The new spirit in drama & art . centlyappeared in Paris at the Chatelet, under the direction ofM. Astruc. Here they obtained a fuller understandingand more artistic expression in stage treatment than inLondon. The lighting, for one thing, was better, thusadding greater value to the wonderful colour , the ballets were given entire, and not in bits sand-wiched between out-of-date operas, as at Covent , again, the moods of the great ballets, like M. Bakstsmasterpieces, Scheherazade and Cleopdtre, were left was possible to feel the gorgeous voluptuousnes
The new spirit in drama & art . centlyappeared in Paris at the Chatelet, under the direction ofM. Astruc. Here they obtained a fuller understandingand more artistic expression in stage treatment than inLondon. The lighting, for one thing, was better, thusadding greater value to the wonderful colour , the ballets were given entire, and not in bits sand-wiched between out-of-date operas, as at Covent , again, the moods of the great ballets, like M. Bakstsmasterpieces, Scheherazade and Cleopdtre, were left was possible to feel the gorgeous voluptuousness of ScheherazaMas conceived by the decorator and expressed by him in everydetail: in the whirling sensuous colours, green, blue, orange,and red, and their wonderful gradations, in the flowing em-bracing lines, in the sensuous movements dressed by Bakst,whose aim it is to dress a movement, not a mannequin, as awriter once said in VArt decoratif, one of the foremost artpublications in Paris. The music of thjs ballet is signed by. SCENE FROM - CHAGRIN DANS LE PALAIS DE HAN BY REN£: PIOT. (Theatre des Arts.)By courtesy o/^ VAri Decoratif, THE NEW SPIRIT IN PARIS 55 Rimsky-KorsakofF. It is extremely beautiful, and possesses theexpressive and harmonising character essential to short, the music, the decoration, the dancing, the wholeatmosphere, were so wonderful in Paris that one could notenjoy a French performance after that, while the Paris repre-sentations left me exceedingly dissatisfied with the London an instance of the sensation derived from the former, Imay mention the production of Narcisse. This ballet, thecreation of M. Bakst, was, like Sadko, entirely the compositionof the new Russian school, and stamped with keynote was indecision. There was throughout in themusic of M. Tcherenine, as elsevsrhere, the spirit of the good-looking Narcisse coquetting with his reflected image, and theunsuccessful efforts of Echo to capture his infatuat
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Keywords: ., bookcentury1900, bookdecade1910, booksubjecttheater, bookyear1912
