“There are truths which one can only say after having won the right to say them.”
“Soulève ta paupière close
Qu’effleure un songe virginal ;
Je suis le spectre d’une rose
Que tu portais hier au bal.
Tu me pris encore emperlée
Des pleurs d’argent de l’arrosoir,
Et parmi la fête étoilée
Tu me promenas tout le soir.
Ô toi qui de ma mort fus cause,
Sans que tu puisses le chasser
Toute la nuit mon spectre rose
A ton chevet viendra danser.
Mais ne crains rien, je ne réclame
Ni messe, ni De Profundis ;
Ce léger parfum est mon âme
Et j’arrive du paradis.
Mon destin fut digne d’envie :
Pour avoir un trépas si beau,
Plus d’un aurait donné sa vie,
Car j’ai ta gorge pour tombeau,
Et sur l’albâtre où je repose
Un poète avec un baiser
Ecrivit : Ci-gît une rose
Que tous les rois vont jalouser”
“Open your closed eyelid
Which is gently brushed by a virginal dream!
I am the ghost of the rose
That you wore last night at the ball.
You took me when I was still sprinkled with pearls
Of silvery tears from the watering-can,
And, among the sparkling festivities,
You carried me the entire night.
O you, who caused my death:
Without the power to chase it away,
You will be visited every night by my ghost,
Which will dance at your bedside.
But fear nothing; I demand
Neither Mass nor De Profundis;
This mild perfume is my soul,
And I’ve come from Paradise.
My destiny is worthy of envy;
And to have a fate so fine,
More than one would give his life
For on your breast I have my tomb,
And on the alabaster where I rest,
A poet with a kiss
Wrote: “Here lies a rose,
Of which all kings may be jealous.”
In 1911, Ballet Russes producer Sergei Diaghilev hoped to present Vaslav Nijinsky‘s ballet L’Après-midi d’un faune. It was not ready for the stage, so he needed another ballet to take its place. That ballet was the idea of writer Jean-Louis Vaudoyer. In 1910, he had sent an idea for a ballet to Ballets Russes set and costume designer Léon Bakst. His idea was based on Le Spectre de la rose, a verse by Théophile Gautier, and Afforderung zum Tanz (Invitation to the Dance), a work for piano by Carl Maria von Weber. Diaghilev liked Vaudoyer’s idea. He thought it could easily take the place of Faune. He put Vaudoyer’s idea into development at once. Diaghilev liked the idea of a ballet based on Gautier’s Spectre because it could be tied to the centennial of Gautier’s birth. Michel Fokine choreographed the ballet to the music of Carl Maria von Weber’s piano piece as orchestrated by Hector Berlioz in 1841. The little ballet became one of the most loved productions of the Ballets Russes.
Nijinsky’s silk elastic costume was covered with silk rose petals. Nijinsky was stitched into the costume for every show. After every show, the wardrobe mistress would touch up the petals with her curling iron.
Nijinsky’s make-up was an important part of the costume design. Romula de Pulszky, later to be his wife, wrote that he looked like “a celestial insect, his eyebrows suggesting some beautiful beetle”. Peter Ostwald writes that Nijinsky’s costume was like a ballerina’s.
Sometimes, petals would become loose and fall to the stage floor. Nijinsky’s servant Vasili would collect the petals and sell them as souvenirs. It was said that he built a large house called Le Château du Spectre de la Rose with the profits from the sale of the petals.
The ballet was first presented in Monte Carlo on 19 April 1911. Nijinsky danced The Rose and Tamara Karsavina danced The Young Girl. It was a great success. Spectre became internationally famous for the spectacular leap Nijinsky made through a window at the ballet’s end.
Many dancers have attempted to match Nijinsky as The Rose, but have failed. After all, the ballet had been designed for Nijinsky’s very special talents.
It was one of the first ballets Rudolph Nureyev danced in the West after leaving Russia. This was for German television in 1961. He first danced The Rose on stage (24 times) in New York City for the Joffrey Ballet’s Diaghilev program in 1979. Spectre de la Rose was the last ballet Nureyev and Margot Fonteyn danced together. That was in June 1979, when the ballerina was 60. He danced The Rose in Paris in 1981 and 1982, and last danced the part in August 1987 at the London Coliseum with the Nancy Ballet.
“Apollon tient le fil au bout duquel il pend.
Nègre de la Sultane, il vole en s’échappant,
Et le décor a l’air de la traîne d’un paon.
Il lance, Hermès rempli de mystérieux zèles,
Des fleurs qu’on ne voit pas pour courir après elles
Et charge tous les cœurs sur d’invisibles ailes !”
“Apollo holds the thread on which he is hanging
Black of the Sultan, he flies while escaping
And the decorated peacock tail appears in the air
He, like Hermes, filled of mysterious fervor
Throws flowers that no one can see to running after them
And he carries all the hearts on his invisible wings”
“Nijinsky has never been so remarkable as in his latest role. No more jumps – nothing but half-conscious animal gestures and poses. He lies down, leans on his elbow, walks with bent knees, draws himself up, advancing and retreating, some-times slowly, sometimes with jerky angular movements. His eyes flicker, he stretches his arms, he opens his hands out flat, the fingers together, and as he turns away his head he continues to express his desire with a deliberate awkwardness that seems natural. Form and meaning are indissolubly wedded in his body, which is totally expressive of the mind within… His beauty is that of antique frescoes and sculptures: he is the ideal model, whom one longs to draw and sculpt.”
The ballet L’Après-midi d’un faune (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 29 May 1912. On the opening night the ballet was met with a mixture of applause and booing, and again it was repeated. Now the audience applauded, and Auguste Rodin in the audience stood up to cheer.
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 painter Odilon Redon, friend of Mallarmé, suggested how much the poet would have approved, “more than anyone, he would have appreciated this wonderful evocation of his thoughts.”
The costumes and sets were designed by the painter Léon Bakst. 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).
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 erotic subtext beneath its façade of Greek antiquity, ending with a scene of graphic sexual desire.
The ballet was developed as a possible new production for the Ballets Russes founded by Sergei Diaghilev. Most of the dances performed by the company were choreographed by Michel Fokine, who had worked as a choreographer with the Imperial Russian Ballet, from which all the different specialists for the new ballet company had come. Initially the Ballet Russes took advantage of the 3 months summer break, when the Imperial ballet closed and its staff were free to do other things, to stage ballet and opera in Paris. Diaghilev was looking around for an alternative to the style which Fokine customarily delivered and decided to allow his senior male dancer, Vaslav Nijinsky, to try his hand at choreography.
The original idea was developed by Diaghilev, Nijinsky and Bakst and was inspired by the artwork on ancient Greek vases and Egyptian and Assyrian frescoes which they viewed in the Louvre museum. Bakst had already worked with Vsevolod Meyerhold, an innovative theatre producer and director who had introduced concepts like two-dimensionality, stylized postures, a narrow stage, pauses and pacing to emphasise significant moments, into his productions. Ninjinsky’s aim was to reproduce the stylised look of the ancient artworks on the stage. In his portrayal of the faun, Nijinsky managed to reproduce exactly the figure of a satyr shown on Greek vases in the Louvre. Such concepts appear transferred to ballet.
Jean Cocteau helped to explain the Mallarmé poem (Nijinsky spoke little French) and with developing a scenario for the ballet. The music by Debussy already existed in a fully orchestrated form. After the summer season in Paris, Nijinsky returned to St Petersburg for the new Russian season and there started to work on the choreography with the help of his sister, Bronislava Nijinska, who was herself a senior dancer and who later choreographed her own ballets for Ballets Russes. Nijinsky was much excited about the project.
A pastiche of the ballet (choreographed by the then leader of the Royal Ballet, Wayne Eagling, a friend of Mercury who had helped him before with the choreography of the Bohemian Rhapsody) forms part of the music video for Queen’s single I Want to Break Free (David Mallet, 1984). Freddie Mercury dances the role of the faun, with dancers from the Royal Ballet also performing, including Jeremy Sheffield. Mercury shaved his trademark moustache to portray Vaslav Nijinsky as a faun in the ballet L’après-midi d’un faune.
Queen’s video can be seen on The Genealogy of Style‘s Facebook Page: https://www.facebook.com/pages/The-Genealogy-of-Style/597542157001228
Le testament d’Orphée is a 1960 film directed by and starring Jean Cocteau. It is considered the final part of the Orphic Trilogy, following The Blood of a Poet (1930) and Orphée (1950). In the cast are Charles Aznavour, Lucia Bosé, María Casares, Nicole Courcel, Luis Miguel Dominguín, Daniel Gélin, Jean-Pierre Léaud, Serge Lifar, Jean Marais, François Périer and Françoise Sagan.
It also includes cameo appearances by Pablo Picasso and Yul Brynner. The film is in black-and-white, with just a few seconds of color film spliced in.
Le Sang d’un Poète is the first avant-garde film directed by Jean Cocteau. Photographer Lee Miller made her only film appearance in this movie, which features an appearance by the famed aerialist Barbette. It is the first part of the Orphic Trilogy, which is continued in Orphée (1950) and concludes with Testament of Orpheus (1960).
The Blood of a Poet is divided into four sections. In section one, an artist sketches a face and is startled when its mouth starts moving. He rubs out the mouth, only to discover that it has transferred to the palm of his hand. After experimenting with the hand for a while and falling asleep, the artist awakens and places the mouth over the mouth of a female statue.
In section two, the statue speaks to the artist, cajoling him into passing through a mirror. The mirror links to a hotel and the artist peers through several keyholes, witnessing such people as an opium smoker and a hermaphrodite. The artist is handed a gun and a disembodied voice instructs him how to shoot himself in the head. He shoots himself but does not die. The artist cries out that he has seen enough and returns through the mirror. He smashes the statue with a mallet.
In the third section, some students are having a snowball fight. An older boy throws a snowball at a younger boy, but the snowball turns out to be a chunk of marble. The young boy dies from the impact.
In the final section, a card shark plays a game with a woman on a table set up over the body of the dead boy. A theatre party looks on. The card shark extracts an Ace of Hearts from the dead boy’s breast pocket. The boy’s guardian angel appears and absorbs the dead boy. He also removes the Ace of Hearts from the card shark’s hand and retreats up a flight of stairs and through a door. Realizing he has lost, the card shark commits suicide as the theatre party applauds. The woman player transforms into the formerly smashed statue and walks off through the snow, leaving no footprints. In the film’s final moments the statue is shown with a lyre.
Intercut through the film, oneiric images appear, including spinning wire models of a human head and rotating double-sided masks.
The Blood of a Poet was funded by Charles de Noailles, who gave Cocteau 1,000,000 francs to make it. Cocteau invited the Vicomte and his wife Marie-Laure de Noailles, along with several of their friends, to appear in a scene as a theatre party. In the scene, they talked amongst themselves and, on cue, began applauding. Upon seeing the completed film, they were horrified to learn that they were applauding a game of cards that ended with a suicide, which had been filmed separately. They refused to let Cocteau release the film with their scene included, so Cocteau re-shot it with the famed female impersonator Barbette and some extras.
Shortly after its completion, rumors began to circulate that the film contained an anti-Christian message. This, combined with the riotous reception of another controversial Noailles-produced film, L’Âge d’Or (Luis Buñuel and Salvador Dalí, 1930), led to Charles de Noailles’ expulsion from the famous Jockey-Club de Paris, and he was even threatened with excommunication by the Catholic Church. The furor caused the release of The Blood of a Poet to be delayed for over a year.
To watch this movie, please take a gander at The Genealogy of Style‘s Facebook page: https://www.facebook.com/pages/The-Genealogy-of-Style/597542157001228?ref=aymt_homepage_panel
“Grave mouths of lions
Sinuous smiling of young crocodiles
Along the river’s water conveying millions
Isles of spice
How lovely he is, the son
Of the widowed queen
And the sailor
The handsome sailor abandons a siren,
Her widow’s lament at the south of the islet
It’s Diana of the barracks yard
Too short a dream
Dawn and lanterns barely extinguished
We are awakening
A tattered fanfare”
First opened to the public on 4 August 1919, the Musée Rodin was housed in a mansion, formerly called the Hôtel Peyrenc de Moras. Now known as the Hôtel Biron, it was built in the Rue de Varenne, Paris, between 1727 and 1732.
The estate was put up for sale and while awaiting a buyer, tenants were allowed to occupy the Hôtel Biron from 1905. Among them were several artists, Jean Cocteau (1889-1963), Henri Matisse, the dancer Isadora Duncan and the sculptress Clara Westhoff (1878-1954), future wife of the poet Rainer Maria Rilke (1875-1921), who first told Auguste Rodin about the estate. In 1908, the sculptor thus rented four south-facing, ground-floor rooms opening onto the terrace, to use as his studios. The garden that had run wild probably made a strong impression on Rodin, encouraging him to place some of his works and part of his collection of antiques amidst its greenery. From 1911 onwards, he occupied the entire building.
Listed as a historical monument in 1926, the Hôtel Biron and its grounds have since undergone major renovation and restoration schemes, to better assert their role as a museum.
Haunted by his past, The Poet travels to Paris determined to follow in the footsteps of his literary heroes. What he finds there will change his life and work forever. Allen Ginsberg wrote the source poetry at The Beat Hotel, 9 rue Git-le-Coeur, Paris and the exterior of the hotel is actually used in the film. This is the second film directed by Nic Saunders based on the work of a member of the Beat Generation.
“…voici le temps
Oú l’on connaîtra l’avenir
Sans mourir de connaissance”
I visited Père Lachaise to look for the remains of Apollinaire
the day the U.S. President appeared in France for the grand
conference of heads of state
so let it be the airport at blue Orly a springtime clarity in the
air over Paris
Eisenhower winging in from his American graveyard
and over the froggy graves at Père Lachaise an illusory mist as
thick as marijuana smoke
Peter Orlovsky and I walked softly thru Père Lachaise we both
knew we would die
and so held temporary hands tenderly in a citylike miniature
Roads and streetsigns rocks and hills and names on everybody’s
Looking for the lost address of a notable Frenchman of the Void
to pay our tender crime of homage to his helpless menhir
and lay my temporary American Howl on top of his silent Caligramme
for him to read between the lines with Xray eyes of Poet
as he by miracle had read his own death lyric in the Seine
I hope some wild kidmonk lays his pamphlet on my grave for
God to read me on cold winter nights in heaven
already our hands have vanished from that place my hand
writes now in a room in Paris Git-le-Coeur
Ah William what grit in the brain you had what’s death
I walked all over the cementery and still couldn’t find your grave
what did you mean by that fantastic cranial bandage in your
O solemn deathsead what’ve you got to say nothing
and that’s barely an answer
You can’t drive autos into a sixfoot grave tho the universe is
mausoleum big enough for anything
the universe is a graveyard and I walk around alone in here
knowing that Apollinaire was on the same street 50 years ago
madness is only around the corner and Genet is with us
the West is at war again and whose lucid suicide will set it all right
Guillaume Guillaume how I envy your fame your accomplishment
for American letters
your Zone with its long crazy line of bullshit about death
come out of the grave and talk thru the door of my mind
issue new series of images oceanic haikus blue taxicabs in Moscow
negroes statues of Buddha
pray for me on the phonograph record of your former existence
with a long sad voice and strophes of deep sweet music sad and
scratchy as World War I
I’ve eaten the blue carrots you sent out of the grave and Van
Gogh’s ear and maniac peyote of Artaud
and will walk down the streets of New York in the black cloak
of French poetry
improvising our conversation in Paris at Père Lachaise
and the future poem that takes its inspiration from the light
bleeding into your grave
Here in Paris I am your guest O friendly shade
the absent hand of Max Jacob
Picasso in youth bearing me a tube of Mediterranean
myself attending Rousseau’s old red banquet I ate his violin
great party at the Bateau Lavoir not mentioned in the
textbooks of Algeria
Tzara in the Bois de Boulogne explaining the alchemy of the
machineguns of the cuckoos
he weeps translating me into Swedish
well dressed in a violet tie and black pants
a sweet purple beard which emerged from his face like the moss
hanging from the walls of Anarchism
he spoke endlessly of his quarrels with André Breton
whom he had helped one day trim his golden mustache
old Blaise Cendrars received me into his study and spoke
wearily of the enormous length of Siberia
Jacques Vaché invited me to inspect his terrible collection of
poor Cocteau saddened by the once marvelous Radiguet at his
last thought I fainted
Rigaut with a letter of introduction to Death
and Gide praised the telephone and other remarkable inventions
we agreed in principle though he gossiped of lavender underwear
but for all that he drank deeply of the grass of Whitman and
was intrigued by all lovers named Colorado
princes of America arriving with their armfuls of shrapnel and
Oh Guillaume the world so easy to fight seemed so easy
did you know the great political classicists would invade Montparnasse
with not one sprig of prophetic laurel to green their foreheads
not one pulse of green in their pillows no leaf left from their
wars‒‒ Mayakovsky arrived and revolted.
Came back sat on a tomb and stared at your rough menhir
a piece of thin granite like an unfinished phallus
a cross fading into the rock 2 poems on the stone one Coeur
Other Habituez-vous comme moi A ces prodigies que j’annonce
Guillaume Apollinaire de Krostrowitsky
Someone placed a jam bottle filled with daisies and a 5&10₵
surrealist typist ceramic rose happy little tomb with flowers and overturned heart
under a fine mossy tree beneath which I sat snaky trunk
summer boughs and leaves umbrella over the menhir and nobody there
et quelle voix sinistre ulule Guillaume qu’es-tu devenu
his nextdoor neighbor is a tree
there underneath the crossed bones heaped and yellow cranium
and the printed poems Alcools in my pocked his voice in the
now middleage footsteps walk the gravel
a man stares at the name and moves toward the crematory
Same sky rolls over thru clouds as Mediterranean days on the
Riviera during war
drinking Apollo in love eating occasional opium he’d taken the
one must have felt the shock in St. Germain when he went out
Jacob & Picasso coughing in the dark
a bandage unrolled and the skull left still on a bed outstretched
pudgy fingers the mistery and ego gone
a bell tolls in the steeple down the street birds warble in the
Family Bremont sleeps nearby Christ hangs big chested and
sexy in their tomb
my cigarette smokes in my lap and fills the page with smoke
an ant runs over my corduroy sleeve the tree I lean on grows
bushes and branches upstarting through the tombs one silky
spiderweb gleaming on granite
I am buried here and sit by my grave beneath a tree
Paris, Winter-Spring 1958
To watch the trailer of At Apollinaire’s Grave, please take a gander at The Genealogy of Style‘s Facebook page:https://www.facebook.com/pages/The-Genealogy-of-Style/597542157001228?ref=hl
Entre les fauves et les cubistes
Prise au piège, petite biche
Une pelouse, des amémies
Pâlissent le nez des amies
France, jeune fille nombreuse
Bientôt la guerre sera finie
Pour que se cabre un doux bétail
Aux volets de votre éventail
Vive la France!
“Between the Fauvists and the Cubists
caught in the trap, little doe
a lawn, anaemic afflictions
pale the noses of the friends
France, numerous young lady
Soon the war will be over
for a gentle cattle to rear up
in the winglets of your fan
Long live France!”
Sabbles woz 'ere
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