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Ballets StiphaneMallarne LA CORNALBA RAVISHES me, who dances as if undressed; that is to say that without apparent assistance offered to her rising or falling by a presence flying and drowsed in tulle, she appears, called into the air, to sustain herself there, by virtue of the purely Italian fact of a mellifluous tension in her very person. The entire memory, no! of the spectacle at the Eden, Poetry's fault: that which we so name, on the contrary, abounds there, an amiable debauchery for the mind liberated from the frequentation of characters in gowns, suits, and celebrated lines. Only the magical charm in(to) the pages of the libretto does not cross over in(to) representation. The stars themselves which I believe one must only rarely disturb and never without reasons of considerable meditative gravity (here, according to the explanation, Love moves and assembles them) I leaf through [the libretto] and find that they play a part; and the haughty, incoherent lack of significance that twinkles in the alphabet of the Night will consent to trace the word VIVIANE, beguiling name of the fairy and the title of the poem, with the help of a few stellar staples in a blue backdrop: because the corps de ballet, a total figuring around the star (can one give her a better name!) the ideal dance of the constellations. Hardly! From there one takes off, you see into which worlds, straight into the abyss of art. The snow too whose every flake cannot possibly be kept alive in the comings and goings of a dance of whiteness or following a waltz, nor the vernal bursting forth of blossoms: all of which is, in effect, Poetry, or nature animated, leaves the text only to find itself frozen in the maneuvering of cardboard and in the overwhelming stagnation of foul and defunct muslins. Also, in the 106 design of the stage movement I saw a magic circle drawn by something other than the continuous turns or the springes of the fairy herself: etc. Innumerable details of intriguing invention, without any of them attaining to what we concede to be normal and accepted functioning, in the rendering . Will anyone ever, especially in the sidereal case just cited, avoid, with more heroism, the temptation to recognize along with solemn analogies , this law, that the first subject of dance, outside of any frame, can only be a mobile synthesis, in its incessant ubiquity, of the figures of each group: as these figures only particularize dance, in fractions, infinitely. As such, a reciprocity, from which the un-individual results, both in the ballerina and in the ensemble, of the dancing being, only ever an emblem, never anyone ... The judgment or axiom to affirm in the case of ballet! That the dancer is not a woman who dances,because of the following juxtaposed motifs that she is not a woman, but a metaphor summarizing one of the elementary aspects of our form, knife, chalice, flower, etc., and that she does not dance, suggesting, by way of prodigious abbreviations and expansions, with a corporal writing that would necessitate paragraphs of dramatic dialogue as well as prosaic description, to be expressed, in the rewriting: poem disengaged from all of the scribe's apparatus. After a legend, the fable appears not as classical taste or empyrean machinery understood it, but according to the restrained meaning of a transposition of our character, and of our ways, onto the simple type of the animal. A simplified play consisted in re-translating with the help of personages, it is true, more instinctive since leaping and silent, than those permitted to enunciate themselves in a conscious language in theatre, the human sentiments given by the fabulist to volatile inamoratos. Dance is wings, it is a question of birds and of departures into neverland, of returnings vibrating like an arrow: to whomever scrutinizes the performance of The Two Pigeons,appears by virtue of the subject, that, an obligatory suite of Ballet's fundamental motifs. The effort of imagination needed to find these similarities does not announce itself to be arduous, but it is something to perceive even a mediocre parity, and the result is of interest, in...

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Additional Information

ISSN
1537-9477
Print ISSN
1520-281X
Pages
pp. 106-110
Launched on MUSE
2018-01-03
Open Access
No
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