The Influence of Russian Ballets in the 20th Century
L’Homme sans yeux, sans nez et sans oreilles by José Soler Casabón and Parade by Érik Satie
Bibliographic Data
| ID | 21865792 |
|---|---|
| Authors | Sandra Soler Campo (0000-0002-5560-1415), Juan Jurado Bracero, Taller de Músics ESEM |
| Year | 2021 |
| Issue | 1 |
| Pages | 75-82 |
| Publication date | 2021-01-01 |
| Open Access | Yes |
| Type | ARTICLE |
| Venue | Music Scholarship / Problemy Muzykal noj Nauki (JOURNAL) |
| Journal identifiers | ISSN: 1997-0854 • E-ISSN: 2587-6341 |
| Publisher | The Gnesins Russian Academy of Music (PUBLISHER) |
| DOI | 10.33779/2587-6341.2021.1.075-082 |
| OpenAlex | W3154939515 |
| Language | EN |
This article aims at providing a broad appraisal of the figure of José Soler Casabón through one of his main compositions, L'homme sans yeux, sans nez at sans oreilles (Ho.S.Y.N.O.), a ballet based on the poem Le musicien de Saint Merry written by Guillaume Apollinaire with sets by Pablo Picasso. Parade by Erik Satie and Ho.S.Y.N.O. by Soler Casabón, are two ballets created in 1917. The difference between the two works lies in the fate suffered by each as a result of the outbreak of the First World War, which prevented one of them from being performed. Soler Casabón spent the rest of his life trying to have the work see the light of day, but without any success. Keywords: Guillaume Apollinaire, ballet, José Soler Casabón, Paris, Érik Satie, Parade
Art · Art history · Ballet · Humanities · Literature · Parade · Historical and Modern Theater Studies · History of Education in Spain · Spanish Literature and Culture Studies
| Highly cited | No |
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