Arthur Schnitzler's The Bridal Veil at the American Laboratory Theatre
Bibliographic Data
| ID | 11223948 |
|---|---|
| Authors | Lawrence Sullivan, Lawrence R Sullivan (corresponding author) |
| Year | 1993 |
| Volume | 25 |
| Issue | 1 |
| Pages | 13-20 |
| Publication date | 1993-01-01 |
| Peer Reviewed | Yes |
| Open Access | Yes |
| Type | ARTICLE |
| Venue | Dance Research Journal (JOURNAL) |
| Journal identifiers | ISSN: 0149-7677 • E-ISSN: 1940-509X |
| Publisher | Cambridge University Press (CUP) (PUBLISHER) |
| DOI | 10.2307/1478187 |
| OpenAlex | W2316559200 |
| Language | EN |
| References cited | 5 |
Whatever the particular intentions of the playwright, Arthur Schnitzler's Der Schleier der Pierrette (The Veil of Pierrette ), a ballet-pantomime first performed in Dresden, January 22, 1910, with music by Ernst von Dohnányi, became, in the first year of its composition, a vehicle of avant-garde experimentalists on the Russian theatrical scene. In October 1910, Vsevolod Meyerhold used Schnitzler's ballet-pantomime for his own avant-garde interests in commedia dell'arte motifs, producing Columbine's Scarf (a variant title) at the House of Interludes in St. Petersburg. Three years later, in 1913, Alexander Tairov, as anti-Meyerholdean as he was anti-Stanislavskian, also staged a version of Der Schleier under the title The Veil of Pierrette , at the Mardzhanov's Free Theatre in Moscow. Both directors, relying on different aesthetic principles, used the commedia dell'arte ballet-pantomime as a statement against Stanislavskian psychological realism (1)
Art · Art history · Ballet · Dance · Literature · Performance art · Realism · Statement (logic) · Visual arts · Diversity and Impact of Dance · Musicology and Musical Analysis · Philosophy · Theatre and Performance Studies
| Citation velocity | historical |
|---|---|
| Highly cited | No |