Muguet de Paris

A purple horse and orange bunnies on avenue Montaigne — Paris has always lent itself to the unexpected. Often it is merely a matter of being in the right place at the right time, as was the case when a friend happened to notice a colorful card lying on the sidewalk and picked it up; it announced a performance to be held the following weekend at the Théâtre des Champs-Elysees. She called, there were places remaining, so off we went on Sunday.

Paris is experiencing  full-blown Picassomania these days with the current exhibitions of his work, and Sunday’s spectacle was Picasso et la Danse, performed by Europa Danse, a company of artists from several European countries.

It was as if we had landed in some sort of artistic Elysian Fields, where the gods of the arts  had collaborated for our amusement. The performance included four pieces, three of which were created by the Ballets Russes of Serge Diaghilev, who commissioned Picasso to design the scenery and costumes, with music by Eric Satie and Igor Stravinsky. 

The opening work, Parade (1917), the original concept by Jean Cocteau, is known as the first cubist ballet. Critics and public alike were scandalized at the time, never having seen such a spectacle, although it had its defenders. Apollinaire saw it as “the marriage between painting and the dance,” a sign of things to come, encompassing a “complete art.” Sunday’s audience, which ranged in age from about four to 84, was delighted. This is a ballet to make one feel like a kid again. Who could resist a grinning purple horse?

Next came Pulcinelle (1920), inspired by the commedia de l’arte; its central character is Harlequin. Mercure (1924) marks the end of Picasso’s adventure with the ballet, although he did occasionally contribute a design or two. It is graceful and recalls that it was the winged Mercury who taught the art of the dance to humans.

The finale was Quadro Flamenco (1921), danced by eight young dancers just out of the Royal Conservatory in Madrid. The decor and costumes for Quadro Flamenco were initially commissioned from Juan Gris, but Picasso, perhaps feeling proprietary towards a Spanish subject, manipulated the discharge of Gris to his own benefit. The production of flamenco was a departure for Diaghilev (and from Sunday’s programme), but it enjoyed an immediate success in Paris and, then, in London. It was received with equal enthusiasm by the current audience.

The ensemble gathered for the curtain call, and above their heads descended a giant portrait of Picasso as a young man. As much as I would like to recommend this programme, unfortunately it was only for this past weekend.

Oh, the orange bunnies? They were on the sidewalk in front of Drouot Montaigne, the auction house just next to the theatre, as part of Art Elysées, one of many contemporary art events going on here. They were a striking counterpoint to the windows of the Ungaro store across the way, done in fuchsia and black. Just another Sunday afternoon in Paris. Happen to be in the right place, and who knows what you’ll see?

The following are some additional views of the performance and of  the interior of the theatre.

Curtain Call, Parade

Mercure (Europa Danse)

Curtain Call

Detail, Entrance to Theatre

Ceiling Detail, Théâtre des Champs-Elysées

(Photo credits: Programme and Horse, Europa Danse. Credits are noted on the captioned photographs. Unless otherwise noted, they are the work of the author.)

Jane del Monte, blogging from the rue du Cherche-Midi, Paris, France

© 2008 Jane del Monte

∞

~ by Jane del Monte on October 30, 2008.

Posted in Performing Arts