Preludio a la siesta de un fauno - Claude Debussy

Mujeres viajeras

"Las viajeras nos encontramos en serios aprietos. Si no decimos nada más de lo
que se ha dicho ya, somos aburridas y no hemos observado nada. Si decimos
cosas nuevas, se burlan de nosotras y nos acusan de fabulosas y románticas."

LADY MARY MONTAGU
(Constantinopla. 1718)


Imagen tomada de : http://theesotericcuriosa.blogspot.com/2011/07/blog-post_31.html

L'après-midi d'un Faune

The Esoteric Wordsmyth For Enriching The Esoteric Vocabulary!


ESOTERIC WORDSMYTH



The ballet L'après-midi d'un faune (or The Afternoon of a Faun) was choreographed by Vaslav Nijinsky for the Ballets Russes, and first performed in the Théâtre du Châtelet in Paris on May 29, 1912. Nijinsky danced the main part himself.

As its score it used the Prélude à l'après-midi d'un faune by Claude Debussy. Both the music and the ballet were inspired by the poem L'après-midi d'un faune by Stéphane Mallarmé. The costumes and sets were designed by the painter Léon Bakst.

The style of the ballet, in which a young faun meets several nymphs, flirts with them and chases them, was deliberately archaic. In the original scenography designed by Léon Bakst, the dancers were presented as part of a large tableau, a staging reminiscent of an ancient Greek vase painting. They often moved across the stage in profile as if on a bas relief. The ballet was presented in bare feet and rejected classical formalism. The work had an overtly sexual nature for its time and ended with a scene of simulated masturbation.

Lydia Sokolova, the first English dancer in the Ballets Russes, gave the following description of Nijinsky's performance:

‘Nijinsky as the faun was thrilling. Although his movements were absolutely restrained, they were virile and powerful and the manner in which he caressed and carried the nymph's veil was so animal that one expected to see him run up the side of the hill with it in his mouth. There was an unforgettable moment just before his final amorous descent upon the scarf when he knelt on one leg on top of the hill; with his other leg stretched out behind him. Suddenly he threw back his head, opened his mouth and silently laughed. It was superb acting.’



L'Après-midi d'un Faune is considered one of the first modern ballets and proved to be as controversial as Nijinsky's Jeux (1913) and Le sacre du printemps (1913).

It was especially the final masturbatory gesture of the choreography that caused the scandal which followed the first performance. In the newspaper Le Figaro, editor Gaston Calmette wrote, ‘We have had a faun, incontinent, with vile movements of erotic bestiality and gestures of heavy shamelessness.’ To him, Nijinsky's dance was ‘the too-expressive pantomime of the body of an ill-made beast, hideous, from the front, and even more hideous in profile,’ and his paper started a campaign against the ballet.

In reply, the sculptor Auguste Rodin published a defense of the choreography and, in a letter to Le Figaro painter Odilon Redon, expressed the wish that his friend Mallarmé could have seen ‘this wonderful evocation of his thought.’

Due to its hostile reception the ballet was only in the repertoire for a few years before being forgotten and assumed lost. In the late 1980s, dance notation specialists Ann Hutchinson Guest and Claudia Jeschke reconstructed the ballet from Nijinsky's own notebooks, his dance notation and the photographs of the dancers that were made by Baron Adolf de Meyer shortly after the first performance. This reconstructed version is often presented with Nijinsky's other works or repertoire from the Ballets Russes.

EL ENIGMA

El gran mago planteó esta cuestión: —¿Cuál es, de todas las cosas del mundo, la más larga y lamás corta, la más rápida y la más lenta, la más divisible y la másextensa, la más abandonada y la más añorada, sin la cual nada se puede hacer, devora todo lo que es pequeño y vivifica todo lo quees grande?Le tocaba hablar a Itobad. Contestó que un hombre como élno entendía nada de enigmas y que era suficiente con haber vencido a golpe de lanza. Unos dijeron que la solución del enigma
era la fortuna, otros la tierra, otros la luz. Zadig consideró que era el tiempo.
-Nada es más largo, agregó, ya que es la medida de laeternidad; nada es más breve ya que nunca alcanza para dar fin anuestros proyectos; nada es más lento para el que espera; nada esmás rápido para el que goza. Se extiende hasta lo infinito, y hastalo infinito se subdivide; todos los hombres le descuidan y lamentansu pérdida; nada se hace sin él; hace olvidar todo lo que es indignode la posteridad, e inmortaliza las grandes cosas.

Voltaire

"A PRIMERA VISTA"

Mujeres en 3 D

http://www.mujeresen3d.com.ar/

La guerra de los botones

Película.
Título original: La nouvelle guerre des boutons. Dirección: Christophe Barratier. País: Francia. Año: 2011. Duración: 100 min. Género: Aventuras, comedia. Interpretación: Guillaume Canet (maestro), Laetitia Casta (Simone), Gérard Jugnot (padre de L’Aztec), Kad Merad (padre de Lebrac), Jean Texier (Lebrac), François Morel (padre de Bacaillé), Marie Bunel (madre de Lebrac), Thomas Goldberg (L’Aztec), Théophile Baquet (Gran Gibus), Louis Dussol (Bacaillé), Nathan Parent (Camus). Guion: Christophe Barratier, Stéphane Keller y Thomas Langmann; basado en la novela homónima de Louis Pergaud. Producción: Thomas Langmann. Música: Philippe Rombi. Fotografía: Jean Poisson. Montaje: Anne-Sophie Bion e Yves Deschamps. Diseño de producción: François Emmanuelli. Vestuario: Jean-Daniel Vuillermoz. Distribuidora: Alta Classics. Estreno en Francia: 21 Septiembre 2011. Estreno en España: 11 Noviembre 2011. Calificación por edades: Apta para todos los públicos.