Felix Cherniavsky - Contextual Research

Added 19th Mar 2022 by Beth Dobson (Archives and Programming Assistant, DCD) / Last update 19th Mar 2022

Maud Allan 1005a 51 2008-2-67.jpg
Maud Allan 1005a 51 2008-2-67.jpg
(No description added)

Felix Cherniavsky - Contextual Research

Discover Placeholder
Description
The description of this Item
Collections
The collections that this item appears in.
Maud Allan Research Collection
Tags
Tag descriptions added by humans
Identified Objects
Description of the objects in this Item

Auto-generated content

Auto Tags
Tag descriptions added automatically
text letter book photo Black and white document
Auto Objects
Auto-generated identification of objects in this Item
Auto Description
An autogenerated description of this Item
Text, letter
Face count
Auto-generated number of faces in the Item
0
Accession Number
DCD's accession number for this Item. It is the unique identifier.
51.2008-2-67
Original Filename
Extracted text
up to the modified abandon of the pastoral . Beyond natural grace and a rhythmic following of the music , there is no thing about Maud Allan's art that is common with dancing as we have been taught to know it . Whether her art is greater than the art of Genee , that inspired little Dane who stands higher upon a pinnacle than most dancers and pantomimists , or of Pavlova , the great exponent of the Russian school of ballet dancing , I am not going to discuss here , nor am I going to deal with the question of whether Maud Allan's conception mof the ultimate object of the dance is wholly satisfying . That is outside my present province . I will simply say that she at once artistic , graceful and intellectual . Her Terpischorean accompanment to Chopin , Schubert , and Grieg carry with them a sense of spontaneity , a suggestion that she is moved and inspired wholly by the music , and this was very marked in her rendering of Schubert's " Moment Musical " an in the first three movements of the " Peer Gynt " Suite . This sincerity is charming . Maud Allan's sincerity and belief in herself makes those who come to pray remain o to pray 香 套 I do not think she was so successful in the last movement of the " peer Gynt " Suite , which takes place , it will be rememebed , in the Hall of the Dwarfs and which the analytical program p for which six pence is charged says represents " the ponderous tread of the Dwarfs . " Dwarfs with a ponderous tread is something new . After this we may expect dainty footed giants and gaselle like elephants . The music of the last movement suggests the " earth man " and bresthes with burlesque and diminuitive pomposity . Under its marvellous inspiration we see these gnomes stimul ated to wild and abandoned dance , to an orgy under ehich they succumb through sheer exhaustion . While opening quaintly enough , Miss Allan's abandon toward the zenith of the crescendo rarely develops beyond the digital stage . But the dancer was exquisitie án a " Romance in E Flat " by Rubinstein and in the " Blue Danube " waltz although in this şhe did not impress me as much as one of the three sisters Veisenthal , who looked like a veritable driaid of the Danube in her blue and green draperies . In a morsel of an encore , Miss Allan was a sheer delight , Her company is made complete with Miss Alice Lonnon , who gave a quiet Ingolds by - like recitation dealing with the love of Pyramus and Thšsbe , and some dozen other items , grave and gave . She is quite a good reciter , with an incisive manner of delivery and a talent for getting laughs , and Mr. Vurgo Kihl , the pianist , who has many technical excellences and a power of expression without any greater temleramental showe There is not the slightest doubt of Miss Allan's success I can only say she earned it .