transverse connections between spectator and spectacle as in Spontannye igry na prirode [Spontaneous Games in Nature] of 1968. Ultimately, Infante and Goriunova, privy to the divine spirit, simply remind us that the Artifact, supreme or profane, is but a fleeting presence between the Grand Néant [great
of Salomé, a paradigm of the twentieth century. “Is not the sin of Salomé the sin of dance itself? . . . The erotic element of her dance is the sin of man . . . the element of temptation is the moment of the spectator. . . . The sin of Salomé lies in the fact that out of dance she creates spectacle
-dressed woman. As Steve Smith and Catriona Kelly have argued, while the department stores primarily drew business from bourgeois women who could pay, the spectacle of the display and the lessons of social interaction was available to many women:
The department store [. . .] emerged as a pivotal site of
spectacle des Ballets Russes: Le Bal ,” Comoedia , 30 May 1929. All clippings from the Archives Rondel, Ro12570.
3) André George, “Aux Ballets Russes: Le Bal ,” Nouvelle littérature , 8 June 1929, Archives Rondel, Ro12570.
4) Linda Nochlin, The Body in Pieces: The Fragment as a Metaphor of
always have large full color photos spreads of the Bolshoi Ballet. The two week season at the Shrine auditorium opened with Ulanova in that same Romeo and Juliet . I was eighteen years old and desperately in love with the stage spectacle that was Russian ballet. I first saw Nureyev perform with Margot
, Anna Pavlova (1881-1931), and Vaslav Nijinsky (1890-1950)—an integral part of this great spectacle. Her performance as Zobeida in Nikolai Rimsky-Korsakov’s (1844-1908) Scheherazade in 1910 was probably her greatest success. The ballet told the story of a shah who catches his wife Zobeida in the
breed, DeMille is seen grasping:
Sept. 7 1929: AFRAID WILL BE IMPOSSIBLE TO WAIT TWO MONTHS FOR [COLE] PORTER. CAN YOU SUGGEST SOMEONE STOP PICTURE IS MODERN SOCIETY STORY OF THE TYPE OF DON’T CHANGE YOUR HUSBAND AND WHY CHANGE YOUR WIFE WITH BIG SPECTACLE STOP REQUIRES ROMBERG OR FRIML TYPE OF
-scaled cloak, black-lined with vermillion, that at the climactic final moment “flowed down and covered about sixty square feet of the stage. . . . Matisse had designed it as an integral part of the spectacle. 19) Certainly, this spectacular cloak must have dominated the stage more than the undistinguished
obviously one of talent, did not correspond with my original plan. I had pictured to myself something quite different.
According to my idea, the spectacle should have been a divertissement , and that is what I wanted to call it. . . . I wanted all my instrumental apparatus to be visible side by side with
’s “Exhibition of Historic Russian Portraits,” as a spectacle, if not as a performance, was a creative laboratory that preceded and informed his early international initiatives, including the Russian section at the “Salon d’Automne” in Paris in 1906 and even the Ballets Russes.
From all points of view, the