The article concentrates on experimental dance movements of the outside of the Ballets Russes, especially the danse plastique, in St. Petersburg, Munich, and Moscow. Particular attention is paid to the innovative interpretations of Salomé and analogous subjects by Ida Rubinstein, Alexander Sacharoff, Lev Lukin, and Kasian Goleizovsky. Reference is made to the persistence of the Symbolist esthetic in dance of the 1910s and to pictorial renderings of the various performances by artists such as Léon Bakst, Marianne Werefkin, and Boris Erdman.
MislerPavel Florensky p. 156. The quotation is from Adolf Furtwängler Die antiken Gemmen: Geschichte der Steinschneidekunst im klassischen Altertum (Leipzig-Berlin: Giesecke und Devrient 1900) vol. 3 p. 13.