , What then is the basic cause of Nature's motion ? The wind . Maud Allan says that when sh : stood be . fore the famous Botticelli she was as greatly impressed with the movement of the breeze through the draperies of the dancing maidens and the spring clad trees as she was with the movement of the maidens . The draperics in this wonderful masterpiece secm to be alive ; the hair of the girls is blown across the canvas ; the landscape is alert with the most subtle movement of Nature . Botticelli un derstands ; but he could not put his understanding in words . Instead he set them down in a broader if less interpreta tive form . Unto too many his message was , perhaps , as fanciful and chaotic as his painting ; but Maud Allan ab sorted just what lay behind the master's brush . Maud Allan realized that she was to be the exponent of a greater art than the rendition of music . She set aside her studies and started anew to do what hundreds before her imagined they were doing , but which none has actually accomplished . She knew that she would meet objection , and , possibly , ridicule . But she was inspired . The first impulse of the ordinary is to mistrust the unia miliar . Upset theories make some men weep , and a glimpse of the unknown renders most of us uncomfort able . To appreciate a new and beautiful thing requires something more than mere sympathy because it makes an appeal to intelligence and to an educated reason which only the better equipped possess . Maud Allan realized this , but the realization did not di minish the inspiration that had her in its thrall . The more her professors pleaded with her not to " cast aside music for dancing , " the more determined she became . She did not seek dancing teachers , because there were nono who could teach her . If she were to really interpret the ancient dances of the Greeks -- dances that were part of the education of those people — she must find her instruc tion in Nature and her music in the running brooks and streams and in winds that blew o'er flowered vales and through summer forests . At first she gave rhythmical physical expression to her fancies . Then she instructed her body to become a cadence with the theme she intended to master , So , in those formative days , Maud Allan went to the woods for her rehearsals . Day after day she struggled to catch the rhythms of the winds and waters and to apply them to her art ; and lo , a great secret was revealed unto her when she at last knew that these rhythms were not to accompany her dancing , that they were but the music she was to follow . Soon the poses and graces and pirouettings became more tangible and soon it was evident to her that through the motions that Nature had taught her she could interpret the meaning of the music of the masters . It was work , work , work ; but work with a purpose , " It just came to me , " is all that she can say when in this day of great success she looks back to the time when she was , an elfin sprite . Today Maud Alian is to dancing what Shakespeare was to literature , what Wagner was to music . Shu is the greatest living exponent of the dancing of expression , the poetry of motion that means frardom and life . Her work is not only an entertainment , but an education . co

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