Börlin, Jean (1893–1930)

2018 ◽  
Author(s):  
Charles R. Batson
Keyword(s):  
Performing Arts ◽  
The United States ◽  
Darius Milhaud ◽  
Jean Cocteau ◽  
Avant Garde ◽  
Visual And Performing Arts ◽  
Dance Theater ◽  
Ballets Russes ◽  
Fernand Leger ◽  
The Face

As principal choreographer and dancer for the 1920s avant-garde troupe Les Ballets Suédois (Swedish Ballet), Jean Börlin contributed greatly to the modernist cauldron that was interwar Paris. Founded by the wealthy Swedish arts patron Rolf de Maré in 1920, the Ballets Suédois expanded upon the model of avant-garde collaborative dance theater established by Serge Diaghilev’s Ballets Russes a decade earlier. In the five years until their disbanding in 1925, the Swedes rivaled the better-known Russian company for artistic creativity with such signal works as the 1921 Les Mariés de la Tour Eiffel (The Newlyweds of the Eiffel Tower), the 1923 La Création du monde (The Creation of the World), and the 1924 Relâche (Theatre Closed). With twenty-three original choreographies, some 900 performances, and international tours throughout Europe and the United States, Börlin and his company played a significant role in the development and propagation of innovative modernist work, which grew from the interplay among the visual and performing arts. In collaboration with such artists as Jean Cocteau, Darius Milhaud, and Fernand Léger, Börlin helped change the face and forms of dance theater.

Diaghilev, Serge (1872–1929)

2018 ◽  
Author(s):  
Laura Quinton
Keyword(s):  
Darius Milhaud ◽  
Henri Matisse ◽  
Avant Garde ◽  
George Balanchine ◽  
Synthetic Vision ◽  
Ballets Russes ◽  
The Face ◽  
Business Acumen ◽  
Vaslav Nijinsky ◽  
Creative Role

Impresario, critic, curator, and founder-director of the Ballets Russes (1909–1929), Serge Diaghilev was a towering figure and pioneer of early 20th-century modernism. Through his various projects, Diaghilev offered a cosmopolitan, dynamic, and synthetic vision of art that revolutionized the multiple disciplines with which he came into contact. With the Ballets Russes, in particular, the impresario created a significant space for experimentation by artists of the Russian and Western European avant-garde. Among the visual artists he commissioned were Léon Bakst, Alexandre Benois, Mikhail Larionov, Natalia Goncharova, Pablo Picasso, Henri Matisse, André Derain, Juan Gris, Max Ernst, Joán Miró, Pavel Tchelitchev, and Georges Rouault. Composers linked to the Ballets Russes include Igor Stravinsky, Sergei Prokofiev, Claude Debussy, Maurice Ravel, Richard Strauss, Erik Satie, Francis Poulenc, Darius Milhaud, Henri Sauguet, and Manuel de Falla. The company was also a major platform for the choreographers Michel Fokine, Vaslav Nijinsky, Léonide Massine, Bronislava Nijinska, and George Balanchine, innovative artists whose careers Diaghilev significantly advanced and developed. Through his commissions, Diaghilev brokered partnerships among artists that guided the avant-garde in new directions. A perfectionist with serious business acumen and immense resolve in the face of financial and artistic reverses, he played an active creative role in all his company’s productions. Although a proponent of modernism and internationalism in art, Diaghilev was also a romantic, remaining throughout his life a champion of Russia’s cultural riches, past as well as present. So closely was Diaghilev’s forceful, larger-than-life personality linked to the identity of the Ballets Russes that within months of his death in 1929 the company collapsed.

The Oxford Handbook of Quintilian

2021 ◽  
Keyword(s):  
Literary Criticism ◽  
Middle Ages ◽  
Performing Arts ◽  
Late Antiquity ◽  
The United States ◽  
Educational Programme ◽  
Theory And Practice ◽  
Visual And Performing Arts ◽  
Wide Range ◽  
History Of

M. Fabius Quintilianus was a prominent orator, declaimer, and teacher of eloquence in the first century ce. After his retirement he wrote the Institutio oratoria, a unique treatise in Antiquity because it is a handbook of rhetoric and an educational treatise in one. Quintilian’s fame and influence are not only based on the Institutio, but also on the two collections of Declamations which were attributed to him in late Antiquity. The Oxford Handbook of Quintilian aims to present Quintilian’s Institutio as a key treatise in the history of Graeco-Roman rhetoric and its influence on the theory and practice of rhetoric and education, from late Antiquity until the present day. It contains chapters on Quintilian’s educational programme, his concepts and classifications of rhetoric, his discussion of the five canons of rhetoric, his style, his views on literary criticism, declamation, and the relationship between rhetoric and law, and the importance of the visual and performing arts in his work. His huge legacy is presented in successive chapters devoted to Quintilian in late Antiquity, the Middle Ages, the Italian Renaissance, Northern Europe during the Renaissance, Europe from the Eighteenth to the Twentieth Century, and the United States of America. There are also chapters devoted to the biographical tradition, the history of printed editions, and modern assessments of Quintilian. The twenty-one authors of the chapters represent a wide range of expertise and scholarly traditions and thus offer a unique mixture of current approaches to Quintilian from a multidisciplinary perspective.

Parade

2018 ◽  
Author(s):  
Juliet Bellow
Keyword(s):  
Popular Culture ◽  
Pablo Picasso ◽  
Jean Cocteau ◽  
Avant Garde ◽  
Production Team ◽  
Ballets Russes ◽  
Cabaret Songs ◽  
Erik Satie ◽  
One Act

A one-act ballet on the theme of a fairground sideshow, Parade was produced by Serge Diaghilev’s Ballets Russes, and premiered on May 18, 1917 at the Théâtre du Châtelet in Paris. According to Jean Cocteau, the poet who wrote the ballet’s libretto, the impetus for Parade originated in 1912 with Diaghilev’s command, ‘‘Astonish me!’’ To fulfill Diaghilev’s mandate, Cocteau assembled a production team drawn from the Parisian avant-garde: for the score, he recruited the composer Erik Satie, known for experimental piano compositions such as Gymnopédies (1888) and for cabaret songs performed at the Montmartre cabaret Le Chat Noir. In 1916, Cocteau secured the participation of Pablo Picasso, a painter associated with the Cubist movement of the early 1910s, to design the overture curtain, set, and costumes. Working with the choreographer Léonide Massine, this group produced a ballet-pantomime featuring familiar characters from the circus, variety shows, and cinema. Mixing various forms of art and entertainment, Parade used dance to explore the unstable relationship between elite and popular culture.

Marquand Library and the Blue Mountain Project

2013 ◽  
Vol 38 (1) ◽  
pp. 38-42
Author(s):  
Sandra Ludig Brooke
Keyword(s):  
Digital Library ◽  
Performing Arts ◽  
Digital Humanities ◽  
Major Contributor ◽  
Avant Garde ◽  
Visual And Performing Arts ◽  
Blue Mountain

Princeton University’s Marquand Library of Art and Archaeology is one of the oldest and most extensive art libraries in America. Founder and namesake Allan Marquand was both an art historian and the creator of a ‘logical machine’ that prefigured modern computers. This shared science and humanities heritage is echoed in the Blue Mountain Project, a new digital humanities initiative to which Marquand Library is a major contributor. This article begins with a brief description of the library’s origins and the development of its facilities and collections. It then reports on Blue Mountain, a digital library of the avant-garde that chronicles the emergence of modernity in the literary, visual and performing arts from 1848 to 1923.

Dreier, Katherine S. (1877–1952)

2018 ◽  
Author(s):  
Jeffrey Saletnik
Keyword(s):  
United States ◽  
The United States ◽  
International Exhibition ◽  
Small Scale ◽  
Yale University ◽  
Marcel Duchamp ◽  
Avant Garde ◽  
Fernand Leger ◽  
Art Collection ◽  
Brooklyn Museum

An impresario, collector, and painter, Katherine Dreier directed her attention and personal wealth to the promotion of European modernism in the United States, most notably by co-founding the Société Anonyme, Inc. in 1920 with Marcel Duchamp. Dreier guided the group’s lecture series; art and library acquisitions; publications, including the short-lived journal Brochure Quarterly; and its program of exhibitions, among them the first exclusively devoted to Fernand Léger in the United States and, in 1926, the International Exhibition of Modern Art at the Brooklyn Museum. These intermittent and often small-scale initiatives were relatively ineffective in achieving Dreier’s goal of introducing the international avant-garde to an American audience; however, the collection she assembled in the group’s name remains significant, as does her personal art collection. She deposited the former at Yale University. Dreier exhibited her own paintings at the 1913 Armory Show, among other venues.

Ballets Suédois (1920–25)

2018 ◽  
Author(s):  
Samuel N. Dorf
Keyword(s):  
Visual Arts ◽  
Pablo Picasso ◽  
Darius Milhaud ◽  
Ballets Russes ◽  
Fernand Leger ◽  
Contemporary Life ◽  
Modern Artists ◽  
Erik Satie ◽  
Francis Picabia ◽  
De Chirico

Rolf de Maré’s Ballets Suédois was active from 1920 to 1925. It was the chief artistic rival to Diaghilev’s Ballets Russes, and de Maré was often referred to as the Swedish Serge Diaghilev. With Jean Börlin as chief choreographer, the company created twenty-four ballets in collaboration with prominent modern artists and composers, including Fernand Léger, Giorgio de Chirico, Pablo Picasso, Francis Picabia, Erik Satie, Darius Milhaud, and Cole Porter. When first launched, the troupe performed ballets in a style similar to the Ballets Russes, but de Maré’s interest in the visual arts and the vibrancy of modern, contemporary life resulted in a greater emphasis on abstraction and popular idioms in both the design and choreography of Ballets Suédois productions.

Jews at Home

2010 ◽  
Keyword(s):  
United States ◽  
Performing Arts ◽  
The United States ◽  
Visual And Performing Arts ◽  
Promised Land ◽  
Jewish Migration ◽  
The Future ◽  
Feeling At Home ◽  
Emotional Issue ◽  
At Home

The questions at the heart of this book are: what things make a home ‘Jewish’, and what is it that makes Jews feel ‘at home’ in their environment? The material dimensions are explored through a study of the symbolic and ritual objects that convey Jewishness and a consideration of other items that may be used to express Jewish identity in the home. The discussion is geographically and ethnically wide-ranging, and the transformation of meaning attached to different objects in different environments is contextualized. For diasporic Jewish culture, the question of feeling at home is an emotional issue that frequently emerges in literature, folklore, and the visual and performing arts. The phrase ‘at-homeness in exile’ aptly expresses the tension between the different heritages with which Jews identify, including that between the biblical promised land and the cultural locations from which Jewish migration emanated. The chapters take a closer look at the way in which ideas about feeling at home as a Jew are expressed in literature originating in Brazil, Argentina, and the United States, and also at the political ramifications of these emotions. The question is further explored in a series of exchanges on the future of Jews feeling ‘at home’ in Australia, Germany, Israel, and the United States. The book examines the theme of the Jewish home materially and emotionally from a variety of disciplinary perspectives. It uses the theme of home and the concept of domestication to revise understanding of the lived (and built) past, and to open new analytical possibilities for the future.

scholarly journals “Awash in a Sea of Archives”: Key Research Sources in the United States for the Study of Mission and World Christianity

2012 ◽  
Vol 5 (2) ◽  
pp. 23-28
Author(s):  
Angelyn Dries O.S.F.
Keyword(s):  
United States ◽  
Catholic Church ◽  
Performing Arts ◽  
The United States ◽  
Church History ◽  
Roman Catholic Church ◽  
Visual And Performing Arts ◽  
Vatican Council ◽  
History Of ◽  
World Christianity

The essay describes some holdings from five key mission archives in the United States, with the suggestion that mission archives can prove a valuable source to understand the intersection between mission and world Christianity and can raise questions about the relationship of one to the other, especially since the fulcrum of Christianity has shifted from Europe and North America to areas once considered “mission countries.” The sources hold a myriad of further research possibilities, that include the visual and performing arts in relation to inculturation; literature, the history of print, other media, and technology; the history of museums; maps, geography and perceptions of the world; economics/business; oral history, church history, Christianity in particular countries, the reception of the Second Vatican Council of the Roman Catholic Church in “Third World” churches; and, transoceanic networks with implications for local churches.

The Spanish Reception of Le Sacre du Printemps (1913–1936)

2018 ◽  
Vol 36 (1) ◽  
pp. 48-66
Author(s):  
Idoia Murga Castro
Keyword(s):  
Nineteenth Century ◽  
Civil War ◽  
Spanish Civil War ◽  
Original Work ◽  
Silver Age ◽  
Avant Garde ◽  
Ballets Russes ◽  
Rite Of Spring ◽  
Le Sacre Du Printemps ◽  
Cultural Expansion

Centenary celebrations are being held between 2016 and 2018 to mark the first consecutive tours of Diaghilev's Ballets Russes in Spain. This study analyses the Spanish reception of Le Sacre du Printemps (The Rite of Spring) (1913), one of its most avant-garde pieces. Although the original work was never performed in Spain as a complete ballet, its influence was felt deeply in the work of certain Spanish choreographers, composers, painters and intellectuals during the so-called Silver Age, the period of modernisation and cultural expansion which extended from the end of the nineteenth century to the beginning of the Spanish Civil War.

Verán ustedes las chozas más humildes. El discurso de pobreza en la diplomacia pública cardenista dirigida a Estados Unidos

2019 ◽  
Vol 35 (2) ◽  
pp. 255-281
Author(s):  
Sylvia Dümmer Scheel
Keyword(s):  
United States ◽  
New Deal ◽  
Public Diplomacy ◽  
The United States ◽  
The Public ◽  
The Poor ◽  
The Face ◽  
The Government ◽  
Lazaro Cardenas ◽  
The New Deal

El artículo analiza la diplomacia pública del gobierno de Lázaro Cárdenas centrándose en su opción por publicitar la pobreza nacional en el extranjero, especialmente en Estados Unidos. Se plantea que se trató de una estrategia inédita, que accedió a poner en riesgo el “prestigio nacional” con el fin de justificar ante la opinión pública estadounidense la necesidad de implementar las reformas contenidas en el Plan Sexenal. Aprovechando la inusual empatía hacia los pobres en tiempos del New Deal, se construyó una imagen específica de pobreza que fuera higiénica y redimible. Ésta, sin embargo, no generó consenso entre los mexicanos. This article analyzes the public diplomacy of the government of Lázaro Cárdenas, focusing on the administration’s decision to publicize the nation’s poverty internationally, especially in the United States. This study suggests that this was an unprecedented strategy, putting “national prestige” at risk in order to explain the importance of implementing the reforms contained in the Six Year Plan, in the face of public opinion in the United States. Taking advantage of the increased empathy felt towards the poor during the New Deal, a specific image of hygienic and redeemable poverty was constructed. However, this strategy did not generate agreement among Mexicans.

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