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was a particularly success- ful analysis of the psychology of the author: At the center of the dramatic spectacle was, of course, the author of the play, transforming this thing into a monodrama. It was not only in the literary conception of the tragedy but even in the form that evolved on stage which

In: Experiment

, 1999). 22. See O. Volta, Satie et la Danse (Paris: Editions Plume, 1992), p. 149. 23. See Anne Van Loo, ed., Akarova, spectacle et avant gardes, I920-1950 (Bruxelles: Archives d'arcpitecture modeme, 1988), pp. 260-61. 1. 24. See V. Mollica, ed., Chez Josephine (Montepulciano

In: Experiment

planes, which is precsiely what Exter emphasized in her ap- proach. One such project and perhaps the most impressive was Boa ts, 42 a spectacle designated as a "ballet": Exter's idea was to distribute several long rowboats with oars in different corners within a blue space along the upper portion of the

In: Experiment

way, the Parisian public came to see the spectacle. The Vatican cancelled the play's scheduled Roman season. As Lynn Garafola writes, the fact that Sebastian was to be performed by a woman outraged the Roman church. Rubin- stein's public Jewish identity provoked displeasure in the French press

In: Experiment

expels gloom, it lengthens the day, it has the power to roast and to boil, and to provide a delightful spectacle. Through this accumulation of experiences one acquaints oneself with fire, and these data are retained in the brain for future needs. This vivid, intense interest passes. Only the power of

In: Experiment

Olympia, and the Casino de Paris, had ballet troupes, as did theaters such as the Gditd, which presented light operas and operettas, and the Chätelet, which gave spectacle plays. There were Tiller girls and Spanish dancers, eccentric dancers and fire dancers, dancers who flew and dancers who did "light

In: Experiment
In: Experiment