The Spanish Reception of Le Sacre du Printemps (1913–1936)

2018 ◽  
Vol 36 (1) ◽  
pp. 48-66
Author(s):  
Idoia Murga Castro
Keyword(s):  
Nineteenth Century ◽  
Civil War ◽  
Spanish Civil War ◽  
Original Work ◽  
Silver Age ◽  
Avant Garde ◽  
Ballets Russes ◽  
Rite Of Spring ◽  
Le Sacre Du Printemps ◽  
Cultural Expansion

Centenary celebrations are being held between 2016 and 2018 to mark the first consecutive tours of Diaghilev's Ballets Russes in Spain. This study analyses the Spanish reception of Le Sacre du Printemps (The Rite of Spring) (1913), one of its most avant-garde pieces. Although the original work was never performed in Spain as a complete ballet, its influence was felt deeply in the work of certain Spanish choreographers, composers, painters and intellectuals during the so-called Silver Age, the period of modernisation and cultural expansion which extended from the end of the nineteenth century to the beginning of the Spanish Civil War.

Nijinsky, Vaslav (1889–1950)

2018 ◽  
Author(s):  
Hanna Järvinen
Keyword(s):  
World War I ◽  
Great Influence ◽  
Contemporary Dance ◽  
World War ◽  
Ballets Russes ◽  
Art Form ◽  
Rite Of Spring ◽  
Vaslav Nijinsky ◽  
New Research ◽  
Le Sacre Du Printemps

Vaslav Nijinsky was a Russian dancer and choreographer of Polish descent. He achieved international renown as the star of Serge Diaghilev’s Ballets Russes Company between 1909 and 1916. A dancing prodigy, Nijinsky was lauded as the best male dancer of his generation. From 1912 onwards, his choreographic modernism inaugurated the use of simpler movement language that de-emphasized virtuosity with L’Après-midi d’un Faune (Afternoon of a Faun, 1912), Jeux (1913), Le Sacre du Printemps (The Rite of Spring, 1913) and the little-known Till Eulenspiegel (1916), created during the company’s second North American tour. Nijinsky refocused attention on the choreographer as the author of dance, which had great influence on how dance as an art form was understood and discussed after World War I. Because Nijinsky was institutionalized for mental illness in 1919, none of his choreographies survived intact and were, for decades, considered artistically irrelevant. This attitude began to change in the late 1980s, when new research and reconstructions of Nijinsky’s choreographies helped scholars and audiences to rethink his place in dance history, and his works are now considered to be important examples of modernism as well as precursors to both contemporary ballet and contemporary dance, more generally.

scholarly journals Studies on Anticlericalism in Contemporary Spain

2001 ◽  
Vol 46 (2) ◽  
pp. 227-255 ◽  
Author(s):  
Manuel Pérez Ledesma
Keyword(s):  
Nineteenth Century ◽  
Civil War ◽  
Spanish Civil War ◽  
Cultural Life ◽  
Scant Attention ◽  
The Face ◽  
The Subject ◽  
Contemporary Spain

Anticlericalism was a decisive trend in Spanish political, social, and cultural life from the beginning of the nineteenth century until the Spanish Civil War. It is true that anticlerical movements also existed in other European states, but the confrontations were much more intense in Spain. José M. Sánchez recalls this in a concise summary of the violence unleashed by these struggles: from 1822 to 1936, at least 235 members of the clergy were assassinated and around 500 churches and religious centres were burned. In addition, in the three years of the Civil War, almost 7,000 priests, monks and nuns suffered the same fate. Despite this, until a few years ago there were frequent complaints about the scant attention paid by Spanish historians to this trend. Julio de la Cueva Merino referred to this lack of research, and even to the ‘historiographic vacuum’, in a summary of publications on the subject which appeared in 1991. Three years later, Pilar Salomón mentioned the ‘absence of fruitful bibliographic production’, and, as recently as 1997, Rafael Cruz spoke of a ‘shortage of works’, or at least a very scarce production of monographs. Outside the field of history, anthropologists such as David Gilmore and Manuel Delgado have likewise criticized the lack of interest of their colleagues in the face of what Gilmore defined as ‘as powerful a social and ideological phenomenon as devotion’, and which should deserve the same intellectual consideration.

‘Soirées de Barcelone’: towards a performing version

Tempo ◽  
1996 ◽  
pp. 22-27
Author(s):  
Calum MacDonald
Keyword(s):  
Monte Carlo ◽  
Civil War ◽  
Spanish Civil War ◽  
Preliminary Report ◽  
Present Issue ◽  
Work In Progress ◽  
Ballets Russes ◽  
Original Title ◽  
History Of ◽  
The Republic

These observations form a long-delayed epilogue to my article ‘Soirées de Barcelone: a Preliminary Report’ in Tempo 139 (December 1981), where I outlined the history of Roberto Gerhard's Catalan ballet, a major score which was then (and remains now) virtually unknown save for the performance of some excerpts. For the work's conception, and its commission from Colonel de Basil's Ballets Russes de Monte Carlo, readers should consult that article, and the article by Julian White in the present issue. This was the work-in-progress – apparently still at that stage bearing its original title Les Feux de la Saint Jean – which Gerhard took with him when the climax of the Spanish Civil War and the fall of the Republic forced him into exile in France in January 1939. He continued to work on it during the following five months he spent in Paris and Meudon.

scholarly journals From Counterculture to Intangible Heritage and Tourism Supply: Artistic Expressions in Ibiza, Spain

Land ◽  
2022 ◽  
Vol 11 (1) ◽  
pp. 98
Author(s):  
José Ramón-Cardona ◽  
María Dolores Sánchez-Fernández
Keyword(s):  
Civil War ◽  
20Th Century ◽  
Spanish Civil War ◽  
Modern World ◽  
Current Image ◽  
Media Impact ◽  
Avant Garde ◽  
Intangible Heritage ◽  
Tourism Sector ◽  
The Media

Until the beginning of the 20th century, Ibiza was rural, developmentally lagging, and separate from the modern world. These characteristics made it attractive as a refuge for European intellectuals and artists as soon as communications with the outside world began to develop. The first significant presence of artists occurred in the 1930s, just before the Spanish Civil War. After years of war and isolation, artists returned in a larger volume and variety than before. Other regions also had artistic and countercultural communities, but Ibiza decided to use them as an element of its tourist promotions, making the hippie movement a part of its culture and history and the most internationally known element. The objective of this paper is to expose the importance of art and artists, a direct inheritance of that time, in Ibizan promotion and tourism. The authorities and entrepreneurs of the island realized the media interest they received and the importance of this media impact on developing the tourism sector. The result was that they supported artistic avant-garde and various activities derived from the hippie movement to differentiate Ibiza and make it known in Spain and abroad, creating the myth of Ibiza as an island of freedom, harmony, and nightlife (the current image of the island).

The Mansana Collection. A Treasury of Japanese Art in Barcelona at the Turn of the Twentieth Century

2020 ◽  
Vol 5 (2) ◽  
pp. 180-209
Author(s):  
Ricard Bru
Keyword(s):  
Nineteenth Century ◽  
Twentieth Century ◽  
Civil War ◽  
Spanish Civil War ◽  
Turn Of The Century ◽  
Late Nineteenth Century ◽  
Early Twentieth Century ◽  
Japanese Art ◽  
Late Nineteenth

Abstract Josep Mansana Dordan, a well-known Catalan late-nineteenth-century businessman, founded what is considered the finest collection of Japanese art established in Catalonia and in Spain at the turn of the century. In the early twentieth century, the Mansana Collection, as it was known, enjoyed popularity and prestige in Barcelona thanks to its constant expansion driven by the founder’s son, Josep Mansana Terrés, also an entrepreneur. The collection was well known at the time, but fell into oblivion after the outbreak of the Spanish Civil War in 1936. It was not until 2013 that, on the occasion of the exhibition Japonisme. La fascinació per l’art japonès, the collection began to be rediscovered and studied. This article aims to present a first complete overview of the history and characteristics of the old Mansana Collection and its impact on Barcelona at and immediately after the turn of the twentieth century.

Foreign Shipping During the Spanish Civil War

1938 ◽  
Vol 32 (2) ◽  
pp. 264-279
Author(s):  
Norman J. Padelford
Keyword(s):  
Nineteenth Century ◽  
Civil War ◽  
Civil Wars ◽  
Spanish Civil War ◽  
The Status ◽  
The Right ◽  
High Seas

Among the problems most frequently arising in connection with insurrections and civil wars, are those relating to the status of foreign vessels in the areas of hostilities, and the rights of contesting factions to interfere with such vessels. According to international rules of conduct gradually evolved during the nineteenth century and generally enforced in time of civil disturbance, contending factions enjoy the right to control the movements and activities of foreign shipping within territorial waters, but are not authorized to go upon the high seas and there interfere with foreign vessels unless the states having jurisdiction over such vessels have recognized the belligerency of the contestants.1

Catalan Identity in the 20th Century Novel

2021 ◽  
pp. 150-164
Author(s):  
Adolf Piquer Vidal
Keyword(s):  
National Identity ◽  
Civil War ◽  
20Th Century ◽  
Spanish Civil War ◽  
Democratic Politics ◽  
Merce Rodoreda ◽  
Literary Genres ◽  
Avant Garde ◽  
Montserrat Roig ◽  
Terenci Moix

The 20th century is definitely the consolidation of Catalan literary movements in which Catalan identity plays a fundamental role. Modernism and avant-garde movements prompted a renewal of literary genres. The Spanish Civil War (1936-1939) was a point of conflict that led to the exile of most writers in Catalan. However, they continued publishing their works in Catalan. That´s the case of La Plaça del Diamant by Mercé Rodoreda and Cròniques de la veritat oculta by Pere Calders. That process of exile came to an end between 1962 to 1975 (death of Franco). Terenci Moix, Montserrat Roig, and others belonged to a generation called “generació literària dels setanta.” Most of them were born in Spanish postwar, educated in Francoism, concerned to recover the Catalan national identity, democratic politics, and social liberation of women and gay people.

Acmeism

2018 ◽  
Author(s):  
Irina Goloubeva ◽  
Matthew McGarry
Keyword(s):  
Civil War ◽  
Russian Civil War ◽  
Silver Age ◽  
New School ◽  
Avant Garde ◽  
Literary Movement ◽  
Russian Poetry ◽  
The Future ◽  
Russian Literary ◽  
Anna Akhmatova

Acmeism [АКМЕИЗМ] was a major literary movement of the Russian Silver Age. Although difficult to date precisely, scholars generally agree that Acmeism unofficially began with the closing of the major Symbolist publication Vesy [The Scales], coinciding with the appearance of the journal Apollon in 1909, and ended with the execution of its nominal founder, the poet Nikolay Gumilyev (1886–1921), shortly after the Russian Civil War. Conceptualized as a new school of poetry by two disaffected poets from the Tsekh Poetov [Poets’ Guild], Gumilyev and Sergey Gorodetsky, Acmeism became one of the major currents in the post-Symbolist Russian literary avant-garde, competing with the more vociferous Futurism for advancing contemporary Russian poetry into the future. Despite the movement’s brief history and its seemingly conformist alignment with Symbolism, major Acmeist poets such as Anna Akhmatova (1889–1938) and Osip Mandelstam (1891–1938) placed Acmeism firmly on the map of both Russian and European modernism, on a par with Aleksandr Blok’s Symbolism and Vladimir Mayakovsky’s Futurism.

The Amplification of Affect: Tension, Intensity and Form in Modern Dance

2015 ◽  
Author(s):  
Paul Atkinson ◽  
Michelle Duffy
Keyword(s):  
Nineteenth Century ◽  
Modern Dance ◽  
The Body ◽  
Avant Garde ◽  
Ballets Russes ◽  
Classical Ballet

In Chapter 5 affect is considered as corporeal tension and intensity in two modernist works by the Ballets Russes, Léonide Massine’s Parade (1917) and Vaslav Nijinsky’s L’après-midi d’un faune (1912). Following Massumi’s theory of affect as an autonomous intensity and Susan Langer’s similarly transcorporeal notion of a “continuum of feeling,” the chapter explores forms of dance in which affect is grounded in the material gestures of the body and located in the tensions required to create these abstract forms. Feeling was not suppressed in avant-garde dance but rather depersonalised and de-psychologised, following a different logic from the model of emotion as self-expression that dominated classical ballet in the nineteenth century.

Degrees of Separation: Lester Horton’s

Experiment ◽  
2014 ◽  
Vol 20 (1) ◽  
pp. 48-85
Author(s):  
Lorin Johnson
Keyword(s):  
Los Angeles ◽  
American Indian ◽  
West Coast ◽  
Professional Relationships ◽  
Ballets Russes ◽  
Rite Of Spring ◽  
Russian Modernism ◽  
Indian Dance ◽  
Le Sacre Du Printemps

This essay examines Lester Horton’s 1937 production of Le Sacre du printemps (The Rite of Spring) at the Hollywood Bowl. In particular, the genesis of the work and the transference of Russian modernism in 1930s Los Angeles is explored. The essay focuses on Horton’s professional relationships with two artists in Los Angeles, Adolph Bolm and Michio Ito, both of whom were in his proximity as teachers, mentors and colleagues when he created Le Sacre. The Russian émigré Bolm, a former dancer with the Ballets Russes during the period Nijinsky choreographed The Rite of Spring in 1913, was a well-established teacher and choreographer in Los Angeles. Bolm’s and Horton’s parallel interests in American Indian dance forms are discussed. Ito, the Japanese dancer and choreographer who was inspired to pursue dance after witnessing performances of the Ballets Russes, trained in Dalcroze Eurhythmics in Hellerau before settling in Los Angeles in 1929. Horton’s production of Le Sacre, the seventh created internationally and first West Coast version is discussed in detail, drawing on the choreographer’s rehearsal notes and other first-hand accounts.

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