scholarly journals Le magazine américain Vanity Fair (1913-1936) : vitrine de la modernité musicale à Paris et à New York

2017 ◽  
Vol 16 (1-2) ◽  
pp. 23-37
Author(s):  
Malou Haine
Keyword(s):  
New York ◽  
Monte Carlo ◽  
Jean Cocteau ◽  
Vanity Fair ◽  
Ballets Russes ◽  
Carl Van Vechten ◽  
Hall Of Fame ◽  
Rhapsody In Blue ◽  
John Alden Carpenter ◽  
Erik Satie

De sa création en 1913 à sa fusion avec Vogue en 1936, le magazine américain Vanity Fair a pour vocation de parler de l’art contemporain européen et américain par de courts articles de vulgarisation, des photographies et des caricatures. Plusieurs domaines artistiques sont couverts : musique, danse, opéra, littérature, peinture, sculpture, arts graphiques, cinéma, photographie et mode. La France constitue tout à la fois le rêve, l’attraction et le modèle des Américains : elle reste omniprésente jusqu’au milieu des années 1920, puis cède la place aux artistes américains. Vanity Fair reflète plus particulièrement la vie culturelle à New York et à Paris, même si ses ambitions sont plus largement ouvertes sur l’Europe et les États-Unis. Dans la rubrique intitulée « Hall of Fame », il n’est pas rare de trouver un Français parmi les cinq ou six personnalités du mois. La France est présente davantage pour ses arts plastiques et sa littérature. Le domaine musical, plus réduit, illustre cependant plusieurs facettes : les Ballets russes de Diaghilev, les ballets de Serge Lifar, les ballets de Monte-Carlo, les nouvelles danses populaires (tango, matchiche), l’introduction du jazz, la chanson populaire, les lieux de divertissements. Quant à la musique savante, le Groupe des Six, Erik Satie et Jean Cocteau occupent une place de choix au début des années 1920, avec plusieurs de leurs articles publiés en français. Dans les pages de Vanity Fair, des critiques musicaux américains comme Virgil Thomson et Carl Van Vechten incitent les compositeurs à se débarrasser de l’influence européenne. John Alden Carpenter ouvre la voie avec The Birthday of the Infanta (1917) et Krazy Kat (1922), mais c’est Rhapsody in Blue de Gershwin (1924) qui donne le coup d’envoi à une musique américaine qui ne copie plus la musique européenne. À partir de là, la firme de piano Steinway livre une publicité différente dans chaque numéro qui illustre, par un peintre américain, une oeuvre musicale américaine.

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.

Massine, Léonide (1896–1979)

2018 ◽  
Author(s):  
Rachel Straus
Keyword(s):  
Western Europe ◽  
Pablo Picasso ◽  
Commedia Dell'arte ◽  
Popular Theater ◽  
Jean Cocteau ◽  
Ballets Russes ◽  
Erik Satie

Russian-born Léonide Massine’s career flourished in the cities of Western Europe, where he made his name as a lead dancer and choreographer for Serge Diaghilev’s Ballets Russes (1909–29). Massine’s choreographic development coincided with and helped to define the Ballets Russes’s modernist period. As Diaghilev’s protégé, Massine absorbed principles of Cubism and Futurism, consequently developing an angular, distorted movement style, heralded for its intensity and polyrhythmic complexity, along with its satiric and cinematic elements. Massine’s Parade (1917), in collaboration with Pablo Picasso (decor and costumes), Erik Satie (music), and Jean Cocteau (libretto), is recognized as a landmark of ballet modernism. Like other modernists, Massine incorporated national and folk material (commedia dell’arte to flamenco) and popular theater forms (including film) as tools for creative innovation. Following his departure from the Ballets Russes, Massine became interested in formalism and abstraction, which he expressed in a series of symphonic ballets. The most recognized dance artist of the 1920s and 1930s, Massine’s magnificent presence as a performer, even an aging one, can be seen in the film The Red Shoes (1947).

Massine/Picasso/Parade

2014 ◽  
Vol 9 (1) ◽  
pp. 46-61
Author(s):  
Gay Morris
Keyword(s):  
Pablo Picasso ◽  
Jean Cocteau ◽  
George Balanchine ◽  
Ballets Russes ◽  
High Modernism ◽  
Erik Satie

This essay concerns Leonide Massine's choreography for the Ballets Russes production of Parade (1917). The ballet was groundbreaking in its incorporation of Cubist and Futurist innovations and for its vanguard collaborators, which included Erik Satie, Jean Cocteau, and Pablo Picasso. Massine was only twenty-one at the time, and his choreography has often been dismissed as inconsequential. I argue that Massine not only made a major contribution to the collaboration, but that his working methods and approach to choreography owed more to Cubism's reformist tendencies than to Futurism's call for a radical remaking of art. In laying out a path close to Cubism, Massine set western ballet in the direction of the high modernism that would later be epitomized by George Balanchine.

scholarly journals Dynamical model for social distancing in the U.S. during the COVID-19 epidemic

2020 ◽  
Vol 8 (1) ◽  
pp. 141-149
Author(s):  
Shirish M. Chitanvis
Keyword(s):  
New York ◽  
Monte Carlo ◽  
Temporal Evolution ◽  
Social Experiment ◽  
Social Distancing ◽  
Back Testing ◽  
Moderate Growth ◽  
Log Normal ◽  
Very High ◽  
The U.S

AbstractBackground Social distancing has led to a “flattening of the curve” in many states across the U.S. This is part of a novel, massive, global social experiment which has served to mitigate the COVID-19 pandemic in the absence of a vaccine or effective anti-viral drugs. Hence it is important to be able to forecast hospitalizations reasonably accurately.Methods We propose on phenomenological grounds a random walk/generalized diffusion equation which incorporates the effect of social distancing to describe the temporal evolution of the probability of having a given number of hospitalizations. The probability density function is log-normal in the number of hospitalizations, which is useful in describing pandemics where the number of hospitalizations is very high.Findings We used this insight and data to make forecasts for states using Monte Carlo methods. Back testing validates our approach, which yields good results about a week into the future. States are beginning to reopen at the time of submission of this paper and our forecasts indicate possible precursors of increased hospitalizations. However, the trends we forecast for hospitalizations as well as infections thus far show moderate growth.Additionally we studied the reproducibility Ro in New York (Italian strain) and California (Wuhan strain). We find that even if there is a difference in the transmission of the two strains, social distancing has been able to control the progression of COVID 19.

The First Wave

2018 ◽  
pp. 17-20
Author(s):  
Emily Ruth Rutter
Keyword(s):  
New York ◽  
African Americans ◽  
Color Line ◽  
History Of ◽  
Hall Of Fame

In 1975 the historian John Holway incredulously observed, “In America’s national baseball library, half the history of baseball was missing!” (xvii). Although African Americans had been actively engaged in the national pastime for over a century when Holway made these comments, the National Baseball Hall of Fame and Museum in Cooperstown, New York, had neglected to include their experiences behind the color line. In ...

Leyda, Jay (1910–1988)

2018 ◽  
Author(s):  
Sueyoung Park-Primiano
Keyword(s):  
New York ◽  
New York City ◽  
York City ◽  
Museum Of Modern Art ◽  
Film Library ◽  
Sergei Eisenstein ◽  
Vanity Fair ◽  
Dziga Vertov ◽  
Artistic Training ◽  
Art Dealer

Jay Leyda’s peripatetic life and protean career cut a unique, remarkable path. The long list of roles he mined include filmmaker, photographer, critic, archivist, art dealer, translator, librettist, and educator. He is best remembered, however, as a leading historian of early and Soviet and Chinese cinemas, interests he started to develop in the vibrant art circle he helped establish in New York City in the 1930s. Born in Detroit, Michigan, Leyda was raised by his grandmother in Dayton, Ohio. His artistic training started early; after studying photography under Jane Reece, he moved to New York City in 1929 to work as Ralph Steiner’s darkroom assistant. After a year of working for Steiner, Leyda left and supported himself by freelancing as a portrait photographer for various magazines, including Vanity Fair and Arts Weekly; in this capacity he met and photographed Alfred Barr, the first director of the Museum of Modern Art (MoMA) and the person largely responsible for establishing its film library. Leyda also secured a position as sound and recording arranger at the Bronx Playhouse, where he was exposed to repeated showings of films by internationally acclaimed directors including Sergei Eisenstein and Dziga Vertov.

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