Word: ballets
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Dates: during 1930-1939
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...words, turns on his heel, and never goes to work again; who is the patriarch of the maddest and merriest household establishment ever on exhibition. By the adequate light of a firmament of stars, Frank Capra has depicted well the story of the Vanderhofs, with their fire-works, ballet-dancing, xylophones, and discus-throwers. His touch has provided healthy humor in abundance and a dash or so of moving drama. The picture fails, if at all, in being too long, occasionally too slow. It has departed at times from the moving picture formula of pictorial action in an attempt...
Notably absent from the programs was the name of Colonel Wassily de Basil; notably present was the familiar trademark of Concert Manager Sol Hurok. Long-nosed Léonide Massine was still choreographer, still danced with his wonted spirit. But of the Ballet's four familiar prima ballerinas-Tatiana Riabouchinska, Irina Baronova, Alexandra Danilova and Tamara Toumanova-the first two were missing. In their places were two newly acquired slim-limbed bids for U.S. favor: diminutive, British-born Alicia Markova (Alice Marks), and Nini Theilade (pronounced Tay-lah'-de), an exotic, Javanese-born tripper of mixed Danish, Polish...
Saint Francis, most ambitious and startling of the three, was a colorful, ingenious mixture of secondhand religious fervor with syrup of ballet: it caused terrific applause. Saint Francis had the advantage of a score by famed self-exiled German "Kulturbolschewist" Paul Hindemith (TIME, March 14), which proved to be not only top-flight Hindemith but the finest contemporary ballet music Manhattanites had heard since the palmiest days of Igor Stravinsky. To its subtly suggestive, drypoint phrases, Saint Francis (Choreographer Massine), in a medieval setting, pursued his ideal of Poverty (paradoxically embodied by demure, eye-filling Ballerina Theilade), tamed...
Ever since last winter the Ballet Russe de Monte Carlo has acted like a French Cabinet in a crisis. Only expert bystanders have been able to puzzle out its complicated tangle of splits, mergers, lawsuits, reorganizations. Last week, as the troupe, now sponsored by Universal Art, Inc., started its U.S. season in Manhattan's Metropolitan Opera House, balletgoers got their first chance to see the practical results of this confusion and commotion...
...reveals his skill as a draftsman. With a few long, easy, flowing lines he brings his sketches to life, for it is life and movement that he is most interested in. That is why he drew so constantly the dancers of the Paris Opera. The one painting of a "Ballet Dancer" on display illustrates his characteristic treatment of this subject. The figure, which is light and graceful, wears a light blue dress with spots here and there of sheer color. It is ironic indeed that he envelopes the whole in a romantic, pure atmosphere, for the truth was the dancers...