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Les biches ( French: [le biʃ] ) ("The Hinds" or "The Does", or "The Darlings") is a one-act ballet to music by Francis Poulenc , choreographed by Bronislava Nijinska and premiered by the Ballets Russes on 6 January 1924 at the Salle Garnier in Monte Carlo . Nijinska danced the central role of the Hostess. The ballet has no story, and depicts the random interactions of a group of mainly young people in a house party on a summer afternoon.

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65-769: The ballet was seen in Paris and London within a year of its premiere, and has been frequently revived there; it was not produced in New York until 1950. Nijinska directed revivals of the ballet for several companies in the four decades after its creation. Les biches , with recreations of Marie Laurencin 's original costumes and scenery, remains in the repertoire of the Paris Opera Ballet , the Royal Ballet and other companies. The music has been used for later ballets, although they have not followed Nijinska's in gaining

130-402: A beautiful marriage. Beautiful one, do you hear me? Oi, Oi, Oi, Oi. Then in going through the dance Make three times a reverence And you will have beautiful clothes, if you go round the circle. and you will embrace whoever you want, and you will kiss the one you love. Long live the month of May! Long live the pretty may! Long live May, pretty May! Long live

195-565: A choral element, with unseen singers giving a commentary on the action, and the "demoiselles". In an analysis published in The Musical Quarterly in 2012, Christopher Moore describes the former as reminiscent of Stravinsky's Pulcinella , and the latter as "a corps de ballet of flirtatious young women". For the words, Poulenc spent a considerable amount of time in the Bibliothèque nationale de France , seeking out texts for

260-456: A fine bouquet! Alas, I have no wallflowers. My pretty laurel, Would you like a necklace of nasturtiums? A pretty necklace that I have covered with kisses? If you give me the bouquet I ask for I will see if I can marry you It is at St Matthew's that we will be married, if you give me the bouquet of wallflowers. And if I give you a bouquet – a bouquet of wallflowers do you promise me you will kiss me on

325-564: A five-movement suite from the full ballet score (1948), omitting the overture and the three choral movements. The suite is dedicated to Misia Sert . The published score specifies the following instruments: woodwind: 1 piccolo, 2 flutes, 2 oboes, 1 cor anglais, 2 clarinets, 1 bass clarinet, 2 bassoons, 1 contrabassoon; brass: 4 French horns, 3 trumpets, 3 trombones, 1 tuba; percussion: percussion bass drum, field drum, glockenspiel, snare drum, suspended cymbal, tambourine, tenor drum, triangle; celeste, glockenspiel; and strings. The score of Les biches

390-429: A glance so that we love you with a heart all full of love. A husband will choose you; so choose a good catch. Look at me sweetly; Kiss me on the neck Get on your knees, and then rise up. Here I am on my knees, all full of love for you. Come back among us come back again. My beloved, see how sweet are my kisses. Oh, how beautiful your eyes are, and how rounded your breast! If it's

455-443: A husband. The movement is marked " presto ", and switches throughout between 5/4, 4/4 3/4 and 2/4 time. The movement begins "presto" in 3/8 time, switches to 6/8 and then 9/8, with a later rapid succession of time signatures, including changes from 2/4 to 4/4 to 5/4 and 6/4 within seven bars. Towards the end of the movement the perpetuum mobile halts and is replaced with a conclusion marked "très calme". Horsley comments that although

520-436: A place in the regular repertoire. The music for the original ballet contains three choral numbers. Poulenc made the choral parts optional when he revised the score in 1939–1940, and the work is usually given with wholly orchestral accompaniment. The composer extracted a five-movement suite from the score, for concert performance. The suite has been recorded for LP and CD from the 1950s onwards. Sergei Diaghilev , proprietor of

585-429: A pretty laurel, a pretty, French laurel. Who would like my laurel? Whom shall I give it to? I prefer a bouquet of wallflowers a bouquet of freshly-cut wallflowers. Is that orange blossom? I have only a beautiful laurel. I have no wallflowers. A bouquet of wallflowers covered in dew. And it is the laurel that I want to give you. Take my beautiful laurel. Ah! Ah! Ah! Ah! Ah! Give me

650-948: A reprise, at a faster tempo, of the opening theme. The playing time is about 3m 30s. After a three bar introduction marked "very slow", the Rondeau switches to an energetic allegro molto in F major. The movement is dominated by a theme for trumpet which recurs throughout. The central section, marked "très calme", is quieter and slower. The boisterous first theme returns to round off the movement. Men's voices only. Qu'est-ce qu'Amour, le connais-tu, Grégoire? Qu'est-ce qu'Amour, dis-moi, le connais-tu? Tra la la la la. L'Amour est un chat qui te guette et t'attrapera. L'Amour est un chat qui t'attrapera. A bon chat bon rat, je sais/tu peux boire Les chats et les Amours aiment à folâtrer, et sitôt qu'on les flatte font patte de velours Buveurs gardez-vous de la patte, de la patte de l'amour. L'Amour est un chat qui t'attrapera. What

715-412: A suite of dances without a libretto." At about the same time he told Igor Stravinsky that after consulting Diaghilev and the designer, Marie Laurencin , "I have a clear conception of my ballet which will have no subject – simply dances and songs." The titles of the numbers in the score indicate that Poulenc followed this plan, but he nonetheless retained two important features of Bongarďs proposed work:

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780-413: Is Love? Do you know, Grégoire? What is Love – Tell me: do you know? Tra-la-la-la-la! Love is a cat that is watching you, and will catch you. Love is a cat that will catch you. Tit for tat! I know how/you can drink. Cats and Loves like to sport, and when we pet them they become velvet-pawed. Drinkers, beware of Love's paw. Love is a cat that will catch you. This movement

845-431: Is sometimes described as neoclassical . The form of the piece – an overture followed by a number of unlinked movements – follows 18th-century musical practice, and Poulenc set out to follow classical precedent in his tonal and harmonic writing. He wrote to Milhaud: Les Biches will be very clear, sturdy and classical. The opening ensemble fluctuates between F major, dominant, sub-dominant, relative minor, etc ... just like

910-432: Is the first of the three choral sections in the original version of the ballet; it is for male voices with orchestral accompaniment. It begins quietly, with a theme marked "quieto", which in its five bars switches between 4/8 and 6/8 time. This is followed by a strongly rhythmic song for male voices, beginning in 2/4 time in D major, with a later interlude where the key switches to D-flat. The original theme returns to conclude

975-430: Is turned around and some of the women conceal themselves behind it. The garçonne and the athlete cross the stage engrossed in each other. The remaining two athletes dance and then lean against the sofa. The women emerge from hiding and pursue them. The Hostess enters the empty stage and performs a virtuoso solo dance (with intricately rhythmic steps, described by the ballet critic Jan Parry as "a fiendish tongue-twister for

1040-422: Is usually translated as "doe," an adult female deer; it was also used as a slang term for a coquettish woman. Moore expands on the definition: "As has been often noted, the word biches is itself pregnant with double entendre, referring most obviously to does, but also, in the underworld of Parisian slang, to a woman (or ironically, a man) of deviant sexual proclivities." By the middle of 1923 Poulenc had completed

1105-859: The Barnes Foundation in Philadelphia, the Hermitage Museum in St. Petersburg, and the Tate Gallery in London. Her work is also shown in the permanent collection of the Musée de l'Orangerie gallery in Paris, France, housing some of her most famous pieces. In 2023, the Barnes Foundation opened a retrospective of Laurencin's work, titled Marie Laurencin: Sapphic Paris. Misia Sert Too Many Requests If you report this error to

1170-720: The First World War , Laurencin left France for exile in Spain with her German-born husband, the artist, Baron Otto von Waëtjen, since through her marriage she had automatically lost her French citizenship. The couple subsequently lived together briefly in Düsseldorf . She was greatly affected by her separation from the French capital, the unrivaled center of artistic creativity. After they divorced in 1920, she returned to Paris, where she achieved financial success as an artist until

1235-634: The Grand Théâtre de Monte Carlo borrowed from the grand casino next door. In a letter to Diaghilev Poulenc wrote "Nijinska is really a genius. Listen to this: having decided that the sofa is a 'star', just as she herself is, she is making it dance throughout the Game". The work comprises an overture and eight successive tableaux depicting, in Moore's words, "various scenes of coquetry and seduction". The critic of Le Temps , Henry Malherbe , wrote after

1300-484: The Les biches was influenced by the legacy of the 19th-century choreographer Marius Petipa , given a modern twist by Nijinska: Taking the classical repertory of steps as her starting point but using an inventive port de bras , flexed arms, a new kind of pas de bourrée , variations of épaulements and pointe , and asynchronous movements of the torso and legs, she developed new possibilities for classical technique. The work

1365-574: The Section d'Or , such as Jean Metzinger , Albert Gleizes , Robert Delaunay , Henri le Fauconnier , and Francis Picabia , exhibiting with them at the Salon des Indépendants (1910–1911) and the Salon d'Automne (1911–1912), and Galeries Dalmau (1912) at the first Cubist exhibition in Spain. She became romantically involved with the poet Guillaume Apollinaire , and has often been identified as his muse. In addition, Laurencin had important connections to

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1430-587: The mores of the mid 1960s. In 2002 Thierry Malandain rechoreographed the ballet for the Malandain Ballet, Biarritz . The work has been less frequently staged in the US than other Diaghilev ballets. The visiting Royal Ballet company presented it in New York in 1968; in 1982, Irina Nijinska , the choreographer's daughter, staged a revival for the Oakland Ballet , and the following year that production

1495-460: The salon of the American expatriate and lesbian writer Natalie Clifford Barney . She had relationships with men and women, and her art reflected her life, her "balletic wraiths" and "sidesaddle Amazons " providing the art world with her brand of "queer femme with a Gallic twist." She had a forty years long love relationship with fashion designer Nicole Groult  [ fr ] . During

1560-453: The 1920s post exile. The muted colours and the geometric patterns inherited from Cubism were replaced by light tones and undulating compositions. Her signature motif is marked by willowy, ethereal female figures, and a palette of soft pastel colours, evoking an enchanted world. Art history professor Libby Otto said, "Marie Laurencin is of the 'lipstick lesbian' variety: She constructs this very soft, feminine world that really spoke to viewers at

1625-439: The 1980s as part of a quadruple bill of Diaghilev ballets (with L'Après Midi d'un Faune , Le Spectre de la rose and Pétrouchka ). The work entered the Paris Opera Ballet repertoire in 1991. Two new ballets have been created using Poulenc's score. In 1964 BBC television commissioned and broadcast Houseparty , choreographed by Peter Darrell , which took the original Nijinska scenario and sought to update it to reflect

1690-572: The Adagietto was inspired by a variation from The Sleeping Beauty . Poulenc's biographer Henri Hell finds the score "irresistibly evoking the art of Domenico Scarlatti ". The complete ballet score comprises an overture followed by eight movements. The second (Chanson dansée), fourth (Jeu) and seventh (Petite chanson dansée) contain parts for unseen chorus. The published score stipulates a minimum of twelve singers (four sopranos, four tenors, four baritones), although it also seems to indicate that at

1755-722: The American Oakland Ballet company in 1984 has been published on DVD; it features Shirlee Reevie (hostess) and Erin Leedom (garçonne). Marie Laurencin Marie Laurencin (31 October 1883 – 8 June 1956) was a French painter and printmaker. She became an important figure in the Parisian avant-garde as a member of the Cubists associated with the Section d'Or . Laurencin was born in Paris, where she

1820-552: The Ballets Russes, contacted Poulenc in November 1921 with a proposed commission. The original plan was that Poulenc should write music for a ballet scenario with the title Les demoiselles , written by the fashion designer Germaine Bongard. The following July it became clear that Bongard did not wish to go ahead; Poulenc wrote to his friend and fellow member of Les six , Darius Milhaud , that instead "I will probably write

1885-468: The anonymity of the characters. Although not labelled in Nijinska's production, the main characters have come to be known by descriptive titles. They are: The tableau is danced by the twelve female members of the corps de ballet , dressed in identical pink frocks and ostrich-feathered head-dresses. They form lines, circles, groups, and finally one long line, and at the end six dancers exit on each side of

1950-415: The ballet was first given in Paris that in this piece "atmosphere replaces action": in the absence of a plot the composer was free to present a ballet that "does not express anything precise and logical, other than a succession of characters that are pleasing to watch." His fellow critic, Raoul Brunei, described the piece as "a choreographic fantasy whose meaning is not very clear." Moore gives the last word on

2015-447: The beautiful month of May! Ah! Ah! Ah! Ah! Long live wine and tobacco! It's the dark one that I like and I'll choose whoever will have me. Pretty one, is it true that you love me, is it me that will you take? My daughter, you need to get married: choose who you like. Ah! Ah! Ah! Ah! Long live the beautiful month of May! Long live the month, the month of love! Mad'moiselle, enter our house Mad'moiselle, give

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2080-457: The cheek? I will give you what you ask me, then at St Matthew's we will be married. It's at Saint Matthew's that we will marry, give me that wallflowers for our marriage. Long live beautiful May, the month of the wallflower! In the second of the two choral sections for female and male voices the men woo the women offering laurels as a present; the women insist on bouquets of wallflowers before they will accept

2145-453: The choral interjections. He found what his biographer Carl B. Schmidt describes as "some slightly obscene eighteenth-century texts", which he used in three of the numbers in the score. Poulenc struggled to find the right name for the ballet, and eventually had the idea of calling it Les biches , echoing the title of the classic ballet Les Sylphides . His chosen title is, as he admitted, untranslatable into any other language. The word biche

2210-492: The composer's pleasure as he had been disappointed by the conducting of Édouard Flament at the premiere. The cast was unchanged. As at Monte Carlo, the performance had what Hell describes as a triumphant reception. The critics were mostly enthusiastic, with the exceptions of Adolphe Boschot , who thought it a caricature, Emile Vuillermoz , who thought the music monotonous, and Olin Downes , for The New York Times , who declared

2275-1630: The composer's quite brisk metronome mark. The music, which refers back to the rondeau in its material, veers between what Del Mar calls "gentle ingenuousness" and "rumbustious moments". Towards the end of the movement the music becomes very loud, the brass predominating, but the closing bars, led by the woodwind are marked "très calme" before a final emphatic chord for the brass and lower strings. J'ai un joli laurier, un joli laurier de France. Qui veut de mon laurier? A qui faut-il le donner? Je préférerais un bouquet de giroflées, un bouquet tout frais cueilli. Est-ce un bouquet d'oranger? Je n'ai qu'un beau laurier. Je n'ai pas de giroflées. Un bouquet de giroflées tout couvert de rosée. Et c'est le laurier que le veux vous donner. Prenez mon beau laurier. Ah! Ah! Ah! Ah! Ah! donnez moi un bon bouquet! Hélas! je n'ai pas de giroflées. Mon joli laurier Et bien voulez vous un collier de capucines? Un joli collier blond que j'ai couvert de baisers? Si vous me donnez le bouquet que je demande, je verrais si je peux me marier avec vous. C'est à la Saint Mathieu que nous nous marierons, si vous me donnez le bouquet de giroflées. Et si je vous donne un bouquet, un bouquet de giroflées, me promettez vous de m'embrasser sur la joue? Je vous donnerai ce que vous me demandez, puis qu'à la Saint Mathieu nous serons mariés. C'est à la Saint Mathieu que nous marierons, donnez moi des giroflées qu'il faut se marier. Vive le beau mai, le mois de la giroflée! I have

2340-405: The dance was arranged, she would put in this extra thing, or a little thing with her feet". Clement Crisp describes the ballet as a "delicious piece", noting the "cunningly different ports de bras , the freshness of use of the classical dance, the clarity of texture in the movement all make it a delight", and contends that the soundness of the choreography have contributed the lasting popularity of

2405-553: The dancers, first the corps, who then dance off as the principals enter. The ballet ends with the hostess dancing with her two athletes, the first athlete with the garçonne, and the girls in grey dancing separately. The ballet was staged in Paris by the Ballets Russes, at the Théâtre des Champs-Élysées , on 26 May 1924, just over four months after the Monte Carlo premiere. Diaghilev persuaded André Messager to conduct, greatly to

2470-417: The dark one you have chosen. My darling, if you love me kiss me again. My daughter, you have to marry and that without further delay. I have four daughters to marry. I have filled my whole loft. This is the first of the two choral movements for female and male voices. The words are those of a father hoping to marry off his four daughters, and the questions the daughters ask him about picking

2535-438: The economic depression of the 1930s. During the 1930s she worked as an art instructor at a private school. She lived in Paris until her death. Laurencin's works include paintings, watercolors, drawings, and prints. She is known as one of the few female Cubist painters, with Sonia Delaunay , Marie Vorobieff , and Franciska Clausen . While her work shows the influence of Cubist painters Pablo Picasso and Georges Braque , who

2600-547: The enthusiasm with which the public had greeted the piece. The cast was largely the same as at the premiere, but Anton Dolin replaced Anatole Wilzak as Vera Nemtchinova's partner in the Andantino. Wassily de Basil 's Ballet Russe de Monte Carlo included Les biches in its repertoire in the mid-1930s. Nijinska staged the work, as The House Party , for the Markova-Dolin Ballet in 1937; Alicia Markova took

2665-417: The feet"). The two athletes enter and preen themselves before her; she flirts openly with them and the three dance off, with the athletes in pursuit of the hostess. The garçonne and the first athlete dance together. They end in a tight embrace. The girls in grey dance together. Towards the end of their dance they look at each other face on and then exit on opposite sides of the stage The finale features all

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2730-691: The finales of classical symphonies; "Jeu" is in E, B, A, etc... and the final "Rondeau" is in D, A, G, etc. For the songs, I have some beautiful but slightly obscene texts (from the 18th century). The analyst Gérald Hugon writes that other influences on the young composer's score are French eighteenth-century song (in the Rondeau), ragtime (in the Rag-Mazurka) and composers ranging from the classical era ( Mozart and Schubert ) to contemporaries such as Stravinsky and Prokofiev , via Tchaikovsky : Hugon quotes Claude Rostand 's comment that according to Poulenc

2795-413: The first version of the score, after some help with details of orchestration from his teacher, Charles Koechlin . In late October, at Diaghilev's request, he travelled to Monte Carlo to help supervise the production. The composer was delighted with the work of the choreographer, Nijinska, which he described as "ravishing"; he wrote to Milhaud that she had truly understood his score. Between November 1923 and

2860-545: The garçonne and George Skibine as the leader of the three athletes. In The New York Times John Martin called it "one of the masterpieces of the modern ballet". In 1964 Frederick Ashton – by this time director of the Royal Ballet and a great admirer of the choreographer – invited Nijinska to re-create the ballet at the Royal Opera House , and he took close personal interest in the rehearsals and costume fittings. Svetlana Beriosova danced Nijinska's old role of

2925-537: The hostess; Georgina Parkinson played the garçonne. Subsequent performers of the role of the hostess in the Royal Ballet's production have included Deanne Bergsma , Monica Mason , Marguerite Porter , Darcey Bussell and Zenaida Yanowsky ; the garçonne has been danced by Vergie Derman , Viviana Durante , Mara Galeazzi and Leanne Benjamin . In France, Les biches was taken into the repertoire of two leading companies: Ballet Theatre Français performed it in

2990-436: The initial theme returns at the same high speed as before to conclude the piece. Like the music, the choreography of Les biches is neoclassical . In an article about Les biches written in 1930, Frederick Ashton wrote, "the whole ballet is new, and yet it is, at the same time, composed entirely of classical movement with a new expression." In The International Encyclopedia of Dance Gunhild Oberzaucher-Schüller writes that

3055-406: The men. The movement is marked "moderato non troppo". As in other movements, there are several changes of time signature, but 4/4 predominates. The finale is marked presto, at minim=108, a tempo so fast that Del Mar judges it barely playable. It is, he says, "virtuoso writing and needs spectacular playing". A short section in the middle of the finale is more relaxed, but the tempo increases again and

3120-421: The movement reflects the fashion for jazz in 1920s Paris, "most listeners will hear more of Paris here than Scott Joplin". As for the mazurka of the outer sections, it is "a long way from Chopin’s piano works of this genre". At more than six minutes' duration this is the longest section of the ballet. The conductor Norman Del Mar comments that despite the marking, this movement is closer to allegretto if taken at

3185-644: The movement. The plaintive melancholy of the Adagietto finds Poulenc at his most affecting, in the view of the analyst Paul Horsley. It is dominated by a gentle oboe theme in its outer sections, and unlike much of the score it does not have frequent changes of key or time signatures. Milhaud wrote of this movement, "I know of no other music that touches me so intimately, so completely." In the 1950s Poulenc commented, "The 'Adagietto' must be played without romantic pathos. In this ballet nobody falls in love for life, they have sex! Let's just leave it there." The initial mood of wistful charm – "doucement mélancolique" according to

3250-621: The official theatre censor, the Lord Chamberlain , might ban the piece for its suggestions of unconventional sexuality, but a licence was granted to perform it, and it was given at the Coliseum , under the title The House Party . The London theatre critic of The Times was tepid about the music, the choreography and the designs, and did not mention – as the highly favourable review in The Manchester Guardian did –

3315-535: The part of Nemtchinova and Anton Dolin that of Anatole Wilzak, and Diana Gould was among the cast as the Hostess. In the late 1940s the Grand Ballet du Marquis de Cuevas revived the work; Nijinska, as the company's chief choreographer, supervised the revival. The company included Les biches in its London seasons and gave the New York premiere of the piece in 1950; the company included Marjorie Tallchief as

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3380-415: The piece "pretentious and artificial" and the music "the last word in insipidity". Those who praised the work included Cocteau, Malherbe, Louis Laloy , Boris de Schlözer , and the correspondent of The Times , who judged the choreography "ingenious" and the score "full of irresistible good spirits and delicious tunes". Diaghilev took the ballet to London in 1925. There was some speculation beforehand that

3445-514: The plot to the English dancer Lydia Sokolova, a member of the company in the premiere: "There was no story to Les biches – it was far too chic to have anything so obvious". Not only did the ballet have no plot: its characters were not given names, although commentators have frequently invented them. The original programme listed the scenes and participants thus: Companies such as the Royal Ballet that have revived Nijinska's ballet have maintained

3510-503: The premiere in January 1924, Poulenc, together with Nijinska, oversaw, by his estimate, "at least 72 rehearsals or close to 250 hours of work". Les biches was an immediate success, first in Monte Carlo in January 1924 and then in Paris in May, under the direction of André Messager and has remained one of Poulenc's best-known scores. Poulenc's new celebrity after the success of the ballet was

3575-420: The premiere there was only one voice to each part. When Poulenc revised the score he made the vocal parts optional. The overture begins quietly, in 4/8 time in C major with a slow duet, marked tranquillo , for flute and bass clarinet. After about one minute the rest of the orchestra enters, the key changes to E major and the tempo to allegro vivace . After several changes of time signature the overture ends with

3640-2348: The score – is briefly interrupted by a louder and more emphatic section for a few bars, before the music becomes calm again, leading to a quiet close. J'ai quatre filles à marier. J'en ai rempli tout mon grenier. Grands dieux! Je ne sais comment marier tous ces enfants. Ah! J'aimerai qui m'aime, j'aimerai qui m'aimera. Ma fille, je parle à vous, ma fille, m'entendez vous? Mon père, que dites vous? Je dis que si vous êtes sage vous ferez un beau mariage. La belle, m'entendez vous? Oï, Oï, Oï, Oï. Puis parcourant toute la dans ' Faites trois fois la révérenc ' Et vous aurez de beaux atours, si du rond vous faites le tour. et vous embrasserez celui que vous voudrez, et vous embrasserez celui que vous aimez. Vive le mois de mai! Vive le joli mai! Vive le mai, le mai joli! Vive le joli mois de mai! Ah! Ah! Ah! Ah! Vive le vin et le tabac! C'est le brun que j'aime et qui m'aura, c'est lui que je choisirai. La belle, est-ce vrai que vous m'aimez, est-ce moi que vous prendrez? Ma fille, il vous faut vous marier: choisissez qui vous aimez. Ah! Ah! Ah! Ah! Vive le joli mois de mai! Vive le mois, le mois d'amour! Mad'moiselle, entrez chez nous Mad'moiselle, entrez un coup afin que l'on vous aime le cœur tout plein d'amour. Un mari choisirez vous; choisissez donc un bon coup. Faites moi les yeux doux; embrassez moi dans le cou Mettez vous à genoux, et puis relevez vous. Me voici à genoux, tout plein d'amour pour vous. Revenez parmi nous, revenez encore un coup. Mon bien aimé voyez combien mes baisirs sont doux. Ah, que vos yeux sont beaux, et que votre sein est rond! Si c'est le brun que vous avez choisi. Ma chérie, si vous m'aimez il faut encore m'embrasser. Ma fille, il faut l'épouser et cela sans plus tarder. J'ai quatre filles à marier. J'en ai rempli tout mon grenier. I have four daughters to marry. I have filled my whole loft. Great gods! I do not know how to marry all these children. Ah! I will love whoever loves me, I will love whoever will love me. My daughter, I'm talking to you, my daughter, do you hear me? My father, what do you say? I say that if you are wise you will make

3705-411: The stage. Three athletes dressed for rowing enter, with much macho posturing. They preen themselves to impress some of the women. The androgynous figure often called la garçonne performs a slow dance, largely en pointe , watched by the women and the athletes. Towards the end one of the athletes dances with la garçonne and kneels to kiss her/his hand. They exit together. The women mill about. The sofa

3770-437: The time. And if you realize that, in her soft way, she's constructing a world without men, of female harmony, there's something pretty revolutionary in there as well." Laurencin continued to explore themes of femininity and what she considered to be feminine modes of representation until her death. Her works include paintings, watercolors, drawings, and prints. Laurencin's artistic accomplishments are seen in collections around

3835-468: The unexpected cause of his estrangement from Erik Satie , of whom he had been a protégé: among the new friends Poulenc made was Louis Laloy , a writer whom Satie regarded with implacable enmity. Poulenc's friend, Georges Auric , who had just enjoyed a similar triumph with a Diaghilev ballet, Les Fâcheux , was also repudiated by Satie for becoming a friend of Laloy. Poulenc revised the orchestration comprehensively in 1939–1940 (published 1947). He extracted

3900-404: The work. The preface to the published score states: "The action passes in a large, white drawing room with just one piece of furniture, an immense blue sofa. It is a warm summer afternoon and three young men are enjoying the company of sixteen lovely women. Just as in 18th-century prints, their play is innocent in appearance only." At the premiere the sofa was a magnificent piece of furniture which

3965-623: The world. On the 100th anniversary of her birth in 1983, the Musée Marie Laurencin opened in Nagano, Japan. To date, the Musée Marie Laurencin is the only museum in the world that solely contains the art of a female painter. Founder Masahiro Takano was enamored with Laurencin's sensual and lyrical worldview, and the museum holds over 600 art pieces by her. Laurencin's work is also found in The Museum of Modern Art in New York,

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4030-491: Was a triumph for Nijinska, who viewed it as a twentieth-century equivalent of Les Sylphides . While Nijinska was creating the choreography, she worked out her Hostess role on Ninette de Valois , who was in the corps. Lydia Sokolova later recalled that "when we did Les biches , and she created the hostess for herself, she improvised mostly. That was the trouble with Bronia. If she suddenly felt she wanted to pull her face this way or that way, she'd do it. She wouldn't leave it as

4095-593: Was her close friend, she developed a unique approach to abstraction which often centered on the representation of groups of women and animals. Her work lies outside the bounds of Cubist norms in her pursuit of a specifically feminine aesthetic by her use of pastel colors and curvilinear forms. Originally influenced by Fauvism , she simplified her forms through the influence of the Cubist painters. From 1910, her palette consisted mainly of grey, pink, and pastel tones. Her distinctive style developed upon her return to Paris in

4160-552: Was raised by her mother and lived there for much of her life. At 18, she studied porcelain painting in Sèvres . She then returned to Paris and continued her art education at the Académie Humbert, where she changed her focus to oil painting . During the early years of the 20th century, Laurencin was an important figure in the Parisian avant-garde . A member of both the circle of Pablo Picasso , and Cubists associated with

4225-469: Was seen in New York, given by the Dance Theater of Harlem . That staging was notable for including the three optional choral sections, sung by a solo soprano, tenor and baritone. Le biches was featured in the 2009 "Fall for Dance" series in New York, danced by Ballet West . The Royal Ballet production of 1964 was filmed that year, with its original cast. A performance of Nijinska's ballet given by

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