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contrivance to pump fresh air into the donkey’s head during a long scene. 4 Critics agreed after the premiere that Midsummer was a magnificent spectacle, rich in fantasy and imagination, a “brave, beautiful, and interesting effort” to bring Shakespeare to the silver screen. 5 With Anita Louise as Titania

In: Experiment

shown to have important links to Italian Futurism and the constructivist zeitgeist of Le Pas d’Acier (1927), and even to late-19th century ballet spectacle, creating a ripple-effect of industrial inspired choreography that may have contributed to similar choreographic experiments in Los Angeles (i

In: Experiment

proportions. Jean Cocteau was offended by what he considered the frivolity of turning “something as great as the Russian Revolution into a cotillion-like spectacle within the intellectual grasp of ladies who pay six thousand francs for a box.” 25) He even got into a fight with Prokofiev’s staunch defender

In: Experiment

eighteenth century something akin to an international repertory. This international circulation accelerated in the Romantic and post-Romantic eras, as French ballet-pantomimes and subsequently Italian spectacle ballets became the coin of global exchange. Although ballet continued to use French terminology

In: Experiment

spectacle bringing two thousand players, an orchestra of two hundred instruments, and a choir of five hundred, to be performed in an outdoor venue, presumably Bayreuth. 47 The logistical problems of lighting a production of this size, using projectors and light arrays to direct the attention of the

In: Experiment

Athenaeum Theater in London, he was inspired by the idea of staging Ondine as a ballet, seeing Tchelitchew as the sole creator of the spectacle. He entered into correspondence with him, discussing specific questions of libretto, timing, honorarium, etc. 13 World War ii interrupted the plans, but Ashton

In: Experiment

rhythms of the massed dancers, the flashing lights, and the driving rhythms of the finale of Prokofiev’s music (the best part of an uneven score), it must have been quite a spectacle, 28) and must have reminded some viewers of its obvious debt to the 1922 Constructivist set Liubov Popova had designed for

In: Experiment

assemble the sets. See, Anon., “Max Reinhardt’s ‘Faust’ to Open Week’s Run Tonight. 150 Players in Cast. Special Setting for Big Spectacle Provided,” San Francisco Examiner (Sept. 26, 1938): n/p. 46 Em. G., “Max Reinhardt’s ‘Faust.” Typescript, p. 1. For an insightful review of the San Francisco

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of western models to a hostile environment and their indifferent imitation by Russian sculptors . Sculpture in Russia, like painting, and even more so, is an exotic plant, the growth of which is not favored by the rigorous climate. There is no more lamentable spectacle than the Summer Garden in the

In: Experiment

on the Orientalism of Diaghilev’s early productions. The brainchild of Morris Gest, it was rich in pageantry and spectacle. “ ‘Mecca’ is a gorgeous show,” wrote Alexander Woollcott in the New York Times , “the work of a man who has in him something of Diaghileff and something of P. T. Barnum

In: Experiment