Felix Cherniavsky - Maud Allan Australia Tour 1914

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

Maud Allan 675a 51 2008-1-35.jpg
Maud Allan 675a 51 2008-1-35.jpg
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Felix Cherniavsky - Maud Allan Australia Tour 1914

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Maud Allan Research Collection
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51.2008-1-35
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MAUD ALLAN'S DALY SUCCESS NEWS PERTH Fascinating Dance - Poems 28/9/1914 RETURN OF THE CHERNIAVSKYS . A DELICHTFUL COMBINATION , an A great artist has come amongst us Maud Allan . At His Majesty's Theatre on Satur day evening she not only achieved a conquest for hersele , more than that , she introduced a new art , taught the onlookers , its beauties and its possi bilities , and at the end of the evening had the applauding its success and refusing ! o leave until she had favored them wita " just one more " example of that ari . The housc - end inay we venture to express the hope that those at the succeeding redtals of the season may be something worthier the art of our eminent visitor - hesitated a little after its first excursion into the poetic realms to whica she would introduce : 1 ; then it went slowly , but surely , forward , end at the end of the first bracket or her dance - poems , as they are so aptly termed , there was a gene rous response of applause to the art message of the great dancer . Maud Allan's dancing , be it noted , is not of that sensuous alluring type which will set & n emotional heart . throbbing It is the sheer beauty of melody and harmony without passion . Something incomparably light and gracefui in ceaseless and beautiful mo tion . This is Maud Allan as a dancer . In actual fact hers is more than danc . ing in the accepted sense . Ele dances not with her bare feet alone . Her body dancer , her arms and hands dance and her brain cances Girst and beyond them all , " In conveying her conception of the varying phases of the music which inspires the dance . This , in brief , is her mode of expression- the voice of her emotions . Miss Allan derives her inspiration almost exclusively from the music of the masters . " Am Meer , ” which in . troduced the star on Saturday , is one 0 ! Schubert's loveliest and best known Bongs . Fold upon fold of green eur . tain constitutes the ' setting for the picture , and the artist is slowly re vealed with bowed head in the centre of a dimiy lighted stage . Risins , she represents in movement the depth and in mensity the sea , and the acute griet and long 1 % or the lonely figure . Her work is exquisite , and the gracious motion of her lovely arna something to be re membered . In every curve of her body she creates expressiveness until finally the end of the dance shows a gradual drooping of the bowed body , and a last collapse dramatic Beauty and emotion bis was followed by Chg . pin's The ( Á Minor ( Op 31 , No. . :) , " the tender pathos of which is per . trayed with delicate charm . The dancer expresses with admirable art the dainty grace of this Isrie gem . whilst the moments of sadnees at the last are full of dramatic significance . A freuh phase of the refined art of the star was revealed in the third item of the bracket , Schubert's " Moment Yu sical , " which she bewitchingly ex presses as the impish joy of a child tres passing on forbidden ground . An emphatic recall brought her back in a series of classic gestures - an original method of acknowledging applause . Chopin's " Funeral March , " from the famous " Sonata in B Mat " was to many the masterpiece of the evening . In this depiction with soft toned robes and nowing vell of black , Mias Allan conceives the work as inspired by the thought of 3 broken - hearted woman upon the dreadful battlefield in ecstasy of grief and woe , searching for the mortal remains of her dear ones . The horror stricken shudder which shakes the frame of the poor bereaved one at the sight of those she loved is dramatically conyent , and then as the trio is reached anzuial gives place to nalm coniirience and hope for the Giant Beyond , and resignation to the awful sa crince and the closing straina n ! tipo Impressive theme and her stirred with devotion to God and the Fatherland , her face Heavenward lifted . It was indeed the poetry in motion - are it . a ble rianph of artistry and it arour ed another emphatically pareciative ilemonstration Thwell - known . " Bar . carolin " from The Tales of Hoffmann " offerbach ) ** In bracketed with one or Grelzs Norwegian Dances " -lo . ? for her third and final appearance . A1 was calmy and grace in the Greiz number , whilst in the " Barrarolle " was nistro rith Flvan ehari , a lovely woodland T vain th tc dancer acepted recall ater recall , and rentually sleldin : to the mnortunities of a determined house , che added Brahms * Valee in A Tai , " in which a puggestion of ethereal ghiness and grace springs no : only from her art , but from her physique , which , it may be mentioned . is frall , fragile , an farts - Ilke .

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