Word: feting
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Boucher was an eminently sociable artist but not a profound one. He could take any theme-classical myth, the fete champetre, or fantasies about the Emperor of China-and, decking it with foamy light and gamboling bodies as firm as little pink quails, create from it a microcosm of civility and pleasure. The Allegory of Music (1764) became for Boucher an occasion to gently eroticize the myth; the nuptial flutters of the muse's doves are clearly of more interest than the musical score behind them...
...espousal of life, he remains apart--at an observer's distance from the world. The five women come and go, running away, falling in love, losing their virtue; but at the end Utamaro, his hands released, reaches for his drawingboard while his friends prepare to fete his new freedom...
Festival Prize "Last year, who knew?" asks the ad for the New York Film Festival, Manhattan's annual exhibition of new cinema. Below the question is the old announcement of Five Easy Pieces, first shown at last year's fete. "This year, who knows?" continues the ad, exhibiting an array of 18 fresh announcements and obviously hoping for more Easy Pieces. Not a forlorn wish. The festival already boasts one film strong enough to be both a commercial and aesthetic...
Capitalist Showcase. Since 1966 the two-day fete had been held annually in Paris' leafy Bois de Vincennes. Last spring, however, the Gaullist-dominated Paris city council withdrew permission for use of the park on the grounds that the fair was too disruptive to strollers. The Communist mayor of La Courneuve, in Paris' northern suburbs, quickly came to the rescue, offering 116 acres of parkland for the festival. More than 600,000 fairgoers, including such celebrities as Actress Melina Mercouri, braved intolerable traffic snarls to reach the site. Once there, bourgeois families crowded shoulder to shoulder with party...
...help his company along, Arthur Mitchell was forced to turn choreographer; almost by accident he has thus established himself as the most promising dance creator to emerge from the Balanchine ranks in recent years. Fete Noire, based on a Shostakovitch score, is a neoclassic Russian romp set in some imaginary imperial salon. At once crisp and buoyant, it demonstrates how well Mitchell has grasped the real secret of Balanchine's genius-the mastery of the logic and geometry of bodies in motion. By contrast, Mitchell's Rhythmetron is a throbbing, stylized Afro-Latin tribal ritual...