DANCING OF MAUD ALLAN

Dominion, Volume 7, Issue 2138, 2 May 1914, Page 10

DANCING OF MAUD ALLAN

ITS REVELATION.

: . [Bi I.«ogi:X,]

It.is such an chs.v matter to ' les.o ■ 'fluidity of thought and imagination, and to settle dtjivu . i<3 'Jio belief i)iia:t n.n.vtliiflg totally different Ui the. gen- , oral eouCbptipiV' of,vau,v-.- i.r.uth,. ; _ of ■ rqiigijjH,r?df jinj: art,' lnustf.' V wrong, or false, or fantastic. Particu- • mrly easy .is it to lal.i into suelj iui attiiiidfi of mind in foi'ut of art in- a country sisclf as-this, Jot thp simplo reason that it.' is ctit from the sources that* so often sire rise to inspiration, and feed and help it on its way to fu'lt}men,t|';arid ftftin ail 4t>« inospliis.ro which is . continually . boir.;i : -.charged ivit.li ire.w thought and nmy forms of \.;' . : When G'cnee, tho great. classical ballet tta)ics?r camn ip.-Wel.iii'rgtpij and danced her mocking elfish way into the 1111agifiatisMi. aiid s.y.mpiitliie.s of hej" a'lidienees, slip opened up a totally new conception of what dancing. should be to ; thb greater |>.roporfip.u if'thein. Up till then, what find be.en. ; seen' of ono of tho greatest .of the. arts had been, with ■ but few exceptions, banal,' hae.fcncyed, mid robbed of jn&iiiijig..ajiil ti'iits .intention of dancing. It was hardly surprising that there Wore those amongjier audiences who found the revelation, bewildering, beyond their sion. ' 1 With tile.. Visit) #Ma#d.,A]itan:.to Wollingto'ii another totality ' inter- ■ prctati.ou of the art is given, cue thai lias revealed boa.ut.ies sucii as no .never hoped to see. Think of a Tanagra, statuette endowed with life, and p.utfiitg into' bodily shape all t-lm hidden fqrins that take shadowy siibsfaucc in iho mind at ihe sound o.f. beautiful , iitas.iOj and time you. iiav'o Maud Allan. _ Sho makes music ' visible, expresses it' ■ in. terms of exy.tisfti'- beauty, and dancciand music become, one. For her conception of treatment; mid atmosphere. sho • has gone, back to the (ireeks—tiioso passionate lovers of beauty—and ..vet, hi seme marvollous wa.v. has. adopted lier methods ti> oftf complex modern nnis'i'o '1 With. no hreak,_ no 'jafriai.g expression anywhere.. While sho has worked <ii.it. • U broad, framewoik for her general ■ treatment, her interpretations are tho iiis|)ii'iiti:-!ii -of the nionrcjit, for musics is the .source of many moods, and its message is liefer quite the sainc. ' '/:M'iss, yVlfen 'has lis. maiiy be'aUi.ii"ul tilings to thiiik about, many dil- ■ : ferent pietees to eiiiity iii inlr minds, ■ and many different appeals to flic enio- ■ tions have been made. It- would be difficult to forget the. portrayal. of. tho ' .storm in ".Am Meer" with its death of tho c-fonn-tossed bird, tho Feel' Gyn® guile with ft? beautiful ".Morning" %i- ---. .fejrp.rciatiß.ii, and tht> wonderfully imaginative and impressive "Death .o.f A sc.,''. trio Drahms wakx, the Chopin waltws, and m'azurkas, and tho Chopin stiitlies,-; ".V Soul in Bondage. u and "The- t'ap- ' ture of the Kltin St'eoa;" Til'o "Soul in liondago'-' and Cliopiif'c' •'Knnerai Jlarch" wriiild surely bo called, panto- '. mime, in ks highest aiid purest sense, (or thero was :io dancinp in either of thorn 1 simply ihc bodily oiprcssioit. of: ~ tho most pretound emotions the soul can know. The isiierpreia-lioi! of tho ■ "Funeral Msiitflf' _ was noble, .itfiii almost unbearable ill its poignancy of grief Slid (Joso'ati'ji'ii. It was wise io;SGi'rd. . «lw!aV flf't.pr such, a'lj emotional apnea! iVith t!n> abandon of, tho deiinhi- ' fully gay iinpish "ItuSical JlomMit." fir i tho Rubinstein "Walts Caiirieft", linger ing in their minds. Nor could tkey jorge: the dreamy beauty of t'ljo "liarcarolle" eailinc. up v'igioiis of l'iiobultght nigh-t.s on the (-rand Onmil, tl.o lift of the g'.mdola to the rise, and fall of tho whispering tide, and tho «or'd-old story of lave. Dreamers and lovers, of bea.nt.v ivi.H ti'iul. niusi) to thank Hand Allan for > in- a world that is -somewhat overflow .ing with tho e()m'nioi.i:i!.lac;i) apd the ob. vion.s. 1