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January  3, 1988 


4  Letters 


^^■C<^i 


William  Safire 


6  On  Language 

Nyet  Problemy  on  Snow  Jobs 


Russell  Baker 


10  Sunday  Observer 

Coming  Home  to  Roost 


James  Atlas 


12  Chicago's  Grumpy  Guru 

Best-Selling  Professor  Allan  Bloom 
and  the  Chicago  Intellectuals 


Bellow,  who  was  a  Student 
at  the  University  of  Chicago 
during   the   Depression,   re- 
turned    in    1963,    after    his 
novel,   "The  Adventures  of 
Augie  March,"  had  put  him 
on  the  map.  What  made  him 
decide  to  come  back?  I  ask. 
It's  a  wintry  Chicago  day, 
and      we're      in      Bellow's 
cramped  office  on  the  fifth 
floor  of  the  Social  Science 
Research    Building.    Bellow 
never  turns  on  the  light,  I've 
noticed.  You  sit  in  the  dark. 
He  illuminates  in  other  ways. 
Fit  and  dapper  in  a  nubby 
brown  suit,  pale  green  shirt, 
bow  tie,  he  answers  my  ques- 
tion  by  way  of  an  anecdote 
about  the  kalian  writei^^Nic^ 
coIoJQicöiA  few  years  ago, 
"ßellow  says,  he  encountered 
Tucci  on  a  London  street  and 
asked  him  what  he  was  doing 
I  there.  "I  wanted  to  go  to  a 
foreign  country  where  they 
speak    English,"    Tucci    re- 
plied. 


E  NEW  YORK  TIMES,  FRIDAY,  APRIL  21,  1989 


/tUA|-K)io|-  t4ii^^^ 


At  the  Movies 

Lawrence  Van  Gelder 

■  Craig  Zadan  looks  for  movie  love  ■  Marin 


Karmitz,  working  producer  ■  A  documentary 
festivars  ISyears  ■  Films  headed  for  Cannes. 


Looking  ior  Love 

*'l  think  there  hasn't  been  a  great 
love  siory  on  the  screen  since  'The 
Way  We  Were,'  "  the  producer  Craig 
Zadan  was  saying.  "I  think  what 
made  it  great  was  that  it's  a  love 
Story  set  against  a  political  back- 
ground." 

And  those  same  elements,  he  ex- 
plained,  were  what  made  him  jump  at 
the  opportunity  to  pursue  and  win  the 
rights  to  film  the  story  o^Lotte  Leny§, 
and  Kürt^WeillJlt  is  a  love  gtOi'y  that/ 
[e^'SaldTwin  star  Bette  Midier  as  the 
Singer  and  actress  who  catapulted  to 
fame  in  prewar  Berlin  in  Bertolt 
Brecht-Kurt  Weill  musicals  like  'The 
Threepenny  Opera"  and  who  ulti- 
mately  married  Weill  and  fled  with 
him  from  Nazism  to  the  United 
States. 

Right  now,  Mr.  Zadan  said,  a 
screenplay  is  being  written,  and  if 
everything  goes  as  envisioned,  the  co- 
production  —  involving  Mr.  Zadan, 
his  colleague  Neil  Meron  and  their 
Storyline  Productions  and  Ms. 
Midler's  All  Girl  Productions  — 
should  be  putting  the  Lotte  Lenya 
Story  before  the  cameras  on  locations 
in  Europe  and  New  York  next  year, 
for  eventual  distribution  by  Tri-Star 
Pictures. 

Like  his  latest  movie,  "Sing,"  about 
Student  s  and  teachers  trying  to  put  on 
a  traditional  high  school  musical  in  a 
disintegrating  Brooklyn  neighbor- 
hood,  and  its  predecessor,  "Foot- 
loose,"  about  teen-agers  in  a  small 
town  fighting  its  repressive  attitude 
toward  dancing,  the  story  of  Lotte 
Lenya  combines  for  Mr.  Zadan  an 
abiding  love  of  music  and  a  concern 
with  social  issues. 

So  it  comes  as  no  surprise  that  look- 
ing beyond  the  Lotte  Lenya  project, 
Mr.  Zadan  is  planning  movies  on  the 
assassinations  of  Harvey  Milk  and 
Mayor  George  Moscone  of  San  Fran- 
cisco, on  the  legal  System  of  Texas 
and  on  the  relationship  of  two  women 
who  are  songwriters  in  the  Brill 
Building  in  New  York  City  in  the  ex- 
citing  days  in  the  1960's  when  the  old 
Tin  Pan  Alley  was  dying  and  a  new 
populär  music  was  emerging. 

Mr.  Zadan,  who  grew  up  in  the  Bay 
Ridge  section  of  Brooklyn  to  become 
a  reporter  and  writer  for  New  York 
magazine,  a  director  of  theater 
projects  for  the  New  York  Shake- 
speare Festival  and  the  author  of  a 
book  on  Stephen  Sondheim,  among 
other  accomplishments,  said  his  ca- 
reer  in  films  has  been  greatly  influ- 
encedby  "Cabaret." 

"When  I  saw  the  movie  'Cabaret,'  " 
he  Said,  "I  realized  you  could  do  a 
movie  that  had  social  significance  on 
one  level  and  on  the  other  level  be 
pure  entertainment." 


Barry  Kramer/ JAbeles  Stud» 

Lotte  Lenya  in  the  Bertolt  Brecht- 
Kurt  Weill  musical  "The  Three- 
penny Opera."  I 


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Photographs  for  The  New  York  Times  by  BILL  CUNNINGHAM 


Two  nights  later,  a  prince  of  the 
arts,  Leo  Lerman,  celebrated  his 
75th  birthday.  The  editor,  critic 
and  essayist  was  honored 
in  his  book-lined  candlelighted 
apartment,  where  each  of  the  high- 
ceilinged  rooms  bulge  with  the  ac- 
quisitions  of  an  incurable  collector. 

The  guests  included  Pauhne  Col- 
lins,  a  Tony  nominee  for  "Shirley 
Valentine,*'  Imogene  Coca,  Lauren 
Bacall,  Eddie  Condon  and  Rob- 
ert Whitehead,  who  helped  Mr. 
Lerman  cut  a  giant  chocolate  cake 
in  the  shape  of  a  four-leaf  clover. 


LEFT  From  left,  Imogene  Coca, 
Betty  Comden,  Francine  du  Ples- 
six  Gray,  Leo  Lerman l^obert 

Jijtehead^nd  Lauren 
Bacall  at  PÄr.  Lerman's  75th  birth- 
day party. 


THE  NEW  YORK  TIMES  WORD  AND  IMAGE  FRIDAY,  APRIL  28, 


1989 


C31 


Books  oi  The  Times 


Orson  WelleSy  Miracle  Maker  and  Charlatan 


By  MICHIKO  KAKUTANI 

At  the  age  of  18  months,  he  was  pro- 
nounced  a  genius.  By  the  time  he  was 
10,  he  had  written  a  critique  of 
Nietzsche's  "Thus  Spake  Zarathus- 
tra"  and  was  delivering  lectures  on 
the  history  of  art.  By  17,  he  had  made 
his  professional  debut  as  a  actor,  with 
the  Gate  Theater  in  Dublin.  At  23,  he 
astonished  —  and  scared  —  the  coun- 
try  with  his  realistic  radio  broadcast 
of  "The  War  of  the  Worlds."  And  at 
26,  he  created  one  of  the  enduring 
masterworks  of  American  cinema, 
"Citizen  Kane." 

From  there,  the  brilliant  trajectory 
began  to  reverse  itself.  One  film  after 
another  got  caught  up  in  arguments 
with  the  Studios  over  editing  and  dis- 
tribution;  others  were  left  uncom- 
pleted  largely  because  of  problems  of 
money  and  ego.  The  director  spent 
much  of  his  later  life  struggling  to  put 
together  financing  for  his  projects, 
and  he  would  end  up  as  a  regulär  on 
television,  appearing  in  commercials 
and  on  talk  shows. 

Actor,  director,  writer,  showman  of 
radio,  screen  and  stage  —  Orson 
Welles  was  all  these  things.  He  was 
also,  as  Frank  Brady's  workmanlike 
biography  suggests,  a  Falstaff ian  f ig- 
ure  —  a  world-class  raconteur  and 
con  artist  adept  at  self-promotion  and 
self-invention.  In  the  end,  a  magician 
who  believed,  as  he  once  put  it,  that 
"everything  in  this  world  was  phony, 
worked  with  mirrors.**  At  his  worst,  a 
magician  who  seemed  all  theatrics 
and  greasepaint;  at  his  best,  a  magi- 
cian able  to  create  modernist  mira- 
cles  on  film  —  elliptical  illusions  of 
light  and  shadow  that  made  us  not 
only  reconsider  the  technical  possibil- 
ities  of  cinema  but  also  rethink  the 
very  act  of  perception. 

Given  Welles's  achievements  and 

the  histrionic  quality  of  his  life,  it's 

not  surprising  that  he  has  been  the 

isubject  of  dozens  of  books.  In  com- 

Iparison  with  the  last  two  biographies 

[of   Welles  to  appear,  Mr.   Brady's 

study  takes  a  mild-mannered  middle 


Citizen  Welles 

A  Biography  of  Orson  Welles 
By  Frank  Brady 

Illustrated.  655  pages.  Charles  Scribner's 
Sons.  $24.95. 


Orson  Welles 


road:  it  evinces  neither  the  dewy- 
eyed  affection  of  Barbara  Leaming's 
recent  book  (which  included  long  In- 
terviews with  the  film  maker)  nor  the 
judgmental  antipathy  of  Charles  Hig- 
ham's  melodramatic  volume  (which 
described  Welles  as  a  megalomaniac 
who  suffered  from  fear  of  railure).  In- 
stead,  Mr.  Brady,  who  teaches 
cinema  at  St.  John's  University, 
trudges  dutifully  through  the  Sturm 
und  Drang  of  Welles's  life,  according 
equal  weight  to  his  failures  and  his 
successes. 

There  are  glimpses  of  many  differ- 
ent  Welleses:  Welles  the  precocious 
Student  looking  for  "some  bizarre 
way  to  disturb  people";  Welles  the 
earnest  radio  actor  studying  photo- 
graphs  of  real  people  "to  see  if  the  fa- 
cial  expression  or  hone  structure 
could  possibly  suggest  the  probable 
quality  of  the  voice" ;  Welles  the  thea- 
ter  Wunderkind  working  around  the 
clock  with  John  Houseman  to  oversee 
Mercury  Theater  productions; 
Welles    the   eager    film    apprentice 


Screening  John  Ford's  "Stagecoach" 
,  40  times  to  learn  cinematic  tech- 
nique;  Welles  the  peripatetic  actor 
traveling  the  world  to  take  roles  in 
second-rate  movies,  and  Welles  the 
aging  bon  vivant  holding  court  at  res- 
taurants  in  Los  Angeles. 

Unfortunately,  these  disparate  por- 
traits  of  Welles  never  come  together 
—  as  the  jigsaw-puzzle  pieces  of  Kane 
do  in  "Citizen  Kane"  —  to  form  any- 
thing  larger.  Though  there  are  fasci- 
nating  tidbits  of  Information  about 
Welles's  idiosyncrasies  (his  fondness 
for  false  noses,  his  insistence  on  nam- 
ing  his  first  daughter  Christopher  be- 
cause he  liked  the  sound  of  the  name, 
his  violent  dislike  of  the  character 
Harry  Lime  in  "The  Third  Man"),  we 
never  get  any  real  sense  of  this  man's 
inner  life,  the  psychological  Clements 
that  helped  shape  the  are  of  his  ca- 
reer,  the  concerns  that  molded  his 
artistic  Vision. 

As  for  Welles's  work,  Mr.  Brady 
proves  an  earnest  but  somewhat  un- 
even  guide.  He  does  a  solid  job  of 
showing  how  ehe  director's  work  on 
stage  and  his  work  on  screen  fed  each 
other:  how  cinematic  techniques 
turned  up  in  stage  productions  like 
"Five  Kings"  as  early  as  1939  and 
how  certain  cinematic  innovations 
(like  the  deep-focus  photography  in 
"Citizen  Kane")  reflected  the  direc- 
tor's appreciation  of  theatrical  Con- 
ventions. • 


Yet  unlike  Andre  Bazin's  famous 
book  or  James  Naremore's  more  re- 
cent study,  Mr.  Brady's  biography 
does  not  really  try  to  assess  Welles's 
directorial  achievement.  There  is  no 
sustained  examination  of  thematic  or 
stylistic  preoccupations  in  his  movies 
as  a  whole;  and  while  his  directorial 
work  in  such  films  as  "The  Stranger" 
and  "The  Magnificent  Ambersons"  is 
skimmed  over  lightly,  considerable 
Space  is  devoted  to  analyzing  his  Per- 
formances   on    screen    —    an    odd 


choice,  given  the  rather  hammy  qual- 
ity of  so  much  of  his  acting. 

The  two  chapters  about  "Citizen 
Kane"  succinctly  rehash  much  ma- 
terial  that  will  already  be  familiär  to 
readers  of  Robert  L.  Carringer's  fine 
study  "The  Making  of  Citizen  Kane" 
(1985).  In  addition  to  examining  the 
contributions  of  John  Houseman,  the 
writer  Herman  J.  Mankiewicz  and 
the  cinematographer  Gregg  Toland, 
Mr.  Brady  looks  closely  at  the  genesis 
of  the  idea  for  the  film. 

He  notes  that  Welles  wanted  his 


first  Hollywood  project  to  be  about 
"real  people,  men  who  could  be  said 
to  be  'larger  than  life,'  such  as  Leo- 
nardo da  Vinci,  Niccolö  Machiavelli, 
or  Alexandre  Dumas";  that  Welles 
had  been  impressed  by  the  impact 
made  by  Aldous  Huxley's  book  "After 
Many  a  Summer  Dies  the  Swan"  (a 
novel  supposedly  based  on  William 
Randolph  Hearst's  life) ;  that  his  ex- 
wife  Virginia's  membership  in 
Hearst's  social  circle  made  him 
particularly  aware  of  the  newspaper 
magnate's   power.    He   also   quotes 


Welles  to  the  eftect  that  Hearst  was  a 
friend  of  his  father  and  that  he  got  the 
idea  of  telling  the  story  from  different 
Points  of  View  from  "the  Bible,  from 
the  appearances  of  witnesses  who 
come  to  testify  about  a  man's  charäc-  * 
ter." 

Sharply  rebutting  Pauline  Kael*sT^. 
argument  in  "The  Citizen  Kane  ^ 
Book"  that  Mankiewicz  was  the  prin- 
cipal  screenwriter  on  the  film,  Mr.  ., 
Brady  argues  that  "the  facts  make  it 
clear  that  Welles  was  the  injured  ; 
party." 


s 


G34 


THE  NEW  YORK  TIMES,  THVRSDAY,  MARCH  24,  1988 


Jk  Fond  Son  Is  Reviving 
\^  iPrestonSturg^'^Fame 


By  LESLIE  BENNETTS 

i_  During  a  brief  time  in  the  1940's, 
I  F^ston  Sturges  was  the  toast  of  Hol- 
llywood.  He  had  already  conquered 
I Broadway;  confined  to  bed  by  a  rup- 
itured  appendix,  Sturzes  decided  to 


The  New  York  Times/ Vic  DeLucia 


Tom  Sturges,  whose  promotion  of 
bis  father's  work  is  as  much  a  mis- 
IPSh  as  a  business  venture. 


write  a  play  and  produced  "Strictly 
Dishonorable/*  which  became  a  hit 
and  was  twice  made  into  a  film. 

Sturges  broke  into  the  movie  indus- 
try  as  a  screenwriter,  and  by  1940  he 
had  persuaded  Paramount  to  let  him 
direct  his  own  film.  "The  Great 
McGinty."  It  won  him  an  Oscar,  and 
his  future  seemed  assured. 

Indeed,  in  the  next  four  years 
Sturges'  Output  was  dazzling;  he 
wrote  and  directed  such  films  as 
•The  Lady  Eve,"  "The  Palm  Beach 
Story,"  "Sullivan's  Travels," 
"Christmas  in  July,"  "The  Miracle  at 
Morgan's  Creek"  and  "Hail  the  Con- 
quering  Hero." 

And  Then  the  Mystery 

Such  a  talent  might  be  expected  to 
flourish,  but  Preston  Sturges's  career 
turned  out  to  be  both  meteoric  and 
mystifying.  After  he  left  Paramount 
in  1944,  he  made  only  two  more  signif- 
icanl  films ;  when  he  tried  to  return  to 
the  theater,  his  last  foray  onto  Broad- 
way closed  after  one  week  of  Per- 
formances. When  Sturges  died  of  a 
heart  attack  in  1959,  he  was  60  years 
old  and  almost  penniless. 

Nearly  half  a  Century  after  his 
greatest  successes,  Sturges  is  re- 
membered  by  film  aficionados  as  one 
of  Hollywood's  wittiest  and  most  so- 
phisticated  satirists.  As  a  playwright, 
he  is  scarcely  remembered  at  all.  If 
his  son  has  anything  to  do  with  it,  that 
is  about  to  change. 

Tom  Sturges,  the  second  child  of 


ft&'-ÄWiw::::« 


^m8->  -.yv. 


Preston  Sturges  in  1929. 

Sturges's  fourth  wife,  was  only  3 
years  old  when  his  father  died,  but  he 
is  perhaps  the  most  passionate  fan  of 
all.  Thus  far  he  has  had  only  old  mov- 
ies  to  cheer,  but  the  SoHo  Repertory 
Theater  is  about  to  provide  Sturges 
devotees  with  a  new  of  fering. 

*ACupofCoffee* 

SoHo  Rep  will  complete  its  season 
of  "Lost  American  Plays"  —  works 
not  Seen  in  over  half  a  Century  —  with 
"A  Cup  of  Coffee,"  an  early  Sturges 
play  to  be  directed  by  Larry  Carpen- 
ter.  The  1940  movie  "Christmas  in 
July"  was  loosely  based  on  "A  Cup  of 
Coffee,"  which  was  written  in  1931, 
but  the  play  itself  has  never  been 
produced.  So  when  SoHo  Rep  got  in 
touch  with  the  Sturges  family  to  ask 
whether  there  were  any  forgotten 
works  lying  around,  Tom  Sturges 
leaped  at  the  Chance. 

"A  Cup  of  Coffee,"  which  opens 
tomorrow,  is  a  satire  on  business  set 
in  a  coffee  warehouse  during  the  De- 
pression. A  young  salesman  enters  a 
Slogan  contest  sponsored  by  a  rival 
coffee  Company  and  finds  his  for- 
tunes  rise  and  fall  with  his  own  em- 
ployers  —  not  based  on  his  work  and 
its  merits,  but  purely  as  a  function  of 
how  he  is  valued  by  the  outside  world. 

*I  Want  My  Father  to  Live* 

These  days  ambitious  young  men 
are  more  likely  to  go  into  rock-and- 
roll  than  coffee.  and  indeed,  Tom 
Sturges  is  a  Los  Angeles-based 
record  Company  executive.  Promot- 
ing  his  father's  work  is  as  rnuch  a 


mission  as  a  business  venture  for  Mr. 
Sturges,  an  engaging  31-year-old  who 
keeps  his  father's  Academy  Award 
on  his  mantel. 

"l'm  reaching  through  30  years  to 
get  to  this  guy,"  said  Mr.  Sturges, 
who  has  no  memory  of  his  father.  "I'H 
never  know  him ;  it's  a  search  1  will 
always  be  on.  I  want  my  father  to  live 
forever;  1  want  him  to  be  one  of  the 
best-known  writers  in  his  field,  and  I 
want  to  try  to  make  sure  that  every 
Creative  idea  he  had  has  the  oppor- 
tunity  to  be  realized.  If  I  can  get  these 
out  into  the  world,  then  as  far  as  l'm 
concerned  his  career  is  complete." 

Mr.  Sturges  has  already  arranged 
the  publication  by  the  University  of 
California  Press  of  a  collection  of 
Sturges  screenplays;  two  more  vol- 
umes  are  to  follow.  He  is  also  hoping 
to  arrange  a  further  life  for  four  fin- 
ished  Sturges  works,  two  outlines  and 
assorted  other  fragments  that  were 
never  produced  on  stage  or  screen. 

'He  Wasn't  on  His  Roll' 

"These  are  properties  he  created  in 
the  last  five  years  of  his  life,"  said 
Mr.  Sturges.  Asked  why  nothing  was 
working  out  for  his  father  by  then,  he 
shrugged.  "He  wasn't  on  his  roll;  he 
just  couldn't  get  it,"  he  said.  "He  was 
working  up  until  the  last  day  of  his 
life,  but  you  read  through  his  diaries 
and  it's  like,  *So-and-so's  check 
bounced,  so  I  guess  l'm  not  writing 
this  property  any  more.'  " 

The  diaries  also  contain  an  even 
more  poignant  note.  "One  entry, 
dated  May  12, 1959,  said,  *!  went  to  the 
doctor  and  he  gave  me  a  clean  bill  of 
health ;  he  says  I  should  expect  to  live 
25  years,' "  Mr.  Sturges  reported. 
"He  died  three  months  later.  When  I 
read  that,  I  started  weeping." 

When  he  died,  Sturges  was  working 
on  his  memoirs.  "They  were  titled, 
•The  Events  Leading  Up  to  My 
Death,'  which  is  a  wonderful  title  for 
an  autobiography."  Mr.  Sturges  said. 
"But  he  only  got  to  page  32." 


Birds  of  a  feather,  Ann  Siegel  and  Gloria 
t      Steinern 


J2u*.  T-iiK-vv^t  i-  <^r"^  i  ** 


23 


10 


%^ß<l\ir     ^IrdUifJ^ 


THE  NEW  YORK  TIMES  OBITUARIES  SATURDAY,  FEBRUARY  5,  1988 


Emeric  Presshurger  Is  Dead  at  85; 
The Screenwriter  for  ^RedShoes* 


By  ANDREW  L.  YÄRROW 


Emeric  Pressburger,  a  British 
screenwriter  whose  widely  acclaimed 
films  made  in  collaboration  with  the  di- 
rector  Michael  Powell  included  "The 
Red  Shoes"  and  'Tales  of  Hoffmann," 
died  yesterday  of  bronchial  pneumonia 
at  a  nursing  home  in  Saxstead,  Eng- 
land. He  was  85  years  cid. 

"He  was  always  an  original  writer 
and  an  ideal  partner  for  me/*  Mr.  Pow- 
ell said  in  a  telephone  interview  yester- 
day. "I'm  very  English,  and  Emeric 
brought  Central  European  culture  and 
a  love  of  music  to  our  films.  He  was  im- 
mensely  courageous.  I  admired  his 
courage,  his  honesty  and  his  lovely 
sense  of  humor  —  a  real  deep  humor 
about  human  beings." 

Mr.  Pressburger  was  bom  on  Dec.  5, 
1902,  in  the  Hungarian  village  of  Mis- 
kolc,  and  attended  College  in  Prague 
and  Stuttgart,  before  moving  to  Berlin 
in  1925.  Tliere,  he  wrote  newspaper  ar- 
ticles  and  film  Scripts,  which  he  sub- 
mitted  to  UFA,  the  German  film  Com- 
pany. 

Left  HItler's  Germany 

Mr.  Pressburger  was  hired  by  UFA's 
Script  department  in  1928,  and  his  first 
writing  credit  was  ffr  a  1930  sound  film 
bUJtQ%rt  S|odmak Valled  "Abschied'' 
(F%reweli).  He  contributed  to  about 
eight  films  between  1930  and  1932,  in- 
cluding  "Emil  and  the  Detectives" 
(1932)  and  many  musicals.  After  Hit- 
ler's  rise  to  power  in  1933,  Mr.  Press- 
burger went  to  Paris,  where  he  wrote 
several  Scripts,  includlng  "La  Vie  Pari- 
tlenne,"  a  1935  film  directed  by  Mr. 
Siodmak. 

Mr.  Pressburger  moved  to  London  in 
1935,  and  began  working  for  Alexander 


Korda,  the  Hungarian-born  British  film 
producer.  He  also  joined  a  circle  of 
Hungarian  exiles  that  included  the 
writer  Arthur  Koestler  and  George 
Mikes,  the  humorist.  Mr.  Korda  intro- 
duced  him  to  the  director  Michael  Pow- 
ell in  1938,  and  the  two  men  began  their 
long  collaboration  with  the  film,  "The 
Spy  in  Black."  Their  third  film,  "The 
Forty-Ninth  Parallel"  (released  in  the 
United  States  as  "The  Invaders")  —  a 
1941  suspense  drama  starring  Leslie 
Howard  and  Laurence  Olivier  —  won 
an  Academy  Award  for  Mr.  Press- 
burger for  best  original  story. 

The  two  men  formed  a  production 
Company  called  the  Archers,  and  used 
the  credit,  "written,  produced  and  di- 
rected by  Michael  Powell  and  Emeric 
Pressburger,"  for  each  of  the  14  films 
they  collaborated  on  between  1941  and 

1956. 

These  films  included  "The  Life  and 
Death  of  Colonel  Blimp"  (1943),  a  sen- 
timental tale  of  a  British  soldier,  which 
Mr.  Powell  said  was  Mr.  Pressburger's 
favorite  film;  "A  Canterbury  Tale" 
(1944),  about  an  English  village  during 
World  War  II;  "Stairway  to  Heaven" 
(1946),  a  fantasy  about  a  wartime 
pilot;  "The  Black  Narcissus"  (1946), 
about  a  group  of  nuns  establishing  a  re- 
mote  Himalayan  mission,  and  "The 
Tales  of  Hoffmann,"  an  offbeat  retell- 
ing  of  Offenbach's  opera.  "The  Red 
Shoes,"  their  1948  romantic  drama  of 
the  ballet  world  starring  Moira 
Shearer  and  based  on  a  Hans  Christian 
Andersen  story,  became  one  of  their 
most  populär  and  acclaimed  films. 

After  their  partnership  ended,  Mr. 
Pressburger  wrote  and  produced  a 
1957  film  called  "Miracle  in  Soho,"  and 


wrote  a  number  of  Scripts  that  werei 
not  produced.  He  also  published  two 
novels  in  the  1960's,  "Killing  a  Mouse 
on  Sunday,"  a  tale  of  a  Spanish  Loyalist 
in  Franco's  Spain  that  was  made  into 
the  1964  film,  "Behold  a  Pale  Horse," 
directed  by  Fred  Zinnemann,  and  "The| 
Glass  Pearls." 

In  1972,  Mr.  Pressburger  and  Mr. 
Powell  briefly  resumed  their  collabo-| 
ration,  on  a  British  children's  film 
called  "The  Boy  Who  Turned  Yellow," 
and  several  years  later,  the  two  were 
commissioned  to  write  a  novel  of  "The 
Red  Shoes."  Mr.  Pressburger  was  alsoi 
honored  in  1983,  when  he  was  invited  toj 
become  one  of  the  first  fellows  of  th< 
British  Film  Institute. 

Mr.  Pressburger  is  survived  by  hij 
daughter,  Angela  John  of  Nova  Scotii 
and  two  grandchildren. 


Piano:  Serkin  Plays  Bach,  Re^er  and  Beethoven 

,^M„     [X  *i ^^^==:^ — ^ — (     ^^Italian  Conciitd"  a 


ByDONALHENAHAN 


THERE  is  a  streak  of  stubbom- 
ness  in  Rudolf  Serkin's  makeup 
that  is  so  lofty  in  intention  that 
it  amounts  to  a  kind  of  divine 
cussedness.  For  most  of  his  performing 
career  the  pianist,  who  is  now  77  years 
old,  has  championed  the  music  of  Max 
Reger  with  evangelical  zeal,  continu- 
ing  to  play  the  German  composer's 
works  even  when  they  have  been  gener- 
ally  regarded  as  the  crumbling  tablets 
of  an  abandoned  creed.  Reger,  who 
died  in  1916,  was  highly  esteemed  in  his 
day  and  has  enjoyed  little  spurts  of 
recognition  now  and  again  without  ever 
finding  much  of  an  audience  except 
among  serious  pianists  and  organists 
who  need  mountains  to  cHmb. 

Mr.  Serkin  is,  of  course,  one  of  the 
more  serious  artists  of  our  day  and 
without  question  the  most  tenacious 
apostle  of  Regerism  aUve.  Last  night  at 
Carnegie  Hall  he  built  his  recital 
around  one  of  Reger's  monumental  and 
almost  forgotten  pieces,  the  Variations 
and  Double  Fugue  on  a  Theme  of  Bach 
(Op.  81),  prefacing  it  with  Bach's  own 


and  letting  Beetho- 
ven's  **Waldstein"  Sonata  bring  up  the 
program's  rear.  It  would  be  pleasant  to 
report  that  Mr.  Serkin  sent  us  away 
fully  persuaded  of  the  Reger's  artistic 
worth,  but  while  that  can  hardly  be 
claimed  the  Performance  did  leave  the 
listener  in  complete  awe  of  Mr.  Ser- 
kin's  unswerving  loyalty  to  his  convic- 
tions  and  happy  to  have  had  the  Chance 
to  hear  this  ambitious  score  played  by 
a  Pianist  who  must  know  better  than 
anyone  just  how  it  ought  to  go.  The 
theme,  taken  from  the  Cantata  No.  128 
("Auf  Christi  Himmelfahrt"),  is  not 
one  of  Bach's  particularly  memorable 
ones,  but  Reger  found  material  in  it  for 
14  convuluted  variations  and  a  brutally 
long  and  demanding  fugue.  Mr.  Ser- 
kin*s  unwavering  grasp  of  structure 
carried  the  listener  along  in  spite  of  the 
music's  forbidding  thickness  and  gar> 
rulity. 

Not  unexpectedly,  the  mkin  event 
musically  was  Mr.  Serkin's  encounter 
with  the  "Waldstein."  This  has  been  a 
Serkin  specialty  for  decadiss  and  this 
Performance  could  not  have  disap- 
pointed  his  admirers  except  in  minor 
technical  details — an  inadvertent  dou- 


ble note  at  the  Start  of  a  singing  phrase 
in  the  Rondo,  an  adjustment  of  the 
basic  pulse  here  and  there  in  the  open- 
ing  movement  to  accommodate  fingers 
that  could  not  quite  work  in  all  the 
notes  at  the  established  tempo,  an  oc- 
casional  patch  of  murky  detail  that  the 
pedal  had  to  Cover.  • 

More  to  the  point,  Mr.  Serkin  gave  a 
wonderful  demonstration  of  what  this 
Sonata  says,  musically,  rather  than 
simply  how  it  sounds  as  a  sequence  of 
notes.  In  past  years  he  has  often  over- 
looked  the  need  for  beautiful  tone  in  his 
impulse  to  shape  the  music  and  give  it 
impetus.  This  time,  however,  the  slow 
movement  was  sung  most  sonorously. 
With  a  veteran's  canniness,  Mr.  Serkin 
set  out  the  lyrical  opening  pages  of  the 
final  movement  at  a  gently  ambling 
pace  so  that  he  could  fly  into  the  Pre- 
stissimo  finale  with  appropriate  speed 
and  gusto.  He  chose,  as  usual,  to  deal 
with  the  climactic  octaves  by  sweeping 
the  keys  with  a  thumb-and-little-finger 
glissando  rather  than  f  ingering  them  or 
attempting  to  play  them  in  the  de- 
tached,  machinegun  manner  favored 
by  Vladimir  Horowitz  and  a  few  other 
virtuosos. 


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Associated  Press 


Gloria  Steinern 

teine; 
A  Random 


Gets 


By  EDWlTf  McDOWELL 

Glori^-ÄtÄiQern/the  feminist  writer 
^as  a  foiJn3er  of  Ms.  magazine, 
was  named  a  contributing  editor  of 
Random  House  Inc.  yesterday. 

In  addition  to  acquiring  books,  Ran- 
dom House  Said,  she  will  also  partici- 
pate  in  the  Publishing  concern's  edi- 
torial  and  marketing  meetings. 

"I've  been  an  admirer  of  hers  for  a 
long  time,"  said  Joni  Evans,  the  pub- 
lisher  of  Random  House.  "One  day  I 
Said,  'You'd  make  a  great  book  edi- 
tor,' and  asked  if  she'd  consider  being 
one  with  Random  House.  She  called 
back  a  little  later  and  said  she'd  like 
|to  be  part  of  the  family." 

Last  year,  when  Ms.  Evans  was 
[publisher  of  Simon  &  Schuster  Inc., 
'she  signed  Ms.  Steinem  to  write  a 
book  about  wpmen  in  American  fami- 
lies  of  inhefited  wealth.  Simon  & 
Schuster  outbid  seven  other  pubiish- 
ers  w4th  a  $500,000  offer  for  the  still- 
untitled  book.  At  the  same  time,  Lit- 
tle, Brown  &  Company  signed  Ms. 
Steinem  to  a  $700,000  deal  for  anöther 
book,  "Bedside  Book  of  Self-Esteem." 

Ms.  Steinem  said  yesterday  that  a 
number  of  the  books  she  expected  to 
acquire  would  probably  deal  with 
women's  issues.  "I  hope  that  femi- 
nism  is  an  organic  part  of  the  world 
View,"  she  said.  "But  some  that  I 
have  in  mind  at  the  moment  wouWn't 
be  thought  of  as  women's  books  in  the 
usual  way." 

She  added  that  she  would  not  neces- 
sarily  edit  books.  "One  of  the  advan- 
tages  of  Random  House  is  they  have  a 
Wide  ränge  of  editors  with  a  great 
deal  of  expertise,"  she  said.  "Ideally, 
I  will  suggest  ideas  and  authors,  and 
those  projects  would  be  taken  over  by 

other  editors.  However,  if  there's  a 

project  we  all  think  I  should  edit,  J11 
dothat." 

While  she  has  not  previously  edited 
books,  Ms.  Steinem  noted  that  Ms. 
magazine  was  involved  in  Publishing 
several  books.  "Its  articles  were  the 
source  of  many  books,"  she  said. 

No  Details  on  Compensation 

Ms.  Evans  declined  to  say  whether 
Ms.  Steinem  would  receive  a  retainer 
or  be  compensated  according  to  the 
books  she  brings  to  Random  House. 
"I  don't  think  it's  right  to  talk  about 
financial  arrangements,"  she  said. 

Ms.  Evans  said  Random  House's 
arrangement  with  Ms.  Steinem  was 
unusual.  "Gloria  will  be  buying  books 
independently,"  she  said,  "and,  in 
addition,  she'll  be  participating  in  the 
whole  process  of  marketing  and  titles 
andstrategy." 

Ms.  Steinem  is  now  a  Consulting 
editor  to  Ms.  magazine.  She  and  a  co- 
founder,  Patricia  Carbine,  sold  the 
magazine  to  John  Fairfax  Ltd.  last 
year.  Since  then,  a  group  of  Fairfax 
executives  agreed  to  buy  the  maga- 
zine from  the  Australian  publisher. 


TflE  NEW  YORK  TIMES  OBITU ARIES  FRIDAY,  JUNE  23.  1989 


Henri  Sam 


French  Composer 
If Model,  Is  Dead  at  88 


By  BERNARD  HOLLAND 


Henri  Sauguet,  a  French  composer 
who  in  the  1920's  helped  return  French 
music  to  its  natural  State  of  graceful 
aphorism  and  wit,  died  on  Thursday  at 
his  home  in  Paris.  He  was  88  years  old. 

His  son,  Raphael  Luzel,  said  Mr.  Sau- 
guet had  been  in  poor  heallh  for  two 
years  with  heart  problems  and  partial 
paralysis. 

Though  not  blessed  with  the  distinc- 
tive  originahty  of  composers  like 
Darius  Milhaud  or  Erik  Satie,  Mr.  Sau- 
guet had  the  dignity  and  elegance  — 
and  the  ability  to  express  himself  sim- 
ply  but  with  reserve  —  that  made  him 
an  important  member  of  the  French 
school  of  that  time. 

Mr.  Sauguet  took  Igor  Stravinsky 
and  Satie  as  his  modeis.  He  operated 
closc  to  the  famous  group  of  composers 
callcd  Les  Six  but  actually  belonged  to 
his  own  set  known  as  l'Ecole  d'Arcueil, 
named  after  the  Parisian  suburb 
where  Satie  lived.  The  group  included 
Henri  Chquet-Playel,  Maxime  Jacob 
and  Roger  Desormiere. 


Mr.  Sauguet's  Hfe  seemed  to  proceed 
as  smoothly  as  his  music.  He  was  in 
particular  a  man  of  the  theater  —  with 
music  for  14  ballets,  8  theater  produc- 
tions  and  35  film  scores.  These  were  in 
addition  to  the  songs  and  purely  instru- 
mental pieces. 

Mr.  Sauguet  confined  his  operatic 
writing  to  the  comic  genre  later  in  life, 
but  his  most  substantial  work  in  this 
area  was  "La  Chartreuse  de  Parme," 
finished  in  1936.  Perhaps  his  best 
known  ballet  score  was  for  "Les  Fo- 
rains,"  written  for  the  Roland  Petit 
Company  in  1945. 

Mr.  Sauguet  was  born  in  Bordeaux  as 
Henri  Poupard.  His  music  career 
began  there  as  an  Organist.  Milhaud, 
with  whom  he  exchanged  letters,  urged 
him  to  move  to  Paris,  where  he  came  in 
contact  with  important  figures  like 
Jean  Cocteau,  Charles  Koechlin  and 
Satie.  His  first  success  came  in  1924 
with  the  opera  bouffe  "Le  Plumet  du 
Colonel."  In  his  last  years  he  often 
wrote  music  for  children. 

He  is  survived  by  his  son. 


1958 


Henri  Sauguet 


Susanne  Faulkner  Stevens 


In  musi\PeterSerkiri  plays  a  program  of         / 
variations  by  W^Öerrrand  Bach,  tonight  at   ^^  Xxl  <2  / 
7:30  at  Avery  Fisher  Hall.         ,  ^  -rn,      ,      '    'l  ^  ü 


Philadelphia  Museum  of  Art 


In  photography,  *'Country  Doctor"  (1948)  is 
iiW* W.  Eugene  SmithrlLet  the  Truth  Be  the 


Prejudice,   a  retrospective  that  opens  Friday 
at  ICP,  1 130  Fifth  Avenue  at  94th  Street 


^  ^4^ 


i 


\Ajl,v«^ 


y^^la 


34 


H 


THE  NEW  YORK  TIMES,  SUNDAY,  APRIL  20,  1986 


K, 


PHOTOGRAPHY  VIEW 


GENE  THORNTON 


J9  JF 


Images  That  Reveal  a  World 


r.i'A 


Of  Stark  Moral  Contrasts 


Ihe  first  thing  to  be  said  in 
praise  of  the  e^ibition  '*W. 

Let  Truth  be 
'fejudice"  at  the  Inter- 
national Center  of  Photogra- 
phy  is  that  it  is  comparatively  small. 
Th^re  are  only  140  photographs  in  it. 
Snvith  probably  made  more  truly 
mi^naorable  photographs  than  anyone 
ejsQ  of  his  generation,  but  even  his  ad- 
miring  biographer  Ben  Maddow,  who 
believes  some  of  Smith's  Images  to  be 
''so  powerful  that  they  have  altered 
the  perception  of  our  history,"  does 
not  credit  him  with  much  more  than 
50*  such  images.  One  hundred  and 
forty  photographs  is  enough  to  give 
the  masterpieces  the  context  they 
need  without  suggesting  that  every 
Smith  photograph  is  a  masterpiece. 
^  The  second  praiseworthy  thing 
about  the  exhibition  is  the  restraint 
with  which  it  is  installed.  Most  of  the 
prints  are  the  usual  size  of  exhibition 
prints  and  they  are  hung  with  enough 
Space  around  them  and  between  them 
aiKi  just  enough  information  in  the  ac- 
oompanying  text  blocks  and  occa- 
sion^l  captions.  The  viewer  is  not 
overwhelmed  with  blowups,  with  dra- 
matJc  "layouts"  more  suited  to  the 
magazine  page  than  to  the  museum 
World,  or  with  the  portentous  quotes 
from  Smith's  writings  that  can  easily 
ti^rftan  admirer  of  his  photographs 
i(Ui(0..a  carping  critic. 

Although  Smith  died  in  1978,  it  is 
probably  still  not  possible  to  consider 
hi;§  work  entirely  apart  from  his  life. 
This  is  a  pity.  He  was  among  the 
g?^e^test  photographers  of  the  great 
period  of  magazine  photography  that 


began  in  the  1930*s  and  came  to  an 
end  with  the  triumph  of  television  in 
the  1960's.  But  he  was  also  one  of  the 
great  self-dramatizers  and  crybabies 
of  the  medium,  on  a  par  with  Alfred 
Stieglitz  in  this  respect.  The  exhibi- 
tion at  I.C.P.  rightly  puts  the  empha- 
sis  on  the  pictures  rather  than  the 
Personality. 

•  •  • 

Smith  came  into  prominence  in  the 
1940's  as  a  photographer  of  World 
War  II  in  the  Pacific,  and  the  exhibi- 
tion at  I.C.P.  begins  with  28  of  these 
photographs  in  its  downstairs  gallery. 
Some  are  long  shots  of  ships  at  sea  or 
bombing  activities,  including  a  sinis- 
ter  picture  of  two  warships  seen 
across  dark,  glittering  ocean  waters 
that  seem  as  hard  as  glass.  But  Smith 
was  at  his  characteristic  best  with 
close-in  photography  of  people  suf fer- 
ing  and  caring  for  one  another.  His 
moving,  even  melodramatic  photo- 
graph of  a  wounded  soldier  on  a 
stretcher,  his  head  swathed  in  band- 
ages  and  his  fingertips  touching  in 
prayer,  is  shown  with  a  picture  of  the 
same  soldier  being  lifted  off  the 
ground  by  the  hospital  corpsman 
who,  presumably,  placed  him  on  the 
stretcher,  and  whose  feet  and  resting 
hands  can  be  seen  in  the  upper  right 
of  the  stretcher  picture,  as  if  he  was 
still  watching  over  his  wounded  com- 
rade. 

After  the  war,  Smith  went  to  work 
for  Life  magazine,  and  three  of  his 
four  great  Photographie  essays  for 
Life  developed  the  theme  of  people 
suffering  and  caring  for  one  another. 
They  featured,  respectively,  a  coun- 


try  doctor  in  Colorado,  a  black  nurse 
and  midwife  in  rural  South  Carolina 
and  Dr.  Albert  Schweitzer  at  his 
medical  mission  in  tropical  Africa. 
Schweitzer  was  already  a  celebrity 
I  when  Smith  photographed  him  in  Af- 
;  rica,  and  the  essay  depended  to  some 
!  extent  on  the  viewer's  previous 
knowledge  of  his  activities.  But  the 
;  country  doctor  and  the  nurse-midwife 
only  fcMBcame  celebrities  after  Life 
published  Smith's  remarkable  photo- 
graphs of  their  tireless  ministrations 
to  the  sick,  the  wounded,  the  dying 
and  the  newbom.  I  do  not  pretend  to 
understand  how  Smith  got  such  ap- 
parently  spontaneous,  unposed  photo- 
graphs. **I  had  to  wait  for  actuality 
instead  of  setting  up  poses,"  he  says. 
"I  simply  faded  into  the  wallpaper 
and  waited."  One  may  doubt  the  pos- 
sibility  of  doing  this,  especially  in 
such  quarters  as  Smith  often  oper- 
ated  in,  but  certainly  this  is  what  the 
photographs  look  like. 

Smith's  fourth  great  essay  for  Life, 
"Spanish  Village,"  originally  de- 
pended in  part  on  the  viewer's  know- 
ing  that  it  showed  life  in  Franco's 
Spain,  but  it  has  survived  the  change 
of  regime,  and  can  now  be  seen  for 
what,  indeed,  it  actually  was  all 
along,  a  picture  of  peasant  life  in  a 
part  of  the  world  where,  for  better  or 
worse,  life  was  lived  as  it  had  been  be- 
fore  the  democratic  and  industrial 
revolutions  of  the  18th  and  19th  cen- 
turies  that  helped  create  the  modern 
World.  There  is  something  nostalgic 
and  romantic  in  Smith's  view  of  this 
little  bit  of  olden  times,  as  if  he  found 
its  primitive  simplicity  more  admira- 


**Marine  Under  Fire,  Saipan,  June  27,  1944'*  at  I.C.P.- 
Some  of  Eugene  Smith's  best  images  show  suffering. 


ble  than  anvthing  that  might  replace 
it. 

After  Smith  broke  with  Life  in  1954 
his  work  changed.  He  continued  to 
work  in  terms  of  the  photo  essay ,  but 
his  essays  became  more  diffuse  and 
unfocused,  and  began  to  take  on  a 
somewhat  strident  political  tone.  In 
his  vast  unfinished  portrait  of  Pitts- 


burgh,  represented  by  18  photographs 
in  the  I.C.P  exhibition,  he  seems  to 
be  Indicting  the  Industrial  Revolution 
and  its  makers  Powerful,  gloomy 
phüiügraphs  of  tactones  and  slums 
and  intimate  shots  of  grimy  lactory 
workers  are  contrasted  with  more 
distant  shots  of  well-dressed,  well- 
scrubbed  businessmen  and  civic  lead- 


<t 


ers  in  iheir  decorous  meeting  rooms. 
In  his  last  essay,  **Minimata,"  the 
enemy  is  clearly  identified.  It  was 
modern  industry  and  its  leaders  who^- 
poisoned  the  waters  of  Japan 's  seas 
and  the  simple  fish-eating  people  who 
live  beside  them. 

Gene  Smith's  best-known  picture, 

The  Walk  to  Paradise  Garden,"  is 
included  at  I.C.P.  in  a  group  of  photo- 
graphs of  his  daughter  Juanita,  and 
seems  at  first  glance  out  of  place  in 
his  oeuvre.  It  shows  two  small  chil- 
dren  Walking  out  of  a  dark  wood  into 
the  boiilight,  and  seems  more  opti-" 
mistic  Lhan  his  work  as  a  whole.  But 
the  difference  is  more  apparent  than 
real.   Smith  always  sided  with  the 
simple  and  the  innocent,  and  when  his 
work  tumed  dark  it  was  because  he^ 
saw    simplicity    and    innocence    as' 
threatened  by  sinister  forces.  ' 

"Let  Truth  Be  the  Prejudice,"  the' 
title  of  this  exhibition,  is  Smith's  ownl. 
phrase,  and  it  is  characteristic  of  his 
high-sounding,     barely     intelligible 
literary  style.  It  suggests  that  what  * 
may  appear  to  others  a  prejudice  on 
Smith's  part  is  actually  the  result  of 
an  unsparing  search  for  the  truth,  and 
no  doubt  this  is  the  way  he  saw  his 
work  in  relation  to  others  and  the 
World. 

The  skeptical  viewer  may  think'*' 
otherwise.  The  dramatic  contrasts  of 
dark  and   light   for  which   Smith's 
prints  are  famous  are  no  doubt  to  be 
found  in  the  negatives,  but  not  to  the 
same  degree  as  in  the  prints.  The 
same  is  true  of  the  moral  contrasts 
which  Smith  found  in  the  world,  and  . 
which  he  presented  in  ways  that  are 
often  deeply  moving,  even  if  not  al-  • 
ways  entirely  persuasive. 

**W.  Eugene  Smith:  Let  Truth  Be 
the  Prejudice"  will  be  at  the  Interna* 
tionai  Center  of  Photography,  94th' 
Streei  at  Fifth  Avenue,  through  May 
4.  It  is  d  somewhat  reduced  version  of  ^ 
an  exhibition  organized  by  the  Alfred  - 
Stieglitz  Center  of  the  Philadelphia 
Museuni  of  Art  and  scheduled  to  be^ 
shown  in  Los  Angeles,  Fort  Worth, 
Atlanta,  Minneapolis,  Cleveland,  Cal- . 
gary,  Indianapolis  and  Tucson.         Wt 


r^        <r 


( 


W.  uf<  ^"^r^  ^'- 


\ 


i'?^^ 


By  James  A,  Cox 


The  day  Joe  Louis 
fired  shots  heard 
Vound  the  wodd 


In  1938,  as  war  clouds  gathered  abroad 
and  Nazi  racism  flared,  his  rematch  with 
\  Schmeling  hecame  a  national  obsession 


Louij),  whu  had  been  bcaten  by  Max  Schmeling  two 
years  earlier,  this  time  smothered  his  German  Opponent 


with  lefts  and  rights,  40  punches  to  Schmehng's 
two,  in  a  124-second,  savagely  punishing  fight. 


170 


June  22,  1938,  a  Wednesday  morning.  Newsreel  Cam- 
eras and  a  crowd  are  waiting  in  front  of  the  New  York 
Boxing  Commission  office.  At  a  few  minutes  before  1 1, 
State  troopers  on  motorcycles  usher  a  long  black  sedan 
to  the  curb,  then  dismount  and  join  representatives  of 
New  York  City's  finest  in  Holding  back  the  crowd.  A 
cheer  goes  up  as  five  men  get  out  of  the  car— Joe  Louis, 
heavyweight  champion  of  the  world;  his  trainer,  Jack 
Blackburn;  his  managers,  Julian  Black  and  John  Rox- 
borough;  bodyguard  Carl  Nelson,  a  Chicago  detective. 
Louis  is  wearing  a  light  suit,  a  polka-dot  scarf  instead 
of  a  tie,  a  white  fedora  with  a  black  band  and  sun- 
glasses.  He  cuts  quite  a  dashing  figure. 

Inside  the  boxing  commissioner's  offices,  stripped 
down  to  trunks  for  the  traditional  weighing-in  cere- 
mony,  his  figure  is  even  more  impressive.  He  is  24  years 
old,  and  under  satiny  skin  his  muscular  body  is  lean 
and  hard,  the  reward  of  four  months  of  rigorous  work- 
outs  at  his  training  camp  in  Pompton  Lakes,  New 
Jersey.  He  nods  at  Max  Schmeling,  the  man  he  will 
fight  that  evening.  Schmeling,  beetle-browed,  with  a 
shock  of  black  hair,  is  also  in  trunks.  As  the  only 
German  to  win  the  heavyweight  championship  of  the 
World,  he  is  trying  to  win  back  the  title.  He  is  old  for 
a  fighter,  almost  33,  but  he  knocked  Louis  out  two 
years  ago,  before  Joe  won  the  championship  from 
James  J.  Braddock.  There  are  people  who  would  like 
to  see  him  beat  the  black  American  again. 

There  was  no  trading  of  Insults 

Silently,  they  step  on  the  scales.  Schmeling  weighs  in 
at  193,  Louis  at  198!/2.  They  square  off  in  simulated 
fighting  pose,  another  tradition,  for  the  benefit  of  the 
photographers.  There  is  no  braggadocio,  no  trading  of 
insults  for  some  imagined  psychological  edge.  Ques- 
tions  and  Hashbulbs  pop.  Hurriedly,  the  two  fighters 
dress  and  leave.  They  have  said  nothing  to  each  other. 

Louis  and  entourage  spend  the  af  ternoon  at  a  f  riend's 
apartment  nearby.  Bill  Bottoms,  the  man  who  cooks 
for  Joe,  prepares  a  big  steak-and-salad  dinner,  which 
the  champ  eats  at  3.  Later,  he  goes  for  a  walk  along 
the  Harlem  River  with  Blackburn  and  Freddy  Wilson, 
friend  and  sparring  partner.  Wilson  asks  him  how  he 
feels  and  Joe  says,  with  a  little  laugh,  'Tm  scared." 

"Scared?"  says  Wilson,  disbelieving. 

"Yeah,"  says  Joe.  *Tm  scared  I  might  kill  that  Smellin' 
tonight."  That  evening,  they  arrive  at  Yankee  Stadium 
at  7,  and  in  the  dressing  room,  less  than  three  hours  be- 
fore the  biggest  fight  of  his— and  perhaps  any  fighter's— 
career,  Joe  Louis  takes  a  nap. 

Outside,  as  more  than  70,000  fans  file  through  the 
gates,  Jewish  groups  picket  for  a  boycott  of  the  fight, 
the  Non-Sectarian  Anti-Nazi  League  hands  out  leaflets 
calling  for  a  boycott  of  German  goods,  and  Communist 


I 


1 


At  weighing  in,  both  men  were  polite  and  impassive. 
Louis  fought  at  198/2  pounds,  Schmeling  at  193. 


I 


171 


I 


A  dispuicd  blow  lo  the  back  disabled 
Sthmeling,  cratking  iwo  vertebrac. 


groups  hoist  placards  urging  three 
cheers  for  Louis  and  boos  for  Schmel- 
ing.  Gradually  thc  bleachers  and 
grandsland  fill.  The  best  seats,  row  on 
row  of  folding  chairs  in  the  infield  on 
all  sides  of  the  ring,  go  for  $40,  except 
those  reserved  for  hundreds  of  sports- 
writers  and  broadcasters  from  all  over 
the  World.  **Uncle  Mike"  Jacobs,  the 
fight  Promoter  who  got  his  start  as  a 
ticket  scalper,  has  cleverly  mingled 
wiih  the  working-press  celebrities  and 
the  other  high  rollers  who  willingly 
part  with  $200— some  claim  a  record 
$500— for  a  ringside  seat. 

At  9  P.M.,  Blackburn  wakens  Joe 
and  begins  to  tape  his  hands. 

Flexing  his  fingers  against  the 
bandages,  Louis  says,  using  the  nick- 
name  he  and  Blackburn  have  for  each 
other,  "In  three  rounds,  Chappie.  If 
I  don't  knock  him  out  in  three,  you 
better  come  in  and  get  me,  because 
after  that  I'm  through." 

**No,"  says  Blackburn.  "It's  all  right. 
You  can  go  15." 

Later,  Joe  would  explain  that  he 
was  going  to  throw  so  many  punches 
he  wouldn't  have  any  left  after  the 
third  round. 

In    another    dressing    room,    Max 


Schmeling  has  a  bad  case  of  nerves,  a 
condition  uncommon  for  him.  What 
bothers  Schmeling  is  the  attitude  of 
the  American  public,  so  different  now 
from  what  it  was  for  the  first  hght  two 
years  ago.  Then  he  was  treated  like  a 
hero,  in  fact  as  another  Great  White 
Hope.  This  time  he  was  greeted  by 
hooting  crowds  and  angry  picketers. 
Demonstrators  followed  him,  wav- 
ing  placards,  shouting  "Nazi!  Nazi!" 
or  making  derisive  stiff-armed  salutes 
and  yelling  "Heil,  Hitler!"  Reporters 
asked  him  if  he  thought  he  was  a 
member  of  a  superrace,  and  what  the 
Nazis  would  do  if  he  lost  the  fight  to 
a  Negro— whether  he  would  dare  go 
back  to  Germany. 

"I  am  a  fighter,  not  a  politician,"  he 
told  them.  "I  am  no  superman  in  any 
way."  But  he  knows  that  Americans 
have  seen  newsreels  of  his  triumphal 
return  to  Germany  after  the  first  fight 
with  Louis— the  Teutonic  hero's  re- 
ception,  the  lunches  with  the  Führer 
and  other  Nazi  leaders,  all  that  crow- 
ing  about  a  "great  Aryan  victory."  He 
also  knows  that  the  Nazi  propaganda 
machine  has  put  inffammatory  words 
in  his  mouth,  words  he  never  spoke: 
"I  would  not  take  this  fight  if  I  did  not 
believe  that  I,  a  white  man,  can  beat  a 
Negro."  And,  "The  Negro  .   .  .  the 


black  amateur  . . .  the  dumb  animal . . . 
will  always  be  afraid  of  me."  Like  it  or 
not,  he  appears  to  be  wrapped  tightly 
in  a  swastika,  a  representative  of  the 
"master  race."  The  racial  excesses  and 
cruelties  of  the  Nazi  regime,  and 
American  memories  of  the  slighting 
of  Jesse  Owens  at  the  1936  Olympics, 
continue  to  follow  him  around  like 
accusing  fingers. 

When  the  fighters  set  out  on  the 
long  walk  down  the  aisle  toward  the 
ring,  Schmeling  is  booed  and  has  to 
Cover  his  head  with  a  towel  because 
fight  fans  pelt  him  with  paper  cups, 
eoipty  cigarette  packs,  even  banana 
peels.  Police  climb  into  the  ring  and 
form  a  square  to  discourage  the  storm 
of  airborne  debris. 

Referee  Arthur  Donovan  calls  the 
two  fighters  to  the  center  of  the  ring, 
intoning  the  ritual  instructions:  no 
punching  on  the  breaks,  come  out 
fighting,  may  the  best  man  win.  In  his 
Corner,  Louis  does  a  little  toe  dance, 
punching  the  air,  then  hitches  up  his 
trunks.  Schmeling  Stands  quietly,  arms 
hanging  at  his  sides,  staring  across 
the  ring.  He  is  unshaved,  and  his 
black  beard,  black  hair  and  shaggy 
black  eyebrows  emphasize  the  white- 
ness  of  his  skin.  His  face  is  expression- 
less.   Gravel-voiced   Clem   McCarthy, 


Whenever  Joe  won  a  fight,  black  Americans  celebrated,  as  Citizens 
of  Harlem  do  here  after  his  devastating  victory  over  Schmeling. 


172 


) 


As  a  loser.  Max  Schmeling  was  drafted  inio  paratroopcrs,  then  wounded. 
In  an  interview,  he  denied  British  troops  were  committing  atrocities. 


Max  Schmcling  today  is  a  successful 
Coca-Cola  distributor  in  Hamburg. 


As  an  "Aryan  hero,"  victorious  Schmeling  and  his  film  star  wife, 
Anny  Ondra,  were  invited  lo  lunch  by  the  F'ührer  himself. 


i(l 


I  don't  think  l'll  ever  be  free  of  pain,"  savf  Robblns,  at  his  Palm  Springs  home,  "but  when  I  can  gel  rid  of  the  crutches,  l'll  be  okay. 


^£/6lpi!e    '^<KßOJyvWt 


»» 


PAPERBACK  KIN< 

WRITES  AN  ALMOST  HAPPY  ENDING  TO 

A  SATTLE  WITH  EXCRUCIATING  PAIN 


\4e^6^ 


O 


n  the  evening  of  Feb.  23, 1985,  Har- 
old  Robbins  was  a  man  who  had  every 
reason  to  think  that  täte  was  with  hinn. 
Author  of  18  steamy  potboilers,  includ- 
ing  the  pulp  classic  The  Carpetbaggers, 
the  brassy  New  Yorker  who  began  life  in 
a  foundling  home  had  become  one  of 
the  world's  riebest  writers.  Robbins  fans 
in  81  countries  have  purchased  a  stag- 
gering  500  million  copies  of  his  novels, 
and  Robbins  collects  a  $2  million  ad- 
vance  for  each  new  effort.  With  his 
fourth  wife,  Grace,  the  now  72-year-old 
writer  lived  like  one  of  his  own  high-roll- 
ing  protagonists,  with  props  including  a 
yacht,  Rolls-Royces,  a  house  on  the 
French  Riviera  and  another  in  Acapul- 
co.  He  and  Grace  were  just  getting  set- 


tled  in  their  latest  spread,  a  lavlsh  $3.5 
million  hilltop  home  in  Beverly  Hills, 
which  they  had  chrlstened  in  true  Rob- 
bins style  with  a  showy  fete  and  rivers  of 
Dom  Perignon. 

That  February  day,  Grace,  an  aspiring 
country  singer,  was  in  Acapulco,  making 
her  performing  debut  at  a  charity  gala. 
In  Beverly  Hills,  Harold  had  put  in  12 
hours  at  the  typewriter,  churning  out  a 
loosely  autobiographical  work  calied 
The  Storyteller.  At  11  p.m.,  after  dinner 
with  Jann  Stapp,  his  assistant,  he  had 
gone  to  the  second  floor  of  the  Tudor- 
style  manslon  to  relax  in  his  elaborate 
steam  bath. 

Minutes  later,  Stapp  was  Walking 
through  the  kitchen  when  she  noticed 


water  seeping  through  the  ceiling.  She 
rang  the  phone  in  Robbins'  bathroom, 
but  there  was  no  answer.  Hurrying  up- 
stairs,  she  was  shocked  to  find  Robbins 
sprawied  on  the  bathroom  floor,  uncon- 
scious.  Stepping  out  of  the  shower,  he 
had  tripped  on  the  four-inch-high  splash 
panel  and  Struck  his  head  on  a  marble 
counter.  "They  teil  me  I  slid  uncon- 
scious  across  the  bathroom  floor  with 
such  force  that  I  hit  the  tollet  bowl, 
knocking  it  off  its  pipes.  The  water  be- 
gan pouring  out,"  Robbins  says.  "My 
legs  wound  up  on  either  slde  of  the 
bowl." 

With  that  Single  incautious  Step,  the 
author's  life  had  taken  a  nightmare  turn. 
At  UCLA  Medical  Center,  Robbins  was 


Photographs  by  ©1988  Tony  Korody/Sygma 


told  that  his  left  hip  had  been  shattered 
and  his  right  f ractured.  After  three  Oper- 
ations in  eight  months,  he  graduated 
from  a  wheelchair  to  a  walker  to  light- 
weight  crutches.  But  the  agonizing  pain 
stayed  with  him,  preventing  him  from 
writing.  He  feit  himself  a  prisoner  In  his 
own  body.  "It  was  terrible,"  he  says.  "1 
was  crazy.  I  was  absolutely  nuts."  Grace 
was  an  angulshed  witness.  "It  was  the 
Inactivity  that  drove  him  crazy,"  she 
says.  "I  would  invite  friends  over  for  din- 
ner  or  lunch  to  keep  him  occupled." 

Three-and-a-half  years  (and  more 
than  $1  mllllon  in  medical  bllls)  later, 
Robblns  Is  still  on  crutches,  still  at  war 
with  his  slowly  mending  body.  His  conti- 
nent-hopping  travels  are  over;  the 
yacht,  the  houses  in  France  and  Mexico 
and  Beverly  Hills  (all  stair-filled  and  too 
tricky  to  negotiate)  have  been  sold,  and 
he  and  Grace  have  moved  to  a  suitably 
excessive  single-story  palazzo  in  Palm 
Springs.  There,  Robblns  does  daily  bat- 
tie  with  hisdisability. 

In  addition  to  massages  and  therapy 
in  his  own  pool  and  at  Desert  Hospital, 


where  a  hydrotherapy  facility  he  has 
funded  is  under  design,  he  has  been  giv- 
en  an  electrical  device  that  helps  him 
flght  off  the  worst  of  the  pain.  Implanted 
in  his  spine  last  April,  it  is  wired  to  a 
mechanism  implanted  below  the  skin  in 
his  Iower  left  abdomen.  Using  a  remote- 
control  trigger,  Robblns  can  deliver  a 
pain-masking  electrical  shock  to  nerves 
in  his  damaged  hips.  The  setup  has  its 
drawbacks — "If  you  pour  on  too  much 
Juice,"  he  says,  "it  can  knock  you  on 
your  ass" — but  it  does  allow  him  to  get 
on  with  his  life.  "Drugs  are  either  a  high 
or  you  go  to  sieep,"  he  says,  "neither  of 
which  I  wanted.  I  just  wanted  to  stop  the 
pain,  period,  and  get  back  to  work." 

Even  now,  however,  Robblns  writes 
without  benefit  of  any  painkiller  save 
massive  amounts  of  Tylenol.  Concen- 
tration,  he  says,  is  the  best  anodyne.  "I 
can't  stand  the  buzzing  from  the  Im- 
plant,"  he  says.  "It  drives  me  crazy 
when  I  work,  so  I  don't  use  it." 

While  a  less  determined  man  might 
have  given  up  long  ago,  Robblns  never 
considered  it.  "Harold  was  terrif ic," 
says  nelghbor  and  fellow  book  mason 
Sidney  Sheldon.  "He  did  the  best  thing 


possible:  He  went  back  to  work  as  soon 
as  he  could,  despite  the  pain."  With  just 
one-third  of  The  Sforyfe//er completed, 
Robblns  retumed  to  the  typewriter  in 
October  1985.  He  has  since  finished  the 
novel — his  19th — along  with  a  screen- 
play,  outlines  for  two  television  series 
and  early  chapters  of  yet  another  novel. 
"It  would  have  been  a  little  faster  if  I 
weren't  hurting,"  says  Robblns.  "But 
what  keeps  me  going  is  something 
calied  Creative  conceit.  I  always  think  I 
can  do  it  better  next  time." 

Still  struggling  to  recover  all  the  mo- 
bllity  he  can,  Robblns  is  now  capable  of 
driving  his  f leet  of  cars,  and  doctors 
promise  that  he  will  eventually  be  able 
to  trade  his  crutches  for  a  cane.  "The 
pain  will  always  be  there,  but  you  can 
take  It  if  you  can  move  around," 
Robblns  says.  "The  main  thing  is  I  be- 
lieve  l'm  going  to  walk.  I  believe  l'm  go- 
ing to  move.  I  believe  l'm  going  to  get 
around."  Somehow  one  senses  that,  in 
Robblns'  case,  believing  Is  next  to 
achleving  and  that  the  scenario  of  his 
recovery  is  already  written. 

—Michelle  Green, 
and  Doris  Klein  Bacon  in  Palm  Springs 


\ 


"1  usod  to  try  to  thInk  myselff  well,"  says  Robblns,  with  wlf  e  Qrace  and  canlne  admirers.  "I  try  to  romomber  this  Is  only  temporary." 


.1 


Jacques  Sigur^  67, 
FrenchScreenwriter 
For  Young  Signoret 


Jacques  Sigurd,  a  French  screen- 
writer  whose  films  helped  start  the  ca- 
reer  of  Simone  Signorel,  died  of  lung 
Cancer  Sunday  at  Memorial  Sloan-Kel- 
tering  Hospital.  He  was  67  years  old 
and  lived  in  Paris  and  Manhattan. 

Mr.  Sigurd  wrote  the  screenplay, 
adapiation  and  dialogue  for  more  than 
25  films.  Two  of  his  films,  "Dedee  d'An- 
vers"  (1949)  and  "Maneges"  (1950), 
have  been  credited  with  first  making 
Miss  Signoret  a  F>opular  film  star  in 
France.  His  screenplay  "Une  Si  Jolie 
Petite  Plage"  is  considered  a  classic. 

Stephen  Harvey,  an  assistant  curator 
of  film  at  Ihe  Museum  of  Modern  Art, 
Said  when  he  helped  plan  a  French  film 
series  in  1983  that  he  was  impressed  by 
the  "psychological  pungence  and  atten- 
tion to  mood  and  atmosphere,  and 
particularly  the  Sharp  wit  and  insight" 
of  Mr.  Sigurd's  writing. 

When  Andre  Malraux  was  France's 
Minister  of  Culture,  he  named  Mr.  Si- 
gurd a  Knight  in  the  Order  of  Arts  and 
Letters. 

Other  major  Sigurd  films  are  "Rip- 
tide,"  "The  Cheaters,"  "All  Roads 
Lead  to  Rome,"  "Miracles  Only  Hap- 
pen Once,"  and  "Tomorrow's  Lovers." 

Mr.  Sigurd  also  adapted  American 
plays  for  the  French  stage,  including 
John  Guare's  "House  of  Blue  Leaves" 
and  Dale  Wasserman's  "One  Flew 
Over  the  Cuckoo's  Nest."  Recently  he 
and  Geoffrey  Holder,  the  choreogra- 
pher, were  working  on  a  film,  set  in 
Haiti,  that  was  tentatively  titled  "Voo- 
doo Tragedy." 

Mr.  Sigurd  is  survived  by  his  daugh- 
ter,  Pascale  Halima  Sigurd;  a  grand- 
daughter  and  a  grandson. 


/... 


•    ..  »• 


•   •    •/ 


•;   .'il 


.      <1. 


George  Marlon,  Literary  Agent 
In  Europe  and  the  United  States 


^s>- 


'^-- 


(}eorge  Marton.  a  literary  agent  in  this 
country  and  in  Europe,  died  of  Cancer  in 
Los  Angeles  yesterday.  He  was  80  years 

old. 

Mr.  Marton  was  bom  in  Budapest  and 
studied  at  the  University  of  Berlin  and  at 
the  Sorbonne  in  Paris.  He  established  a 
literary  agency  in  Vienna  in  the  1920's 
and  in  1929  was  awarded  the  French  Le-  , 
gion  of  Honor  for  his  efforts  in  behalf  of  ( 
French  au thors.  ^ 

Mr.  Marton  is  survived  by  his  wife.  the  ^ 
former  Hilda  Hess  Stone;  a  brother.  An- 
drew, a  motion-picture  dircctor;  a  sister. 
Elisabeth,  a  literary  agent;  two  daugh- 
ters,  Eva  and  Marie-Claire,  and  five 
grandchildren. 


<v 


l^Wr 


THE  NEW  YORK  TIMES  FASHION  TUESDAY,  MARCH  15,  1988 


B7 


A  Life  Con  Brio:  Celebrating  Cecil  Beaton 


By RON  ALEXANDER 

They  came  to  see  Edith  Sitwell  re- 
ceiving  breakfast  in  a  grandly  cano- 
pied  bed,  Twiggy  dancing  on  furni- 
ture,  Johnny  Weissmuller  stretched 
seductively  on  sand  in  the  briefest  of 
loincloths,  Elsa  Maxwell  in  a  "social 
dictator"  crown,  a  1941  fashion  model 
posing  in  a  bomb-damaged  London 
building,  Frederick  Ashton  in  drag 
and  an  abundance  of  mirror  reflec- 
tions  of  Cecil  Beaton  —  photographer 
of  the  famous  and  fashionable,  de- 
.  signer  and  writer. 

Last  night's  black-tie  event,  divided 
between  the  Fashion  Institute  of 
Technology  and  the  Grey  Art  Gallery 
at  New  York  University,  celebrated 
the  opening  of  "Cecil  Beaton:  A  Ret- 
rospective  Exhibition." 

The  exhibit,  which  includes  more 
than  600  objects  —  photographs,  illus- 
trations,  books,  fashion  spreads  and 
costumes  for  films  —  was  first  pre- 
sented  two  years  ago  at  the  Barbican 
Art  Gallery  in  London.  The  New  York 
showing,  which  will  run  through  April 
23  at  both  locations,  is  underwritten 
by  Lournay  Sensitive  Skin  Care. 

Among  the  more  than  1,000  people 
invited  to  last  night's  dual  premiere 
were  Arnold  ScaasiiMary  Ann  Resti-, 
voj  Pauline  TngoroT'-Tmr^Ch^vJ; 
^TTeraldine  Stutz  and  Marvin  Traub. 
Trolleys  whisked  the  celebrities  from 
the  Fashion  Institute  (27th  Street  and 
Seventh  Avenue)  down  to  the  Grey 
Gallery  (33  Washington  Place,  at 
Washington  Square  Easl). 

Lesser  luminaries  were  trans- 
ported  by  bus,  but  they  did  get  to  hear 
the  Soundtrack  from  "My  Fair  Lady" 
during  the  ride  downtown.  Beaton  de- 
signed  the  costumes  for  both  the 
stage  and  the  film  versions  of  the 
musical,  as  well  as  for  "Gigi"  and 
"On  a  Clear  Day  You  Can  See  For- 
ever." 

Decades  of  Photos 

The  exhibit  at  the  Fashion  Institute, 
which  focuses  on  Beaton's  fashion 
photography,  was  organized  by  Rich- 
ard Martin,  the  school's  executive  di- 
rector,  and  Harold  Koda,  its  curator 
of  costumes. 

The  photographs  Start  in  the  the 
20's  (Marion  Moorehouse,  a  model, 
posing  in  Conde  Nast's  Park  Avenue 
penthouse).  and  continue  into  the  30's 
(the  surreal  heads  of  modeis  popping 
out  of  hatboxes),  the  40's  (Helen  Ben- 
nett  posing  in  a  studio  filled  with  huge 
ice  blocks  for  a  magazine  feature  on 
"How  to  Keep  Cool")  and  the  50's  (a 
ball  gown  modeled  in  front  of  a  Jack- 
son Pollock  painting).  In  the  1960's, 
his  modeis  included  Twiggy  and  Jean 
Shrimpton;  in  the  70's,  Tina  Chow 
and  Paloma  Picasso.  Beaton  died  in 
1980atage76. 

Mannequins  wearing  the  black  and 
white  Ascot  costumes  from  the  film 
Version  of  "My  Fair  Lady"  were 
probably  the  evening's  scene  stealers 
at  the  institute,  although  it  was  not 
easy  to  ignore  the  fin  de  siecle  bou- 
quets  of  fresh  and  silk  pink  flowers 


Cecil  Beaton,  shown  above 
in  1969,  designed  the 
costumes  for  **My  Fair 
Lady."  Putting  finishing 
touches  on  costumes  from 
the  film  are  Richard  Martin, 
far  left,  and  Harold  Koda, 
coordinators  of  the  exhibit 
at  the  Fashion  Institute  of 
Technology.  At  the  Grey 
Art  Gallery,  below,  workers 
hang  Beaton's  photographs 
of  the  British  royal  family. 


Camera  Press 
I 

4 
% 


i 
f 
« 

ii 


s 


The  New  York  Times/Vic  DeLucia 


'He  proved  that 
artificiality  isn't 
necessarily  bad.' 


around  the  room.  Pink  and  black,  two 
of  Beaton's  signature  colors,  also 
popped  up  on  serving  trays  held  by 
pink-gloved  waiters  and  waitresses: 
there  was  a  lot  of  salmon  and  caviar. 
And  there  was  the  Pink  Lady  cocktail 
(representing  the  1920's)  and  the 
Pink  Ms.  (fortheTO's). 

•The  timing  is  perfect  for  a  Beaton 
retrospective,"  saidljVIs.  Restivojthe 
fashion  designer.  "Romance  is  back; 
froufrou  is  gone;  chic  and  elegance 
arereturning." 

Julian  Tomehin,  a  senior  vice  Presi- 
dent and  the  fashion  director  of  home 
furnishings  at  Bloomingdale's,  said: 
"I'm  not  sure  Beaton's  Ascot  cos- 
tumes were  authentic,  and  I  don't 
care.  He  made  my  dreams  come  true. 
Every  fantasy  I  had  ever  had  about 
going  to  the  races  was  in  those  cos- 
tumes." 

At  the  Grey  Gallery,  exhibit  space 


is  devoted  to  photographs  depicting 
Beaton's  personal  life  and  the  many 
celebritities  he  knew  and  photo- 
graphed.  Sections  are  separated  by 
pink  trellises,  furniture,  urns  of  pink 
flowers  and  drapery  swags. 

The  one  called  "The  Early  Years" 
Shows  the  likes  of  Edith  Sitwell  and 
the  debutantes  of  1928.  Picasso,  Dali 
and  Gertrude  Stein  are  among  those 
in  "Arts  and  Letters." 

"At  Home  in  the  Country"  shows 
Beaton's  two  rustic  dwellings,  Ash- 
combe  and  Reddish,  the  latter  sup- 
posedly  the  scene  of  his  romance  with 
Greta  Garbo.  "Hollywood  and  New 
York  in  the  1930's"  includes  pictures 
of  the  Astaires,  Lillian  Gish,  Katha- 
rine  Hepburn  and  Buster  Keaton. 

There  are,  of  course,  his  famous 
pictures  of  the  royal  family,  as  well 
as  such  Hollywood  royalty  as  Eliza- 
beth Taylor,  Joan  Crawford  and 
Marilyn  Monroe.  "The  Final  Years" 
features  Mick  Jagger,  Andy  Warhol 
and  Candy  Darling. 

"Beaton  loved  brio  and  artificiality, 
but  he  proved  that  artificiality  isn't 
necessarily  bad,"  said  Thomas  Soko- 
lowski,  the  director  of  the  gallery.  i 
"He  believed  that  more  is  more.  He's  ' 
often  gotten  a  bum  rap  for  that,  but  he 
did  change  with  the  times." 


-^ 


C20 


THE  NEW  YORK  TIMES  FASHION   MONDAY.  APRIL  11,  1988 


av 


7th  Ave.  Favors  Pants  as  Fall  Shows  Op^ 


Graceful  long  black 
wool  evening  dress 
with  Short  fuchsia 
satin  jacket,  left,  by 
Carolina  Herrera. 
Black  and  white 
plaid  coat  over  snug 
checked  jacket  and 
purple  Sweater,  far 
left,  by  Mary  Ann 
Restivo. 


By  BERNADINE  MORRIS 

Before  the  first  modeis  take  to  the  runways 
this  week  as  the  fall  and  winter  fashion  open- 
ings  unfold  on  and  off  Seventh  Avenue,  some 
basic  trends  for  the  new  season  seem  se- 
curelyestablished. 

The  prevailing  skirt  length  is  one  that  will 
clear  the  knees  by  an  inch  or  two,  though 
shorter  hems  are  still  being  shown.  Some 
midcalf  lengths,  usually  narrow,  turn  up.  An- 
kle  lengths  are  an  alternative. 

But  the  strongest  focus  is  on  trousers.  The 
newest  looking  pants  shown  so  far  are  cut 
with  some  fullness  and  have  gently  molded 
Short  jackets  that  can  also  look  smart  with 
skirts.  But  there  are  all  kinds  of  variations, 
from  narrow  pants  that  fit  like  tights  to  very 
füll  styles,  more  like  skirts  than  culottes. 

Carolina  Herrera  was  one  of  the  designers 
who  jumped  the  gun.  Introduced  at  a 
crowded  presentation  at  the  Plaza  Friday, 
the  collection  revealed  her  development  in 
the  seven  years  since  she  left  the  ranks  of 
smartly  dressed  society  women  and  became 
a  designer  herseif.  Her  daytime  clothes,  in 
particular,  have  strengthened.  Her  tailored 
suits,  often  in  chalk-stripe  woolens,  have  a 
strong,  sophisticated  look.  Wide  pants  with 
snug  jackets  are  a  specialty. 

When  skirts  appear,  they  stop  above  the 
knee.  Mrs.  Herrera,  no  advocate  of  calf- 
length  styles,  calls  her  shorter  evening 
dresses  ballerina  styles;  they  reach  almost 
to  the  ankles  and  are  always  cut  füll. 

Pants  for  Evening,  Too 

Pants  are  as  prominent  for  evening  as  for 
day,  in  soft  crepe,  taffeta  or  velvet,  with  se- 
quined  or  metallic  jackets.  A  group  of  sequin- 
embroidered  jackets  is  patterned  in  stripes 
and  dots  inspired  by  Jockeys'  racing  silks. 

A  sign  of  Mrs.  Herrera's  maturity  is  her  in- 
creasing  confidence  with  Sparer  styles  for 
evening.  A  short  white  wool  dress  with  a 
Square  neckline  banded  in  black  velvet  and  a 
group  of  snugly  fitted  long  dresses  in  black 
wool  crepe  with  short  jackets  in  fuchsia,  yel- 
low  or  green  are  breathtakingly  simple. 

Eleanor  Brenner,  who  introduced  her 
clothes  Friday  morning,  also  showed  growth. 
Her  Short  clothes  are  very  short,  stopping 
about  four  inches  above  the  knee.  Leather 
skirts  and  jackets  that  hug  the  body,  skin- 
tight  jumpsuits  and  skinny  midcalf  dresses 
in  wool  Jersey  are  all  in  the  forefront  of  fash- 
ion. Princess  dresses  and  silk  Jacquard  suits 
with  long,  tailored  jackets  should  have  wide 
appeal.  Pants  with  very  füll  legs  —  "circle 
pants"  —  are  for  evening.  With  short  leather 
jackets  or  silk  Shirts  and  wide  satin  belts, 
they  have  a  fast-forward  look. 

After  five  years  in  business,  Jennifer 
George  staged  her  first  showing  for  the  press 
early  last  week.  This  28-year-old  designer 
had  some  interesting  things  to  say.  Wide 
pants  contrasted  with  skinny  skirts.  Dark 
colors  were  enlivened  with  shots  of  bright 
color,  including  a  fuchsia  topcoat  lined  in  red. 
Lengths,  she  said,  are  "up  for  grabs"  and  she 
has  them  all.  A  long,  draped  black  crepe 
skirt,  wrapped  in  front  and  slit  in  back,  is  as 
exy  as  any  of  the  shorter  styles. 

Mary  Ann  Restivo  is  an  old  band  at  making 
fashionable  clothes  for  women  to  wear  to 


The  New  York  Times/ Don  Hogan  Charles 


Jennifer  George's  new  pants  suit: 
lean  jacket,  snug  trousers. 


work.  This  time  she  offers  more  evening 
clothes  because,  she  finds,  working  women 
go  out  a  lot  and  like  to  dress  to  do  so.  Se- 
quined  T-shirts  with  wide-leg  pants,  blazers 
in  muted  flower  prints  and  off-the-shoulder 
metallic  tops  with  Jersey  skirts  are  some  of 
her  suggestions  for  dinners  and  parties. 

For  day,  she  offers  skirts  that  are  above  or 
below  the  knee,  coats  füll  enough  to  fit  over 
jackets  ("Everyone  has  lots  of  jackets")  and 
trousers  cut  a  bit  fuller  than  they  have  been. 

Purple,  royal  blue  and  raspberry  are  ac- 
cent  colors  for  black  and  white  checked  coats 
and  jackets  to  give  daytime  dressing  a  lively 
look.  While  many  of  her  jackets  are  soft  and 
rounded,  gray  flannel  tailored  suits  have 
great  panache.  Ms.  Restivo  likes  to  add  a  fox 
scarf  and  some  antique  lapel  jewelry.  She 
thinks  ifs  a  great  way  to  dress  for  work. 


X 


THE  NEW  YORK  TIMES,  SUNDAY,  AUGUST  3,  1980 


■'■^::'\^*'--  '■:•;'"'■>:•.■•':•.'•;■!•.■ 

\v.'i^,iy|%'.->.'....^-.-:.:.v.....\-..-.vVOj;.v.'.VAv/.\.-.^>N\v.Y.V|Y,v,Y;-;v 


V 


*-■».'< 


Man  Ray's  j'Kiki  With  African  Mask" — "the  interplay  between  art  and  life'* 


PHOTOGRAPHY  VIEW 


GENE  THORNTON 


Summer  Fare 


Summertime is group-show time,  when galleries in- 
troduce  little-known  photographers  or  mix  well- 
known  old  masters  with  others  not  so  well-known 
around  a  common  theme.  Three  current  shows  of 
this  type  are  of  more  than  usual  interest. 
One  of  the  most  striking  pictures  in  "Masks,  Manne- 
quins and  DoUs,"  an  exhibition  of  photographs  of  the  1920*s 
and  30's  at  Prakapas  Gallery,  19  Hast  71st  Street,  through 
Aug.  15,  is  Erwin  Blumenfeld's  circa- 1940  **Carmen."  In  this 
dramatically  lighted  portrait  of  a  naked  old  woman,  there  is 
no  mask  or  mannequin,  but  the  woman's  real  face  is  a  mask 
of  bittemess,  contempt  and  pain,  and  we  leam  f  rom  the  cap- 
tion  that  in  her  youth,  45  years  earlier,  she  had  posed  for  the 
swooning,  seductive  young  woman  in  Rodin's  "The  Kiss." 
More  characteristic  of  the  work  in  this  show  iaM« 
1927  "Kiki  With  African  Mask,"  which  plays  offTKe  face  of 
an  attractive  young  woman  against  a  carved  effigy.  Kiki's 
pale,  oval  face,  so  artfully  painted  that  it  seems  a  mask  it- 
self ,  rests  horizontally  on  its  side  on  a  table,  while  beside  it 
rises  vertically  a  dark  African  mask  with  slit  eyes. 

The  interplay  between  art  and  life  is  the  persistent 
theme  of  this  show.  But  stylistically,  the  pictures  are  very 


D  23 

different.  Helen  Levitt's  "Masked  Children  With  Woman," 
circa  1939,  is  essentially  reportage,  while  Herbert  Bayerns 
pictures,  in  which  real  faces  are  presented  as  cut-out  masks, 
are  Surrealist  Collages  in  a  stripped-down  Bauhaus  style. 


♦  % 


Fay  Wray  Writes  ^^ 
The  Story  of  Her  Life 


r 


if 


ByALJEANHARMETZ 

Special  to  The  New  York  Times 

HCÄLYWOOD,  Feb.  19  -  At  age  81, 
Fay  Wray  is  still  in  love  with  the  go- 
rilla. 

*'I  admire  you  because  you  made 
only  one  film  and  that  became  fa- 
mous,  whereas  I  made  75  or  80  and 
only  the  one  I  made  with  you  became 
really  famous,*'  she  writes  to  King 
Kong  in  an  autobiography  that  will 
soon  be  published  by  St.  Martin's 
Press. 

In  1933,  the  year  of  *'King  Kong," 
Miss  Wray  acted  in  11  movies,  includ- 
ing  *'The  Mystery  of  the  Wax  Mu- 
seum" and  "The  Vampire  Bat."  She 
was  26  years  old,  and  had  been  work- 
ing  in  movies  for  10  years,  when  she 
was  carried  to  the  top  of  the  Empire 
State  Building  by  the  giant  ape.  Of  the 
77  films  in  which  she  had  a  major 
role,  only  a  handful  —  including  Erich 
von  Stroheim's  '*Wedding  March," 
and  two  with  Wallace  Beery,  "The 
Bowery"  and  "Viva  Villa"  —  are 
even  footnotes  in  the  history  of  cine- 
ma. 

Who  could  have  guessed  that  a 
giant  ape  —  in  love  with  the  fright- 
ened  girl  he  held  in  his  band  —  would 
be  remembered  after  half  a  Century? 
"I  thought  it  was  an  unusual  story, 
but  1  never  thought  it  would  be  endur- 
ing,"  she  says,  her  voice  trailing  off 
at  the  mystery. 


The  New  York  Times/ Eddie  Hausner 


Fay  Wray,  best  known  for  her 
role  in  the  1933  film  "King  Kong." 


production  of  two  plays,  "Clash  By 
Night^and  '*Äight  Music,"  both  fail- 
ures.  One  day,  "It  was  just  over,"  she 
says. 

"I  suspect  Clifford  was  afraid  his 
talent  might  be  jeopardized  if  he  let 
himself  care  about  someone  as  much 
as  he  wanted,"  Miss  Wray  says.  "But 
how  can  I  know?  How  can  anyone 
know  what's  in  someone  eise's  mind? 
In  Order  to  work,  Clifford  had  to  be 
miserable.  The  best  gift  he  ever  gave 
me  was  to  set  me  free,  because  I 
would  have  gotten  into  the  same  rela- 
tionship  I  had  with  John  Saunders, 
cateringtohim." 

A  Brief  Happy  Time 

Then  came  a  happy  marriage  to 
^bert  Riskinjhe  Academy  Award- 
winning^creenwriter  of  "It  Hap- 
pened  One  Night,"  "Mr.  Deeds  Goes 
to  Town"  and  "Lost  Horizon."  There 
were  two  children,  but  happily-ever- 
af  ter  lasted  only  eight  years. 

In  1950,  the  53-year-old  screen- 
writer  had  a  stroke.  He  never  re- 
covered,  although  he  lived  for  five 


After  a  lifelong 
weakness  for 
writers,  the  actress 
has  become  one 
herseif. 


more  years. 

The  book  on  the  coffee  table  in  Miss 
Wray's  casually  disheveled  apart- 
ment  is  "Injuries  of  the  Brain  and 
Spinal  Cord."  Sixteen  years  after 
Robert  Riskin's  death,  she  married 
Sandy  Rothenberg,  a  surgical  resi- 
dent who  had  been  one  of  his  doctors. 

It  is  Dr.  Rothenberg  who  insists  on 
going  out  to  dinner  every  night. 
"When  you're  in  the  operating  room 
all  day,  it*s  nice  to  go  where  you  can 
absolutely  relax,"  he  says. 

No  longer  living  vicariously 
through  other  writers,  Miss  Wray 
says  she  loves  the  feeling  of  her  fin- 
gers  against  typewriter  keys.  A  play 
she  wrote  about  her  parents  was 
produced  at  a  summer  theater  in 
New  Hampshire  two  years  ago. 


THE  NEW  YORK  TIMES  FASHION  TUESDAY,  MAY  2,  1989 


For  Fall,  Attention  Shifts  to  the  Legs 


By  BERNADINE  MORRIS 

Legs.  They  are  what's  left  to  look  at  when  the 
skirt  vanishes.  When  Karl  Lagerfeld  subtracted  the 
skirl  from  his  longer  Chanel  suits  recently  in  Paris, 
he  acknowledged  what  trendy  young  people  are 
wearingin-all  the  world's  fashion  capitals:  jackets 
plus  tights  or  skinny  pants. 

Other  ways  of  achieving  the  leggy  look  appeared 
in  the  fall  collections  in  New  York,  including  clothes 
for  both  day  and  night.  Some  designers  showed  long 
sweaters;  others  focused  on  tunics  or  short  skirts. 
Except  when  long  wrapped  evening  skirts  unfold  to 
Show  most  of  one  leg  or  are  slit  at  one  side  almost  to 
the  waistline,  the  effect  is  not  necessarily  salacious. 
For  the  legs  are  always  covered,  at  the  very  least 
with  opaque  tights.  Stretch  pants  are  held  in  place 
by  stirrups;  jump  suits  and  knitted  cashmere  pants 
are  other  taut  leg  covjerings. 

Restivo^ho  put  shiny  black  stretchy 
coveraiis  urrdcrihdescent  silk  taffeta  raincoats  in 
gold,  teal  or  plum,  adding  impressive  gold  belts, 
explained,  "It's  a  fun  look  for  young  people  at  night, 
when  they  are  going  to  clubs."  She  thought  a 
moment  and  added,  "If  it  seems  too  extreme,  they 
could  add  a  little  skirt."  f 

Donna  Karan  used  a  wool  crepe  unitard  as  the 
foundation  for  short  or  long  skirts,  adding  blouses, 


|P***I!M 


jackets  and  coats,  and  described  it  as  j 
modern  technology."  When  she  startef 
business  three  years  ago,  she  used  the 
a  i'nify'ng  gnrment  to  simplify  dressinj 
sayb,  the  fashion  focus  has  shifted  fr^ 
bottoms. 

*The  new. Stretch  fabrics  make  it 
Cover  the  leg  conifortably,"  she  explai| 
that,  it  does  not  matter  whether  hemlin 
or  Short;  the  question  becomes  obsok| 
pick  what  suits  them,  and  they  don't  hi 
with  one  length." 

Interpretations  of  the  Leggy  Look 

The  various  interpretations  of  the 
ränge  from  short  coats  with  tights  or  n< 
for  day  to  chiffon  minidresses  or  sequin( 
without  skirts  for  evening.  Tunics  and  t| 
often  have  a  medieval  than  a  space-aj 
cause  the  clothes  rarely  look  tough. 
gathers  provide  the  requisite  softness. 

Sometimes  the  skirt  does  not  exactl^ 
peeps  out  a  few  inches  beneath  the  hei 
jackets.  Or  it  is  replaced  with  shorts,  a^ 
by  sweaters  for  day  or  strapless  toj 
Geoffry  Gertz  is  an  advocate  of  shorj 
young,  playful  look,  but  he  believes  th< 
the  legs  are  covered,  this  look  does  no| 
limited  to  the  young. 

'Big  Tops  and  Littlp  Skirts' 

-4saac  Mizrahi  agrees. 
"When  1  make  appearances  in  the 
impressed  with  the  nui 


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The  New  York  Times/ Kim  Gamick 


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RiGHT  Mary  Ann  Restivo 
shows  silk  taffeta  evening 
raincoat  over  tights. 


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THH  NEW  YORK  TIMES  FASHION  SUNDAY,  MARCH  12,  1989 


TV  Outfits  That  Work  in  Real  Life 


By  ANNE-MARIE  SCHIRO 

Television's  vcrsion  of  the  successful  career  wom- 
an,  circa  1980,  was  a  glamorous  creature  in  a  big 
piclure  hat,  with  huge  diamonds  sparkling  at  her 
ears  and  a  fox  boa  draped  around  her  neck. 

Fast  forward  to  1989:  She  is  now  wearing  a  tai- 
lored  suit  with  a  simple  blouse  and  pearl  earrings. 
She  looks  very  much  like  the  career  women  in  the 
audience  —  and  often  more  plausible  than  the  fashion 
magazine  Version.  Reality  has  invaded  fantasy  land. 

Many  of  today's  television  heroines  have  jobs, 
often  important  ones,  and  they  are  dressing  the  part. 
While  their  skirls  are  often  too  short  and  their  hair 
too  long  to  be  mirror  Images  of  their  real-life  coun- 
tcrparts,  the  wardrobe  tends  to  be  on  target.  A 
working  women  could  safely  take  her  cues  from  it. 

When  Candice  Bergen  goes  on  camera  as  an 
anchor  in  "Murphy  Brown"  wearing  a  brightly  col- 
ored  Anne  Klein  jacket  with  a  vintage  brooch  or  sleek 
ncckpicce  by  Robert  Lee  Morris,  she  could  be  Diane 
Sawyer  or  Pat  Collins  delivering  the  news.  When 
Susan  Dey  enters  a  courtroom  in  "L.A.  Law,"  she  is 
likely  to  be  wearing  a  tailored  jacket  byyVlauTAnn. 
Restivqjln  a  neutral  color  and  a  collariess  blöüs^Tjtßt 
'  TifeetHe  female  lawyers  at  real  trials. 

*The  Executive  Look* 

•'It's  not  like  Joan  Collins,"  said  Bill  Hargate,  who 
is  responsible  for  Ms.  Bergen's  costumes.  "The  wom- 
en doing  the  news  these  days  are  role  modeis,  and  the 
executive  look  is  all  over  störe  ads." 

One  reason  the  clothes  on  these  shows  look  authen- 
tic  is  ihat  they  are.  The  costumers  buy  them  in 
drpariment  Stores  and  boutiques,  often  choosing 
designers  who  are  the  mainstays  of  upscale  career 
dressing  —  DonnaKaran,  Anne  Klein,  Calvin  Klein, 
Ralph  Lauren  and^^laryAnne  Restivo  j—  though  the 
outfits  tend  to  be  com&ffeirWucTiTs  they  would  be  in 
real  life. 

"We  mix  things  up,"  said  Mr.  Hargate  of  "Murphy 
Brown  "  "We'll  use  a  Donna  Karan  dress  but  add 
other  things  so  it's  not  what  you  see  in  a  magazine 
but  more  personal.  A  lot  of  pieces  we  use  over  and 
over." 

Because  Murphy  Brown  is  a  woman  on  the  go,  Mr. 
Hargate  looks  for  clothes  that  are  comfortable  and 
travel  easily.  "And  the  show's  a  comedy,  so  I  try  to 
brighien  it  through  color,"  he  said. 

Courtrooms  in  New  York,  Los  Angeles  and  Atlanta 
are  providing  guidelines  for  the  wardrobes  of  trial 
lawyers  and  public  defenders  in  the  legal  dramas 
that  seem  to  have  replaced  the  medical  scene  in 
popularity  on  television. 

Lawyers  on  the  staff  of  "L.A.  Law"  offer  advice  on 
what's  proper,  said  Loree  Parral,  the  women's  cos- 
tumer.  While  the  television  lawyers  may  wear  sweat- 
er^in  the  office,  they're  always  in  suits  in  court.  But 
the  suits  have  gone  beyond  the  boxy  blazer  and  calf- 
lenglh  skirt  worn  with  a  Shirt  and  a  pussycat  bow. 

"Boxy  jackets  would  look  like  too  much  Shoulder  in 
dose  shots,"  Ms.  Parral  said.  "We  tend  to  have  them 
wear  more  form-fitting  suits  and  shorter  skirts.  And 
the  suits  don't  always  match." 

When  Shirts  are  worn,  the  neckline  is  unbuttoned 
and  the  collar  turned  up.  But  there  has  been  a  trend 
to  collarless  silk  blouses,  which  are  more  up-to-date. 

"The  basic  premise  is  that  people  look  real,  as 
opposed  to  looking  like  TV,"  Ms.  Parral  said.  "I've 
been  down  to  the  courts  in  Los  Angeles  and  it's  a  bit 
different,  but  you  can't  have  people  on  television 
changing  from  one  navy  suit  to  another  navy  suit." 

Audrey  Tannenbaum,  the  costume  Supervisor  for 
"Matlock,"  which  is  set  in  Atlanta,  also  strives  for 
realism.  "We  did  a  lot  of  research  about  courtrooms 
in  Atlanta,"  she  said.  "We've  tried  to  stay  away  from 
ovcrdoing  it.  We  repeat  clothes  and  mix  and  match 
like  you'd  do  in  your  own  closet." 

'Something  From  SoHo* 

In  "Beauty  and  the  Beast,"  Linda  Hamilton  plays 
a  public  defender  in  New  York  whose  working  ward- 
robe includes  labeis  like  Calvin  Klein,  Donna  Karan, 
Leon  Max  and  Perry  Ellis. 

"We  want  her  to  look  like  a  classy,  career-oriented 
New  York  woman,"  said  Judy  Evans,  the  show's 
costume  designer.  "We'll  look  for  something  from 
SoHo  to  mix  with  the  classics  so  she  doesn't  look 
staid." 

While  Ms.  Hamilton's  character,  Catherine,  mighl 
wear  a  calf-length  Perry  Ellis  coat  with  boots  wher 
she  decends  into  the  Underground  to  meet  Vincent 
her  above-ground  wardrobe  tends  to  short  jackets 
just-above-the-knee  skirts  and  high  heels. 

"We  had  a  letter  from  a  fan  saying  no  New  York 
career  woman  wears  high  heels,"  Ms.  Evans  said 
laughing,  "but  we  are  a  television  show.  We  pusl 
reality  a  little  bit." 


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ABOVE  Michele  Greene  and  Jill    [ 
Eikenberry  of  "L.A.  Law"  are 
dressed  for  business. 

LEFT  Susan  Dey,  who  works  in 
the  district  attorney's  office  on 
"L.A.  Law,"  favors  collarless 
suits  and  blouses.y]^^  ^^Uu 

BELOW  Jill  Eikenberry,  dressed 
for  an  after-work  party,  with 
Michael  Tucker,  who  plays  her 
husband  and  fellow  lawyer  on 
the  show. 


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LEFT  Candice  Bergen  sets  the  style  for 
anchorwomen  on  "Murphy  Brown." 


Eat,  Drink  and  Be  Sexy 


KIKI'S  PARIS 

Artists  and  Lovers  1900-1930. 
By  Billy  Klüver  and  Julie  Martin, 
Illustrated.  264  pp.  New  York: 
Harry  N.  Abrams.  $39.95. 


By  Edmund  White 


ONTMARTRE  and  Montparnasse  lie  at 
opposite  ends  of  Paris  and  represent 
two  different  states  of  mind.  Montmar- 
tre was  the  resolutely  French  19th-cen- 
tury  bohemian  stronghold,  the  scene  of  "La  Bo- 
heme/* a  vlUage  of  cabaret  Singers,  amiable 
seamstresses,  pimps,  accordion  players  and  poor 
painters  wearing  goatees  and  berets  —  or  at  least 
that's  the  picture  postcard  version.  In  fact,  it  was 
the  sinister,  highly  permeable  membrane  between 
artistic  dreams  and  criminal  intentions. 

By  contrast,  Montparnasse,  the  subject  of  "Ki- 
ki's  Paris"  —  a  seductive  book  filled  with  photo- 
graphs  by  Billy  Klüver  and  Julie  Martin,  both 
associated  with  a  foundation  that  helps  artists  use 
new  technologies  —  came  to  represent  the  20th 
Century  and  cosmopc^itanism.  When  Picasso 
moved  from  Montmartre  to  Montparnasse  in  1912, 
he  fixed  a  moment  of  change  in  the  spiritual  topog- 
raphy  of  Paris  —  and  by  extension  in  modern  art. 
The  sexy,  ebuUient  monarch  of  the  new  Montpar- 
nasse was  Kiki,  an  artist's  model  who  posed  for 
such  friends  as  Moise  Kisling  and  the  Japanese 
painter  Tsugouharu  Foujita  as  iwell  as  for  .lovers 

like  the  Surrealist  photographer^^dan^^^a^  / 

Kiki  —  whose  real  name  was  Alice  Emestine 
Prin  and  who  was  bom  in  a  village  in  Burgundy  — 
was  more  a  creator  and  **personality"  in  her  own 
right  than  a  professional  model.  She  painted  naive 
canvasses,  including  portraits  of  Montparnasse  fig- 
ures.  An  exhibition  of  her  work  was  a  sellout  Her 
scintillating  memoirs  became  a  big  seller  in  French 
and  were  quickly  translated  into  English,  with  a 
preface  by  Hemingway.  She  sang  in  cabarets  and 
could  make  or  break  a  new  club  if  she  f  requented  it 
or  decided  not  to.  She  even  acted  in  several  f ilms.  In 
each  domain  she  was  successful,  but  she  had  no 
interest  in  pursuing  her  triumphs.  As  the  photogra- 
pher  Brassai'  wrote  of  her,  she  was  unfortunately 
devoid  of  any  practical  sense  and  "had  no  idea  how 
to  exploit  her  many  talents.  She  lacked  the  ambition 

Edmund  White  is  the  author  of  the  novel  "The 
Beautiful  Room  Is  Empty."  He  lives  in  Paris. 


PHO^OGRAPHS  FROV   KIKI  S  PARIS 


Kiki  in  a  1923  painting  by  Man  Ray. 


Kiki  öfter  being  elected  "Queen  of  Montparnasse'* 
at  a  1929  benefit  to  buy  foodfor  artists. 

to  be  a  Star.  She  tossed  all  her  gifts  to  the  winds." 

By  1924  she  was  so  populär  that  she  was  elected 
"Queen  of  Montparnasse."  Whatever  she  did,  wore 
or  Said  was  instantly  reported  in  the  papers.  Her 
gay,  simple  manner  —  generous  and  spontaneous, 
sometimes  feisty  —  caught  the  spirit  of  Montpar- 
nasse. She  would  move  out  on  a  lover  when  he  bored 
her.  She  didn't  like  to  repeat  herseif.  If  she  loved  a 
man  she  moved  in  with  him  right  away.  If  she  feit 
like  an  adventure  she'd  take  off  for  a  seaport  and 
provoke  a  riot  among  admiring  sailors. 

Every  night  in  Montparnasse  the  painters  and 
writers  (including  Ezra  Pound,  James  Joyce,  Hem- 
ingway, Ford  Madox  Ford)  would  gather  in  the 
great  cafes  along  the  Boulevard  Montparnasse 
such  as  the  Dome,  the  Select,  th^^Closerie  des  Lilas 
and  La  Coupole  to  eat,  drink,  meet  women  and 
dance  —  and  above  all  to  talk  and  flirt. 

Never  have  so  many  creative  spirits  been  as- 
sembled  in  one  neighborhood.  Aside  from  those 
already  mentioned,  Montparnasse  since  the  begin- 
ning  of  this  Century  could  count  such  luminaries  as 
the  painters  Amedeo  Modigliani  and  Chaim  Sou- 
tine,  the  American  photographer  Edward  Steichen, 
the  sculptors  Constantin  Brancusi  and  Jacques 
Lipchitz,  the  lightly  sensual  painter  of  women  Jules 
Pascin,  the  dancer  Isadora  Duncan,  the  Dutch 
abstractionist  Piet  Mondrian,  the  Mexican  mural- 
ist  Diego  Rivera,  the  Surrealist  (and  Communist) 
pair  of  writers  Louis  Aragon  and  Elsa  Triolet,  the 
Italian  Futurist  Gino  Severini  and  the  great  French 
painter  of  gravity-f  ree  mechanized  men  and  wom- 
en, Fernand  Leger. 

THE  photographs  in  this  book,  many  of  them 
previously  unpublished,  are  accompanied  by 
a  carefully  researched  text  that  is  always 
amusingly  written  and  bristling  with  infor- 
mation.  The  layouts  are  not  very  inspired,  but  the 
Story  that  is  pictured  and  narrated  is  so  lively  that 
the  banal  appearance  of  the  book  is  quickly  forgot- 
ten.  We  leam  of  duels  between  rivals,  tragic  sui- 
cides,  lives  that  pass  from  rags  to  riches  to  rags. 
We  see  the  fashions,  the  faces  (many  of  them  so 
shockingly  young)  and  the  neighborhood  restau- 
rants  and  shops.  Not  the  least  of  the  book's  merits  is 
that  it  restores  the  brilliance  to  such  slightly  faded 
names  as  those  of  Pascin,  Foujita,  Kisling  and  the 
prewar  poet  and  artistic  entrepreneur  Paul  Fort 
Kiki  died  in  1953,  a  drunk  and  down  on  her  luck. 
All  of  Montparnasse  tumed  out  for  the  funeral.  As 
Hemingway  had  remarked  as  early  as  1929,  "For 
about  ten  years  she  was  about  as  close  as  people 
get  nowadays  to  being  a  Queen  but  that,  of  course, 
is  very  different  from  being  a  lady.**  D 


i 


Schauspielhaus  Zürich 


Saison  1987/88 


«Sie  sollen  nicht  versöhnt  werden,  sondern  umgeschult  -  oder  aufgehängt 
und  erschossen.  Studenten,  Professoren,  Intellektuelle  überhaupt  dürfen  nur  als 

nackte  Leichen  vorkommen.» 


HEINRICH  MANN 


Heinrich  Mann  hat  -  früher  als 
die  meisten  seiner  Schriftsteller- 
kollegen -  in  einer  Vielzahl  von 
Schriften  den  Faschismus  analy- 
siert. Er  kannte  die  Innenwelt 
und  den  Weltentwurf  der  Natio- 
nalsozialisten. In  der  Emigration 
schrieb  er  «Lidice»,  den  grossen 
satirischen  Roman  über  die 
Wesenszüge  des  faschistischen 
Menschen.  Gottfried  Greiffen- 
hagen  hat  diesen  Roman  für  die 
Bühne  bearbeitet. 

Uwe  Naumann: 

Heinrich  Mann  und  Lidice 

Heinrich  Mann  war  sich  des 
politischen  Symbolgehahs 
des  Namens  «Lidice»  bei  Ge- 
genstands- und  Titelwahl  sei- 
nes Romans  bewusst.  In  Entwürfen  zu 
seiner  Autobiographie  «Ein  Zeitalter 
wird  besichtigt»  hat  Heinrich  Mann  dar- 
auf hingewiesen: 


Uraufführung 

Dramatisierung:  Gottfried  Greif fenhagen 
Inszenierung :  Arie  Zinger 

Bühne:  Wolf  gang  Mai 
Kostüme:  Franziska  Loring 
Premiere:  Mitte  Juni  1988 


«Lidice  ist  ein  Dorf,  das  Entartete  ver- 
nichtet haben  wie  tausend  andere  Dör- 
fer, aber  unter  dramatischen  Sachverhal- 
ten. Wenn  kein  anderes,  wird  dieses  eine 
Dorf  das  Andenken  einer  unmöglichen 
Schreckensherrschaft  verlängern.» 
Wenn  nach  Heinrich  Manns  Auffassung 
der  Name  des  Dorfes  «das  Andenken 
einer  unmöglichen  Schreckensherr- 
schaft verlängern»  würde,  so  lässt  dies 
Rückschlüsse  auf  die  Autorintention  des 
«Lidice»- Verfassers  zu:  das  Andenken 
dieser  Herrschaft  auch  mit  literarischen 
Mitteln  zu  verlängern;  am  Beispiel  von 
Lidice  einen  Beitrag  zur  Gestaltung  der 
faschistischen  Herrschaft  und  des  Wi- 
derstandes gegen  diese  zu  liefern,  um 
zeitgenössischen  Lesern,  vor  allem  aber 
der  Nachwelt  das  «Andenken»  zu  er- 
leichtern. 

Dass  Heinrich  Mann  gerade  die  Ereig- 
nisse von  Lidice  zum  Anlass  nahm, 
einen  Zeitroman  zu  schreiben,  hat  im 
übrigen  einen  spezifischen,  über  das  all- 
gemeine Interesse  des  Autors  an  litera- 
risch gestalteter  Analyse  und  Kritik  des 
Faschismus  hinausgehenden  Grund: 
Heinrich  Manns  Verhältnis  zur  Tsche- 
choslowakei. Beginnend  1914  mit  der 
Hochzeit  mit  Maria  Kanova,  der  Toch- 
ter eines  Prager  Kaufmanns,  entwickelte 
Heinrich  Mann  ein  zunehmend  innige- 
res Verhältnis  zu  Volk  und  Nation  der 
Tschechoslowakei.  «Meine  ergriffene 
Verehrung  gehört  der  tschechoslowaki- 
schen Republik»,  so  heisst  es  im  1944 
abgeschlossenen  «Zeitalter»-Buch.  Die 
brutale  Behandlung  des  tschechischen 
Volkes  in  Lidice  muss  ihn  daher  beson- 
ders geschmerzt  und  zum  Protest  mit  sei- 
nen künstlerischen  Mitteln  angeregt  ha- 
ben. «Diese  unseligen  Deutschen  ver- 
greifen sich  an  einem  Lande,  das  mir 
teuer  ist»  -  so  Heinrich  Mann  an  F.C. 
Weiskopf  über  Lidice. 
Marksteine  von  Heinrich  Manns  Bezie- 
hung zu  den  Tschechen  waren  seine  per- 
sönliche Bekanntschaft  mit  Masaryk 
und  später  der  Erwerb  der  tschechischen 
Staatsbürgerschaft.  Tomas  Garrigue 
Masaryk,  von   1918  bis   1935  tschechi- 


scher Staatspräsident,  hatte  den  Schrift- 
steller 1924  zu  einem  Gespräch  empfan- 
gen. (Auf  der  Fahrt  dahin  lernte  Hein- 
rich Mann  die  Stadt  Kladno  und  die 
Umgebung  von  Lidice  kennen.)  Hein- 
rich Mann  war  von  Masaryk  tief  beein- 
druckt und  hat  diesen  Besuch  noch  in 
seiner  Autobiographie  geschildert.  1933 
war  Masaryk  nach  der  erzwungenen 
Emigration  Heinrich  Manns  behilflich, 
die  in  München  verbliebenen  Bücher 
und  Manuskripte  vor  dem  Zugriff  der 
Nationalsozialisten  zu  sichern.  Und 
nachdem  im  August  1933  Heinrich 
Mann  aus  Deutschland  ausgebürgert 
worden  war,  erhielt  er  von  der  Ge- 
meinde Prosec  im  August  1935  das  Hei- 
matrecht und  1936  vom  tschechischen 
Konsul  in  Marseille  einen  tschechischen 
Pass.  Hierüber  heisst  es  in  seiner  Auto- 
biographie: 

« Wer  war  ich,  dass  eine  fremde  Nation 
sich  meiner  annahm,  mich  nach  ihrem 
Konsulat  in  Marseille  bestellte,  mich  in  die 
Hand  ihres  Konsuls  den  Treueid  ablegen 
Hess?  Ich  sprach  die  tschechischen  Worte 
nach,  falsch  natürlich,  denn  ich  kannte  sie 
nicht.  Wer  war  ich,  dass  diese  Nation  den 
Mann,  Verstössen  aus  der  seinen,  ehrenvoll 
aufnahm  und  für  ihresgleichen  gelten  Hess 
bis  hinein  in  ihre  eigene  Verlassenheit? 
1940,  als  der  Konsul,  selbst  gefährdet,  in 
Vichyfür  mich  eintrat,  hätte  ich  ihm  sagen 
wollen:  <Aber  Landsmann!  Gibt  es  so  viel 
menschliche  Solidarität  ?>  Nur,  dass  er 
seine  guten  Werke  in  aller  seiner  nationa- 
len Unschuld  beging.  Diese  Unschuld,  die 
Witz,  Klugheit,  geistige  Frömmigkeit  ver- 
einigt, die  tschechische  Unschuld  ist  es,  die 
ich  in  einer  Reihe  von  Romanszenen,  <Li- 
dice>  genannt,  habe  mit  Liebe  bedenken 
wollen.  Oh,  unauffällig,  anspruchslos. 
Gross  auftreten,  sie  anreden:  (Tragische 
Nation!  Lamm  auf  der  Schlachtbank! > 
stände  mir  nicht  an,  und  auch  ihr  nicht.» 

«Lidice»  war  im  Selbstverständnis 
Heinrich  Manns  intendiert  als  eine 
«Huldigung  an  eine  Nation,  der  ich 
nicht  umsonst  die  Treue  versprach». 


Alfred  Kantorowicz: 
Heinrich  Manns  Exil 

In  den  siebzehn  Jahren  des  Exils 
(Heinrich  Mann  lebte  von  1933  bis 
1940  in  Nizza,  1940  bis  zu  seinem 
Tod  1950  in  den  USA)  schrieb 
Heinrich  Mann  zahlreiche  Beiträge  zum 
Ideenkampf  der  Zeit,  deren  jeden  wir  mit 
einer  ob  seiner' moralischen  Klarheit  und 
Gewissheit  fast  heiteren  Ergriffenheit  la- 
sen (Thomas  Mann  zum  65.  Geburtstag 
des  Bruders). 

Das  schöpferische  Werk,  das  er  abseits 
von  den  Exilzentren,  in  einer  kleinen 
Wohnung  in  Nizza  schuf,  litt  unter  die- 
ser Anteilnahme  am  geistigen  Kampf 
der  Exilierten  nicht.  Die  Romane  von 
der  Jugend  und  der  Vollendung  des  Kö- 
nigs Henri  IV.  von  Frankreich  sind  als 
sein  Hauptwerk  zu  betrachten. 
Nach  dem  Abschluss  des  zweiten  Ban- 
des im  Jahre  1938  wurde  die  Zeit  für  den 
Europäer  Heinrich  Mann,  der  Frank- 
reich als  seine  zweite  Heimat  betrach- 
tete, knapp. 

Mit  Beginn  des  Krieges  kam  er  in  Frank- 
reich nicht  mehr  zu  Wort.  Sein  hohes  Al- 
ter ersparte  ihm  die  Intemierung  in  ei- 
nem französischen  Lager.  Nach  dem  mi- 
litärischen Zusammenbruch  Frankreichs 
wurde  ihm  und  seiner  Frau,  gemeinsam 
mit  Feuchtwangers,  Werfel  und  Golo 
Mann  von  amerikanischen  Helfern  die 
Flucht  über  die  Pyrenäen-Grenze  durch 
Spanien  nach  Lissabon  ermöglicht,  von 
wo  aus  sie  in  die  USA  reisen  konnten.  Er 
hat  den  leidvollen  Abschied  von  Europa 
in  seinem  Erinnerungsband  «Ein  Zeital- 
ter wird  besichtigt»  dargestellt.  Erst 
nachdem  er  Frankreich  verlassen 
musste,  war  er  in  der  Fremde.  In  einem 
Brief  autobiographischen  Inhalts 
schrieb  er  mir  1943:  Mir  hat  Frankreich 
mein  Leben  lang  Gutes  gegeben.  Ich  liebe 
es  als  geschichtliche  Erscheinung  bis  in 
seine  vorletzten  Tage. 
Das  Alterswerk  beginnt  in  Amerika.  Er 
lebte  von  1941  bis  zu  seinem  Tode  am  12. 
März  1950  in  materieller  Bedrängnis 
und     durch     persönliche     Schicksals- 


Kein  Abend  wie  der  andere 
Schauspielhaus  Keller 

Niklas  Rädstrom 
Hitlers  Kindheit,  z.B. 

Inszenierung:  Hansjörg  Betschart 
Bühne  und  Kostüme: 
Christian  Feichtinger 
Premiere:  14.  September  1986 


Anne-Marie  Dermon,  Norbert  Schwientek,  Jürgen  Cziesla 


Jürgen  Cziesla,  Norbert  Schwientek 


ie  grossen  Dramatiker,  Dichter  und  Denker 
auf  der  Bühne  erleben. 
Ihnen  im  Buch  wiederbegegnen, 
,  wenn  Zeit  ist 
es  Sein  und  stilles  Vergnügen. 


^/xuch  wir  lieben  es, 

wenn  interessierte  Menschen 
für  gute  Bücher,  Musik  und  Kunst 
den  Weg  zu  uns  finden. 


■  ■■  40JAHRE 

libns 


Seit  50  Jahren  setzt  sich  die  Neue  Schauspiel  AG 
erfolgreich  für  gutes  Theater  auf  der  Pfauenbühne  ein 

Wir  gratulieren. 


HS 


Schauspielhaus  Zürich 


Die  Zerstörung  von  Lidice 
Am  10.  Juni  1942  hatten  die  nationalsozialisti- 
schen Okkupanten  in  der  Tschechoslowakei  die 
vollständige  Liquidierung  der  tschechischen 
Bergarbeitersiedlung  Lidice  bekanntgegeben. 
Dieser  Racheakt  folgte  auf  das  Prager  Attentat 
vom  27.  Mai.  bei  dem  Reinhard  Heydrich,  Chef 
des  Reichssicherheitshauptamtes  -  der  Zentrale 
des  faschistischen  Polizeiapparates  -  und  seit 
Herbst  1941  eingesetzt  als  «Stellvertretender 
Reichsprotektor  in  Böhmen- Mähren»,  durch 
eine  Bombenexplosion  tödlich  verletzt  worden 
war.  Sofort  nach  dem  Attentat  setzte  eine 
furchtbare  Terrorwelle  gegen  die  tschechoslo- 
wakische Bevölkerung  ein.  Die  Beschuldigung, 
dass  Lidice  die  Heydrich-Attentäter  unterstützt 
habe,  war  erfunden:  sie  diente  als  Vorwand  für 
den  beschlossenen  Vernichtungsfeldzug.  Die 
Nachricht  von  Lidice  löste  weltweite  Protestak- 
tionen aus.  Verschiedene  Orte  in  anderen  Län- 
dern wurden  nach  der  zerstörten  tschechischen 
Siedlung  umbenannt.  Der  Wille  der  Nationalso- 
zialisten, diesen  Namen  auszulöschen,  ver- 
kehrte sich  ins  Gegenteil.  Lidice  wurde  fortan 
zum  Symbol  der  Solidarität  gegen  faschistische 
Unmenschlichkeit. 

schlage  -  die  Krankheit  und  den  Freitod 
seiner  Frau  Nelly  -  belastet,  in  Los  An- 
geles, Californien.  In  diesem  Jahrzehnt 
der  Abgeschiedenheit  entstanden  neben 
vielen  rückschauenden  und  wegweisen- 
den Aufsätzen,  Betrachtungen,  Notizen 
fünf  Bücher:  sein  bilanzziehendes,  auto- 
biographisch durchwirktes  geistiges  Ver- 
mächtnis «Ein  Zeitalter  wird  besich- 
tigt»; der  dialogisierte  Roman  «Lidice»; 
das  gleichfalls  dialogisierte  Fragment 
«Die  traurige  Geschichte  von  Friedrich 
dem  Grossen»;  und  die  beiden  in  epi- 
sche Form  gefassten  Romane  «Der 
Atem»  und  «Empfang  bei  der  Welt»; 
ein  Epitaph  auf  das  19.  Jahrhundert. 
Allen  Arbeiten  gemeinsam  ist  die  Bezo- 
genheit  auf  die  alte  Heimat:  Europa. 
Der  gute  Europäer  Heinrich  Mann 
konnte  sich  als  Siebzigjähriger  in  der 
neuen  Welt,  die  ihm  Asyl  gewährte,  ohne 
sonst  viel  von  seiner  Bedeutung  zu  wis- 
sen, nicht  mehr  einleben.  Er  kapselte 
sich  ab  mit  seinen  Enttäuschungen  und 
Hoffnungen,  seinen  Erinnerungen  und 
seinen    Visionen    vom    menschlicheren 

Leben  der  Zukunft. 

Im  Insgesamt  des  Spätwerks  klingt  der 
Grundakkord  noch  einmal  auf:  streitba- 
rer Humanismus.  Wer  ihn  für  einen  Um- 
stürzler, einen  Zersetzer,  einen  Vernei- 
ner hält,  hat  ihn  misskannt,  seine  Ro- 
mane, Erzählungen,  Schauspiele,  Streit- 
schriften missverstanden.  Sein  Moralis- 
mus ist  im  Bildungsbürgertum  des  19. 
Jahrhunderts  beheimatet,  nicht  zuletzt 
konservativ  bestimmt,  wenn  man  Kon- 
servatismus als  Bewahrung  geistiger 
Werte,  Masshalten,  Solidität  recht  ver- 
steht. Im  Reiche  Bismarcks  sah  er  -  es 
sind  seine  Worte  -:  eine  konservative 
Wohltat  dieses  Erdteils.  Mit  Wilhelm  H. 
und  seinen  «Untertanen»  begann  der 
Niedergang,  der  Nationalismus,  der  in 
das  Unheil  des  Nationalsozialismus  ein- 
mündete. Die  deutsche  Gefahr  und 
deutsche  Gefährdung  sah  er  in  der 
Masslosigkeit,  der  Überspannung  der 
Kräfte,  die  sich  ihm  zufolge  von  Fried- 
rich II.  von  Preussen,  den  er  dennoch 
«den  Grossen»  nennt,  herleitete. 


DAS  STÜCK 

1940  wurde  Heinrich  Mann,  damals  69  Jahre  alt,  vom  Faschismus  aus  Europa  ver- 
trieben. Er  emigrierte  in  die  USA,  wo  er  sich,  bis  zu  seinem  Tod  1950,  sehr  fremd 
fühlte.  Im  Jahr  1942  vernahm  er  die  Schreckensmeldungen  über  die  Ausrottung  des 
tschechischen  Dorfes  Lidice  durch  die  Nazis.  Heinrich  Mann,  der  zur  Tschechoslo- 
wakei und  ihren  Bewohnern  immer  ein  geradezu  brüderliches  Verhältnis  gehabt 
hatte,  war  von  diesem  Ereignis  so  betroffen,  dass  er  alle  anderen  literarischen  Pro- 
jekte zurückstellte  und  den  Roman  «Lidice»  schrieb.  Doch  er  hatte  nicht  die  Ab- 
sicht, über  die  tragischen  Vorgänge  eine  Tragödie  zu  schreiben:  «Ich  habe  meine 
Sache  darauf  gestellt,  das  Böse  in  seiner  Komik  zu  zeigen.»  Mit  den  Mitteln  der 
Groteske  und  der  Satire  entlarvte  er  den  «herrschenden  faschistischen  Typ»,  ähnlich 
wie  Chaplin  in  seinem  Film  «The  great  Dictator». 

Der  Roman  «Lidice»  ist  durchgängig  in  Dialogform  abgefasst.  Heinrich  Mann  «be- 
handelte diesen  Gegenstand  szenisch»,  wie  er  selber  formulierte.  Die  Dramatisie- 
rung durch  Gottfried  Greiffenhagen  ist  daher  eine  Weiterführung  der  im  Roman 
angelegten  Struktur. 

Eine  grossangelegte  Doppelgängersatire  steht  im  Mittelpunkt  der  sich  überstürzen- 
den Geschehnisse.  Reinhard  Heydrich,  von  Hitler  zum  neuen  «Protektor  von  Böh- 
men und  Mähren»  ernannt,  befindet  sich  auf  dem  Weg  nach  Prag.  In  der  Ortschaft 
Lidice  macht  er  halt.  Einer  der  Bewohner  dieses  Orts,  der  Medizinstudent  Pavel  On- 
dracek,  entdeckt  in  sich  die  verblüffende  Begabung,  Stimme,  Haltung,  Mimik  von 
Reinhard  Heydrich  überzeugend  zu  imitieren.  Als  Doppelgänger  Heydrichs  organi- 
siert er  eine  spezifisch  tschechische,  gewaltfreie,  von  schweykischem  Witz,  von  Bau- 
ernschläue und  Durchtriebenheit  geprägte  Form  des  Widerstands  gegen  die  Nazis. 
Die  Abwesenheit  Heydrichs  benutzt  Pavel,  um  in  Prag  als  Heydrich  aufzutreten  und 
die  deutschen  Besatzer  so  zu  täuschen,  dass  sie  ihn  für  den  echten  Protektor  halten. 
In  ihrem  blinden  Gehorsam  vollstrecken  sie  seine  Befehle,  die  den  deutschen  Inter- 
essen prompt  zuwiderlaufen.  Eine  groteske  Steigerung  der  Verwirrungen,  Verwechs- 
lungen und  Konflikte  führt  dazu,  dass  der  echte  Heydrich,  dessen  Position  durch  die 
Aktionen  Pavels  immer  wackliger  geworden  ist,  an  seiner  Identität  zu  zweifeln  be- 
ginnt: «Man  sage  mir,  wer  ich  bin!»  Doch  nachdem  Heydrich  von  einem  Gestapo- 
Offizier  erschossen  wurde,  machen  die  deutschen  Besatzer  Pavel  für  die  Ermordung 
verantwortlich;  dessen  Heimatort,  Lidice,  wird  dem  Erdboden  gleichgemacht. 
Heinrich  Mann  hat  im  falschen  Protektor  Pavel  den  wirklichen  Beschützer  (latei- 
nisch «protector»)  menschlichen  Lebens  gezeichnet.  Ihm  und  der  listigen  Solidarität 
der  Unterdrückten  gelingt  es,  die  Unterdrücker  aufs  Glatteis  zu  führen,  so  dass  diese 
nicht  mehr  Herr  der  Lage  sind.  In  dieser  schiefen  Haltung  werden  sie  von  Heinrich 
Mann  vorgeführt:  als  lächerlich  und  -  überwindbar. 


Saison  1987/88 


Der  Gesellschaftskritiker  Heinrich 
Mann  suchte  inmitten  der  Auflösungser- 
scheinungen das  Wertbeständige.  Des- 
halb hielt  er,  zuweilen  mit  dem  Kunst- 
mittel der  Satire,  der  Gesellschaft  den 
Spiegel  vor.  Vornehm  und  gütig  war  er 
immer.  In  seinem  Alterswerk  ist  er  milde 
und  nachsichtig.  Auch  Deutschland  und 
den  Deutschen  gegenüber.  Er  erblickte 
in  dem  unglücklichen  Lande  unseres  Ur- 
sprungs keinen  monströsen  Einzelfall. 
Heimzukehren  zögerte  er  einige  Jahre 
ebenso  wie  nahezu  ausnahmslos  alle  exi- 
lierten deutschen  Schriftsteller.  Im  We- 
sten des  Landes  rief  ihn  niemand.  Aus 
der  damaligen  Ostzone  kamen  einige  un- 
verbindliche Einladungen.  Am  22.  Au- 
gust 1946  schrieb  er  mir  dazu:  Drei-  oder 
viermal  bin  ich  aufgefordert  hinzukom- 
men . . . 

Ich  sagte,  vielleicht  nicht  deutlich  genug, 
dass  noch  niemand  mir  eine  Aufgabe  ge- 
stellt, ein  Amt  und  eine  Existenz  angebo- 
ten habe. 

Mag  sein,  man  will  mich  nur  umherzeigen 
und  verkünden,  dass  wieder  einer  zurück- 
gekehrt ist.  Aber  eine  Lebensweise  des 
Auftretens,  Sprechens  und  verwandte 
Pflichten  kann  ich  mir  nicht  mehr  zumu- 
ten. Nicht  nur  das  Alter,  nicht  mehr  über- 
windliche  Erlebnisse  haben  mich  scheu  ge- 
macht angesichts  der  Öffentlichkeit,  be- 
sonders wenn  sie  mein  tägliches  Geschäft 
wäre... 

Als  er  dann  einige  Jahre  später  trotz 
mancherlei  Bedenken  zusagte,  die  ihm 
angebotene  Präsidentschaft  der  Deut- 
schen Akademie  der  Künste  in  Ostberlin 
anzunehmen  und  in  einem  Brief  an  Ar- 
nold Zweig  vom  28.  Februar  1950  seine 
bevorstehende  Abreise  mitteilte,  kam 
ihm  der  Tod  zuvor. 


Willi  Sitte,  Die  Mörder  von  Lidice,  DDR  1957  (Ausschnitt) 


Der  Regisseur 
Arie  Zinger 

Die  drei  Aufführungen,  die  Arie  Zinger 
bisher  am  Schauspielhaus  inszenierte, 
fanden  im  In-  und  Ausland  grosse  Beach- 
tung. Nach  Tschechows  «Iwanow»  insze- 
nierte er  in  Zürich  Shakespeares  «Mass 
für  Mass»  und  in  der  letzten  Spielzeit  John 
Osbornes  «Entertainer».  1952  in  Tel  Aviv 
geboren,  begann  Arie  Zinger  als  Regieas- 
sistent unter  Hans  Lietzau  und  Peter  Za- 
dek.  1977  debütierte  er  als  Regisseur  mit 
«Freibrief»  von  Gaston  Salvatore,  es 
folgten  «Blick  zurück  im  Zorn»  und  «Der 
Dybuk».  Im  Herbst  1979  zeigte  Zinger  sei- 
nen ersten  Shakespeare,  «Der  Kaufmann 
von  Venedig»,  in  Köln.  Seit  der  letzten 
Spielzeit  arbeitet  Arie  Zinger  vermehrt  in 
Stuttgart,  1985/86  nicht  weniger  als  drei 
Inszenierungen:  «Wilder  Honig»  (Michael 
Frayn),  «Wie  Du»  (William  M.  Hoff  mann) 
und  Sam  Sheppards  «Pool  For  Love». 
1986/87  inszenierte  er  unter  anderem  am 
Thalia  Theater  Hamburg  Tennessee  Willi- 
ams' «Katze  auf  dem  heissen  Blechdach» 
und  am  Stuttgarter  Staatstheater  Clifford 
Odets  «Wachet  auf  und  rühmet». 


Kein  Abend  wie  der  andere 
Schauspielhaus  Keller 
Maxie  Wander 
Guten  Morgen,  du  Schöne 

Leitung:  Nikola  Weisse 
Raum:  Hugo  Gretler 
Premiere:  30.  Januar  1987 


Andrea  Fabian,  Renate  Schroeter 


Susanne  Bentzien,  Renate  Schroeter 


BEYOND 

THE 
LAW 


U.S.A.    1968       Satiirday  Evening,  Sel)lcmher  2S,  196S,  al  6:30 


Production  Company 

Prodiicer 

Director 

Photügraphy 

Editor 

Music 

Sound 

Lcading  Players 

Popcorn 

Mayor 

Lt.  Francis  Xavier  P()|)e 


Supreme  Mix,  Inc. 

Biizz  Faibar,  NoniKui  Mailer 

Norman  Mai  1er 

D.  A.  Pennebaker,  Nicholas  Pmfcres,  Jan  \Velt 

Jan  Welt,  Norman  Mailer,  Lana  Jokcl 

Frank  Conroy 

Nina  Scluihnan,  Tim  Cunninghaiii,  Peter  Hansen 


Rip  Torn 
George  Pliin|)l()n 
Norman  Mai  1er 


Mickey   Berk  ^"^iclcey  Knox 
Rocco  Gibraltar      Buzz  Farbar 


Mary  Pope 

Ilse  Fuclis 

Marcia  Stillvvell 

Jucly  Gruncly 

District  Attorney 

Jack  S(()tt 


Beverly  Bentley 
Mara  Lynn 
Marcia  Mason 
Mary  Wilson  Price 
Noel  Parinental 


Jack  Rkjiuf*^ 
Perry  Fu(hs  "TTaiold  (ionracl 

Cirahr      Michael  McC^line 
Wife  Killer      Edward  Bonnetti 
Subwav  Arrestee      Peter  RosolF 
John  Francis     John  Maloon 

New  York  Festival  C^hoice 

RiDining  titnc:  110  iniuutes 

This  film  is  distributed  in  tlie  Uniietl  States  by  Grove  Press. 

Norman  Maileis  oiiliügcoiis  neu  film  is  a  saKioiiic  diama   of  (Ictcrtivcs  and  snspccts  in  a   nip^ht-lit, 
not-so-ni)iliical  poIicc  pietind,  lockcd  in  ohstcnc  aiid   imc(|iial  c<»nil»al.  rninratcd   uiili  implied  oi   cxplicit 
violciice,  it  poscs  llic  daiing  paradox  of   iisiiig  duthna   vir   c  mrihods  lo  itll  a  coniplciciy  tahricated  sIoin   uhich, 
in   turn,  re-eincrges  as  a  social   tiiilfi.  An   invoivfd   pmiagonist.  \[;iiki.  ;is  in  The  Arniirs  of  thr  \i;^ht,  \uH\\ 
participalcs  in  and  llierehy  clianges  tlie  cvcnt. 

Short:  PerilllltatioilS     USA.  Director:  John  Wliitncy.  Running  time:  8  minutes 


54 


N^^Cm^k  vy^/ 


Jaekson  Is  a  Friend  oi 


orman  Mailei 


In  the  spring  of  1977  when  Ed 
Koch  was  beginning  his  first 
successful  campaign  for 
Mayor.  I  gave  him  a  small 
fund-raising  party.  Ed  always 
took  nice  cognizance  of  Chat. 
He  showed  up  at  my  wedding;  he  in- 
vited  my  wife  and  me  to  dinner  a  cou- 
ple  of  times  at  Gracie  Mansion,  and 
he  was  helpful  to  PEN  when  we  had 
the  48th  International  PEN  Congress 
in  New  York.  Koch  and  I  were  never 
that  ciose  pohtically,  but  I  hked  him.  1 
still  do.  It  is  just  that  now  I  cannot  for-  - 
givehim. 

Koch's  Statement  that  any  Jew  who 
would  vote  for  Jesse  Jackson  is 
•'crazy"  may  have  succeeded  in 
blasting  the  last  rickety  catwalk  of 
communication  between  Jews  and 
blacks  in  this  city.  That  is  unforgive- 
able.  I  write  these  words  as  one  of 
those  crazies  who  will  support  Jesse 
Jackson  for  President. 

It  is  not  only  that  Jackson  is  the 
sole  candidate  who  can  wage  both  an 
effective  battle  against  drugs  and 
give  black  people  the  conviction  that 
this  country  can  belong  to  them  as 
well,  but,  paradoxically,  I  believe  he 
will  yet  be  good  for  the  Jews 
in  the  best  and  highest  sense,  even  if 
ihe  Jews,  with  some  justice,  will 
never  be  able  to  trust  him  complete- 

iy. 

Let  me  hope  to  explain  this  last  re- 
mark.  Since  World  War  II,  I  have 
lived,  like  every  other  Jew,  with  the 
fundamental  ill  of  the  Holocaust.  Hit- 
ler succeeded  in  wiping  out  more  than  . 
one-lhird  of  the  Jewish  population  in 
the  World,  and  upon  the  rest  of  us  he 
lefi  a  fearful  curse:  The  legacy  of  Na- 
zism,  now  in  its  fifth  decade,  is  still 


Norman    Mailer 
his  lOthnovel. 


is    at    work    on 


there  to  poison  one's  f iner  moral  sub- 
stance. 

What  made  us  great  as  a  people  is 
that  we,  of  all  ethnic  groups,  were  the 
most  concerned  with  the  world's 
Problems.  If  we  had  come  out  of  cen- 
turies  of  ghetto  life  with  profound 
psychic  scars,  there  was,  nonetheless, 
a  noble  spirit  alive  in  enough  of  us  to 
permit  the  feeling  that  we  were  the 
first  children  of  the  Enlightenment. 
We  understood,  as  no  other  people, 
how  the  concerns  of  the  world  were 
our  concerns.  The  welfare  of  all  the 
people  of  the  world  came  before  our 
own  welfare. 

.  Hitler  succeeded  in  smashing  such 
geherosity  of  spirit.  After  the  Holo- 
caust, a  natural  terror  descended  on 
World  Jewry.  If  somewhere  between 
two-thirds  and  three-quarters  of  all 
the  Jews  living  in  Europe  —  half  of 
the  Jews  on  earth  at  that  time  — 
could  be  destroyed  in  a  few  years, 
then  we  were  the  most  endangered  of 
the  human  species.  Survival  took  on  a 
new  Order  of  magnitüde  for  us. 

The  imperative  to  survive  at  all 
costs  —  which  is  the  external  face  of 
certified  nightmare  within  —  left  us 
smaller,  greedier,  narrower,  preter- 
naturally  touchy,  and  self-seeking.  . 
We  entered  the  true  and  essentially 
hopeless  world  of  the  politics  of  self- 
interest.  "Is  this  good  for  the  Jews?" 
became,  for  all  tpo  many  of  us,  all  of 
our  politics.  ^ 

Now,  we  are  relatively  wealthy, 
powerful  and  accepted.  Yet,  we  are 
still  oppressed.  Perhaps  more  than 
ever.  It  takes  no  great  insight  to 
recognize  that  oppression  of  the  spirit 
is  the  meahest  poverty  of  them  all. 
We  have  descended  from  Shake- 
speare's  parlous  defense  of  the  Jew 
as  being  able  to  bleed  to  Ed  Koch's 
inaccurate  assumption  —  I  hope  it  is 
inaccurate  —  that  we  are,  by  now,  by 
and  large,  conditioned  reflexes  — 
that  is,  machines,  buttons  for  a  politi- 


s  Victims 


cian  to  press.  If-any-Jew-who-votes- 
for-Jackson-is-crazy  proves  to  be  a 
useful  political  button,  then  I  say  we 
Jews  have  become  machines  and  can 
no  longer  look  at  serious  matters  by 
their  true  merits,  or  face  up  to  funda- 
mental problems. 

The  fundamental  problem  facing 
America  today  is  not  our  sagging 
spasmodic  economy  (although  that  is 
bad  enough),  nor  the  abyss  of  cur 
drug  population,  which  contributes  to 
our  economic  lassitude  vis-ä-vis  the 
Japanese.  No,  the  problem  beneath 
other  Problems  is  that  the  gulf.  be- 
tween blacks  and  whites  has  not 


.K 


He  may  well 
turn  out 
tobe 'good 
for  the  Jews.* 


begun  to  close.  It  is  an  incubus  upon 
the  energies  of  this  netion. 

It  weighs  upon  us  as  much,  I  would 
suppose,  as  the  gulf  between  the  Com- 
munist  Party  and  the  Russian  people 
stultifies  the  Soviet  economy.  We  can 
see,  looking  across  the  divide,  that  the 
future  of  the  Soviet  Union  depends  on 
the  ability  of  the  Communist  Party 
and  the  Russian  people  to  be  able  to 
move  toward  one  another  across 
their  divide.  I  wonder  if  in  the  Soviet 
Union  they  do  not  see  us  in  similar 
fashion,  blacks  and  whites,  irretriev- 
ably  apart 

I  would  propose  to  my  fellow  Jews 
in  New  York  that  they  do  not  dwell  on 
**Hymietown"  and  Farrakhan  and 
Arafat  to  the  exclusion  of  all  eise. 
Jackson  has  apologized  for  the  first; 


he  has  withdrawn  f rotn  the  other  two. 
I  would  propose  that  we  do  not  even 
measure  candidates  by  how  hard  and 
firm  they  are  today  on  their  pro-Is- 
rael  meter.  Israel's  history  may  yet 
rise  to  epic  heights,  fall  into  tragedy 
or  end  in  some  more  conventional 
middle,  but  the  avowed  intentions  of  a 
politician  running  for  high  Office  have 
to  count  small  against  the  multitudi- 
nous  labyrinths  and  floodgates 
of  the  oncoming  history  of  the  Near 
East. 

I  off  er  a  paradox;  With  the  best  or 
worst  will  in  the  world,  no  American 
politician  can  save  Israel  or  destroy 
it.  The  wheels  of  history  turn  too 
powerfully.  The  fate  of  Israel  is  by 
now  connected  to  the  fate  of  the 
world.  One  does  well  not  to  choose  an 
American  President  because  he 
Claims  he  will  be  good  for  Israel.  The 
greatest  reversals  in  history  have 
come  often  enough  from  statesmen 
who  began  as  hearty  supporters  of 

.  what  they  would  eventually  —  by  the 
logic  of  events  —  be  obliged  to  betray. 
Israel  is  both  larger  than  the  will  of 
politicians  and  more  vulnerable  than 
any  progräm  to  secure  it 

Besides,  it  is  a  dubious  good  for  the 
Jews  if  Israel  should  become  the 
largest  issue  in  selecting  a  Demo- 
cratic  candidate  for  President  The 
real  issue,  I  would  repeat,  is  that  we 
in  America  may  not  be  able  to  solve 
any  of  our  worst  problems  in  organic 
fashion  until  a  black  man  does  be- 
con[)e  President  It  may  yet  take  an 
event  of  just  such  symbolic  magni- 
tüde to  give  young  black  people  the 
confidence  that  American  society  ex- 
ists  also  for  them. 

I  remember  the  importance  of  Jack 
Kennedy  to  my  generation.  A  man 
who  was  not  altogether  unlike  our- 
selves,  young,  ambitious,  with  a  taste 

'for  adventure,  was  now  President 
What  extraordinary  possibilities  lay 
ahead.  He  was  not  perfect,  our  Jack, 

• /;         ^       


but  he  brought  light  into  the  lives  of 
my  generation. 

Jesse  Jackson  is  not  perfect.  I  have 
no  idea  if  I  would  like  him  if  I  knew 
him.  (Of  course,  the  same  may  bt 
Said  for  Bush,  Dukakls  and  Gore.)  1 
do  not  know  if  I  trust  Jackson  alto- 
gether. So  what?  The  same  may  be 
Said  for  Bush,  Dukakis  and  Gore. 
What  does  count  for  me  is  that  Jack- 
son offers  a  cogent  sense  of  sympathy 
for  human  suffering.  He  can  appreci- 
ate  the  paucity  of  identity  among  the 
underprivileged.  Of  all  our  candi- 
dates, he  speaks  to  our  powerful  pas- 
sion  for  human  promise  and  improve- 
ment 

Already,  he  has  come  the  longest 
way  of  all  the  candidates.  He  has  had 
to  be  a  man  of  more-than-ordinarv 
courage  or  he  would  never  have 
dared  to  run.  His  victory  could  open  a 
great  counterattack  against  the 
metastases  of  the  drug  problem;  a 
nation  goes  over  to  drugs  when  it 
ceases  to  believe  in  its  collective  pur- 
pose. 

The  seed  of  any  vital  American  fu- 
ture must  still  break  through  the  cen- 
tury-old  hard-pack  of  hate,  contempt, 
corruption,  guilt,  odium  and  horror, 
but  the  seed  is  there,  the  potential 
love  of  black  and  white  for  one  an- 
other. 

Franklin  Delano  Roosevelt  grew  in 
the  Presidency,  as  did  Truman,  and 
Eisenhower  in  the  last  days  of  his  Ad- 
ministration. John  Kennedy  certainly 
grew  in  the  Presidency,  and  Nixon 
grew  when  it  was  time  td  go 
to  China.  Reagan  surprised  us  with 
his  accommodation  of  glasnost  Jesse 
Jackson,  elected  as  President  and 
growing  in  stature,  could  illumine  our 
lives  and  give  us  dignity  again  as 
Americans. 

I  want  to  believe  in  that  I  am  tired 
of  living  in  the  miasma  of  our  inde- 
finable  and  ongqing  national  shame.D 

•t 


■»■       »r 


No,  PEN  Decides,  It  Won't  Invite  the  Pope  to  Joiii 


By  WALTER  GOODMAN 


It  looks  as  though  Pope  John  Paul 
II  will  not  be  invited  to  join  PEN  after 
all. 

That  honor  was  recently  proposed 
at  a  board  meeting  of  PEN  American 
Center  byytolUI»an  Maney  a  past 
President  ofthewrlTerrtJrganization. 
Looking  back,  Gay  Talese,  a  former 
vice  President,  described  the  pro- 
posal  dryly  as  "a  gesture  by  one  in- 
ternational Organization  to  another." 
A  current  officer  called  it  "one  of 
Norman's  flourishes."  Susan  Sontag, 
PEN's  President,  said  the  idea  was 
inimitably  Mailer:  "He's  interested 
in  a  certain  kind  of  outreach.  I  wasn't 
persuaded  by  the  idea,  and  I  don't 
think  anybody  was  enthralled  by  it. 
People  have  all  kinds  of  funny  ideas.'* 

The  particular  work  of  John  Paul 
that  caught  Mr.  Mailer's  fancy  was 
the  papal  encyclical  "On  Social  Con- 
cern," a  Statement  on  developing  the 
third  World  issued  at  the  end  of  1987. 
"Norman  was  füll  of  beans  about  the 
encyclical,"  said  Mr.  Talese. 

Examples  of  the  papal  prose  were 
handed  around  to  the  30  or  so  writers 
gathered  at  PEN's  headquarters  on 
lower  Broadway  on  April  28.  The  ex- 
cerpts  included  praise  for  religious 
freedom  and  the  right  to  organize 
along  with  condemnation  of  the  "im- 
perialism"  of  both  capitalist  and 
Communist  blocs  —  "on  the  one  band, 
the  all-consuming  desire  for  profit 
and  on  the  other,  the  thirst  for  power, 
with  the  intention  of  imposing  one's 
will  upon  others." 


"On  Social  Concern"  had  been 
criticized  on  the  right  for  its  even- 
handedness  regarding  West  and 
East,  but  the  main  objection  to  it  at 
PEN,  no  right-wing  bastion,  was  that 
the  Pope's  attitude  toward  dissent 
within  the  church  was  not  in  accord 
with  PEN's  principles  of  freedom  of 
Speech. 

As  evidence  that  "this  Vatican  has 
been  repressive,"  the  novelist  Mau- 
reen  Howard  referred  at  the  meeting 
to  crackdowns  on  liberal  priests  in 
the  United  States  and  elsewhere. 
"That  doesn't  deserve  our  backing," 
she  told  her  colleagues.  "It  would  be 
terribly  out  of  line  for  PEN  to  take 
such  a  stand." 

To  Some  a  Pet,  to  Others  a  Beast 

"Norman  brought  the  encyclical 
out  like  it  was  his  pet  animal,"  Mr. 
Talese  recalled.  "He  was  very  proud 
of  it.  He  kept  petting  it.  However, 
others  saw  it  as  a  little  beast."  In- 
stant offense  was  taken  by  members 
of  PEN's  women's  group,  who  re- 
minded  Mr.  Mailer  forcefully  of  the 
Pope's  unsympathetic  attitude  to- 
ward abortion. 

Ms.  Howard,  not  one  of  the 
women's  group,  said:  "It  was  a 
funny,  quirky  Suggestion  on  Nor- 
man's part,  and  I  feit  moved  to  an- 
swer.  I  rose  to  my  feet  like  it  was  an 
old  Catholic  debating  society."  Ms. 
Howard,  who  grew  up  a  Roman 
Catholic,  was  less  concerned  with 
feminist  issues  than  with  PEN's  own 
special  issues  as  an  Organization  of 
writers.  She  elaborated:  "I  didn't 
think  it  was  an  easy  matter  of  saying, 
'Yeah!  Let's  sign  this  guy  on!'  I  don't 


Camera  Press 


vNprman  Mailer  jproposed  inviting 
Po^eJofiiüKufll  to  join  PEN. 


think  Norman  fully  understood  what 
it  means  to  be  an  honorary  member 
ofPEN." 

An  applicant  for  membership  must 
have  published  two  books  "of  distinc- 
tion,"  a  definition,  cracked  Mr.  Ta- 
lese, that  "depends  on  who's  friends 
with  whom  at  the  time."  Mr.  Mailer 
reminded  the  meeting  that  the  Pope 
had  written  and  translated  poetry. 
"Which  nobody  in  that  room  had 
read,"  countered  Ms.  Howard.  "As 


for  the  encyclical,"  she  continued,  "it 
is  a  political  Statement  that  isn't  writ- 
ten by  one  guy.  For  heaven's  sake,  all 
encyclicals  sound  good." 

'No,  the  Pope  Can't  Join' 

She  recalled  the  10-minute  ex- 
change  as  "a  wildly  funny  scene  — 
the  idea  of  a  little  old  Catholic  girl 
saying,  'No,  the  Pope  can't  join  our 
Club.'  " 

After  what  Ms.  Howard  summed  up 
as  "a  nice  hearty  discussion,"  one 
that  Ms.  Sontag  sighed  might  have 
gone  on  much  longer  had  she  not 
turned  to  other  matters  on  the  agen- 
da,  Mr.  Mailer  succumbed  graciously 
and  has  since  declined  to  discuss  the 
evening  with  a  reporter.  His  proposal 
never  made  it  formally  onto  the  floor. 
Mr.  Talese,  who  sponsored  a  success- 
ful  invitation  to  Mayor  Koch  last  year 
on  the  premise  that  "PEN  should  be 
more  open,"  at  first  backed  Mr.  Mail- 
er, but  then,  as  an  experienced  re- 
porter, saw  that  sentiment  was  not 
running  their  way. 

Feeling  that  "somebody  had  to  do 
something,"  Mr.  Talese  suggested 
that  excerpts  from  the  encyclical  be 
published  in  the  next  PEN  newsletter, 
which,  he  observed,  might  make  that 
Journal  interesting  for  a  change.  No- 
body objected.  Alan  Ginsberg,  who 
says  he  usually  goes  along  with  Mr. 
Mailer  because  he  has  "interesting" 
notions,  volunteered  to  write  a  brief 
introduction.  And  the  issue  was  re- 
solved  or  unresolved  on  a  collegial 
note  with  Mr.  Mailer  and  Ms.  Howard 
agreeing  to  contribute  their  seperate 
Views,  which  they  may  or  may  not  ac- 
tually  get  around  to  doing. 


^ 


"V^u 


o-i^W^~  htuu^(y^-  \%% 


By  Helen  Dudar 


A  man  who  invented 
himself,  and  kept 
right  on  inventing 


First,  Emmanuel  Radnitsky  changed  his 
name  to  Man  Ray;  then  he  burst  out  creatively 
as  an  iconoclastic  artist  and  photographer 


Not  long  before  he  died  in  Paris  in  1976,  in  the  ninth 
decade  of  a  long,  amazing  life  in  art.  Man  Ray  turned 
those  melancholy  owl  eyes  upon  a  young  assistant  and 
Said  dryly,  "You  think  you'll  be  finished  with  me  after 
Tm  gone,  but  you'll  have  another  60  years." 

In  the  time  since,  his  work  has  hardly  gone  unno- 
ticed,  but  now  is  truly  the  high  season  for  this  incendi- 
ary  spirit  of  20th-century  art.  "Perpetual  Motif:  The 
Art  of  Man  Ray,"  the  largest  exhibition  of  his  work 
ever  assembled  in  his  native  land,  opens  December  2  at 
the  Smithsonian's  National  Museum  of  American  Art, 
where  it  will  remain  through  February  20,  1989.  Then 
it  moves  on  to  the  Museum  of  Contemporary  Art,  Los 
Angeles,  the  Menil  Museum,  Houston,  and  the  Phila- 
delphia Museum  of  Art,  in  the  city  of  Man  Ray's  birth. 
The  show  is  being  supported  by  the  Smithsonian's 
Special  Exhibition  Fund  along  with  the  National  En- 
dowment  for  the  Arts  and  the  Federal  Council  on  the 
Arts  and  Humanities. 

Timed  to  coincide  with  the  exhibit  is  a  healthy 
helping  of  printed  matter  including  the  first  full-scale 
biography.  Man  Ray:  American  Artist  by  Neil  Bald- 
win;  a  new  illustrated  edition  of  the  1963  autobiogra- 
phy,  Seif  Portrait;  a  book  about  the  artist's  work, 
bearing  the  same  title  as  the  exhibition;  and,  in  the 
Aperture  "Masters  of  Photography"  series,  a  book  of 
his  camera  work. 

All  of  this,  possibly  more,  is  needed  to  cover  the 
protean  ränge  of  Man  Ray's  interests.  As  we  will  be 
reminded  for  months  to  come,  he  was  an  early 
experimenter  in  abstract  art;  a  progenitor  and  one  of 
the  most  inventive  spirits  in  the  brief  life  of  the  Dada 
movement;  an  innovator  in  Surrealism;  a  maker  of 
memorably  witty  objects  loosely  classified  as  sculpture; 


Self-portrait  made  in  1933  consisted  of  a  cast  of  his  head 
wearing  glasses,  in  a  newspaper-stuffed  wooden  box. 


'Vi 


k 


t 


€ 


«kUtt 


% 


Portrait  of  Man  Ray  shows  him  reflected  in  a  distorting 
mirror;  it  was  done  in  1965  in  a  Manhattan  gallery. 


National  Museum  of  American  Art 


61 


Beinet ke  Rare  Book  and  Manuscript  Library.  \d\t  University 

91            _^^^ 

^-IKK'^                                    "%      ^^^       jJ^ 

9       .-^9* 

<tag^^^^^^^r 

■» 

M  m      1  •    d 

P    ■  •**'!.   H  fl    a 

,^,.^ 
i 

y                                                                                      ii ■i'     '^   " 

A  facility  for  handling  oils  is  clear  in  Man  Ray 's 
1913  Portrait  of  the  great  art  dealer  Alfred  Stieglitz. 


a  vanguard  figure  in  film;  a  celebrated  explorer  of  the 
art  and  craft  of  photography;  and,  perpetually,  the 
wily  mocker  of  contemporary  life,  manners,  attitudes 
and,  especially,  culture. 

Finally,  inevitably,  the  iconoclast  has  become  icon. 
Tempting  though  it  is  to  imagine  that  Man  Ray  would 
have  appreciated  the  irony— he  was  nothing  if  not  an 
ironic  commentator  on  the  irrationalities  of  life— he 
could  not,  with  honesty,  have  fully  acknowledged  the 
incongruity.  The  fact  is  that  this  proud  breaker  of  idols 
had  spent  the  later  decades  of  his  86  years  yearning  for 
the  kind  of  outsize  recognition  commonly  conferred  on 
the  anointed  figures  of  his  trade. 

Man  Ray's  first  significant  creation  was  himself.  He 
grew  up  in  Brooklyn  and  came  out  of  high  school 
determined  to  abandon  a  scholarship  in  architecture  in 
Order  to  study  art.  Toward  that  end,  one  of  his  earliest 
acts  was  to  de-ethnicize  his  name  and  blur  his  back- 
ground.  Once  he  had  begun  to  attract  some  public 
notice,  members  of  his  family  were  specifically  in- 
structed  that  they  were  never  to  talk  about  him  with 

Helen  Dudar,  a  New  York  ivriter  and  critic,  wrote 
about  the  newly  remodeled  Chicago  Art  Institute 
in  August  and  about  David  Hockney  in  February, 


Outsiders,  never  to  discuss  him  for  public  print,  never 
to  jar  the  cloud  of  mystery  and  fantasy  that  would 
Surround  his  beginnings. 

He  was  the  first  of  four  children  of  hardworking, 
ambitious  Russian-Jewish  immigrants.  His  father  was  a 
tailor.  So  successfully  did  Man  Ray  obscure  details  of 
his  early  life— "I'd  rather  not  discuss  it,"  he  would  icily 
teil  reporters  questing  for  his  birth  name— that  even 
obituary  writers  had  trouble  spelling  the  original.  Man 
Ray  began  life  as  Emmanuel  Radnitsky.  When  he 
dropped  1 1  letters  to  fashion  his  new  identity,  the 
family,  hastening  to  abandon  its  roots  as  well,  adopted 
the  abbreviated  surname. 

The  sweet  shock  of  the  new 

As  a  child  in  Brooklyn,  he  teils  us  in  Seif  Portrait,  he 
had  shoplifted  paints  to  sustain  a  passion  for  art. 
Brushes  he  acquired  "in  a  more  legitimate  manner."  As 
a  young  man  in  Manhattan,  he  found  Jobs  that  sup- 
ported  his  evening  art  classes  and  discovered  comfort 
at  Alfred  Stieglitz's  legendary  Gallery  291.  There,  ma- 
jor new  art  and  photography  could  be  encountered  on 
the  walls,  and  the  avuncular  owner  was  happy  to  share 
his  opinions  and  ideas,  and  occasionally  to  hang  a  Man 
Ray  work. 

Two  events  in  that  period  shaped  Man  Ray's  future. 
One  was  the  epochal  1913  Armory  Show  with  its  stun- 
ning  display  of  avant-garde  art,  notably  Cubism;  the 
shock  was  literally  paralyzing.  Months  later,  when  he 
was  able  to  paint  again,  the  artist  and  his  art  had  been 
irrevocably  altered.  Then,  in  1915,  Man  Ray  met  Mar- 
cel Duchamp,  that  stränge,  enigmatic  figure  whose 
Nude  Descending  a  Staircase  (an  "explosion  in  a  shin- 
gle  factory,"  an  unfriendly  critic  called  it)  had  been 
one  of  the  sensations  of  the  show.  Although  at  the  time 
neither  could  speak  the  other's  language— Duchamp, 
newly  arrived  from  France,  was  sitting  out  World  War  I 
in  the  States— they  became  and  remained  staunch 
friends  and  art  revolutionaries. 

The  two  men  shared  a  delight  in  the  outrageous, 
respect  for  the  absurd,  an  eagerness  to  shock  and  de- 
molish  conventional  notions  of  "art,"  and  a  willingness 
to  experiment  in  the  gallery  and  in  public  Perfor- 
mance to  the  point  of  silliness.  Together  with  another 
war  fugitive,  Francis  Picabia,  they  became  the  founders 
of  what  would  be  known  as  New  York  Dada  almost  at 
the  moment  that  the  Dada  movement  was  formally 
born  in  Zürich.  "Dada":  it  means  "hobbyhorse"  in 
French,  "yes"  in  Rumanian  and  Russian,  "father"  to 
babies,  and  is  a  nonsense  word  in  almost  any  language. 
The  movement  would  burn  out  in  a  half-dozen  years, 
but  for  as  long  as  it  lasted,  the  creations  of  Dadaism 
made  a  mockery  of  the  idea  of  safe,  rational,  comfort- 
able  bourgeois  culture. 


62 


By  the  time  he  encountered  Duchamp,  Man  Ray 
had  migrated  to  rural  Ridgefield,  New  Jersey,  which 
sheliered  a  small  artists'  colony.  There  he  settled  down 
with  Belgian  poet  Adon  Lacroix,  whom  he  later  mar- 
ried,  and  worked  away  at  some  major  paintings.  After 
two  years  he  returned  to  New  York,  at  which  time  he 
painted  the  lovely,  nearly  abstract  The  Rope  Dancer 
Accompanies  Herself  With  Her  Shadows  (below).  He 
soon  found  a  New  York  dealer  who  was  wiHing  to  hang 
his  pictures.  He  flaunted  the  Dada  spirit  in,  for  exam- 
ple,  an  assemblage  with  a  bell  that  did  not  ring,  and  in 
a  painting  that  could  not  be  hung  straight.  The  shows 
were  uniformly  denounced  by  the  critics  and,  forever 
after,  Man  Ray  returned  their  disapproval  with  unfor- 
giving  dislike. 

By  1921  his  marriage  to  Adon  Lacroix  had  col- 
lapsed  in  bitterness  over  her  infidelity  and,  if  we  are  to 
believe  the  autobiography,  it  ended  violently.  Man 
Ray,  a  small  man  with  the  physique  of  a  sparrow, 
claimed  to  have  beaten  her  with  his  belt.  Then,  stead- 
ied  by  a  $500  loan  from  a  patron,  he  boarded  an  ocean 


liner  bound  for  France.  In  Seif  Portrait,  he  teils  us  that 
he  arrived  July  14— Bastille  Day,  traditionally  cele- 
brated  with  great  displays  of  fireworks,  surely  a  wor- 
thy  symbolic  salute  for  a  man  fleeing  his  past. 

There  was  nothing  wrong  with  Man  Ray 's  memory, 
but  he  did  enjoy  dramatizing  himself.  By  assiduous 
sleuthing,  art  historians  Billy  Klüver  and  Julie  Martin, 
coauthors  of  an  essay  in  the  book  that  accompanies  the 
exhibition,  discovered  that  his  ship,  the  Savoie,  docked 
in  Le  Havre  eight  days  after  Bastille  Day.  Merry  For- 
esta,  curator  of  the  exhibition,  who  spent  five  years 
laboring  on  this  show  and  is  an  unyielding  partisan  of 
his  work,  has  concluded  that  large  parts  of  the  memoir 
are  retrospective  elaborations.  Still,  she  agrees  that  like 
any  good  fiction,  the  book  probably  has  a  kind  of 
artistic  truth. 

In  Paris,  Man  Ray  was  welcomed  not  only  by  Du- 
champ but  by  the  resident  avant-garde  as  well.  A  half- 
century  later,  in  an  interview  with  a  French  Journalist, 
he  would  offer  a  roseate  memory  of  that  heady  time: 
"I,  who  was  persecuted  in  New  York  like  a  drug  addict, 


Museum  of  Modern  Art 


After  watching  a  vaudeville  show.  Man  Ray  went  he  later  painted  this  perfectly  realized  work,  The 

right  home  and  made  a  series  of  sketches.  From  them        Rope  Dancer  Accompanies  Herself  With  Her  Shadows. 


63 


lilman  Paper  Company  Collt'ttioii,  New  York  City 


Philadelphia  Museiiin 


J.  Paul  Grity  MiiH'um 


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suany  "^  His  vivid  Imagination  placed  an  eye  on  a        

of  famous  people,  here  Nancy  Cunard.         metronome,  thus  producing  Perpetual  Motif,    employed  in  portrait  of  wife,  Juliet. 


■  '^'^it\S:''^-''--^<.:r'i^y.  ■  ^'■.  "^SS'-ZC-ri- i'^'J^iiW^^^v VC»- ■    ■,>  v- 


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like  a  madman,  for  the  art  I  showed,  was  accepted 
here,  not  by  everyone  of  course,  but  among  the  Dadaists 
...  I  was  accepted.  It  was  marvelous,  I  decided  to  stay." 
Before  the  year  was  out,  he  had  a  show— the  first  Dada 
event  of  the  season  and  the  last  ever,  according  to 
Klüver  and  Martin.  The  movement  had  fallen  apart 
through  squabbles  and  public  boredom.  And,  led  by 
Andre  Breton,  Surrealism,  with  its  embrace  of  the 
Freudian  landscape  of  dreams  and  the  unconscious, 
had  arrived  as  the  new  theology  of  art. 

Having  failed  to  seil  a  single  painting  from  his  show, 
Man  Ray  faced  up  to  the  problem  of  supporting  him- 
self.  Back  home,  he  had  learned  his  way  around  a 
camera  both  to  create  works  of  art  and  to  photograph 
them.  Why  not  shoot  pictures  to  pay  for  oils  and  to  put 
croissants  on  the  table?  The  result  was  doubled-edged, 
ofFering  immediate  salvation  along  with  a  long-term 
curse.  He  became  so  successful  as  a  photographer  that 
he  confused  the  academic  establishment  permanently. 
Some  critics  would  forever  insist  that  photography  was 
his  true  medium,  that  his  work  behind  the  lens  was 
better  than  any  Man  Ray  painting— a  judgment  that 
dismayed  and  outraged  him. 

The  camera  work  was  notable.  He  blossomed  as  a 
fashion-magazine  photographer  with  a  striking,  off- 
beat  style.  He  shot  what  became  famous  portraits  of 


most  of  the  famous  creative  figures  of  the  time:  Joyce, 
Eliot,  Tanguy,  Brancusi,  Giacometti,  Matisse  all  sat  for 
him.  Jean  Cocteau  roused  him  out  of  sleep  (or  a  depres- 
sive State)  early  one  day  with  the  demand  that  he 
photograph  Proust  on  his  deathbed.  He  drove  fast  cars, 
attracted  a  number  of  beautiful  women  and  traveled  in 
chic  circles.  Picasso  not  only  was  a  subject  but  became 
a  friend.  It  was  said  that  no  rieh,  fashionable  woman  of 
high  Society  could  come  to  Paris  without  having  her 
image  recorded  by  Man  Ray.  With  his  gift  for  exploit- 
ing  lucky  accidents,  he  also  developed  an  odd  sideline 
in  darkroom  art:  spooky,  cameraless  pictures  he  called 
"rayographs"— photographs  created  by  leaving  objects 
on  sensitized  paper  while  it  was  exposed  to  light 
(opposite).  Viewing  some  of  them,  Cocteau  called  him 
the  "great  poet  of  the  darkroom." 

In  two  decades  of  living  and  working  in  Montpar- 
nasse,  his  favorite  Left  Bank  neighborhood,  he  made 
some  indelible  images  and  objects:  The  Gift,  a  flatiron 
rendered  menacingly  useless  by  an  arrangement  of  up- 
ended  tacks  on  its  ironing  surface;  the  metronome  with 
a  photograph  of  a  woman's  eye  attached  to  the  tip  of  its 
arm;  the  painting  entitled  A  l'heure  de  lobservatoire— 
Les  Amoureux  {Observatory  Time— The  Lovers),  with 
its  eight-foot  disembodied  feminine  lips  hovering  in 
the  sky  over  a  Parisian  landscape  (pp.  66-67). 


64 


|.  f'aiil  (.rii\  Museum 


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t  AIMCr 


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^^fft   *                ^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^1 

^^P"-- 

^ 

K 

.^M 

^iS 

A  study  of  his  mistress  Kiki's  back 
was  given  the  title  Le  Violon  d'Ingres. 


Rayographs,  such  as  this  one,  were 
made  in  studio  with  light,  no  camera. 


Emest  Hemingway  was  portrayed  with  banjo 
halo  as  symbol  of  writer's  Americanism. 


'^^d'J^ 


Man  Ray  harbored  no  false  humility  about  the  sig- 
nificance  of  his  art.  "I  have  a  superiority  complex/'  he 
liked  to  say.  The  **happenings"  of  the  1960s  were  fore- 
shadowed  by  the  cuckoo  theater  of  Dada,  40  years 
earlier.  Pop  Art's  discovery  of  the  common  object  as  a 
subject  for  art  and  sculpture  was,  in  its  way,  an  emula- 
tion  of  Man  Ray's  Dada-Surrealist  imagery.  James 
Rosenquist,  Roy  Lichtenstein,  Claes  Oldenberg,  Andy 
Warhol  and  Christo  are  each  indebted,  and  in  some 
cases  have  acknowledged  a  debt,  to  Man  Ray's  creative 
force.  "Pup  Art,"  he  sniffed  contemptuously  about  a 
work  by  Lichtenstein,  while  touring  a  1970  Paris  show. 

One  of  his  most  reproduced  pieces  was  the  photo- 
graph  of  a  woman's  elegant  naked  back,  with  sound 
holes  painted  on  either  side,  the  kind  of  visual  pun  he 
loved  to  make.  Entitled  Le  Violon  d'Ingres,  the  figure 
recalls  an  Ingres  painting  (above).  In  French,  the  title 
is  an  idiom  meaning  one's  hobby.  The  model  was  Kiki 
of  Montparnasse  who,  it  could  be  said,  matched  the 
title:  she  was  Man  Ray's  mistress  for  some  years. 

He  should  have  been  a  happy  man,  and  a  few  cheer- 
ful  snapshots  from  the  period  certainly  exist.  Still,  Neil 
Baldwin  reports,  he  was  subject  to  severe  depression 
and  would  take  to  his  bed  for  days  to  nurse  himself 
through  a  serious  funk.  In  his  memoir,  Julien  Levy,  the 
seminal  New  York  dealer  in  Surrealist  art  in  the  '30s 


and  '40s,  writes  of  this  master  of  satiric  art  as  "always 
dour."  Emotional  disappointment  could  render  him 
inconsolable.  In  the  early  '30s,  Lee  Miller,  a  blonde 
American  beauty  who  would  become  an  important 
photographer,  went  to  Man  Ray  to  learn  her  way 
around  the  camera,  which  she  did.  They  also  lived 
together  for  a  while  and  then  she  left  him  for  another 
lover.  Levy  records  the  discarded  artist  as  "half-dead 
with  sorrow  and  jealousy. . . .  it  was  reported  dangerous 
for  anyone  to  be  seen  those  days  with  Lee.  . . .  Man  had 
a  revolver  and  . . .  was  threatening  any  other  rivals  who 
might  materialize." 

In  short  order,  a  more  authentic  danger  lurked  on 
the  horizon.  War  came,  and  in  1940  the  German  Army 
arrived.  Man  Ray,  in  the  Company  of  the  American 
composer  Virgil  Thomson,  took  flight,  racing  to  safety 
a  few  Steps  ahead  of  the  invaders.  He  sailed  home,  but 
instead  of  finding  refuge  in  the  East,  headed  straight 
for  Hollywood  where  life  was  hardly  Parisian.  He  liked 
to  say  that  he  had  been  en  route  to  Tahiti  when  the 
benign  climate  and  palm  trees  of  the  movie  colony 
caught  his  attention.  His  friend,  one-time  dealer  and 
fellow  artist  William  Copley,  never  heard  him  men- 
tion  Tahiti  but  would  not  dream  of  challenging  the 
claim.  "Man  Ray  had  a  kind  of  running  mythology 
of  himself  which  he  would  perform  in  order  to  pass 


65 


The  art  of  being  Man  Ray 


oft  his  bons  mots.  He  was  something  of  an  actor." 

Copley  thinks  it  likely  that  Man  Ray  went  West  in 
hopes  of  attracting  the  interest  of  the  film  industry. 
After  all,  in  Europe  he  had  turned  out  four  short, 
highly  regarded  Surrealist  films.  It  would  not  have 
occurred  to  him  that  the  last  thing  that  would  have 
excited  a  Hollywood  producer's  interest  was  a  real, 
live,  committed,  avant-garde  artist. 

Los  Angeles  was  not  a  happy  place  for  him.  Famous 
for  photography,  he  wanted  to  be  noticed  for  his  other 
art.  While  he  shot  an  occasional  picture  of  a  film  star, 
he  was  in  flight  from  his  reputation  as  a  camera  artist 
and  pretty  much  gave  up  film  as  a  professional  me- 
dium. Most  of  the  painting  of  his  Paris  period  had 
been  left  behind— safely  hidden,  it  would  turn  out. 
Although  his  work  was  shown  at  some  local  museums, 
he  seems  to  have  been  viewed  by  the  art  Community  as 
a  relic,  a  ghost  out  of  the  dim  past,  rather  than  as  a 
contemporary  creative  figure. 

In  large  part,  he  supported  himself  by  teaching  and 
lecturing,  and  he  settled  down  with  a  new  striking 
young  beauty.  Juliet  Browner,  who  had  danced  with 
Martha  Graham  and  had  lived  with  Willem  de  Koon- 
ing,  would  provide  the  kind  of  selfless,  wifely  devotion 
without  which  the  average  working  artist  seemingly 
cannot  find  his  way  through  everyday  life. 

When  peace  came,  Copley,  a  young  man  of  means 
just  released  from  military  service,  set  out  to  establish  a 
gallery  of  Surrealist  art  off  Rodeo  Drive  in  Beverly 
Hills  and  to  Iure  Man  Ray  to  his  premises.  It  was  not 
easy.  "He  had  had  a  show  in  Pasadena  which  was 
virulently  attacked,"  Copley  recalls.  "It  made  him  very 


bitter.  He  didn't  want  anything  like  that  to  happen 
again."  Copley  remembers  that  he  had  to  argue  even 
more  strenuously  to  persuade  him  to  include  some 
memorable  photographs  in  the  show. 

Man  Ray  finally  succumbed,  with  unhappy  conse- 
quences.  Only  the  setting  was  a  success.  For  the  occa- 
sion,  Copley  transformed  his  gallery  into  a  French  caf6 
complete  with  checkered  tablecloths  and  onion  soup. 
The  title  for  the  catalog  of  his  Copley  show  was  a 
typically  sardonic  play  on  the  absence  of  stardom:  To 
Be  Continued  Unnoticed.  Copley  remembers  the  re- 
views  as  "vicious.**  The  nicest  published  comment  was 
Art  Digest's  conclusion  that  the  work  was  interesting 
"to  those  who  care.**  Surrealist  art  had  a  distance  to 
travel  before  much  of  the  art-consuming  public  would 
understand  its  significance.  In  the  18  months  before 
Copley  closed  his  gallery,  the  young  dealer  found  al- 
most  no  customers  other  than  himself.  He  had  a  policy 
of  buying  a  few  works  from  each  f ailed  show,  a  practice 
that  left  him  with  an  extraordinary  collection,  which 
he  auctioned  off  in  1979.  He  cannot  recall  how  much 
he  paid  for  Observatory  TimCy  the  picture  he  calls 
"The  Lips"— a  few  thousand  dollars  at  most.  At  the 
auction,  it  fetched  $750,000.  As  the  bidding  escalated 
insanely,  Copley  sat  in  the  Sotheby  auction  room  col- 
lapsed  in  helpless  laughter.  "I  kept  thinking  how  mad 
Man  would  have  been." 


Private  collection 


i 


AT 


A  rheure  de  l'observatoire—Les  Amoureux  evokes 
an  imprint  of  Kiki's  lipstick  on  Man  Ray's  shirt  collar. 


66 


After  a  time,  Copley  abandoned  dealing  and  took 
up  painting,  as  well  as  wriiing.  He  is  responsible  for 
that  felicilous  phrase  honoring  Man  Ray  as  the  "Dada 
of  US  all,"  which  came  to  be  repeated  to  the  verge  of 
monotony.  As  the  years  went  by,  sunny  California  be- 
gan  to  seem  less  and  less  hospitable.  One  day  in  1951, 
Man  Ray  stopped  by  Copley's  home  and  said,  **You 
know,  I've  really  had  it  with  this  town."  "I  have  too," 
Copley  agreed.  "The  next  day,  we  were  on  our  way  to 
New  York  and  in  a  few  days  aboard  the  De  Grasse, 
sailing  to  France." 

Man  Ray  settled  down  again  in  his  favorite  Mont- 
parnasse  neighborhood  around  the  Place  St.-Sulpice, 
worked  at  his  art,  suffered  through  some  fairly  thread- 
bare  years,  spent  more  than  a  decade  working  on  Seif 
Portrait,  gave  interviews  in  which  he  nearly  always 
quoted  himself  ("I  have  never  painted  a  recent  picture"; 
"I  never  paint  because  I  am  a  painter;  I  paint  because  I 
have  an  idea")  and,  from  time  to  time,  showed  his 
work.  In  1957,  a  mob  of  art  students  invaded  a  Dada 
show  at  a  Left  Bank  gallery  and  seized  the  Man  Ray 
metronome  piece.  The  work  bore  the  title  Object  to 
be  Destroyed'y  in  a  perfect  Dada  gesture,  the  young 
invaders  trampled  it  to  splinters.  Copley,  like  Man 
Ray,  remembers  the  event  as  a  right-wing  assault,  al- 
though  contemporary  news  accounts  suggest  the  bash- 
ers  may  have  represented  the  left  end  of  the  esthetic 


spectrum.  Man  Ray  was  amused  and  delighted.  **That 
was  recognition,"  Copley  observes.  The  piece  was  re- 
made,  the  second  time  as  Indestructible  Object;  finally, 
there  was  a  multiple  edition  called  Perpetual  Motif,  a 
title  that,  to  the  Organizers  of  the  current  show,  seems 
to  sum  up  the  life's  work  neatly. 

The  memories  recounted  by  Man  Ray's  surviving 
friends  are  fond  ones,  for  the  most  part.  He  was  **very 
sharp,  affectionate  and  sweet,"  in  the  words  of  Arne 
Ekstrom,  a  New  York  dealer.  He  could  also  be  tire- 
somely  grumpy.  He  had  an  enormous  vanity— watered 
by  neglect.  The  renowned  Cordier  &:  Ekstrom  gallery 
gave  him  three  shows  between  1963  and  1971,  and 
there  were  other  salutes  here  as  well  as  abroad. 

It  was  never  enough.  And  when  it  was  finally  ade- 
quate  to  the  subject,  the  celebration  seemed  too  long 
overdue  to  be  relished.  In  1972,  the  Mus^e  de  l'Art 
Moderne  in  Paris  mounted  a  huge  Man  Ray  retrospec- 
tive.  The  artist  was  81  and,  by  then,  crippled  by  the 
infirmities  of  age.  He  came  in  a  wheelchair.  Sometime 
afterward,  an  American  wire  service  reporter  stood  at 
his  side  while  Man  Ray  leafed  through  the  exhibition's 
elaborate  catalog  murmuring,  "It's  too  late,  too  late." 
But  even  then  the  irrepressible  flame  of  mockery  was 
still  flickering  in  that  frail  little  body.  "If  this  had 
only  happened  40  years  ago,"  he  sighed,  "I  might  well 
have  been  encouraged." 


:^^^^^ 


^^7 


A     L'HLVPL    DE    L'Oß^r.RVATOIRE /CS    AMOÜREUK 


ma^ 


THE  NEW  YORK  TIMES,  SATURDAY,  JUNE  10,  19S9 


I  Forgive  Goethe,  Tolstoy  and,  Above  All,  Mozart 


B>«Gian  Carlo  Menotti 


Charleston,  S.C. 
henever  I 
stage  an  oper- 
atic  master- 
work,  I  come 
out  of  the  ex- 
perience      en- 


W 

riched  by  new  knowledge.  Of  such 
master  works,  "Le  Nozze  di  Figaro" 
seems  lo  be  the  one  that  amazes  me 
the  most.  It  quickly  revealed  to  me 
how  inaccurate  the  common  Image  of 
Mozart  is,  now  made  populär  by  the 
play  and  film  "Amadeus." 

Perhaps  in  reaction  to  the  19th  Cen- 
tury concept  of  Mozart  as  a  sugary, 
slightly  effeminate  Meissen  figurine, 
the  20th  Century  reacted  with  an 
equally  mistaken  concept  of  a  sopho- 
moric  Mozart:  a  sort  of  juvenile  mon- 
ster,  a  silly,  frivolous,  lascivious  child 
who  wrote  his  masterpieces  hypnoti- 
cally  and  almost  effortlessly,  simply 
because  he  was  a  genius.  Is  genius 


Whydo 

great 

artists 

often 

seem 

puerile? 


then  defined  by  thinking  as  facile  and 
simplistic  as  that  which  has  been  at- 
iributed  to  Mozart? 

Alas,  many  artists  these  days  think 
of  themselves  as  geniuses,  blessed 
wilh  the  golden  touch.  Whatever  they 
touch  becomes  "art."  Their  only  ef- 
fort  is  to  shock,  to  surprise  and  then 
to  Copyright  their  creation  so  that  it 
may  become  quickly  recognizable  to 
the  merchants  and  the  buyers.  Their 
style  freezes  into  a  glaring  signature, 
a  kind  of  esthetic  seal. 

How  very  far  we  are  from  the  gen- 
ius of  Mozart,  who  nearly  buried  his 
Personality  in  conventional  style,  al- 
most as  if  he  sought  anonymity  so 
that  his  universal  message  could 
emerge  in  all  its  purity,  uncontami- 
nated  by  personal  quirks.  What 
makes  his  music  recognizable  from 
the  thousands  of  works  of  the  period 
is  not  only  its  miraculous  appeal  to 
the  collective  unconscious  of  what  is 
most    noble    and    sensitive    in    the 

Gian  Carlo  Menoili,  a  composer,  re- 
cenüy  sla^ed  MozarCs  "Le  Nozze  di 
Figaro"  at  the  Spoleto  Festival  V.S.A. 


human  heart,  but  also  the  radiant  in- 
telligence  that  triggers  this  miracle. 

No  precocious  child  could  ever 
master  with  equal  force  such  a  flood 
of  inspiration.  What  moves  one  is  not 
only  the  beauty  of  his  melodic  line 
(undoubtedly  a  God-given  gift)  but 
the  intellectual  skill  with  which  he 
handles  it,  bends  it  to  his  will  and  the 
severity  with  which  he  imprisons  it 
into  the  most  restrictive  classical 
tradition. 

He  does  not  ask  for  freedom  as 
most  artists  do  today.  On  the  con- 
trary,  he  uses  such  restrictions  as  a 


challenge,  an  intricate  puzzle  to  be 
solved  by  careful  thought. 

A  childish,  rather  silly  youngstcr? 
Nonsense!  He  was  no  "Amadeus." 
He  was  a  musical  philosopher,  a  care- 
ful musical  architect,  a  disciplinar- 
ian,  a  tireless  worker  and,  above  all,  a 
profound  thinker.  How,  then,  do  you 
explain  the  silly  scatological  letters 
to  his  Cousin  or  some  of  his  puerile 
jokes? 

Many  great  artists  often  seem 
puerile  because  of  the  childlike  or  un- 
concerned  attitude  to  the  life  that  sur- 
rounds  them.  People  must  finally  un- 


David Suter 

derstand  that  art  is  no  easy  hobby 
only  requiring  genius  but,  rather,  a 
whole  way  of  living. 

Art  becomes  a  very  demanding  and 
jealous  mistress  who,  from  her  lover, 
requires  undivided  attention  and 
blind  dedication.  The  artist's  work 
never  ends,  never  leaves  him.  He 
never  closes  the  office  and  forgets 
about  his  job  until  the  next  morning. 
He  eats,  sleeps,  travels,  makes  love 
and  all  the  while,  in  the  back  of  his 
mind,  the  demon  gnaws  at  his  brain. 

Everything  in  life  becomes  seciond- 
ary;  any  artist's  spouse  knows  well 


what  I  am  talking  about.  The  social 
life  of  an  artist  becomes  marginal, 
even  eccentric.  Often,  he  is  cruelly  in- 
different to  the  people  surrounding 
him  or  eise  incredibly  naive.  He  must 
be,  first  of  all,  an  artist;  time  dedi- 
cated  to  his  public  life  is  time  neces- 
sarily  robbed  from  art. 

Let  him  then  be  as  good  a  father,  as 
devoted  a  husband,  as  responsible  a 
Citizen  as  art  permits.  (Feminists 
will  forgive  my  use  of  gender,  which 
is  not  meant  as  an  exciusion.)  An  art- 
ist's life  may  seem  selfish  and  irre- 
sponsible,  but  do  we  really  care 
whether  or  not  Michelangelo  or  Leo- 
nardo fought  in  patriotic  wars,  were 
kind  to  the  needy  or  thoughlfui  to 
their  families? 

It  is  fashionable  now  to  discover  or 
try  to  understand  artists  by  delving 
into  their  private  lives  rather  than 
into  their  works.  Scurrilous  porno- 
graphic  letters  by  James  Joyce  to  his 
wife  are  published  and  examined 
with  psychoanalytic  avidity.  T.  S. 
Eliot  is  suspected  of  anti-Semitism; 
another  venerable  English  writer,  of 
pcdophilia.  Indeed,  the  artist  is  cer- 
tainly  as  prone  to  weaknesses  in  his 
social  life  as  any  other  human  being. 
Must  we  then  forgive  the  artist  for  his 
failuresasa  man? 

It  all  depends  on  how  great  the  art- 
ist is.  I  gladly  forgive  Goethe,  Tolstoy, 
Michelangelo  and  Goya  all  their 
human  sins  in  exchange  for  the  splen- 
dors  with  which  they  have  enriched 
the  World  —  and  because  of  the  tor- 
ment  their  work  must  have  cost 
them.  Mozart  above  all  must  have 
been  an  obsessive  worker.  One  can 
easily  distinguish  the  superficial,  in- 
sipid  pieces  he  occasionally  penned 
from  the  works  that  required  all  his 
intellectual  power. 

The  tendency  today  is  to  try  and 
show  that  artists  are  just  as  "bad"  as 
you  and  I,  the  only  difference  being 
that  God,  for  some  divine  caprice,  has 
given  them  a  mysterious  talent  that, 
however,  they  hardly  deserve.  Those 
people  do  not  realize  that  the  Piatonic 
Vision  of  beauty  that  the  artist  is 
privileged  to  receive  is  nothing  more 
than  a  glimpse  that  then  becomes  a 
tormenting  memory  he  must  try  to 
recapture.  This  search  for  rcmem- 
bered  perfection  requires  hard  work, 
patience,  intelligence  and  complete 
dedication.  A  work  of  art  is  never  fin- 
ished,  but,  to  paraphrase  Paul 
Valery,  only  abandoned. 

Mozart  rarely  abandons  his  search 
and  more  often  than  not,  with  blind- 
ing  intelligence  and  wisdom,  he  re- 
creates  his  remembered  Vision  of 
beauty  in  all  its  perfection.  Be  it  a  les- 
son  to  the  lazy  artists  of  today,  who 
peddle  their  onanistic  games  as 
works  of  art.  No  great  composer  will 
again  appear  among  us  until  the 
young  are  taught  that  being  a  genius 
is  not  enough.  D 


La  mort  d'Anna  Mahler 

Une  puissance  magique 


Le  2  juin  ä  Londres,  les  plasti- 
ciens  ont  perdu  un  sculpteur  de 
grand  talent,  les  malh6riens  du 
monde  entier  le  demier  t^moin  de 
leur  idole,  et  tous  ceux  qui  avaient 
eu  le  bonheur  de  Tapprocher  un 
modele  de  franchise,  de  droiture, 
d*exigence  morale  et  de  fid61it6  ä 
soi-meme. 

Seule  survivante  des  deux  filles 
de  rillustDB  compositeur  et  de  la 
16gendaire\^lmaj^nna  Mahler  6tait 
n6e  le  15  juin  1904.  Comme  sa 
mdre,  eile  avait  eu  plusieurs  maris, 
le  compositeur  Ernst  Krenek,  T^di- 
teur  viennois  Paul  Zsoinay,  le  chef 
d'orchestre  Anatol  Fistoulari  et 
r6crivain-cin6astel^ 
Mais,  comme  son^ 
avant  tout  se  d6dier 

Elle  6tudia  d*abord  la  peinture 
avec  Giorgio  de  Chirico,  puis  la 
sculpture  avec  Fritz  Wotruba  ä 
Vienne  oü  eile  v^cut  jusqu^ä 
TAnschluss.  En  1937»  ä  Paris,  eile 
re^ut  le  Grand  Prix  de  PExposition 
internationale.  Mais,  malheureuse- 
ment,  toutes  ses  oeuvres  de  cette 
Periode  devaient  disparaitre  en 
Autriche  sous  les  bombardements. 

Plus  tard,  eile  s*installa  ä  Lon- 
dres,  ensuite  en  Californie.  Ces  der- 
niires  ann6es,  eile  partageait  son 
temps  entre  Los  Angeles  et  Spoleto, 
en  Italic,  menant  toujours  de  front  la 
r^aiisation  de  plusieurs  cr6ations 
d*importance.  C  est  que,  avec  Tage, 
la  reconnaissance  6tait  enfm  venue. 


ii  z,soinay,  le  cnei 
itol  Fistoulari  et 
^vAlbrecht  Joseph.! 

m  6gre,  e»e'  affar 

er  a  son  art. 


Ses  statues  commengaient  de  s*61e- 
ver  dans  les  lieux  publics  et  d*entrer 
dans  quelques-uns  des  grands 
mus^es  du  monde.  Elle  devait  assis- 
ter, cet  6t6  ä  Salzbourg,  pendant  le 
Festival,  ä  sa  premidre  retrospective 
vdritable. 

Petite,  mince,  intense,  avec  ses 
mains  noueuses  et  ses  yeux 
angoiss6$,  Anna  Mahler  tirait  de  la 
glaise,  du  bronze  ou  de  la  pierre  des 
Oeuvres  d'une  force  troublante. 
D'une  part,  des  portraits  burin^s  de 
v6rit6  int6rieure,  comme  ceux 
d' Arnold  Schoenbere,  Bruno  Wal- 
ter, Otto  Klemperer,v£ranz  Werfelj 
Kurt  von  Schuschnigg..r'  Ü'aatre 
part,  d'6paisses  figures  symboliques 
et  des  groupes  monumentaux  oü  la 
stylisation  plastique  de  tradition 
allemande  pouvait  atteindre  la  puis- 
sance magique  du  totem  primitif, 
comme  cette  Tour  des  Masques  qui 
domine  desormais  le  foyer  du  thea- 
tre  de  TUniversite  de  Californie. 

Anna  Mahler  v6nerait  la  memoire 
de  son  pdre  ä  qui,  d'ailleurs,  eile 
devait  les  traits  principaux  de  son 
caractdre.  Mais  eile  savait  aussi  que 
le  meilleur  moyen  de  Thonorer  6tait 
de  se  r6aliser  elle-meme  dans  la  pl6- 
nitude  de  sa  vocation  d'artiste.  D'un 
bout  ä  Pautre  de  sa  vie  sinueuse, 
jalonnee  d*^blouissements,  eile 
n*aura  pas  un  seul  instant  failli  ä  ce 
devoir. 

HENRY-LOUIS  DE  LA  ORANGE. 


16  Le  Monde  •  Vendredi  15  janvier  1988 


LE  MONDE 


V 


BIOGRAPHIES 

Alma  Mahler 


reine  dechue 


Fr  anweise  Giroud  retrace  Vitiner  aire 
de  la  grande  s^ductrice  de  Vienne. 


LA  16gcndc  d*Alma  Mahlcr 
est  tenace.  On  aimerait 
toujours  se  la  flgurer  teile 
qu'elle  etait  ä  quinze  ans,  svelte  et 
irreverencieuse,  fustigeant  les  fai- 
blesses  amoureuses  de  sa  mere, 
lisant  Nietzsche  dans  les  jardins 
de  Vienne.  On  aimerait  oublier 
rimage  de  la  veuve  repldte  qui, 
dans  son  appartement  de  New- 
«York,  divaguait  sur  sa  passion 
insensee  pour  les  «  petits  juifs  du 
genre  de  Mahler  »,  expurgeait  la 
correspondance  de  ses  fameux 
amants  et  maris,  biffait  dans  son 
propre  Journal  les  passages  qui 
risquaient  de  ternir  son  aureole. 
Seductrice  ä  quinze  ans,  reine 
dechue  ä  cinquante  :  Alma  Mah- 
ler avait  beau  maquiller  sa  desti- 
nee,  s'etabiir  dans  son  role  de 
salonniere  vieillissante,  eile  ne 
parvenait  pas  ä  nous  faire  oublier 
qu'ä  la  fin  de  sa  vie  on  la  voyait 
souvent  arpenter  les  rues  de  New- 
York,  les  dialogues  de  Piaton  dans 
une  poche,  un  flacon  de  Benedic- 
tine  dans  Tautre. 

Dans  son  autobiographie,  Ma 
vie  ( 1 ) ,  Alma  Mahler  avait  legue 
ä  la  post6rite  quelques  fragments 
qui  devaient  contribuer  ä  sa 
mythologie  ;  mais  9a  et  lä  per^ait 
une  note  de  melancolie  et  d'amer- 
tume,  comme  Taveu  d'un  echec. 
C'est  cette  felure,  ce  ratage  qu'a 
cru  ddceler  Fran9oise  Giroud 
dans  Texistence  de  la  trop  glo- 
rieuse  Alma.  La  plus  celebre 
veuve  de  Vienne  nous  apparait 
dans  une  pose  moins  avantageuse. 
Gräce  ä  cette  biographie,  ecrite 
dans  un  style  allegre,  mi- 
moqueur,  mi-sympathique,  les 
adorateurs  d'Alma  Mahler  la 
decouvriront  moins  inaccessible, 
ses  ennemis  moins  arrogante.  Plus 
de  vingt  ans  apres  sa  mort,  la 
belle  egerie  triomphe  encore  une 
fois. 


A  vingt-sept  ans,  avec  ses  deux  filles. 


que  au  depart.  Mahler,  dans  les 
demieres  annees  de  sa  vie,  n'6tait 
plus  qu'un  «  enfant  malade  »  qui 
tremblait  ä  Tidee  de  perdre  sa 
«  deesse  », 


La  «  veuve 
des  qnat'z  arts » 

Victorieuse,  c'est  ainsi  qu'Alma 
se  voyait,  se  voulait.  En  epousant, 
Gustav  Mahler,  en  1902,  eile  lui 
sacrifia  cette  rage  de  vaincre. 
Courtis6e  par  Gustav  Klimt,  par 
Max  Burckhard,  le  directeur  du 
Burgtheater,  eile  se  retira  du 
devant  de  la  sc^ne  pour  vivre, 
avec  Mahler,  dans  un  «  splendide 
isolement  ».  Conquerant  despoti- 


Le  compositeur  disparu,  Alma 
Mahler  redevenait  elle-meme  : 
une  muse  altiere,  une  croqueuse 
de  genies.  Dans  sa  liaison  passion- 
nee,  scandaleuse  avec  Oskar 
Kokoschka,  de  sept  ans  son  cadet, 
eile  se  donna  entierement  ä  sa 
legende,  se  comportant  ä  la  fois 
comme  une  pretresse  de  Tart  et 
comme  une  amoureuse  persecu- 
tee,  sequestree  par  ce  fou  de 
Kokoschka.  Apres  ses  adieux  au 
turbulent  peintre,  Alma  Mahler 
n'6tait  plus  que  la  caricature 
d*elle-meme.  Son  mariage  en 
1915  avec  Tarchitecte  Walter 
Gropius,  ses  noces,  quatoi^e  ans 
plus  tard,  avec  r6cri vain  t Frs^nz^ 
Werfcl^  firent  bientöt  d'elle  la 
''■VTeirCe  des  quat'z  arts».  L'im- 
mortelle  Alma  Mahler  s'etait 
prise  au  jeu  de  sa  mythologie ; 
chaque  evenement  de  sa  vie  pri- 
vee,  meme  Tenterrement  en  1935 
de  sa  Tille,  Marion  Gropius,  etait 
l*occasion  d'une  parade. 

Dans  sa  villa  de  la  Hohe  Warte, 
eile  avait  transforme  son  salon  en 
musee  personnel :  dans  une  vitrine 
s*exhibait  un  manuscrit  de  Mah- 
ler, ouvert  ä  la  page  oü  il  avait 
griffonne  :  «  Pour  toi  vivre  !  Pour 
toi  mourir  !  Almschi !  »  Au  mur 
etait  accroch6  un  portrait  d^Alma 
en  Lucrece  Borgia,  peint  par 
Kokoschka.  «  Dommage  quil  ait 
mal  flni !  »,  disait  Alma  de  son 
ancien  amant.  Elle  flirtait  encore 
avec  quelques  irreductibles  :  un 
biologiste,  puis  un  jeune  pretre, 
Johannes  Hollcnsteiner,  un  Sym- 
pathisant nazi  -  il  la  persuada  si 
bien  des  merites  du  Führer  qu'elle 
nota  dans  son  Journal  :  *  Je  vois 
en  lui  (Hitler)  un  authentique 
idealiste  allemand,  quelque  chose 
d'impensable  pour  un  juif.  »  A 
Tarrivce  du  «  Sauveur  »,  Hollens- 
teiner fut  envoy6  ä  Dachau,  et 
Alma  Mahler,  fuyant  en  France 
puis  aux  Etats-Unis,  biffa  dans 
ses  carnets  cet  eloge  malencon- 
treux. 

«  Alma,  je  t*en  prie,  sois  sin- 
cere »,  lui  ecrivait  Gustav  Mah- 


ler. Elle  savait,  la  vieillissante 
Alma,  qu'elle  avait  perdu  son 
insolence  et  que  seule  la  sincerite 
pouvait  encore  la  sauver.  Elle  dis- 
posait  autour  d'elle  ses  trophees, 
comme  un  Champion  ä  bout  de 
Souffle  se  console  de  n'etre  plus 
dans  la  course.  Oskar  Kokoschka 
voulait  la  revoir,  mais  eile  ne 
tenait  pas  ä  lui  montrer  son  corps 
alourdi,  son  visage  ravage.  Apres 
tout,  eile  preferait  finir  sa  bou- 
teille  de  Benedictine.  Seductrice  ä 
quinze  ans,  alcoolique  ä  cin- 
quante, cuvant  son  vin  dans  la 
solitude,  Alma  Mahler  6tait  rat- 
trapee  par  sa  legende  :  Texil  lui 
avait  rendu  sa  grandeur. 

ROLAND  JACCARD. 

•  ALMA  MAHLER  OU 
L'ART  D'£:TRE  AIM£E,  de  Fran- 
(oise  Giroud,  Robert  Laffont, 
257  p^  89  F. 


(l)Hachcttc.  1985. 


Subicriplion:   750  mil»  (£   1   obroad) 


PALESITNE 


Pric«:    100  milt 


AND 


MIDDLE  HAST 


ECONOMIC        MAGAZIN 


PUBLISHED  MONTHLY*  No.  12  »VOL.  IX  •TEL  AVIV  •  DEC  EMBER  193  7 

PUBLISHED  BY  MISCH  AR  w'TAASIA  CO.  LTD.  •  LEVANT  FAIR  GROUNDS  •  PO  B.  6091  -  TELEPHONE  43S7 
BDITORS:   A.  EVSEROV    k  B.   TOROKOR   •   ASSISTANT    EDITOR:    FAY    MOSCOVITZ,    B.  A. 


TOURIST    ANNUAL    1938 


SOCIETY  IN  EVOLUTION 


By  DOROTHY  KAHN 


BRIDGING  THE  AGES 


By  M.  AVI-YONAH 


IN  THE  FOOTSTEPS  OF  HISTORY 


By  S.  BEN-AHARON 


GEOGRAPHICAL  WONDERS  OF  PALESTINE 


By  E.  D.  GOITEIN 


THE  STORY  OF  RESETTLEMENT 


By  H.  LEVIN 


AN  ECONOMY  IN  THE  MAKING 


By  R.  LINDT 


PALESTINE  FOR  HEALTH 


By  A  PHYSICIAN 


HOW  TO  SEE  PALESTINE 


By  W  TURNOWSKY 


GROWTH  OF  EMEK  ZEVULUN 


By  E.  BORUCOV.  C.  E. 


All     o  «r  i  o  1 

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iSays  Plane  Output 
Lags  in  Britaln  j^^O 

Special  to  the  World-Telegram. 

HOBOKEN.  Feb.  6.— British  plane 
production  is  not  as  great  as  is  gen- 
erally  believed,  Joseph  E.  Wood, 
sales  manager  of  the  Barber  Co.,  of 
Rockford,  111.,  intimated  on  arrlv- 
ing  on  the  Holland- America  liner 
Veendam  irom  a  business  trip  which 
look  him  through  several  British 
airplane  factories. 

*lt  is  problematical  how  fast  the 
British  are  tiirning  out  planes,"  he 
said. 

The  Veendam  docted  late  yester- 
day  with  532  passengers,  including 
350  Jewish  refugees  from  Germany. 
Dr.  Alice  Muehsam  said  she  quit 
Germany  because  "I  couldn't  live 
without  permission  to  do  scientific 
work  and  I  jwas  barred  frpm  mu- 


seums. 


»» 


D 


17 


Nilu^ 


Notes:  A  Summer 

Of  Premieres 
For  Menotti 


Jt 


By  SHIRLEY  FLEMING 

Gian  Carlo  Menotti  is  in 
for  a  busy  summer,  by  any- 
body's  Standards :  from  the 
middle  of  May  to  the  middle 
of  June  he  will  be  represent- 
ed  by  no  fewer  than  three 
premieres,  fdlowed  in  Au- 
gust by  a  fourth.  On  May  18 
cxwnes  "Landscapes  and  Re- 
membrances,"  commissioned 
by  the  Bei  Canto  Chorus  of 
Milwaukee.  A  cantata  in  nine 
parts  for  soloists,  chorus  and 
orchestra,  it  recalls  memories 
and  incidenits  of  the  compo- 
ser's  own  life  in  America.  *'I 
didn't  want  to  do  the  usual 
patriotic  kind  of  thing  — 
thait's  a  bit  of  a  bore,"  he 
says.  •'The  best  way  seemed 
to  me  to  express  what  you 
feel  about  a  country  in  per- 
sonal terms.  The  piece  begins 
with  my  arrival  In  New  York 
and  the  last  section  is  called 
•The  Sky  of  Departure'." 

June  1  marks  the  premiere 
by  the  Opera  Company  of 
Philadelphia  of  a  comic  opera 
called  "The  Hero,"  which 
Menotti  describes  as  a  gentle 


Jack  Mitchell 


Menotti — ^Why  has  it  taken  so  long 
to  write  a  symphony? 


Satire  on  American  politics 
("There's  even  a  tape  in- 
volved").  Next,  opening  on 
June  17  and  running  through 
the  23d,  the  Washington 
Cathedral  produces  the  first 
U.S.  Performances  of  *The 
Egg»"  a  church  opera  which 
was  commissioned  some 
years  ago  by  England's  Can- 
terbury  Cathedral  and  subse- 
quently  rejected  by  the  Arch- 
bishop  of  Canterbury.  *'It  po- 
ses  a  ticklish  theological 
question,"  Menotti  com- 
ments,  not  without  satisfac- 
tion.  *'A  boy  must  choose  be- 
tween  love  and  truth,  and  he 
chooses  love.  I  think  love  is 
more  important  than  truth." 

Finally,  there  Is  to  be  Men- 
otti's  First  Symphony,  com- 
missioned by  the  Saratoga 
Festival  and  scheduled  for 
Performance  there  on  August 
4  by  the  Philadelphia  Orches- 
tra under  Eugene  Ormandy 
(New  York  will  hear  it  on 
October  12).  "It  is  called 
The  Halcyon* — the  bird  who 
broüght  peace  and  good  will 
to  the  Greeks.  Why  has  it 
taken  me  so  long  to  write 
a  symphony?  WelJ,  everyone 
kept  commi&sioaiing  operas, 
and  I  had  a  lot  to  get  off 
my  ehest.  Now  my  theatrical 
obsessions  are  gone.  After 
one  more  work  I'm  through 
with  the  theater." 


FII/4ED  IN  TOO  SECTIÖNS 


■^■•~* •••^  •»■••« •j%_ V . 


f» 


Samstag,  11.  März  1978  /  Nummer  53 


BILDER  UND  ZEITEN 


Frankfurter  Allgemeine  Zeitung 


Sein  Porträt,  dessen  Umrisse  schon 
erstarrt  und  im  Bewußtsein  eines 
großen  Teils  der  deutschen  Leserschaft 
fest  eingeprägt  schienen,  hat  seine 
Deutlichkeit  wieder  eingebüßt:  Die  Li- 
nien verblassen  und  verschwimmen,  die 
Legende  kann  ihre  Fragwürdigkeit 
nicht  mehr  verbergen,  das  Denkmal 
bröckelt  ab.  Und  allmählich  entsteht 
ein  anderes  Porträt,  fast  unmerklich  bil- 
det sich  die  nächste  Legende,  in  der 
Ferne  wird  ein  neues  Denkmal  sichtbar. 

So  war  es  schon  einmal,  um  1832  und 
später,  als  Grabbe,  Börne  und  viele  an- 
dere Vertreter  der  nachfolgenden  lite- 
rarischen Generation  gegen  Goethe 
Sturm  liefen.  Seine  übermächtige  Ge- 
stalt hatte  den  Protest  der  Jüngeren  ge- 
radezu herausgefordert.  Das  Ergebnis 
kennt  man:  Der  ehrgeizige  Revisions- 
prozeß, mit  Verve  und  Zorn  geführt, 
vermochte  gewiß  einiges  zur  Klärung 
beizutragen,  hat  aber  vor  allem  Ruf 
und  Geltung  dessen,  den  man  unbe- 
dingt auf  der  Anklagebank  sehen  woll- 
te, auf  ungeahnte  Weise  gefestigt  und 
gleichsam  mit  einem  neuen  und  noch 
breiteren  Fundament  versehen.  Denn 
dies  ist  sicher:  Nicht  die  Attacken,  mit 
denen  ein  genialer  Dichter  in  den  Jahr- 
zehnten nach  seinem  Tod  bedacht  wird, 
gefährden  seinen  Nachruhm,  sondern 
das  Ausbleiben  solcher  Attacken. 

Er,  Thomas  Mann,  hat  in  dieser  Hin- 
sicht keinen  Anlaß  zu  Klagen.  Schon  zu 
Lebzeiten  von  vielen  seiner  schreiben- 
den Zeitgenossen  als  ein  Ärgernis  und 
oft  als  eine  kaum  noch  zu  ertragende 
Provokation  empfunden,  wurde  er 
1975,  als  sein  hundertster  Geburtstag 
begangen  wurde,  zum  Gegenstand  ei- 
ner Generaloffensive,  die  in  der  Ge- 
schichte der  deutschen  Literatur  ihres- 
gleichen nicht  kennt:  Dutzende  von 
Schriftstellern  erklärten,  niemand  sei 
ihnen  gleichgültiger  als  der  Autor  des 
„Zauberberg''.  Aber  sie  beteuerten  es 
mit  vor  Wut  und  wohl  auch  Neid  be- 
bender Stimme. 

Der  ebenso  unvermeidliche  wie  not- 
wendige Prozeß  der  Entmonumentali- 
sierung  ist  also  längst  im  Gange.  Vor- 
erst jedoch  betrifft  er  weniger  das  Werk 
Thomas  Manns  als  vor  allem  seine  Per- 
son. Und  anders  als  in  vergleichbaren 
Fällen  kommen  die  entscheidenden  An- 
stöße zur  Überprüfung  der  bisherigen 
Ansichten  und  Urteile  nicht  etwa  von 
rebellischen  Vatermördern  oder  meu- 
ternden Interpreten,  sondern  von  ihm 
selber  -  von  Dokumenten  nämlich,  die 
noch  aus  seiner  Hand  stammen. 

Schon  die  1973  erschienene  Korre- 
spondenz mit  seinem  Verleger  Bermann 
Fischer,  die  einen  umfassenden  Einblick 


ihomas  Mann,  am  6.  Juni  1935  in  Küsnadit. 


Foiü  S.  FischcT  Verlag 


Die  V^ahrheit  über  Thomas  Mann 

Zu  den  Tagebüchern  aus  den  Jahren  1933  und  1934  •  Von  Marcel  Reich-Ranicki 


lieh  viel  Kraft  und  Energie,  List  und 
Diplomatie  investiert.  Seine  zahlrei- 
chen, genießerisch  und  glanzvoll  ge- 
schriebenen Autoporträts  und  Lebens- 
abrisse, Erinnerungen  und  Rechen- 
schaftsberichte demonstrieren  die  Kunst 
der  raffinierten  Selbstpräsentation  auf 
höchster  Ebene.  Auch  in  dieser  Hinsicht 
war  er   überaus   erfolgreich:    denn    das 


Er  liebte  die  Rolle,  die  er  spielte;  und 
er  spielte  sie  vorzüglich.  Denn  er  war 
ein  großartiger  Akteur,  ein  passionier- 
ter Komödiant.  Er  brauchte  das  Publi- 
kum, aber  nicht  nur  Leser,  sondern 
auch  Zuhörer  und  Zuschauer,  vor  de- 
nen er  sich  produzieren  konnte.  Und  er 
war  bereit,  seinen  ganzen  Habitus  den 
Erfordernissen    der    Rolle    unterzuord- 


so  Thomas  Manns  makellose  Gepflegt- 
heit, seine  elegante  Umständlichkeit 
und  Gelassenheit,  seinen  zärtlichen 
Spott  und  sein  vielsagendes  Augen- 
zwinkern. 

Die  Diktion  seiner  Epik  ist  von  nicht 
überbietbarer  Virtuosität,  sie  ist  voll- 
kommen. Es  fragt  sich  nur,  ob  die  Vo- 


Heinrich  Mann  erwähnt  in  einem 
(nie  abgeschickten)  Brief  vom  5.  Januar 
1918  an  seinen  Bruder  Thomas  dessen 
„wüthende  Leidenschaft  für  das  eigene 
Ich".  Ihr  verdanke  er  zwar  „einige  en- 
ge, aber  geschlossene  Hervorbringun- 
gen", doch  auch  „die  Unfähigkeit,  den 
wirklichen  Ernst  eines  fremden  Lebens 
je  zu  erfassen".  Thomas  Manns  Tagebü- 


tanten  und  Großschriftstellers  den 
größten  Wert  legte,  in  Wirklichkeit  ein 
Neurotiker  war,  der  wochen-  und  mo- 
natelang in  der  Angst  lebte,  die  Zurech- 
nungsfähigkeit einzubüßen.  So  heißt  es 
im  März  1933,  während  seines  Aufent- 
halts im  schweizerischen  Badeort  Len- 
zerheide: „Nach  dem  Erwachen  zuneh- 
mender Erregungs-  und  Verzagtheits- 
zustand, krisenhaft,  von  8  Uhr  an  unter 
K's  Beistand.  Schreckliche  Excitation, 
Ratlosigkeit,  Muskelzittern,  fast  Schüt- 
telfrost u.  Furcht,  die  vernünftige  Be- 
sinnung zu  verlieren.  Unter  dem  Zu- 
spruch K's  mit  Hilfe  von  Luminaletten 
und  Kompresse  langsame  Beruhi- 
gung .  .  ."  Ein  Arzt  wird  hinzugezogen, 
der  Patient  bleibt  im  Bett  und  verweilt 
„im  Hindämmern". 

Gier 
nach  Anerkennung 

Stichworte  wie  „Ekel  und  Depres- 
sion'', tiefe  Lebenswehmut"  oder  „me- 
lancholische Depression"  wiederholen 
sich  wie  düstere  Begleitakkorde.  Gele- 
gentlich heißt  es:  „Ein  Weinkrampf 
war  abzuwehren."  Ein  politisches  Ge- 
spräch mit  der  Ehefrau  Katia  bringt 
„gleich  wieder  die  Nerven  zum  Zit- 
tern'', die  Lektüre  von  Rezensionen 
verursacht  „nervöse  Erregung  u.  Er- 
schütterung". Vor  allem  aber:  „Es  gibt 
Augenblicke,  wo  ich  fürchte,  meine 
Nerven  könnten  überwältigt  werden." 
Bei  einer  anderen  Gelegenheit:  „Recht 
böser  Erregungszustand  mit  Herzflie- 
gen, Zittern  und  großer  Beängstigung." 
Immer  wieder  muß  Katia  helfen  -  mit 
Stirnkompressen,  Beruhigungsmitteln 
oder  auch  nur  die  Hand  des  Patienten 
haltend. 

Einsame    Spaziergänge    wirken    auf 
ihn    keineswegs    günstig.    Im    Oktober 
1933  beklagt  er  „auf  einem  einstündi- 
gen     Abendspaziergang      Zwischenfall 
von    Verlust    der   Fassung,    Angst   und 
Schrecken".  Weihnachten  1933:   „Ging 
allein  spazieren  .  .  .  Neigung  zum  Ver- 
lust der  Nerven  in  noch  unbegangener 
Einsamkeit."  Und  noch  einmal,  wenige 
Tage     später:     „Unterwegs     .  .  .     befiel 
mich    in   der   fremden    Einsamkeit,  der 
bekannte     Angst-     und     Erregungszu- 
stand,  ein   Versagen   der   Nerven,   das 
sich  auf  Muskeln  und  Herz  schlägt  und 
die  Besinnung  bedroht." 

Das  Selbstbildnis  des  von  Unsicher- 
heit und  Furcht  gequälten  und  ständig 
übrigens  an  Schlaflosigkeit  leidenden 
Neurotikers  widerlegt  auf  nahezu  jeder 
Seite  die  schon  seit  seinen  frühen  Jah- 
ren eingebürgerte  Vorstellung  vom 
kühlen  Systematiker,  den  nichts  davon 
rn  kann,  täglich  vormittags  drei 


Schriftstellers  gewährte,  bereitete  auch 
den  Kennern  Thomas  Manns  einige 
Überraschung.  In  noch  höherem  Maße 
gih  dies  für  seine  zwei  Jahre  später  pu- 
bhzierten  Briefe  an  den  Jugendfreund 
Otto  Grautoff  und  an  die  Gönnerin  Ida 
Boy-Ed.  Alle  diese  Zeugnisse  trugen 
dazu  bei,  die  gängige  Vorstellung  vom 
bürgerlichen  Dichterfürsten  und  sou- 
veränen  Repräsentanten  der  deutschen 
Nation  ins  Wanken  zu  bringen:  Sie 
nahmen  seiner  Figur  nicht  wenig  von 
ihrer  Klassizität.  Doch  was  das  überlie- 
ferte Bild  an  Pathos  und  Feierlichkeit 
verlor,  gewann  es  zugleich  an  Wahrhaf- 
tigkeit und  barer  Menschlichkeit. 

Ganz 
auf  Ruhm  gestellt 

Während  Thomas  Mann  die  postume 
Veröffentlichung  dieser  Briefe  weder 
gewünscht  noch  untersagt  hat,  verhält 
es  sich  mit  den  Tagebüchern,  deren  er- 
ster Band  jetzt  erschienen  ist,  ganz  an- 
ders. Er  führte  sie  seit  seiner  Lübecker 
Gymnasiastenzeit,  aber  einen  beträcht- 
lichen Teil  dieser  privaten  Aufzeich- 
nungen hat  er  selber  vernichtet.  Um  so 
bemerkenswerter,  daß  jene  aus  den  Jah- 
ren 1918  bis  1921  sowie  1933  bis  1951 
von  ihm  sorgfältig  aufbewahrt  wurden: 
Er  hat  sie  vor  seiner  Rückkehr  nach  Eu- 
ropa eigenhändig  verpackt  und  versie- 
gelt und  mit  der  Weisung  versehen,  sie 
nicht  vor  Ablauf  von  zwanzig  Jahren 
nach  seinem  Tod  zu  öffnen.  Dieselbe 
Verfügung,  nun  schon  von  der  Tochter 
Erika  Mann  geschrieben,  fand  sich  auf 
einem  Paket  mit  den  Tagebüchern  aus 
seinen  letzten  Lebensjahren. 

Er  hatte  also  nichts  dagegen,  daß 
man  diese  Manuskripte  einst  lesen  wer- 
de. Eine  derartige  Genehmigung 
kommt  indes  bei  Thomas  Mann  -  der 
Herausgeber  Peter  de  Mendelssohn 
weist  darauf  hin  -  einer  Aufforderung 
gleich:  Seine  intimen  Tagebücher  soll- 
ten nach  der  von  ihm  bestimmten 
Schutzfrist,  die  er  übrigens  von  ur- 
sprünglich 25  Jahren  auf  zwanzig  redu- 
ziert hat,  doch  jedermann  zugänglich 
sein.  Warum  war  ihm  daran  gelegen? 

„Da  sein  ganzes  Wesen  auf  Ruhm  ge- 
stellt war,  zeigte  er  sich,  .  .  .  früh  für  die 
Öffentlichkeit  reif  und  geschickt.  Bei- 
nahe noch  Gymnasiast,  besaß  er  einen 
Namen.  Zehn  Jahre  später  hatte  er  ge- 
lernt, von  seinem  Schreibtisch  aus  zu 
repräsentieren,  seinen  Ruhm  zu  verwal- 
ten ..."  So  heißt  es  von  dem  Schrift- 
steller Aschenbach,  dem  Helden  der 
Novelle  „Der  Tod  in  Venedig".  Aber  es 
trifft  auch  auf  ihren  Autor  zu. 

Meisterhaft  hat  er  seinen  Ruhm  ver- 
waltet: Er  hat  in  diese  Tätigkeit  unend- 


Bild,  das  sich  die  Menschen  von  Tho- 
mas Mann  gemacht  hatten,  entsprach  in 
hohem  Maße  seinen  Wünschen. 

Auf  die  literarkritische  Darstellung 
und  Beurteilung  seines  Werks  hat  er 
ebenfalls  -  neben  den  essayistischen  Ar- 
beiten beweisen  es  die  vielen  Briefe  - 
einen  entscheidenden  Einfluß  ausgeübt: 
Da  er  der  beste  Kenner  dieses  Werks 
war,  konnte  er  immer  wieder  mit  Ge- 
danken und  Formulierungen  aufwarten, 
die  von  den  Interpreten  in  der  ganzen 
Weh  dankbar  (und  meist  zu  Recht) 
übernommen  wurden. 

Und  fast  will  es  scheinen,  als  sei  er  zu 
dem  Ergebnis  gekommen,  daß  es  leicht- 
sinnig und  inopportun  wäre,  den  po- 
stumen Revisionsprozeß,  der  schließlich 
auch  ihm  nicht  erspart  bleiben  konnte, 
anderen,  möglicherweise  Inkompeten- 
ten zu  überlassen,  daß  es  vielmehr  rich- 
tiger sei,  sich  der  Sache  beizeiten  und 
persönlich  anzunehmen  und  so  diesem 
Prozeß  von  vornherein  die  ihm  gebüh- 
renden Dimensionen  zu  sichern.  Der 
kluge  Mann  baut  vor. 

Wie  auch  immer:  jenen,  die  schon 
seit  Jahren  seine  radikale  Entmonu- 
mentalisierung  für  das  Gebot  der  Stun- 
de halten,  ging  er,  wie  wir  jetzt  wissen, 
mit  gutem  Beispiel  voran.  Und  sie  läßt 
sich  schwerlich  noch  weiter  treiben,  als 
er  selber  es  schon  getan  hat  —  eben  in 
seinen  Tagebüchern.  Wieder  einmal 
zeigt  es  sich,  daß  man  Thomas  Mann 
nicht  übertreffen  kann. 

Der  eigentliche  Impuls,  der  ihn  ein 
Leben  lang  zum  intimen  Tagebuch 
drängte,  ist  allerdings  auf  einer  anderen 
Ebene  zu  suchen.  Er  war  noch  ein  jun- 
ger Mensch,  als  er  1904  seinem  Bruder 
Heinrich  schrieb:  „Ich  habe  im  Grunde 
ein  gewisses  fürstliches  Talent  zum  Re- 
präsentieren .  .  ."  Was  hier  als  Befund 
formuliert  wurde,  verriet  den  Wunsch 
und  die  Sehnsucht:  Er,  dessen  „ganzes 
Wesen  auf  Ruhm  gestellt  war",  wollte 
nicht  leben,  ohne  zu  „repräsentieren", 
und  er  brauchte  das  „Fürstliche",  um 
repräsentieren  zu  können. 

Sein  Traum  ging  in  Erfüllung:  Schon 
vor  dem  Ersten  Weltkrieg  konnte  Tho- 
mas Mann  in  München  fürstlich  leben  — 
allerdings  nur  dank  der  Unterstützung 
seiner  Schwiegereltern.  Schon  in  den 
Jahren  der  Weimarer  Republik  war  er 
ein  König  im  Reich  der  Literatur:  Jeder 
Zoll  ein  bürgerlicher  Dichterfürst.  Und 
in  der  Zeit  des  Dritten  Reiches  durfte 
er  zur  höchsten  Repräsentanz  aufstei- 
gen, die  je  einem  deutschen  Schriftstel- 
ler zugefallen  war:  Als  Oberhaupt  der 
Emigration  wurde  er  zur  einzigen  und 
weithin  sichtbaren  Gegenfigur  -  mitten 
im  Krieg  verkörperte  er  für  die  gesitte- 
te Welt  das  andere  Deutschland. 


nen,  die  er  auf  sich  genommen  hatte. 
Die  kunstvolle  Selbststilisierung  -  das 
war  sein  Element.  Die  diskrete  Selbstin- 
szenierung -  das  war  die  Basis  seiner 
Existenz. 

Der  Preis,  den  er  zu  zahlen  hatte, 
war  hoch:  nie  durfte  er  sich  vergessen, 
nie  aus  der  Fassung  geraten.  Er  lebte  in- 
mitten seiner  großen  Familie  und  um- 
geben von  Bewunderern  und  jenen,  die 
sich  für  seine  Freunde  hielten.  Aber  er 
blieb  unnahbar  und  einsam.  Er  kannte 
die  Leiden  des  Liebenden.  Das  Glück 
der  Freundschaft  kannte  er  nicht.  Sogar 
seinen  eigenen  Kindern  war  er  -  Klaus 
Mann  hat  es  im  „Wendepunkt"  an- 
schaulich geschildert  -  fremd. 

Wie  konnte  sich  ein  Mensch  von  ein- 
zigartiger Empfindlichkeit,  ein  Künstler 
von  außergewöhnlicher  Reizbarkeit 
jahrzehntelang  mit  einem  derartigen 
Dasein  abfinden?  Viele  fanden  hierauf 
eine  angeblich  bündige  Antwort:  Man 
sagte  Thomas  Mann  Gefühllosigkeit, 
Kälte  und  Hartherzigkeit  nach.  Daß 
aber  jener,  der  den  Tod  Hanno  Bud- 
denbrooks, Joachim  Ziemßens  oder  der 
Rahel  beschrieben  hat,  bloß  ein  kalku- 
lierender Artist  gewesen  sein  soll, 
scheint  eine  allzu  simple  Erklärung  die- 
ser auf  jeden  Fall  überaus  differenzier- 
ten und  komplizierten  Psyche.  Mehr 
noch:  sie  ist  nicht  nur  simpel,  sie  ist  im 
Grunde  absurd. 

Allerdings  mutet  die  Erklärung,  die 
sich  jetzt  anbietet,  ebenfalls  einfach  an. 
Sie  braucht  deshalb  nicht  falsch  zu  sein. 
Vielleicht  also  konnte  Thomas  Mann 
die  Existenz,  für  die  er  sich  entschieden 
hat  und  die  er  so  konsequent  verwirk- 
lichte, nur  deshalb  ertragen,  weil  er  sich 
einen  Freiraum  zu  bewahren  wußte,  zu 
dem  niemand  zugelassen  war  und  den 
er  auch  in  Zeiten  größter  Inanspruch- 
nahme energisch  verteidigte:  eben  das 
Tagebuch. 

Es  war  ein  Monolog  ohne  Zuhörer,  es 
war  der  Schlupfwinkel,  in  dem  er  ohne 
Zeugen  sein  konnte.  Es  war  sein  Asyl 
und  sein  Rettungsring.  Nur  in  dem  Ta- 
gebuch leistete  er  sich  den  Verzicht  auf 
Schminke  und  Maske,  auf  die  Selbststi- 
lisierung. 

Und  weil  niemand  diese  Aufzeich- 
nungen lesen  sollte,  weil  sie  tatsächlich 
nur  für  ihn  selber  bestimmt  waren  -  ich 
bin  sicher,  daß  er  sich  erst  in  seinen  spä- 
ten Jahren  entschlossen  hat,  sie  der 
Nachwelt  zu  überliefern  -,  schrieb  er 
hier  wie  sonst  nie  oder  nur  in  seltenen 
Ausnahmefällen.  Was  den  Charme  sei- 
ner Prosa  ausmacht  und  was  ihr  einen 
unvergleichlichen  Reiz  verleiht,  was  die 
einen  entzückt  und  was  freilich  den  an- 
deren auf  die  Nerven  geht,  wird  man  in 
den  Tagebüchern  vergeblich  suchen:  al- 


ster  Anerkennung  auch  eine  Grenze  an- 
deutet und  ob  sich  in  der  Vollkommen- 
heit, die  man  dieser  Prosa  bescheinigen 
kann,  nicht  zugleich  ein  Vorwurf  ver- 
birgt. Jedenfalls  sind  die  größten  Werke 
der  Dichtung  unvollkommen,  wie  die 
Tragödien  Shakespeares,  wie  Goethes 
„Faust". 

In  der  Geschichte  der  Weltliteratur 
finden  sich  auch,  freilich  überaus  selten, 
Romanciers,  die  der  Virtuosität  nicht 
bedurften  und  deren  Epik  jenseits 
künstlerischer  Vollendung  ist.  Ich  nen- 
ne nur  zwei  Beispiele:  Dostojewski  und 
Kafka.  Thomas  Mann  mag  sie  in  man- 
cherlei Hinsicht  übertreffen.  Aber  von 
beiden  trennt  ihn,  was  sie  nicht  kennen 
und  nie  gekannt  haben:  die  auch  in  sei- 
nen bedeutendsten  Werken  spürbare, 
bisweilen  nur  winzige,  doch  stets  vor- 
handene Beimischung  der  Koketterie. 

Anders  ausgedrückt:  in  Thomas 
Manns  Prosa  ist  immer  das  augurenhaf- 
te  Lächeln  des  großen  Zaubermeisters 
wahrnehmbar,  der  sich  souverän  und 
gelassen  gibt  und  der  gleichwohl  unge- 
duldig, ja  gierig  auf  die  Zustimmung 
des  Publikums  wartet,  der  Applaus  hö- 
ren will  und  Bewunderung  braucht. 
Thomas  Manns  Romane,  Erzählungen 
und  Essays  sind  immer  auch  Bravour- 
stücke. Und  dies  ist  vielleicht  das  Ele- 
ment, das  ihn  mit  jenem -deutschen  Ge- 
nie verband,  das  er  gewiß  nicht  am  mei- 
sten verehrte,  das  ihn  aber  am  stärksten 
irritierte  -  mit  Richard  Wagner. 

Leidenschaft 
für  das  eigene  Ich 

Die  Tagebücher  hingegen  stammen 
nicht  aus  der  Feder  eines  brillierenden 
Virtuosen,  eines  Zaubermeisters.  Sie 
sind  frei  von  Koketterie:  Der  sie  ge- 
schrieben hat,  will  niemandem  gefallen, 
niemanden  beeindrucken.  Man  könnte 
sagen:  Was  er  sucht,  ist  nicht  mehr  und 
nicht  weniger  als  die  ungeschminkte 
Wahrheit.  Aber  worüber?  Über  die 
Epoche,  über  Deutschland,  über  die 
Zeitgenossen,  über  Literatur  und  Mu- 
sik? Gewiß,  davon  ist  hier  immer  wie- 
der die  Rede. 

Doch  die  Äußerungen  über  allgemei- 
nere Themen  sind  nur  Anlaß  und  Vor- 
wand. Sie  skizzieren  den  Hintergrund, 
sie  liefern  die  Kulissen  für  die  intimen 
Auftritte  des  leidenden  Helden.  Denn 
die  einzige  Wahrheit,  nach  der  Thomas 
Mann  unermüdlich  forscht,  ist  jene  über 
seine  eigene  Person.  Und  fast  noch  stär- 
ker als  sein  Drang  zur  Selbsterkundung 
ist  sein  Bedürfnis,  der  Liebe  zu  sich 
selbst  gerecht  zu  werden,  sie  auszudrük- 
ken  und  zu  fixieren. 


eher  bestätigen  diesen  Befund. 

Nur  die  außergewöhnlich  intensive, 
freilich  eher  zärtliche  als  wütende  Lei- 
denschaft kann  den  Umstand  erklären, 
daß  Thomas  Mann  daran  gelegen  war, 
jede  noch  so  unerhebliche  Einzelheit 
seines  Alltags  festzuhalten.  1933,  als 
sich  die  Nachrichten  aus  Deutschland 
überstürzten  und  auch  seine  Zukunft 
ganz  ungewiß  war,  glaubte  er,  notieren 
zu  müssen:  „Rasierte  mich  vor  Tisch  im 
Badezimmer."  Oder:  „Kaufte  Cigarren 
u.  Cigaretten."  Und:  „Wir  tranken  Lin- 
denblütenthee  mit  einer  Citronenschei- 
be."  Daß  es  in  einem  Restaurant  eine 
„schmackhafte  Fischsuppe''  gab  und 
„vorzügliche  Rumpsteaks",  war  ebenso 
erwähnenswert  wie  der  Ankauf  „leine- 
ner Unterhosen". 

Ein  Theaterbesuch  in  Zürich  wird 
vermerkt,  man  spielt  Shakespeares 
„Heinrich  IV.".  Über  Stück  und  Auf- 
führung findet  sich  kein  Wort,  statt  des- 
sen: „In  der  Pause  mit  Genuß  Kaffee 
getrunken."  Sorgfältig  registriert  er  je- 
den Gang  zum  Friseur,  mitunter  erfah- 
ren wir  auch,  daß  die  Kopfwäsche  mit 
„ölbehandlung"  verbunden  war  oder 
mit  „nachfolgender  Anwendung  zu 
starken  französischen  Haarwassers".  In 
den  Satz  „Ging  mit  K.  spazieren"  (und 
nahezu  jeder  Spaziergang  mit  der  Ehe- 
frau Katia  wird  mit  einer  Eintragung 
bedacht)  sind  in  Klammern  die  Worte 
eingefügt:  „Ohne  Weste". 

Wo  die  Qualität  des  während  einer 
Theaterpause  genossenen  Kaffees  oder 
des  angewandten  .  Haarwassers  notie- 
renswert  scheint,  ist  es  der  gesundheitli- 
che Zustand  des  Tagebuch-Schreibers 
erst  recht.  Die  Verdauung  vor  allem  be- 
reitet ihm  Qualen,  die  Medizin  scheint 
da  ratlos  gewesen  zu  sein.  Er  leidet 
meist  an  „hartnäckiger  Konstipation", 
an  „VerStockung  des  Unterleibs",  bis- 
weilen wiederum  an  der  „Neigung  zum 
Durchfall".  Er  klagt  über  „Diarrhoe  in 
Folge  des  Mittels  Agarol"  und  stellt 
dann  verzweifelt  fest:  „Meine  Consti- 
pation  ist  außerordentlich." 

So  häufig  diese  Hinweise  auf  die  kör- 
perliche Verfassung,  so  bleiben  sie  fast 
immer  knapp  und  einsilbig.  Ausführli- 
cher und  exakter  wird  das  Tagebuch, 
wo  es  um  Thomas  Manns  psychischen 
Zustand  geht.  Dieser  ist,  um  es  gleich 
zu  sagen,  erschreckend:  Wer  da  nur  von 
Labilität  oder  gelegentlichen  seelischen 
Krisen  reden  wollte,  würde  das  Bild, 
das  er  selber  schonungslos  enthüllt  hat, 
wieder  verwischen  und  retuschieren. 

Die  Wahrheit  ist,  daß  jener,  der  in 
der  Öffentlichkeit  stets  steif  und  förm- 
lich auftrat,  der  sich  gleichsam  mit  ei- 
ner Schicht  aus  Ironie  und  Würde  um- 
gab und  auf  den  Habitus  des  Repräsen- 


Stunden  am  Schreibtisch  zu  verbringen, 
und  der  dank  eiserner  Energie  in  diesen 
Stunden  jeweils  eine  Manuskriptseite 
produziert.  Diese  eher  an  einen  Beam- 
ten als  an  einen  Künstler  erinnernde 
Arbeitsdisziplin,  die  seine  Bewunderer 
oft  gerühmt  und  seine  Gegner  noch 
häufiger  verspottet  haben  -  sie  war 
bloß  eine  von  ihm  erfundene  Legende, 
freilich  eine,  die  zeigt,  wie  er  gesehen 
sein  wollte. 

Streckenweise  hat  Thomas  Manns 
Selbstbeobachtung  einen  geradezu 
wollüstigen,  wenn  nicht  monomani- 
schen Beigeschmack.  So  verzeichnet  er 
pedantisch  jede  Erkältung,  jedes  Un- 
wohlsein, jede  Blasenreizung.  Er  ver- 
spürt „die  aphrodisierende  Wirkung  des 
Meeres",  er  prüft,  ob  und  in  welchem 
Maße  seine  Haare  ergraut  sind. 

Zugleich  ist  er  von  der  Gier  nach 
Selbstbestätigung,  nach  Anerkennung 
besessen:  Der  längst  als  einer  der  größ- 
ten Schriftsteller  des  Jahrhunderts  gilt, 
er,  dessen  Werk  Gegenstand  unzähliger 
wissenschaftlicher  Abhandlungen  ist, 
notiert  dankbar  alle  zufälligen  Begeg- 
nungen mit  irgendwelchen  anonymen 
Personen,  die  ihn  erkennen,  die  sich 
freundlich  über  seine  Bücher  äußern 
oder  ihn  gar  um  eine  Unterschrift  bit- 
ten. Auch  die  Ansichten  der  Familien- 
mitglieder werden,  wenn  sie  sich  von 
seinen  Arbeiten  begeistert  zeigen  -  und 
es  ist  ihm  offenbar  nie  aufgefallen,  daß 
sie  es  damals  immer  taten  -,  im  Tage- 
buch gewissenhaft  festgehalten. 

Während  einer  Atlantiküberfahrt  im 
Mai  1934  bedauert  er  das  „besonders 
niedrige  geistige  Niveau  unserer  Tisch- 
genossenschaft". Im  nächsten  Satz  er- 
fährt man,  worauf  dieses  harte  Urteil 
zurückzuführen  ist  -  nämlich  auf  die 
„völlige  Unbekanntschaft  mit  meiner 
Existenz".  Angesichts  eines  derartigen 
Umstands  kann  sich  Thomas  Mann  „ge- 
wisser Empfindungen  der  Beschämung 
.  .  .  nicht  entschlagen".  Wer  bei  solchen 
Eintragungen  etwas  Ironie  erwartet, 
wird  enttäuscht:  Von  diesem  erhabenen 
Ausdrucksmittel  will  Deutschlands  vor- 
züglichster Ironiker,  wenn  er  mit  sich 
allein  ist,  nichts  wissen. 

Tritt  er  öffentlich  auf,  so  wird  der 
Beifall  genau  vermerkt.  Man  habe  ihn  - 
heißt  es  im  November  1933  -  „mit 
stärkstem,  lang  andauerndem  Applaus" 
empfangen.  Nach  der  Lesung:  „Die 
Wirkung  schien  außerordentlich,  der 
kompakte,  einhellige,  lange  sich  hinzie- 
hende Beifall  tat  mir  wohl."  Bei  einer 
Lesung  in  Zürich  im  April  1934  ist  der 
Saal  nur  schwach  besetzt,  doch  immer- 

F onset zung  nächste  Seite 


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Samstag,  1 1 .  März  1 978  /  Nummer  53 


Frankfurter  Allgemeine  Zeitung 


Fortsetzung  von  der  ersten  Seite 


Die  Wahrheit  über  Thomas  Mann 


hin:  „Ich  wurde  zweimal  wieder  her- 
ausapplaudiert.*' Ist  der  Applaus  zu 
kurz,  um  wieder  vor  dem  Auditorium 
zu  erscheinen,  so  empfindet  er  dies  als 
enttäuschend:  „DichterBcifall  am  Schluß, 
der  aber  nicht  vorhielt,  um  mich  nach 
dem  Abgang  in  den  Saal  zurückzuru- 
fen, was  mich  jedesmal  kindischer  Wei- 
se verstimmt." 

Was  immer  geschieht  und  womit  er 
sich  auch  befaßt  -  er  verbindet  es,  und 
sei  es  das  Beiläufigste,  mit  dem  Kern 
seiner  ganzen  Existenz,  mit  seiner 
künstlerischen  Aufgabe.  Natürlich  wird 
die  Lektüre  vor  allem  im  Hinblick  auf 
das  gerade  im  Entstehen  begriffene  ei- 
gene Werk  ausgewählt.  Edgar  Allan 
Poe  -  heißt  es  -  passe  besser  „zu  der 
vorgesehenen  Faust-Novelle"  (aus  der 
dann  die  Geschichte  des  deutschen  Ton- 
setzers Adrian  Leverkühn  wurde),  für 
den  „Joseph"  hingegen  ziehe  er  den 
„Don  Ouixote"  vor.  Daß  ihn  der  welt- 
berühmte Cervantes-Roman  „redlich 
langweilt",  stellt  er,  will  es  scheinen, 
nicht  ohne  stille  Genugtuung  fest. 

Nach  der  Lektüre  von  „Krieg  und 
Frieden"  gesteht  er,  daß  ihn  „die 
Schwächen,  Unerlaubtheiten,  Ermü- 
dungen" dieses  Romans  nicht  weniger 
trösten  als  seine  „Meisterhaftigkeit  und 
Größe".  Stifters  „Witiko"  will  er  lesen, 
weil  er  sich  gerade  von  der  „Unmög- 
lichkeit'* des  Buches  Ermutigung  ver- 
spricht. Nach  einer  „Salome"-Auffüh- 
rung  fragt  er:  „Ist  nicht  dieser  Strauss, 
dies  naive  Gewächs  des  Kaiserreichs, 
viel  unzeitgemäßer  geworden  als  ich?" 

Von  einem  tiefen  Eindruck,  den  auf 
ihn  Bücher  und  Theater-  oder  Opern- 
aufführungen   gemacht    hätten,    ist    im 
Tagebuch    dieser  Jahre    nie  die   Rede, 
freilich  mit  einer  Ausnahme:  „Nach  Ti- 
sche die  Korrektur  des  1.  Bandes  been- 
det, zu  Tränen  gerührt  wieder  von  Ra- 
heis Tod,  wie  es  beim   Schreiben   war 
und    bei  jedem    Wiederlesen   unfehlbar 
sich   wiederholt."   Es  handelt  sich   um 
den  ersten  Band  des  Romanwerks  „Jo- 
seph und  seine  Brüder". 

Im  Bewußtsein 
der  Einzigartigkeit 

Daß  Thomas  Mann  unfähig  gewesen 
sein  soll,  „den  wirklichen  Ernst  eines 
fremden  Lebens  je  zu  erfassen"  -  wie  es 
ihm  Heinrich  Mann  1918  vorgeworfen 


beth  und  Michael).  Es  ist  auch  schwer- 
lich ein  Zufall,  daß  ihm  der  Geburtstag 
seiner  Frau  ebenfalls  entgeht. 

Bezeichnend  ist  seine  Reaktion  auf 
Todesnachrichten:  Manche  werden 
kommentarlos  registriert  (etwa  der  Tod 
Stefan  Georges),  andere  lösen  Äuße- 
rungen aus,  die  nicht  den  Toten,  son- 
dern ihn  selber  betreffen.  So  heißt  es 
nach  dem  Tod  Jakob  Wassermanns: 
„Warum  hinschreiben,  daß  der  Tod  des 
Generationsgenossen  und  guten  Freun- 
des die  Frage,  wie  lange  ich  selbst  noch 
leben  werde,  recht  lebhaft  wachruft?" 
Er  zitiert  eine  Zeitung  aus  dem  „Drit- 
ten Reich",  die  Wassermann  zwar  einen 
der  angesehensten  Schriftsteller  „No- 
vember-Deutschlands" nennt,  aber  hin- 
zufügt, er  habe  mit  der  deutschen  Lite- 
ratur fast  nichts  zu  tun  gehabt.  Thomas 
Mann  fragt:  „Ist  das  auch  mein  Nekro- 
log?" 

Als  im  August  1933  der  Kulturphilo- 
soph Theodor  Lessing  in  Marienbad 
von  den  Nationalsozialisten  ermordet 
wird,  ist  in  der  Eintragung  Thomas 
Manns  zwar  der  Schreck  spürbar,  doch 
lautet  sie:  „Mir  graust  vor  einem  sol- 
chen Ende,  nicht  weil  es  das  Ende  ist, 
sondern  weil  es  so  elend  ist  und  einem 
Lessing  anstehen  mag,  aber  nicht  mir." 
1910  hatte  Thomas  Mann  mit  Lessing 
eine  scharfe  öffentliche  Kontroverse; 
die  in  der  Tat  bösartigen  Invektiven  des 
Gegners  kann  er  auch  jetzt,  nach  23 
Jahren  und  nach  dessen  Tod,  offenbar 
nicht  vergessen.  Am  selben  Tag,  dem  1. 
September  1933,  schreibt  er  an  den 
Sohn  Klaus:  „Mein  alter  Freund  Les- 
sing ist  ja  ermordet  worden.  War  immer 
schon  ein  falscher  Märtyrer." 

Natürlich  wäre  es  absurd,  sagen  zu 
wollen,  Thomas  Mann  habe  die  Ermor- 
dung Lessings  gebilligt.  Aber  eine  ge- 
wisse Genugtuung  kann  er  nicht  unter- 
drücken, unverkennbar  ist  der  Gedan- 
ke, der  andere  habe  ein  solches  Ende 
verdient.  So  ungeheuerlich  diese  beiden 
Äußerungen  zu  Lessings  Tod,  so  exem- 
plarisch sind  sie  auch:  Sie  beweisen,  in 
wie  hohem  Maße  Persönliches  die  Sicht 
Thomas  Manns  bestimmt  und  somit,  oft 
genug,  auch  getrübt  hat. 

Gewiß,  er  äußert  sich  über  den  Na- 
tionalsozialismus mit  „Grauen  und  Er- 
bitterung", er  gibt  sich  keinerlei  Illusio- 
nen hin.  Am  27.  März  1933  urteih  er 
lapidar:  „Es  war  den  Deutschen  vorbe- 


und  die  Russische  Revolution  und  fragt: 
„Was  ist  es  mit  dieser  ,deutschen',  die 
das  Land  isoliert,  ihm  Hohn  und  ver- 
ständnislosen Abscheu  einträgt  rings- 
um? Die  nicht  nur  die  Kerr  und  Tu- 
cholski,  sondern  auch  Menschen  u.  Gei- 
ster wie  mich  zwingt,  außer  Landes  zu 
gehen?"  Warum  ihm  die  Gesellschaft 
Alfred  Kerrs  und  Kurt  Tucholskys  miß- 
fällt, bleibt  unerwähnt:  Beide  haben  ihn 
mehr  als  einmal  mit  höhnischen  Seiten- 
hieben bedacht. 

Daß  Thomas  Manns  Leiden  an 
Deutschland  untrennbar  sind  von  sei- 
nen Leiden  an  sich  selbst  -  wir  wußten 
es  längst.  Doch  erst  das  Tagebuch  läßt 
dank  der  Spontaneität  vieler  Eintra- 
gungen das  Dramatische,  ja  auch  das 
Unheimliche  dieser  Beziehung  ganz 
zum  Vorschein  kommen. 


Ungeheuerliche 
Worte 


i 


Am  10.  April  1933  notiert  er  wäh- 
rend eines  Aufenthalts  in  Lugano:  „Die 
Juden  .  . .  Daß  die  übermütige  und  ver- 
giftende Nietzsche-Vermauschelung 
Kerr's  ausgeschlossen  ist,  ist  am  Ende 
kein  Unglück;  auch  die  Entjudung  der 
Justiz  am  Ende  nicht."  Über  die  Juden 
und  ihre  Rolle  im  geistigen  Leben 
Deutschlands  und  Europas  hatte  sich 
Thomas  Mann  häufig  geäußert.  1907 
meinte  er,  daß  ein  Exodus  der  Juden, 
wie  ihn  die  Zionisten  von  der  strengen 
Observanz  wünschten,  „ungefähr  das 
größte  Unglück  bedeuten  würde,  das 
unserem  Europa  zustoßen  könnte".  Um 
so  erstaunlicher  die  Bemerkung,  mit  der 
er  die  antisemitischen  Maßnahmen  des 
nationalsozialistischen  Regimes  doch 
teilweise  zu  akzeptieren  scheint. 

Er  selber  ist  sich  der  Ungeheuerlich- 
keit seiner  Worte  bewußt,  denn  halb 
kommentierend  und  halb  rechtferti- 
gend fügt  er  hinzu:  „Geheime,  beweg- 
te, angestrengte  Gedanken.  Widrig- 
Feindseliges,  Niedriges,  Undeutsches 
im  höheren  Sinne  bleibt  auf  jeden  Fall 
bestehen."  Aber  sein  Verhältnis  zum 
Nationalsozialismus  ist,  zumindest  in 
diesem  Augenblick,  keineswegs  eindeu- 
tig. Er  fragt:  „Geht  dennoch  Bedeuten- 
des und  Groß-Revolutionäres  vor  in 
Deutschland?"  Und  sagt  im  Fazit  der 
Eintragung:  „Ich  fange  an  zu  argwöh- 
nen, daß  der  Prozeß  immerhin  von  dem 


che  für  das  Zweideutige  und  Anrüchige, 
für  das  Abenteuerhafte,  ja  für  das  An- 
archische. Schon  seinen  Tonio  Kroger 
ließ  er  bekennen:  „Man  ist  als  Künstler 
innerlich  immer  Abenteurer  . .  ." 

Es  mag  sein,  daß  es  jene  andere  Seite 
in  der  Persönlichkeit  Thomas  Manns 
war,  die  ihn,  wenn  auch  nur  kurz  und 
flüchtig,  überlegen  ließ,  ob  das,  was  in 
Deutschland  geschah,  nicht  auch  sein 
Gutes  habe.  Der  Abenteurer  in  ihm  be- 
obachtete nicht  ohne  Interesse,  ja  viel- 
leicht nicht  ohne  eine  Spur  widerwillig 
empfundener  Faszination  die  Abenteu- 
rer am  Werk.  1938  schrieb  er  in  dem 
Essay  „Bruder  Hitler":  „Man  kann  un- 
möglich umhin,  der  Erscheinung  eine 
gewisse  angewiderte  Bewunderung  ent- 
gegenzubringen." 

Zehn  Tage  nach  jener  ominösen  Ein- 
tragung über  die  Juden  kommt  Thomas 
Mann  noch  einmal  auf  die  antisemiti- 
schen Maßnahmen  im  Reich  zu  spre- 
chen: „Die  Revolte  gegen  das  Jüdische 
hätte  gewissermaßen  mein  Verständnis, 
wenn  nicht  der  Wegfall  der  Kontrolle 
des  Deutschen  durch  den  jüdischen 
Geist  für  jenes  so  bedenklich  und  das 
Deutschtum  nicht  so  dumm  wäre,  mei- 
nen Typus  mit  in  den  selben  Topf  zu 
werfen  und  mich  mit  auszutreiben." 

Man  kann  schwerlich  einerseits  die 
Revolte  gegen  das  Jüdische  billigen,  an- 
dererseits den  Juden  eine  hohe  und  not- 
wendige Funktion  im  deutschen  Gei- 
stesleben zuschreiben.  Der  Widerspruch 
ist  offensichtlich,  seine  Quelle  war  wohl 
vor  allem  verletzte  Eigenliebe.  Die  Er- 
eignisse im  Frühjahr  1933  haben  Tho- 
mas Mann  bestürzt.  Niemand  schien 
ihn  in  Deutschland  zu  vermissen,  nie- 
mand forderte  ihn  zur  Rückkehr  auf. 
Das  verwirrte  ihn  in  so  hohem  Maße, 
daß  er  im  geheimen  Tagebuch  (und  nur 
dort!)  seinen  Zorn  auch  gegen  jene 
richtete,  mit  denen  zusammen  er  sich 
vertrieben  fühlte:  Für  einen  Augenblick 
lebten  die  antisemitischen  Gedanken 
wieder  auf,  die  ihm  und  seinem  Bruder 
Heinrich  einst,  in  den  neunziger  Jahren 
des  vorigen  Jahrhunderts,  nicht  fremd 
waren. 

Im  Tagebuch  der  folgenden  Monate 
finden  sich  keinerlei  Anzeichen  auch 
nur  eines  geringfügigen  Schwankens  im 
Verhältnis  zum  Nationalsozialismus 
und  in  der  Verurteilung  aller  Formen 
der  im  Reich  praktizierten  Judenverfol- 


seinem  „Außensein  den  Fluchtcharak- 
ter nehmen  und  zwischen  der  Heimat 
und  mir  ein  würdig-friedliches  Verhält- 
nis herstellen". 

Indes  hatte  er  schon  1933  den  retten- 
den Einfall,  der  es  ihm  ermöglichte,  das 
Exil  und  die  Trennung  von  seiner 
bisherigen  Lebenssphäre  und  von 
Deutschland  nicht  als  bitteren  Schick- 
salsschlag, sondern  als  förderlich-gün- 
stigen Umstand  zu  sehen:  „Die  gewalt- 
same Befreiung  aus  der  deutschen  Mise- 
re und  die  Verpflanzung  ins  Europäi- 
sche" würden,  tröstete  er  sich,  „bele- 
bende und  steigernde  Wirkungen"  auf 
sein  Künstlertum  ausüben.  Was  immer 
geschah  -  im  Mittelpunkt  stand  die  Fra- 
ge, welchen  Einfluß  es  auf  sein  Werk 
haben  werde.  Im  übrigen  war  Thomas 
Manns  Vermutung  nicht  falsch,  nur  daß 
die  Befreiung  aus  der  deutschen  Misere 
gerade  die  deutschesten  seiner  Romane 
zur  Folge  hatte:  „Lotte  in  Weimar"  und 
„Doktor  Faustus". 

Seine  zärtliche  Selbstliebe,  diese  alle 
anderen  Gefühle  verdrängende  oder 
doch  relativierende  „Leidenschaft  für 
das  eigene  Ich",  lassen  besonders  jene 
Passagen  des  Tagebuchs  erkennen,  in 
denen  Thomas  Mann  über  seine  homo- 
erotischen Neigungen  und  Erlebnisse 
nachdenkt. 

Für  weibliche  Schönheit  war  er  -  zu- 
mindest in  den  Jahren  1933/34  -  kaum 
empfänglich:  Nie  wird  im  Tagebuch  ein 
anmutiges  Mädchen  erwähnt,  nie  hören 
wir  von  einer  gutaussehenden  Frau.  In- 
des fällt  ihm  beim  Signieren  seiner  Bü- 
cher „ein  sehr  hübscher  Junge"  auf,  am 
Strand  beobachtet  er  „14jährige  Kna- 
ben-Zwillinge, die  mich  durch  ihre  an- 
mutige Gleichmäßigkeit  interessieren". 
In  einer  Gärtnerei  sieht  er  „mit  großer 
Freude  und  Ergriffenheit''  einen  jungen 
Burschen  mit  nacktem  Oberkörper.  In 
einem  Film  bewundert  er  „anziehende 
junge  Menschen"  -  es  handelt  sich  da- 
bei um  zwei  Männer.  Dem  deutschen 
Film  bescheinigt  er  „die  Freude  an  ju- 
gendlichen Körpern,  namentlich  männ- 
lichen in  ihrer  Nacktheit". 

Das  homoerotische 
Glück 

Am  intensivsten  beschäftigt  ihn  in 
dieser  frühen  Exilzeit  die  Beziehung  zu 
Klaus  Heuser.  Thomas  Mann,  damals 
52  Jahre  alt,  hatte  ihn  1927  auf  Sylt 
kennengelernt  und  -  wie  Peter  de  Men- 
selssohn informiert  -  „eine  Zuneigung 
zu  dem  ansprechenden  siebzehnjähri- 
gen Jüngling  gefaßt";  er  habe  Klaus 
Heuser  zu  sich  nach  München  eingela- 
den und  ihm  „viel  Zeit  und  Aufmerk- 


Tagebucheintragungen  aus  den  Jahren 
1927/28,  die  den  Aufenthalt  des  jungen 
Klaus  Heuser  im  Haus  der  Manns  in 
München  betreffen  und  Thomas  Manns 
Besuch  in  Düsseldorf,  wo  die  Familie 
Heuser  wohnte.  Er  sei  -  notiert  er  - 
„tief  aufgewühlt,  gerührt  und  ergriffen 
von  dem  Rückblick  auf  dieses  Erleb- 
nis", das  er  „mit  Stolz  und  Dankbarkeit 
bewahre,  weil  es  die  unverhoffte  Erfül- 
lung einer  Lebenssehnsucht  war,  das 
,Glück',  wie  es  im  Buche  des  Menschen, 
wenn  auch  nicht  der  Gewöhnlichkeit, 
steht".  Die  Beziehung  zu  Klaus  Heuser 
habe  er  schon  damals  -  stellt  Thomas 
Mann  jetzt  fest  -  mit  seinen  früheren 
homoerotischen  Freundschaften  vergli- 
chen und  „alle  diese  Fälle  als  mit  aufge- 
nommen in  die  späte  und  erstaunliche 
Erfüllung"  empfunden. 

Im  Mai  1934  kommt  er  abermals  auf 
seine  homoerotischen  Erlebnisse  zu 
sprechen.  Schon  der  Anlaß  ist  sympto- 
matisch: Auf  der  Suche  nach  Inspira- 
tion zu  der  Darstellung  der  großen  Lei- 
denschaft der  Mut-em-enet,  der  Frau 
des  Potiphar,  in  seinem  Roman  „Joseph 
in  Ägypten"  vertieft  sich  Thomas  Mann 
in  die  Tagebücher,  die  er  1901/1902, 
zur  Zeit  seiner  Beziehung  zu  Paul  Eh- 
renberg, geführt  hat.  Rückblickend 
konstatiert  er  nun:  „Ich  habe  gelebt 
und  geliebt,  ich  habe  auf  meine  Art  ,das 
Menschliche  ausgebadet'.  Ich  bin,  auch 
damals  schon,  aber  20  Jahre  später  in 
höherem  Maße,  sogar  glücklich  gewe- 
sen und  durfte  wirklich  in  die  Arme 
schließen,  was  ich  ersehnte." 

Aufschlußreich  ist  auch  der  Vergleich 
der  beiden  offenbar  wichtigsten  homo- 
erotischen Beziehungen  im  Leben  Tho- 
mas Manns:  Die  Leidenschaft  zu  dem 
siebzehnjährigen  Klaus  Heuser  sei  „rei- 
fer, überlegener,  glücklicher"  gewesen, 
„ein  spätes  Glück  mit  dem  Charakter 
lebensgütiger  Erfüllung,  aber  doch 
schon  ohne  die  jugendliche  Intensität 
des  Gefühls,  das  Himmelhochjauchzen- 
de und  tief  Erschütterte  jener  zentralen 
Herzenserfahrung  meiner  25  Jahre". 

1901,  als  ihn  die  Leidenschaft  zu 
Paul  Ehrenberg  beherrschte,  beurteilte 
Thomas  Mann  diese  Freundschaft  in  ei- 
nem Brief  an  seinen  Bruder  Heinrich 
mit  überraschender  Nüchternheit:  „Das 
Ganze  ist  Metaphysik,  Musik  und  Pu- 
bertätserotik: -  ich  komme  nie  aus  der 
Pubertät  heraus."  Es  scheint  in  der  Tat, 
daß  seine  Homoerotik  in  den  Grenzen 
pubertärer  Schwärmerei  blieb. 

In  diesem  Zusammenhang  kommt 
möglicherweise  einer  Äußerung  im  Ta- 
gebuch besondere  Bedeutung  zu.  Tho- 
mas Mann  schreibt  über  die  Begeiste- 
rung, die  er  beim  Anblick  des  männli- 


fremden  Lebens  je  zu  erfassen"  -  wie  es 
ihm  Heinrich  Mann  1918  vorgeworfen 
hatte  -,  war  gewiß  eine  Übertreibung 
des  erzürnten  Bruders.  Während  seine 
Romane  und  Erzählungen  diese  etwas 
leichtsinnige  Behauptung  widerlegen, 
lassen  die  Tagebücher  erkennen,  daß  er 
zwar  imstande,  doch  kaum  bereit  war, 
auf  fremdes  Leben  einzugehen  -  es  sei 
denn,  er  benötigte  es  für  das  Buch,  an 
dem  er  gerade  arbeitete. 

Sowohl  die  Ehefrau  Katia  als  auch 
seine  Kinder  erwähnt  er  in  dem  Tage- 
buch häufig.  Aber  sie  sind  kaum  mehr 
als  Statisten,  sie  werden  von  ihm  nur 
insofern  wahrgenommen,  als  sie  für  sei- 
ne Existenz  Bedeutung  haben.  Er,  der 
stets  Wert  darauf  legt,  daß  sein  Ge- 
burtstag auf  gebührende  Weise  gefeiert 
wird,  vergißt  die  Geburtstage  der  in 
seinem   Haus   lebenden   Kinder  (Elisa- 


nen  hin.  Am  27.  März  1933  urteilt  er 
lapidar:  „Es  war  den  Deutschen  vorbe- 
halten, eine  Revolution  nie  gesehener 
Art  zu  veranstalten:  Ohne  Idee,  gegen 
die  Idee,  gegen  alles  Höhere,  Bessere, 
Anständige,  gegen  die  Freiheit,  die 
Wahrheit,  das  Recht.  Es  ist  menschlich 
nie  etwas  Ähnliches  vorgekommen." 

Doch  zugleich  läßt  das  Tagebuch  er- 
kennen, daß  Thomas  Manns  Verhältnis 
zu  Deutschland  und  zum  Dritten  Reich 
stets  vom  Bewußtsein  seiner  einzigarti- 
gen Persönlichkeit  geprägt  ist,  seiner 
„singulären,  mit  anderen  Schicksalen 
nicht  zu  verwechselnden  Stellung". 
Mehr  noch:  er  macht  seine  eigene  Per- 
son und  ihre  Rolle  in  der  Öffentlichkeit 
zum  zentralen  Motiv  seiner  politischen 
Meinungen. 

So  schreibt  er  im  April  1933  über  die 
Reaktion  der  Welt  auf  die  Französische 


Eintragung:  „Ich  fange  an  zu  argwöh- 
nen, daß  der  Prozeß  immerhin  von  dem 
Range  derer  sein  könnte,  die  ihjcr^wei 
Seiten  haben  .  . ."  ^y 

Zwei  Seiten  hatte  vor  allem  Thomas 
Mann  selber,  der  Bürger  auf  Irrwegen, 
der  Hanseatensproß  mit  der  Sehnsucht 
nach  den  Zigeunern  im  grünen  Wagen. 
Die  Antinomie  war  ein  Grundzug  sei- 
nes Wesens.  Bereits  in  seinen  frühen 
Arbeiten  postulierte  und  verteidigte  er 
die  kritische,  moralische  und  didakti- 
sche Aufgabe  der  Literatur.  Doch  wur- 
de er  nicht  müde,  um  Verständnis  für 
die  außersittlichen,  die  bohemehaften 
und  rebellischen  Elemente  in  der  Exi- 
stenz des  Künstlers  zu  werben.  Er  hul- 
digte einem  hohen  Ordnungsbegriff, 
von  dem  er  alle  Sphären  seines  Lebens 
und  Werks  beherrscht  sehen  wollte. 
Aber  nie  verheimlichte  er  seine  Schwä- 


ernaitms  zum  Nauonaisoziausmus 
und  in  der  Verurteilung  aller  Formen 
der  im  Reich  praktizierten  Judenverfol- 
gung. Unsicher  ist  allerdings  Thomas 
Mann,  ob  er  weiterhin  im  Ausland  blei- 
ben sollte.  Er  scheut  sich  (im  Mai  1933), 
„das  Tischtuch  zu  zerschneiden  und 
mich  von  Deutschland  auf  immer  aus- 
zuschließen". Zwei  Monate  später  er- 
kennt er,  daß  „ein  solches  Lavieren 
zwischen  Entschiedenheit  und  Rück- 
sicht" nicht  länger  möglich  sei.  Die 
Rückkehr  sei  „ausgeschlossen,  unmög- 
lich, absurd,  unsinnig  und  voll  wüster 
Gefahr  für  Freiheit  und  Leben".  Aber 
im  November  1933  taucht  der  Gedanke 
an  die  Rückkehr  wieder  auf:  „Schließ- 
lich brauchte  man  sich  nicht  zu  beneh- 
men wie  Hauptmann  und  Strauss,  son- 
dern könnte  eine  ernste  und  jedes  Her- 
vortreten ablehnende  Isolierung  be- 
wahren." Und  im  März  1934  möchte  er 


;en  jungimg  geraöt";  er  naDe  Klaus 
Heuser  zu  sich  nach  München  eingela- 
den und  ihm  „viel  Zeit  und  Aufmerk- 
samkeit" gewidmet. 

Im  September  1933,  während  des 
Aufenthalts  in  Sanary-sur-Mer,  hört  er, 
Klaus  Heuser  werde  möglicherweise 
demnächst  diesen  Ort  zusammen  mit 
seiner  Mutter  aufsuchen.  Die  Nachricht 
beunruhigt  ihn,  es  wäre  „wohl  besser'', 
meint  er,  die  Begegnung  zu  vermeiden, 
denn:  „Nach  menschlichem  Ermessen 
war  das  meine  letzte  Leidenschaft  - 
und  es  war  die  glücklichste."  Zu  dieser 
Begegnung  ist  es  nicht  gekommen. 
Doch  im  Januar  1934  taucht  der  Name 
Klaus  Heuser  wieder  im  Tagebuch  auf. 

Aber  Thomas  Mann  schreibt  nicht  et- 
wa über  dessen  Person  -  vielmehr  fällt 
es  auf,  daß  er  über  ihn  kein  einziges 
Wort  verliert  — ,  sondern  ausschließlich 
über  seine  Beziehung  zu  ihm.  Er  liest 


Sarah  Kirsch 

Im  Auge  und  später 

Aber  am  schönsten:  mit  dir 

Oder  ohne  dich 

Über  die  Boulevards  laufen  nichts 

im  Gepäck 
Als  Rosinenbrot,  Wein  und  Tabak 
Die  Leute  der  Länder  festhalten 
Im  Auge  und  später 
Sprechen  davon,  den  Himmel  beschreiben 

den  Schnee 
Du  kommst  mit  dem  Westwind  und  ich 
Aus  dem  Norden,  wir  tragen 
Das  alles  zusammen,  die  winzigen  Pferde 
Die  senkrechten  Palmen,  die  Sterne, 

Kaffeemaschinen 
Nachmittags  halb  nach  Vier,  wenn 

die  Glocke 
Im  Käfig  schaukelt  und  schreit 


Sarah  Kirsch,  geboren  1935  in 

Limlingerode  im  Südharz, 

gehört  zu  den  wenigen  erfolgreichen 

Zöglingen  des  Leipziger 

Literaturinstituts  „Johannes  R. 

Becher'',  der  repräsentativen 

Schriftstellerschule  der  DDR. 

Ihre  Gedichte  fanden  in  beiden 

Teilen  Deutschlands  hohe 

Anerkennung.  Im  August  1977 

hat  Sarah  Kirsch  die  DDR 

verlassen:  Seit  sie  im  Herbst  1976 

den  Protestbrief  gegen  die 

Ausbürgerung  Wolf  Biermanns 

unterzeichnet  hat,  war  sie 

einem  Druck  ausgesetzt,  der  ihr 

nicht  mehr  erträglich  schien. 

Sie  lebt  jetzt  in  Westberlin. 

Foto  Roger  Mehlis 


Feuer 

Taubnessel,  Trespe  und  Melde.  Ich  geh 
Staubgepudert  im  Feld 
Fischreiher  um  den  Kopf. 

Bauern,  gerötete  Augen  vom  Drusch. 
Die  Kinder  schießen  mit  Stöcken. 
Alle  Teiche  ausgetrunken. 
Zwei  Sonnen  in  einem  Jahr. 

Irrsinnige  Nachtigallen,  spät. 

Und  ein  schönes  Feuerrad  auf  dem  Feld 

Rolhe  dem  Wald  zu. 


Nebel* 

Nachdem  der  Sommer  mir  leicht 
war,  ich  im  Oktober  mit  der  Sem- 
mering-Bahn  von  W.  nach  G.  fuhr,  ein 
Farbfilm  mit  Tunnel-Schnitten,  gehe 
ich  im  November  ertrunken  umher.  Ir- 
gend etwas  dringt  durch  Beton  und 
Glas,  weiße  Äste,  ein  Röhrensystem, 
das  Fremdheit  ausbläst.  Wollte  ich  ein- 
kaufen in  der  Halle,  fielen  mir  Tränen 
herab  vor  allen  verlassenen  Dingen, 
den  ausgestopften  Kassiererinnen.  Mein 
Kind,  das  zu  der  Zeit  nur  aus  der  Schu- 
le kommt,  um  mit  dem  Gewehr  auf  dem 
Rücken  in  den  Nebel  zu  laufen,  hat 
nicht  viel  Freude  mit  mir.  Nachts  führe 
ich  Telefongespräche  und  eile  in  der 
Stadt  umher.  Das  ist  ungefährlich,  vor 
den  wichtigen  Gebäuden  treten  höch- 
stens Posten  aus  dem  Nebel  und  wieder 
hinein.  Es  fällt  wie  Milch  herab,  ich  se- 
he mattes  Licht  von  Fenstern,  die  weit 
hinter  den  Wohngebildcn  liegen. 

''Die  Autorin  macht  darauf  aufmerksam, 
daß  man  diesen  Titel  auch  rückwärts  lesen 
darf 


Krähenbaum 

Irgendwo  hinter  dem  Hochhaus,  ich 
wohne  im  siebzehnten  Stock,  wird 
tagsüber  ein  großer  kahler  Baum  ste- 
hen. Früh  siebenuhrdrcißig  tliegen  die 
Blätter  an  meinem  Fenster  vorüber,  fal- 
len und  steigen  in  der  Strömung  zwi- 
schen den  Häusern.  Sie  ähneln  dem 
Laub  des  Ahorns  oder  dem  der  Plata- 
nen, aber  ihre  Flügel  sind  ausladender, 
die  Ränder  sehr  aufgewölbt,  und  die 
Farbe  schwarz.  Wenn  die  ersten  im 
Heizwerk  verschwunden  sind,  dauert  es 
noch  eine  Stunde,  bis  die  letzten  abge- 
trieben sind.  Nachmittags  fliegen  sie 
zurück  an  den  Baum.  Federleichtes  ver- 
kohltes Seidenpapier.  Ein  Bogen  Dun- 
kelheit setzt  sich  zusammen,  Blattrand 
an  Blattrand. 


Die  Büchse 
der  Pandora 

Zu  bestimmten  Zeiten,  das  könnten 
die  Zwölf  Haydnischcn  Nächte 
sein,  haben  unsere  Männer,  von  denen 
wir  im  Krach  geschieden  sind,  gewisse 
Macht  über  uns.  Das  dürfen  sie  nie  er- 
fahren. Die  möglichen  glücklichen  Kon- 
stellationen werden  ihnen  verborgen 
sein,  weil  sie  dergleichen  nie  zu  hoffen 
wagen  und  wir  ihnen  auch  in  sieben 
greifbaren  Jahren  merkwürdig  fremd 
geblieben  sind.  Die  Schrift  hier  wird  ihr 
übriges  tun.  Sie  an  Tagen  sicher  ma- 
chen, wo  bei  uns  nichts  zu  holen  ist.  Sie 
werden  immer  zur  falschen  Zeit  zum 
Telcfonhörer  greifen,  und  das  bewirkt, 
daß  wir  unserer  letzten  Liebe  wieder 
treu  sind  auf  Jahre. 


gebuch  besondere  Bedeutung  zu.  Tho- 
mas  Mann  schreibt  über  die  Begeiste- 
rung, die  er  beim  Anblick  des  männli- 
chen Körpers  empfindet,  und  macht 
sich  Gedanken  über  „das  Irreale,  Illu- 
sionäre und  Ästhetische  solcher  Nei- 
gung, deren  Ziel,  wie  es  scheint,  im  An- 
schauen und  »Bewundern*  beruht  und, 
obgleich  erotisch,  von  irgendwelchen 
Realisierungen  weder  mit  der  Vernunft 
noch  auch  nur  mit  den  Sinnen  etwas 
wissen  will*'. 

Ging  es  hier  lediglich  um  den  An- 
blick des  männlichen  Körpers  oder 
überhaupt  um  die  Art  der  Homoerotik 
Thomas  Manns?  Bei  aller  Intensität  und 
Leidenschaft  wies  sie  wohl  „irgendwel- 
che Realisierungen'*  weit  von  sich. 
Oder  sollten  wir  sagen:  Sie  scheute  die 
Realisierungen?  Oder  vielleicht  auch: 
Seine  betont  monologische  Homoerotik 
brauchte  keine  Realisierungen? 

In  dem  1930  veröffentlichten  Essay 
über  August  von  Platen  bezeichnete 
Thomas  Mann  dessen  Veranlagung  als 
„die  Grundtatsache*'  seiner  Existenz. 
Allerdings  habe  Platen  selber  seine  Ho- 
moerotik „als  heilige  Unterjochung 
durch  das  Schöne,  als  Dichterreinheit, 
Dichterweihe  zum  Höheren  auch  in  der 
Liebe"  verstanden.  Diese  poetische  My- 
stifizierung lehnt  Thomas  Mann  ab  und 
meint,  daß  Platens  Liebe  „durchaus 
keine  höhere,  sondern  eine  Liebe  war 
wie  jede  andere  . . .". 

Das  jedenfalls  ist  sicher:  Die  Homo- 
erotik als  großes  Mysterium  konnte  und 
wollte  Thomas  Mann  nicht  akzeptieren. 
Doch  die  gleichgeschlechtliche  Liebe 
ohne  Realisierungen  ist  schwerlich  eine 
Liebe  wie  jede  andere.  An  dem  Wider- 
spruch, der  hier  augenscheinlich  wird, 
hat  Thomas  Mann  ein  Leben  lang  gelit- 
ten. Denn  die  Homoerotik  gehörte  - 
kein  Zweifel  ist  jetzt  noch  möglich  -  zu 
den  Grundtatsachen  seiner  Existenz. 
Die  Tagebücher  aus  den  Jahren  1933/ 
1934  zeigen  dies  zum  ersten  Mal. 

So  steht  er  am  Ende  vor  uns  da: 
schwach  und  wehrlos,  leidend  und  Mit- 
leid erweckend,  ichbezogen  und  selbst- 
gefällig, abstoßend  für  die  einen,  impo- 
nierend für  die  anderen.  Seine  stärkste 
Passion  war  die  Eigenliebe.  Sie  hat  ihn 
veranlaßt,  alle  Hemmungen  zu  über- 
winden und  die  Wahrheit  über  seine 
Person  zu  enthüllen  oder,  richtiger  ge- 
sagt, das,  was  er  für  diese  Wahrheit 
hielt.  Er  hatte  den  Mut  und  die  Größe, 
sich  den  Nachgeborenen  auszuliefern. 

Goethe  -  meinte  Börne  -  war  „das 
größte  künstlerische  Genie  und  der 
größte  Egoist  seines  Jahrhunderts".  Er 
fügte  hinzu:  „Ohne  dieses  zu  sein,  hätte 
er  jenes  wohl  nicht  sein  können." 

Thomas  Mann:  „Tagelnicher  I933-1934'\ 
Herausgegeben  von  Peter  de  Mendels- 
sohn. S.  Fischer  Verlag,  Frankfurt  am  Main 
1977.818S.,  geb.,  58,-DM. 


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244  East  55  ^t 

Nev  York,  N.Y.  lüü22 

23 •  eept»  1966 


Liebes  Rxiathchen — 

Seitdem  ich  unter  die  Schriftsteller  gegangen  bin,  bin  ich  der  schlechteste 
korres^ondtijnt  der  weit  geworden j>  vas  ich  ja  mit  laeinen  •'grossen  kollegen^  gefl^äin- 
sam  habe  (es  sei  denn>  sie  haetten  sekr etaer innen  oder  treue  gattinnen>  die  ihnen 
das  technische  schreiben  oder  tippen  ebnehi^ienl)|  ßber  trotjsdeTn  cjoechto  ich  dir 
doch  a\if  deinen  sehr  lieben  briaf  danken^  der  mich  irgend  wo  auf  meiner  langen 
reise  erreichte  (God  knovs  edieret  l)  und  fw>r  den  Ich  dir  gleich  mit  einem  kaert- 
chen  gedankt  hatte;  es  hat  sich  allerdings  leider  inzwischen  herausges teilt >  dass 
doch  Postkarten  aui:  europa  gern  im  soraier  verschuf»jtt  gehen  und  da  ich  ausserdem 
pechoes erweise  waehrend  eines  post-etreiks  in  Born  war^  wo  die  aufgelegene  post 
laoiiate  dauartei  bis  sie  aufgearbeitet  war—  und  wo  ich  S'^lbst  auch  gowissö  Sachen 
nie  bekam^  imd  von  dort  aus  geschickte  postkorten  nie  ankamen-^  well^  axQrwBgri 
ich  hoffe,  du  hast  von  nir  g^hocrt  und  wei^'-tj  warxim  ich  nicht  auch  mit  einem 
brief  geantwortet  hab#  ungluecklicherweise  ist  dein  brief  Jetst  nicht  Bur  hand, 
da  Ich  ihn  mit  einem  packet  mit  p&pieren  und  andrer  post  zu  meiner  Kutter  aufs 
land  geschickt  hatte»  so  weiss  ich  nicht  mehr  im  detail,  was  du  geschrieben  hast, 
aufiser  von  deiner  arbeit  und  wit^  viel  freude  dir  dief^e  nacht«,»  das  hatte  mich 
sehr  gefreut,  obgleich  es  eigentlich  ja  doch  letzten  endes  traurig  ist,  wenn  wir 
unsrc  Tif^jige Inden  menschlichen  bezit-himgeu,  oder  ausfuellenden  beziehijngen  mit 
arbeit  ersetzen««*  es  ist  besser,  als  imausgefuellt  zu  sein,  aber  eis  ist,  meine 
ich|  doch  auch  ein  zweischneidiges  schwort,  denn  es  ist  Ja  grade  die  mangelnde 
zeit —  fuer  ausschliesslich  menschliche  probleme  der  andern,  und  auch  der  eignen— 
die  Aieiner  meinung  die  basis  der  menschlichen  Unwissenheit  unsrer  zeit  ist*««  es 
ist  auch  die  basis,  warum  die  psorchiater  so  notwendig  geworden  sind,  weil  die 
aeltcrt.  g'^n^retion,  dis  wie  z*b*  deine  Mutter i  uns  in  krlst^n  zur  saite  stand, 
eben  heute  dazu  keine  zeit  hat^  weil  zu  ausgefuellt  mit  ** Arbeit"  (siehe  Ja  auch 
z«b«  nieine  Mutter)«  ich  sage  dies:  kel^i- ewegs  kritisierend,  sondern  als  beobach- 
tung,  obgleich  ich  mich  eelbst  Ja  auch  z«b«  als  **opfer"  betrachten  kann«««  ich 
denke  ueber  diese  problecio  suhr  viel  nach —  sie  sind  Jri  »uch  ein  haupt-thema 
iLeines  ersten  buche a —  denn  nicht  nur  habe  ich  eine  berufstätige  Mutter  gehabt, 
eine  Frau  mit  geistigen  Interessen,  wi^  man  As  frueh^^r  nannte,  die  sich  um  die 
teenage  toechter  nicht  mehr  gekiiemmert  hat,  sondern  auch  in  spaeteren  Jahren 
durch  ihre  arbeit  NIE  die  zeit  hatte,  sich  mit  menschlichen  Problemen  zu  befas- 
sen usw«  und  in  Nf ,  wo  ALLE  frauen  berufe  haben,  geht  man  Ja  auch  dafuer  |^tt 
zugrunde,  wenn  rosn  Gottböhuete  fnsil  krenk  Ist  oder«««  auf  der  andern  selte,  in 
deinem  fall,  was  sollst  du  da  oben  auf  deinem  barg  allein  machen,  nun  die  Mick^ 
aus  deis  haus  ist«*«  wenn  Kemri  mit  s*  inen  problri^^f^n  und  seiner  arbeit  beschaef- 
tlgt  ist«««  grosse  problem#,  das  alles*  wie  steht  er  denn  zu  deinem  beruf? Y 
es  ifcit  Ja  natuerlich  auch  b*^l  dir  vle*<^erur  erdere  vlt    bei  den  meisten  von  uns, 
die  Immer  Jobs  haben  mussten,  \m   zu  fressen,  und  meist  solche,  die  sie  hasstenl 
und  cJu  biot  Ja  eher  ein  ^^do«.r'*  im  gegen&ats  zu  mir,  die  ich  c^ntemplative  bin««« 
fuer  mich  gaebs  nichts  schoeners,  als  auf  einem  berg  zu  sitzen  und  nblts  zu  tunl 
(hab  ne^ulich  ral  gelt  seri,  dass  die  ital«  frau  von  H^niy  Ford  gesagt  hat,  sie  sei 
perfectly  hapjy  Madtm   just  to  lock  out  a  window—  same  hereil) 


du  ioast  nicht  im  detail  geschrieben,  was  du  eigentlich  unterrichtest—  drama? 
voice?  allcoroeine  theaterkunst  oder  so  etwas?  und  «s  ist.  Ja  in  Jedem  fall  ein 
grot>ses  kompliment  fuer  dich,  dass  du  dir  so  etwas  sozuü^agen  aus  dem  nichts  aufge- 
baut best«  dai*  allein  schon  muae   8t;hr  befricc^igend  sein« 

von  iüir  ist  eigentlich  nichi:.^  rehr  vi^d  zu  sagem«  oder  komnt  mir  das  nur  so  vor? 
ich  habe  eine  phaenomenale  reise  gemacht,  alles  in  allern-^  ich  war  S  X/^   monate 
in  europa,  reiste  sozusagen  von  einladung  zu  einladung,  arbeitete  ausserdem  wahn-» 
sinnig,  mit  meinen  verschiedenen  agenten,  edltors,  editorial  repreaentatives  what 


! 


244  East  56  bt 

New  lOTk,  li.Y.  Iü022 

2S«  sept«  1966 


Liebes  Ruathchen- 


Seltdtsin  ich  unter  die  Schriftsteller  ge^angcüi  hin,   bin  ich  der  schlechtaste 
korres^ondent  d«r  weit  fe.'^vorden^  was  ich  ja  nit  meinen  "grossen  kollegen"  genuin- 
sam  habe  (es  sei  denn,  sie  hielten  sekretaerinnen  oder  treue  gattinnen,  die  ihnen 
das  technische  schreib'^n  oder  tippen  abn«toienl)|  «ber  trotisdem  laoechte  ich  dir 
doch  a\if  deinen  sehr  lieben  brief  danken^  der  mich  Irgend  wo  auf  meiner  langen 
reise  erreichte  (God  knovs  edieret I)  und  §w>t  df^n  ich  dir  gleich  mit  einem  kaert- 
chen  geciankt  hatte;  es  hat  sich  allerdings  leider  inzwischen  herausges teilt ,  dass 
doch  postkarten  aut:  europa  gern  Ic  socüiier  verschuf»!tt  gehen  und  da  ich  ausserdem 
pechoes erweise  waehrend  eineö  post-«treikö  in  Born  war,  wo  die  aufgelegene  post 
laouate  dauerte,  bis  sie  aufgearbeitet  war*—  und  wo  ich  selbst  auch  gewlssa  Sachen 
nie  bekam,  und  von  dort  aius  geschickte  postkarten  nie  ankamen —  well,  cuqywsy, 
ich  hoffe,  du  hast  von  nir  ü-i^o^rt  und  wei^rt,  warum  ich  nicht  auch  mit  einem 
brief  geantwortet  hab»  ungluecklicherwelse  ist  dein  brief  Jetat  nicht  sur  band, 
da  ich  ihn  mit  einem  packet  mit  pi^.pier^n  und  andirer  post  zu  meiner  Mutter  aufs 
land  geschickt  hatte,  so  weiss  ich  nicht  mehr  Im  detail,  was  du  geschrieben  hast, 
außser  von  deiner  arbeit  m\d   wie  viel  freude  dir  diese  nacht*  •%  das  hatte  mich 
sehr  gefreut,  obgleich  es  eigentlich  ja  doch  letzten  endes  traurig  ist,  wenn  wir 
unsre  rt^^jagelnden  mcnschlicht3n  bezic-hurigeu,  odf»r  eusfur;llenden  b€Zieh\jngen  mit 
arbeit  eraetsen^^*  es  ist  besser,  als  \maus£efuellt  zu  sein,  aber  eis  ist,  meine 
ich,  doch  auch  ein  zweischneidigeij  sch^rert,  denn  es  ist  ja  grade  die  lüaiioelnde 
zeit —  fuer  ausschliesslich  menschliche  probleme  der  andern,  und  auch  der  eignen— 
die  Heiner  meinung  die  basis  der  men£chlichf.n  linwissenheit  unsrer  zeit  ist»«*  es 
ist  euch  die  basis,  warum  die  psgrchiater  so  notwendig  geworden  sind,  weil  die 
arältcrt.  fc,'>nL>3retion,  dis  wie  z%b»  deine  Mütter,  uns  in  krls<^n  zur  seite  stand, 
eben  heute  dazu  keine  seit  hat,  weil  zu  ausgef\iellt  mit  **Ärbeit"  (siehe  ja  auch 
z»b«  iiieiue  Mutter)»  ich  sage,  dies:  kelritswegs  kritisierend,  sondern  als  beobach- 
tiang,  obgleich  ich  mich  selbst  ja  auch  z«b»  als  '^opfer^  betrachten  kann»#*  ich 
denke  ueber  dieae  prcbleiii>  su'hr  visl  iiach —  sie  sind  j^.  »uch  ein  haiipt-thema 
iiieines  ersten  buche s —  denn  nicht  n\ar  habe  ich  eine  berufstätige  Mutter  gehabt, 
eint  Frau  mit  geistigen  Interessen,  wi-  man  As  frueher  nannte,  die  sich  um  die 
teenage  toechter  nicht  mehr  gekuemmf^rt  hat,  sondern  auch  in  spaeteren  jähren 
durch  ihre  art^eit  NIE  die  zeit  hatte,  sich  mit  icenschlichen  Problemen  zu  befas- 
sen usw«  und  in  NST,  wo  ALLE  fraiien  berxife  haben,  geht  man  ja  auch  dafuer  fepjitt 
zugrunde,  wenn  mr;n  Gottbehuete  mal  krpnk  Ist  oder«.*%  auf  der  andern  r^eite,  in 
deineE  fall,  was  sollst  du  d^^  oben  auf  deinem  berg  allein  machen,  nun  die  Kick^ 
aus  dem  haus  ist.^»  wenn  Henri  mit  seinen  problt-i^^en  und   seiner  arbeit  beschaef- 
tigt  ist»*,  grosse  probleme,  das  alles%  wie  steht  er  denn  zu  deinem  beruf?? 
es  ifcit  ja  natuerlich  auch  b*^i  dir  vlf^^-'erur  «rdere  ült   bei  den  meisten  von  uns, 
die  immer  Jobs  haben  mussten^  um  zu  fressen^  und  meist  solche,  die  sie  hasstenl 
unö  ciu  biot  ja  eher  ein  ^'dO€,r'*  im  gegen^atz  zu  mir,  die  ich  c^^nteiaplative  bin««» 
fuer  mich  gaebs  nichts  schoenerst  als  auf  einem  berg  zu  sitzen  und  nbits  zu  tunt 
(hab  ne^ulich  rel  gelt  sen,  dass  die  itÄl»  frau  von  Heniy  Ford  gesagt  hat,  sie  sei 
perfectly  hapjy  Mmtm   just  to  look  out  a  vindow —  aeäm   hereil) 


>.4  t :•  ^. 


du  hast  nicht  im  detail  geschrieben,  was  du  eigentlich  unterrichtest—  drama? 
voice?  ailijorneint'  thf^aterkunst  oder  so  etwas?  und  «e  ist  ja  in  jedem  fall  ein 
grosses  kompliment  fuer  dich,  dass  du  dir  so  etwas  sozusagen  aus  dem  nichts  aufge- 
baut hßst*  aaL  fillGin  schon  m\xi,ß   s^.-hr  befric^^lgend  sein« 

von  mir  ist  eigentlich  nicht  r  rehr  viel  zu  saEÄT«  oder  komnt  mir  dab  nur  so  vor? 
ich  habe  eine  phaenomenale  reise  gemacht,  alles  in  allem —  ich  war  3  1/2  monate 
in  europa,  reiste  sozusagen  von  einladung  zu  einladung,  arbeitete  ausserdem  wahn- 
sinnig, mit  meinen  verschiedenen  agenten,  editors,  editorial  representatives  what 


I  I 


VC  4 


r  * 


have  you»^»  de  zwischen  verbuchte  ich  limner  noch  hlsr  und  da  mich  ?u?h  noch 
2U  erholen,  denn  ich  hatte  ganz  kurz   vor  der  abreise  rneineii  dritttn  roican  fertig- 
geechrieben^  konnt<?  diree  unvorstellbar  kviipllzicrti  r*)ö*j  kavnc  organisieren  (es 
varen  sowas  wie  100  briefe  in  etwa  S  wochen  zu  schreiben^  denn  zuerst  war  natuer- 
lieh  niemand  dt,  vo  ich  zu  gf-;.^-b«n:^n  zeitm  j?^  1-n  musste  od^r  wollt* ,  um  allea 
mehr  oder  weniger  auf  einen  rundflug  zu  krieg^^n  usv»  usw«|  aber  zum  schluss  klapp- 
te alle;.,  wie  ai  eclunierchei?,  o^rz   ut:glaublich%  u*8»  war  ich  i^uch  zvm   ersten  mal 
in  meinem  leben  in  rom^  wo  ich  ree^arch  zu  raichen  hatte  una  5  x  durch  dön  Vatikan 
ßpczic.]J.mveranßt^.ltungfin  ELNGFUIDEN  wer^  das  unglaubliehß+^  war  €rine  totenfeier 
fu<:;r  Joherinei:;  XIIII  (der  todestag  hatte  5:ich  gr^-id  g^sjaeurt)  in  der  pr4.<.?p etlichen 
kapelle  in  der  pet  :r?kirche>  mit  d^K  gesriist'sr.  dipl*  corp&  (in  kcituer  uiid  njaske)^ 
den  camerieri  di  Papat  (dito —  das  sind  die  aristokraten  in  achwar  izit  halskraxise^ 
pludcrhoe sehen,  ungeheuren^  echten,  goldenen  ketten,  echten  spitzen  usv«!),  guarda 
di  papa  (das  sind  dieselben  in  ganz  jung-**  mensch,  da  blieb  ein<ii£  die  spucke  weg, 
vor  so  vif.l  cchGer±tit  und  ::til^^„),  die  gar:zc  hocharistokratle  a8v%  usv^,  und  ich 
immer  mittenmang»»«  na  und  so  andriss  mehr,  was  sehr  unge^voeünlich  var*     dann  war 
ich  aufti  irische  1.  schleus  bei  John  Hueton,  tatsu^clilich —  da;  kL&ppt.e  nun»  \md  es 
war  entsprechend*  unbeschreiblich*  it  diu  more  fcr  ne  than  a;:&'thijig  eise —  WIE 
ich  dort  -rnipfaiibe^.  vurdr-,  nit  i;elch.::r  wr.err:c,  we^lcher  achtung  ui^d  rospekt,  und 
freundschaft.»%  it  was  th«  firth  thlng  that  oort  of  mich  wifjder  zuaaiumengeleimt 
>iat,  daü  ifOtAA   jsiir^n  zt:n^ahr:fr-tertr  egC',»^  John  echickto  sdch  d.-^inn  aucJi  noch  nach 
Dublin,  in  das  schot-nßt;^  hotel  von  irlimd^  dajnit  ich  mir  die  stadt  ein  biachen 
anschau,  futx  den  fpU,  daee  ich  dort  einr?al  lf»ben  moecht.et##  «a  ist  e5Ji  seit-- 
sanies  land,  dieses  Irland,  ganz  luidcra  als  alles,  day  man  sonst  kenrit,  mir  tu 
freiad,  wiihrsch-tinllch,  abrr  v^nns  in  ly  nlnh".  n^^hr  auuzulialteu  ist  vsnd  wo  ich 
London  so  hasse»»»  at  least  a  posnibility» 


natuerlich  war  ich  auch  in  parle,  wo  iah  Fabio  und  Jacques  sah  iletatürer  hat  ge- 
heiratet;» ;5iuf^  roiz*Mido  per.ion,  dif   j^^tzl  .^iu  kind  onmrtat.-—  Ja  sovaj  gibts  avichl  ) 
und  die  verschindr^nsten  nndem  ortö  all  over  ^^^urope»  und  das  schoonste  wie  immer 
Tu&in   gclii^bt^  s  zuerich^  dp.s  mir  euch  ^Inc   tolle  romanct?  i^cbracht  hat,  eine  der 
echoen sten  meinf^s  leb^^ns-—  oin  ^eschoiik  des  himrocl.s,  dexm  ich  konnte  mir  Ja  nicht 
nehr  vorst-iltm,  dass  es  sowati  noch  uial  fu-r  niuh  gaobc»  eba:.so  hinreiosend  wie 
kur»,  aber  while  it  lastttd—  out  of  thic  world»  mit  eiiiom  mann  aer  so  ist,  wie 
larj"!  imim-r  gl£.ubt,  sowf.s  e.rtref'Ur!l  vsv.   sich  niir^  zoviv::   kann  i-^r..  c^.^r  nicht  geben» 
woll—  it  can,  auch  w-»nn  r>o  ^em  nCiiB.VdcTlicii   immer  Jcn&nde:a  andorn  gehoerti  but 
whß,t  it  did  tc  rh3  vtu)   quit\,  incrr^aiblii —  Ditutb'ch,  die  nach  zujcrich  gekonuaen  waren 
um  mich  zu  seh^'^n  (III—  sie  beteiligten  üici:  auoh  sehr  grosszuegig  an  der  reise), 
konnten  d.^n  univt>rschicd  von  vorigen  Jahr,  rJ.s  si<    im  htrbst  hi^rr  wcxtJi,  gar  nicht 
beruhigen*  na  kisnststueckll  si^  selbst  wareü  uebrigcns  reizend,  so  nett  wie  In 
Jahren  nicht,  *wirlOLicr  v*^«l  fun*  rrcht  echvie-ri^  ab^T  auch  ;5ehr  nett  war  Goetz, 
VB2±Bk  der  mich  erst  :-in^>  wcche  ins  Rigi  KuLti  Hotel  einlud,  veils  bei  ihnen  am  . 
Schloesrli  Bergsteig  eine  wcch*?  spaetar  »JLs  ursprut:nglich  vcrabredetsi,/pa8Ste, 
das  sind  nun  auch  r>6  Jaüir^r  her,  stell  dir  vor,  und  doch  sehr  lieb,    besser 
wenn  nta*  bodonkt,  vI^'l  :)r,{:ixc$   und  dars  des  nun  eine  wirklich  fr*>u:)i tschaft  mit 
ihm  und  seiner  Inge  geworden  ist»»»  er  sie  fabf^^lhaft  aus»*»  ja-*-*  maenner  habens 
da  viel  bes^'Gj*  als  wir*»»  (Deutsch,  mit  seiner:  76  i3t  tiuch  noch —  na,  man  glaubte 
nicht U)  Boni  sah  ich  hier  in  NT  fuer  eino  stunde,  am  tag  ehe.  ich  wegfxihr,  er  war 
i^TB.d  vorher  crigekoiam^^n,  \.t.i)   nrt'oe.rlich  pcch  war  (tr  hatte  ^^   mir  gt- schrieben  xmd 
wir  konnten  nur  fertigbringen,  des  wir  nicht  an  eiiianr'er  vorbf=ifuhr»3nI),  er  sah 
wesentlich  besser  aus  als  ich&  erwartete —  aber  heut*,  hc-rt^  ich ,  dasif.  er  vor  ein 
paar  taten  wieder  einen  herzanfall  halte,  einen  schlimmen,  den  er  aber  zxaaindest 
uebcrlebt  hat»»»   (er  hatte  bereits  Dehrer^«  klf^inere  und  einen  schliimaen  stroke) 
er  hatte  mich  noch  kurz  vor  meinen  rueckflug  aus  zuerich  angerufen  ixnd  war  sehr 
vergnu-r^it  gew<raon,  mit  definitiven  piaener,  im  frut;hj8hr  wieder  herzukommen,  weil 
er  NiT  30  anregend  fand»»«  nun,  hoffen  wir  das  beste» 


»  \ 


beruflich  habe  ich  vitale  aachen  angeknuc-pft,  von  denen  rran  nun  abwerten  m\X86| 
vac  aUii  ihi'ian  tacliicib  vlrii»     di»:.Gc  vcchr?  soll  sich  \':nts?h'aidf?n|  ob  Ich  bei  Ullstein 
Biit  aiisiiictüi  nxtMcii  buch  bleibo  (main  ageiit  sitzt  auf  hohem  ross^  da  das  erste  ein 
erfolg  war,  mit  Z  1/2  tauöf^^ud  *?xei:-plaren  in  den  erstn>n  p8«:r  monalen  verkauft 
und  e;iaenÄenat^  kidtikeri)|  oder  ein  andrer  verlng  besser  zahlt  n  wu^rd***,»     das 
erste  hir^iigen  konnut  im  nov^mbur  in  itßlien  b^i  Riazcll  heraus  (der  gröbste  ital« 
verlauf  aehnll'^h  wit«  Ullatririn)^  mit  einem  jacket  von  Fabio,   so  hoffe  ich  zx^ 
idLadei>t —  de.  ich  von  nicnu-ndfjin  erftuaren  k'^in^  cb  drr  hlrrelrsrnd^e,  das  er  gecÄCht 
hat,  akzeptiert  vurdell     die  schweizer  aeitschrift  ANNABELLE,  die  dmi  forsten 
roßian  berialifc^iui t  hatl«,  wtHl  hlZ^ei  LOcfcliche  vcn  ir»ir —  di:    ehr f rtdak^ eurin 
gefiel  ikir  grobbartig   (ßie  etanrl  vcn  tlneE  grippeb^tt  ©uf,  NUR,  um  mich  kennen- 
ßUlern^i-~  ji^<^#  ^'*^  it't  fi^ir,  wc^nn  iiau  iln  ^i^^t4;r,•E»*rd  »rthor^*  icti),  und  aie  hat 
liich  rinti^laden,     ab  und  zu  zu  ihr^r  EIGNEN  colmnn  buizutrcgf n,  die  MEINE  MEINUNG 
hoxbati     hab  graci  die  tx^tc  geschickt  und  wart«,  obs  dar;  ist,  was  sl':^  vollen«»« 
es  echwt^b^n  auch  lauter  irorgilchl-ceittn  fuei-  kura^i  '?Rcht^n,  die  ich  vor  zig  Jahren 
fet^ßchri-cvbcn  hab  und  Jetkic  ui,^-  Ui:d  ö.ufi:rbc-l'.ttc,   ccrit  rvinf»r  rueckkehr*     und  in 
anüiwrn  laendem  tjchvtben  auch  noch  lEi^er  eile   moirglichrjr  aacher,  fw-re  erst« 
buch«     naüiaeci  ich  di-   vcch»,   tjc  rii^i   Ivj1i\  T>Tr,  b^^kc^n  ici'  drei  bv<r>cher  von  lauten 
dort  nach  zu^rich  ges^chickt,  zur:  autogr aphier -r^n U 

ixiir  schrieb  f^Tudt  Dorothea  Gc  tfurt,  dv;  trinnerr>t  dich  vlrllelcht>  el^i*  sehr  nahe 
freuiidii*  auc.  iOi.duu  Ct>iö  tocli^elb-^.  Cr.l^::.t) ^  dasr,   si:  EIITPCH^II^ÜNC  IN  N^  YORK  in 
bad  BJt^rsenthtataa,  wo  öie  zu  wiiur  kur  v.ar,  in  den  zvi>i  dortigcui  buchlp.ert^»n  nicht  nur 
ii4i  ;jCiiLi.uf Q^iL»  i.<?r  bond<:tru  in  bsid«^  GANZ  vcrn  jr.ur^llfo  ^'  v'rah —  also  besser  man  kann 
liicht,  iü^intc;  öiw  voll  bcvuad<irunfo ♦     aber  das.  traurig ;  f u  r  inlch  i?-^  Ja>   dass  mir 
eben  dtib  alles  niciit  VIR^CLICH  t.twu.v:   ti;:ljutc1,  ^^z  ^/arri  t  r.ir  nicht  dhr>  herz,   es 
«:fr<.ut  nicht  laoiiiti  beole,  und  *,^  zahlt  auch  li^.idcr  noch  nicht  rieine  r«^chnungen 
Ciait  ftulu  wiraü  j;A.c.»chtig  kn/'t^.p  b^i  alr—-  dir   r^>it^«f  i-t  j^  2;^AJU^'<'l^ch^rV'«>ise  durch 
eialadUiAt-en  ui;d  ^on^ll^u  "contrlbutions:"  allar  betiriligtfi^?  frewidt!i  finanziert 
worden) •%♦     cdä  po^ar   Lu^ie  Hob  jbgt;ecliir;.:.t2  in  zuirlch  wrrc^i  mir  wichtiger  pJ.s 
ftilas  an^lre  zusammen» «•     resp*  DAS  vrar  dor  wirkXicht=)  glänz  df*r  ganzen  reise»  •• 
Äcn  biii  ja  nua  •b-sü  nicLv  fv^^uTt^tÄizig—-  ^h^  ';i>  drrarbf'r  schon  L511i  Immer  gi*^ 
schimpf  r.  hat  11     und  .>o  lan^  ich  oliiiin  bin,  uni  j-^itzt  bin  ichs  seAt.  geaau  VIER 
jähren,   jo  lan^  wjru^  ich  üiigluccklicli  ßiiii:  -jnd  schrc^ib^j  wl«^  eine  drcgu^i  ansehen, 
um  mich  zu  betacub^j^n  und  nicht  z\ira  fenoter  rauc?2U^prtngen»»»     Ich  bin  GOTTSEIDANK 


o«. 


u  b£r  V 


TrtC;   und  schon  allein  deswes-;en  war  es 


J  *i  T  Z  I,  c.»h»  ^uit  dkr  r^l^ 
u±a  e»rOt:si*»i  6lu;ack  fw3r  iOich,  dass  iah  dis  reis^j  Erichen  konnte»     aber  wenn  ich 
den  rcLi  meines  loben.-  to  Vc^rbrirv^jen  iriU;:i'>  vie  di.^n-^  li^tzt^^n  J/^hr<?»  wsren,  nee, 
alao  da^  gifilib  ich  kaum»,,»     auch  wenn^  mich  nicht  m..vbr  juckt,  znUiö  yo\x$  DAS  ist 
CaBlü  war^ig^te.»*» 

nun,  #0  ist  JlnaloL,   üiuh  :kruc.ber  cx^^ziü^ciam,   30  l:jts  '^b«^n|  und  wit.  dlesf*  \inbe- 
schriibltche  Ufbörraschxing  uir  in  Zuerich  bog::gnete,    so  kann,   so  KOENNTF.,  ja  so 
i;;tvaü  auch  in  aeiinlicL.er  foriß  od;i:r  0*^2  andrer  förmig   nuch  vo  nr-df^r^'  noch  einmal 
passierai»     vielleicht»     jedenfallb  itt  das  izieine  hoffriung» 

bo,  Uud  nun  t.eY:vik^  ^«^'iabbrt»  echr^ib  wieder,  venu  du  willst»  kannst  ja  auch  mal 
anrufen,  daö  laachtm  ira^hr^rt*»  r.i6irxt*r  cilif»  fr^;Ul. -.binnen  von  zeit  zu  zeit,  die  auch 
^Ltjiuc  briefe.^cnreibfer  aind»     tto  kostet  ja  so  wenig  nach  8  oder  so. 

lasii  03  dir  Wtdxer  gut  gehe>n,  )i;ein  njdtes  Ruethch'sn,  hoffentlich  geht?  K  ick^ 

lUid  -^tiÄiri  gUb —  Ott  u.^ar.iv. 


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New  York,  NJT»,  November  29,  1966 


Cear  Rutht 

The  post  Office  receipt  for  a  £ul3sr   Insui^ed  vaddlug  gift  to  Mick^~.  c/o  you — 
bhows  me   Uie  o&tö  of  Septr.mbijr  17th|   iL  h«.s  not  be-^>n  acknowledged  uiitil  toä«iy, 
£  1/2  monthß  lator«     A  ttlegraiü  eent   to  th»  wedcilng~  three  iconchs  ago  tod^y — 
bJK:  lov)g  siiACe  p:ropeily   tilled  Lo  n}^^  h&s  b^^^^n  ^ualDy   Ignored»     A.    I  now 
recall  that  MlcJc^  once  before  did  not  thlnk  It  necesöaiy   to  thank  nie  for  a 
armll  blrtiidz-y  gift,  I  can  on^y  assune  that  w^eddlng  presant  and  telegram  vere 
received  but  not  appreciated^  or  not  con^iderod  wortiy   of  even  thcj  most  p«r— 
functoiy   thank-you  note» 


I  aJD  liwüTL  and  aven  ontjiy  ubout  Ihiü* 

In  ry  accompaiying  note  I  pciiiteu  oul  thn^'  I  vaii  in  th»^  midct  of  a  nev  book 
and  found  it  extr^ionely  coiripJlcated  to  do  wjTthlng  aside  froit  ly  woric|  I  had 
tsk'^^n  considerable  trouble  of  selectliii^  a  i;lft  I  thoiight  wculcJ  be  attractiv© 
and  uaeful,  indeed,  I  ordered  the  vegetalle  dish  espnCialJly  b#ceu;3e  the  one 
ia  Stock  tumoc'  out  to  bc  scratched«     II1I3  was  the  reason  for  th:  delay«     Z 
took  the  troiable  of  decorating  the  box,  to  make  it  more  amxi2ing-~  I  wrapp«d 
the  present,  I  took  it  to  th(^  pot^t  offic^»—  sll  this  xneant  real  KFFORT  for 
me,  time  and  strength  glven  I  cotild  have  well  uswi  to  r^st  or  for  other  more 
rew*4rding  matters  than  sendliig  a  gift  to  so«im  one  vrtao  doe^n't  rare  «nough  to 
confirm  its  receipt«     It  aiau  nhjiiant  a  financiai  *»ilort  I  can  ill  afford  in 
iqy^  vt^iy   strained  circuuatanc^^i  I  dli  it-*  and  I  can  acsiirc  you  that  I  coiild 
faave  foimd  a  lot  betttjr  uses  for  the  •?»xpe.nditure  iiivolvec   (going  iar  bcyond 
what  ±8  custoiniijy  anoag  ii^f  fri-^nda  w^o  do  not  beion^j  to  thr  affliiant  soci^ty) 
and  did  not  mind  the  actual  sacrifjfce^  ot^cauae  I  wanted  to  axprese  ry  öffec- 
tiou  for  the  daughter  of  soireone^  vho  has  be-n  veiy  close  to  me  for  all  ny 
üfe.     I  had  feit,  on  receivlng  the  wedding  invitation,   that  it  wat>  extt^nded 
to  Toe  for  the  8ame  purpoee—  to  expreae  ihf  "Verbiai'd.^ihttit"  wlth  vhich  I  too 
have  accoiqpanied  you  throughout  your  life*»» 

With  such  emotional  tangents  involved,  Mick^^a  neglitence  becomes,  therefore, 
A  mach  mortj  Scrious  and  regrett&ble  matter  than  if  it  w^re  mere —  ne^ligence« 
And  I  all  realTy  veiy  veiy  soriy  about  it* 


I  am  vriting  this  lettar  in  EngÜsh  in 
"culprit"# 


you  wißh  to  forward  it  to  the 


I  hope  that  you  are  well  and  continuir'.  to  onjcy  your  work  at  thf^   Univert.i1y« 
Fini  wrote  me  that  you  looked  exceedingly  well  and  hapiyl    ^fM^oL      \\^h£^°\   f 

Coiitinue  that  w^yl 


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4«  Januar  1965 


Mein  Ruathchen- 


was  kam  da  fuer  eine  bezc^ubrnide  ueberraschimg —  ich  war  ganz  sprachlos  imd  hab  mich 
SEHR  gefreut —  inach  dir  mein  koirqpliment  (wie  der  Öchs  sagen  wuarde)—  dies  ist  naeiiH 
lieh  der  VIERTE  mohoir  schale  den  ich  im  l^uf  der  l©t»t<«a  jtihrö  bfjkoranien  habe  und 
der  EIl^ZIGE,  der  mir  gefaellt^  der  mir  ateht^  und  den  ich —  bereits  mit  viel  erfolg 
egtrogen  hsbelll  die  siidörn— - uiui  die»  d±.i  m^i  hier  ivrjmT   al^xt-— siiid  ho   blasse 
pastellf erben,  odejr  vomoeglich  beige,  {bo  vbt   der  letate,  d^i:  ich  grad  veiterge- 
schenkt  hattell) —  jedenfalls  kann  ich  doch  so  zarte*  färben  nichl  tragen,  weil  ich 
zu  ausgespieben  ausachax* —  das  gruen  ist  aber  so  goldrichtig  (oder  ginjtenrichtig?) 
und  wirklich  eine  woffint?-.  •  u»scrö-/)>  Iiat.te  IcIa,  bei  weinen  uaber  100  sch&ls,  NICHTS 
WRd  gleichzeitig  wen^r  und  leicht  ist —  IsOr  r*XL,   od<^r  Hlcko/,  odrr  Ihr  beide,  habt 
den  nßg^tl  atif  den  köpf  g-r-rofffeji  und  »o  sshg   ich  :  uch  meinen  schoensten  daiik» 

es  war  i^berhat^^t  drs  "»ivr^rihn . chten  dt^v  Uk^^berreschung*  z.b%  k!?w  eine  karte  von — BONII 
die  erste  wcihn«•ch^akart<  r.  inf  s  lebens  von  ihr  {\ro  dry-   c?ic-  Zeiten,  wo  er  noch  brie 
fe  schrieb  un^?  blur^^ü  üchickw Til  ober  wo  Ist  d^.r  wiaiterschnee  hin..«..),  tin  foto 
vom  lago  mr.ggiore,  traumhrft  scho^n,  uitd  gut*^  wu'^nr^ch'^',  oder,  wie  er  schrieb  ^das 
a3-iürb62te"  ^r^d — leb  koenne  ihu  .1»  rt-tiVrenz  angeben  (bisken  sp^et — hab  iLijer  noch 
nicht  gehoert —  also,  auch  noch  hoffnmg) —  und  Ich  solle  v^gg^hen*.»»  als  ob  das 
80  einfcch  vcLercU  aber  icli  ^  .]^f*   jv^  c^ucii  nach  wie  vor  selbst  daran,  muöa  nxar  erst 
xiial  ein  bischen  die  nwechsten  B^CHnate  abwerten,  w^^ß  h?,er  wird,  mit  don  buch —  d.h# 
OB  was  wii-d*»*  es  ging  ai:   5-  jf  nuar  z\w  ersten  verlag  (in  Boston),  und  zwar  zu 
eineEi,  der  mich  ueberhRiapt  nicht  p^^rscxenlich  kennt —  ich  halte  das  fuer  am  besten»  •• 
halt  bitte  alle  dc^iantn*  sylvecter  um  11  tihr  hatte  ich  die  4  kopien  verbessert, 
radiert  (bei  meiner  portable  faoiseless  schmieren  die  durchschlaeße),  cöbunden — 
reac^  for  actioni  ich  crbeiti-»tt  10-12  stunden  die  letzten  tage,  weil  ich  dies  nun 
absolut  nicht  ins  neue  jähr  schleppen  wollte  und  auch  meine  agwitln  draengte,  sie 
wollte  nun  schon  anfeni^t-n*»» 


es  kam  auch  eii:r;  karte  vom  Lang —  öUö  Beveriy  Ullis t  er  geht  allerdings,  schreibt 
er,  womoeglich  im  jantiar  vi<Kler  nach  imi^^chen«**  e?  kar.  etn;^  Itarte  von  der  fireimdin 
von  mir,  dio  erste  clirlscKias  cards,  die  sie  mir  je  geschickt  hat,  nach  der  die 
hauptf igur  meines  buches  gedichtet  istl  und,  alpi  wichtigstes—  la^;t  but  ly  no  means 
laasti  —  es  kcai  i/in  buechlein  voa   D»  voi*  verleg —  ohne  namen,  ab^r  ich  wusste  ja, 
dass  es  nur  von  ihm  sein  kcmnte,  dp.  ich  friieh^^r  such  irmer  nur  von  ihm  buecher  be- 
kommen hatte —  ich  Le<  unkttr;  mich  kinrz  und  hoeflich  (auf  doi  brief  hatte  er  doch  wirk 
lieh  nie  ge€intwortet)  auf  einer  Weihnacht skc^rt.«^,  dl«*  Ich  «?chon  l^ng  im  Met#  Musetci 
fuer  ihn  £ekruft  hhVU, —  unö  -^r  ^ntwortote  mir  axif  aintr  gleichen  karte lU  ^I  ad- 
inire  your  taste  in  cards**,  schrlt^b  er  eis  P#S. —  sonst  wars  axich  eher  foemrlich. 
aber  ob  er  dU.   k&rttt  schien  h^tte  und  dies  zufall  wpr,  oder  sie  erst  kaufte,  mch- 
dem  er  meine  bekai?,  auf  jec^  n  faU  ist  es  BESTP^^T  ^tcJ^t  unu-^berl-^^t  g-schehen — 
dazu  Ist  er  viel  -su  ßbtigl  reuLisch  und  an  syiT:bolen  interf^^saltrt  usw»  (wir  haben  doch 
auch  nicht  zufcoUig  rll  di^*  Jrhro  irng  .JEDES  lunch  ymd   JEDES  dinn*  r  iin.7>er  dasselbe 
gr^essen — darj  wj^it  ein  rltus)  aiBu,  Wr  ti  iiun:  r  -»s  bedeuten  soll,  es  ist  etwas  posi 
tivesund  der  erste  winzige  schritt  zu  einander,  st^^tt  von  einander  weg*  ich  hab 
ihi:  inzvlsch»  n  auch  ?.  rai  t.zi   teitfu::  ;^  sprochen,  wtis  auch  sehr  positiv  war,  ich 
konnte  ihm  gltiecklidaerwelse'  etwr.s  fu£r  ihn  SEHR  wicht  igrs  steckf^n,  und  so  fand  er 
auch  ploctzlich  die  deutsche,  spraciie  wieder —  er  liatte  sie  bei  den  2  oder  5  gesprae- 
chen  vorher  betont  vermle<ien,  zu  intim,  wahrscheinlich««,,  sein  söhn  hat  naechete 
wccha  eine  one-tsan  show  (er  iöt  ti^ler —  vdr  haben  bisher  seine  Sachen  nie  gefallen, 
aber  wenn  man  ein  incocin  hat,  kann  man  sich  ja  erlauben,  ^as  zu  t\ai,  was  einem 
spass  macht,  ob  mit  oder  ohne  erfolg)  und  ^wuerde  sich  so  interessieren  meinen  kom- 
meutar  zu  erfahren^ ••*  aber  er  kennt  mich  doch  gar  nicht,  verwxmdertt,  ich  zaich»*« 


viellaicht  vuarde  ich  Ihn^  D.,  vissen  lassen^  dacdt  er  es  dann  veitergaebe»»* 
na^  das  var  aber  ein  schritt  vorwaerts,  den  sog^f^r  ein  blinder  irJ.t  dem  krtb&ckatook 
sebau  mus&te»»*     hier  wurde  Ich  ^u  elneis  aixruf  aixf ^ef ordert •»#     im  iJabrlgen  vill 
auch  er  die  aiaasteULung  von  Fablo  ansehen^  die  einfach  hlnreiseend  Ist —  der  kritl- 
ker  von  der  NT  Tlirje©  hat     esagt^  das  s^ii  das  erste  mal  IN  JAHREB^  dass  er  ßo  etvas 
originelles  und  ungevoahnlichee  gesehen  habe***     (nur  Zeichnungen)  ^  es  wurden  bei 
openlng  9  \ einkauft  I     Ich  iuEuin  dir  gar  nicht  eagen^  VIE  sehr  mich  das  gefreut  hat— 
du  weisbt  doch,  bei  Fablo  hab  ich  WIRKLICH  einen  guten  job  (r<?«)icht  to  get  him  on 
hls  WEQr«.**     uiid  er  ist  Je  euch  ein  richtiger  samtjunge,  und  wenn  er  beim  zeichnen 
bleibt  statt  partout  malen  zu  wollen —  der  komlkf^r,  df^r  hanlat  spielen  will —  dann 
vird  ers  noch  L^ahr  weit  bricigei;*^^» 


mit  iLjeiaem  D»   scheint  steh  das  alte  pattem  wieder  herauszustellen*  ••     waisst  dUr— 
wenn  eine  frau  ein?n  achritt  rueckwoerts  macht,  fuehlt  sich  ^In  nor^i^lzr  moim  ver^ 
aa^asat   (ir.  allgeißelnrun)     in  a  f>chritt  vorwaerts  zu  mach*»n.     nicht  so  mein  D*     IhWER 
in  dleS€UQi  Jahren,  sobald  ich  einen  schritt  rt^ckwr^'^rts  r^^^chr^,  macht  er  sofort  2DEHN 
nach  hiat^lrLl     nicnt  nur  In^f.  ^r  ^mf*    hi^,  w      in     beziahung  zu  kreiripfeni   sondern  er 
hat  anscheinend  so  i?ngst  vor  rejectlon,  dr  ss  er     oJs  erstes  laal  wtrglaetxft..*     es  K 
war  ja  bisher  Irn-r  -.^i  •   sStiUr  tlon  ein:!  aitdre,  :-^b'r  .^s  scheint  sich  döch  jatzt  so 
harau^zukristaiiicij^ron.-»     ich  h^^  b  ihr:   frUH>h<=?r  schon  so  oft  gesagt —  wie  k^am  man 
da  Jie  wieder  zus.^"^ '  n  kcniTren,  w  mi  BI:IDE  rwckwu:rts  gehen,  d,.h.  in  entgegengesetzte 
richttaog??     und  da  er  doch  u^bfrz^ugt  w^r,  ich  wuf^rde  von  iton  v^  ggvhrn,  sowie  das 
buch  zu  :.ndr^  g#5scbrleb;^n  i?t>   istt   ER       i  ii-  b-r  v^rschwvöiden»**     er  ist  axxch  unfac- 
hlg  to  respond  to  aiy  rt^qu^  sts —  \inc>  bisher  wollte  ich   >f».  i^ririer  W8.s  von  ihm —  obs 
fut^r  das  buch  wir  (i-uch  wsrav  ^rs  :\ii^;Lbotai  hatte)  od^r  um  mir  die  tr^^nnung  zu  erleih 
tarn***     in  dem  moment,  wo  ich  weder  etw^^s  verlfügte,  noch  mit  vorwuerfv-n  kam,  son- 
d^jrn  IJÜR  mit  wti^nna —  in  dem  brief —  w^.r  t-r  f-ehig,  zumindest  auf  der  unterstcai 
stufe  dejisen,  was  er  haette  zu  Weihnachten  tun  koennen,   zu  rer^i'^r^n —  und  sogar 
mit  der  :y nboli  sch:üi  teerte:  lv£  tieferes  aiizußpieien»«     dazu  konsit  sicher«  daaa 
die  4  tage  week  end  wahrscheinlich  nicht  grade  sehr  «rheitemd  wnren%**     (er  klang 
axi  tag  nach  neujeiir  wiod':^",  alri  s^i  ihr;  ellf^s  mit  c^undv^is  abgegangen)   ich  glaube 
auch  haute  zu  verstehen,  warum  er  sich  SO  unloeslich  mit  d-^r  frances  verwickelt 
hat,  ich  meine  aucli  flimnzirJJL,  in  jeder  weise*     um  es  sich  SELBST  unmoegllch  zu 
machen,  von  ihr  wegzulaufen — wegen  des  kindes,  das  er  ja  um  jcrl-iii  preA*  haben  will 
~  den  kleinen  sahn»  j-ujin«^  ich*     ich   It^üke  mir  tuchi   dass  die  wunde,  die  ich  ihm 
geschlagen  habe,  vielleicht  langsam  ein  blschmi  zu  vernarben  anfa^p^ngt —  vielleicht 
de.iici  er  tiich  uuch  hucIjl  houur ,  t~E  lx;t  zwior  3eha'  scliüiim,  woß  ich  ihm  an^ietan  habe, 
aber,  auf  der  andern  seite*** 

ich  traue  midi  nicht  zu  hoffen,  well  Ich  selbst  so  furchtbar  In  d<*n  5  monaten  gclit- 
teii  habe,  dass  iiih  rar  nicht  weiss,  ob  ich  noch  die  kraft  habcjnt  wuert^e—  selbst 
wenn  er  wollte«**     aber  was  die  experten  euch  inmer  sagen,,  eines  ipt  klr^xj  FREUMD- 
SCIiAFT     IST  moc  glich,  um  dl«    ke-^mpfo  ich,  und  de  bin  ich  auch  ein  wenig  vorwaf^rts 
geJcommen*     vielleicht  gelingt  es  mir,  ihn  sow^rit  zu  krl^  g^n,  dess  ich  ihir  ueber 
das  vmve  buch  sprechen  k^nn,  v-»nig£l' ns  urber&  telefcn...     welsst  du,  ich  habe  eine 
ftraund,  der  ein  pb-enomf  nalf^r  grr^pholog^*  ist,  leider  rrf  cht  ers  ,^etrt  nicht  mehr  und 
hat  keine  zeit,  sich  d&jöit  abzugeben   (er  ux^chte  es  mal  ein^  Zeitlang  beruflich) j 
er  hat  vor  p^tar  j£ütiren  ml  die  schrift  von  D.  gesehf^n —  ich  wtiiss  noch  wie  heute, 
in  einfti  cafe  in  P':risl — unc'  5    gtr  ruf  dtn  einen   riu^chtigf-n  bück:  dieser  rot^jm 
ist  mienschllch  das  feinste,  das  ^^s  gibt,  aber  nicht  norm*  1,   (^•h.  n^x  darf  NIE  von 
ihiii  eivartf.n,  dass  -rr  so  r^'^^gi^^rt,  vril'    aorrvic  nensch-'n —  'Vie  Sie  odor  ich**,  sanfte 
der  graphologe •  * •     d5iran  aolltr    ich  mich  iTomer  wieder  erlnntro*»*     aber  >rle  dejn  auch 
sei,  und  wif^  jaüm^rvotLl  twxch  weihn.  chteu  und  qrivestem  wrir«^n— -  es  geht  mir  doch, 
unberuftai,  xinverglidchliclri  btssrr,  s^  itdem  IRGEND  ein  kontekt  besteht*  •♦ 

na,  \»d  das  wollte  ich  doch  Guch  gern  vermeldet  heben,  wieder  mit  durchschlag  f\jer 
mich,  als  tagebuch* 

^jj  ylE  GEHTS  DIR,  JCIN  RUETHCHEN????????? 


r.* 

1  \lk 


f 


New  York  26,  18?  • 
16.  Deaember  1962 


Liebstes  Ruathchen- 


Es  ist  kaum  vorstellbr»,  dass  es  schon  ein  jähr  h<^r  ist,  äess  vir  so  geniuetlich  bei— 
svmnen  waren,.,  du  bist  nicht  hergekomr>en,  voraus  ich  entnehme,  dass  du  entweder  kein 
fluessiges  geld  hast,  Uf»  in  NT  zu  verputzen,  oder  dein^«^  b^ziehung  mit  Henri  halbwegs 
in  Ordnung  ist — odßr  beides I  wie  es  dir  wohl  geht 2  sprf^ch  eva  landshoff  beim  fri— 
seur  neulich,  wo  sie  nir  e^r»^ f'hlt^^ ,  sie  h-b :  aich  ^es^^hen,  und  euch  ^iii  k«ertchen  von 
dir  gehabt,  dass  alles  ok^y  ist*—  ich  hoffe,  das  stiirmt  auch«,  ganz  zpeziell  hab  ich 
an  dich  kuerzlich  gedacht,  wi«^  xnit  df^r  Lehi^r^nn  so  ein  gross-^r  sutrs  an  der  oper  g<?imcht 
wxarde  (ich  hfcb  aber  auch  gehoert,  dess  sie  alle  5  frauen  iirt  rosenkavalier  am  boden 
zerstoert  und  dauernd  in  traen^n  hotte,  so  hat  sie  sie  behandelt  und  zerfeztzt.»»)... 
hab  inzwischen  die  Vorstellung  gesehen —  die  Cr^-spin  wunderbar,  genz  grossen  slils, 
sieht  nur  leider  wie  ^in  fisch  aus,  bewegt  sich  aber  so,  das:^  "smn   das  un^^etuem  ver— 
gisst  und  spielt  halt,  dass  es  eine  freude  ist — halt  eint?  franzoesin...  die  Ilothen— 
berger  endlich  ral  eine  sophie,  dii«  nicht  kakriaiv  sondern  ein  junges  maedchen  isL  und 
die  Toepper  so  meerchenhaft  schoen  im  2»  afcb,  dass  elnein  die  spucke  wegblieb,  wenn  auch 
mehr  bemmisch  als  aristokratisch,  aber  liciDerhin-  So  wars,  ©lies  in  allem,  doch  sehr 
schoen—  hab  mir  auch  im  ersten  akt,  wie  siehs  gehoert,  die  eugen  außt>eheult» 

und  nun  ist  ieder  Weihnachten  vor  der  tuer,  das  wir  so  oft  in  unsrem  leben  zusainmen 
verbracht  haben,  i.^ein  Ruethchen,  tmd  da  will  ich  denn  auch  alles  liebe  und  schoen  wuen- 
schen,  und  auch  fuer  1965,  moege  dieses  jähr  unsres  heils  (unhwils?)  auf  Jeder^  fall  ein 
bssres  sein«.»  machs  gut,  mein  engel,  und  hab  ein  bischnii  glueck,  dniin  ohne  das  gehts 
Ja  nun  laal  in  diesem  leben  nicht  recht —  that^s  for  sure« 

sehr  sehr  oft  wollte  ich  dir  in  dicMl^n  letzten  3  monaten  schreiben,  aber  immer  wieder 
hab  ichs  nicht  fertig  gebracht,  hoffte  auch,  gegen  bessrei^  wissen,  taßifr  noch,  dass 
alles  vielleicht  nur  ein  boeser  träum  var,  aus  dt^  loan  aufwacht  xmd  dann  ist  alles 
nicht  gewesen*.,  du  weisst  ja  wohl,  dass  Schiff  ein  paar  tage  nach  seinein  65.  geburts- 
tag  ploetzlich  gestorben  ist — anfeng  august...  ich  brauche  dir  nicht  zu  sagen,  ein 
WIE  schwerer  schlag  das  fuer  mlich  war,  den  so  treuen  freuncJ  und  arzt  zu  verlieren..» 
ich  war  dcüimls  bis  ueber  die  ohr^m  im  buch,  b^xx   dum  ich  7  mon^.te  7  dcys  a  week  in  total 
lnvolvem«^at  gesclirir^beu  habe— mit  ein^F  fut^rchterliciien  sommer,  w^iS  D.  anbelangt, 
nicht  nur,  well  er  mit  einer  sehr  schll   ü  str^-p  infection  sehr  lang  krank  \md  sehr 
geschwaecht  w^ir,  sondern  natu^-rlich  hc  ttt  c  uch  idi  nicht  di^  noetig€>  g«-düld...  er 
gind  auf  ferien — und  in  <S.k^T  n:  cht,  ehe  er  zuru^ckJcMn,  m^ch  1/^bor  dipy,  htttte  ich  das 
buch  fertig...   (eich er  kein  zufali).  es  w  r  cU  s  t^rstt/,  df  s  ich  ihüi  sagte,  als  er 
mich  am  naech^len  finieh  anrief..-  vir  h;=  ttea  lunch —  er  s?  h  grauenhaft  ^ns,  ganz 
fahl  unter  dem  sonnv^  rbranntt  n — w?^r  in  f  in^'n:  schiti^^iJK>n  zustand,  w^rs  ich  gar  nicht 
begriff,  er  1^.8  die  letzten  50  s  iten,  die  ich  in  seiner  Abwesenheit  geschrieben, 
nach  dem  lunch  bei  mir — und,  ich  kann  fs  nicht  anders  nennen,  staggered  out...  ich 
wusste,  dass  fuejr  ihn  unangtui.  hme  din^^^  d<  zu  lesen  w?  ren,  aber  ich  war  viel  zu  involved 
Xfsx  es  wirklich  zu  uebersehen —  Jedenfßils  w?iren  die  naechste:.  tage  schon  sehr  merk- 
wuerdig,  er  m\isste  nochmals  des  ganze  buch  lesen  (da  er  es  doch  szenen  fuer  ssene  ver- 
folgt hatte,  mich  imcmer  encouragierend,  immer  gleich  angerannt  kommt^nd,  wenn  ich  wieder 
eine  szene  hatte — voller  Interesse;  ohne  ihn  haette  ich  nie  wieder  schreiben  koennen.*«) 
tim  zu  entscheiden,  ob  es  so  angeboten  werden  kann  nbcr...  genau  vor  5  monaten  kommt 
er  mit  dem  buch  in  der  hand  an,  sagt,  es  kaim  so  bleibcui,  xmd  dass  er  alles  fuer  das 
buch  tun  wuerde  aber—  dass  er  sich  nicht  mehr  fuer  mich  interessiere,  und  dass  es  aus 
sei«  wieso,  wisse  er  nicht —  ausser,  dass,  er  the  handwriting  on  the  wall  seit  langem 
gesehen  haette,  dass  er  glatibe,  ich  haette  mich  mit  dem  buch  an  ihn  adressiert—  UND, 
sobald  ich  mit  dem  buch  fertig  sein  wuerde,  wuerde  ich  auch  mit  ihm  fertig  sein..» 
ich  sei  nocht  genau  so  "ravishing"  wie  immer — but  it  didn^t  interest  him  n  aiy  more*.. 


mit  einem  wort^  er  fliege  nicht  mehr}  er  wolle  mich  aLer  ni^^  nie  nie  als  freund  ver- 
lieren \ttidp   wie  gesagt^  fixer  das  buch  alles  tun^  es  auch^  sollte  es  bei  seiner  verlag 
tageboten  werden^  befuerworten» 

ich  warf  wie  du  dir  denken  kannst^  voellig  versteint  vor  schreck*  das  war  SO  unerwartet^ 
wie  selten  etwas  In  meinem  leben»  Ich  erinnere  mich  noch^  dass  ich  etwas  sagte^  ich 
sei  nur  froh^  daas  er  ginge^  denn  ich  hatte  iiMMr  die  angst  gehabt,  was  aus  ihn  werden 
wuerde,  wenn  ich  einiral  von  ihm  weggehen  wu£rde—  woratif  er  dreljnal  wiederholte,  wenn 
«r  Jetzt  nicht  gegangen  waere,  'you  wouLd  have,  you  would  have.i»  rJas  war  noch  das 
letzte  in  der  tuer»  ich  WB.r  richtig  in  ■g^i^Mfc  schock —  ich  wusste,  df>S8  in  dem  buch 
natuerlich  aehnliche  Situationen  vorkoirnnüen  Uijw*,  aber  ich  hi:ette  NIE  diese  reaktion 
erwartet,  vor  allem,  wie  ge  sagt,  weil  ich  nodi  vifl  zu  involved  var,  um  IRGEND  etwas 
beurteilen  zu  koennen««.»  ich  h?~tte  nicht  das  g*^furh^,  u^^btr  T'IEINE  Situation  zu  schrei- 
ben, sondern  ue-ber  die  einer  figur,  dlf   in  vielem  nach  mir  geformt  wsr,  sber  das  ver- 
wischt sich  ja  dann.-»  was  nf^twrlich  vO'llig^^  blot  dsinn  w^^r,  d?^  ss  ich,  wenn  ich  mit 
dem  buch  fertig  auch  mit  ihm  frrtif;  s^>iri  werde,  im  gegentell,  ich  hr^tte  gehofft,  nach 
dem  schauderhaften  sommer,  dass  der  herbst,  w-^nn  er  euch  nicht  msjor  JEDES  week  end  am 
land  sein  wuerde  (das  hrus  wird  Im  sept.  zugcmr  cht  fuer  d  n  winl^-r),  wie.drr  ertraeg— 
licher  sein  wuerde»»»  ich  hattt*  vor  allen:  NIE  DIESE  Identifikation  von  ihm  erwartetj 
obgleich  ich  auch  zugebaa  mttss,  dass  er  wusste,  dass  ich  urspruenglich  ein  andres  buch 
schreiben  wollte,  DIES  aber  aua  mir  rö\isg?r koix  en  ist»»,  und  zwar  natuerlich  aus  d&m 
unterbewußöten,  besonders  auch  bei  meiner  sonderbaren  art  zu  schreib^t^in —  eine  szene 
netwickelt  sich  aus  der  andern».,  oft  h'it  D»  mich  gefragt  *do  we  know  jret  how  it  con- 
tinues?"  und  da  wusste  iclis  oft  noch  nicht  (das  ''we'*  h^it  mich  immer  so  gefreut  gehabt I) 

und  dann  war  vocUlges  schweigen. 


•  •• 


nach  1  mo-iat  rief  ich  ihn  weCifti  was  witgin  dma  buch  an,  wo  er  mir  8'?hr  genau  auskunft  gab, 
SEHR  betont,  sich  entschuldigend,  dass  er  mich  erst  nach  1  stunde«  und  nicht  sofort  zu- 
rueckgerufen  hatte — er  wollte  zeigen,  dass  das  nicht  etwa  absieht  gewesen  waere»»*  ich 
muss  auch  noch  vorausschicken,  dass  er  den  fu-s^r  sich  guenstli,sten  moment  ausgesucht 
hatte—  er  halte  2  wochen  gleich  nach  ^^iner  rutckkehr  juiy  dutyi  die  all^  routine  in 
seinem  leben  unterbrach,  also  sehr  hilfreich...  auch  die  ferlen  hatten  da  ja  schon  ge- 
holfen, d»h»  erst  die  5  wochen  ferlen  urid  dann  die  Jury  duty — da;?,  waren  schon  viele 
wochen.»»  waehrend  ich  den  let-down  des  grede  beeideten  biM:he3  hatte,  unc^  wirklich 
voellig  collapsed»»»  seine  stimme  klang  so  fuerchterlich,  dasa  ich  das  gefuehl  hatte, 
er  quaelt  sich  genau  so  wie  ich —  er  hatte  mir  auch  noch^  an  dem  entsetzlichen  samstagi 
gesagt,  er  sei±  hearttroken  xaÄr^ber  das  gr^nz«^... 


und  df.  dachie  ich  mir,  vlellilcht  kcmi  .r  sow»^lt  r.ir  ««lachlfch  helfen,  dass  er  sich 
nicht  VOELLIG  abochjieldet,  sondf^rn  in  einer  los^^n  Verbindung  bleibt,  bis  man  sich  dann 
freundschaftlich  sc^en  k^nn —  icti  hr^tte  euch  dles^i  fuerchterlichen  herzb>:  klemmungen, 
konnte  keine  luft  kriegen  und  so — Renee  sagt,  das  sine!  "Separation  >nxit^  ijfces",  an  denen 
ich  sehr  leiden — sie  auch — aber  sonu-^rb^tr-rweisev  weniger  menschen  als  mm   glaubte  sie 
hatte  unter  ihren  20  patlenten  nur  einr^n  daadt^  finen  mann,  es  geht  auf  infency  zurück, 
welstit  du,  wenn  ein  baly  wo  int  und  es  kommt  niemand,  oder  r»ian  im  dunk^lna  sich  fuerchtet 
und  wellt,  und  allein  gelassen  wird  usw. —  war  ganz  bestimmt  bei  mir  der  fall,  well  doch 
Gerd  s4  schwierig  war  und  alle  attention  fupr  sich  barauchtc.»»  ich  wus3tt^  nicht,  dass 
sich  das  so  auswirken  kann  (aber  Ich  hatte  je  alle  die  ueblichen  ^jriuptome,  von  stottern 
bis  bettnaessen,  hab  nix  nusyelßsen — wabrsciu  Inlich  funktioniere  ich  fuer  das  alles 
noch  ganz  gut»»*) 

alsO|  ein  paar  tage  spaeter  rief  Ich  ihn  an.  Ich  sagte  ihm  nur,  ich  koenne  nicht  im 
buaro  mit  Um   reden  una  wuerdc  ihn  g^m   rehen.  glüicn  rief  f^r  abends  an-«~  er  sei  so 
concemed —  ob  ich  ihm  nicht  sacen  koenne,  was  los  sei»  ich  sagte  nein,  machte  aber 
eine  bemerkung,  scliliessllch  sei  doch  nur  tod  irrevocable»»»  Ist  jeracud  gestorben, 
Ruethchen,  fragte  er  teilnehmend»  nein  sagte  ich,  ich  spreche  von  dir*  also  gut, 
sagte  er,  er  wuerdo  mich  anrufen  und  vorLelkoLj.K>n»  deu^auf  wajrte  ich  heute  noch» 


eine  voche  spaeter  var  Cuba  ixnd  der  dienstags  nach  der  Kannecly'  rede  und  Ich  war  wirk-» 
lieh  ueberzeugt^  dass  vir  den  mittwoch  vohl  alle  nicht  mehr  erleben  yjnd  da  dachte  ich 
mir^  mein  Gott^  da  vlU  ich  Ihn  doch  noch  sprechen.  ••     und  rief  ihn  an*     und  das  einzige 
mal|   so  laiig  ich  lh:i  kenns^  he  enepped  at  ne—  •'jurpjrt  tliat^s  viiat  I  aip"  und  so— •  alles^ 
s  ich  safc-te^  wer  falsch»     na  ja* 


\md  dann  kam  die  f#rf^enz  fuer  die  fello^fshipjr  die  ich  versucrien  wollte^  und  die  von 
d«in  verladt  vo  eeinr  frei-  achaitet  \md  wsltet^  ausgesetzt  ist.»*     D.  hatte  gasegt^  sie 
tiabe  nicht©  dajnit  ru  turi  und,  wenn  mir  Boed  di^-  referenz  nicht  gibt  (was  er  natuerlich 
nicht  tat-— hr.t  ijelnen  die  ab«  z.  brlef  gar  nicht  bf^fc^ntovrtet),  dann  wuerdf^  er  es  tun. 
aber  ich  wollte  vorsichtig  sein,  und  reine  egentin  kri'  gte  mit  grosser  muehf^  i^us,  WER 
die  5  jud^; fas  sind*     hnlt  didl\  ffstr  der  ob-rifWi.cher  ist  der  bestv>   frcurid  und  v>«-:rtraute 
(schwul)  seiner  fraulll     wenn  der  m:  nn  »meinen  ix^ißen  woiss  (wj^^s  D.  und  ich  nicht  hoffen) f 
dann  ist  r.'eine  f.pplic?:tican  bereits  abgeirthnt..*     seib5tv^rstaendQ.ich  v^r  ^^s  ^^nt€r  diesen 
umet^anderi  unnoeglich^  d;:sß  D.  :  ir  die  referi-nz  gr^b — £ber  er  w-r  sehr  nett  in  d^r  ange— 
legenheiti   und  vir  hÄb<n  d^^nn  fcuch  Jeroc^ncm  andern  gefunden,     ich  gi&ube^  es  war  ihm 
scheu^isluch,  das  nicht  tun  zu  koonnen,  das  erste^  um  das  ich  ihn  gebeten...      (di^  sache 
laeuft  noch  vndp  Vf-.'^  ei:  abgelehnt  wird^  ii-fr^-hrt  croa  j.^   nie^  wcacwegv-n*     ;::8  ist  iraner 
noch  iBOetglich,  class  irgend  ein  bioedirmige  r  zufftü  mir  da  in  die  suppe  spuckt — oder 
der  mann  meinen  nainen  weiss-.,  oder  frftnces  irrt  ine  applikation  (iriit  bild^  sieht — all 
diese  Sachen  passieren  doch^  b«;i  pach»*..)..«..     idi  habe  fuer  6  nionate  apJLLied^  IJiOO-lSOOl 
stehen  auf  deir  spiel.*. 

schliesslich^  vor  3  wocheJi^  habe  icij  ihn?  in  einem  brief  geschrieben^  was  idi  ihm  sz» 
in  rieAnem  schock  nicht  antworten  konnte,     ein  wirklicii  wundervoller  brief  ^  an  dem  ich 
EINE  GANZE  VOCHE^  wie  bnsessc-n^  geschrieben  habe^  ich  glaube^  vielleicht  50  versionen^tt 
er  wurde  dann  auch  genz  kurz^  kaum  1  seite — kein  vorwürfe  nichts,     das^  ich  seinen 
entschluss—  der  aber  seiner  sei — respektiere^  aber  als  freund  wollte^  dass  er  wisse^ 
es  sei  NICHT  so,  wie  ers  dargestt^lib  habe  usw»  U3w%     so  eincin  brief  bekoianrt  rsan  nicht 
oft  im  leben.»,     und  der  schluss  *^I  look  forv.Tord  to  the  ösy  when  you  can  express  your 
friendship^^'     ich  rief  ihn  an  und  sagte  ihm^  ich  haette  einen  brief  fuer  ihn —  es  war 
zu  gewagt^   ihn  nit  de^r  post  zu  schickm  |besoriders^  da  sich  rausstellte^  dass  er  ohne 
sekretaerin  warI)-~    \ind  ich  barachte  ihn  ihm  ins  buaro.     er  hatte  mir  nahegelegt^  aoEk 
d*h«  mich  c-arari  erini.art^  dass  er  noch  alte  sosa.  von  mir  habet  die  ich  ihn^  ehe  ich 
voriges  jaJar  nach  euiH>pa  fuhr^  for  ssfekeeping  gegebe^n  hotte,     also  ich  hatte  zwar  am 
teltifon  gesagt t  da  er  wiedforholtet  er  hebe  sie  gern  weiter  auf  ^dass  sie  dann  ja  bei 
ihm  bleiben  koenntcB — hi  It  es  r^ber  fuer  besser  (l  got  th^  hint)^  sie  doch^  wo  tch 
schon  ml  da  war>  sie  doch  iait»uaf=»hmen.     ich  selbst  habe  noch  dp>n  ersten  band  seiner 
Proust  geöamtRUSgabct  die   sei  bf^i  mir  in  good  hands,  betonte  er — und  liess  sie  mir# 
zu  meiner  verwunde rxing .     dr:s  kleinste  hintertU:  rchen  dormoch;?? 

er  war  g'^iau  so  beherrscht^  wi-.    t^/^er,  wr^ni^  Ich  ihn  in  dif^st^n  5  l/Z  jehren^  die  es  mit 
uns  gingt  im  buei^  gtsehc^n  habe —  früher  pflegte  er  zu  s?  g  n,  n??chhert  d*^:SS  ich  wohl 


gemeiict  hs.(:>tt«t  vie  f.ufgerrgt  er  wr::r — 
mal  urberhaupt  nicht  beurteilen t  wie  s 
veiy  well  (was  bei  ihm  hu  bsch  heisst- 
was  man  aber  auch  auf  ihn  sa^^en  konnte 


ich  hotte  es  NIE  b  2?t:rkt.     so  k.^nn  ich  auch  dies- 
in  reaktion  wf'r*     er  a^jgte  nur^  you  exe  looking 
-  ich  hftttt    sucti  einen  guten  tsg^  gott seidank) t 
ich  gliBÜbL't  ich  war  keine  10  min,  in  seinem 
officei   sah  n\ir  zu  meineii  sprachlosen  erstaunen^  dass  die  Zeichnung  von  FabiOt  die 
ich  ihm  vor  paar  jähren  zum  g^^burtstag  gescJi:nkt  h^tte  und  die  er  so  liebte  und  die 
alle  leute  so  bewunderten^  nicht  d&  wur  (er  wct  vccr  einiger  zeit  in  ein  andres  zimni^r 
incgezogeni  w  ich  noch  nicht  gc^wesen  wsiir).     ich  sah  auch  keinen  platz  dafuer — dJi. 
ich  sagtet  "wo  denn  die  zcrichi^.ung  sei  und  ert  it*ll  be  backt  don't  vonyt  und  als  ich 
ihn  fragend  ansah —  the  glasf»  broke   (?n)....  nat  ich  sa^te  nichts  >  versteh  es  aber 
ueberhax:^)!  nicht»     ein  paar  ejidre  Sachen  voi:k  mir  standen  noch  da»». 


auf  diesen  brief  t  schwelgen»     **He  means  it"t  ^^  Carmen  sagt»     und  ao  ists  wohl  auch» 


ich  weiss  auch,  daso  er  zu  veihnachten  nichts  tun  \rtrOf  ksrtari  schreibt  er  eh  nicht, 
und  anrufen,  oder  womoeclich  eine  bltune  schicken  wird  er  auch  nicht»     ich  versuche  Jede 
tag,  mich  darauf  vorzubereiten,  aber  ich  weiss,  es  wird  mich  voellig  vammvtenm^.     ich 
hab  Ja  schliesslich  keine  silberneii  loefffi  ^estohlun»»»     aber  die  t:acperteii  s^an,  bei 
anarikanern  ist  das  eben  so,  die  brtttallta-?t   (D.  hat  sich  nicht  eixU^el  ftjer  die  Jahre, 
die  ich  iliiL.,  wiii  ER  es  tmp^^r  sagte,  den  hijnmel  auf  erden  gegeben  hab-f^,  bedankt.»*  er 
stuerzt-H  wie  ain  gcje^tex  zur  tiier  raus»»-),  da  gibts  euch  k>*ine  freund&ch^^ft,  und  er 
wird  sxch  eben —  wie  er  mir  sagte —  der  pliiloiiophlc   rreebeii —  und  vieile:i.cht,  iu  Jahren, 
wenn  icli  jenanden  andern  habe  und  drueb«rr  wegbin,  DANN  wird  er  vielleicht  noch  mal  an— 
koimaen**^     e&  i^auri  natu  rlicli  Biuch  %mz  rnof-r::;  ko):r)i:ii — und  uT  •  in*-^  fjidre  frau  finden, 
vor  allen,  wenn  in  2  jahr«m  sein  Junge  in  die  schule  könnt  und  er  dann  ganz  cll«in  icit 
fr»   sein  >dbrd  (er  ris^chTe  niiXiLlcli,  vor  den?  schlusa,  noch  «Ine  be»erkung  zu  :rir,  als 
ich  sagte,  p-s  ist  so  schrw?^,  w^:nn  mm  grnz  f^JJLnin  Ist-—-  es  wrr  w^is  aufret^'endes  mit  dem 
buch,  d&L^  ßbcr  di>nn  nicht  fcx  ppte —  und  d*>   srtigte  er,  e»  Bei  nocii  viel  w<.:rs:r,  wcxm  man 
nicht  allrin  sei  und  aber  rit  des  mrnsch^n  nicht  reden  ko»  nne».*)*-»     wr  v^^Ssß«     ich 
weiss  eucli,  dass  es  nur  ein^-Sp  in  die  s(^t;:  Xeben  und  ßuf  dies^^^r  welt„  gibt,  das  FINAL 
ist,  und  da^;  irrt  tod*     auf  fier  andern  selte,  d«r>r  gf^r.iike — de    ist  mer  ein  pe^r  blocks 
von  mir  entfernt,  ich  geh  zahllOBje-  wele  an  seln^^r  btdlHing,  wo  sein  of  rico  iat,  vorbei, 
uno  er  ist  weiter  weg  als  dif-  ^^wigfa^it*.*  drs;^  irrjn  nicht  das  telefui  neto'Jtri  kann — 
wartim  eii^cntlich  nicht,  «her  so  isrta,  das  irge:nd  etwa»  verbrochen  ist  und,  dtr.tt,  dass 
Kian  vorsichtig  versucht,  eö  wlecer  m  flicfo  n,  wird  d^reiuf  hemmte etranplerltw..     wie 
viele  menschen  gibts  pcdhon  auf  aif  Skr  sehr  cklichcn  weil  unu  in  dieseiü  üo  ent8i:?t2lich 
schweren  leb<m^  die  sich  ja  verstehtrn  k06>nn^^n,  ZIJTODEST  zeitweilig — und  da  wird  das 
nicht  so  schonend  wie  ein  voegelchen  behandelt i*i      (ich  hab  das  auch  in  meixieia  buch 
geschrie boi*) 

ueberhaupt,  das  buch»     ich  h^ibf*  es  grede  abgetippt — und  da  bin  ich  wiecer  voellig 
zusaaneniieklappt  Uüd  t^r  hcl»u  mach  nur  bitter  schwtx*     d«^  h»b  ichs  im».f2lich  2.un:  ersten 
mal  mit  etwas  dist^an»  galee^aa — und  da  wurdf^  mir  klart  ein  vmjnn  von  Ds  sensiiivitaetf 
von  seini5Xi  scnulcigetuehlisai  und  o-a£h  verantwort.iingst,^  fuehl  KONNTE  gar  nich-'c,  anö^ars  han- 
deln, der  musste  eine  konsequanz  siehen**»     wenn  er  haette  um  die  beziehun^  kc^eiipfan 
wollen   (wa:    er  nie-,  goiaachx  hat,  er  ist  dazu  nicht  iinotÄnde),  hftette  man  sich  ausspre- 
chen kociinen  lÄid  eine  basis  finden,  vor  allera,  w«ils  ja  nun  eus  mir  ra'^Vy  ist»     ich 
leme^  ich  iwuts  ihn  zxm  ersten  mal  mit  der  REALITAET  konfrontiert,  die  mein  Icbcsn  ist, 
und  die  er  NIE  in  diesen  Jahren  facen  wollte  oder  konnte •.%*     (er  sög-e  auch  noch  an 
jenem  aaüstag  zu  mir,  "I  guess  it  was  intolerf*le -•.•.")  und  da  er  sich  Ui^d  die  timstande 
Ja  nicht,  aendem  losuan,     ist  er  ebe-n  we{:i;geaaufen*     Carmen  sagte  »u  mir,  nachderi  sie  das 
buch  gfOLcßcn  nat—    sie  war  sprachlos,  nachdeKi  Ich  s«?it  Jahren  auf  cdem  getanzt  habe, 
ich  nmi  ploetalich  in  dfm  buch  so  hingehnuen  habe«««,  sie    fuerchtete  sofort,  dxicz  das 
kOfitiequen»exx  haben  MUESSE^  bei  dieser?  m^inn«     di<p  experten  sagen,  es  sai  erstaunlich, 
dass  es  mit  so  einem  gestoerten  mann  u^^be^rhr^upt  so  Ipnge  gAgrngen  ist,  der  Ja  einfach 
zu  aerbrociherj  ist,  um  fu^r  bezi  hxxngeu  von  d  Urr  f sehig  zu  sein  (er  hr;;t  ja  auch  tu  btr— 
hjBiypx  krine  f reuiide ) ..» «.     R^^net   meint  ja  auch,  w^nüi  er  kiinr   freundsch^ften  hnt,  wieso 
•pH  er  dann  dazu  mit  r^ir  faehig  sini     Ich  wüJ.  d/^s  noch  nicht  glaub  n.-»     aber,  wenn 
es  mo  glich  war,  dass  er  hr  s  f  11  n  out  of  lov«^  mit  mir,  wie  er  srgte,  und  da  axich 
BLEIBT — dann  ist  ALLES  negative  auf  dieser  weit  mot  glich»     denn  df  ss  einaBd  rocJL  nicht 
nach  einem  andern  ist,  bedeutet  docli,  letzten  endes  nicht,  dssB  »an  dftr.  gleich  alles  so 
hijiiieuen  muss»»»     nr  tu?  rüch,  wenn  er  das  h  Ute,  wo  icl:i  nicht  nehr  noch  vc^llig  icit  dem 
buch  verwickcfclt,  wie  dauÄsis  uad  in  schwt;r  ueberarbeitet^-n  und  uebemreiztcin  zustand  war, 
mir  sagen  wuerde,  wucirde  ich  ihn  erst  b^I  b^ruhigfn  vxkd  die  sftche  grmz  anders  handlen, 
aber  das  war  Ja  danals  alles  unmoeglicn «.«.«. 

Ruethchtm,  es  ist  sehr  sehr  schlimm*     wie  es  mit  mir  Weitergeh^i  soll,  weisb  ich  nicht* 
ich  bin  voellig  verloren,  mit  eixiem  buch,  an  dem  ich  alle  freude  verlor»3ni  habe,  von  dem 
D.  und  die  2,  5  andre  ^jenschen,  die  es  gelesen  haben,  glauben,  dass  es  sich  schwer  ver- 
kaufen wird-—  meine  agenuin  will  anfang  des  Jahres  enf engen,  es  anzubieten,     ich  muss 
es  nochirials  lesen  fuer  die  tippfehler — mir  graut  davor»  •»  meine  familie  weisij  immor 
noch  von  NICHTSI     auch  die  agentln  will  es  vorlaeufig  noch  sahr  geheimgehalten  haban. 


damit  no  word  about  It  gets  arouad   (ausserdem  kriegt  naon  die  fellavship  eigentlich  nur 
zum  "fertigschreibctn"^  abt^  desv^rgen  mach  ich  mir  keine  gt-wissenabißse,  denn  es  war  doch 
nur  weben  meiner  fuer  aiaerlka  ungevoehnlich  art  bu  schreiben^  dass  ichs  alles  fuer  meine 
paar  kroeten  tun  mueste^  auch  ftuf  Da»  ßat —  ich  war  auch  so  drin^  daas  ich  gar  nicht 
haette  unterbrechen  kocnnt^,  zum  abschreiben  von  dem^  was  man  sübmitten  muss   (teile  des 
iwi4  -^  ^nopsis^  usv*.  Ich  vmsst^..  doch  Äl>er  ^sr  nlchy  gcniau^  vi^;s  aoseitihn  wir.!  us^w.) 
-«  vir  wollen  jijsIjluU  nit.JOßndtM  vocn  seinen  b«kannter>4  di-:  Jiuxi  wcsnoeglich  noch  braucht^ 
auf  die  fuosae  treten^  usv«,  in  publli^hing 

dan  \Jngel^-gte  ei  soll  nicht  bumdnt  werden —  ciie  Fcan  nicht  schon  ein  bischiän  weiter  ist» 

ich  viu}rde  gern  Im  soinner  fur,r  paar  loonmtii  n-^ich  europa  gfAc^ci^  b^iriOtid.  xa  ne^ch  au^srich^ 
wo  Deutschs  ab  mitte  august  bis  .-n^c"!©  okt»  sein  werdf^n^i     or  wiri  dort  diin  Mathan  spitilen 
und  ich  halte  es  fuar  eine  übt  vt?«lgfi3i  chcjncen  futr  mlch^  neue  Koischon  kcoinen  zu  l^m«if 
wus  mit  dejn  cachot  von  ihnen  (si^  nehm««!  mich  ja  auct)  irirrtr  Uftbfjröll  hin  rJLt)  hiifraich 
ist^  ausserdoK  krmnen  sie  leute^  an  die  maai  soi^st  nl«  mehr  rcinkcönxrt»*»     dexüXp  wie  du  ja 
aucli  nur  zu  gnnuu  weiss t —  in  ajoerika  noch  jernnden  au  f inds^a,  in    *:>ineK  alter —  also^ 
das  ist   the  ne^^dle  ta  the  h?^stack^  und  dajnit  KAHN  MM  EDIFACH  nicht  n.chnea»     ich  \;erde 
wal'insinnig  vor  Verzweiflung ^  wenn  nir  das  klzir  wird**»     s<ül  rein  leben  i^chon  zu  ende 
sein?     dasu  kamrirt^  dass  ich  r?bs«lut  wir >r7er  zrogewrchs-^n  bin —  John  Vhx  hier^  ich  sah  ihn 
und  es  ging  so  nichts  dass  rs  schi^'cklich  w?^r.--     g  n^  wir    ii^  r^t  Inc r  Jut>cnd^,..     er  >«tir 
auch  ziemlich  ausser  sich — l'^Tr^erhin^  n-  ch  Ut^ber  20  jähren. ••     unrT    --8  gibt  6t    sechi^^f 
nach  der  meüopause^  v^^nn  c^^n  nicht   ii^  uclung  ist,  ao  «?ine  f'tr<^hi*=-  i?-r  h-ut. —  eine  fre\m- 
din  voa  mir  hat  d^is —  ^Isjö,  \rynn  d*s  r^utii  nc>ca  p^^ssülert  ist--,     cionu  dPiSf;  ich  uoch  einer. 
mann  mit  Ds  iLtischf^.  finrft^^,   Ist  ^~  sc^iwtr  tinzisiihiTK^n,  vor  alltirr  d^rf  rxu'^  sidi  dF:S  nuch 
gar  nicht  vuenschx^in,  wi^il  DAS  ja  grade  th*:   cruoc  of  the  m^ttf^r  ist — ^•h»  elj^  no  gi^stoer— 
t«r  nann  ist  eboii  xiafavhig  fi^^^r  wirtüLlchr   b.  zi«  hu^tg*  n,   ich  fi:v>i>.ir  ,  ^ids  wirkt  sich  a^idki 
in  der  pqjrche  aus*.**,     so  br.b  ich  ruch  noch  dStiSt    .^ngflft>  niben  allen  ;?i4dern»«n 

Deutschs  habm  mir  s^hr  nette  gesclirir-teja,  dJu  di-  Anufi^iika  » Aüss  E»  wirlcli.ch  Crihr  viel 
u«ber  »Ich  nachd.iulrt,  mb*j!T  siclit  tröut,  irAr  ^xxropi  vorÄuschlrigac.,  demi  er  ko^^nna  mir 
doch  keine  sicherh^iiten  bluten   (d.^  kana  Kan  auch  nur  lf>clvn — \m.t>  hab  ich  hiör  futx 
Wöichel     dass  ici  aL2  verkaeiiferin  iiro^iit^ji  dcrf??) — ^.b»^r  ich  ;3clli  ihiim  t.iiUKil  neine 
elgnr»n  plaene  schreiben^  air^  interessierten  sich  In  frcundsciiaftlichstei*  Wtiise  dafxier» 
selu^  lieb  und  Scilir  deutlich*     (^l:-r  ha:±  er  n;i^tui:rlich  ^miz  t^iders  gesprochen —  er  ist 
ein  SEIIR  reicher  mann^  sagte  er  mir  Kt^iirftch*.«) 

ich  glaube^  dass  niar  eina  ruc ckverpflanzung  meixieo  leben  noch  helfen  karmt  aber  ich 
selbst  sähe  die  Schwierigkeiten  fuer  uniifctvrwtadlich  LXkp  auch,  Wüll  meine  50  Jahrs  sehr 
schwer  auf  mir  liv^^gen  und  ich  einfach  d^i  ixatn  nicht  iDehr  hab*     Ich  wt^iss  auch  t.ar  nicht, 
wo  ich  docn  auf  flirts  und  ficks  hier  und  dr,  ueberheiqpt  niclit  inohr  aus,  je    sa  ihnen 
graedsu  unla^iJaig  bin  (abgeseh^i  von  der  Bchwierigkcit,  siehe  oben),  pj^z-chisch —  das  ist 
nun  bei  icir  vorboi—  ob  ich  Irr  zovjrmr  schon  sc  w>?it  vaarc,  jentndcn  andern  ueb.^rhaupt 
SU  Scihea»**     S  l/2  jähre  Ist  ein»    Inngc  awlt —  di^-  la^^gstc  beziohung  ausser  WH***     und 
itfi  wollte  ja  wirklich  nicht  )r.?hr  weg—  ich  W£;r  aelir  ft^d  up  dii.si='j&  rorrai*  r,  aber  sagte 
mir,  GRADE,  wenn  Ich  weiter  schreibe,  ii?ts  unsre  b'^ste  chßnce,  zU8a:itmc^r.  zu  bleiben, 
0r  hilft  jnir  30,  durch  »ein  da-nsp.in  (er  h.  t  jf  nie  -rtwi-o  Vcrbf:33ert  oder  cug^^sted); 
ich  brUöte  schon  ueb«*jr  i^in^f^^  n-xien  buch  und  bra  suchte  ihn  schoia  ►W  sehr,  zur  reden,  und 
hab  üIEHAihTEK,  na^u  rllch,  ,rit  drjir  Idi  recen  k-  nn,  d.^r  dazu  die    zeit  "^x^A  oiid  des  interes- 
se»«*     und  d»s  sciilAjo?2str    iart  a-^itueriJLcli  das  gefu^-rhl,  das  m«.n  al^o  wiedt-r  nirgends  hin- 
göho^rt,  nicl-t  einrail.  irehr  dt^^  ILLIBIOK  haben  L^nn,  mn  gehoer^*-  wo  hL>,  d^sc  sxir:  wieder 
waiidrsrn  muss —  ui^d  litzten  en^es  weit-  r  richtung  noch  fÄtfer:_ung  w^  iss — nur  n.ibel  vor 

sich  öi-ht*«*     ir.riAi  g-ld  r  Icht  noch     Ij:  biich.ri,    icn  cS-s  i^ici  c^b^^^n  auf*     wus  d/om 

wird?     wi(ii<i<nr  «in  job  Ist  gmriM  so  s^  lt;^t-tOr^',  nur  r<vW?i&  lDn4:»:imfr,  wl»«  w:nn  rans  gleihh 
Bmcht,  das  hab  ich  jö  nurt  gc lernt,  si^he  l;itzt»^s  j&hr.. 

das  bucli  ist  JiAr  err.st  und  ixA.^Tr:Bm\rd^     t-i«t  rürZogi  ,  d.h..  nicht  der  Ußblidie  '^Roman*' 
daher  die  befuerclitung^  (^s  wird  sich  scliw^:r  verkaufen,     keine  aeiisserliche  •'action"  usw 
—  Ufebtsr  eixizeliie  fraueii  in  iqgr*     — * 

Ruethchen—  dies  ist  eine  art  tagebuch,  ich  hab  mir  eine  copie  behalten*     sei  umarmt 
und  schreib  mir,  wenn  du  kannst* 


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Dearest  Ruthchen^ 

I  am  sorry  to  have  misplaced  your  dear  letter  because  I 
wished  to  perhaps  clarify  some  of  the  points  re  yourself . 
It  is  here  but  I  am  just  too  tired  tonight  to  look  through 
the  pile  and  I  do  want  you  to  recieve  this  in  time» 
The  Saturn  period  is  about  over.  Ruthchen»   Unless  you  also 
have  Pisces  rising  then  Saturn  is  not  going  to  affect  your 
second  house  of  earnings  and  resources.   Of  all  the  people 
I  have  known  over  thirty  you  have  grown  and  expanded  more 
than  any  that  I  know«   Perhaps  happiness  and  fullfillment 
are  something  that  we  look  back  ^pon»   Perhaps  tbey  are  what 
they  say  about  lieaven, • • •  which  can  only  be  seen  in  the  f lash 
between  thoughts«   Anyivay,  I  look  forvvard  to  a  period  of 
reaping  for  you  because  you  iiÄ#^ertainly  sevm  goodness  and 
lionest  construction  with  every  breath» 

It  is  a  pity  that  our  good  friends  are  so  far  away»   1  have 
one  in  Spain,  two  in  France^  one  in  London,  seveal  in  New 
York  and  hardly  any  here» 

If  I  were  you,  Ruthchen,  I  would  contact  the  friend  that  you 
sent  away»   I  would  contact  him  cleanly  and  directly.   Life 
is  too  Short  not  to  at  least  try  and  declare  ourselves  for 
our  needs  and  desires.   Contact  HIM»   What  have  you  got  to 
loose?   Pride?   Mystery  exists  only  among  precise  things« 
Give  yourself  a  birthday  present  and  contact  him» 
My  father's  passing  has  been  a  blessing  for  him  and  for  us» 
It  was  such  a  flerrible  drain  to  see  him  suffer  so.   I  had 
some  wonderful  days  in  Palm  Desermt  after  the  funeral  and 
things  are  looking  up. 
Wish  I  were  there  to  buy  you  French  Birthday  dinner  with 

Champagne«   >!•••• 


ÜUU/^ 


m  JUST 

THÄT 


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Kv^WoUe/^l 


HÄPPY 
BIRTHDÄYIi 


15  R,CLd//lt  J 


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VIA  AIR  i^iAIL 


MAu/0 


THE  U.S.A. 


Ruth   Marton 

2kk    East  55th  Street 

New  York  22.  New  York 


tl 


1344    xVorth    Hayworth 
°*    Angeles,    Calif.    90046 


29  December  I966 


Dearest  Kuthcherii 


Wonderful  to  hear  from  you  at  Christmas,   Loved  your  charming 

hand-made.   So  happy  you  are  pleased  with  the  Italian  edition» 

At  lastl  some  joy! 

This  past  year  has  been  the  end.   My  father  was  put  into  intensive 

care  just  before  Christmas  and  earlier  in  the  month  Kother  was 

in  the  hospital  for  the  second  time  this  year*   I  had  threc 

spells  myself  this  past  year  -  a  fractured  right  elbow,  pneumonia 

and  then  a  blood  clot».   Ah,  well«   There  should  also  be  a  law 

against  having  only  one  child»   With  all  this  sickness  and  old 

age  surrounding  me  I  feel  sometimes  as  if  I  were  slowly  bleeding 

to  death.   Things  look  brighter  however» 

It  looks  as  if  we  may  go  back  on  radio  with  Edith  Ilead  on  NBC 

and  also  with  an  astrology  show  that  is  being  spot-sold» 

Would  you  be  kind  enough  again  to  drop  the  enclosed  in  the 

nearest  mciilbox»   It  is  an  excellent  gimick  when  you  have  been 

avoiding  someone  and  then  must  contact  them  again^   Thank  you# 

Sorry  to  write  such  tidings  as  above# 

Please  let  me  hear  from  you  when  you  have  time» 

HAPPY  NEW  YEAR! 


LOVE, 


fCl^^         (J^X^VA^ 


^Kr'K^ 


q?_ 


4* 


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•^.'t.'. 


VIA  AIR  MAIL 


^^ 


Ruth  Mar ton 

244    liast   55th   Street 

New    York    22,    New    York 


1^  October  I966 


c 


c 


c 


Dear  Ruthchen, 

Forgive  the  stationery  but  I  just  grabbed  it  on  Impulse 

as  I  had  the  very  strong  Impulse  to  communicate  with  you» 

Thank  you  for  the  very  nice  birthday  card  from  Paris«   How 

I  envy  you  that  trip«   It  sounded  like  you  were  having  a 

gay  tirne«.   t)id  you  ever  look-up  Babilee?   You  remember  he 

askcd  about  you«   Had  I  had  your  address  in  Paris  I  would 

have  mailed  you  his  number# 

I  am  f ighting-f ine  after  two  years  of  hell  which  I  won^t 

go  into«   I  have  signed  up  with  Bette  Davis  to  do  a  series 

of  small  Specials  both  here  in  the  U.S.  and  in  Europe«.   It 

is  the  kind  of  thing  we  invisioned  doing  with  Lilli«   Remember? 

Anywayi  I  love  Bette»   We  are  great  friends  and  she  is  in 

glorious  shape  and  very  hot  right  now^ 

I  sold  my  book  (rather  a  new  agent  out  here  did)  to  a  small 

paper-back  Company  and  the  deal  was  so  obscure  and  I  had  to 

rape  the  book  so  badly  that  I  am  not  using  my  own  name  on  it# 

I  pray  you  had  better  luck^ 

My  Father  is  still  just  hanging-on#   It  has  been  over  two 

years  now  and  the  hospital  bills  would  worry  a  millionaire* 

My  sons  will  be  12  on  Sunday«   I  dont  believe  it !   As  I  told 

you  on  the  phone  in  Feb«,   Connie  is  not  well  but  that  is 

about  all  I  know«««  on  that  score« 

I  miss  you#   Flease  drop  me  a  line  if  you  have  time» 


Love, 


P/UUSl^'vv^ 


The  enclosed  is  me.««  believe  it  or  not! 


B.H-  Andersen 

1344  North  Hayworth 

LOS  Angeles.  California 


V 


VIA  AIR  MAIL 


Ruth  Marton 

2kk    East  55th  Street 

New  York   22,    New  YorSt 


■9 


7  OctobexF  1965 


Dear  Ruthcheni 

Just  m   no<te«   Your  voice  gave  me  a  healthy  Injection  even 
If  we  both  aounded  a  bit  gray«   I  have  decided  ta>  put  my 
book  into  my  reguJ^r  agent*a  handa  out  hera«   He  called  me 
night  after  I  spoke  to  you  and  pleaded  with  me  to  get  it 
to  hlm«   I  had  been  putting  him  off  because  I  have  been 
fed  up  to  the  teeth  with  the  Hollywood  double-talk^  however 
it  seems  to  be  six  of  one  and  half  dozen  of  the  other«.   He 
haa  bein  vezty  succesaful  with  Stephen  Longstreet  and  a  fev 
others  ao  I  am  just  going  to  give  it  to  him«.   At  least  I 
can  bug  him  because  he  is  so  neai?«   I  wanted  to  get  this  off 
so  that  you  wont  go  to  a  lot  of  trouble  calling  Miss  Daves* 
Thank  you  anyway». 

Thia  past  year  has  just  been  one  up  hill-down  hill  grind 
which  I  wont  bore  you  with»   1  feel  like  1  have  been  climbing 
in  quick-sand  in  slow-motion« 

I  wish  you  God-speed  and  am  delighted  that  you  have  tha 
great  strength  to  wrlte  under  the  depression  of  the  world 
aziound» 


Love  alwaysi 


\Jl  Lyl4^^ 


TH^^ 


AiM 


^C4  i^'ö-c 


jf/O 


X  >^0 


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VIA       AIR      MAIL 


Ruth  Marton 

24(l  East  55th  Street 

New  York  22,  New  York 


I 


\ 


N 


1344  North  Hayworth 

Los  Angeles,  Calif.  90046 


« 


i 


1  February  I966 


Dearest  Ruthchen | 


Thank  you  30  much  for  mailing  my  letter  and  also  for  the 
sweet  note«.   Would  you  please  mail  the  enclosed«   I  wish 
to  make  it  appear  that  I  will  '*be  back  in  L.A.  next  Tuesday" 
It  Kill  be  most  useful«   Thank  you  Dear# 

I  vrould  have  gotten  this  off  much  sooner  as  the  enclosed 
should  have  arrived  to  De  Faunville  this  week  but  on 
Monday  My  Father  passed  away  after  2^/4  years  of  suffering« 
It  is  a  blessing  but  one  is  never  prepared  for  it.   Even 
suffering  can  become  a  habit l   And  I  certainly  was  not 
prepared  for  the  arrangements  and  the  decent  of  relatives« 
The  funeral  is  tomorroir  and  then  on  Friday  mother  and  I 
are  going  to  Palm  Springs  for  the  Weekend  with  iny  aunts 
who  have  a  house  down  there  so  I  really  shall  return  on 
Tuesday. 

The  astrology  show  is  being  slowly  presented  on  up—state 
markets  and  is  catching  on«   For  one  dollar  we  send  out  a 
forecast  for  each  individual  si.ccn..   The  enclosed  is  to  a 


man  from  whom  I  have  recieved  much  occult  information  which 
I  am  returning  and  which  I  was  forced  to  keep  too  long«   My 
telephone  service  has  held  him  off  long  enough« 
I  am  thrilled  about  your  Publishing«   Merde«   I  will  write 
more«   Saturn  is  just  making  his  last  swipe  at  us«   After  it 
is  over  you  will  find  that  during  this  period  you  have  recieved 
much  grace  and  anything  gained  during  it  you  will  keep  forever« 

Love^ 


1344  North  Hayworth 

Los  Angeles,  California  90046 


VIA  AIR  MAIL 


Ruth  Marton 

244  East  55th  Street 

New  York,  New  York  10022 


9  June  1965 


Dearest  Ruthchen, 


Attmr   nexarly  two  monthSf  ^  am  answering  your  very  sweet  letter 
from  Kansas  City#   Forgive  ine  for  waiting  so  long«   I  haven't  been 
waitlng«»«  I  have  been  writing,  re-writing,  poSiishing  the  most 
wierd,  gothic,  lascivious  mystery  novel  ever  concieved  by  a  nice 
Hormon  boy  like  me#   I'm  sure,  if  it  ever  gets  past  the  censori 
Miss  Clausen,  who  ±a    so  psychoanalytically  orientated,  will  have  a 
field-day  because  everything  she  ever  Buspetted  was  wrong  with  me 
will  be  contained  in  this  piece  of  horror»   It  is  alreadyJJOO:  pages 
long  and  gets  longer  each  time  I  rework  a  chapter«   But,  Dearest 
Ruthcheni  1  am  determined,  but  determined  to  become  a  producing 
unit  unto  myself  and  never  again  need  to  be  dependent  upon  the 
hypocritical  nonsense  that  I  have  been  vulnerable  to  during  my 
career  in  show  business« 

Fortunatly  or  unfortunatly  I  began  this  novel  13  years  ag©  when 
I  was  still  very  much  in  my  twenties.   Since  then  I  have  changed, 
to  say  the  least,  and  I  have  become  a  better  writer»   Howeveri  as 
I  had  written  over  I50  pages  of  this  horror  over  the  years  (picking 
it  up  and  puting  it  down)  I  decided,  during  this  job-waiting  period 
to  finish  the  damn  thing«.   Welll,  my  original  prsmise  and  idea  was 
so  ambitiousi  so  circuitious  in  plot,  that  I  have  been  writing  like 
a  slow  snail  in  an  effort  to  teil  the  story  which  is  about  a  boy, 
22  years  old  from  the  plains  of  Idaho  who  comes  to  Manhattan  equipted 
with  instinct  alone  to  solve  the  murder  of  his  older  brother  who 


has  been  shot  through  the  window  of  a  brownstone  hy  an  unknown 
sni±per«   The  poor  farm  lad  gets  involved  in  witchcraft,  internation- 
al ji^jitriguei  the  television  industry  and  the  traffic  of  pornographic 
filmsi  etc.  etc«  etc..   In  effect,  the  naive  boy,  because  of  a 
very  stubborn  nature  places  himself  in  his  dead  brother 's  position 


and  it  is  really  quite  a  tale  and  really  quite  a  Job.   Anyway, 


as 


you  so  well  know,  writing  Is  an  agony  and  an  ecstacy«   I  am  going 
to  see  this  through  if  it  kills  me.   In  the  mean  timei  I  am  still 
waiting  and  hopeful  of  getting  that  big  job  with  United  Artists  T.V. 
1   have  done  some  modeling  Jobs,  but  if  this  book  sells  I  will  teil 
them  all  to  go  to  hell«   I  have  plotted  4  more  books,  which  will 
be  mach  easier  to  write  now  that  I  have  opened  up  and  am  willing  to 
expose  myself« 

My  father  is  gravely  ill  in  the  hospital«   It  has  been  touch  and 
go  with  him  all  this  past  year.   Last  Saturday  morning  he  decided 
to  go  for  a  walk  without  telling  anywne  and  at  11:30  A.m*   the  police 
called  and  informed  my  mother  that  he  had  fallen  down  a  70  foot 
cliff  in  Nichols  Canyon.   Not  one  bone  was  broken,  although  he  was 
badly  bruised»   It  appears  that  he  suffered  a  stroke.   Who  knows 
what  the  future  holds?   As  you  know^  we  are  a  closely  knit  family« 
My  mother  is  a  mountain  of  strength  and  goodness*««  She|  at  least, 
deserves  much  more  than  she  has  recieved  from  life. 

Sorry  to  sound  like  a  character  out  of  Strinberg«   I  wish  you  were 
near  so  that  we  could  help  each  other.   There  are  only  two  people  I 
have  found  here  in  California  with  whom  I  can  talk«   One  of  them  is 
a  very  rich^older  (57)  woman,  who,  of  course|Wants  to  marry  me  on 
any  terms  and  take  me  to  France«   This  route  I  could  have  taken  many 
times  before,  but  cannot*   The  other  person,  also  an  older  woman, 
died;  but  I  hold  imaginary  conversations  with  her  anyway,  as  I  do 
with  you  sometimes« 

I  do  not  like  California«   They  are  tearing  down  the  hills  until 
they  look  like  Chinese  paddy  fields  with  tratt  houses  on  them«   The 
smog  is  terrible  and  the  traffic  and  influx  of  trash,  worse  yet« 
If  I  find  that  I  can  support  myself  at  writing,  I  may  move  to  France 
or  Spain«   I  have  a  very  good  friend,  Gino  Hollanderi  the  painter 
who  lives  in  Malaga  with  his  family  and  he  encourages  me  to  give 


up  the  bright  lights  and  move  there«   We  will  see»   I  have  changed« 


I  certainly  do  hope|  Ruthchen  that  your  troubles  with  your  book 
hwwe    subsided«   I  would  love  to  read  it»   I  liked  the  emotional  tone 
of  your  letters  this  past  year  even  though  they  have  not  always  been 
gleeful*   I  know  that  you  will  succeed» 

As  I  no  doubt  told  you,  I  submerged  myself  very  deeply  into  the 
study  of  Yoga  this  past  two  and  one  half  years#   It  is  not  the  body, 
health  kind  of  Yoga  but  the  Vedanta  -   I  have  beconie  a  Hindu  and  a 
remarkable  kind  of  thing  has  happened  to  me • • •  I  have  found  my  nature 
and  much  has  dropped  away«   It  has  been  a  slow,  painful  process  of 
discrimination  and  illumination*   I  have  had  the  rare  samadhi  exper- 
ience  many  times#   Anyway,  I  have  the  feeling  that  before  too  long 
I  will  see  you  and  be  able  to  teil  you  about  it  in  person» 

Forgive  me  again  for  my  long  silence.   Please  let  me  hear  from 
you  when  you  can« 


Love, 


BHA 

l^kk   North  Hayworth 
Los  Angeles,  California 
900^6 


VIA 


i^  ^'^  ^     : 

\  I-^J^^'^f  A  I  E 

•^^  *_  *■•   «^^      ^M   ^mm        m^^        *■■■ 


Ruth  Karton 

2kk   East  55th  Street 

New  York  22,  New  York 


15  April  1965 

t 

Dearest  Ruthchen; 

Again  I  missed  your  birthday^   Forgive  me.   Ever  slnce  my  sever 
illnesa  last  fall  ( diversticulitua  -  cant  spell  it)^  things  have 
gone  froin  bad  to  worse,  now  seemingly  better  again,  with  nie  and 
my  business«   I  have  been  out  of  the  Edith  Head  show  since  December 
and  have  only  kept  my  head  above  water  doing  some  fashion  modeling 
and  collecting  Unemployment  Insurance»   I  cannot  even  teil  you 
about  the  treachery  of  the  Edith  Head  Situation»   It  is  just  too 
painful  to  relate»   But  she  took  advantage  of  my  illness  and  slickly 
eased  me  out  of  the  show  I  created  and  sold  to  CBS  Radio.   You  just 
would  be  amazed! i !   This  Situation  climaxed  six  years  of  climbing 
a  mountain  of  sand  in  this  town  and  almost  finished  me  off*. 
Anyway,  it  has  served  to  convince  me  that  I  do  not  belong  in  the 
f ree-lance  business» 

Within  the  next  few  weeks  I  expect  to  have  a  very  good  job  with  a 
ma joi>}Jf^eveloping  and  supervising  TV  properties#    I  will,  of  course 
take  my  own  properties  into  the  job  with  me  and  if  any  of  them  are 
successful,  I  will  have  a  prof it-sharing  Situation« 
This  past  year  has  done  something  to  my  once  powerful,  youthful 
faith  in  myself  which  never  left  me  in  spite  of  all  the  unfortunite 
things  that  have  happened  in  the  past  se\^en   years»   It  had  been 
fortold,  years  ago  by  that  astrologer  in  New  York,  that  I  would  go 
through  a  terrible  seven   year  Saturn  square  that  would  kill  anybody 
eise  and  wipe  me  out  financially  and  etc.»  but  that  after  that  period 
I  would  emerge  into  a  very  high  position  where  everything  that  I  had 
worked  so  hard  to  achieve  during  that  cycle  would  come  forth  and 
succeed  abundantly.   Well,  the  seven  year  cycle  has  ended»   The  locust 
seemed  to  have  eaten  the  years  and  now  we  will  see  if  the  rest  of 
the  Chart  will  come  through.   Interestingly  enough,  the  astrologers 
I  have  met  out  here  have  confirmed  Mason's  old  predictions«   Mine 
is  not  the  chart  for  youth«   I  have  Saturn  enthrowned  in  Scorpio  in 
the  highest  position  in  my  chart  and  the  grand  trigon  in  water. 
During  the  past  three  and  one  half  months  I  have  also  been  trying 
to  pickup  and  finish  a  mystery  novel  I  began  years  ago  in  New  York. 
This  has  been  a  real^;^  Chinese  puzzle  and  has  tested  the  limits  of 
mental  gymnastics  because  I  have  picked  the  book  up  and  put  it  down 
writing  it  in  starts  and  spurts.   It  is  filled  with  wonderful  stuff 
and  I  can  seil  it^  if  I  can  finish  it.   I  have  three  chapters  left 


I  I 


M^ 


S^ 


to  do  and  I  have  never  been  left  with  such  ayproblem.   I  did  not 

plot  the  book  when  I  began  although  I  knew  the  story#   It  is  a 

very  gothic  tale,  set  in  Manhattan,  a  Poeish  mystery  and  told  in 

the  third  person  but  never  le«rving  the  point  of  view  of  the  leading 

character  for  one  minute  and  as  I  have  changed,  myself ,  so  much 

since  I  began  writing  it,  getting  the  perspective  back  on  the  charactei 

rS|  which  I  no  longer  like  in  situations  and  settings  which  raise 

painful  memories  for  me ,  has  been  stretching  myself  to  the  limit# 

I  dont  need  to  teil  you  how  painful  writing  is  because  you  know» 
It  is  like  bleeding  on  paper  for  both  of  us«   I  really  do  not  like 
the  Isolation  that  it  requires,  anyway  and  there  is  no  one  out  here 
who  I  know  that  I  can  hand  it  to  who  can  give  me  any  constructive 
help. 

This  has  been  one  of  the  very  great  problems  for  me  living  out  here. 
I  have  not  really  made  any  close  friends  and  the  atmosphere  is  not 
condusive  to  the  artistic  at  all..   I  dont  care  what  anybody  says. 
I  have  made  several  very  close  friends,  out  here  actually,  but  either 
they  have  died  or  been  swept  horribly  away  from  me. 
I'm  sorry  to  unburden  myself»   I  really  never  do  this.   Also,  my 
father  got  sick  at  the  same  time  I  did.   My  illness  seemed  to  trigger 
his.   Ile  is  just  getting  his  health  and  mind  back.   I  am  living  with 
my  parents  no#  and  this  home  atmosphere  has  suprisingly  helped  me 
to  keep  my  sanity.   My  Mother  has  been  a  saint  through  all  this  and 
has  really  given  life  to  both  my  father  and  myself  through  all  of 

this# 

7 
How  are  you.   Forgive  me  for  not  writing  in  so  long.   I've  thought 

so  often  about  you  and  wished  you  well.   I  sincerely  hope  that  your 

books  age  going  over  well.   How  you  deserve  itj   I  miss  you. 

Please  write^ 

Love  always. 


13^^  North  Hayworth 

Los  Angeles,  California  900^6 


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C^OtHiC    PRODUCTIONS 

1419   NORTH   HAYWORTH 

LOS  ANGELES  46,  CALIFORNIA 

CRISTVIEW   4-8464 


November  8,  1963 


Ruth  Marton 

244  East  55th  Street 

New  York  22,  New  York 

Jüear  ituthchen, 

I  am  dictating  this  letter  into  a  cold  raachlne,  and  I  have  been 
meaning  to  answer  your  letter  of  October  6th  slnce  it  arrlve;  how- 
ever,  I  have  been  on  a  17-hour  a  day,  seven-day  a  week  schedule, 
and  just  have  not  had  time.   So  please  forgive  me.   And  furthermore, 
please  forgive  any  Incongrultles  that  mlght  be  contalned  in  this 
letter;  I'm  sure  you  will  get  the  sense  I  am  trying  to  make. 

I  agree  with  everything  you  said  in  your  last  letter,  and  I  won't 
go  over  it  point  by  point.   I  did  write  in  an  enthusiastlc  way  at 

the  moraent,  and  everything  I  said  to  you  Stands;  however,  we  will 
hold  the  particulars  in  abeyance,  beeause  I  can't  possibly  know  what 
my  schedule  will  be  like.   We  are  driving  ahead  right  now  preparlng 
the  Black  Cat  to  get  it  ready  so  that  itwill  go  on  sale  on  the  13th 
of  üecember,  which  is  a  Friday  of  next  raonth.   I  am  going  for  broke 

on  this*   I  have  some  wonderful  people  working  with  me;  for  the 
first  time  in  my  life,  I  have  support  and  discipline  from  everyone 
involved.   My  father,  who  is  a  wonderful  businessman,  is  Controlling 
the  financing  and  the  scheduling  here.   It  is  my  desire  in  the  late 
spring  to  go  to  France  and  film  a  picture  of  one  of  Camus*  plays« 
This  is  something  that  I  will  want  to  involve  you  in,  and  will  actually 
need  your  help  on,   But  I'm  not  going  to  jump  the  gun  now  and  teil 
you  anything  about  it,  but  will  inform  you  and  make  arrangeraents  with 
you  as  the  time  arises«   The  schedule  for  the  next  year,  as  far  as  I'm 
concerned,  looks  very  tight.   If  we  accomplish  it,  it  will  be  a 
raasterpiece  of  scheduling.   I  think  it  is  possible,  but  I  won't  be 
disappointed  if  it  doesn*t  work  out  just  as  it  has  been  scheduled, 

Things  are  going  beautifully  for  me.   I  am  in  complete  balance,  and  am 
having  a  wonderful  time.   I  work  seven  days  a  week,  and  put  in  some- 
times  17  hours  a  day,  but  it  is  exactly  the  position  I  have  always 
wanted  to  be  in.   1  am  delighted  that  you  are  writing  so  well,  as  I 
knew  you  would.   I  think  your  first  book  will  seil  yet.   But,  dear 
Ruthchen,  you  must  look  at  that  first  book  as  a  discipline.   The 
second  one  will  be  so  much  easier.   I  know  you  know  this,  and  I  hate 
to  sound  like  old  cliches,  but  1  have  proven  it  to  myself,  that  all 
the  tedious  work  and  disappointraents  that  I  had  in  the  past  are  paying 
off  now,  beeause  I  have  the  control  over  my  art* 


Ruth  Marton 
November  8,  1963 

Page  2 


Ruthchen,  what  in  the  world  is  an  atheist  like  you  doing  in  that 
monestary?   I*m  really  fascinated  by  the  Situation.   Ruthchen,  please 
again,  forgive  my  long  delay  in  answering  your  letter.   I  do 
appreciate  all  the  inforraation  contained  in  it»   I  will  keen  it  on 
file,  and  as  I  said  before,  will  inform  you  frora  time  to  time  as 
things  are  happening. 


Ruthchen,  please  write,   Merde^ 


Love  Always, 


(jauiaMj^^ 


Bruce 


BA:cm 


P.S. 


Ruth,  on  Friday  November  22nd,  I  am  appearing  as  an  actor  on 
the  Alfred  Hitchcock  Presents  Show.   I  have  one  scene  in  the 
beginning,  and  I  wish  very  much  that  you  would  look  at  it  and 
let  me  know  what  you  think. 


/ 


New  York^  October  6,  1965 


Dear  Brüchen- 


Mary  thanks  for  your  letter  vhlch  I  hassen  to  auswar  after   thiakiag  about 
it  very  carftfuUy*     I  am  so  veiy  l'-apjy  for  you  tha:  aveiything  is  going  so 
well  and  I  ani  k^eping  eveiythln^;  crot^,8od  for  youl     I  knov  hov  difficult  It  lö 
für  you  tu  find  tho  rlghi.  people-— you  iiad  ©eiitiori^  it    oo  ii^^  vhea  you  vcre 
here-^  eiid  I  rja  v^iy  liBfiy^  that  you  ar^  tiylng  to  find  a  -^pot  for  ina«     Howeverf 
there  are  soiiie  things  ^•hich  ougJit  tx»  ht  üiecwS3#d  cmuddiy   u^io.c^  wo  can  go 
ahead  vith  ajny  plana«»« 


I  think  I  mention^   oc  you  in  T?y  last  Ipitter  tbi^t   I  h^^ve  5?tartöd  ft.  nev  book« 
ladoeüi  I  ai^.  in  the  thicx  of  it —  üiio  vi^ii  uev  uopfarB«     It  Lüs  goiie  ;l^o  well  that 
RösJyn  grabbed  tht-  first  fifly  pages  ar^d  shov^d  th^rr.  to  a  pTiblish«Hr  vho  ie  vaxy 

eiilhU3L*3  5i.ic  about  thc  book  miö  ;jriXiou3    ^o  iäee  it  fin3bh»^|  neti-lleas  ^o  say  that 


I  ar  even  inore  enxious  to  fmisl^  i"*:! 


So 


4* 


von't 


uui  "üku  llghtnlnt^'t 


or  ny  o-^ni  3ake^  I  I2":.3t  lio^t»   that  you 


idtiiouiih  I  Llov  U:.vt  yyu  »-r^^  öjatont  oi;  la-ü'-iniri  ;  ovii»  pi,viAi:»jCit  i^iaiff   I  vcnder 
if  it  isnH  a  good  idea'^fö  'thlnk  in  terms  of  asKignroents  for  me  first*  with  New 
Yurk  k\^  hacidqu*.-.,rtt>rt>|.  tiiai.  of  f?inpiqyrif:äni  on  a  ^ttj^.c^;"  ba^is»     Th&.t  ve  havu  graai 
understanding  for  ontj  anothcr,  you  and  I  both  know«     But  it  liü^a  dlfferent 
iuabter  when  we  Of>cOM*'  «Kplpyei^-HMpioye«««     I  arr.  lipcc^kine  frora  /.lary  «xpariences 
and  I  iaiow  that  this  Is  an  eritircjtj;"  diff^^riswit  Situation^     ?iuch  has  changed  slnce 
tiie  Liiiicxiv  n-<i<vr ö —  not  ovJij    Um  t  Kf  b  .^  h  ?a>^  io  ye!*i':)  v,Jirrl     I  a     api-rchexiöive 
to  involve  ni''C.-?lf  in  a  Job  which  wiU  tak<^  ro«»  ^^wipr   from  vh^t  I  vant  to  do  most;^ 
ixaüieiyi  vritingj   I  bl*  aito  not  so  suk»  tliet  I  can  still  ;>aborci5jiate    yself— 
and  chiii  is  a  sarious  natt^r*  too»     I  Jmv*^  benn  entir^ly  ng-  ow}  boss  for  the  last 
KINI?^  yeare^   U.kliig  ord^jrii  Ii'^üb  no  oi. .<*-.*.*     At  ti  literfiiy  sccut  tnci.  editcriai 
represcntetive  i  was  aii  iiidtrpeiidi*nt  aesoclMtÄ  to  p^oül*  ^ho  livdd  40(X)  miles 
i:iJX5^ —  f,om   cf  WxiOiJi  1  i.ev7,r''^^?rr  üjet l    Txcöpt  für  lj'   pext-tizTie  secretaiy,  I 
h2tven'l  collabotataä  wi:.h  ftn^one  fä^^  i^U  th^s^  y^p^rs*     Ann  I  feel^  in  all  fair- 
nes;^  tc  ycu^  eni   to  sfyfflf^  tcat  v^  thoulc   find  out  first  hov  thines  are  working 
out —  in  the  cnpaclty  you  huvj  in  laind  for  rae-—  bafore  ve  coininit  ourselves  for 
scTLctliing;  af.  C4r&i.tlc  as  a  l-jOvo.^   for  '0«r^   io  Hollywood» 


I  iTTuct  aloC  axplaiu  lo  you  au  once  tiutt  I  couid  not  fuixtion  as  a  translator 
Il^TO  ^reiich,.  for  th^  sijf^ple  reason  that  I  mke  srarmaticRl  errors   (vhich  is 
not  accoptat>xä  to  irtsacn.  ♦)a/|  I  Cün't    ^rit«  a  pevfecl  X^^iUiVp  iev  alona  aiqything 
of  a  literaiy  llne*     I  can  translate  oniy   Ganrvm-Jfingllsh,  English-üerman  with 
ttjqy  r'Sßpci;..;it;iixv»     \*  'i-v7..v  >  ^ipr^ab;.  Frtnou  i-c^pif  L<ri.:aut>i    I  liave  cH  unusualüy 
gcod  accont  and  cen  rattle  it  off  so  fast-^  aniith^^re  aiweiys  duiabfouiid^  when 
che  firat  gra:T^r.iauic€il  error  nops  upl)  ^  r^^ 

Ais  t\^  fi^ures —  s:^  Vr.  ^^^» ' gy^^jg^ ^o it:>c ua b^iu  prti^i  :i.qvttdyf   X  vcukd  htwe  to  ketip 
ny  apfoptment  at  least  for  a  ye>ar  as  it  could  m:Vf'r  be  rf^placad  onca  I  gave  it 
Ui-jj   it  vooid  cusi  auoUo  v^.^o#—  Tor  w.^i  ;"c>er«"  Viia.-   ^in  actutjL  iaoviii^  wf  furn- 
itUTf  fumishings  and  stuff,  including  paintineSi  7-800  bookc^  fUf^r.,  i^tc«  vo\ild 
co3t  X  cGulJnM.  tali*     But^  obvioubjy^  this  nead  not  bt*  tacklad  for  qidte  a 
vhile  aiyvBy«     (Or  do  you  want  ©e  to  find  out  mv'mii^  ly  gettlng  cn  esllmate 
frei;,  a  hiovint,  iiÄii?») 


^   ii  10  .-    ^    /cun^^ 


If  I  ca^ne  for  f!c^  length  of  time,  I  vonld  have  to  öhip  p'-uff  such  an  wy 

cioth3;S,  port£.ble  nolscleßi;  1yp«\;riter  (p>ust   l*  crf-tcd)^   iauit  v-vlio   (dlt.to) 
and  ßoire  thin/;s  I  might  llkc  vith  m^,  but  I  doiiH  tlitnk  tliis  wculd  coine  to 
eiftT  exorbitaxit   txhu^  i.Bi3^.y  fron  tb^-  rounc-^trlp  ^^x«;*«   tlcicci|   of  conröe. 

As  tc  sjLlary — Bruch«!'*— -  I  reaJJjr'  doa't  knov  whet  ont  neocls  in  iiüUi;/vNt>od 
vhil^  vorkinp:;  but  I  think  e  minlm^jr:)  could  roughly  bo  figureci  on  the  basle 
of  a  coinforL«>,tlc  fuiVilt^^icd  ui^vliLBCL  (liviiigrojj.;^  uei;^r«Lt.o  Lcaroc.'i   tii^tJLl 
kitchcnettr)  of^  I/4  of  9  monthly   söIjwt'—  would  that  be,  fairt     In  vlew  of 
euch  a  i^dnlüiiiui  /cu  mgüt  thinic  in  itrmt  oi'  äJi.^  y^C  p«irxlcipatlon  cf  i^rtflls««« 

Vell^  BruchöU^  thiö  about  cov*e,rv  It  I  'chlnk*     Let  lae  iaicv  iicw  you  f^^el  ft^out 
th^  vprtoue   ite^p   [r^gff'b^  I  shouV  h^.ve  DiDnbF»r<?xi  th^ra?)! 

I  er  pl«nn.ing  to  to  go  th«:  moriastf^iTy  on  thf^  l?th^  to  be  back  on  thtf  iSth  late 
at  night.     Ali  I  r:«t  uc  inuxl  forv:.ra&L  dirij^.i  tha'-  v^t-l^  you  rciy  vrii-.-  r»*   thßrei 
if  you  wieh  although  Ftp.tl  is  a  little  vafc,^i€t  thfjTÄ  (it  mutst  be  uick-d  up  at  the 
pO;st  offic6j   ?.*cc^JI     Bnt|   ipc'r^v.'.y ^    tx:i3  i^^  'u-e  a.laro3w>l  K*.%   c/o  Ke^;\aa  Ixtudli^^ 
Guej^t  Koiiß'^,   FM?thlf^b *»>!.,   Conn.     The  telr-pbonf.  there  is  £ft     ?.05-£66-7215*     I  maQr 
not  b-:^  ctLllc'.^  1?  ter  thivu  10  p»n.   (fi?   tinc)}   the  bcv!t  tin>e  is  in  the  eveiiing 
betwGen  8—10  (^^stem  Ti^^^f^)^  wh<n  one  is  ftlinost  alve^s  nt  horoe»     I  don't  think 
that  you  \ri2X  ::f*«:U  ?11  thl^  Ivifc  but   on  Iber  uüizr  r.<?ad  it  ;;;a^ht  bt$  liei^^ful — 
vho  knowßl 


IhiinkL  fe:;tiin  cjid 


K...I 


L<.vc 


C^^tUiC    PRODUCTIONS 

1419    NORTH    HAYWORTH 

LOS  ANGELES  46,  CALIFORNIA 

CRESTVIEW  4  8464 


October  3,  1963 


Miss  Ruth  Marton 

244  E.  55th  St, 

New  York  22,  New  York 

Dear  Ruthchen, 

I  can't  remember  whether  I  owe  you  a  letter  or  not. 

Thirii^s  are  going  so  well  for  me  that  it  scares  me. 

Now  I  raust  ask  you  certain  questions  that  must  be 
answered. 

It  is  possible  that  within  the  next  few  months  I  will 
be  in  the  position  to  employ  you  on  a  steady  basis. 
This  would  raean  that  you  would  have  to  raove  to  Holly- 
wood.  Most  of  your  work  could  be  done  at  horae  and 
according  to  your  teraperament ,  which  I  know  better 
than  anybody  eise,   This  work  would  entail  translating, 
research,  and  handling  certain  very  sticky  people,  plus 
accompanying  me  once  in  a  while  to  Europe  (at  least  two 
trips  are  scheduled  during  the  coraing  year),  at  which 
tirae  you  would  act  as  arrangement-maker,  translator  and 
social  secretary,   How  does  this  grab  you? 

Ruthchen,  I  haven't  time  to  write  more.   All  is  ^oing 
very  very  well,  but  I  must  know  what  it  would  cost  to 
move  you  out  here  and  also  what  will  be  a  comfortable 
salary,   Naturally  I  will  need  the  miniraum  to  befi;in 
with  and  would  raise  it  as  I  can  because  you  know  I 
will  always  be  fair» 

None  of  this  may  ever  come  about  but  it  is  very  iraportant 
that  I  be  provided  with  the  figures  in  case  we  have  to 
raove  like  lightning.   It  seems  that  ray  biggest  problera 
is  going  to  be  finding  the  proper  personnel. 


Merde 


Love  always. 


Ba: eaw 


i   i 


L^^tHiC    PRODUCTIONS 

1419   NORTH   HAYWORTH 

LOS  ANGELES   46,  CALIFORNIA 

CRCSTVIEW   4-8464 


August  29,  1963 


iüss  Ruth  Karton 
244  East  55th  Street 
l]e\7   York  22,  ilew  York 

Dear  Ruthchen, 

VJhat  a  dellghtful  surprise  to  recelve  the  Oocteau 
book.   I  will  gratefully  add  it  to  the  growing 
collection  you  have  already  glven  me  on  that  subject. 

Please  forgive  the  delay  in  answering,  but  Jeff  and 
Mike  are  here,  and  vre  have  been  having  a  ball  making 
all  the  tourist  scenes.   They  are  T^ronderful  little 
boys,  and  I  can  forgive  their  mother  anything  because 
they  seem  very  well  adjusted,  responsive,  intelligent 
and  easy  to  manage.  \Ie   have  had  I'arineland,  Disneyland, 
Hollywoodland,  and  there  are  three  more  days  to  go.   So 
with  the  "little  visitors'',  I  haven't  been  able  to  get 
much  done  besides  the  Jdith  Head  project. 


How  are  you?  Please  i/rite. 


Love  always, 


Brüchen 


»C      PRODUCTIONS 

M19   NORTH   HAYWORTH 
LOS  ANGELES  46,  CALIFORNIA 


i-liss  Ruth  Karton 
244  3ast  55th  Street 


L^^tUic    PRODUCTIONS 

1419   NORTH   HAYWORTH 

LOS  ANGELES   46,  CALIFORNIA 

CRestview  4-8464 


August   2,    1963 


Dear  Ruthchen, 


SWVlM 


It  was  good  hearing  from  you,   Thanks  again  for  lending  me 
the  Babilee  photographs.  Please teep  the  one  I  sent  you. 


I  hope  you  have  had  the  final  heartbreak.   It  seems  to  me 
that  the  f eeling  of  love  is  like  flnding  someone  to  whom 
we  owe  a  great  debt  and  to  whom  we  want  to  Joyously  repay 
that  debt,  and  the  most  palnful  f eeling  in  the  world  is  when 
they  refuse  to  let  us  pay.   This  may  sound  like  nonsense, 
but  it  oecurred  to  me  the  other  night,  and  I  had  to  pass  it 
along.   It  seems  to  me  the  height  of  selfishness  is  not  to 
be  able  to  receive.   It  is  certainly  much  more  difficult 
for  sensitive  people  to  receive  graciously  than  it  is  to 
give. 

How  terrible  for  you  to  lose  Lester  Cohen  at  this  time,  but 
it  Sounds  like  you  are  filled  with  the  right  spirit  and  that 
despite  the  discouragement,  you  will  be  Publishing  before 
long. 

Things  are  going  very  well  for  me,  although  slower  theui  I 
had  anticipated.   We  are  Just  now  able  to  begin  doing  our 
sample  newspaper  oolumns.  Ky  sons  are  Coming  to  Visit  me  on 
the  17th,  and  of  course,  it  will  be  like  a  miracle  being 
able  to  afford  having  them  after  the  past  four  years  of 
darkness.   My  mother  asked  that  I  send  you  her  best  wishes, 
and  she  is  looking  forward  to  seeing  you  once  again  one  of 
these  days.   Please  write  when  you  can. 


Merde. 


Love, 


IC   PRODUCTIONS 

1419  North  Hayworth 


LOS  ANGELES   46.  CALIFORNIA 


CRE8TVIEW    4-8464 


June  19,  1963 


Dearest  Ruthohen, 

I  have  an  urgent  request«   We  have  new  interest  in 
'^The  Tales  of  the  Black  Cat**,  and  I  am  preparing  a 
presentatlon*   As  you  remember,  I  have  dreamed  of 
fllming  the  Cocteau  ballet  wlth  Jean  Babilee,  and 
intend  to  do  it  on  thls  series  integrating  the 
ballet  with  a  parallel  story  ala  **The  Spectre  of 
the  Hose**»   I  need  copies  of  theH^iJll  photographs 
I  gave  you* 

Ruthchen  I  know  thls  is  a  terrible  bother,  but  would 
you  please  lend  them  to  me  so  that  I  can  have  then 
copied  for  the  presentatlon,  and  I  will  return  then 
to  you«   Enclosed  is  $2«00  for  airmail  charges. 

I  had  hoped  to  hear  from  you  by  now»   I  am  wonderful 
and  think  about  nothing  but  work«   Please  write« 

Love, 


EXCLUSIVE 


5  JUNE  1963 


EDITH  IIEAD^S  NIELSEN  OUTRATES  GODFREY  AFTER 

OHLY  9  WEEKS  ON  CBS-RADIO  -  IST  IN  SHARE  OF  AUDIENCE 


After  only  nine  weeics^  on  the  CBS-  Radio  Network  Edith 
Head'»  Paahionsoope  is  in  7th  place  on  the  Nieleen  TA 
Audience  Rating»  and  in  Ist  place  on  the  Nielsen  Share> 
Of  Audiencez  Ratings^« 

Miss  Heady  Paramount  Pictures,  fa^hion  deeigner  and  winner 
of  seven  Academy  Awards  i»  heard  each  weekday  at  2:55  VU 
to  3«   She  disousses  all  phases  of  good  drea^ing  for  men, 
woven  and  children, 

Bruce  Andersen  concieved  and  produceA  the  show  for  Gothic 
Productions«   Milton  Kahn  is  Associate  Producer, 


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5  December  1962 


Deareat  Kathchen, 

You  have  been  on  lay  mind  these  past  few  weeka»  Can  It 
be  that  you've  been  gone  alioaat  a  year?l  I  miss  you  as 
alvvay  s  • 

Would  you  be  klnd  enough  to  post  the  enclosed?  It  must 
have  a  New  York  postinark*  It  is  part  of  an  innocent  little 
business  scheine  to  make  It  look  as  though  I'm  in  New  York.- 
which  I  hope  to  be  not  too  long  after  the  New  Year«  I 
have  been  away  from  the  children  too  long  and  I  need  a 
vacation.  Also  I  would  like  to  look  around,  scout  the 
place  for  business  posaibllities«  Anyway  we  will  see. 

Things  have  been  going  ck  here*  The  tv  and  picture  business 
is  a  mess«  I  have  done  a  few  shows,  a  few  commercials, 
a  lot  of  modeling  and  have  been  writing  like  a  fiend#  I 
have  also  prepared  a  five  minute,  five  time  a  week  radio 
Show  called.  EDITH  HEAD^S  FASHIONSCOPE  which  I  hope  to 
have  syndldated  across  the  Matlon  before  very  long«  ky 
book  ia  almost  finished  and  my  agent  expects  it  to  do 
v^ell.  It  is  only  aÄ  myatery  with  erotic  overtones. 

11  though  not  richer,  I  am  happier  than  I  have  been  in  many 
yearst  (Deapite  a  very  painful  love  affaii  from  which  I*m 
Just  ceasing^  aching.) 

The  Paul  Kohner  Office  is  still  expectant  that  I  am  going 
to  be  their  answer  to  the  leading  man  shortage.  They  will 
only  send  me  out  for^elegent^, "unphysical  but  attractive 
to  women''  parta  and  it  is  a  bit  limiting*  I  remain  eternally 
gratefui  to  you  however  for  the  new  leaae  it  haa  given  me 
on  life. 

It  has  been  woiiderfal  having  wy  i-aients  here.  I  hava 
gained  a.  few  pounds.  ky  mother  is  as  handsome  as  ever, 
thank  you,  and  she  sends  you  wärmest  regaxds, 

Dld  you  iaiow  that  Connie  and  faaily  have  moved  to  Philadelphia? 
He  manages  the  local  GBS  Station  there.  They  live  in  a 
;äO  room  house  and  kiss  Claasen  is  writing  articles  for 
Gosmopolitan.  She  had  one  in  last  month  about  Hollywood« 
The  Kids  seem  to  be  thriving  in  the  saborbes?  but  they 
wish  daddy  would  come  and  live  with  them  and  moma  and  AI« 

Poor  Peggy  McGraw  is  dying  of  lung  Cancer.  It  is  terrlble 
of  me  but  I  have  no  feeling  for  her«  She  has  been  too  cruel 
and  vindictive«  I  sometimea  think  dying  is  easlsr  to  do  than 
live  and  I  can't  get  sentimental  all  of  a  sadden.  She  did 
everything  to  turn  my  friend  Jacques  Charpin  against  me  and 
finaily  succeeded.  This  was  just  one  ofl  her  deceptions« 

huthchin,  how  are  you?  How  is  the  secret  work?  Please 
let  me  hear  from  you«  Thanks  for  mailing  the  encloaed« 

Love, 


Mry  27,  19P2 


De«r  Bruce chen — 

Your  letter  Jaftdft  we  VER?  HAPBT,.     It^»  a  '^ost.  ^rof-ierfal  thin%  tc  be  «hif»  to 
h«?lp  a  clf^ar  frtf«id — I^v*,   tri.  c   ii  ofr.-i  in  ^  Ufe  b^Jit  oot  '^lwr7's  have  I 
encountvirec^  the  ajqpr^  ci*  tia:  ycw  ?r^^  rikoiff^rlrüg  »j««^  wfth„^-     I  er  gr€t>?ful  for 
that,  peurt ic\i ü Tiy  ßl'tf r  th-    »tili  uibeilev^bif  v?y  Tty  fri'^ad  Christiane  (in 
Mexico— or  betters  vdiilc    ah-e  xttB  iown  ijöf?  cnxt  in  f^ylco — sh'-^^s  beer>  out  of 
that  countiy  and  in  th.    A.pric:  a  Ef^st  for  a  ye£.r  ?iid  hss  ncvtT  B»d«t  the  sroUest 
gesture  to  reclprocatc  dtoring  the  teirrible  tjin^s  I  w^nt  through  last  jear*»» 

fixt  I  toiri  you  nDouL  il  in  KoiJ(y"wood but  it  eojM.iines  Gtlli  »?.ats  at>  b»-— 

one  doesn't  like  to  h^  ths;t  vroog  ebout  peqplc  and  rr  e  a — sucker •••)  behavedf 

Dearest  Brucech^wa — pl£r»t=  forgiv«:  itk  for  not  set^ing  you  in  your  tvo  flrst  fUtas 
PI*I1ASE  let  im  loiow  about  the  next  d^tte  you'U  bf-  on  Rgpjüf)!     I  have  nov  laade 
ari^migeraeiita  to  see  thlngs  at  the  hcmse  of  n  fMhw9d  vho  üves  near-^y*    You  na^r 
ra:  i-?Libftr  th&t,  due-  to  >.y   (ijaq>ari«sice s  ^*lth  LlUi^  I  iiave  this  terrlble  block  with 
TV —  I  douH  vant  a  aet  in  qr  hcAis^?.   (I  hr*d  on  bhv^'TgX  oca^rlors  sete  offered  to 
me  as  a  gift),  particular^y  not  as  loag  as  I  havf?  ooily  this  one  room  cnd  no 
place,  to  put  iti  —  I  don't  want   Lo  look:  at  tt  and  \b.^  fev  tliaas  throuc^hout  the 
past  ytars  I  diel  ix>ok  &t  e  &xiOV  I  iiated  itl     I  kiiow  It'a  ccc^pletely  irr??tional 
buL  you  of  all  p^iopli?^  liÄ.iu^b  witn^-'ssed  SOME  of  vhrt  LiHi  did  to  ne  (you  don't 
knov  half  tha  stoiy,  belit:\     Frei)  caii  periiaps  imderstand  it  bettcrr  than  anyone 
elöe*»»     But  I  am  rejolcing  vith  you  about  EVERT  tire  you^ll  bt  on^  and  ry 
varmest  wlshos  will  be  with  you  oi  «rveiy  such  occasion  and^  eventuaUyt  I  will 
brcek  down — for  your  Sßke — and  loclcl     As  I  srAd^  I  hnv^  at  lf»«st  pro^ressed 
to  the  point  vh^re  I  c^na  .^^k  »arcoi^  livxng  clos»:^  ty  to  let  mc  coirrir-.  pjnd  watch 
a  ßhow — so  perbaps  your  thJhrt?  film  will  be  itl     I'd  llk«^  bi?'St  though  to  wait 
usitil  I  can  See  you  in  r   reü>l  f  üjf? —  I  still  lov-^  iriovies  ^liü  thcre  I'd  run  rlght 
R\rsyl     Do  do  k.i^p  j;t    poated  ^bcmt  your  proer^  ss«     I  pti:  :  Ivt-ys  rwst  interested — 
you  know  th-^t^  don't  you'i 


I  was  so  Hxpigf  to  rc-ad  about  ali  the  xhiings  you  tolil  HUf»*     Prrticul/r^y  thÄt  you 
^'Ot.  out  of  t>mt  deeidlock  you  vr»^  in*     H^  v-r  mixK^  Jf  yoQ  »^k^  sa?!?e  üso^cy  with 
yrjodöUlng — I  think  it*3  im  -xci-llv^nt  idf-c?.  to  tidc  you  over  thiü  rough  tlme.     I 


j-auchfi'!  abojft  yc^ir  d-^3<:vi|r'.iOi*  a^  Jh.    Macy  Job  in  Sr^m  Fr- — I  b*^t  you  that  la<^ 


wasn't  neai^-ßighted  at  ^11 —  she  DIEW  whjT  a^^^  picked  youU     She  lias  a  noS'^tr^  tool 

And  liittt  you*r^  ;;rSttng  aboot  th^»  things  you  WANT  to  vrl^e  ?»bout  is  ft)ST  iiiiport- 
ant— juöt  do  tt  wh^never  you  f^t^i  likc  it;  sob^  dc-y  tbis  will  lali  tuto  place 
too»     You  üslght  nlso^  without  bf:Sng  re^Uiy  ev»ar^  of  it^  öobv>  dry  find  you've  got 
a  bookl     Juüt  köBi^  at  tt*    Aad  good  luoc  oa  your  si^xidies  with  E^ri» 

Kow  T.onderful  that  you  pap«ttts  if.oved  to  HoUtirwood.     It  «u&t  ba  a  real  help  to 

you  -~  I  'mov^  your  ^.nonderful  reiTtio^iship  with  the«  nnö  I^n  sure  ycur  Mother 
will  be  hapiy  aiy  tiwa  you'll  tum  \xp  to  dJimerl  l     Pli^ftse  raauBiber  i:m  to  theii — 
I  ?lso  havci  chanrJuit^  umori^s^  of  Urair  vj^its  here*     Is  j-^oizr  -othrr  still  so 
veiy  handsoiiiot 

I  was  fascliMitaid  ty  whnt  you  vroie  ine  about  Maxina  Boll^    No^  I  noTor  knew  about 
Maacr-.  prf'dict  ir*g  your  f?lvorc^      ic.     I  wouldn't  b^  surprlf''*d  iJT  you  ire?Uy  raade  it 
so»e  dey— I  iiia«n  real  BIG*     Just  don'c  gat  tj?|>atient  and  let  the  Kohner  offlce 
handle  ycu  the  vf^y  tli«^  see  ftt*     But  if  you  luansrge  to  arrrnge  "crafty"  dates 
with  Cukor  and  Monroe — go  ahaad  and  good  luck  to  ycnill     Th     *T>or    you  cojn  help 
in  such  "cratQr"  Wfyy  th^^  better»     IncidentaUSjr ^  I  dldn^t  know  you  had  so  lacuy 
plaaats  in  wuter  slgns — you  kncm^  I  do  tocdj,  i^e,,  in  \ff>t-^r  ond  ?^ir  ,'ii;jns^     'wh:i»t 
:>uppo:ie<I)(y  fascinates  östrolof;??r^:  rV)out  uy  strra  is  Ife^t  xtraot  I  hf?vr  sun  in 
Pisc^s^  ÄS  you  know,  I  have  Mbon  and  I4ars  in  ueirrtni,  ßnd  Pluto,  too»*..  I  was 


once  told  tht.t  this  indlcatod  I  vnta  r  GFKIUS  (re^ljjrl)  In  soh  fleld^  pariiaps 
iDve  or  frlettdsMp  (th?'  p^rjBOri  ^'Iclh't  dra  wr  \ip  ly  ch.«?rt^  Just  heard  üüLs  about 
tiilä  apporcmt)/  w^usor^l  co>strllf^tioii)ll  But  I  «l»o  was  told  onco  that  I  hi^d 
aoLÄ^tJiing  vcxy  <^*  pljr  <.*or3^:'Ct  '*  wlth  1  .  ovir^B  bt^-c^u»^  if  uy  Neptnne  I  thtrik 
aiid^  of  cowc^St^y  it  i»  strr/ig^'  iiow  ry  cciinpctio»  ha-.v^'^t  Tf^nXfy  brrnics  off  aithough 
I  hnv?:  b<^vn  /'-^«■y  frxwßr  KaPyvfi»t>/^  mm  fcn"  13  jrrnr»-^.  Vell^  sc»>?  <^  y  1^11  Iru've 
soBMm^  drtiv  15^  xy  cl-r?rt  :^gr.i/t^  p  rhrps  this  '^rs»  Bn-ll^  eäie  saunds  vt  3y  teXtated* 

It's  veiy  good  ttiat  yow're  g*rtlinc  o\rt»  sucii^Ut^^  Ib  Hollty^vooc!  Dxid  it  do:  s 
LolIoki^  to  yoair  cf>r6^r>  iA.ic^^«^^    Tow  vight  yt>u  ^'^1^>  d5vti.ig  rtffrr^^'^ni   girlr^  hxxl 
woii*t  ^«t  aerious  with  ^uf^onc-  tmtlLyao  csin  afford  it»     Tiits  is?  veiy  ooasible  and 
I  bcXiföve^  verjr  .l^^port^init^  -twj^»     I  Baicur  fit  \?hHt  r  porrjairlxr  uctut  1  r clA«Ki  end  even 
30  good--lookirig  oaea  yetl  hmoi  are»     liiosc   who  are  avaiJUibl^  nx^'  lüostly   terriblt 
BO  I  can  wt-11  ifWKine  hcw  ^^U  th<i^  /■.«*!»  wJLll  rwi  aft$*r  you,  onc    you'r;?  ..etting 
a  üttife  icnovn*     Brucech^i —  .^y  I  be  candid?     As  .lo«ig  ns  you  can  keep  your  haad 
plcKi&o  ketrp  itl     VL^A  thr  ri^^h-    «ifeie  cotm  s  sJUxig  you'JJ  ki^ov»     You  den*     h».va  to 
b«  on  xopp  but  it  woxild  be  ao  iiipartaDat  if  YOÜ  will  be  the  one  v^*o  pfiy»  the  bills 
L-jo  Uux-^  yoM  ck%\  hiivf^  3CMi«on<=^  v1.j.o  S'>.yu  kein.    i^;d  be  a  VIFE*.     Ii    bhould  bo 
oiie  vixo  urider Stands  yo^l — not  one  vho  wants  to  dotoinate  you*«»     I  sounci  like 
a  jcÄloxis  LTOU:^  dou't  It     But  you  kaow  how  siuch  tixo^ight  I  uavti  giv«afi>  throu^out 
ly  life^  to  hUiiMsui  paLatlonst  pa^ticulÄrJ^y  those  betw«^*«i  Bien  and  wyrznp  and  you 
b.iow  hcv  l^ih  fH:?.tnv.  aboii*'^  tl  .    t  Kfuitiuu;^^  clx^i%«:^>   car^^j^-ob^eased  voriif-]« — no 
matter  how  attractive  or  how  nice.»»     1  kiiow  it's  iiaxd  for  you  to  live  alone^ 
but  reäünob'-.'r   U\jaX  yoi^r^-  bulldii^ig  iip  sc?:.vGhin^—  chat  this  is  a.  "^iinr   of  transi— 
tion  fui*  yo\i — 30  you  »ist   first  look  after  yoursfklf  j  owice  you're  establl3h.->^ 
end  have  soiDe  3€Knirity,  canotiooßiJtr^  fSnanciaUly^  in  t^vesty  vsy^  TKKN  yc<u  will 
be  able  to  look  al'tar  a  votmn^  too^  and  GIVE  of  yourself  vtthout  cndan£;.iring 
yours^rlf — in  the  conti^ty^  tl    .1  y<m  c-sa  givc   to  rc  Cvvivc  ^n^  be  ^iiriched*%% 


^bn^t  vöny  Voaut  ?^g»"»tnKy  ^irliiiel     I  c^^oö^t   carr  i4»thyrr  «nyon-^  kiiowp  Hjr  agc- 
th«^  mdLn  thi>i£  is  wiiat  gae  s  ui  Ei  you^  not  lAietner  you'll  h^vf^  e   few  inore 
wrl^-ikl*:?»  (thws'?  a'?i>  bf:    te^kcH  cf i>?  of  todsy^  tcK»^  a:s  you  v^-'J'JL  kamt' —  if  need 
bei)»*% 


You  aak  abowt  ©e^  rs  w^^iüL  pä  ly  wi*itiug.     I^D)  fine —  fv  :iy  di-y  is  p.  jolJ<y  dcy — 
just  becaiftse  I  hw^.v,^  no  Job  1  hf^te-»»     Rrrv-xltjr — it*s   »ncrr^dii;!:-   how  differ^i«jt  I 
teetLp  look^  cxy — just  becriask-    I  fe-ri.  no  iauvi^r  iir^prlsoiked.     Ev*-iybOi-J^   r^-j^rks 
on  it»     "^i'hi^re  is  no  ♦•^soubt  that  a  Job  3J,imiy  but  sixr<-^]^  ki3Lls  »»?•.••     Th^.-  book  is 
cOKdLng  aXoiig — vtiy  sloirV  but  veiy   scettcikJ^*,     htidxx»-  tf  ly  peculiax^  w:y  of 
writinc  it — no  ootiXlm  ,  jUi  l^.-S-f  sc^-f^s   (2-5  pegt^s  loni)^  an?    cWv.loping  iiito 


the  otLcdr»  I  wa^  ad\ise.<i  noft  to  setJt  to  »wihnrrt  off  er  iv  nov  {I  heve  100  pv-r^eSf 
ai.out  i/S*  ^f  ^'^^^  büQk)  but  v  it  u»itü  I  ii^Vi.  .  l.o.;:xt  ijz  or^  best>  all  of  it. 
It  iau't  a  fxTöt  draft  because  I  iraist  ca^^nilsiv  >J(y  re-write  eveay  fc^ceni  u^itil 


it's  thc  w«y  I  warrt   It^-»     Thyas  tl»  sUm^'  progr*-»-»3*     After  ^/**iy  sci?ne  thcare  is 
the  agory  of  how  it*ll  cositinxiei     As  I  think  i  tolt!  you — it^gi  ccEipic-t ely  ly 
iTÄ^'ination — NCTi'FIITG  eutobiograj^hlc  ixt  th(2&  sioocy«»»     liut^  of  course,  «tveiybocjy 
draw3  frojn  cocperiiiDCe »     I  bope  tt'll  be  «  book  in  the  end  and  not  fall  apart 
which  is  the  reason  wiy  !•  >  k^-  plii^»  it>  00  tMTrxbJy   secrot  hcre»     OtJ;/  a  fe\i 


veiy  good  friends  know  about  it»     It's  sliil  veiy  posbibl«  tha^  it^ll  never  b# 
publisliabl«?^»»     Siwt  how    y  pinw: -o  mrtur««/  vorries^tl! 

It's  difficult  for  ^^  t.o  writ^y  Ifi^tters  and  I  ooght  not  lUKve  v/rittei  ihis  one 
bocause  I  nead  »U  >y  eoergi<^3  for  the^  book*     It*s  «  tol;*l  liivolveii%nt — I  don8t 
gp  out  («occ-ipt  for  rj  brlsrf  i/^^lk  «vaty  i^y)t  pei^ie  dltituro  nop    11  thl.i  sort  of 
thing.     There's  constant  str*«»  of  visitoira  he>si- — i'rcr?  the  toa^io  *inO     ixrope 
and  it  irritate?  i^  i^Tr^h\^     All  I  waiit  is  to  bc  left  alone  and  work*     The 
QnfY  visitoT  I  look  fonr.Td  to  Ss  F^bio  -^rlio  Kii^ht   (wnt^  right  not)  cc»tie  '^'u*. sdcy 
for  a  briöf  stqr*    You  knoir  how  Tnuch  I  adort.  hlm.     But  ^  REAL  HAPPINESS  is 
still  around^  except  he  •«  been  iU  with  ?r  terribi:>  str-  p  Snf-^ction  for  vpeks 
now — I  find  thls  veiy  frostig tir^*     But  I  derive  cEiotioncJL  hclp  froß  ly  bookl 


^^ 


34^iy  1963 


bearest  hathchen, 

For^ive  the  lon^  delay.      I   tliink  oT  yoa  every  day  bat 
have  become  a  terrible  corresjjcnuerjt» 

I  v^'ill  be  twD.ce  on  televislon  uext  v/eek#      On  Taesrlayi 
the  8th  -  xJiFiiED  hlTGIiCOCiC  PliSl^ilL'TS .      Cai  Thiu-sday,    the 
lOth  -  TilE  ui;TüU3Iix.3Ll^ .     Please  doiit  i^dss  seein^;  them 
as  I  aiii  on  tliern  becaase  of  you#     I  was  called   back  to 
do  a  aecoiid  iiitchcock  mithin  a  month  of  the  firstt     Joan 
Harrison,    the  i^'ioduccr   o£  th^t  shov*/  has  i-roiidsed   I  v/ilL 
i^et  biod;^^   ^-^-'d  better  i^arts  vvhen  th.e   shov/  be-^ins   fiimiiig 
an  hour   vevslcn  uext  month, 

Of  ooorse,    rlgöt  ^^ow  l'usiness  is  at  a   standst5.ll  as  no 
shov/s  are  in  productlon.     Kohiier   exj'ects   it  to  pickup  v\ithin 
a  Tew  v/e.eks.     They  have  been  v7onderfiil#     I  v;as   set  Tor  a 
featured  i>art  in  t/ie  coMing  John  iiousei'ian  Teatare,    30ÜL  ÜF 
Z:hE  j^Y.      It   looked  as   if  I  v-as   c^liv;^  to  ^et  to  Kew  York, 
London  aiid   Greece  iu  Jane.     Then  IlGli  decided   to  do  the  Tllm 
entirely  undör   the  British  J2ddy  Plan  and   that  killed  n.y 
deal  becaose  of  the  british  working  quota«     Tue-^  have  lae 
u^'  Tor  aiiother  reatiu-e  v/ith  ivock  Piudson  and   I  have  craftllly 
aia'-an^ed   to  i^ieet  ^-t    Geor-/e  Cnkor  and  i..iss  karj^yin  Lonj?ee 
next  luoncay.     To  tide  hie  over   this  roa^h,    financial  snot 
I  have  done  sonie  lasiiion  iüOdelin>i,      I>:o thin^  that  vdll   slap 
Liy  face   over   everythini;,    bat  last  v/eek  I  Vv'as   chosen  by 
Lacya  ban  Francisco  to  v/ear   the  nev;   Continental  saits   frcm 
Earope.C    I  vas  very   flattered   to  be   choseii  ovex   every  handsojß 
man  in  the  basiness.      >/hen  I  \^eyit  for   the  interviev;,    I  had 
never    seeai  so  luany  beaatifal  ijeoi^Xe  ^athered   in  oiie  rooin# 
It  )'Vas  all  I   could   do  to  keep  from  fleeirx^,   bat  I  ^ritted 
iiiy  teeth  and  the  lady  chose  me»     3he  laast  be  nearsi^hted.) 
xinyvvayi    I  v/orked   on  this,   "v^ith  tv^o  beaatifal  lady  kiodels, 
for   tv^^o  days   last  v.^eek#      It  was  done  on  tape  aiid  will  only 
be  shoY/n  in  San  Francisco»     I  made    i  130 #00  per  day* 
It  is  araaz^lng  hov;   coiafortable  I  feel  bein^  a  hain*     iukI,   my 
oarlii:i2,    I*iü  v;ritin^  up  a  Storni  in  üiy  spare  tiine#     Just  v/hat 
I  want  to  write,    that  is.      On  Fridav  evening  l'm  beginii^g  a 
^30  week  coarse  in  i^la^v/riting  with  Lajos  ^rl«     I  have  wanted 
to  stady  with  him  for  vears  and   by  a  pare  fluke,    last  iiionth 
he  retired,    iioved   out  hera  and  I  was  mtrodaced  to  hiia.      He 
is  takini;  only  a  l?ew  pui^ils   that  he  is  interested   in  and   I 

am  deli^hted. 


e 


2. 


Ruthche2i|    r'.t  is  as   thoa^h  I*ve  bee.21  rebern*     The  past  fev^ 
yeara  vvere  like  a  death  to  lae.     You  clicl  me  the  fiiiest  servi 
aiiv  one  has   ever  clone.     oii^ce  that  ciav  ^oar   rios.e  suoke  to 


ce 


any  one  iias  ever  clone.  oii^ce  that  ciay  yoar  rios.e  sj^joke  to 
you,  I  hciv.e  gone  throa^h  an  aliaost  spiritaal  rejuvliiation. 
Even  thoaifjn  uoney  is  still  ti^^ht  and  I've  still  ^ot  a  long 
vvay  to  i^o,  I  have  never  been  hai^pier,  no  vever  in  luy  v^hole 
life  before.     I  have   Sj^ent  all  niy  grief  and  have.  begun  again. 

The   Liurky   /^eltschriie2*'Z,  seenis  to  have   gone   oat   of  my  life« 

There  is  soiüething  very   stränge  I  mast  take   the  tiiiie  to 
relate.     Before  I  v.ent  to  Euroi^e,   one  ^ear  ago  last  Oc tober, 
filled  with  the  L.i  ^)bhü;Ti;  i;-r^TI0IWL2  i?roject  and   all  the 
i>ackaging  baslness  with   Peggy  licGravj,    a  very  v^onderfal  and 
senaetiv.e  wouen,   nained  Liaxine  ujell,    drev;   an  j^y  horMscppe. 
bhe  was  very  interested   ii»  my  chart  because   I  have  5  planets 
in  Cancer,    3  i]i  other  water   sigiis  and   the  moon  and  ne^^tcuie 
exalted   in  Leo.     The  inoon  is  my  raling  i>lanet  and   in   the  sun 
sign,     t^he  did  a  iyrogresaed    chart  lorcasting  t^vo  years   in 
advance.     heh.eiiiber ,    I  v^^aa  ready  to  leave  for  iLaroi>e  and   ex^^ected 
to   coine  back  and  have  the  hottest  thing  since   sliced   breäd. 
I  had  i>at  everything  in.to   this  project  and   it  lituJ  to   succeed. 
tlaxciije  v;rote  dovm  her  predictions  and  put  it  away.     3he 


explained   them  as   kiiidly  as   she   coald^ 


3he 


Said   I  V'/ould  go  to  Eurooe.  and  find   great  personal  saccess. 
I  woLild  get  v/hat  I  vvent  arter    (the  rights  to  La  Sl:u2TE 
hr^TIüI\ii-^LE  V'/hich  not  ev.en  Cloazet  or  hitchcock  had  been  able 
to  secare  before.)   bat  the   time  vy/as  not  right  Tor   it  to  seil 
back  here.     L.y  chart   said   that  for   sonie  years   to  come  I 
belon-ed  before  the   camera,    ^^nd  not  behind   it-^ 


I  laaghed  right  in  her   face,    exclainiing 
tliat  I  had   given  ap  actiug  years   ago,    I  had   no  interest   in 
ifi  and   besides  I  v/as   too  old  to  begin  again.     She  said  v/ait 
and   see,    in  a  little  over   a  year   from  novr^,   a  Pisces  women 
v;ill  alter   the  coarse  of  your   life,     £y  the   first  of  April 
(last  year)     ^11  the  partners  you  are  involved  v;ith  nov/ 
vvill  1)0  taken  out  of  your   life  and   soceone  very  close  to 
you  Villi  be  taken  av;ay.     The  rest  of  the  year  will   take  all 
your   strength  to  get  through  C3atiu?n  v/as  in  Capricorn  scpaaring 
everyone  of  my  five  planets   in  Cancer).     Pegiiming  with 

the  massive  ecplise   (x'eb.   3,    1962)      you  will  get  relief 
and  by  i^y  19th  l^Gfttp^ plane ts  will  be  exliaulted .     This 
all  Sounds  very  atraiige.     I  laughed  at  her  at  the  time  bat 
it  has  all  happoned.     She  pradicts  that  my  riame  will  become 


3. 


a  householr}  v^orci   throughout   the  v;crld«     Ly  Cancer  natare 
fiiicls  this  dirficult   to  sivallcv/  but  v/e  v;ill  see,  wont  v/e 
iiuthcheii?     I  wouldnt  dare  teil  anyone  eise  this   story  but 
you  kJiow  that  21oltan  Liason  i)redicted  Liy  öivor±oe,    loss  cf 
all  I  ear>ied  and  that  I  v/ould  rise  again  to  becoine  an  Inter- 
national fi£;üret 

This  v\roiaan,   l^ixine,  was  lost  to  lue  Tor  over  a  year«     I 
neitlier  had  heiB  tele^hone  rjumber  nor   knev«^  v;here  slie  liveä# 
I  icnev/  of  no  v^ay  to  trace  her.     ^^'hen  many  of  the  liredictioijs 
had   been  proven,    I   tried   in  vain   to  find   her.      Tnen  suddenly, 

out   Ol*  the  bloe,    I  received   ci  card   froin  her  uau^hLer    in 
i..ass.,   and   I  was  able   to  lenew  tne  acouaintanee.      I  thiiik 
you '11  be  interested   iij  this   lojir^   tale. 

I  have   fallen  iii  love  vyith  California .      I  Kiiov^  it  is  all 
a  State  of  niind«     iv.y  father   has  retired  and  iny  parents  have 
liioved   dov^n  here.      They  have  a   teiu^-erary  apartiijent   on  i'^airfax 
iüst  south  of  Sunset.    It  is  wonderful  to  have  thera  here# 
They  reiiieniber   you  vvith  affection  and   asked   aie   to  send   you 
their  ])est.     I  only  vvish  you  lived    closer  at  hajid,    nuthchen* 

I  aiii  c^ettln^  out  luore  and  more  into  the  hollin^/ood  social 
life  because  it  is  necessary,  I  data  differeut  ^irls,  not 
'wantin^j  to  ^et  serious  with  anyoiie  mitil  I  can  afford  it. 
Ai\  aruasin^;  thirj;^  happened  oi'e  ni^ht  last  iiiOiith,(I  have  been 
interunted  ajjain  for  the  40th  time.  It  has  taken  me  tV'/o 
daya  to  write  this.  i^r  •  This  is  why  nobody  hears  from  rue.) 
I  Vv'as  dining  at  La  Scala.  i^y  host,  iv.eade  hober ts,  is  at  the 
iiiOiaent  a  very  liüjtiortajit  acreen  vvriter.  lie  has  two  pictures 
In  nreparation  and  this  makes  him  a  rare  i^ersonage  at  this 
time,  in  tiiis  town.  r.ll  duriu^  d inner  oelebraties  kept  comi. 
over  and  faunin^  over  iiim.  I  feit  like  a  wallflower  until 
suddenly  th.e  room  was  illuLiined.  Marlene.  Dietrich  entered 
on  tlie  ariu  of  kichael  »i/ildin>j;#  She  surveyed  the  room.  her 
face  lit  un  anu  siie  heaaed  strai^iit  for  lue,  threv^.  her  ariuja 
around  hie  ang  i^ave  me  a  kiss.  It  was  very  amusing.  I  believe 
I  told  you  that  tiie  Princess  Thurn  and  Taxis  introduced  nie 
to  i..arlena  last  suMüer  •  ixirlene  is  the  best  testiiuonial  I 
Know  of  for  not  ageing.     I'm  deteriiiined  not  to  ai)d   so  are  you  . 


Kow,    enough  of  1,1,1  •     hov;  are  you?     liow  ia  the  writing 
coiüingX     Good,    I  hoi)e#      i^^^ith  your   unique  imd  er  Standing  and 
point  de  view   I  Knov/  you  can  be  iiux>ortant. 


4. 


I  i^ray  yoar  RE^L  lUxPtimi^S   is   still  lii  effect  and  that 
you  ara  eiijoyiiig  the  rreedcni  you  so  de.serve. 

Throucih  impatieiice  and   iiishandling  on  the  part  cf  Gonnle± 
and  iierja  lavvyers,    she  iias   lost  any  hope   o£  a  feature  sale 
cf  her   book.     They  failed  to  ^^et  a  liiotion  i^cture  release 
Troiii  one  o±    the  principal  leadin^  ciiaracters   in  the  book: 
beTore  it  v;ent   to   ^ress  and   tney  have  never  been  able  to 
Fet  it.     Last  saKLraer   she  was  orfered   ^  40,000#   for   the  screen 
rights  withoat   the  release  by  an  idiot  riamed  *jam  uoldv^yn,    Jr  • 
ohe  feit  that  v^aan't  enoagh  luoney.     She  thnap;ht  she  had 
GOI^E   iVlTIi  ThE  WIl^D.      I  pleaded  vvith  her   to  take   it.     Even 
Hai  H^allis   advised  her   to  ^^rab  it,    bat  she  held   out  just  too 
long.     It  Liakes  me  very  sad  to  see  that  Joimie  has  not  ^rown 
over   the  years  and   that  she  is   statis-^uo  both  emotionally 
and  ecomically. 

Well,    hathchen,    I  niust  sign  off.      I've  got  a  iriillion  calls 
to  make.     I  knovi/   I'll  thir.k  of  luany  more  things   to   say  as 
soon  as   I  Croi)  ti.is  in  the  mail  box.     x-^re  you  Coming  out 
this  suiiimer?     Pleas.e  dont  v;ait  as  long  as  I  have   to  v;rite. 

Love  alVi/ays, 


lU^ÜU^ 


lo05>;   N.  Stanley 
HÖlljnvood   46, 

Giiestview  4-8464 


Fr"'t  rvA*=>r^ 


aSA 


>v* 


lcOo>,    Korth  buaiiley 
Eoll:.^"ooo   ^6,    Caliroriiia 


y.y 


Iä     aIH     iix^IL 


i 


Ruth  LLarton 

244  East   55 th  Street 

LIew  York  P2,   IJew  York 


\ 

\ 


I 


21.  Feb.  1962. 


t 


( 


Ruthchen,  Du  '^uesse: 

Bezaubernd  sind  sie  in  ihrem  himmlischen  Blaul   Hab  gleich 
heute  morgen  eins  benutzt,  und  believe  it  or  not,  das  Ei  schmeckte 
gleich  doppelt  so  gut,   Kuessken  und  tausend  Bank.   Und  das  war 
nun  mein  Geburtstagsgeschenk,  nicht  wahr?  Versprich'sl 

Heute  kam  Bruce  in  die  office^  und  wir  hatten  eine  lange 
Unterhaltung.   Er  war  bei  mir,  weehrend  Walter  Kohner  eine 
Klientin  einem  producer  vorfuehrte,  und  da  Orr  in  NY  ist,  hatte 
ich  plenty  of  time.   Er  ist  ein  netter  Kerl,  und ^  was  mich  besonders 
freut,  scheint  schon  gelandet  zu  sein  (s. Beilage;.   Er  hat  mir 
gesagt,  er  haette  Dir  schon  drueber  geschrieben.  Und  wenn  er  erst 
mal  ein  paar  credits  hat,  kriegt  er  so  viel  Arbeit,  dass  er  nicht/ 
weiss,  was  akzeptieren.   Denn  er  ist  ja  mit  seinem  Typ  und  Alter 
so  usable.   Gerade  in  der  Alterskategorie  gibt^s  ja  nicht  genug 
Schauspieler,  und  die  paar,  die  da  sind,  werden  zu  Tode  gearbeitet 
und  verbraucht.   Nein,  ich  sehe  klar  eine  wenn  nicht  grosse,  so 
doch  sehr  busy  Karriere  fuer  ihn.   Und  dann  kann  er  wahrscheinlich 
auch  wieder  zur  Regie  uebergehen.   Wenn  er  nur  erstmal  drin  ist, 
dann  kriegt  er  seine  Kontakte  und  somit  auch  seine  union  c  ard. 
Also  das  freut  ein'n  denn  ja  auch,  das  kann  man  wohl  sagen. 

Und  nun  schnell  zu  Deinem  Namenstage  die  besten  Glueckwuensche. 
Ich  hab  das  Gefuehl,  dass  Dir  dieses  neue  Lebensjahr  weit  mehr 
Glueck  und  Freude  bringen  wird  als  das  letzte.   Also  in  dem  Sinne  - 

alles  alles  Liebe 


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oii>: 


19th  Fe-ruwy  1962 


Dear  Birucechen- 


!    ^        T  - 


Your  letter  riiade  ny  dey«     I  can't  teil  you  how  delighted  I  am  that  ny  gettlng 
you  together  vith  Paul  Kohrier  had  such  e  successl     But  if  ev^-r  ny  nose  told  me 
how  best  to  help  soine  one  it  was  in  your  cese*     I  reaUy  was  so  ut'er]y  utterOy 
convinced  that  you  would  not  only   "inake"  it  es  an  actor  but  that  you  REALDT 
had  a  veiy  big  career  aheed  of  you{     and^  rein^^mber^  oncp  you  are  on  top^  and 
have  a  nice  little  nest  egg  to  insure  your  indi::pend€nce  foreveri  you  can  pick 
your  own  ticket —  look  at  Vittorio  de  Sica,  for  inslancel     Or  people  like 
Kirk  Doxjiglos.,. 

Your  letter  arrived  oxüy  this  morriing  so  that  ny  wermest  wishes  for  goor>'  luck 
and  roerde  will  rej-ch  you  a   f<-w  days  L'^ter  th^n  on  your  first  working  ä^y•     How— 
•ver^  it's  exactJy  nooii  now — you  will  bf    sterting  to  work  this  veiy  moment  and 
all  iqr  thoughts  are  wlth  you,  dear  BrxiCf^cht?n. 

Told  Caxinen   (ShUKilin)  and  Jean   (Peersoo  Opp^nrie  iin^r —  she  got  luarried  a^ain  last 
year)  about  you  and  th€y  both  were  delighted  anö  wished  you  luck» 

I  know  so  little  about  TV,  as  you  know  (and  no  one  can  understand  better  than 
you  wijr   I  have  this  block  and  don't  want  a  set  evenl),  that  I  am  not  too  faiiiliar 
with  thtt  various  shows  you  meiition  but  I  do  kiiow  about  the  Hitchcock  eeries  and 
that  it*ö  a  top  show —  and  the  laere  fact  of  3  features  is  most  iiupressive  as  a 
Start«     It's  Just  so  wonderfiil,  Brucechenl     Is  the  one  or  the  other  to  be  shot 
in  NY  because  you  say  that  it  won't  be  long  before  you'U  see  me?? 

I  have  some  news  to  teil  you,  too.     First  that  I  am  feellng  veiy  veiy  well 
(touch  woodi) —  better  than  in  inary  yearsj   I  came  back  here  with  this  terrible 
cold   (you  may  rMiember  that  Dr.  Schiff  had  warned  me)  which  developed  into  a 
bad  bronchitis  and  put  me  back  to  bed  for  another  couple  of  weeks.     But  once 
this  was  over,  all  the  bencfitü  of  the  California  "eure"   caine  to  the  fore  etnd 
bore  fruit.     IV  onjy  problem.  is  that  I  gained  too  inuch  weight  and  can't  ^et  into 
njr   clothes —  the  Deutschs  will  bf^  hf>re  in  a  cotqple  of  weeks  and  there.  is  a  formal 
reception  for  thein  to  which  I  est  i-ovited  and  I  hop>^  1^11  lose  enought — a  few 
poxxnds  will  doli — to  be  able  to  close   the  «ipper  on  a  dress  I  want  to  wearlll 
It's  the  first  tiioe  I  «ver  had  THAT  problem  in  ijy  life  aud  it  aimises  roe. 

But  what  is  much  morf-  iri>ort5int  to  ine  f»nd  I  teil  you  in  the  strictest  confidence 
is  that  I  an  getting  vf  ly  invoived  in  the  iöev.   of  r»  book  I  wcnt  to  write  and  of 
which  I  have  put  th^^  first  short  scfne  on  p/3pfr...     I  hnvf  r^n  idea,  the  main 
character,  «  couple  of  ßf^cond^ty  ch^racters,  ^  brsic  structure.     ^f  favorite 
editor  is  in  on  it,  nrtch,  rnd  is  ir.ost  encour?  ging  hnd  hopeful.     I  still  have 
to  do  a  lot  more  Uiinking  about  thf^  story    (-nd  you  know —  I  axn  slow,  I  don't 
"kock  it  out"  as  our  friend  Lllli..«)  but  I  have  decided  to  give  roe  one  more 
chtrnce  to  write  and  hope  to  buckle  down  to  it  within  the  next  couple  of  weeks 
or  so,  probably  after  the  Deutschs  have  left.     Evexy  Single  day  I  am  REALDf 
HAPEY  because  I  have  no  job  and  enjqy  *=^veiy  ininute  of  that  freedom  and  perhaps 
the  time  has  coine  when  I  won^t  hav«•^  to  go  back  to  eiy  Jobs  and  can  make  it 
writing.     But  since,  after  ^U,  this  isn^t  at  all  sure  I  don 't  want  people  to 
know  about  this  plan  until  it's  either  much  acivancad  or — God  forbid —  off. 
}\jr  birthdßy   the  enriof  this  nK»ith  will  bring  me  to  a  neat  round  firgute  and  I 
feel  life  is  so  short  that  one  must  trv  to  enj<y   It  and  not  be  femced  into 


smaller  or  blgger  nlghtawws  if  one  cen  help  It»—  >tr  Qod^  If  Connie  can  seil 
a  book  —  couldn^t  I  mke  It^  too???  So  keep  yoiir  fingers  crossed^  PLEASEI 


Dear  Brucechen —  1  t  wm  knov  once  you  cfm  catch  yoixr  breath  agaln  how  you  are 
doing —  good  luck  agaln  »nd  HERDE  and  see  to  it  that  we^ll  all  be  "rieh  and 

esteemed"! 


Love^ 


53£j  "•— ^f,'- 


11 


lÖX 


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Page  Eight 


f^i[p©Riri 


Thursday,  February  1  5,  1962 


( 


'4  Horsemen'  Set 
Globally  at  Easter 

"Four  Horsemen  of  the  Apocalypse" 
will  be  the  Easter  attraction  in  key 
cities  of  Europe,  Asia  and  South 
America,  according  to  MCM  Inter- 
national, 

Now  playing  its  world  premiere 
engagement  in  Paris,  the  film  opens 
simultaneously  in  London  and  Tokyo 
early  in  March,  followed  by  opjenings 
in  April  in  virtually  every  major  city 
\tith  heavy  concentration  on  bookings 
t^roughout  South  America  and  Europe. 

Celebrity  Press  Preview 
iFor  BevHills  Barber  Shop 

I  A  "hair  Styling  for  gentlemen" 
sirvice  will  be  provided  at  a  swanky 
nJw  establishment  calied  J/B  that  will 
oaen  tomorrow  in  Beverly  Hills  at 
9T75  Santa  Monica  BIvd.  Besides  cut- 
tirk  the  locks  of  gentlemanly  patrons, 
\hi  new  tonsorial  parlor  will  include 
ex^rt  advice  from  the  artists  wielding 
thelscissors  and  ccmbs  as  to  the  man- 
ner^in  which  each  patron  should  wear 
whatever  amctint  of  hair  he  has — in 
othar  words,   ^'p^i'sonalized  Service." 

&efore  th#  public  opening,  there 
will  be  a  social  press  preview  and 
Cocktail  parqr  this  evening  attended  by 
shovi  busin^ss   celebrities. 

Sheils  &  Bruno  Expansion 

Sheils  tjt,  Bruno  Associates,  the  per- 
sonal marmgement  firm,  is  expanding 
attivities  on  both  coasts.  Move  calls 
for  refurbished  Beverly  Hills  office 
headed  by  Tom  Sheils,  while  more 
elaborate  offices  have  been  opened 
at  1  19  y/est  57th  St.,  New  York,  in 
the  same  building  where  the  former 
quarters  were  housed.  AI  Bruno  heads 
up  the   Manhattan  seTup.  ' '" 


Bruce  Andersen  to  Act 

Bruce  Andersen  has  been  set  by 
producer  joan  Harrison  to  make  his 
telefilm  debut  as  an  acter  in  "What 
Frightens  You,  Fred?"  segment  of 
"Alfred  Hitchcock  Presents."  which 
rolls  Monday  at  Revue.  The  Paul 
Kohner  Agency,  which  also  represents 
Andersen  as  a  producer,  director  and 
writer,   set  the  deal. 

Van  Doren  a  Prcsentcr— 

Mamie  Van  Doren,  currently  at  the 
Riviera  Hotel,  Las  Vegas,  will  present 
an  award  at  the  American  Cinema  Ed- 
itors' annual  Film  Editing  Awards  din- 
ner  Feb.  21   at  the  Beverly  Hills  Hotel. 

BIRTH 

It's  a  boy  for  Marge  and  Ccwer 
Champion,  born  yesterday  in  Cedars 
of  Lebanon  Hospital. 


-nmmmmrnmmmmmm 


\jifA HOTE 


■«*>9V9**n**««««i«<n«wvvT*f( 


Due  to  resurgence  of  the  market 
for  children's  records,  MCM  Records 
is  reissuing  eight  children's  albums 
this  month.  Among  the  personalities 
featured  are  Arlene  Francis,  Robert  Q. 
Lewis,  Lionel  Barrymore  and  Kate 
Smith.  Also  selected  for  special  re- 
release  to  the  children's  market  will 
be  the  sound  track  album  from  the 
MCM    film,    "tom    thumb." 

Two  recording  companies  are  re- 
p>orted  making  pitches  for  English 
musical  comedians  Denis  (j  Rogers, 
currently  at  Reno  Harrah's.  The  pair 
etched  a  successfui  LP  album,  "Denis 
&  Rogers  Arrive,"  on  the  Dyna  label 
last   year.  

Columbia  Records  tomorrow  will 
release  Carol  Connors'  Single,  "What 
Do  You  See  In  Him,"  which  she  co- 
penned  with  Steve  Barry  and  Hank 
Levine.  Latter  also  conducted-arranged 
Session. 

Cuest  emcees  for  Lawrence  Welk's 
"Spotlite"  dance  contest  at  the  Holly- 
wood Palladium  this  weekend  will  be 
Stan  Warwick  of  KLAC  tomorrow 
night  and  Bill  Stewart  of  KCIL  on  Sat- 
urday.  They  will  present  winners  with 
Dct  albums  by  Welk. 

Two  busy  record  stars,  MCM's  Con- 
nie  Francis  and  Verve's  Ella  Fitzgerald, 
have  taken  time  out  between  record- 
ing sessions,  night  club  appearances 
and  TV  to  participate  in  current  Heart 
Fund  radio  campaign.  Both  have  re- 
corded  "Heart  Circuit"  messages 
which  have  been  shipped  to  2000  disc 
Jockeys,  program  directors  and  music- 
casters  as  a  public  Service  by  American 
Heart  Assn.  in  co-cperation  with 
MCM-Verve  Records.  It  is  merely  a 
a  coincidence  that  Miss  Francis'  cur- 
rent best-seller  is  "Don't  Break  the 
Heart  That   Loves   You." 

Steve  Lawrence  and  Eydie  Corme 
wrote  the  title  song  for  their  new 
album   "Two  On  The  Aisle." 

judy  Harriet,  young  Columbia  Rec- 
ords singing  discovery,  is  currently 
appearing  at  the  Riveria  in  Las  Vegas 
with  a  new  twist  group. 
,  Paul  Werth  will  present  Freddy 
'*  Marshall,  writer-producer-host  of  the 
Nocturne  album,  "The  Party  Swings," 
in  the  "Showcase"  Spotlight  of  his 
KRHM  show  Sunday  evening  at   8. 

Jack  Bartley  has  signed  with  Indigo 
Records.  First  release,  "What  Does  a 
Dream  Mean?,"  will  be  distributed 
nationally  by  Mike  Elliot's  CIRCA 
(Consolidated  International  Record 
Co.   of  America) . 

Enoch    Light's    60-piece    orchestra 


recording  of  "Satan  Never  SIeeps," 
theme  of  Leo  McCarey's  20th-Fox 
film,  is  being  pressed  by  Command  for 
release  this  month.  Timi  Yuro  vocal, 
with  music  by  Harry  Warren  and 
words  by  Harold  Adamson  and  Leo 
McCarey,  has  just  been  issued  by 
Liberty. 

Negro  singer  Clarence  "Big"  Miller, 
Columbia  Records  star,  has  been 
signed  by  Miliard  Kaufman  and  Ron- 
ald Lubin  to  record  "Johnny's  Blues," 
Leonard  Rosenman-Lennie  Adelson 
original,  under  the  main  titles  of  "Re- 
prieve,"    Allied    Artists   film. 

Bob  Thompson  has  been  signed  to 
arrange  and  conduct  two  albums  and 
four  Singles  for  Duane  Eddy.  Albums 
will  be  produced  for  RCA  Victor  start- 
ing  Monday. 

George  Shearing  has  been  set  to 
arrange  the  Nancy  Wilson  album  for 
Capitol  Records.  Shearing  and  Miss 
Wilson  will  be  on  the  bill  with  Mort 
Sahl  at  the  Crescendo,  Feb.  28- 
March    18. 

George  Duning  today  records  his 
score  for  the  pilot  of  "Defiance 
County."  Rouse-Greene  film  short  at 
Screen  Gems.  The  chore  caused  Dun- 
ing to  delay  his  departure  for  Palm 
Springs   and   Denver   until   tomorrow. 

H'wood,  Fla.,  Honors  Welk 

Lawrence  Welk,  who  was  honored 
by  the  prociamation  of  a  "Lawrence 
Welk  Day"  here  last  July  21  when  he 
opened  at  the  Hollywood  Palladium, 
will  round  out  the  honor  with  celebra- 
tion  of  "Lawrence  Welk  Day"  in 
Hollywood,  Florida,  on  March  17.  The 
special  celebration,  announced  this 
week  by  Mayor  William  G.  Zinkil  of 
the  Florida  city,  will  climax  an  "Irish 
Week"  featuring  a  giant  parade 
throughout  the  city  dedicated  to  the 
youth  of  America. 

Scoring  'Opium  Eater' 

Composer-conductor  AI  Classer  and 
two  musical  combos  which  he  de- 
scribes  as  "unearthly  and  down-to- 
earthy"  move  into  the  Todd-AO  scor- 
ing rcom  today  to  record  the  music 
for  "Confessions  of  an  Opium  Eater," 
produced-directed  by  Albert  Zugsmith 
for  Allied  Artists. 

Linke  Staging  Pop  Concert 

Richard  O.  Linke,  manager  and  as- 
sociate  producer  of  Andy  Griffith 
Show,  has  been  signed  to  produce  a 
pcp  concert  for  International  Sound 
Fair,  being  held  in  Detroit,  July  25-29. 
The  poD  concert  will  be  on  july  27. 


NOlMf  Thru  March 


World  Famous 


VtNA  HÖRNE 

DICK  STABILE  •  HOLGER  and  DOLORES 

And  His  Orchestra 

Reservations  DU  7-7011  Ambassador  Hotel 

Cocoanvit  Grove 


'Judgment'  $40,000 
SthWeekin  N.Y. 

New  York. — Stanley  Kramer's 
"judgment  at  Nuremberg"  continues 
strong  in  its  extended  run  at  the  RKO 
Palace,  racking  up  a  practical  capacity 
$40.000  in  its  eighth  week  despite 
the  bad  weather.  The  high  seven-day 
receipts  included  an  extra  matinee  on 
Lincoln's   Birthday. 

Hollywood  Life  Names 
Board  of  Directors 

The  1962  board  of  directors  of 
Hollywood  Life  Inc.,  interdenomina- 
tional  Christian  Organization  that 
works  primarily  with  young  men  and 
women  in  the  professional  entertain- 
ment  industry,  has  been  named  as 
follows: 

Ty  Hardin,  President;  Bob  Turnbull, 
director;  Johnny  Edwin,  first  v-p; 
Johnny  Roberts,  second  v-p;  Joy  Eilers, 
third  v-p.  The  group  meets  every 
Friday  night  at  8:30  in  Hollywood 
YMCA  BIdg. 

Michaels  Quits  Air  Job 
For  Political  Campaign 

KABC  newsman  Pat  Michaels  has 
dropped  his  broadcasting-reportorial 
activities  to  devote  füll  time  to  his 
campaign  for  the  Democratic  nomina- 
tion  for  Congress  in  the  27th  District. 

16mm  'No  Man'  Trailer 

Manila. — Producers  Richard  Gold- 
stone and  john  Monks  ]r.,  whose  Gold 
Coast  Productions  is  filming  "No  Man 
is  an  Island"  here,  have  hired  a  team 
of  Filipino  cameramen  to  lense  the 
production  in  16mm  color.  Footage 
will  be  edited  to  make  a  24-minute 
trailer,  narrated  by  star  Jeffrey  Hunter, 
which  also  will  be  distributed  in  the 
U.S.  and  abroad  to  fraternities.  clubs 
and  churches. 

Silvera  fo  Legit 

Frank  Silvera,  who  portrays  a  Ta- 
hitian  nobleman  in  "Mutiny  on  the 
Bounty,"  has  been  signed  to  star  in  a 
special  production  of  Shakespeare's 
"King  Lear"  in  NY's  Central  Park 
next  August  and  September. 

Astaire  Records  Song 

Fred  Astaire,  who  co-stars  with  Kim 
Novak  and  jack  Lemmon  in  "The 
Notorious  Landlady,"  Kohlmar-Quine 
production  for  Columbia  Pictures  re- 
lease, records  the  film's  title  song  to- 
day for  his  Choreo  Record  label.  Song 
was  written  by  Mack  David  and| 
Sammy    Fain. 

Darin  'King  of  Hearts' 

For  the  third  successive  year,  actor-( 
singer  Bobby  Darin  has  been  named 
"King  of  Hearts"  for  the  annual  Heart 
Fund  appeal  conducted  by  American 
Heart  Assn.  and  its  affiliates.  Darin 
will  make  personal  appearances 
throughout  the  year  in  behalf  of  the 
Association. 

Michelef  Tunes  'Sindbad' 

Michel  Michelet,  internationally 
kncwn  composer,  has  been  set  to  com- 
pose  and  conduct  the  score  for  "Cap- 
tain  Sindbad,"  King  Bros,  production 
for  MGM,   now   shooting   in   Munich. 


COMMENCINC 
WEDNESDAY.  MARCH  7 


MILTON    BERLE 


We  will  supply,  fully  deferred,  com- 
plete  Studios,  equipment,  crew,  and 
füll  laboratory  facilities  to  producer 
or  agency  with  strong  script-direc- 
tor-talent  package. 

Box   13,  Hollywood  Reporter 


INTERNATIONAL 
BROADCASTING  AWARD 

Ist  PLACE  WINNER 


THE  WORLD'S  BEST 
INTERNATIONAL  TELEVISION  PROGRAM 

PROMOTIONAL 


GRaFica  1 

PRODUCTIONS 

1000  CAHUENCA  BOULEVARD 
H'WOOD  38,  CALIF.    •    HO.  6-5261 


for 


NBC 


•  •  • 


A  Special  Thanks  To: 


EDWARD  D.  ROPOLO 


STANLEY  CANTER 


NORTHROP  KETCHUM 


ARTHUR  SCHNEIDER 


LB.A. 

WINNER-RADIO  60  SECONDS 

WINNER-RADIO  SWEEPSTAKES 


SPOTMAKERS 

HOLLYWOOD 

DAL  WILLIAMS  —  CHUCK  STUART 

CO-ORIGINATORS 
CO-WRITERS 
CO-PRODUCERS 
CO-VOICERS 


•    •    • 


"MAN  WITH  SEVEN  WFVES " 

RADIO  SPOT 


PRODUCED  FOR 


SO.  CALIF. 
RAMBLER  DEALERS 

Agency:  Anderson-McConnell 


HOLLYWOOD  ADVERTISING  CLUB 
INTERNATIONAL  BROADCAST  AWARDS 


^Eutgjhföed  3e  AT 


1 36 6-^  hS,^f-fiiHL€ 


Ho 


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^umcb  ^^  <^///=-, 


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HOLLYWOOD 

BRUCE  ANDERSEN 
R.   EDWARD  BROWN 

LONDON 
JACQUES  CHARPIN 


1920  SO.    LA  CiENEGA  BOULEVARD 

LOS  ANGELES  34,  CALIFORNIA 

UPTON  0-2135 

29  COVINGTON  SQUARE 

LONDON  S.W. 3 

KNIGHTSBRIDGE  0076 


22  May  1961 

Dear  Ruthchen, 

Sorry  you  can't  be  with  us  on  "evening  with  H^^RBi^RT 
MA.RSHALL"  but  I  certainly  understand.   We  did  the 
pilot  at  Paramount  last  week,   Bette  Davis  was  our 
guest  and  she  was  a  dream*   She  reiaembers  the  Lilli 
Palmer  show  very  well  and  says  it  was  the  best  thing 
of  it's  kind  ever  done.   vVe  may  be  in  ITew  York  within 
a  few  weeks.   I'd  love  to  see  you  and  also  see  my  child- 
ren  as  I'  have  a  terrible  time  with  Connie  about  news  of 
bhem.  Success  certainly  hasn* t  improved  her  any« 
I'm  delighted  about  your  plan  to  \ivrite  and  also  that 
you  are  going  to  Europe  for  a  month. 

Jean  Babilee's  address  is  -  26,  rue  3t.  Benoit ,  Paris  6. 
Another  friend  of  mine  who  you  ^ould  enjoy  is  Jean-Robert 
Boissier  des  Combes  -  25  rue  St.  Augustin^  Paris  2.  He 
is  a  Bourbon  and  one  of  the  pret enders  to  the  throne  and 
very  amusing.   If  you  like,  I  will  let  him  know  you're 
Coming.   Also,  if  you  go  co  London,  please  call  Jac  lues 
Charpin.   His  number  is  listed  on  ütie  letterhead. 
I  live  exactly  1%   miles  up  from  Hollywood  Blvd. 
If  you  don't  see  me  in  New  York  before  you  ß;o  have  a 
wonderf ul  t  ime • 


Love , 


PS:   I'm  not  sure  about  Babilee's  divorce  but  I  do  know 
he  lives  alone ,  has  a  girl-child  by  Natalie  whom  he  rarely 
sees  and  he  is  trying  to  become  an  actor.   He  has  made 
two  films. 


Bruce  Andersen 

fflflOflS  PftODOClOS,  LID. 

1920  SO.  LA  CIENEGA  BOULEVARD 
LOS  ANGELES  34.  CALIFORNIA 


..V. 


VIA      AIR     MAIL 

Miss  Ruth  ivlarton 
2Z|A  "^-^^t    SSth  -^treet 
New  York  22^    New  York 


Deur  EixcrdÖiein 


Hqr  5y  X96X 


l^jf  thftrits  for  your  tw>  IctttsMi — fi«rgi\^  wm  1*Ät  I  dld  not  txiswer  the  first 

one  a6  i  hiiui  pXcUiTMt  to — ü;€0  ud  be.«2ii  t.  vtiy  goo^ykLi-  for  ;  ^^  but  v^ith 

ttOii^^  aad  all  I  cx^akij.  do  vas  tiy  to  kf:/cp  üjr  lusaid  ««iove  w».ler»     Villi  tho 
enor^iX^iUi  aujmit  of  coia^tspondeace  I  lu.vc  for  Bjr  vork  the  typcvritcr  tdcaatd 
sol:*^  ;>ürt  of  a  iJLeiUU..  rc  ?jQd.  I  ^l.;^J|y  uCfii^t  vaat  to  .>;^e   It   Ter  private  corrcapoiid 
eac^  4iltiioxig;h  I  i'o  knov  thls  1^  v,Ta»ig»     All  thls  ly  vay  of  an  cxplaiuticn» 

I  vut.  30  pitta«€td.  t*::iat  yo\xv  l^uropt./>i4ji  trip  vä»  so  succ^s^siftiL  öixd  tiiat  you  did 
get  to  i^ee  your  Idol  Jmüql  CoctööUt  Ji»an  ^ferala^^  too,  smc,  of  coisrs.  t  Joan 
Babilie»     I  wus  ple^iaisd  to  hear  tuttt  he  rc^?)fmbe<rö  re — thmiks  for  the  graetlnge. 
Iiicid<iat€».liy ,  sliQulu  you  hL.v^  his  «ddr^ost  I^d  appreclate  veiy  mich  if  you^ll 
let  tie  li£..Vfc  it —  I  have  ooe  at  53  Ave*  llootai^ie^  Paris  8e^  but  donH  kuow 
vhether  it^a  correct*     Vhi^  I  aaa  his  aoxr    in  th<r  Smidi^   -ipjs^&ß  I  rX\^s  llke 
to  i^^äu^U  hii.'!  Ui«-  cUpplrig.     la  It  trut?  tJi«Lt  he  ts  (Uvorced^ 


Mb  to  Coiui1g.*3  bock — noy  I  hc  .     i^t  Bmtaa.  It.     Aiv*  I  didn*t   rec^rlv^  nn  ruto- 
gropliod  cojy  iiiti..:X»     v'x>  you  ^v —  Ihiu  i?.cJtes  tvo  of  U3-     Shv  ciidn^t   e^md  im  a 
Cliriötia&uö  oara  eii.Iu-.''  (I  dld)^  biit  I  viU  aüdinit  I  rirv^^r  c^iIIjpc  hs'T  after  ehe 
had  oallöd  cia  clx^t  oact  •     Tliis  Iss  vx-ci>g  of  tjc-— -Oitav  shouic'  iucouv  ;_,»    it  if  aoa»— 
UiAc.  vi3ht«;i  lo     -  v^    M};.  /ictt>*     But  .  H  thia  fiii  into  tlz<^  cate^oxy  of  th^  r^bov^f  too, 

JU4U  iiov  Ixj  ^oux*  Ic  oUi  Ol  /l|>iil  r^Ttlx«     I  UM  vMy  touchti  md  pl^^st^c^  th»t  you 
wtüfuld  UktÄ  ^»i  to  v^atrk.  oa  yam  nw  ahaw  wi'h  K»  rbcrt  MbrahrüLi — is»JD|r  wuv  thankCi 
dijar*  Brtac';ch^.ii.     But,  alr  0,  I  r^ori*!:  bv  iif vf    thia  viJLl  bti   po3Sibi#i-*     I  ob  too 
tiöcl  vip  wltii  U^e  voi^ic  I  ciiii  doijig  nu^>  i»iid  h^ve  bccn  doJng  for  6  years,  aad  I 
doa^u   LLiük  1  vrnit  t«i>  li&c^v*,  Uf  ^t  tUis  pol;3t.     I  woiiLcl  lovw   to  work  wiUi  you 
ab^in,  eiid  I  sly;ll  ogXI  yowit  s^irlctJly  br.t>ii»^o  us,  that  I  hevenH  glvttii  up  hope^ 
to  get  ouc  froi..  vJiat  I  vi,   joix^^  acf^  C;luiA>u£:h^  iuai  job»  go^  it^s  bett^r  tixaiA  tüciy— 
taixig  I  kiiow  of  ulU^Oiitih  the  i::o»ri..y  is  Xo-uqy)  mxd  bo  able  to  VFvITE  ©or^ie  dry»     I 
pliin  an  goiiig   Lo  l.>aropw  og  Juiy  illh,  04:k  .v>   Charter  flieht,  and  retum  to  ISC  on 
Aii^ut>L  lUtli»     ITiu        hl  reasoßi  for  thia  trip  1ü  to  do  a  C4*rtÄlri  rasaarch  in  Lon- 
don in  ox\Wr  to  find  out  i^hntht^x  thore  is  cüough  Kiatt^ial  for  a  noa-f iction  book 
I  ^.i  'dih-uihi::,  of*     It^s  oiL^y  a  prelii'dnöiy  rMkwarch  and  I  vould  hav€?  to  göt  a 
graiit  to  bo  abl»  to  vrlttj  it —  but  It  Is  posslble  that  I  will  havö  e^iui^h  guts 
again  to  fre^  lance  coiriplÄte^y — so  vho  know'a«»~p<frhaps  at  öorae  lat<a:  dato  or 
für  aiiother  shofw — vho  knautip  Bruce cl^^^xl     But  ©t  the^  rcocient  I  löust  tm  stick  to 
what  I  la.  dolng»».     liicidoKitaUly,  I  have  bei-n  wonderiiig — how  can  you  tapa 
26  ur  39  shovö  in  1  Biwith,  I  me^ap  the  tapiiig  vould  bv.  aa^,  but  vhfiii  vould 
thfcBtr  öhovö  ba  writttin  («nd  vho  wouldt)  — I  raHÄcbar  the  madnasB  of  i-.iili'ß 
f  iliiiöd  bhova —  26  in  ':  üx^ith« — I  dld  thr^  reöearch  *n  16   (but,  of  cours*-,  had  to 
he  pradant  durin^  ftliiilng  atc»),  vrotr  sori«;,  etc%,  and  It  ves  stxaer       clnesa* 
Do  lat  ine  know  hov  yo\ir  plimn  n>ro  vorklut'  out# 


Bructsdifdi— —  I  vondar  vh^r^  your  housc    I0 —  Renec-  vkof^f^  to  live  on  hookout  i 4;>uatain 
vhilt;  slie  WÄö  Ban^led  to  Ec?r^l^-  Kjngalfy —  I  3pfr.*it  no  mich  ttr;>^  up  therel 


i»  «:• 


It^LaFÄln»  ^^0m  vou  c^nl 


n 


0/  L 


HOLLYWOOD 

BRUCE  ANDERSEN 
R.   EDWARD  BROWN 

LONDON 


JACQUES  CHARPIN 


1920  SO.   LA  CIENEGA  BOULEVARD 

LOS  ANGELES  34,  CALIFORNIA 

UPTON  0-2135 

29  COVINGTON  SQUARE 

LONDON  S.W. 3 

KNIGHTSBRIDGE  0076 


27  April  1961 
Dear  riuthchen, 

I  have  been  t hinging  about  you.  Much  has 
happened  -  i^eggy  ivicGraw  got  sick  again,  l've  formed 
a  new  Company  (see  above),  just  got  accepted  by  the 
Screen  Director's  Guild,  am  negotiating  with  fche  net- 
work  now  on  La  Surete  Nationale  and  have  created  a  new 
Lili  Palmer-type  show  called  E^/ENING  ;7ITH  HEHB  .i^T 
MA.RSHALL,   It  is  based  loosxly  on  our  old  format  but 
will  be  a  half-hour  on  tape  and  will  have  some  very 
exciting  and  interesting  guests.  We  hope  to  do  the 
pilot  very  shortly  and  have  many  advertisers  interested. 
If  this  comes  to  pass,  Hubhöhen,  is  it  possible  that 
you  might  be  free  to  come  out  and  work  with  us?  The 
first  26  or  59  would  take  less  than  a  month  to  tape. 
It  would  be  wonderful  to  work  with  you  again.   I  would 
want  you  to  work  with  the  guests,  do  research,  etc.. 
Of  course  the  money  would  be  good  and  you  would  get  all 
bhe  credit  you  deserve.   I  won't  know  much  more^  that  is 
dafinate  for  a  week  or  so  but  I  wanted  to  sound  you  out 
and  give  you  time  to  think  about  it.  Please  let  me 
know. 

Perhaps  you  have  seen  Connie's  book,  I  LOVE 
YOU  HONEY  BUT  THE  SEASON'S  OVER.   She  sent  everyone 
an  autographed  copy  but  l\»iEl 

I  have  moved  up  into  tue  hüls  and  as  I  spend 

a  iot  of  time  working  there,  please  write  me  at  tuat 

address;  8661  Lookoufc  ..iountain  Ave. 

Hollywood  46,  Calif .        Tele.   OLdfield  6-00?^ 

Did  I  teil  you  I  saw  a  great  deal  of  Jean 
Babilee  in  Paris?  He  sent  you  his  best.   I  also  met 
Jean  Marais  and  Cocteau. 

V7rite  soon Love, 


Bruce   iUidersen 


«■ 


:,  LID. 


1920  SO.  LA  CIENEGA  BOULEVARD 
LOS  ANGELES  34.  CALIFORNIA 


o  G 

V-^    26  APft    ^ 


l96\ 


VIA    AiH    Mail" 

"Iss  Huth  Marton 
24^  East  55th  Street 
New  York  22,  New  York 


CHANTICLEER   PRODUCTIONS 

1345    NO.  HAYWORTH    AVE.,  HOLLYWOOD    46,   CALIF..   OLDFIELD    4-8043 
LONDON",   S.  W.   3.   184    WALTON    STREET    -    KNIGHTSBRIDGE    0076 

PARIS.  SUFFREN    14.73 


15  Pebruary  1961 


Cher«  Ruthch^a: 


Porglv#  ma,  dear  for  taklng  ao  J-ong  to  write«   I'va 

baan  on  a  marry-go -round  avar  slnca  I  spoka  to  you 

In  Naw  York«   My  Europaan  trlp  was  a  graat  succasa# 

I  lovad  It«   Thay  lovad  ma  and  I  was  abla  to  tla-up 

tha  axcluslva  rights  to  La  Surata  NatloMala*   It  was 

quita  a  coup  as  thay  had  tunnad  down  Hltchcock  and 

Clouzat«  Wa  ara  In  mldst  af  nagotlatlons  now  and 

things  look  most  promislng«   If  all  gaaa  wall  wa  will 

ba  praducing  an  hovir  show  aach  waak  on  tha  subjact  • 

in  Franca,  on  locatlon»   1  axpact  to  ba  In  Naw  York 

shortly  and  than  wa'll  sit  down  Just  lika  old  timas» 

Connla  knows  nothing  of  what  I*m  doing  and  for  tha 

tima  baing  it  is  hast  sha  doasn*t«   1*11  axplain  whan 

I  saa  you« 

I  didn*t  hava  tima  to  contact  our  mutial  friands  in 

Paris«   Tha  only  ona  I  saw  was  Jaan  Babilaa«   Ha  ramambars 

you  wall  and  sant  you  his  lova«  Ha  is  doing  fairly 

wall  as  an  actar«   I  also  mat  Jaan  Marias  (?)  and 

Franc ious  Rosay« 

Hopa  all  is  wall  with  you,  daar  Ruthchan«   Hopa  to 

saa  you  soon«  Plaasa  drop  ma  a  nota  if  you  hava  tha 


tima; 


Loya  always. 


lÜUULi^^ 


a 


Bruc«  And«rs*ji 


CHANTIDLEER    PRODUCTIDNS 

13*5   NORTH   HAYWORTH  AVENUE 
LOS  ANGELES  <46,  CALIFORNIA 


VIA     AIR     MAIL 

Miss  Ruth  Mar ton 
244  East  55tk  Street 
New  Yerk  22,   New  York 


CHANTICLEER   PRDDUCTIDNS 

1345      NORTH      HAYWORTH     AVE.       LOS     ANGELES     46,     CALIF.        •        TELEPHONE     OLDFIELD    4-6494 


8  October  19  60 


Dear  Ruthchen, 

Thank  you  for  your  wise  letter.  ^orvy   I  haven^t 
written  sooner  but  m^  partner  has  been  in 
the  hospital  since  the  first  of  September* 
I  päan  on  arrivlng  In  New  York  on  the  15th 
of  October.   1^11  be  t?iere  until  the  evening 
of  the  19th  when  I  will  let  to  London,  Paris 
and  Saltzberg. 

I  will  call  you  next  Saturday,  Things  in 
^eneral  are  going  well.  I*]]  fill  you  in 
when  I  see  you. 

Glad  Connle  has  docided  to  re-jcin  the  human 
race.   She  called  ;ne  not  long  ago  and  asked 
me  to  forgive  her  for  all  the  bad  things 
5?he'd  done  in  tlie  past.   I  told  ^her  not  to 


v;orry# 

See  yor.  next  week 


Love, 


Bruce  Andersen 

CHANTICLEER  PRDDUCTIDNS 

13  4-5    NORTH    HAYWORTH  AVENUE 
LOS  ANGELES  46,  CALIFORNIA 


^ 


VIA      AIR      MAIL 


Klss  Ruth  Her ton 
244  Säst  55th  Street 
¥.en   York  22,  New  York 


't 


•  if«  •>*«^ 


844  ^£;t  515,   t.YC  ?. 
October  5,  1960 


n 


tfy  deer  Brucechen — 

Juyt  a  quick  line  to  teil  you  that  Coüt-Ic   called  ne  todfiy,   to  njr 
great  surprlö^-»     She  apparentJy  was  fully  avare  of  her  behavior 
towarciö  nie  eivJ  anxious  to  express  her  undiminlöhed  fcixdn^;:;^.  rnd 
interest  in  lae»     She  vas  reoUy  veiy  nice  and  told  me  that  you  and 
ehe  are  friendö  fitJ^*iß  ^^^  thft  you  were  on  your  V£y  to  l^öf  ♦ 

She  aeke'i  ne  vhether  I  vra^   in  touch  vith  you  and  I  said  that  I 
had  Seen  you  veiy  briefly  during  iry  veiy  brief  stay  in  HolJyvood 
last  suüinerj   ahe  veiy  vTrnly  inquired  whether  you  hrd  been  in  good 
ßhapo  and  I  tjaid  yes» 

She  told  iiit?  of  her  new  inarriage  and  wants  me  to  come  over  and  meet 
her  husband»  I  have  the  Impr^s^ion  that  ahc  voulci  likc  Lo  tck'  up 
her  forser  friendships  again. 

Although  I  didn't  ^sxactly  say  so  I  made  It  dear  to  her  tliat  you  and 
I  haa  not  citcui^red  your  lu-^rriage  or  her  or  aiythii:g|   Juni  spokeu 
about  things  in  generale 

I  ajD  glad  &he  fin&lJy  inade  the  gestxire  because,  as  you  kijov,  I  dis- 
liked  that  peculiar  si+uation  I  foiuic  nyself  in^  veiy  niuch^     It  will 
btr  bci^t  if  I  keep  you  and  her  sort  of  "separate"  so  that  there  won't 
be  no  tattle-Lalcs  going  back  mu:'.  forth,  which  nt^vor  ci;coir]pl:t:heß  aiy- 
thing  and  oiLly  hurts  eveiyboc^  involved»     I  knov  that  you  agree« 

But  I  did  v<iut  to  let  you  know  that  I  had  laadt  no  secret  of  our 
mcetiiiii  lahft  surimerj   of  cource^  whenev;?r  you'il  grt  to  xJI  I  expect 
you  to  call  right  awayl 

How  are  thingt;  vith  you^  Irucechen,  what  became  of  the  stoiy  you  vere 

wurking  on  at  the   tiine —  and  how  art    things  L:.  gencral? 


I  am  veiy  much  involved  vith  work^  a:^  clviyf,  in  the  fs:!!^  have  a  Ict 
of  unplea«ant  situt.tions  vith  some  of  njy  publishers^  but  aside  from 
thatf  1ji  ujr  pt;rsvonal  life^  I  hr.ve  been  happier  than  et  ary  tline  during 
the  jiast  10  years».*     I  only  pray  that  this  vill  stf-y  that  way# 

Take  c^re,  Drucechen^  and  let  me  hear  from  you»     It  vac  good  to  see 
you  look  LO  vell  in  HoUyvood  rnd   I  :xr..  kfc-jpinfc.  r^y  fiAi^tr:;  crossed  for 
a  breeüc  for  you»     Good  luck —  iq«»»U 

Love» 


Februaiy  9,  1960 


Deöx  Bmicocheaa- 


I  '^^rould  hnve  answered  yon  im'^nediatejjr,  but  I  om  terrib]y  behlnd  with  ny  work 
as  I  have  spcnt  th?«  first-^veeks  of  1960  vith  a  virus  and  subsequent  fiirigtiö  iniec- 
tion  (from  the  «-inti-biotics) —  but  I  am  bettor  nov  altbough  still  not  caught  up 
vith  TY  vork  and  here  the  Fischers  ore  looming  on  the  horlzon  for  their  annual 
Visit  to  thic  coui:itiy  • » •     So  1*11  try  to  rnake  ifr  brief  Just  so  that  you  nave  wordi 

I  did  not  knov  that  you  arc  divorced«     I  have  caJJLed  Connie  in  various  intervals 
to  shov  her  ity  fricr.d]^  feeliiigs  cnd  to  pssure  her  that  rry  friendship  was  for 
both  you  and  her|   chv  has  ncver  retumed  a  Single  phone  call  nor  called  me  on  her 
o^rvirn     I  had  a  gift  for  her  for  Cbristiaa.^  becpiise  I  expected  to  hear  from  her  then 
and  bfc  asked  at  Irr^r.t  to  stop  byj  I  rf:cclvix^  not  evrn  a  caxd  from  her>  let  alone 
e  phonr.  call.     (I  spcnt  Cbrit;trc^i.  Eve  at  Renee^s-~  after  not  accepting  her  dinner 
invitation  urtll  thr   Irrt  notncnt —  cnd  gavc  h(*r  "f-ho  book  I  had  intended  for  Connie) 
I  had  bccn  undrr  tXv.  irprf5;r;.  Ion  tUat  Corni!=*  p?r»vmod  n  Hlvorce  at  eoine  tine^  but 
slnce  wo  rpoko  r>o  br5cf2y  th^  ft.v  tirw>s  I  "craight'^  her  v*.rn  she  was  not  in  her 
bath  or  on  the  \7ry  out  or  sor.otJiing^  I  hcd  no  idea  what  had  coB'e  of  ai^y  of  her 
plc.nc#     I  die  not  even  Irp^ov  she  hnd  finished  her  book   ( rtiincunbered  onJy  vagualy 
thg,t  sh(?  wac  ^.Tlting  onc)  tmtil  I  spw  it  annonnccKl  in  the  cat.alog  which  all  the 
putli;:^her3  s^-^nd  ix?  .•»iitoineticaU^» 

It  iz  vond<>rful  tha*?'  ycu  h^vn  heen  liicly  mid  ere  wr-^ting  for  TV —  I  ain  sure  you 
will  coirk    out   on  topi,  you  to^.>w  tha.t  I  hrv»  alwrys  root<K^  for  you.     Perhaps  all 
thr.  rdneiy  of  tlio  prtst  ye:?r  vwife  necessejqr  for  your  d f»vf ^lopu^jit,  you  know  that  I 
de  not  beU,eve  in  the  tdrn  thrtt  ono  oiight  to  avold  b«^inp  hurt,  llke  the  plague. •• 
NobocV  in  thr  world  has  yot  [Tov.ti  up  without  being  hixrt.  and  being  hurt  daran  decpljr« 
And  it  seeixiiö  to  be  a  law  of  lifo  that  thr^  wor3t  kicks  coTne  at  the  worst  tiioe. 

I  am  sl^xl  you  z^^7  Lilll  rjnd  tl^at  she  ri<>e"JS  to  have  soften^'^d.     I  wrote  her  a  J.etter 
whcn  I  leemnd  her  inother  had  pasaed  av^  and  she  an;Twer€Ki  ty  retum  inail  (from 
abroad)}  r/  vary   tcnchiiig  ?,.K.U>r»     öh:^  nxpr^^nsed  the  wlsh  to  8ee  me  on  her  way 
throUfjh  W   in  spr:?.uf: — wcU,   IT  i\h&  should  op.lj.  I^ll  bc  glad  to  see  her»  nuw  chat 
zy  lifc    is  3ort  of  irst.c.bliöJicd  cnd^  in  Its  own  fieldj^  as  successt^al  as  it  can  ever 
be»     I  vj^p  and  have  boen^  for  the  last  year  or  two^  on  tne  top  of  iiy  profession« 
(Even  though  I'll  nr/'?r  bt?  rich«i  wlth  th*?  werk  I  am  dolngj) 


Vork  han  b^=  n  golnf^  xlong  pi5>fts')nt^r^  and  it  still  is  the  best  Job  I  laiow  of  for 
xcn  as  Jobs  gOn     But  I  coiTietl^T^s  get  discourpged  because.<^  as  you  know^  this  is  not 
what  I  «vant  in  lifn  rcnd  I  vonder  whother  I'U  ever  get>  one  way  or  anothert  what 
I  wish  for»     V(;ll,  we  aliall  see»     I  hope  to  be  abl'?   to  go  to  Eiu^ope  thxs  sunner 
for  a  brief  trip^  most^y  vacation  (<^^iii  invitfnl^  es  usual)  and  soroe  work«     And  njr 
Beloved  is  fvtill,  i#e#  cigr^tn,  nrouiid  and   that  riaker»  m^  V'»iy  hapry, 

Do  you  know  where  I  lived  for  3  out  of  the  lü  y^^ars  of  jy  HoUywood  life?  At 

1345  Kortix  HAjy?ER|     I  knovr  tJie  houre  where  yoxx  live  veiy  well^  had  severe!.  fri<mds 

st^  thora  at  one  tiire  or  !rncther# 

Lc;t  m  heox  frorn  you  e.^ain^  3ruce^  altJioiigh  I  \r?xn  yoti —  I  em  a  bad  correspondent 
^ixd  it  might  take  soice  tlne  until  IMl  rniswer.     But  I  shouDf'  like  to  koep  in 
touch^   since  ^.pp'jirnnt^r  you  do^  too»     And  I  do  sgy  MERDF.  with  the  French,  rjeaning 
gccd  lv.ck|.  9r>  you  knowl 


üove 


Jan.  23,  1960 


Ly  iear  Ruth: 

It  was  goo*  gettixiß  the  few  llnes  on  your  Christiaas  carA«   I 
thiiak  of  yoa  so  olten  and  long  to  see  you.  Hope  all  is  well« 
üai  lunch  wlth  Lill  at  Paramoant  some  time  a£0#  She  looks  railent 
ani  seems  to  hate  softene*  wlth  her  new  husbani»  She  I3  very 
big  again  wlth  a  wonierful  new  Qontraet« 

This  last  year  hes  been  brutal  for  me   bat  I'äi  slowly  cliÄblng 
out  ot   the  üiire«  I'm  sapportlng  myself  by  writing  for  TV  filas 
ani  I"v«  been  very  luaky«  I*ve  worieei  for  kCA-ReTu«,  Warners, 
Viscount,  Loretta  Young  ani  right  now  l^m  lioing  a  RAWHIDE  out 
at  kQh.     It  took  me  three  months  to  get  starte*  an*  the  iivorce 
Connie  pulle*  on  me  at  the  worst  posslble  tiae  was  a  kick  in  the 
guts» 

Please  ion't  teil  her  you'Ye  heari  from  me   as  she  is  going  through 
a  phase  where  she  misrepresents  everything  an*  she  thinks  I'iu  a 
sort  of  Incarnate  Dorian  ür^y  anyvvay# 

I*ve  ma*e  lots  of  won*erfal  frien*3  out  here,  though  they  «an  ne'^^r 
replace  the  ones  in  IJew  York»   I  miss  l^ew  York  an*  of  dours«  the 
ahilaren  unbearably^  bat  Connie  Isn't  going  to  let  anything  or 
anyboiy  stau*  in  here  way  to  glory* 
Please  let  me  hear  from  you,  Ruth» 

Mueh  leire, 


/  Ll^X^ 


VIA 


/ 


A   I  L 


Lh!VIUL  : 


Mbs  Ruth  lil&rtaüa 
£44  Eaat  55th  Street 
I\iew  yoxic,   h&N  York 


L 


A 


I 


J^i 


■^  *■ 


£.H.  Äii«[ers«A 
1345  No.   Hayworth 
Hollywood  46,    Calif. 


7! 


•»* 


y 


V    *  »  ^^t« 


BRUCE 


Per  sonolity  t 


Nattiret 


Aial  in  nature,   intellectiiÄl^clever^nervous, restlose 
charmincworri  erful  Imagination,  contradictoiy,lives 

in  the  mind^thotigh  he  rather  picke  the  scbobcnf  brain» 
and  kncr/ledge  of  others  than  study  themselveSt 
aiould  be  quick  and  active  in  movement,  handsome, 
thin,  upright,long  features# 

Veiy  emotional,  sensitive,  roinanlic,vivid  liaaginatlon, 
tenacious.     Qravm  to  Sensation«  maybe  prejudiced» 

love  fo    occult,  nysticiaa,  antique  and  curious« 
Sensitive  about  their  faralllee  and  friends«  Veiy  good 
meoioxy*  Can  recall  exact  detail  of  inciderits  fron  years 
ago%     Sooncmic  in  snall  things«  But  spending  big  stons 

umfisely  oftan»       Shy  ab  bottom#  Desires  idealistic  rathe 
thanpassionate«      Musical! 

llBLtty,  excellent  Speaker,  should  have  wonderful  v  ice» 

^ere  seems  to  be  some  black  xnaglc  in  the  home  life?# 

At  times  he  suf  ers  frxDm  mental  confusion,  about  vocati  n« 

At  some  tlme,  if  it  not  h-^ppened  alreicly  »sone  drastic  cimnge  in 
his  home  llfe» 

Opprersed  by  recpcnsibilitißS  of  mother?  home,  Jove?     but  m^^'he 
thic  iß  only  in  fecling  and  not  qulte  oonscioust 

At  tlmes  unpredictable  in  action« 

will  always  have  sudden  gains,  journ^ys,  peculiar  but  happy 
love  episorle?«     Also  sudden  losses,  financiaUy»     Very  eccentric 
ireligious  vio'7S# 

Quite  a  femine  firtreak»     Honest,  serious  and  power  of  endurance 

Ifoney  thru  marrlage,  legacies« 

quarrnls  elther  with  maabers  of  his  f  auily  or  thiu  letters  ad 
writing« 

Coming  eventß# 
At  present:  Oct»  ITov#  should  not  inakß  any  changes« 

ühtil  beginning  ov  Nov#  rnuch  strers  and  strain,  the  mind  feeling 
vrarped  .^d  cranped.»  .aracicus  period,  especially  sinco  it  also  in* 
croases  arabltion»     Things  tend  to  go  to*  ng».. 

J^uaiy:   social  rise,  firancial  gain,  success« 
F^bx     trou':le  thru  female» 

Bat  noxt  year  up.ard  svdng« 


\ 


( 


t^  i 


At  Douhleday ,Jhe  New  Boss  's  Ideas  Start  to  Take  Hold 

•        Bv  EDWIN  McDOWELl 


iHg7 

ELL 

From  the  moment  Nancy  Evans 
was  named  President  and  publisher 
of  the  Doubleday  Publishing  Division 
^lasl  January,  her  appointment  was 
the  talk  of  the  book  industry.  It  still  is. 
But  now  there  is  less  talk  about  the 
wisdom  of  appointing  someone  with 
no  book-publishing  experience  to  one 
of  the  top  Jobs  in  the  industry,  and 
more  about  whether  Ms.  Evans  can 
help  Doubleday  again  become  com- 
petitive  with  such  concerns  as  Ran- 
dom House  and  Simon  &  Schuster. 
-  That  would  be  a  challenge  under 
any  circumstances,  since  Random 
House  and  Simon  &  Shuster  are  the 
major  players  in  the  field,  dominat- 
ing  the  best-seller  lists  year  after 
year,  but  it  is  especially  daunting  in 
View  of  Doubleday's  troubled  past.  In 
recent  years  its  managerial  ranks 
were  ^vracked  by  turmoil  and  its  edi- 
torial  ranks  depleted  by  the  loss  of  a 
half-dozen  iongtime  editors,  some  of 
whom  were  followed  out  the  door  by 
their  writers. 

"It  was  like  working  for  a  new  Com- 
pany every  six  monlhs,"  lamented 
one  editor  who  lef t  for  a  high  editorial 
Position  at  another  house. 

What  the  Agents  Say 

But  last  fall,  the  Bertelsmann  Pub- 
lishing Group  of  West  Germany 
bought  the  family-owned  Doubleday. 
Since  then,  in  the  opinion  of  people 
familiär  with  the  industry,  Bertels- 
mann, which  also  owns  Bantam 
Books,  has  brought  to  the  Company 
not  just  an  Infusion  of  money  but  also 
much  of  the  energy,  direction  and 
commitment  that  it  lacked  under  its 
previous  owner. 

Bertelsmann  quickly  put  its  own 
stamp  on  Doubleday  by  naming  Al- 
berto Vitale,  then  the  head  of  Bantam 


^llEXJiAx.    ri^-vth^ 


Nancy  Evans 


Books,  as  Chief  executive  of  the  newly 
formed  Bantam,  Doubleday,  Dell 
Publishing  Group.  He  in  turn  startled 
the  industry  by  reaching  outside  its 
close-knit  ranks  for  Ms.  Evans,  the 
editor  in  Chief  of  the  Book-of-the- 
Month  Club. 

"My  feeling  is  you  need  new  blood 
in  this  industry  to  foster  Innovation 
and  to  keep  us  fresh  and  competi- 
tive,"  Mr.  Vitale  said  recently. 
"Nancy  brings  both  those  qualities, 
as  well  as  boundless  energy." 

Ms.  Evans  will  need  those  qualities 
and  more  if  Doubleday  is  to  become 
an  industry  leader  again.  Although  it 
is  still  too  soon  to  judge  her  Perform- 
ance, it  appears  that  after  half  a  year 


she  has  made  a  good  Start  with  many 
people  whose  support  is  essential  to 
Publishing  success,  among  them  liter- 
ary  agents,  who  represent  most  big- 
name  authors  and  most  potential 
blockbuster  books. 

One  agent  who  is  impressed  by  the 
change  at  Doubleda>\Conrpfi-^laus- 
--.eüJhad  not  offered  mariyTooks  toThe 
publisher  in  recent  years.  "Every- 
thing  there  just  took  too  long  —  insult- 
ingly  long,"  she  said.  "But  Nancy 
made  it  clear  to  me  that  those  days 
are  gone.  And  now  that  1  see  some  of 
the  new  energy  and  enthusiasm,  I 
can't  wait  to  work  with  Doubleday 
again." 

Jonathan  Matson,  an  agent  who  re- 
cently completed  a  three-book  hard- 
cover-paperback  contract  with  Dou- 
bleday and  Bantam,  is  also  im- 
pressed with  the  change.  "It's  like  a 
fog  has  lifted  at  Doubleday,"  he  said. 
"Under  Nancy  Evans,  we  aren't 
going  to  be  tripping  over  endless  de- 
tails  and  be  plagued  by  poor  Com- 
munications." 

Her  Experience  in  Books 

While  Ms.  Evans  had  not  been  a 
publisher  before  this  year,  she  has 
been  involved  with  books  throughout 
her  professional  career.  Before  the 
Book-of-the-Month  Club,  she  was 
Glamour  magazine's  book  t:olumnist 
for  seven  years  and  for  four  more 
years  was  responsible  for  the  maga- 
zine's book  serializations.  She  was 
also  a  co-host,  with  John  Leonard  and 
later  with  Walter  Clemons.  of  "First 
Edition,"  the  Book-of-the-Month 
Club's  literary  and  book  program  on 
public  television.  And  she  is  co-author 
with  Judith  Applebaum  of  "How  to 
Get  Happily  Published,"  a  knowing 
book  about  the  industry  of  which  she 
is  now  an  important  part. 


Ms.  Evans's  task  is  not  to  sign  up 
authors  but  to  encourage  and  stimu- 
late  her  editors  to  do  so.  They  have 
acquired  some  promising  books  and 
authors  lately,  including  Han  Suyin, 
author  of  "A  Many  Splendoured 
Thing,"  and  Carly  Simon,  who  is  writ- 
ing  an  autobiography.  They  have  also 
extended  the  contract  of  Paul  Erd- 
man,  the  author  of  such  best  sellers 
as  "The  Billion  Dollar  Sure  Thing" 
and"ThePanicof'89." 

Goals  Defined 

**Vm  trying  to  encourage  a  Publish- 
ing mentality,  the  idea  that  every 
book  is  important  at  every  stage  of 
the  publication  process,"  Ms.  Evans 


The  question 
remains:  Will  they 
be  enough? 


said  during  a  recent  interview  in  her 
midtown  Manhattan  office.  "It's  im- 
portant for  our  own  people  and  Outsid- 
ers to  know  that  Doubleday  is  a  Pub- 
lishing house  again,  committed  to 
good  books." 

One  sign  of  that  commitment  will 
soon  be  apparent  in  the  improved  ap- 
pearance  of  Doubleday  books.  The 
face  lift  is  meant  to  bring  better  qual- 
ity  jackets,  paper,  type  and  interior 
design  on  all  Doubleday  books  rather 
than  on  just  a  fortunate  few  on  each 
list.  A  less  visible  sign  of  that  commit- 
ment involves  better  coordinating  of 
Publishing  schedules. 

"That  means  building  time  into  the 
Publishing  process  for  such  things  as 


getting  the  right  jacket  for  a  book," 
Ms.  Evans  said,  "and  getting  it  early 
enough  so  that  sales  reps  can  use  it  as 
a  selling  tool  in  the  Stores.  It  means  if 
we're  not  ready  to  publish,  we  should 
postpone  the  book  until  we  are." 

Doubleday  did  exactiy  that  with 
"Faerie  Tale"  by  Raymond  Feist,  a 
novel  listed  in  the  fall  catalogue  in  the 
science  fiction-fantasy  category. 
After  Ms.  Evans  and  others  read  the 
manuscript,  they  decided  to  reposi- 
tion  it  in  the  marketplace  to  broaden 
its  appeal.  "  We  realized  the  jacket  we 
had  for  it  wasn't  right."  she  said.  "So 
we're  having  new  jacket  art  done  and 
delaying  the  book  until  spring." 

Decision  Hailed 

AI  Silverman,  chairman  of  the 
Book-of-the-Month  Club,  is  not  sur- 
prised  that  Ms.  Evans  appears  to  be 
succeeding  in  her  new  career.  "She 
came  to  us  without  any  real  editorial 
background,"  he  said.  "But  before 
she  set  foot  in  our  door  she  knew  the 
tradition  and  culture  of  the  club.  And 
she  found  ways  to  adapt  the  past  to 
the  present  with  very  smart  ideas  for 
marketing  books." 

Ms.  Evans  was  also  the  club's  liai- 
son  with  people  in  book  Publishing,  an 
experience,  she  said,  that  has  proved 
useful.  "Seeing  what  all  the  publish- 
ers  were  doing,"  Ms.  Evans  said,  "al- 
lowed  me  to  see  what  they  were  doing 
well  and  not  so  well." 

Still,  the  question  remains  whether 
she  can  help  tum  Doubleday  around. 
"Choosing  her  for  Doubleday  was  and 
is  a  gamble,"  Mr.  Vitale  acknowl- 
edged.  "But  it  is  one  we  think  was 
well  worth  taking,  and  Nancy  is  off  to 
a  Start  that  has  exceeded  even  my  ex- 
pectations." 


will  leave  here  tor  Homean 
toniorrow  to  screen  and  negotiate 
for  Italian  and  French  filnis  which 
have  been  completed  since  Ins  last 
European  trip  in  June. 


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Motion   Picture  Daily 


'^^^ 


the   "Best  Variety  Show     nonors  irn 

Rieh"  (CBS)   was  named  the  "Best  Comedy  Show.' 

additional  Awards  when  "The  Voice  of  F'irestone"  was  namec 

Musical    Series"   and    Walt  Disney's   "Mickey  Mouse  Club"   was  voted 

"Best  Network  Children's  Show."    In  the  Network  Public  Service  race, 

"The   CBSearch,"   last  yeajtj>^,winner,  did   a   repeat,  while    "Omnibus" 

(For^^auudatiwt^CBSO^  vvas  named    Best  NTetwÖfk-^EdweÄtional  Series." 

"'^  "*  ^'^         '■'■-         ^'^ 

Bruce  Anderson*s  mastcrful  dircction  of  the  "Wanted"  TV  CBSeries, 
has  gained  the  attention  of  Hollywood.    He's  alreadv  received  three  hids 

to  meg  for  the  fhckers.  .  .^^^reXiy^yÜ^-h^Tm^l^'^t^rn^- 

iised  to  work  with  Jack 
Smith  some  few  years  ago,  is  again  associated  with 
Smith  in  the  daily  CBStrip,  "Love  Story."  Stan 
Englehart  has  penned  her  profile  titk^d,  "The  Jinglc 

SJueen"  for  a  forthcoming  editioii  of  "American 
Veekly."  ....  Mickey  Alpcrt,  the  Kudner  Agency 
ongwriter-excc,  has  what  appears  to  be  a  slick- 
c  ick  in  the  rhythmic  "Hoof-beat"  which  he  clefted 
v^ith  Rex  Trailer,  whose  new  ABC-Paramount  plat- 
tj^r  is  getting  a  big  deejay  play.  .  .  .  K  Ji  W  Film 
crvice  has  expanded  its  modern  (juarters  on  Broad- 
ay  and  has  establishi'd  a  complete  new  Art  Dent. 
?rion  of  Ralph  Koch,  one  of  the  stem's  better  film  icch- 
nicians.  .  .  .  Did  you  know  that  the  advertising  directors  of  the  ihree 
major  nctworks  are  each  named  John?  John  Cowden  (CBS),  John  Porter 
(NBC),  John  Eckstein  (ABC). 

^        i^        ^ 

While  driving  with  his  wife  in  S.  Miami  last  month,  Max  Liebman's 
talented  NBConductor  Charlie  Sanford  was  enthralled  by  the  scenic 
beauty  and  horticultured  splendor  of  an  estate. 
They  stopped,  drove  into  the  grounds  and  com- 
plimented  the  owner.  A  half-hour  later  they  be- 
came  the  new  owners  hy  leaving  with  the  man 
a  healthy  deposit.  The  maestro  now  commutes  via 
plane  for  his  TV  chores.  .  .  .  Not  on!y  did  Harry 
Wismer  turn  in  a  sparkling  play  by  play  account 
of  the  Turkeyday  football  clash  between  the  Detroit 
Lions  and  the  Green  Bay  Packers  but  the  13-city 
Trendcx  of  the  ABC-TV  special  hit  a  15.4,  which 
is  the  equivalent  of  about  50  per  cent  of  the  view- 
ing  audience  in  the  cities  sampled.  .  .  .  Don't  be 
surprised  if  the  Kudner  Agency  signs  Bess  Myerson 
for  a  permanent  role  in  the  forthcoming  new  "Edgar  Bergen  Show" 
which  will  be  CBSlotted  right  after  the  "$64,000"  quizzer. 


Charles  Sanford 


"Our  hroaociH 
coniniodate  hoth,"  ^ 

ted,  "It  is  not  reserve7 
fo^  either  the  avant-garde  or  those  ol 
who  lag  hehind.  Ihe  joh  is  not 
only  to  ser\e  the  public  taste,  but  to 
ra^se  it  a  little.  A  halance  must  be 
Struck  between  the  industry's  creative 
instincts  and  capacities,  and  what  the 
public  wants  and  needs  or  will  accept 
and  coinprehend." 


TCP,  Sponsors  Talk 
Five  More  Programs 

Joday..      f.rl  Tclevisum 

■  •'  rinn   Corp.  is  m  nego- 

tiation  with  Sponsors  for  five  addi- 
tional telefilmed  programs,  and  ex- 
pects  to  announce  at  least  three  be- 
fore  the  first  of  the  year,  Irving 
Asher,  general  nianager  in  charge  of 
TCF  production,  told  the  press  at  the 
studio  today.  These  additions  will 
bring  the  studio's  Output  to  seven,  he^ 
Said. 

Asher  declined  to  name  the  nd 
programs  being  offered  Sponsors,  or  tl 
(lescribe  theni  in  terms  of  subjecti 
matter  or  length,  but  stressed  the  fact 
that  TCF's  big  studio,  refurnished  at 
a  cost  of  $2,()()(),()()()  and  being 
e(piipped  to  acconnnodate  greatly  in- 
creased  personnel,  is  being  restricted 
to  its  own  production  uscs  and  is  re- 
fused  to  outside  producing  com- 
panies  seeking  to  reut  its  facilities. 

efo'  to  Palace 

Columbia's  "The  Crooked  Web" 
will  open  at  the  Palace  Theatre  here 
on    Dec.   9. 


"T^^/MSa^-^Mj  Jyi^y^^rrJ^  3f,t^Jt 


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His  Movie  Adaptation  of  Tlie  Medium 

Heraids  Way  Toward  Screeii  Opera 

v3tKi'  W^    Jlo.  i^ tli'Z'  f>u  . 


HIS 


-^  By  OLIN  DOWNES 

writer    attended    with  woman.     This   is    stuff  of  whicl 


rpanucipatlon  the  screen  pro- 
I  duction  of  Gian-Carlo  Me- 
notti's  opera,  "The  Medium," 
at  the  Sutton  Theatre.  What  would 
be  the  effect  of  this  opera,  which 
as  a  music  drama  had  made  a  de- 
cided  hit  on  Broadway  ?  We  speak, 
of  course,  from  the  Standpoint  of 
the  opera-goer,  not  as  an  investi- 
gator  in  Bosley  Crowther's  field. 
What  would  be  the  impression  of 
this  transplantation  from  the  view- 
point  of  the  musical  stage,  and 
what  intimation  would  it  contain, 
If  any,  for  the  future  of  opera  in 
the  motion-picture  theatre? 

From  our  point  of  view,  a  curi- 
ous  thing  happens.  One  rather  be- 
lieved  that  "The  Medium,"  seen  in 
picturea,  would  prove  particularly 
available,  in  the  fantastic  and 
Grand  Guignol  manner,  for  imag- 
inative Screening.  Whereas  it 
turns  out,  despite  fine  moments  of 
music  and  spectacle,  to  be  only 
Ipartially  and  conditionally  effec- 
tivc.  This  is  notwithstanding  such 
Clements  of  the  show  as  the  sü- 
perb Interpretation  of  Marie  Pow- 
lers,  whom  wc  think  even  better 


movies  may  well  be  made.  B 
we  are  still  far  from  a  kind 
opera  born  of  and  inseparabl 
from  the  visio-auditory  effects  o 
the  moving  pictures. 

When  the  pictorial  technique  an 
sound  Problems  of  movie  and  tele 
Vision  are  solved  there  will  prob 
ably  be  two  main  methods  of  oper 
production  in  these  media.  On 
would  be  simply  the  reproduction! 
of  the  opera  with  great  singers 
and  conductors  and  all  assembled 
forces,  as  is.  This  has  been  done 
repeatedly  at  the  opening  nights 
of  the  Metropolitan,  and  has  provcd 
interesting  to  nation  -  Wide  audi- 
ences.  There  was  a  project  to  de 
"La  Traviata,"  with  Toscanini  as 
conductor,  some  years  ago,  in  this 
way.  It  did  not  maturc  for  various 
reasons.  Hollywood  believes  that 
such  a  production  would  not  be 
received  successfully  by  the  great 
public.  We  believe  that  with  the 
rapidly  growing  understanding  and 
popularity  of  opera  this  would 
havc  been  a  success  for  years  and 
decades  and  centuries,  and 


»*#.»«»'^« 


Dwight  Godwin,  Sedge  Leblanff 


£i\iTEH  LEFTli  ! 

i    S  l  C  H  O  W  S  F  A  r  "l  I 

rV7    ^     139 
_MAk      2  4V97S 

:^1NSKCFF   IHRE 
4i>Th    STkEET 
GF    HRCADwAY 


Ballet  Team 


Jeon  Babilee  and  Naihalie 
Pbilipparf,  dance  leads  in  Ballet 
Theafre's  presenfafion  of  "/.t 
Jeune  Homme  et  La  Mor/"  due 
af  Mefropolifan  Opera  House 
on  Thursday, 


loyBlty  to 

-  Hollywood       ^ 

of    "Flying    Ig 

t  Paramount       R 

s  Start  to  the 


)tball  phyer 
seriously   as 

P  when  Ford 
ecoach."    The 

red   a   screen 

er,  Ford  gBve 

ole    in    "Men 

'    Ford's    en- 

birector  Raoul 

m  the  lead  in 

Ford   prom- 

day  hed  find 

ior    him    and 

Stagecoach*' 


||||lll!»)lllllll1ll!lllllltlllll'>lllll!lllini 


Jean  Babilee,  as  he  appears  in 
•Xe  Jeune  Homme  et  la  Mori" 


■/  { 


All  This  and 


\ 


Wi 

'Bl 


m.. 


ÄS 


't  ■;  ■ 


/ 


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s 


li'-'«  .">..vi«.ii. 


Ruth  Mar ton 

433  Bast  51  Street,  New  lork,  N,I.  10022 

30  mars  1985 


Cher  Jean- 
en attendant  certaines  d^cisions  pour  nn   voyage  en  Europe,  j'ai  tarde  de  vous 
envoyer  cet  article,  dont  ,jp  ra'excuse^  bien  que,  p^^ut-etre  la  remar^ue  snr  vons 
et  Youskevitch  vous  deplaira  si  ce  n'etait  pas  compietement  idiote!! 

Coirment  allez  vous?  Quoi  de  neuf? 

J'espere  que  vous  m'en  parlerez  a  haute  voix  pendant  un  bref  sejour  a  Paris, 
projotte  pour  la  premiSr**  semaine  en  mai,  cnvirons.   Malheureusement,  m^s  Jeunes 
amis  qvii  etaient  auparavant  rue  de  Hennes,  si  coromode  pour  voir  tous  mes  ami«  aux 
6e  et  7e  arrond. ,  habitent  maintenant  Suresnes  et  je  ne  sais  pas  encore  coram*^nt  je 
vais  ciroulor  de  la-bas  a  ^^y   is  sans  voiture  bien  qu'ils  m'assurent  que  ce  sera 
facile  (peut-etre  pour  eux  avec  une  voiture  chacun!:)» 

J*esper9  de  partir  de  Nev  York  le  14  avril  et  voici  les  deplacement  cornme  ils  aont 
arranges  a  present —  en  cas  que  vous  serez  par  tout  hazard  a  Zürich! 

15-24  avril,  Hotel  Europe,  Dufourstrasse  4,  8'X)8  /.urich,  tel.  41-1-47-1030 

24-29  Avril  Hotel  Bären,  5401  baden  b/Z,  tel.  41-056-23-51-78 

A  peu  pies  mai  1  pour  8-10  jnurs  c/o  Rousseau,  2  rue  des  Vi^nes  92150  S^^resnes, 

Tel.  204-07089 
Baden  aupres  de  Zürich  est  moins  qu'une  demie  heure  par  train  toutes  les  heurea 
de  Zürich  meme  et  je  suis  de ja  y  alle«  pour  rerrontrer  des  amis  qui  et^ient  de 
passage  a  Zürich  entre  avion  et  train —  no  big  deal. 

Donc —  j'espere  que  vous  aerez  ou  ä  i^arts  ou  en  Suiase  qu'on  pourrait  se  voir,  il 
Oi'attristeiais  de  vous  manquer  j>endant  ce  «ejtiur  assez  bref. 

Je  vous  donnerai  un  coup  de  fil  aprJIs  mon  arrivee  a  Suresnes  dont  la  dare  est 
flexible,  entre  le  29  avril  et  le  1er  mai  je  pense. 

A  tres  biertot  j'espere!   Kntretemps  mille  amities  et  tous  mes  voeux — 


THE  NEW  YORK  TIMES,  THURSDAY,  JANUARY  17,  1985 


sne  Kelly:  Ballet  Shaped  His  View  of  Dance 


By  ANNA  KISSELGOFF 

If  «/([C  Kelly  came  to  town  the  other 
1,  iüL  i;talk  about  dance  —  not  exactly 
(y-  U>Agn  subject  to  him,  and  hardly 
^jÄ<yant  to  "That's  Dancing,"  a 
ACtj  film  for  which  he  is  the  chief 
,%>Ator  and  executive  producer. 
U^xf  the  movie  --  an  anthology  pf 
^o^Hfron-film  excerpts  that  opens  in 
r^i^York  tomorrow  —  Mr.  Kelly 
)J^\i  represents  a  wide  ränge  of 
,{k^upveT  the  decades. 
^  k\e  entire  world  seemingly  knows 
«n1U\  Kelly 's  contribution  to  film 
Ju-icals,  few  of  his  fans  may  be 
•Ktiit  j  of  how  far-reaching  the  dance 
(^{/feround  was  that  got  him  to  the 
t^  ind  kept  him  there  as  dancer,  • 
,^/iü.ographer  and  director. 

vU'n3  Martha  Graham,  Mr.  Kelly 
^Ai<x^rom  Pittsburgh,  and  he  too  first 
Jl^nvj^ted  attention  on  Broadway 
/'^  Ji'ithe  sponsorship  of  the  same 
/A/Wproducer,  John  Murray  Ander- 
^^  Few  balletomaiies  may  know 
■^  Kis  most  influential  ballet  teach- 
(.l^^renice  Holmes,  was  the  original 
^^-fVymnia  in  the  commissioned 
(^i^Miere  of  Stravinsky's  "Apollo/' 
(I^Lvntographed  by  Adolph  Holm  in 
[^?_]  3ne  year  later,  Serge  Diaghilev 
uAJ^ied  the  same  score  to  George 
5;^3^hine. 

l\  r^iaghilev  dancer  and  Bolshoi 
j^us,  Alexander  Kotchetovsky, 
uf^pi  round  out  Mr.  Kelly's  ballet 
^ii  tion  in  the  1930*s,  when  he  was 
jjjt^^rning  to  do  a  mean  Rumanian 
^^^i^dance  and  Polish  mazurka  at 
jwcKÄcteachers'  Conventions.  The  tap 
^^uicrobatics  instilled  in  Mr.  Kelly 
^»ulnld  were,  as  he  put  it,  **a  piece 
Vv  ia<e/'  by  the  time  he  found  a  men- 
J^A  the  Broadway  choreographer 
v^ä*rt  Alton  —  an  unsung  Innovator 
p  Hol  Broadway  musical. 

|\<f  yvxcalibur  Ideology' 

U^»r  Mr.  Kelly  himself  did  a  great 
Liüvjp  change  the  Hollywood  musi- 

tJLhi  created  •—  using  ballet  dancers 
Li^V  first  American  all-dance  movie 
b<tk**e,  "Invitation  to  the  Dance." 

Wl^^s  also  the  first  American-bom 
|c^,/OV  :>grapher  to  create  a  ballet  for 

^v^ari«!  Opera  Ballet,  "Pas  de 
|Pv<w^"  Ihe  ballet  experiences  have 
ktji)^  with  a  few  scars.  In  a  curious 
LiiUj»)hor  that  suggests  he  sees  him- 

i^  <;>  a  knight  pulling  a  magic  sword 
|>if^i!the  murky  depths  of  misunder- 

^i/^ng,  he  refers  to  his  attempt  to 
llüjiHJüirize  ballet  in  the  1950*s  as  a 

v/ij^^Pf  "part  of  my  Excalibur  ideol- 

Hv^BlViewed  in  his  New  York  hotel 

KM-Ur-and  asked  if  he  would  like  to 

Lvi^v^!<ograph  a  work  for  an  American 

l^i'ilcompany  today,  the  72-year-old 

lu.KeUy  replied,   "Yes."   At  the 

xvuJttime,  he  sought  to  distinguish 

|tü  iHrn  approach  to  dance  as  seen  in 

^^w/rom  those  of  stage  choreogra- 

llkttj^  in  ballet. 

Tiie  thing  that  I  do,"  he  said,  *'is 
u^  iie  sameas  my  friend  Peter  Mar- 
i'U^i'T  Jerry  Robbins  because  they're 
.^j^.dance  companies  and  they  use 
I  d^  with  music  to  express  a  certain 
-^Uu4n  the  context  of  a  complete 
Xja4i  that  includes  music. 
'  pie  dancer  in  film  for  years  has 


Tbe  New  York  Times/ Jack  Manning 

Gene  Kelly  last  week  in 
New  York  City. 


not  done  that.  He  takes  a  role.  He  gets 
a  group  of  songs  sometimes  emd  inter- 
prets  the  role.  If  he  is  a  truck  driver, 
he  cannot  come  out  and  dance  in  fifth 
Position.  Everybody  would  laugh.  If 
he  is  a  prince  consort  he  would  have 
to  dance  a  certain  way.  If  I  played^a 
pirate  in  the  early  19th  Century,  I  cer- 
tainly  couldn't  tap  dance. 

**So  the  role  of  the  dancer  is  subject 
to  the  role  he's  playing  and  often  very 
subject  to  the  song  that's  composed. 
This  doesn't  happen  in  a  dance  Com- 
pany. The  question  is  who  has  the 
greater  freedom." 

Dancing  Advances  the  Plot 

Implicit  behind  his  remarks  is  a 
dance  philosophy  that  Mr.  Kelly  and  ä 
few  other  key  figures  did  much  to  pro- 
mote  in  the  1940's  and  50's.  The  idea  of 
the  integrated  musical  — i  in  which  the 
dancing  advances  the  plot  —  is  now 
taken  for  granted  on  Broadway  and 
on  film  (**Singin*  in  the  Rain"  is  a 
prime  example). 

But  in  *  *  Pal  Joey , ' '  the  Rodgers  and 
Hart  musical  baseU  on  John  O'Hara's 
stories  that  catapulted  Mr*  Kelly  to 
Stardom  on  Broadway  in  1940  and 
then  to  Hollywood,  his  approach  to 
dance  was  definitely  novel.  ' 

Directed  by  George  Abbott  and 
Gl  oreographed  by  Robert  Alton,  "Pal 
Joey"  charted  a  rake's  progress.  Mr. 
Kelly  played  the  heel  as  anti-hero  and 


in  Mr.  Alton's  choreography  he  found 
the  means  to  effect  characterization 
with  dancing.  **A  tap  dancer  who  can 
characterize  his  routines  and  tiim 
them  into  an  integral  element  of  an 
imaginative  theatrical  whole  would 
seem  to  be  pretty  close,  indeed  to 
unique,"  wrote  John  Martin,  dance 
critic  of  The  New  York  Times  in  1940, 
about  Mr.  Kelly's  Performance. 

Paradoxically  in  "That 's  Danc- 
ing," the  extracted  dance  numbers 
resemble  the  set  pieces  that  the  inte- 
grated musical  was  meant  to  abolish. 
Is  it  possible,  however,  that  the  old 
show-stopping  production  number  — 
inserted  into  a  musical  like  an  irrele- 
vant divertissement  —  has  some  vir- 
tues  after  all? 

'Stopped  the  Show'        • 

Mr.  Kelly  seemed  genuinely  star- 
tled  by  the  question.  Nonetheless,  aiv 
old  pro  —  in  dance  at  least  —  he  lost 
no  time  in  replying.  The  integrated 
number  can  also  be  a  show-stopper, 
he  said.  Mr.  Alton's  choreography  in 
"Pal  Joey"  was  an  example.  "Any- 
tlme  Bob  Alton  put  on  a  dance  num- 
ber he  stopped  the  show,"  he  said. 

Although  Balanchine  and  Agnes  de 
Mille  are  usually  credited  with  pio- 
neering  the  integrated  dramatic 
musical,  Mr.  Alton  has  his  Champions 
as  the  leader  in  the  field,  and  Mr. 
Kelly  is  clearly  his  prime  supporter. 
"As  for  choreography  in  the  1930's 
and  40's,  there  was  no  one  who  could 
top  Bob  Alton,"  Mr.  Kelly  said. 

Asked  why  he  never  teamed  up 
with  a  steady  partner  the  way  Fred 
Astaire  did  with  Ginger  Rogers  for  10 
years,  Mr.  Kelly  said  quite  simply,  "I 
never  wanted  to  be  a  team."  More- 
over,  he  said,  the  ballroom  style  of 
partnerships  such  as  Mr.  Astaire's 
was  not  his,  and  was  identified  with 
the  1930's. 

"What  I  wanted  was  the  role,  and  I 
think  I  brought  those  girls  along  — 
Judy  Garland,  Vera-Ellen,  Cyd  Cha- 
risse.  I  cast  them  in  a  role.  Again, 
we're  not  like  the  guys  in  dance  com- 
panies. You  could  call  me  a  song-and- 
dance  man." 

Popularizer  of  Dance 

As  the  great  popularizer  of  dance  in 
nearly  every  form,  Mr.  Kelly 
promoted  an  Image  as  a  dancer  and 
choreographer  that  was  always  more 
ecumeiiical  th^  eclectic.  It  is  true 
that  he  could  occasionally  be  spotted 
in  a  top  hat  and  tails  on  the  screen. 
But  he  chose  to  forgo  that  overt  ele- 
gance  early  on.  Americans  saw  him 
as  a  low-ranking  gob  —  a  sailor  in 
"Anchors  Aweigh"  or  "On  the 
Town."  His  trademark  was  specifi- 
cally  democratic:  casual  street 
drc,s,  from  rolled-up  sleeves  to 
slacks  and  loafers. 

The  deliberately  masculine  bra- 
vura  style  he  cultivated  for  a  dance- 
shy  public  in  his  early  career  could  be 
traced  to  the  ecimienism  of  his  train- 
ing.  Berenice  Holmes,  with  whom  he 
studied  ballet  for  several  summers  in 
Chicago  in  the  1930's,  had  danced  with 
Adolph  Bolm's  companies  in  the 
United  States.  Bolm  epitomized  the 
kind  of  virile  Russian  male  ballet 
dancer  Diaghilev  had  unleashed  upon 
P^ris  in  1909.  As  the  ferocious  war- 
rior  in  the  "Polovetsian  Dances," 


Bolm   remained  unmatched  in  his 
bravura. 

"Berenice  Holmes  was  really  re- 
markable,"  Mr.  Kelly  recalled.  "Be- 
cause she  had  been  with  Bolm,  she 
knew  how  a  man  could  dance.  She 
could  do  double  tours  en  l'air  better 
than  a  man." 

Ballet  was  not  the  first  type  of 
dance  that  Mr.  Kelly,  his  two  sisters 
and  two  brothers  leamed  when  their 
mother  sent  them  to  "a  very  polite 
dancing  academy"  in  Pittsburgh  in 
the  early  1920's  when  they  were  chil- 
dren.  "As  second-generation  Irish, 
we  should  improve  ourselves,  she 
though:,"  Mr.  Kelly  said.  The  idea 
was  so  good  that  before  he  graduated 
from  the  University  of  Pittsburgh  in 
1933,  he  had  opened  the  Gene  Kelly 
School  of  Dance  and  started  a  se<*ond 
branch  in  Johnstowii,  Pa.  One  of  Mr. 
Kelly's  sisters  taught  beginning  bal- 
let, while  his  younger  brother,  Fred, 
performed  with  him  in  nightclubs  and 
local  Shows. 

Dominant  Dance  Estbetics 

When  Mr.  Alton,  who  saw  his  Stag- 
ings in  Pittsburgh.  encouraged  him  to 
come  to  New  York  in  1937,  Mr.  Kelly 
already  saw  himself  as  a  choreogra- 
pher rather  than  as  a  dancer.  It  is 
easy  to  take  him  at  his  word  and  view 
him  oniy  in  a  film  context.  Certainly 
his  experiments  with  film  technology , 
including  animated-cartoon  figures 
as  partners,  gave  viewers  a  creative 
View  of  dance  on  film.  Yet  as  a  chore- 
ographer he  was  remarkably  attuned 
to  the  dominant  dance  esthetics  of  his 
day.  Even  his  dance  with  an  alter  ego 
in  "Cover  Girl"  was  the  counterpart 
of  the  psychological  dance-drama 
dominant  in  the  1940*s. 

When  he  recruited  ballet  dancers 
for  "Invitation  to  the  .Dance,"  Yiii 
first  choices  for  male  stars  were  Igor 
Youskevitch  of  the  Ballet  Russe  de 
Monte  Carlo  and  Ballet  Theater  and 
Jean  Babil^  from  Rola;id  Petit 's 
Company  in  France.  "They  were 
gymnasts,  that's  how  we  all  started,' 
he  said. 

The  French  ballerina  Janine  Char- 
rat  led  him  to  Ciaire  Sombert,  a 
young  unknown  at  the  Paris  Opera 
Ballet,  and  Mr.  Kelly  enlisted  the 
ballerina  Tamara  Toumanova  and  a 
leading  Balanchine  ballerina,  Dianr 
Adams.  The  novelty  of  an  all-dancc 
film  was  so  stränge  in  1956  that  Life 
magazine  referred  to  the  movie  at  its 
release  as  "a  nontalkie  entirely  done 
in  dance." 

The  film  died  but  Mr.  Kelly  went  on 
to  accept  the  Paris  Opera  Ballet's  in- 
vitation in  1960  to  Choreograph  "Pas 
de  Dieux."  Claude  Bessy,  the  rising 
French  ballet  star  he  had  used  in  "In- 
vitation to  the  Dance"  portrayed 
"Zeus's  lady  who  is  bored  and  comes 
down  to  the  South  of  France  for  a 
fling."  It  was  good  clean  riaughty  fun 
and  Mr.  Kelly  could  use  all  the  flying 
machine^  for  clouds  and  chariots  that 
a  19th-century  opera  house  can  pro- 
vide.  By  his  own  account,  "the  en- 
semble  choreography  was  weak  but 
the  individual  parts  in  the  pas  de  deux 
were  well  done." 

"Now  I  feel  I  could  do  it  better,"  he 
added. 


Jean  Babüee  re-created  bis  trademark  role 
OB  May  15  wben  be  danced  Le  Jeune 
Homme  et  la  Mort  during  Roland  Petit's 
Ballet  National  de  Marseille  season  in 
Paris.  At  sixty-one,  Babiläe  is  still  able  to 
project  tbe  power  and  emotion  in  tbe  role, 
as  be  did  at  its  prenüere  in  1946.  ▼ 

Serge  Lido 


Marie-Pierre  Vincent 


DANCEMAGAZINE  August  1984 


Recipients  of  the  Dance  Magazine  Awards,  given  annually 
since  1954,  have  been  men  and  women  who  have  made 
important  contributions  to  the  field  of  dance.  The  Awards 
comprise  a  cross  section  of  major  figures  in  mid-twentieth 
Century  dance. 

The  Awards  are  intended  to  fill  a  major  gap  in  dance, 
where  the  real  work  of  many  with  enormous  talent  and 
energy  tends  not  to  receive  suflficient  recognition.  Over  the 
years,  the  Awards  have  been  given  to  people  who  are  per- 
formers,  but  also  to  choreographers,  designers,  administra- 
tors,  historians,  musicians  (such  as,  this  year,  the  conductor 
Robert  Irving)  and  others  whose  highly  personal  contribu- 
tions are  not  always  given  the  recognition  they  deserve. 

Performers  may  be  selected  for  an  Award  at  an  earher 
stage  in  their  careers,  as  with  Baryshnikov  in  1978,  or  Jack 
Cole  in  1955.  Or  an  Award  may  be  given  later,  when  careers 
have  expanded  to  mythic  proportions  and  touched  almost 
every  aspect  of  the  dance  business,  as  with  Ted  Shawn  in 
1969,  or  this  year  with  Alexandra  Danilova.  The  Awards 
cross  many  dance  discipHnes,  such  as  the  multi-faceted  ca- 
reer  of  Donald  Saddler,  a  1984  recipient.  Included  are  those 
working  in  ballet  and  modern,  films,  nightclubs,  and  Broad- 


1984 

Alexandra  Danilova 
Robert  Irving 
Donald  Saddler 
Tommy  Tune 
Award  of  Distinction  to 
Dance  Masters  of 
America 

1983 

Jeannot  Cerrone 
John  Neumeier 
Michael  Smuin 
Martine  van  Hamel 

1982 

Fernando  Bujones 
Laura  Dean 
Arnold  Spohr 
Lee  Theoidore 

1981 

Selma  Jeanne  Cohen 
Sir  Anton  Dolin 
Twyla  Tharp 
Stanley  Williams 

1980 

Patricia  McBride 

Ruth  Page 

Paul  Taylor 

Award  of  Distinction  to 

Herbert  Ross  and 

Nora  Kaye 

1979 

Aaron  Copland 
Jorge  Donn 
Erick  Hiiwkins 
Special  Award  to 
Jean  Babilee 


1978 

Mikhail  Baryshnikov 
Raoul  Gelabert 
Bella  Lewitzky 

1977 

Murray  Louis 
Natalia  Makarova 
Peter  Martins 

1976 

Michael  Bennett 

Suzanne  Farrell 

E.  Virginia  Williams 

1975 

Alvin  Ailey 
Cynthia  Gregory 
Arthur  Mitchell 

1974 

Gerald  Arpino 
Maurice  Bfejart 
Antony  Tudor 

1973 

The  Christensen  Brothers 
(Lew,  Harold,  Willam) 
Rudolf  Nureyev 

1972 

Anthony  Dowell 
Judith  Jamison 

1969 

Sir  Frederick  Ashton 
Carolyn  Brown 
Ted  Shawn 


way  (a  1984  recipient  was  Tommy  Tune,  Broadway  dancer 
and  director).  And  the  Awards  have  been  selected  to  honor 
organizations  such  as  CBS  (in  1954),  Wesleyan  University 
Press  (1966),  and  Dance  Masters  of  America  (1984). 

[Until  1970  the  Awards  were  given  for  the  previous  year: 
The  Awards  given  in  1970,  for  example,  are  for  1969.  There 
were  no  Awards  given  in  1971.  Beginning  in  1972  the 
Awards  were  designated  for  the  current  year:  The  Awards 
given  in  1972,  for  example,  are  for  1972.  This  accounts  for 
the  leap  in  listings  from  1969  to  1972.] 

Since  the  beginning,  the  Awards  have  been  held  in  New 
York  City  in  the  early  spring,  a  time  when  traditionally  the 
dance  season  has  been  at  its  peak  of  activity.  By  the  very 
nature  of  the  Awards,  the  audience  is  composed  primarily 
of  people  involved  professionally  with  dance,  and  the  yearly 
event  has  in  its  own  way  taken  its  place  alongside  those 
other  awards  designed  to  honor  members  of  other  profes- 
sions,  such  as  the  Tonys  or  the  Oscars.  Fortunately,  it  is  not 
the  only  award  given  in  the  dance  business,  but  it  has  come 
to  assume  the  distinction  of  being  the  most  important,  in 
terms  of  the  ränge  of  dance  forms  recognized  and  far-reach- 
ing  contributions  of  Award  recipients. 


1968 

Erik  Bruhn 
Katherine  Dunham 
Carla  Fracci 

1967 

Eugene  Loring 
Alwin  Nikolais 
Violette  Verdy 

1966 

Carmen  De  Lavallade 

Sol  Hurok 

Wesleyan  University  Press 

1965 

Edwin  Denby 
Margaret  H'Doubler 
Maya  Plisetskaya 

1964 

John  Butler 
Peter  Gennaro 
Edward  Villella 

1963 

Gower  Champion 
Pauline  Koner 
Robert  Joffrey 

1962 

Isadora  Bennett 
Margot  Fonteyn 
Bob  Fosse 

1961 

Melissa  Hayden 
Anna  Sokolow 
Owen  Verdon 


1960 

Merce  Cunningham 
Igor  Moiseyev 
Maria  Tallchief 

1959 

Dorothy  Alexander 
Fred  Astaire 
George  Balanchine 

1958 

Alicia  Alonso 
Doris  Humphrey 
Gene  Kelly 
Igor  Youskevitch 

1957 

Lucia  Chase 
Jose  Limön 
Alicia  Markova 
Jerome  Robbins 

1956 

Agnes  de  Mille 
Martha  Graham 

1955 

Jack  Cole 
Gene  Nelson 
Moira  Shearer 


1954 

Dance  on  TV 
Adventure  (CBS) 
Tony  Charmoli  (NBC) 
Max  Liebman  (NBC) 
Omnibus  (CBS) 


DANCEMAGAZINE  August  1984 


8 


H 


THE  NEW  YORK  TIMES,  SUNDAY,  JUNE  24,  1984 


r. 

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'onee. 


**A  more  powerful,  more  coherent 
picture  of  *Le  Jeune  Homme  et  la  Mort' 
than  it  has  had  in  decades  has  just  been 
given  in  Paris  by  Jean  BabiUe." 


DANCE  VIEW 


ANNA  KISSELGOFF 


Jean  Babilee  Triumphs 
In  'Jeune  Homme'  at  61 


The  past  relived  through  the  present  seemed  to  be 
the  dominant  theme  in  one  comer  of  the  dance 
World  in  Paris  recently.  And  nowhere  was  the 
phenomenon  more  dramatic  than  in  the  unex- 
pected  and  thrilling  Comeback  of  Jean  Babil6e, 
at  the  age  of  61»  in  the  role  created  by  this  great  French 
dancer  in  **Le  Jeune  Homme  et  la  Mort"  In  1946. 

The  ballet  —  choreographed  by  Roland  Petit  to  a  sce- 
nario  by  Jean  Cocteau  —  caused  a  Sensation  in  France  at 
the  time  for  a  variety  of  reasons  and  it  had  a  jolting  im- 
pact  as  well  when  Ballet  Theater  presented  it  in  New  York 
in  1951  wlth  Mr.  Babil6e  and  his  wife,  Nathalie  Philippart 
as  guest  artists.  Ballet  Theater,  now  American  Ballet 
Theater,  revived  the  work  especially  for  Mikhail  Barysh- 
nikov  in  1975. 

Last  month,  Mr.  Baryshnikov  paid  a  lightning  Visit  to 
Paris  especially  to  see  Mr.  Babil6e  in  the  role  of  the  young 
man  who  encounters  the  figure  of  death  in  a  Parisian  gar- 
ret.  Mr.  Babilee  —  never  considered  a  danseur  noble  « 
has  had  an  extaordinary  effect  on  great  classical  dancers. 
Erik  Bruhn  has  recounted  many  times  how  as  a  young 
dancer  f  resh  out  of  the  Royal  Danish  Ballet  in  1950,  he  saw 
Mr.  Babil^  perform  in  the  Blue  Bird  Pas  de  Deux.  De- 
spairing  of  ever  attaining  the  astounding  bravura  force, 
exceptional  elevation  and  compelling  dramatic  presence 
that  Mr.  Babil6e  combined  in  his  dancing,  Mr.  Bruhn  de- 
cided  that  he  was  "finished"  as  a  dancer. 

Fortunately  he  did  go  on.  But  it  is  not  surprising  that 
more  than  25  years  later,  Mr.  Baryshnikov  was  equally 
stunned  when  he  saw  Mr.  Babil6e  for  the  first  time,  albeit 
in  a  cameo-like  appearance.  This  was  in  1979,  when  Mr. 
Babil6e,  who  had  seemingly  retired  from  dancing,  ap- 
peared  in  New  York  as  a  guest  with  Maurice  B6jart's  Bal- 
let of  the  20th  Century.  Too  young  and  too  Soviel  to  have 
Seen  Mr.  Babil6e  at  his  peak  in  the  West,  Mr.  Baryshnikov 
quite  rightly  realized  that  he  had — even  in  a  late  phase  of 
Mr.  Babil6e's  career  —  come  across  a  rara  avis  in  the 
dance  world.  Mr.  Baryshnikov  went  backstage  to  be  intro- 
duced  to  Mr.  Babil^,  newly  rediscovered  by  a  new  gener- 
ation  of  dancegoers. 

What  it  is  that  draws  the  world's  greatest  classical 
dancers  inexorably  to  Jean  Babil6e?  It  is  precisely  the 
fact  that  he  appears  to  be  their  opposite  number.  One  says 
''appears"  because  he  is,  after  all,  a  product  of  classical 
training  at  the  Paris  Opera  ballet  school,  someone  who 
has  danced  '*Giselle"  and  "Le  Spectre  de  la  Rose"  and 
been  famous  as  the  Bluebird  in  **The  Sleeping  Beauty" 

Why  did  Rudolf  Nureyev  and  Mr.  Baryshnikov  both 
want  to  dance  the  Babil6e  role  in  "Le  Jeune  Homme  et  la 


Mort"  (Mr.  Nureyev  in  a  film  with  Zizi  Jeanmaire)?  And 
what  it  is  that  made  Mr.  Babil^  and  Mr.  Petit  now  agree 
to  the  re-creation  of  this  role  with  Mr.  Petit's  National 
Ballet  of  Marseille?  At  the  Performance  I  saw  —  his  third 
in  Paris  —  Mr.  Babil6e*s  name  was  chanted  rhythmically 
during  a  long  ovation  by  a  house  packed  by  young  people 
in  their  counter-culture  clothes. 

Mr.  Babil^'s  secret  is  to  appeal  to  the  rebel  in  us. 
While  we  only  dream  of  chucking  it  all»  Mr.  Babil6e  actu- 
ally  did  quit  dancing  in  mid-career  and  rode  off  on  a 
motorcycle.  A  few  days  after  his  Performance  in  "Le 
Jeune  Homme,"  I  saw  him  entering  a  theater  lobby  with  a 
motorcycle  helmet  in  his  band. 

•  •  • 

On  stage  he  epitomizes  the  same  spirit.  The  last  time 
I  saw  him  prior  to  1979  was  in  1963,  when  he  did  a  hand- 
stand on  the  sides  of  a  bathtub  to  jazz.  This  was  in  Paris  in 
a  mixed-media  production  by  Mr.  B6]art  entltled  "La 
Reine  Verte"  C*The  Green  Queen").  At  40,  he  still  had  the 
famed  athleticism  of  yore,  the  eloquence  of  masculinity 
that  fused  grace  with  power.  The  arched  body  reaching 
upwanl  —  even  on  a  bathtub  —  revealed  a  muscularity 
transformed  into  a  unique  brand  of  virtuosity. 

In  1956,  Mr.  Babilee  formed  his  own  shortlived  Com- 
pany, one  of  whose  ballets,  **Camel6opard"  came  to  mind 
at  a  current  and  delightful  exhibition  at  the  chateau  in 
Parc  de  Sceaux,  a  Paris  suburb.  The  show  retells  the  ex- 
traordinary  event  in  1827  when  Paris  saw  its  first  giraffe. 
The  animal  was  originally  known  as  a  cameleopard  be- 
cause it  was  believed  to  be  a  cross  between  a  camel  and  a 
leopard.  Even  earlier  it  was  considered  as  mythical  as  a 
unicom  and  it  is  as  a  mythical  beast  that  Mr.  Babil6e  por- 
trayed  himself. 

•  •  • 

Why  did  Mr.  Babilee  suddenly  retum  to  his  most  fa- 
mous role  at  an  age  when  he  cannot,  in  effect,  reproduce 
all  of  its  technique?  Apparently,  Mr.  Petit  and  Mr. 
Babil6e  appeared  on  a  populär  French  television  show. 
After  seeing  Patrick  Dupond  in  '*Le  Jeune  Homme  et  la 
Mort,"  Mr.  Babil6e  remarked  that  the  choreography  di- 
verged  from  the  original.  In  a  friendly  dare,  Mr.  Petit  pro- 
posed  that  Mr.  Babil6e  back  up  his  comments.  He  has. 

Over  the  years,  Mr.  Petit  has  modif  ied  the  choreogra- 
phy in  ''Le  Jeune  Homme,"  interpolating  classical  steps, 
usually  at  the  bebest  of  the  stars  who  have  come  into  the 
ballet.  Last  month,  Mr.  Babil6e  may  not  have  executed 
every  movement  he  did  in  1946.  But  what  he  did  do  at  the 
age  of  61  was  certainly  to  give  a  highly  dramatic  and 
more  powerful,  more  coherent  picture  of  the  ballet  than  it 


y 


has  had  in  decades. 

Everything  feil  into  place.  It  was  the  inteiASity  o*  Mr. 
Babil^e's  characterization,  bounced  off  Mitüu  Mander- 
on's  wicked  flirt,  that  did  it.  The  prettiness  encrusiea  over 
the  years  feil  away.  The  sordidness  retumed. 

There  are  two  moments  Mr.  Babil6e  made  memora- 
ble  in  the  past  and  they  were  here  again.  One  takes  place 
when  the  despaidng  hero  dives  into  a  neckstand,  cheek  to 
floor.  Mr.  Babil6e  did  so  three  times,  in  slow  motion  and 
with  characteristic  animal  vigor.  Then  there  is  the  final 
moment  at  the  end  of  the  first  scene  when  the  youth  hangs 
himself  .The  young  artist  —  paint  was  spattered  over  his 
Overalls  again  —  has  been  waiting  for  a  girl.  When  she 
comes,  she  abuses  him  and  mocks  him.  She  points  to  a 
post  and  a  hanging  rope.  He  hangs  himself.  Cocteau's 
banal  assignation  is,  actually,  an  existential  rendezvous, 


The  climactic  scene  of 
Ballet  Theater's  1951 
production  of  "Le  Jeune 
Homme  et  La  Mort," 
with  Mr.  Babilee 


a  date  with  destiny.  The  girl  is  the 
allegorical  figure  of  death  in  disguise. 
When  Mr.  Babil^  hangs  himself, 
he  does  not  —  as  others  —  hang  from 
the  back  of  the  pillar  where  his  means 
of  Support  are  obvious.  Mr.  Babil6e 
gives  US  the  füll  drama  of  the  instant. 
His  back  is  to  us  on  the  front  of  the  pil- 
lar. He  kicks  a  stool  away  and  his  feet 
actually  dangle,  aquiver.  Bach's  C 
Minor  Passacaglia  swells  up  here  in 
all  its  deliberate  incongruity  and 
grandeur. 

The  ballet  is  pure  Cocteau.  It 
Sports  Cocteau's  seminal  idea  about 
the  poetry  of  the  commonplace.  Mr. 
Babil^,  not  in  the  blue  jeans  favored 
by  some  but  in  one-strap  overalls 
over  bare  torso,  lies  upside  down  on  a 
bed.  The  shabby  garret  is  a  re-crea- 
tion  of  George  Wakhevitch's 
memorable  d^or. 

Every  banal  gesture.  Cocteau- 
style, is  signficant.  Mr.  Babil6e  looks 
at  a  real  watch  and  smokes  a  real 
cigarette.  At  one  time,  such  realism, 
deliberately  clashing  with  ballet  Con- 
ventions, was  considered  a  provoca- 
tion.  And  so  was  Cocteau's  idea  to  use 
Bach's  Passacaglia  at  the  premiere 
after  asking  Mr.  Petit  to  Choreograph 
to  no  music  and  then  to  rehearse  the 
dancers  to  jazz  scores  and  even 
'Trankie  and  Johnny."  It  was  Bach 
juxtaposed  with  a  sordid  encounter 
(the  lovers  fight,  kick  and  throw 
chairs)  that  bothered  the  purists. 
Cocteau's  idea  about  using  seemingly  unrelated 
music  with  dance  foreshadowed  Merce  Cunningham's.  In 
the  revue,  Paris-Th^atre,  he  recalled  that  Mr.  Babil6e, 
who  reminded  him  of  Nijlnsky,  and  he  had  discussed  sub- 
stituting  Bach  or  Schubert  in  a  ballet  choreographed  to 
jazz. 

When  he  chose  his  designers,  he  feit  Karinska  —  who 
later  defected  to  George  Balar'ihir«  and  the  City  Ballet — 
was  the  best  for  costumes.  He  tumed  to  Wakhevitch  for 
the  set  because  he  had  worked  in  films.  The  film  connec- 
tion  was  crucial  to  Cocteau,  who  was  searching  lor  **the 
mystery  of  accidental  synchronism."  Cocteau  was  fasci- 
nated  by  the  idea  that  film  action  was  often  accompanied 
by  any  kind  of  music.  Yet  the  cüsparity  was  exactly  what 

Continued  on  Page  12 


Upnitzkl 


DANCE  VIEW 


*. 


Continued  from  Page  8 


served  to  emphasize  the  feelings  of 
the  characters. 

Nothing  was  worse  than  matching 
note  to  gesture,  he  feit.  Balance  en- 
gendered  inertia,  as  he  put  it.  **It  is 
from  a  delicate  lack  of  equilibrium 
that  equilibrium  draws  its  charm." 

And  so  Bach  brought  into  relief  the 
emotions  of  a  negligible  pair.  Cocteau 
elevated  the  banal  into  allegory.  And 
then  he  made  the  mythical  banal.  The 
boy  hangs,  the  walls  fly  up  (particu- 
larly  effective  now  in  Paris)  and  the 
girl  retums  in  a  skull  mask  that  she 
puts  on  the  hero,  who  marches  before 
her.  This  unreal  episode  is  set  amid 
the  real,  the  rooftops  of  Paris  with  a 
Citroen  sign  on  the  Eiffel  tower.  A 
magical  scene  is  forged  out  of  the 
famiUar. 


A  ballet  with  a  built-in  credibility 
Problem  requires  powers  of  poetic 
persuasion  and  these  Mr.  Babil^'s 
has  in  ample  supply.  His  intensity 
makes  the  difference. 

As  he  rises  from  the  bed,  where  he 
has  been  smoking  head  down,  he 
whips  into  a  multiple  pirouette.  An 
emphatic  gesture  to  look  at  his  watch 
registers  the  act  of  waiting.  When  the 
girl  enters  in  her  yellow  dress,  not  the 
tunic  of  later  years,  Mr.  Babil6e's 
body  crackles  with  tension.  If  his  face 
is  not  young,  his  energy  is  vibrant. 
When  the  girl  blows  smoke  right  üito 
his  face,  he  seems  genuinely  enraged. 
He  can  throw  a  mean  chair  around 
the  room.  He  meditates  before  he 
hangs  himself .  Detail  is  everything. 

Mr.  Babil6e  should  dance  *'Le 
Jeune  Homme  et  la  Mort"  in  New 
York.  ■ 


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Cher  Jean-- 

Vous  avez,  je  pense,  un  anniversaire  le  3  Fevrier —  un  nuraero  "rond**  merne? 
En  tout  cas:  HAi'^l  HflÄWRUAY  and  many  happy  returns ! 

Votre  spectacle  en  Xovembre  s*est  i)ien  pas^  Vous  en  etiez  content?  Je  vous 

avais  envoye  mes  "wishes**  dans  mes  pensees...  Qne   faites  vous  maintenant— 

nuand  xxsHoixRX  vous  ä  ^*ev  'Work? 
*     venez 

Je  tr.e  rapoelle  toujours  avec  plaisir  de  notre  conversation,  surtout  sur 
"vision  Rt  experience"--  comme  d'habitude  c'etait  interessant  et 'amüsant, 
donc,  j  *airaerais  vous  savoir  raoins  loin— 

A  bientot,  peutetre? 


Et  encore  tous  mes  voeux  (pas  seulement  a  propos  de  1  *anniversair,^  bien  sur!) 


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54 


■  ■.■;■>•/•■*.;<'''*,•■ 


THE  NEW  YORK  TIMES,  SUNDAY,  SEPTEMBER  30,  1979 


Film:  A  Slow  Cloud  of  Gloom  for  a  'Short  Memory ' 


ByJANETMASLIN 

The  light  in  Eduarde  de  Gregorio's 
•'Short  Memory"  emanates  from 
sources  at  a  far  remove  from  the  char- 
acters  —  from  outside  a  Window  if  the 
actofsare  indoors,  or  from  a  lamp  that 
casts  their  faces  in  shadow,  or  perhaps 
there's  barely  any  light  at  all.  In  addi- 
tion,  the  sound  is  muffled,  as  if  the  ac- 
tiOQ  were  taking  place  under  water. 
This  might  make  för^  perfect  climate 
for  GOntemplation  if  it  did  not  become 
SO  evident,  midway  through  "Short 
Memory,"  that  the  effect  existed  solely 
for.lt9  own  sake.  The  style  is  arresting 

ri       The  Gast 


»at\ 


LA  MEMOIRE  COURTE  (Short  Mtmory),  dirtcted  t>v 
EduATdo  de  Grtgoilo;  scrttnpla  v  ( Freoch  with  Eno- 
lish  subtitles)  bv  Edgardo  Coz*rtn$Ky  and  Mr.  de 
Greflorfo;  photography,  Wtlly  Lubtchensky;  edited 
by  Nicole  Lubtcharuky;  music  bv  Henri  Mortlle  and 
Pierre  Lorrain;  productfon  compenles,  Unite  Trofs 
(Paris)  and  Paradiw  Films  (Brusteis).  At  tt)e  17th 
New  York  Film  Festival,  Alice  Tully  Hall.  Runnlng 
time:  lOSmlnutes.Thlsfllmlsnotrated. 

Judith  Mesmi Nathane  Baye 

Frank-Barlla Phlllpoe  Leotard 

Genviftve Defnooe  ..•.••••.•#.. Bulle C^ier 

Judith's  Husband Kavier  St.  Macary 

Mr.  Mann Adrian  Brine 

Mrs.  Mann Clalre  Wauthlon 

Mr.Mafm'sSecretary Benolt  Jacquot 

UNEJ&CO  Interpret Rachel  Sallk 


« •      ft 


FLASHBACKS: 


Macet/aucourt .^..... Jacques  RIvette 

Madame  Jaucourt ^^^Hermlne  Karagheuz^ 

AAr.Mann 

General  San  Juan Eduarde  Manet 

Ballen  Roaes  Assistant Martine  SImonet 

Madanr>eToth Ellsabetti  Kaza 

Androu Philippe  Liotard 

Frank's  Father Claude  Olller 

FranH'«  Mother ..»^^Marte  Jaoul 

O.A.S«  Member * ••• Fredenc  Mitterand 

jaeder Ptiiiippe  Leotard 


at  Hrst,  but  after  a  time  it  grows  ac- 
tivelyunhelpful. 

Mr.  de  Gregorio,  in  attempting  to 
combine  a  very  studied  brand  of  film 
noir  wlth  a  meditation  on  guilt,  keeps 
himself  at  least  two  removes  from  any 
real  insight  or  urgency.  The  guilt, 
which  in  particular  is  French  guilt 
about  World  War  II,  never.  emerges 
froiri  the  film's  cloud  of  slow-moving 
gloom;  as  for  the  film  noir,  it  requires 
more  movement  than  the  somnambu- 
lant  stalking  Mr.  de  Gregorio  favors. 
The  Problem  isn*t  just  the  film's  muted 
möbd  —  it's  the  combination  of 
thoughtful  atmosphere  and  ill-consid- 
ereodecisions  that  proves  most  mad- 
dening. 

• 

One  such  touch  is  the  casting  of  the 
same  actor  as  a  young  man  searching 
for  Nazi  war  criminals  and  also  —  in 
flashbacks  —  as  the  criminals  them- 
selves.  Never  mind  that  the  actor,  Phi- 
li[^  L^tard,  is  slightly  off-beam  for 
aNV  of  these  roles,  because  he  must 
v^k  so  hard  to  eradicate  a  natural 
ease  that's  out  of  place  in  this  solenm 
sCheme.  The  real  problem  is  this:  Mr. 


Nathalie  Baye  in  "Short  Memory' 


de  Gregorio's  point  in  making  multiple 
use  of  the  man  —  that  everyone  is  an 
accomplice,  something  along  those 
lines  ~  is  much  less  important  than  the 
likelihood  that  the  viewer  will  assume 
that  Mr.  Leotard,  or  perhaps  his  father, 
or  perhaps  his  great-uncle  Fred,  actu- 
ally  was  a  war  criminal.  The  intrigue 
plot  of  ''Short  Memory"  isn*t  remotely 
streng  enough  to  bear  the  weight  of  this 
confusion. 

The  focus  of  the  story  is  a  glum, 
lonely  UNESCO  Interpreter,  played  by 
Nathalie  Baye,  who  seems  the  least 
likely  person  in  the  world  to  get  in- 
vol  ved  in  a  Nazi-himting  scheme — per- 
haps that's  the  very  idea.  In  any  case, 
Miss  Baye  is  seen  reading  and  pacing 
and  brocKÜng  for  a  long  while  before 
anything  actuaUy  happens,  although 
her  research  is  intemipted  by  flash- 
backs, some  of  which  feature  the  direc- 


tor  Jacques  Rivette.  Mr.  de  Gregorio 
was  a  collaborator  on  several  of  Mr.  Ri- 
vette's  films,  among  them  **Celine  and 
Julie  GoBoating." 

Bulle  Ogier^  the  star  of  Mr.  de  Grego- 


rio's **Serail,**  appears  this  time  as  an 
Eva  Perön  figure,  wearing  spangled 
dinner  clothes  and  a  shrewd,  icy  smile. 
Unlike  Miss  Baye,  who  is  intentionally 
so  bland  she  can  be  upstaged  by  the  ac- 
tivity  on  a  televison  screen  in  her 
gloomy  living  room,  Miss  Ogier  makes 
a  f ine  locus  of  attention.  Her  character, 
the  very  embodiment  of  evll,  is  the 
most  broadly  drawn  figure  in  the  film, 
and  the  simplest.  Pertiaps  for  that  rea- 
son,  she's  the  only  one  who  seems  to  be 
all  there. 

"Short  Memory"  will  be  shown  today 
at  2  and  9:30  P.M.  as  part  of  the  New 
York  Film  Festival. 


F.C.C.  Is  Sued  for  Data 
On  Sect  in  Guyana  Killings 

Contending  that  it  would  be  in  the 
public  interest  to  obtain  authoritative 
Information  about  the  People's  Temple 
in  California  and  in  Jonestown,  Guya- 
na, James  Reston  Jr.  has  filed  a  com- 
plaint  in  United  States  District  Court, 
District  of  Columbia.  The  purpose  of 
the  suit  is  to  compel  the  Federal  Com- 
munications Commissions  to  provide 
him  with  tape  recordings,  transcrip- 
tions  and  documents  conceming  Com- 
munications between  the  organiza- 
tion's  branches  for  a  book  he  is  writing 
about  the  religious  sect  and  massacre 
at  its  Jonestown  commune  last  Novem- 
ber. 

The  action,  filed  under  the  Freedom 
of  Information  Act,  said  the  defend- 
ants,  the  F.C.C.  and  its  chairman, 
Charles  D.  Ferris,  have  Mr.  Reston  ac- 
cess  to  the  Information.  The  F.C.C. 
maintains  that,  under  the  law,  it  must 
Protect  transmissions  of  a  private  na- 
ture.  Mr.  Reston,  an  author  and  teach- 
er,  is  on  leave  from  the  University  of 
North  Carolina  at  Chapel  Hill  to  write 
the  book. 


Dance:7'/i] 
Sensuous 
'Spectre' 


AMERICAN  BALLET  THEATER'S 
minor  F(rfcine  festivaJ,  which 
contipues  at  the  Metropolitan 
Opera  House  until  tonight's 
Performance,  has  had  to  ring  the 
changes  on  only  four  ballets.  On  Mon- 
day  night  it  reintroduced  "Le  Spectre 
de  la  Rose"  into  the  repertory,  to  share 
the  bül  with  "The  Firebird"  and 
"Petrushka/* 

"Spectre,"  set  to  the  populär 
*'L'InviUtion  ä  la  Valse**  by  Weber,  and 
inspired  by  the  poet  Jean -Louis 
Vaudoyer,  is  one  of  the  most  fragile 
of  Fokine's  creations.  To  a  very  large 
cxtent  it  has  been  kept  alive  by  tales 
of  the  legendar>'  Nijinsky,  who  created 
the  role  of  the  Spectre,  with  Tamara 
Karsavina,  who  was  the  first  Young 
Girl  dozing  in  her  chair  dreaming 
mistily  of  her  first  ball. 

For  me,  few  Performances  of  the 
Spectre  have  lived  up  to  pen  the  ghost 
of  the  Tole's  luminous,  ilmost  fluores- 
cent  irafee.  Almost  exictly  30  years 
ago  I  sa\jean  B^bil6e Ad  Erik  Bruhn, 
about  a  yWrtpaxv^nd  these  two  at 
least  had  the  authentic  trails  of  glory 
about  them.  Later,  I  recall  John  Gilpin, 
carefully  coached  by  Anton  Dolin  and 
Karsavina  herseif,  who  while  lacking 
something  in  elevation,  had  all  the 
looks,  poses  and  manner  of  those  in- 
deübly  etched  Nijinsky  photograp^s. 

Somehow — perhaps  wisely,  but  also 
perhaps  sadly — Rudolf  Nureyev  man- 
aged  to  eschew  the  role  (he  nearly 
made  his  London  debut  in  the  ballet, 
but  Mr.  Gilpin  was  already  scheduled 
to  dance  it  with  Margot  Fonteyn  on  the 
program),  which  brings  us  to  Mikhail 
Baryshnikov. 


It  was  about  18  months  ago  that  Mr. 
Baryshnikov  first  danced  th«  ballet  in 
New  York  with  Marianna  Tcherkassky 
^It  was  New  Year*s  Eve,  1975.  Then 
he  was  flamboyant  and  lyrical;  now  re- 
turning  to  the  ballet,  pairtnering  Carla 
Fracci,  he  appeared  eyen  more  sensu- 
ous, more  aware  of  the  role's  implica- 
tions. 

It  was  a  beautiful  Performance,  suf- 
fused  with  that  oddly  a  sexual  yet  also 
eroüc  concept  of  a  man-rose,  with  just 
the  proper  air  of  androgynous  sensu- 
ality  and  fugitive  elusiveness.  The  cho- 
reography,  which  had  been  taught  him 
by  Andr6  Eglevsky,  one  of  Fokine's 
last  pupils,  is  füll  of  the  correct  feath- 
ery  beats,  the  almost  Art  Nouveau 
curves,  and  the  carefully  wraithed 
arms. 

Some  aspects  of  the  choreography  are 
imfamiliar — one  missed,  for  example, 
t&c  famous  pench6  arabesque,  which 
the  Spectre  usually  takes,  supported  by 
the  back  of  the  GirVs  chair,  yet  the 
^irit  of  the  ballet  is  surely  ineffably 
ri^t,  and  Mr.  Barjrshnikov  really  does 
compensate  in  some  degree  for  missing 
Nijinsky  himslf  in  the  ballet 

The  role  of  the  Young  Girl  is  extraor- 
dinarily  difficult.  It  is  actively  passive 
^-4!he  Spectre  must  live  through  the 
suggested  force  of  her  dreaming  Im- 
agination. I  was  once  privilegSi  to 
watch  Tamara  Karsavina  sketch  out  a 
few  of  the  gestures  and  she  evoked  a 
World  of  lost  sentiment  and  social 
structure.  It  was  a  Victorian  dream  of 
the  purest  love. 

Carla  Fracci  presents  an  image  at 
once  romantic  and  Victorian.  I  have  a 
photograph  of  her  somewhere  modeling 
a  Victorian  wedding  dress,  and  the 
corabination  appears  oddly  apposite — 
the  innocent  brow,  the  untroubled 
€nres,  the  quietly  smiling  mouth  seemed 
then  the  ^itome  of  Victoriana.  It  is 
this  quality  that  makes  her  so  suitable 
for  the  Young  Girl  in  "U  Spectre  de 
la  Rose."  She  moves,  fluttering  along 
zephyrlike  to  the  strains  of  a  remem- 
bered  orchestra,  and  even  her  innocu- 
ous  passions  are  guiltily  chaste. 

What  a  lovely  ballet  this  can  be.  A 
PostScript  to  a  generation,  a  memorial 
to  a  way  of  life.  The  Bakst  setting  is 
not  badly  reproduced — Should  there 
not  be  a  bird  cage  somewhere? — and 
the  Girl's  costume  is  charming.  The 
man's  costume,  for  some  reason,  is  not 
Bakst's  design,  but  an  Improvisation 
on  the  same  theme  by  Stanley  Sim- 
mons.  It  should  be  rectified. 

Clive  Barnes 


THE  NEW  YORK  TIMES,  FRIDAY,  JANUARY  2,  1976 


The  Dance:  'Le  Spectre  de  la  Rose' 


Ballet  Theater  Catches 
Poem  on  the  Wing 


LE  SPECTRE  DE  LA  ROSE.  Choreog- 
raphy,  Michel  Fokine;  staaed  by 
Ar^re  Elglevsky  (assisted  by  Annabelle 
Lyon);  music,  Carl  AAaria  von  Weber; 
scenery  and  cosl^ume  fcr  Young  Girl, 
Leon  Bakst;  costume  for  Rose,  Stanley 
Sinnmcns;  lighting,  Nananne  Porclier; 
condixrtor,   Akira    Endo. 

Yoi>ng  Girl  M.arianna  Tcherkassk/ 

Rose   Mikhail   Baryshnikov 

By    CLIVE    BARNES 

"His  danciiig  is  accom- 
plished  in  that  flowing  line, 
without  a  break  between 
poses  and  gestures,  which  is 
the  despair  of  all  novices  and 
almost  all  other  virtuosi.  Aft- 
er a  particularly  difficult 
leap  or  toss  of  the  legs  or 
arms,  it  is  a  marvel  to  ob- 
serve  how,  without  an  in- 
stant's  pause  to  regain  his 
poise,  he  rhythmically  glides 
into  the  succeeding  gesture. 

"His  dancing  has  the  un- 

broken  quality  of  music,  the 
balance  of  great  painting,  the 
meaning  of  fine  literature, 
and  the  emotion  inherent  in 
all  these  arts.  There  is  some- 
thing  of  a  transmutation  in 
his  Performances;  he  becomes 
an  alembic,  transforming 
movement  into  a  finely 
wrought  and  beautiful  work 
of  art." 

Thus  my  predecessor  Carl 
Van  Vechten  wrote  in  The 
New  York  Times  in  1917 
about  Vaslav  Nijinsky  in  Fo- 
kine's  "Le  Spectre  de  la  Rose." 
There  are  very  few  people 
alive  today  who  actually  saw 
Nijinsky  clear.  He  is  a  spectre 
of   a   spectre,   an   intangible 


The  New  York  Times 

Dorothy  Kirsten  in  cos- 
tume Wednesday  night  at 
Met. 

legend  now  outside  of  time. 
Hut  Mr.  Van  Vechten's  words 
seem  to  have  a  relevance  to 
the  way  Mikhail  Baryshnikov 
danced  this  same  ballet  of 
the  Uris  Theater  on  Wednes- 
day night. 

"Le  Spectre  de  la  Rose" 
has  been  an  irregulär  con- 
stituent  of  the  American 
Ballet  Theater  repertory  for 
some  years.  In  its  present 
form  it  has  been  staged  by 
Andr6  Eglevsky  —  who  was 
probably  Fokine's  last  true 
disciple  and  consequently 
happens  to  know  that  reper- 


Baryshnikov  Fantastic, 
Tcherkassky  Lovely 


of   one's 

as  ele- 
ave  Seen 


tory  with  a  fierce  love — and 
choreographically  it  is  sü- 
perb. Mr.  Eglevsky,  and  the 
rest  of  the  Ballet  Theater 
staff,  have  really  caught  this 
essentially  evanescent  dance 
poem  on  the  wing.  The 
scenery  is  said  to  be  by  Leon 
Bakst.  Were  he  alive,  he 
should  sue.  The  setting  is  not 
exactly  unpretty,  but  it  very 
certainly  is  not  Bakst.  It  is 

very  subtly  wrong — an  Inva- 
sion,   as    it   were, 
artistic  privacy. 

Mr.  Baryshnikov 
gantly  effortless.  I 
a  number  of  mer^n  this  role 

particularly 
Babill6.>^rik  Bruhn  and 
no  one  quite 
gay^^oöfti^ne  sense  of  what 
the  ballet  was  about.  A  kiss 
to  Weber?  A  moment  of 
touching  that  was  outside  of 
time.  A  memory  of  a  love 
never  recognized.  This  is 
what  Mr.  Baryshnikov  por- 
trayed.  He  danced  to  the 
pulse  of  the  music,  and,  most 
unusual,  he  took  the  legend 
of  the  ballet  and  leapt  with 
it.  He  danced  in  curves  and 
curvatures,  with  a  hidden 
smile.  It  was  fantastic.  It 
made  at  least  one  person  feel 
a  little  bit  better  about  hav- 
ing  never  seen  Nijinsky. 

But  this  danced  poem  of  a 
young  girl's  awakening  was 
never  Nijinsky's  alone.  The 
dance  image  belonged  to  a 
woman,  a  young  girl  recall- 
ing  the  first  raptures  of  a 
ball,  with  chandeliers,  Cham- 
pagne and  effort.  As  the 
Young  Girl,  Marianna  Tcher- 
kassky had  a  special  elo- 
quence.  To  adapt  Byron,  sfhe 
danced  in  beauty;  there  was 
a  certain  dreamlike  simplic- 
ity  to  her  that  was  absolutely 
right  for  the  ballet. 


Satui 

ILT 

New! 

Ehrlir 
TheV! 
Chool 
Qiool 

Seat 

Sat 

Ul 

Lewi 
Seal 

For 
Ope| 
fror 
resel 

All 

Seat 

on 

Sei 

sor 

59; 


14' 


JSIvyiJIY 


Baryshnikovs  Return:  A  Double  Ff c|f i|f ^ 


By  FRANCES  HEBRIDGE 

^  In  tihe  parade  of  great 
Stars  American  Ballet  Thea- 
ter has  been  treating  us  to 
this  season,  the  latest  Is  Mik- 
hall  Baryshnikov.  He  made 
his  first  appearance  last 
night  at  t)ie  New  York  State 
Theater  k\  not  one  but  two 
ballets — each  in  a  contrasting 
ßtyle. 

In  the  "Pas  de  Deux'*  from 
"Le  Corsaire,"  he  shows  that 
his  classic  technique  is  still 
spectacular.  This  is  Rudolf 
Nureyev's  adaptation  of  the 
Petipa  original,  the  o<ne  in 
which  Nureyev  first  astound- 
•d  US  "with  those  slanted 
turns   in  the  air  and   those 

rrrgri  juiirps  Wim  icjj»  curicu 

tight.  Baryshnikov,  in  his 
soQo,  does  them  too,  with  im^ 
maculate  line  and  effortless 
grace.  and  he  adds  a  down- 
lip  elevatlon  in  the  midst  of  a 
spin  which  may  be  his  own 
invention. 

He  is  the  same  astound- 
Ing  dancer  we  remember. 
But  t-he  surprise  last  night 
was  Gelsey  Kirkland.  She 
was  so  exquisite  that,  when 
the  two  were  on  stage  to- 
gether,  I  watched  her.  I 
don't  recall  that  happening 
before. 

Swc«t  Yoiing:  Spirit 

She  floated  with  ease 
through  her  tremendously 
dlfficult  Variation s,  splnning 
ft|a  long  and  so  lightly  on 
cbe  that  she  didn't  «»eem 
human.  She  was  more  liTce  a 
beautlful  top,  with  a  magic 
ppring  which  slowly  unwinds^ 
riforever.  And  she  captured 
your  attention  with  her 
sweet  young  spirit. 

She  is  an  ideal  partner  for 
Baryshnikov,  in  size,  in 
charm  and  in  sensitive  mu- 
sical  phrasing— if  he  doesn't 
mind  the  competition. 


BONNDS  MATHIS  and  MIKHAIL  BARYSHNIKOV 


He  had  the  focus  pretty 
much  on  himself  in  ''Le 
Jeune  Homme  Et  La  Mort." 
This  ts  Roland  Petit's  silly. 
novelty  put  together  some 
30    years    ago    for    another 


that  shabby  garret.  Death  In 
the  form  of  a  luring  woman 
(Bonnie  Mathls)  taunts  him, 
eludes  him  at  first,  but  then 
gives  him  the  rope  with 
which  to  hang  himself.  When 


electrifying  personalltyl  Jean    Yw^  dbes,  she  retums  to  lead 
Babilee.  It  has  been  reniSmcd^-^m  away. 

Not  much  plot  or  sense,  but 


ror  bary^mikov,  to  give  him 
some  acting  and  modern  bal- 
let to  play  with.  And  he  tums 
on  füll  steam. 

He  is  the  angry  and  ago- 
nized  artist  who  courts  de«ith 
for  no  apparent  reason  un- 
less  he's   tlred  of   livlng  Jn 


temperamental  pyrotechnics 
that  are  fun  to  watch  only 
because  Baryslinikov  does 
them  so  well.  He  fiexes  his 
leg  muscles,  does  push-ups 
from  a  table,  jumps  on  it, 
Swings  over  it  and  kicks  it 
upsidedown.  He  battles  with 
Miss  Mathis  apache  style, 
forcing  her  to  heed  him.  And 
he  dejectedly  throws  himself 
about  on  the  bed,  cnairs  and 
anything  in  reach. 

Modern-BaUet  Fiecc« 

But  the  work  no  longer  has 
the  excitement  it  had  last 
season.  It  is  not  as  well 
lighted.  Bary:5hnlkov  doesn't 
put  the  same  intensity  in  his 
acting.  And  for  good  reason. 

The  novelty  of  llie  work, 
once  seen  —  and  no  doubt 
once  danced  —  wears  off  on 
repetition.  The  contrivance  of 
the  choreography  ])ecomes 
too  apparent.  The  muscular 
display  no  longer  is  spon- 
taneous. 

The  program  opened  with 
Alvin  Ailey's  "The  River." 
which  has  become  after 
several  changes  a  series  of 
good  modern- ballet  pieces 
shifting  from  ensemble  to 
solos  to  pas  de  deux,  trois, 
quatre,  etc. 

The  subtitles  may  puzzle 
you.  Don't  expect  "Giggling 
Rapids,"  "Vortex,"  "Falls," 
"Two  Cities."  Just  enjoy 
them  and  the  varied  Duke 
Ellington  music  for  its  lyric 
or  jazzy  flow. 

Of  the  performers,  Fer- 
nando Bujones  was  sensa- 
tional   In    "Rapids."    It   was 


no  competition  from  his  Part- 
ner (Hilda  Morales).  His 
clean  brilliant  technique  was 
magnetic. 

Also  outstandlng  were 
Jolinda  Mendez  for  her  90- 
degree  extensions  in  "Mean- 
der"  and  Oliarles  Ward  for 
his  elan  in  "Falls." 

The  final  "Etudes"  is  too 
slow  at  getting  started,  too 
long-winded  to  come  at  the 
end  of  a  program.  It  is 
Harald  Landor's  series  of 
classroom  ballet  work  which 


grows  niore  advanced  as  the 
exercis%^i«öi^A«  ^tf 'qleVijr 


score  jrt>^ ^f&otfe  hoatiiplejr. 
But  it  takes  forever  to  get 
through  the  obvious  barre 
routines. 

Eventually  It  becomes  a 
diverting  showcase  for  Ted 
Kivitt,  with  -  his  impressive 
spins,  and.  particularly  for 
Martine  van  Haniol  with  her 
truly  regal  smoothness.  What 
a  beautiful  young  queen  she 
would  make  for  a  fairytale 
classic! 


S 


2 
m 

-< 

o 

3 


Ol 

O 
> 


it's  an  excuse  for  a  lot  of  a  pas' de  deux,  but  he  had 


■*..:.  >^V 


■yrytii^:;:k-''^^:.;yiy:i^'^r^'^if>'n^iiyZ:i^^^ 


THE  NEW  YORK  TIMES,  WEDNESDAY,  JULY  2j,  i975 


;:  Ballet:  Baryshnikov  Performs  2  Conträsting  Roles 


'tt 


r 


Partners  Kirkland  in  a 
Dashing  *Corsaire* 


By  CLIVE  BARNES 

^ikhail    Baryshnikov    re- 
turned  to  New  York  on  Mon- 
day  night  in  two  completely 
contracting    roles.    The    fa- 
mous    Russian    dancer    was 
appearing  at  the  New   York 
State  Theater  with,  of  course, 
his   recently   adopted   home 
con^pany,    American    Ballet 
Theater.  For  this  first  appea- 
rance  of  the  season  he  elect- 
ed  to  be  seen  in  the  romanti- 
cally  classical  "Corsaire"  pas 
de  deux,   partnering  Gelsey 
Kirkland,  and  in  Roland  Pe- 
tit's  existentialist  memoir  of 
the     nineteen  -  forties,     "Lc 
Jeune  Homme  et  la  Mort," 
in   which   he   was  matched 
by  Bonmde  Mathis. 
• 
Wearing   a   plume  in   his 
hair,      rather      as      Rudolf 
Nureyev  did  in  the  old  days. 
Mr.  Baryshnikov  gave  a  love- 
ly  example  of  dashing  danc- 
ihg.  In  "Le  Corsaire,"  pan- 
acne    (that    plume   in    your 
dancing  as  well  as  in  your 
hair)    is    all-important,    and 
Mr.      Baryshnikov      showed 
both   this   and  style.   There 
were    few    signs — ^not    least 
a  strained  expression  occa- 
sionally  passing  his  face  — 
that  he  was  pushinig  himself 
harder  than   when   he  first 
came  to  the  West.  He  should 
be  careful  of  this.   Ease  is 
beauXy. 

Mlfs     Kirkland's      fragile 


strength  goes  exceedingly 
well  with  his  masculine  and 
ardent  flamboyance,  and  she 
was  dancing  beautifuUy.  Hber 
Variation  —  taken  from  Dri- 
go's  "Harlequinade"  perhaps? 
—  seemed  unsuitable  both 
musically  and  choreographi- 
cally,  having  only  its  deftly 
surmounted  difficulties  to 
commend  it. 

Jean  Cocteau's  ballet  "Le 
Jeune  Homme  et  la  Mort" 
seemed  strikingly  modern  in 
1946,  but  it  is  the  fate  of 
things  that  once  seem  strik- 
ingly modern  that  they  al- 
most  always  date.  Still  the 
Story  of  a  young  painter 
finding  death  in  a  Paris  attic 
to  the  sonorous  accompa- 
niment  of  Bach's  C  Minor 
Passacaglia  may  still  be  good 
for  the  odd  frisson  from  the 
unwary,  and  Roland  Petit  has 
quite  cleverly  adapted  his 
original  choteography,  first 
designed  for\Jean  Babill^e, 
to  suit  the  dif 

al  and  technical  specifics  of 
Mr.  Baryshnikov. 

Mr.  Babill6e's  wild-eyed  in- 
tensity  is  gone  with  his 
Christian  Berard  boiler-suit 
caught  up  at  one  Shoulder, 
but  Mr.  Baryshnikov  dies 
with  a  decently  fevered  po- 
etry,  and  his  dancing  is  sü- 
perb. Miss  Mathis  now  makes 
more  of  the  taunting  girl 
who  changes  into  a  regal 
goddess  of  death,  and  it  is 
very  nice  to  see  the  complete 
Georges  Wakhevitch  attic 
setting  being  employed. 
When  the  revival  was  new 
at  the  City  Center  55th  Street 


Theater  this  past  January, 
it  was  not  possible  to  fly 
the  entire  set.  Justice  is  now 
done  to  it  at  the  State  Thea- 
ter— and  it  looks  beautiful. 

• 
The  program  opened  with 
Alvin  Ailey's  "Ihe  River" 
and  ended  with  a  repeat  of 
Harald  Lander's  "Etudes."  In 
"The  River"  the  ubiquitous 
and  exuberant  Fernando  Bu- 
jones  was  making  his  first 
appearance,  partnering  Hilda 
Morales  in  the"Giggling  Rap- 


SuperbinPetit'sDated 
*Homme  et  Mort' 


ids"  duet  originally  created 
for  Natalia  Makarova  and 
Erik  Bruhn.  Mr.  Buiones 
danced  with  a  quicksilver 
grace,  adding  a  few  gig^ies 
and  a  few  rapids  of  his  own 
not  quite  recalled  from  th' 
original.  But  no  härm  was 
done,  and  it  added  to  the 
fun. 


\RD  BERNSTEIN'S  GR[ 


^  1  Xw-c^  ^l^rxl-j^ 

Baryshnikov's  'Vestris' 
Is  a  Triumph  in  Capital 


special  to  The  Srw  Yorlc  Tim*« 

WASHINGTON.  May  21— 
It  was  virtually  a  Mikhail 
Ban^shnikov  gala  at  the  John 
F.  Kennedy  Center  last  night, 
^hen  the  American  Ballet 
Theater  had  its  Russian  Super- 
star offering  the  American 
premiere  of  his  prize-winning 
solo,  "Vestris,"  and  also  ap- 
pearing  in  "La  Bayad^re"  and 
/|Le  Jeune  Homme  et  la 
Mort."  The  program,  which 
was  completed  with  Ken- 
jieth  MacMillan's  "Concerto," 
might  have  been — and  pos- 
sibly  was— designed  to  show 
the  ränge  and  versatility  of 
Mr.  Baryshnikov's  particular 
dance  genius.  Although  I 
^^ye  been  fortunate  enough 

•  to'watch  him  on  and  off  since' 
l  his    debut    in    Leningrad    in 

•  1967.  I  think  I  have  never 
J  before  seen  him  in  quite  such 

•  exultant  form. 

t  The  highlight  of  the  eve- 
ining  was  the  premiere  of 
I  "Vestris,"  a  seven-minute  solo 
%  that  was  specially  created 
'for  Mr.  Baryshnikov  by  the 
^  Leningrad  choreographer 

»Leonid  Jacobson  when  the 
:i  dancer  was  about  to  enter 
4  the  International  Dance  Con- 
"*course  in  Moscow  in  1969. 
iThe  music,  an  18th-century 
^  pastiche  by  Gennedi  Banchi- 
ikov,  has  had  to  be  recon- 
>structed,  a  piano  transcription 
*being  first  made  from  a  pho- 
»nograph  record,  and  then 
'^finally  the  orchestration. 
^**Vestris"  has  survived  this 
»musical  mauling  very  resil- 
^iently. 

*^  The  dance  itself  is  a  per- 
»^fect  joy — a  cameo  impression 
Vof  a  dancer,  of  a  style,  of  a 
^period  and  of  a  man.  Within 
*its  brief  compass  it  manages 
*to  convey  a  whole  sheaf  of 
Jdramatic  and  Choreographie 
;messages,  yet  to  call  it  a  tour 
<<ie  force  is  possibly  to  em- 
*phasize  its  virtuosity  at  the 
'ejqjense  of  its  expressiveness. 
^  The  solo  is  based  on  Au- 
iguste  Vestris,  the  most  fa- 
*mous  of  the  Vestris  dynasty 
*of  dancers,  who  was  bom  in 
U760  and  died  in  1842.  It  was 
.^said  of  Auguste,  the  son  of 
♦the  great  Gaetano  Vestris, 
•that  he  "on  one  leg  could  do 
Iwhat  erst  nor  mortal  could 
fachieve  on  two." 
4  Mr.  Jacobson  has  coil- 
•»ceived  the  solo  partly  as  pure 
^ance  but  with  seven  epi- 
»sodes,  most  of  them  mime, 
ijhese  episodes  represent  "An 
Joid  Man  Dancing  the  Minu- 
let," "The  Coquette  Dance," 
V'The  Preacher-Prophet, 

^"Classical  Dance  Variations, 
ll^'^Prayer/*  "Laughter"  and 
•'*"Dying  Man." 
i[  Very  clearly,  Mr.  Jacob- 
^son  has  here  been  much  in- 
-lluenced  by  Marcpl  Marceau, 
w^o'by  the  time  of  the  crea- 
tion  of  the  dance  had  toured 
three  times  in  the  Soviet 
Union.  Some  of  the  dramatic 
devices,  such  as  a  band  pass- 
ing across  the  face  to  sug- 
gest  the  ending  of  an  episode, 
are  pure  Marceau,  and  many 
of  the  mime  passages  suggest 
the  French  master.  But  the 
originality  of  the  piece  re- 
mains  exceptional.  Mr.  Bary- 
shnikov, with  his  white  wig» 
satin  costume,  flourishing 
hands  and  mobile  face,  is 
partly  an  ISth-century  Car- 
toon, suggesting  with  his 
grotesque  classicism  precise- 
ly  the  old  drawings  of  Ves- 
trjjS.  The  style  is  immaculate, 
büt  there  are  many  startling 
innovations  that  Vestris  him- 
sejf  could  hard'.y  have 
diteamed  of. 

'^e  program  opened  with 
a  magisterial  Performance  of 
*'La  Bayad^re,"  in  which  Mr. 
Baryshnikov  was  matched  by 
his  consort,  Gelsey  Kirkland, 
who  was  all  but  visibly  glow- 
ing  from  her  triumphant  de- 
but in  "Giselle"  the  other 
day.  Here  in  *'La  Bayad^re" 
she  glittered  sumptuously, 
like  a  young  princess  allowed 
to  wear  part  of  the  State  re- 
galia  for  the  first  time. 

Mr.  Baryshnikov  was  also 
busy  outshining  himself, 
with  a  freshly  bumished  in- 
tensity  and  some  pantherine 
leaos. 

Roland  Petifs  "Jeune  Hom- 


>> 


It 


tt 


The  Program 

VESTRIS,  choreoqrsphy,  Leonid  Jacob- 
son; music  Gennedi  Banchikov;  li^ht- 
ing,  Nanannc  Porcher.  With  Mikhail 
Baryshnikov.  Pr^sented  by  Ameriran 
Baiiel  Theater  a1  the  Kennedy  Center 
for    the    Performing    Aris,    Washington. 


..»» 


me"  is  tawdry  but  interest- 
ing,  like  a  bad  movie  one 
can  guiltily  enjoy  for  all  the 
wrong  reasons.  Mr.  Barysh- 
nikov has  gotten  the 
measure  of  its  classically 
doomed  existentialist  hero 
more  thasn  he  had  when  the 
revival  was  new  in  New 
York  in  January.  But  the 
role  still  does  not  really  suit 
him.  He  never  summons  up 
the  feral  rage  that  made 
Jean  BabilMe  unforgettable 
the  work. 


<< 


»tisi 


Qjyt:  Barnes 


433  l'Ast  51  Street 
New  YorK,  N.Y.  10022 

14  Juiliet  1979 

■\ 

\ 
V 

eher  Jean*— 

II  fant  vous  ecrir*  a  1 'instant  aprea  la  joie  inattendim  de  vous  voir  dans 
cette  photo  extraordinaire  de  Dance  Magazine!   Si  je  ne  vous  avais  jamais  vxi 
danser,  ni  rencontre,  ni  meme  savais  qui  vous  etes,  cette  photo  m'a\irait  boiile- 
versee  par  son  '*umanitÄ**»»«   C'est  admirahle  coimie  Jack  Mitcliell  a  reussi  de 
noiis  donner  pour  tonjours  cet  imaf^e  qui  me  parait  etre  l'KSöKNCE  de  Jean  liabilee, 
l^Jt  encorc:  c'est  bien  l'ima^e  d'un  homme  I%N  i*AlX  et  cela  est  merveilleux« 

Von«  vous  croyez  ''tres  simple"?  Tout  le  contraire  de  chatoyant??  C'est  etonnant 
bien  que  j'ai  connu  autres  grands  artistes  qui  se  sont  viis  ainsi«   N'est-ce  pas 
plutot  le  cote  demoniaque  dSm  peraonnaße,  dans  le  sens  ^recqiie  classique!,  qui 
cree  l'art  et  la  presence  artistique?  Ce  que  vous  dites  dans  l'article  (ca  sonne 
autJientique)  a  arrondit  le  peu  que  je  vous  connais  et  cela  me  fait  f)lai8ir#   CornriC, 
egalement,  l*obaervation  de  Buckle  a  propos  de  vos  brasj  je  vous  l'ai  dit,  je  pense: 
cet  arc,  en  rcf^ardant  l'heure,  que  vous  avez  fait  avec  votre  bras  ^^auche  ati  coramen- 
cement  du  JVUNI'.  ll' MMK  etait  un  des  moments  inoubliables  pour  moi,  sans  Jptvoir  pour— 
quoi»   D*ailleurs—  c'est  cette  f)hoto  du  JhlFNK  H(MtK  pendu  quo  vous  m'avez  dedicacee 
"avf^c  mon  amitie**!  ^ 

yuel  (lomrnaf^e  qu'on  ne  peut  j>as  se  parier  «^üais  jo  suis  content e  enfin  de  savoir 
epoler  le  nom  dÄHermine!   Comment  va-t-elle —  sa  pieco  a  bien  marche? 

Et  vous?  Conment  allez-vous —  qiiand  revenez  vous  a  New  York?  J>ut-etre  tout  le 
meme  avec  L'HISTüIKiO  J)U  SOJ^>AT?  ()n  trouvera  quelques  i^rancais  ici  et  des  gons  (jui 
parlont  ia  langue  —  l'/Vmbassade  i*'rancaise  devrait  arj^ger  le  sj)ectacle  quant  aux 
frais,  si  les  Kusses  pouvenb  envoyer  le  liolshoi,.,   Hevf»noz  avec  quoLque  te  soit 
mais  revenez! 


Tous  nes  voeux  pour  vous  et  üennine—  et  a  bientot  j  espere! 


P.S.  J'ai  lu  dans  les  ^**emoires  de  Simone  Si^oret  qu'il  ne  faut  pas  offrir  les 
oeillets  rouf^es —  dans  mon  if^norance,  dont  je  m'excuse,  j 'avais  prefere  l'oeillet 
a  la  rose  comine  flour  setile  pour  un  homne! 


Vou8  avez  un  carlj^t  d*adresses? 
433  y^sit  51  Str«et 
N«w  Yoric,  N.Y,   10022 
tel.   688-2934 


7  Avril  1979 


Cher  J«an— 

Avant  de  parti^,  vous  avez  surement  vii  cet  article  splundide  (ri^viie  tros  iraportante 
ici) —  peut-etre  vous  voiil«z  une  copi^  d«  ]>lus? 

J'espere  qu«  votr«  rentrec  s*est  bien  passee —  llermine  est  ravissante  avec  ses  yeiix 
trai:\sparent3 —  j'aimerais  la  "connaitr*^  tun  i^eu'^ —  et  je  cxpi»  a  ses  possibilites  et 
fmJSi^sxxcceSp   dite»-le  lui,  je  vous  prie!   Kt  tms  mes  voeux  pour  sa  piece! 

Ouant  a  cet  hoinme  chatoyant  (iridescent^eni  ani^lais,  schillernd  en  allenand),  j'ai 
boaucoup  reflechi  sur  lui«   Jorame  si  avÄc^vmr  immense  elovation  de  Bluebird  a  travers 
de  27  annees  11  est  maintenant  devenu  grande  personne,  ajoutant  cette  sagesse  qui  ne 
vient  pas  <lu  neant  mais  doit  etre  acqutrie  *Vith  blood  and  tears**,  par  la  generosite 
de  coeuTi  de  comx)rehension9  tant  de  choses  dont  aiicij^  facile«««  Je  vous  ai  ecoute 
avec  joie  quand  vous  ia*avez  fait  voir  quelques  unes^de  c«s  couleurs  nacrees  qui  fönt 
Partie  de  Jean  ^abilee* 

Bien  que  personne  ne  sait  vraiment  d'ou  vient  la  source  de  l'art  dana  les  etres, 
j*ni  toujours  pense  que  c'est  surtout  dans  le  conflit:  ou  interieAr,  emotionell 
androg3me,  ou  avec  le  monde  exterieur—  les  extremes  ne  »e  touchent  pas  necessaire- 
ment,  ila  se  hattent  plutot»  Uue,  "heureux  et  en  paix"  vous  avez  reussi  de  nous 
ensorcelcr  et  tellement  emouvoir  sur  la  scene  me  semble  encore  plus  etonnar^t,  extra- 
ordinaire  et  tout  a  fait  merveilleux« 


Pour  1 'Opera— •  quand  y  danserez-vou»?—  je  vous  soiihaite  la  meme  reponse  qu'a  New 
York,  la  neiie  salle  captivee  en  silence  totale  et,  le  comble:  votre  contentement 
a  VOUS. 

Dans  un  moment  tres  difficile  (parmi  les  sauvages)  vo\is  m'avez  encoura^^tee  et  apporte 
beaucoup,  Jean,  je  m*en  rejouis  et  vous  en  remercie»   II  ni'attriate  qne  Pj^ris  est  si 
loin  pour  vouafccouter  et  vous  parier  rwirfois—  mais  vous  n'allez  tout  de  meine  pa« 
coDipletement  disparaitr»  de  ma  vie  pour  un  autre  27  ans??? 


Je  vous  embrasae,  Jean«  Et  Hermine» 


4^  M  H^ 


'>'i     '\    '7. 


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MARCH2t.l97  9 


DANCING 

Nureyev  as  Nijinskyy  Babilee  as  Babilee 


IN  the  Ken  Russell  film  "Valen- 
tino,"  Nijinsky  kept  popping  up, 
almost  as  if  the  casting  of  Rudolf 
Nureyev  as  Valentino  had  thrown 
Russell  into  a  dreamy  quandary  over 
which  legendary  male  Star  he  really 
wanted  to  make  a  film  about.  In  the 
first  reel,  Valentino  teaches  Nijinsky 
to  tango,  and  in  another  scene  Valen- 
tino is  posing  as  the  Faun  for  what  it 
is  hinted  are  lascivious  photographs 
taken  with  his  wife,  Natacha  Ram- 
bova,  at  the  instigation  of  her  friend 
Alla  Nazimova.  With  a  few  changes 
in  character  and  circumstance,  Rus- 
sell's  fantasy  could  have  centered  on 
Nijinsky;  poor  Nazimova  appears  to 
be  playing  Russell's  conception  of  Dia- 
ghilev. On  the  face  of  it,  Nureyev 
as  Nijinsky  would  seem  to  be  good 
casting  (Anthony  Dowell  played  Ni- 
jinsky in  "Valentino") ;  in  his  Faun 
costume,  he  looked  more  at  ease  than 
he  did  in  Valentino's  sheikh  or  gaucho 
gear,  and  the  glimpses  we  got  of  him 
in  Faun  plastique  were  tantalizing. 
Surprisingly,  when  Nureyev  made  the 
film  he  still  hadn't  danced  the  role; 
he  is  dancing  it  for  the  first  time  in  his 
current  season  at  the  Mark  Hellinger, 
where,  with  the  JofiFrey  Ballet,  he  is 
performing  a  program  of  Diaghilev 
revivals.  His  Faun  is  as  pictorially  at- 
tractive  as  it  was  in  the  movie.  With 
his  wide  Shoulders,  tapering  waist,  and 


low-slung  hips,  he  is  able  to  make  the 
planar  oppositions  in  the  role  clear 
without  strain.  But  the  performance 
is  too  heavily  anchored  in  static  op- 
positions, and  their  delicate,  fluid  force 
is  retracted  as  soon  as  the  Faun 
changes  his  pose.  Nureyev  moves  from 
pose  to  pose  as  if  from  one  living  pic- 
ture  to  another;  the  sense  of  the 
choreography  as  one  long  unbroken 
gesture  is  imperfectly  sustained.  And 
the  sense,  too,  of  the  Faun  as  the 
depiction  of  adolescent  sexuality. 
Nureyev  doesn't  luxuriate  in  the  move- 
ment; when  he  lies  on  the  rock  or 
tenses  his  prone  body  in  the  air,  he 
doesn't  give  us  a  feeling  of  blood-heat 
steeping  his  vitals.  To  judge  from  the 
photographs,  Nijinsky  had  a  thickness 
and  grossness  in  this  role  which  the 
elegant  Nureyev  doesn't  have.  But 
critics  have  often  compared  the  two 
dancers,  and  there  is  a  creaturely 
warmth  that  exists  like  a  bond  between 
them.  Nureyev's  power  in  slow  mo- 
tion,  which  he  displayed  so  lavishly  in 
his  younger  days,  was  his  strongest  link 
to  the  Faun.  It  was  this  extraordinary 
power — Nureyev  could  even  Jump 
slowly — that  made  people  use  Nijin- 
skyesque  language  about  him  (**animal 
magnetism,"  "elemental  force,"  **pan- 
therine").  The  Faun  is  cast  in  slow 
motion  but  not  broadly  cast  in  space. 
Nureyev's   dancing   years   ago   lost   its 


^O/Uoc^JtA^ 


« 


This  is  Shangri-luy  baby,  Right  hereP^ 


broad  arc  and  separated  into  dozens  of 
small  peaks.  But  that  doesn't  explain 
why  it  still  cannot  recover  its  span 
when  circumference  is  not  a  problem. 
What  does  explain  that,  I  think,  is 
Nureyev's  deficiencies  as  an  actor. 

A  generation  ago,  the  Faun  was 
danced  perhnps  too  much  as  a  mime 
role,  but  when  a  dancer  as  gifted  as 
Nureyev  fails  to  make  obvious  connec- 
tions  between  continuity  of  phrase  and 
dramatic  motive  we  can  see  how  large 
a  part  pantomimic  skill  played  in  Ni- 
jinsky's  conception.  Because  he  doesn't 
grasp  the  **why"  of  the  Faun's  move- 
ments,  Nureyev  turns  the  plastique  into 
something  arbitrary,  to  be  dropped  or 
caught  up  as  a  token  reference  to  an- 
other age.  Nureyev's  dance  instinct  teils 
him  that  Nijinsky  didn't  hold  himself 
perpetually  twisted  between  profile  and 
en  face — he's  free  enough  with  that 
overprized  aspect  of  the  role.  But  the 
P'aun's  responses  (to  the  Nymphs,  to 
the  veil)  and  the  graphic  sense  they 
gradually  make  within  the  total  ritual 
of  self-;ibsorption  which  those  famous 
flat  poses  enclose — these  aspects  slip 
through  the  cracks  that  are  literally 
breaks  in  a  regimen  of  poses. 

Nureyev  stays  cm  the  surface  in  his 
two  other  Nijinsky  roles,  too.  In  "Le 
Spectre  de   la    Rose,"   he   dances  with 
something  like  his  old  power  but  with- 
out the  poetic   perception   that   would 
have    enrichcd    the    meaning    of    the 
dance.  And  he  is  a  truly  terrible  Pe- 
trushka — waggling,    flapping,    hunch- 
ing  like  a  small  boy  in  need  of  a  bath- 
room,   and  turning  up  a  pit- 
eous  little  face.  It  takes  some- 
thing for  Rudolf  Nureyev  to 
become  as  a   little   child,  and 
his  eflFortful  bad  acting  is  xn- 
flamed  by  pathos — he's  a  sob- 
sister   Petrushka.   l^erhaps   be- 
cause he's  so  lamentably  mis- 
cast,    you    want    to    see    him 
bring    something    original    to 
the    role,    something    no    one 
eise   would   have    thought   of. 
And  he  does:  he   thumbs  his 

®nose  at  the  Old  Showman  at 
the  end  of  the  ballet.  This 
only  confirmed  that  Nureyev 
hadn't  understood  Petrushka's 
"speech"  of  protest  earlier  in 
the  ballet,  hadn't  been  able  to 
project  it  with  the  requisite 
force,  and  hadn't  seen  how 
Fokine  drew  upon  it  for  the 
gestures  at  the  end.  Not  all 
Russian  dancers  of  Nureyev's 
generation  are  as  far  from  Ni- 
jinsky and  Fokine  as  Nureyev 
is.  It  happens  that  the  finest 
Petruslikas    IVe    seen — Gary 


THE  NLW  YORKER 


111 


Jr 


iL 


:•:•:•^^^v:^ 


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Chryst,  Michnel  Siiiuin,  George  de  la 
Pena — were  not  only  Americans  but 
good  actors.  They  also  danced  the  part 
of  a  spineless  rag  doli  with  bobbling 
Iiend  and  sightless  eyes;  acting  and 
dancing  were  not  for  them  separable 
j)liases  of  the  role.  Althoiigh  American 
ballet  hardly  bothers  with  such  distinc- 
tions,  these  dancers  are  character  danc- 
ers.  Nureyev  appears  to  have  been 
categorized  early  in  bis  career  as  a 
danseur  noble,  and  the  Russians,  with 
their  insistence  on  categories,  would 
nevcr  have  expected  bim  to  act  any  role 
but  that  of  the  Prince.  Nijinsky  did  do 
Prince  roles,  but,  as  bis  biographer 
Richard  Buckle  teils  us,  "the  straight- 
forward  princely  role,  romantic  or  he- 
roic,  was  not  really  in  bis  line": 

Whereas  most  male  dancers  spent 
their  lives  being  just  that  and  nothing 
more — cavaliers  always  at  band  to  lift 
the  ballerina  and  take  a  secondary 
place — he  had  begun  to  specialize  in  roles 
that  were  more  fantastic. 

Born  into  an  age  of  resurgent  male 
dancing,  Nureyev,  the  cavalier,  de- 
mands  Nijinsky  roles  as  bis  rightful 
legacy.  But  Nureyev  is  as  out  of  place 
in  Nijinsky's  repertory  as  Nijinsky 
would  have  been  in  his — not  because  of 
their  differing  relation  to  the  ballerina 
but  because  their  talents  projected  them 
into  difFerent  spheres.  Nureyev's  career 
may  be  understood  in  part  as  an  at- 
tempt  to  gain  and  hold  center  stage 
without  a  repertory  that  places  bim 
there.  So  he  has  become  the  usurper, 
encroaching  on  the  ballerina's  territory 
with  extensions  of  the  Prince's  role  or 
taking  over  "roles  that  were  more  fan- 
tastic." In  "Le  Spectre  de  la  Rose,'' 
he  dances  a  part  that  Nijinsky  himself 
came  to  loathe  as  "too  pretty."  Apart 
from  its  exotic  aspect,  "Spectre"  is  a 
(lanseur-noble  role  carried  to  an  ex- 
treme of  virtuosity  and  endurance — 
virtually  a  non-stop  allegro  solo,  offset 
but  hardly  interrupted  by  passages  of 
doublework.  The  Spectre  guides  and 
shadows  the  ballerina;  it's  too  much 
to  say  that  he  partners  her.  Yet  from 
the  moment  he  jumps  in  through  the 
window  until  he  jumps  out  again,  it  is 
implicitly  a  partnering  role.  The  eve- 
ning  I  saw  bim,  Nureyev  did  his  most 
vigorous  and  sustained  dancing  in  this. 
His  energy  was  higher  than  it  had 
been  for  some  time ;  he  connected  his 
phrases;  he  didn't  sag  in  a  landing  or 
reprop  himself  after  a  finish.  In  an  ef- 
fective  costume  by  Toer  van  Schayk — 
a  modified  petalled  cap  ä  la  Nijinsky 
and  a  unitard  of  dark  rose  red  tapering 
to  flame  points  of  greens  and  grays — 
he  looked  slim  and  handsome.  Yet  his 
port  de  bras  was  sketchy,  and  lie  danced 


NYR-326 

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Planning  Kit,  clip  and  send  to 
Massachusetts,  Box  1775, 
Boston,  MA  021 05. 

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MAaCH  2fc»l97  9 


FIVE  STAR  GRENADINEä 
^     ^     ^     ¥     ^ 

Mustique,  Palm  Island,  Petit  St.  Vincent, 
Bequia,  Young  Island 

The  Quintessence  Of  The  Caribbean 

Soft  White  Sands,  Crystal-Clear  Sea. 
Warmth,  Utter  Relaxation,  Peace. 

For  details  please  contact: 
Caribbean  Tourism  Association,  20  East 
46th  St.,  NY,  NY  10017  or,  East  Carib- 
bean Tourism  Association,  220  East 
42nd  St.,  NY,  NY  10017  or  Department 
of  Tourism,  St.  Vincent,  West  Indies. 

Cotton  House 
Mustique  Island 

Forty-five  minutes  from  Barbados  or  eight 
from  St.  Vincent,  it  lies  in  the  Grenodines. 

The  Islands  Single  inn  —  The  Cotton 
House  —  exemplifies  the  cool  comfort  of 
the  finest  plontotion  orchitecture  in  the 
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ISLAND  OF  BEQUIA 

ST.  VINCENT,  WEST  INDIES 

Bali  Hai  —  Shangri-La  —  Bequia 
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beauty  of  this  tiny  Island  in  the  Grenadines.  Sail- 
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almost  totally  without  reference  to  the 
girl.  The  lack  of  arms— those  envclop- 
ing  Art  Nouveau  arms  which  it  is 
hardly  possible  to  exaggerate — is  less 
cripph'ng  to  the  role  than  the  notion  that 
the  Spectre,  supplicant,  imploring,  sc- 
ductive  in  every  move,  could  be  danc- 
ing  by  and  for  himself.  Nureyev's  in- 
sularity  reached  its  peak  when,  whilc 
Denise  Jackson  waltzed  around  the 
stage,  he  held  a  high  releve  in  fifth 
with  his  gaze  fixed  on  her  empty  chair. 
But  that  was  no  worse  than  the  mo- 
ments  in  the  other  ballets — Petrushka's 
nose-thumb,  or  the  Faun's  stopping  to 
ad  just  the  veil  with  a  shatteringly 
brusque  practical  gesture  seconds  be- 
fore  the  climax  of  the  ballet — which 
showed  a  Nureyev  fundamentally  out 
of  sympathy  with  the  artist  and  the  era 
he  celebrates. 

The  evening's  credentials  are  other- 
wise  in  order.  *Tetrushka"  is  the  Jof- 
frey's  well-staged  production,  with 
Gary  Chryst  appearing  this  time  as  the 
Old  Showman.  I  saw  Miss  Jackson  as 
the  Doli  and  Christian  Holder  as  the 
Moor.  "Spectre,"  staged  by  Nicholas 
BeriozoflF  and  designed  after  Bakst  by 
GeofFrey  Guy,  is  on  loan  from  the 
London  Festival  Ballet,  and  '^L'Aprcs- 
Midi  d'un  Faune"  is  reconstructed 
from  the  production  by  Ballet  Ram- 
bert. Rouben  Ter-Arutunian  super- 
vised  the  washy  Version  of  Bakst's 
original  backcloth.  "Parade"  was  also 
on  the  program — another  noteworthy 
JofFrey  revival,  lethargically  conducted 
by  Allan  Lewis.  The  rest  of  the  Per- 
formance was  in  the  capable  hands  of 
Seymour  Lipkin. 

IN  dance  encyclopedias,  the  "B"s  be- 
gin  with  Babilee,  Jean,  b.  Paris, 
1923.  Never  having  seen  Babilee  dance 
and  never  expecting  to  know  first  band 
how  he  looked  at  the  height  of  his 
fame,  which  was  in  the  late  forties  and 
early  fifties,  I  went  to  see  what,  on  the 
opening  night  of  the  Maurice  Bejart 
company's  run  at  the  Minskoff,  had 
been  unveiled  as  ^^une  surfrise" — a 
new  ballet  starring  Babilee.  A  personal 
appearance  made  by  an  aging  dance r 
was  all  I  hoped  for;  with  any  luck,  it 
would  be  no  more  damaging  to  Ba- 
bilce's  reputation  than  the  silly  "Isa- 
dora"  vehicle  fashioned  by  Bejart  for 
Maya  Plisetskaya  a  few  years  ago. 
Well,  the  curtain  went  up  on  a  semi- 
darkened  stage,  and  there,  behind  a 
box-shaped  jungle  gym,  stood  Babilee, 
a  shortish,  compactly  muscled  man  in  a 
sweatshirt  and  baggy  jeans.  Stepping 
inside  the  box  and  grasping  its  Supports, 
he  began  a  few  elementary  exercises 
in  which  one  saw  the  speed  and  econ- 


ST.  VINCENT,  W.r. 

**is  about  as  close  as  I  can 
find  to  Robinson  Crusoe's 
dream"   Margaret  Zellers 

An  impossibly  romantic  Island 
resort,  pictured  on  the  cover  of 
"Fielding's  Caribbean  1979 
by  Margaret  Zellers." 
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Resort      i 


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Member-The  Leading  Hotels  of  the  World 


.-»»«'S 


WS.'         -Jv 


toy  lambs  from  Co.  Mayo 
for  chtldren  of  all  ages 
■j'headlDtail      ftsofcrafiocicofo) 

iRisn  impopcö  icö. 

1755  massachusettd  ave.  cambrtjdqe  niass.02J38 


THE  NEW  YORKER 


113 


omy  of  motion  of  a  perfectly  conditioned 
athlete.  Then,  quite  suddenly,  with  no 
handhold  to  spenk  of  and  no  sign  of 
exertion,  he  rose  up  the  side  of  the  box 
and  hung  in  space,  and  one  saw  Babilcc. 
And  went  on  seeing  him — not  only  the 
Babilee  of  the  complex  acrobatic  feats  in 
"Le  Jeune  Homme  et  la  Mort"  (one  of 
which  simulated  death  by  hanging)  but 
also  the  galvanic  Babilee  who  could 
flash  from  stillness  to  violence  in  "Til 
Eulenspiegel,"  and  even  the  classical 
Babilee  who  danced  a  fabled  Bluebird. 
And  (the  lights  having  brightened) 
one  saw  the  commanding  head,  with  its 
noble  aquiline  face  so  like  that  of  an 
American  Indian,  and  the  silky  shock 
of  hair — a  slightly  creased  Cocteau 
drawing  come  to  life.  It  was,  of  course, 
a  Babilee  whose  spectacular  powers  are 
operating  now  on  a  diminislied  scale. 
Yet  they  are  no  less  vivid  for  that.  Ba- 
bilee makes  not  one  false  move,  nor  one 
that  is  hasty  or  incomplete.  His  aura 
is  tragic  but  equanimous — not  intense, 
like  a  young  man 's.  Most  miraculously, 
among  all  his  qualities  the  one  he  was 
loved  for — his  reposeful  violence — is 
still  there;  we  can  see  it.  In  the  midst 
of  a  spasm,  his  center  is  always  calm. 
And  in  the  midst  of  calm  he  appears 
ready  to  explode. 

Bejart  calls  the  ballet  "Life."  It 
seems  to  be  about  an  isolated  man  of 
middle  years  who  may  not  want  to  end 
his  isolation.  Babilee  is  partnered  by  a 
young  beauty,  Catherine  Dethy.  Her 
Comings  and  goings  are  keyed  to  his 
moods,  and  with  her  last  entrance, 
from  far  upstage  and  behind  him, 
comes  the  moment  of  decision.  Babilee 
makes  their  sudden  exit  together  in- 
evitable  yet  impulsive.  I  saw  two  Per- 
formances: he  took  her  band  two  dif- 
ferent  ways;  both  ways  were  enigmatic. 
But  Babilee  is  an  enigmatic  artist,  and 
he  performs  as  if  the  heart  of  his  mys- 
tery  were  at  stake.  Because  of  him,  one 
could  watch  the  whole  ballet  attentive- 
ly  and  have  something  to  ponder  when 
the  curtain  went  down.  What  is  a 
Star  for,  if  not  to  shcd  light?  I  imagine 
that  many  in  Bcjart's  audience  had 
never  heard  of  Babilee.  But  whether 
you  watched  the  ballet  to  see  Babilee  or 
Babilee  to  see  the  ballet,  you  had  a  real 
experience. 

The  rest  of  the  Bejart  programs 
were  polyester.  People  speak  of  Bejart 
as  if  he  were  a  choreographer.  He  is, 
rather,  a  purveyor  of  Sensation,  like  the 
movie  directors  Russell  and  Fellini, 
and  ballet  is  just  one  of  the  glutting 
efFects  he  uses.  And,  yes,  he  uses  danc- 
ers — hollows  them  out  and  consumes 
them.  Every  time  I  see  the  Bejart 
dancers,  they've  lost  more  muscle  tone 


Vogue  1993 


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114 


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and  added  more  makeup.  The  Com- 
pany these  days  is  more  openly  a  drag 
show  than  it  used  to  be.  As  W.  C. 
Fields  says  of  the  city  (in  "The  Fatal 
Glass  of  Beer"),  "it  ain't  no  place  for 
women,  but  pretty  boys  go  there/' 
Bejart's  other  guest  artist  this  season 
is  Judith  Jamison,  who  goes  right 
along  with  the  bitchy-cute  leering  and 
wiggling.  Bcjart  has  put  her  to  work 
in  his  Version  of  "Le  Spectre  de  la 
Rose,"  one  of  a  number  of  pieces 
(others  are  "Gaite  Parisienne"  and 
"Petrushka")  that  take  famous  ballet 
scores  and  Substitute  phantasmagorical 
eflPusions  for  the  original  choreography. 
Another  formula  has  the  phantasma- 
goria  set  to  "shocking"  collage  scores — 
Schumann  lieder,  say,  alternating  with 
bits  of  Nino  Rota,  or  Bach  alternating 
with  tangos.  These  who  can't  defend 
Bcjart's  choreography  will  still  praise 
his  theatricality.  But  what  Bejart's  sense 
of  theatre  comes  down  to  is  an  addic- 
tion  to  greasepaint,  flashy  costumes, 
masks,  boys  cast  as  girls,  dual  and  triple 
identities,  and  silences  broken  by  hide- 
ous  bursts  of  laughter.  The  same 
chunks  of  leaden  diablerie  churn  sense- 
lessly  through  one  ballet  after  another, 
usually  with  some  young  man  at  the 
center  pressing  his  fists  to  his  temples. 
True,  the  continuity  is  always  jarring, 
but  it's  so  deliberately,  preeningly  in- 
consequential  that  after  five  minutes  it 
has  no  punch.  Bejart  shapes  his  ballets 
with  a  Channel  selector,  and  he's 
learned  to  be  derisive  toward  serious- 
ness.  The  solemnity  of  the  hippie-ritual 
ballets  of  the  sixties  has  been  displaced 
by  the  cynicism  of  the  seventies.  When 
a  genuine  event  happens  on  his  stage, 
it's  almost  as  if  he  weren't  responsible. 
"Life"  has  the  silences,  the  jagged  dis- 
continuities  (Bach  and  bongos),  and 
Babilce  gets  a  migraine  at  one  point. 
But  it  also  has  a  performe r  in  whom 
grandeur  of  style  is  so  much  a  personal 
attribute  that  it  shows  itself  helplessly. 
In  such  surroundings,  after  so  many 
years,  c^est  vraiment  une  surfrise, 

— Arlene  Croce 


To  celebrate  not  only  the  Chinese 
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The  arrival  of  Hollywood  movies  and 
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Many  Chinese  restaurants  will  be 
oflFering  special  menus  beginning  Sunday, 
which  marks  the  start  of  the  Chinese 
New  Year — 4677,  the  Year  of  the  Sheep. 

—The  Post. 

Actually,  it's  the  Year  of  the  Meat 
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I  MT  PLEASE     PRINT 

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SERVICES 

DU  CONSEILLER 

CULTUREL 


972  FIFTH  AVENUE 

NEW  YORK,N.Y.  10021 

(212)  737-0700 


No 


AR 


Wednesday.May  21  1975 


) 


Dear  Ms.Marton, 

Mr»  de  Kode  has  left  the  Cultural  Services  of 
the  French  Bmbasay  and  will  retum  to  France  in  the  near 
f uture • 

He  has  read  and  corrected  your  manuscript  "Jean 
Babilee"  which  you  will  find  here  enclosed» 


Sincerely  yours, 


Pierre  Tabatoni 

Cultural  Counselor 

Permanent  Bepresentative  of  the 

french  Universities  in  the 

United  States. 


Ms.  Ruth  Mar ton 
^33  Säst  51  Street 
New-Tork  N.I*  10022 


JEAkI 


^ 


^A 


(  C  1 1 


l^UTfi- 


tfARfckJ 


Whon  Aiaerican  Ballet  Theatre  revived  for  ^^iikhail  iaiysJanikov 
LE  JüiUI^E  iiOMKE  ET  LA  KOKT,  the  ballet  vritten  tjr  Jean  Cocteau  and  choreo- 
graphed  In  collaboratlon  with  Roland  Petit  with  xuuslc  ly  Johann  SebGi>tian 
Bach,  It  vas  inevitable  that  thosa  in  tlie  audienco  vho  had  66cn  Joan  Babllee 
in  tho  title  role  in  1951  at  the  Metropolitan  Opera  House,  remembered  him, 
and  thoae  too  yoimg  asked,  •'Jean  Babilee?" 

Bazyshnikov  is  a  briUiant  classic  dancer  and  the  audience  vent 
vild  over  him  but  tlieir  reaction  vas  tarne  bi/  coiüparison  vith  the  storms  that 
eriipted  eveiy  time  I  sav  Babiloe  dance  and,  I  am  told,  vere  repeated  whenever 
and  vherever  he  appeared  throughout  his  career—  all  over  the  world« 

There  was  soiaething  about  this  French  dancer  that  electrified 
aiidiences  to  a  point  rarely  inatchcd  ly  performers  in  aiy  medium«  Although 
much  has  been  vritten  about  the  phaonomenon  of  Jean  Babilee,  it  is  difficiilt 
to  explain  something  as  elusive  as  **innate  dance  genius'*  (as  Walter  Teny 
called  it)  or  the  ixupact  of  a  presc^ce,  the  aura  of  a  personaliV  vdthout 
using  vip   the  clich&s  unique,  c^namic,  vlrtuosic»«« 

I  think  that  b€(/ond  his  iinpeccable  classic  technique,  seemii^ig^ 
effortless  acrobatic  feats,  and  an  elevation  deiying  the  laws  of  gravitjy^,  it 
was  Jean  Babil6e*d  incandescence,  his  inner  tension  even  in  repose,  his 
intensitjy  and  artistic  Obsession,  that  broke  the  ballet *8  frame  and  leaped 
flpK  over  the  footlights  to  make  his  Performance  a  dramatic  experience  of 
extraordinazy  dlmensions« 

In  1963  in  Nice,  at  the  age  of  forty-one,  Jean  Babilee  danced  le 
jeune  homme  for  the  last  time«  An  ^e^vitness  summed  it  up,"The  a\idience  vas 
dissolved  in  tears«" 


ün  a  Visit  to  Paris  ia  Üxe  summor  of  1949,  I  had  seen  CAIÜ^iEi^  with 
Jeanmalre  and  Roland  Petit  as  Jose«  To  us,   the  generation  of  the  Forties,  it 
was  a  v«iy  exciting  ballet,  different  from  ax^thing  ve  knev,  liberated,  erotic, 
of  our  tioe«  Yet  the  continuous  refrain  from  uy   friends,  all  young  vriters, 
actors,  artista,  invariabJy  vas,  ''That's  nothingi  You  must  eee  Jean  Babileei 
LE  JJiUWE  HÜl'ME  ET  LA  MÜRT..." 

The  pages  of  a  coffee-table  picture-book  of  dancors  vere  flipped# 
^Therel^  th^y  vould  Bey,   pointing  at  that  incredible  photograph  of  a  youag  man, 
bis  back  to  the  viever,  his  face  in  profile,  hanging  by  the  chin  (not  the  back 
of  his  head,  as  Baxyshnikov)  from  the  rafter  in  Wakhevitch's  setting  of  a 
Parisian  garret« 


He  had  danced  L»APRES-MIDI  D»UN  FAUl^ffi  for  Wijinsty,  because  it  vas 
hoped  that  Babilee,  his  talent^  considered  dosest  to  that  of  Nijinsly,  jzdght 
spark  a  juoment  of  recognition  in  Kijinskjr's  night«  But  as  immobile  as  ever 
he  had  vatched  the  yoxmg  Faune —  xmseeingly« 

There  vore  the  stories  about  Babilee  and  the  contradictions  of  his 
life  and  sty^Of  about  his  wildness  and  his  lack  of  Conventionali sm,  his  back-* 
ground  of  vealth,  his  independonce«  The  son  of  Dr«  Gutman,  a  prominent 
Parisian  c^e  specialist,  he  had  been  a  '^petit  rat^  at  the  Opera  Ballet  at 
eleven;  his  mother,  vhose  maiden  name  he  had  adopted,  vas  an  artist,  his  sister 
a  siirgeon^  Nathalie  Philippart,  called  Pixie,  hla  vife  and  partner,  also  came 
from  an  upper^-class  family,  vine  Prowers  near  Bordeaux«  Jean  and  Pixie  vere 
inseparable  and,  If  thcy  represented  the  jeunesse  doree  in  mary  vcys,  th^ 
also  vere  in  open  rebellion,  as  artists  and  vith  their  striking  individuali V « 
If  not  dancing,  th^  roamed  the  vorld« 


No  one  mentioned  what  probably  was  Babilee's  tragec^r*  He  was  short^ 
alxDost  too  Short  for  a  dancer:  live  feet  four#  In  a  sense  it  was  also  hls 
trluzQph« 


K 


In  April  1951,  dviring  its  season  at  tue  old  Mot  on  S9th  Streot, 
Ainerican  Ballet  Theatre  mounted  LE  JEUN£  HÜaMME  ET  LA  WORT  for  its  gueet   stars 
Jean  Babileo  and  Nathalie  Philippartv  With  Ruth  Ann  Koesim,  he  danced  the 
BLUEBIRD  PAS  DE  DEUX  and  TILL  EULEIiSPIEGEL,  one  of  the  two  ballets  he  had 
choreographed  himselfi  the  other,  L'AKIOÜR  ET  SON  AI^jOUR,  again  with  Phillppart^ 

Of  course,  I  was  not  the  onHy  one  «wäre  of  the  famo  that  preceded 


Maiy 


thcy  too 


often  lost  their  sheen  while  crossing  the  Atlantic«  Others,  like  ii]yself, 
wondered  about  vhat  to  expect,  whether  ar^  artist  could  live  up  to  the  exalted 
reactions  he  seemed  to  elicit  evexywhere« 

I  think  no  one  was  reaUy  pr epared  for  Jean  Babileelin  LK  JEUI^E  HOMI^, 

It  began  with  his  first  inove#  the  extraordinaiy  arc  he  described  with 
his  arm  as  he  looked  at  his  watch««« 

This  young  man,  his  Overalls  roUed  half  \xp  his  legs  in  different 
lengths,  was  literaUy  trembling  with  inner  fuiy,  tension,  despair««#  a  youag 
tiger  was  fl^ing  over  chairs  and  tables.««  His  batterie  was  flawless,  nie 
extension  beautiful,  and  de^pite  his  shortness  he  managed  to  give  the  Illusion 
of  length  of  line;  he  did  the  most  fentastic  acrobatica,  in  slow  motion  as  well 
as  with  feline  vehemonce —  ydt  this  was  no  acrobat  but  a  dancer  whose  evexy  move 
was  brilliant,  unconventional,  different« 

Philippart  as  the  yo\mg  girl  who  spums  him  and  drives  him  to  suicide 
ly  hanging  himself ,  retums  as  Death,  on  Greek  cothumi  gymbolizing  tragec^  and 


^ 


y  c  €  vt 


•# 


(».U^^^^Jt-    C-»iyU^J~     C/nfffu: 


the  BViper-iDatural  (but  omltted  In  the  current  revlYal)^  eases  the  noo6e  and 
leads  the  young  loan  a.'wey,   across  the  rooftops  of  Paria« 

Tno   interplay  betweon  them  was  Imniediate  and  f\ill  of  the  sübtlest 
nuancesi  her  taunta  incitlng  his  tonoent  to  the  liudt,  to  utmost  vlolence  but 


vith  perfect  control  at  all  times« 


spellbound 


b€^ond  endurance« 


I  had  let  the  Babllees  know  that  ve  had  mutual  acquaintances  in  Paris  < 
Joan  tolephoned  as  eoon  as  he  received  the  message^  not  because  of  someone  in 
Paria  but  becaiiae  he  was  immenaely  curioxos  and  eager  to  ineet  New  Yorkers  other 
than  those  at  partiea  arranged  ly  Ballet  ^"heatre«  I  became^  aa  Pixie  phrased 
it^  their  "New  York  friend". 

We  apent  maxjy   hours  together^  at  lunch  or  dinner^  at  the  Algonquin 
vhere  thej/  atey^d  or  at  the  snolsy^  unpretentious  reataurant  oppoeite  the  ^^et^a 
atage  entrance^  Jean  could  be  quite  the  rogue,  even  buffoon  he  danced  in  Till 
£ulenapiegel  and  there  vaa  a  lot  of  laughter  during  our  long  oonversations  in 
their  dreeaingroom,  between  znatinee  and  evening  perforinancesv  'Ih^   took  nie 
along  to  the  box  reaerved  for  membera  of  the  Compaq/' ^  to  vatch  vith  them  vhat 
their  coUeaguea  vere  doing«  Uaing  the  pet  naiae  uy  Prench  frienda  had  given 
me,   Jean  aaid^  •'She^a  called  Rouase^"  to  Colette  Marchand,  ly  wey  of  introduc- 
tion«  £v6iybo(^  laughed  but  the  banter  atopped  the  moment  he  aat  dovn«  Hie 
face  becaxDe  taut  vith  concntration^  hia  ^es  vere  aa  though  riveted  to  the  atage« 
He  reacted  vith  the  aazne  complete  abaorption  to  a  Broadvsy  plcy  to  vhich  I 
invited  them  in  tum« 

Oncdj  aftar  a  perf onziance  of  the  BLUEBIED  PAS  DE  DEUX,  I  found  Jean 


5 


in  bis  dreesingroom^  raging  against  the  condioctor  who  had  been  too  slow  for 
the  Variation« 

In  an  effort  to  divert  him  I  asked  bow  ax^  buman  being  could  jvsnp 
to  Bucb  beigbts  and  reoain  floatlng  in  tbe  air  for  so  long  as  be  did« 

"Breatb-control, "  be  said  Diattor-of -fatly  #  *TCou  bold  your  breatb- 
uatil  you  vant  to  come  dovn  again,"  und  be  resianed  cursing  tbe  conductor# 

I  tried  to  re-aseure  bim«  "But  tbe  audience  adored  it  aiywayl" 

^Tbe  aiuüencel  Wbo  cares  about  tbe  sudiencel  I  dance  for  q/eelf l 

»  I 

It*&  I  wbo  xnuat  be  pleasedl*^ 

» 

He  was  croucbing  on  tbe  dressingroom  floor^  dejected,  brooding^ 
and  barely  civil  to  tbe  endless  stream  of  visitors~>  congratulating  bimr 


One  evening  after  dinner  ve  stroUed  up  Broadway,  towards  TiiueB 
Square#  A  denee  crowd  was  coiled  around  wbat  we  assumed  to  be  a  f igbt#  Vitlain 
a  aecond,  Jean  bad  pliuiged  into  tbe  tbrong  and  disappeared,  to  Fixie*&  despair« 
It  was  inposBible  to  bold  bim  back,  ebe  explained,  be  alweys  bad  to  be  in  tbe 
tbick  of  tbings—  see  eveiytbing,  participate  in  eveiytbing,  experience  eveiy- 
tbing« 

So  bere  we  atood,  worried,  waiting««« 

After  tbe  pollce  bad  broken  up  tbe  crowd,  Jean  joined  us  again# 
He  was  veiy  upset«  ^Tn^   bit  tbeml  In  tbe  stoioacbl  Tbcy  jiist  knocked  tbem 
out-*--  two  young  blacks«««"  Aß  mary  Parisiana  be  bated  tbe  police,  and  it  took 
a  long  tiine  for  bim  to  accept  tbat  bere  tbe  police  bad  iiaed  actual  force# 

Yet,  be  waa  fascinated  by  force,  ly'  violence« 

He  collected  knives  and  swords,  be  was  a  paesionate  aficionado  of 
bullfigbts  and  vezy  knowledgeable  about  tbem#  Ae  it  bappened,  two  films  deal«- 


6 


Ing  vith  bullfigbts  vere  ruxining  in  i^ew  York  in  1951,  THE  BRAVE  BULLS  in  the 
spring,  and  IKE  BULLFIGHTiLR  AND  THE  LADT  in  late  fall,  vhen  tbe  Babilees  had 
retumed  from  their  American  tour  and  vere  spending  another  few  veeks  here^     Ve 
vent  to  660  both  films —  Vaey   were  cinema  buff s  in  general  and  spoke  vith  special 
adiairation  of  John  Hixeton  whose  ASPHALT  Jüi\iGLE  vas  one  of  their  all-time  favorites, 

Both  read  prodigiousijr,  particiilarly  pootiy,  and  Jean  could  quote 
entire  plays,  for  instance  euch  classics  as  Racine«  Thc^r  knev  art  and  muaic,   often 
to  the  point  of  erudition«  One  of  their  intere&ts  centered  on  ancient  E^rpt«  As 
cats  had  been  important  in  E^ptian  antiquity  they  feit  it  ijqs  quite  consißtent 

vith  that  countxy's  histoiy  vhen  a  cat  foUowed  them  to  their  hotel  and  ineisted 

« 

on  Bt^/ing  vith  then;  thoi/  adopted  it  and  mado  it  their  hou&e  pet  in  ^rancel 


Both  Babilees,  not  oaly  articulate  but  reasonabJ/  fluent  in  English 
4n  tele Vision  ^ 

vere  invited  to  appear/as  guests  on  a  f  jJ|een--ininute  talk  shov  I  vas  involvod  with 

at  the  tijQQe«  It  vas  the  first  of  its  kind,  live,  and  hosted  t^  Lilli  Paliner,  the 

actross« 

Th^  vanted  to  chat  about  their  friend  Jean  Cocteau,  better  known  in 
America  for  his  avant-^arde  films  than  for  his  vritings,  and  hov  I-E  JiäüWE  HQMIE 
ET  LA  MORT  jMihad  first  beon  stag^in  Paris. 

On  the  evo  of  the  shov  I  dropped  by   at  the  Algonquin  with  oiir  Script 
and  the  firm  admonition  under  no  circumstances  to  leam  it  l]/  heart«  It  vas  to 
serve  oxüy   as  a  giiideline,  an  approximate  sequance  of  the  various  points  thq^ 
planned  to  discuss« 


The  moment  thq^  entored  the  studio  the  next  day,  Jean  seemed  to  radiate 


fire^orks 


"Who'ö  he?"  eveiy  Single  raember  of  the  crew  demanded  to  know# 

Th^  vere  used  to  proiojuxont  and  entertainixig  gueatSj  inagqy  of  them 
foreigners  thear  had  never  heard  about,  and  paid  little  if  aiy  attention  to  them, 
concentrating  on  their  work,  But  this  time  th^  vere  hanging  aroimd  the  set^ 
vatching,  listening,  fascinated«  It  was  obvioiis  that  whether  at  the  vast 
Metropolitan  Opera  House  or  in  the  smnll/  confinod  space  of  this  television 
stage  without  an  audiencoj  Jean  Babilee  was  like  the  Pied  Piper,  drawing  evoiy- 
bo(^  towards  him  and  creating;  an  atmosphere  of  instant  oxcitement« 

But  the  run-through  was  a  disaster*  Despita  ny  waraings,  Jean  and 
Pixie  had  spent  the  evening  leaming  their  lines —  thqjr  were  letter  perfect  but 
had  lost  all  spontaneitj/  and  soimded  wooden  and  awkward« 

Th^   realized  quickJ^  that  something  was  wrong« 

"No  good?"  Jean  asked« 

There  was  no  time  to  be  tactful —  we  were  aliaost  on  the  air»  We 
urged  them  to  forget  that  damned  Script  and  simpüy  repeat  to  Lilli,  and  the 
television  audience  somewhere  in  their  homes,  what  thecr  had  described  to  me   so 
vlvidly  and  füll  of  sparkle« 

les —  but  we  had  spoken  in  ^rench,  not  in  English««« 

Never  mind  that«  Lilli  would  help,  should  the^  dxy  up««# 


Th^  exchanged  a  few  quiot  words  between  them,  out  of  ear-shot  from 


evexyboc^« 


And  then  somothing  happened«  As  if  Babilee  had  decided  to  risk  his 


all«««  With  the  same  recklessness,  the  same  mixture  of  passion  and  utter  dis*- 
cipline  he  showed  as  a  dancor,  he  threw  himself  into  the  adventure^  the  vmknown 
elements  of  this  new  experience« 

He  introduced  Cocteau  ly  retelling  the  anecdote  of  how  Diaghilev  had 


8 


bid  the  young  poet  to  "astonish  himl"  Thon  foilowed  the  unusual  stoiy  of  Low 

9 

LE  JEÜKE  KÜMI'iE  ET  LA  MÜRT  had  been  put  to^iether  ai'id  vly  Bach's  Passaca^lia 
had  cozoo  to  be  chosen  for  the  mu3ic« 

Cocteau  had  developed  the  ballet  with  eveiy  detail  written  for  their 
particular  gifta^  tallored  it  to  Jtuieir  bodies  and  emotiona«  Aa  uo  muclc  had 
beim  chosen  yet^  the  Babllees  rehearsed  by  countlng^  rlght  up  to  the  last  dress 
rehearaal«  Meanwhile>  a  frantlc  search  had  gone  on,   first  for  a  sultable 
composltlon^  then  for  eoaif   klnd  of  mualc  that  would  fit  precisely  tho  seventeon 

znlnutes  the  ballet  la&ted«  Qnly  the  Passacaglla  answered  that  requlremont« 

*^ 
B  ut  it  was  Impossible  suddorüy  to  rolate  to  mualc  mmaUmtr  th^r 

continued  their  counting  MPÜ  through  opening  night>  with  Pixie  even  stoppizig 

up  her  ears  so  as  not  to  be  distracted«  Oxüy   afterwards  th^  si/nchronized 

their  dance  vith  the  Passacaglla^  fusing  vhat  had  seomed  incongruoxis  into 

"point  and  counterpoint •^  • 

There  was  i0mmuk   silence  in  the  studio  until^  the  iDOioent  ve  vere 

off  the  air^  evexybocl/  broke  into  vild  applause« 


In  an  article  years  later,  Jean  Cocteau  explained  that  he  regarded 
LE  JEUNE  KOMME  ET  LA  iCRT  as  a  paraphrase  of  his  film  LE  SAüQ   D»ül^'  PüETE  (BLOÜD 
OF  A  POET);  that  it  was  not  really  a  ballet  but  a'^mimodrame"  in  vhich  panto- 
mime  expanded  its  sV^o  to  that  of  a  dance«  It  vas^  he  vrote,  a  silent  plsy« 


During  that  1951  season,  in  iiev  York  and  on  the  road,  Jean  Babilee 
had  Interpreted  a  mooc^  and  tenipestuous  jeune  hommo^  a  diametricalljr  different 
lyrical  and  poetic  Cupid  to  Philippart 's  P^che^  a  hilarious  Till  and 
fabuloua  Bluebird« 


Igor  Youekevitch^  thon  tho  leading  danseu^  noble  of  American  ballet 
Theatre^  had  sharod  maiy   programs  vith  the  French  guasts«  Aftor  a  luatlnee 
where  Jean  had  danced  the  BLUliBIRD  PJUi  DE  D£U2,  Youskevitch*  took  his  young 
datighter^  aged  perhaps  five  or  six,  backe  tage« 

Just  before  Walking  into  Jean 's  dressingroom,  he  bent  down  and  I  . 
heard  him  vhisper  to  her,  "I  want  you  to  remember  for  the  rest  of  your  lif e 
that  you  have  seen  on  tho  stage  and  loet  in  person  tho  greatest  dancer  of  onr 
time." 


i3  i-'-i  XJ75 


Mon 


»1   ur. 


Ix  / 


'    PJ-u.  quo  trcia  ,,oij,  ^j^  ^     ^^^ 


votr.    »Uäjeation,  noi.  trUcJe 
votr-,  socretal  ■»  w.c^c 


l    t«»iVt);'8,    1 


rtjception  i.en<.\ant. 


<'•  ü''.i  i. 


»•■•^  ■^utu.', 


•■  ^v  x.;,. 


twdg   bdä-2üc>l 


^7-i•iJ7^ 


Itoiiöi'.ur  Oiy  de  tU^ü^ 

vout,  x*.  utr.    jour  ^j-^    i?.?:   iui'orru-T. .Qua  ^iua^i  vouh  m^üVt,^  ftx 


i;xiquur  ifr.*t;  düiu:  Urj  B<.  büi^t?  denn  w^EUi*:    Kü!-4H;>    v   rti,t  Ü; 


»--     z' 


H  ^'  M 


L' 


(^C?< 


^ 


4S2  ^ULt  ül  Street,  ^"ey  i-ork,  i*.l.  l.Xi22 
7  janvi  r  1J75 


iiOii  eher  K^y.  ond- 


quc   c'tt>t  drftic  l      Ch  iuatiui  avant  quo  1-   courri  r  ctait  örrive^   j^*<i  pensÄ 
l   tüi  en  iiü^  dißftiit,   il  frut  qunt  ic   iui  ecrivel     I>'ü.bürd  pulsque^  evidöpfieüt^ 
leti  cort:,;.  n^^    j^f<vaic  ecrivecs  a   toi  tjt  J.  Ju-.iettt,  pour  les  fStiiu,  üe   sont 
peti  t^rrivivi'Si   öÜrtnunt  volles  ici;   tn  euit   ,   j'*  i  peüsC^  u  Jt-ui  ^iioiieei 
etant  donua  qu<    j^inii  voir  B^eluyKoff  aprc;>-d^-i::uixi  daiiti  i-^v   jeutii.   liOiujji:^   tt 
le.  i:ort^   et  je  in    ;3Ui.:  oit,   li.    g' ujl^    p-rtonne  qui  sait  peut«-etre  c»    cut» 
Ji'juu  iJLOileij  eiit  devr>2iu^  ca  pourr^it  *trt    toil 


i-t  avec  ir    courriir  viont  Ui  geritil-Lt.  l-ttr^.    du —  18  octohroill     J;:    ^entse 
qu'tjixe  a  cte   coi:iC^  ^ar  11  ^^revr»  c.  tnrx-j  et  y^  xe  ti^ouv-.    i%.jiiirqutLbXif.i  qu'on 
exivoiu  Ci:  courrif;r>   au  i^^ioliib  pe  u  a  ptuj   v.n  -^U.xie  ü  a  etti  oruie«  daiit  It?  ci.3 
perir*  ill     's^uaui  a  n^i,   j'avals  ecrit  '6  cartt ;.  i   i^/..riti  ^our  j,^t,  tii^cyer  per 
battjaur—  tii  i»ovejjbrf;»   aou  uii.      tait  revviiut:;  iVt  c  uiitr  nOLatiüii  d*.  xa  ^o&tb^ 
maißcelles  a  toi  et  a  Julie ttt>—  riui«     J*:.vaiö  ebpere  quo  jusnu'b  Ct,  qu' 
t:ii(jt>  arrivtront,   la  L.reV'    3^  rc    finiü.     i'^h  biea,   taut  p-it>>  ^Xvc     i..'a;>  j»r  t^uitj 
eiiiiOiyee  qu»D  toi  tt  Juiiette  voul;  avea  (Jtl  ^tiiißt;  «-lUd  jv.  iit    Müiiiie  pa^  le  iioindre 
jsi^nö  dv.   vie#.« 

Eii  tout  cns —  ta  It  ttre  lü'r.  fait  b<-cjUcoup  d^.  pltitir  car  i'Oi  auebi  j'etais 
ravi-r   0     coünaJtre  Juiiette,   je   l*ai   trouve  egalemeiit  cxiarinante,   iiiteilig-intt;i 
ac^roabie»   et  cuitivee  ^  t  ce  geiirt   d     fi,r;L'..«-   aevlciit  de  pluc  ^^n  plut,  rart»  cAs 
jourti-cii  au  L.oiiis  je  iiv  xi>ji   trouv-   pas^   yrüb:.bleii}eut  parce  qu'oii  aort  öi 
pau  frec^U:  mrient  f  t  on  kx  a'ftjoutf   plue  aux  r;:  is  qu'on  a  qui,   en  ^luß, 
nous   .  uitt^vüt   trop  bouv^iit  (j'^'Uiit  «ju  ^Tn-'r^i  ia   ulut:   jeui^v    p<iriiji  m^ s  ar.is>« 
^ui,    jt:    dirais  cue  ca  a    colle  con.i,     tu  diö   ^j     n^r.i  ps:.s  connu  ce     .üt  uais 
c'cßt  tont  *"    f.'.it  ie  KOt  "juöt'  "♦ 

ioi  ?  usi^i  j'etais  öi  htjureux  d'avoir  JiU  de  tes  nouvellas  par  Juliette  et 
tc  Ba\üir  ??tv-iC  uiv:    t^ll^    C0v?.:üu^«,*     J     trouv-    dr-  plus   cß  ^iub  out^  ce  sont 
leti  copaiiis  qui  coüipt^iit  lir   pxus  diüf^  x.'^  vie  quanci  oji  ii*:L'i  plus  daiis  la 
pr^iidW'    jtuiiesee    o^    lo'exprii'    ^'legal3lnent,  uoii'i'i)«»« 

C.uaiit  eux  '^ii^rbs;" —  noi;,  noi\,  paö  pour  i.  ^    riiUi.:e£:  r>aiß  ^oiir  l*vi>  i>alact#8 
et  lf:S  poitjt^oriöl 

li  ji'y  a  ri«^n  de   bi^,-.n  ici    U'*-^^if  '[Us..  aout-  iioua  ^..üiaate  d(  barrcj^u^ei^  de  *üxoii; 
ü^ait   c':.Li  -kt^  ir;oiiO<:     ntitr  qui  iu    t^rrifie,«*     Ifia  Octobre  j'^Mi  j5^asöe  3 
eeuaixiea  clwz  uut    aiidt    (c  uropecxiDL}  au  x^or?-  üe.  jlc^   i*i.üridcj   dau^  uae  ^  aisoa 
cixanut^atei    tret.  fciitJa^^-'  t;.liiorait,   tu  ruagt^jaat  doo  oraa^et?  iucigi;Uts   CvÄrtcst*; 
Uv^  i'arbre  du  J^rain  —  iif^t  prei.derc^   vacnc^tia  ^m  5  aiitil     Ea  r- atraat  j'ai 
pa^jje  2  jüur^  a  X'i^jv  ^rlvaui^  ce  qUo  j     Ur    coaaai;is»ti:L^  paö —  trtrfc»  öxtra- 
oiMiaairi —  aaiifc»  i.c  Vxt.^ux  ^^-rri,  1;^  vitux  C'.atr^.  de  xa  viiie—  co.  .^>xiir  tv:f- 
ment,   du  ^.oint  de  vue  architectur     oe  tout  c*^   que  j«    coia^aia.     Un  voj  ft^^e 
trcS  ri^usöi«     i-ais  autr  ju-at  riv:n  nutt  dt./.-,     anuis» 


i'It  ta  jpjcbe'i?  Ac-t-oa  jai.;ais  eB^c^l  un  os  plasti  .ue,  uae  operatiOj^i  v.j^u'on 
fait  öi  ^üuvoat  ijaint.:aaat,  avec  bafmrra,  ut  de  succcs^?  Hais  j'^^i.^crt  qa«;;j 
vas  fc>i  biua  qu'on  a'a  pluü  bei^ioia  de    call 


tu 


Et  eafin —  saiö-tu  par  hazard  ce  qu«;  liabllee  fait  a^is  joarb-<ti^     Hi;:a?*ii 

Du  fÜK?     J'ti  eu  une  adinlration  iraiVd^nst    pour  iui  cuiar'^    ^n  rsv^aatiej   un  ^  sor  e 


« 


II 


Hb  u'Stbit:»ut  pa;j  a  i^ev  i^^rk  a^^uiü  2ü  axie  et  je  ne  sals  ^iu&  riuii  d'yux — 

eauf  qu*il6  sont  divo'rcts«     i'^-ö  lu;  t'u)  fals  pa;.  si  tu  iuü  xc;:.  coiii^i;.  pi>e 
et/üu  ut)  üuii.  rit.u  ue  ±uil      ^C'etciit  ci'iUiu  f^xcoa     öa  tra^eaiu  qu'ix  CtiJit 
riciie  et  ^ouvait  ße  pi^riüt^ttre  dt   tr^vaüxer  puur  t-oii  p-L&ibir—  aon  ^/^rti 
bi>t  xt^  i.TofV-;.>t,«eur  uutmaiuij«.«     Un  t^rfdiu  iikrci  üi  tu  avait»  cits.    rL..-.ücigii(Ä^itß. 

ivXort>  ([Ue  ij76  öüit  lueilleur  qu'on  ne  1^:   craignel     i:)U^to^^  boniitj  saate  yuur 
toi —  borui«^  aiiiitic—  et  un  ^^eu  dtt  bozüicur  4t*£il^»a€mtl 

Je  t'embras&e-^ 


_>     .i:^ 


Theater/ John  Simon 

ANGEL'S 
FÄLL 


AM  I  BLUE:  Natalia  Makarova  plays  the  chanteuse  Rosa. 


". .  .The  sex  in  Roland  Petit's  The  Blue  Angel  is  meant  to  smolder, 
but  could  not  ignite  a  forest  in  CaUfornia. . ." 

cance  of  the  book,  is  nevertheless  a  kind 
of  schlock  masterwork,  and  has  among 
its  many  assets  a  Script  on  which  Carl 
aickmay$j:^and  Karl  Vollmöllei:) colla- 
bqrafeHTtheTnsTHTöü^lyr^ct!^^  songs 
ofVEÜedrichHolläi^^  the  unbeat- 

able  performing  trio  ofWannings,  Die^ 
trichj  and  Albers.  And,  in  a  way,  tfie 
film's  downfall  of  a  decent  mediocrity  is 
more  moving  than  the  novel's  end  of  a 
tyrant.  The  new  ballet  (if  that's  what  it  is), 
with  a  libretto  by  the  composer,  Marius 
Constant,  Petit,  and  Gert  Reinholm,  di- 
rector  of  the  Berlin  Ballet,  which  com- 
missioned  it,  actually  hews  closer  to  the 
novel  than  the  movie  did,  but  it  is  neither 
fish  nor  fowl,  though  it  may  boast  a  red 
herring  or  two. 

One  might  have  supposed  that  Petit, 
whose  gift  is  really  for  the  music  hall, 
would  have  been  in  his  dement  here  (and 
it  may  be  that  the  first  scene  at  the  Blue 
Angel,  which  I  missed,  captures  the  req- 
uisite  spirit),  but  what  1  did  see  of  the 
scenes  in  that  dive  is  sadly  lacking  in 
identity.  The  novel  is  ensconced  in  the 
Wilhelmine  period,  the  movie  exudes  the 
Weimar  Republic,  but  the  ballet — in 
Story,  costuming,  and  mentality — is  a 
jumble  of  eras  and  locales,  and  can  best 
be  described  as  proto-Ca^ar^^  We  get 
vague  equivalents  of  Hitler  Youth,  storm 
troopers  (even  if  the  helmets  are  imperi- 
al), and  a  hokey  Berlin  decadence  that 
stops  just  Short  of  Joel  Grey  and  Liza 
Minnelli.  But  Petit  allows  the  second  act 
to  get  away  from  the  cabaret  sctting  alto- 
gether  (loosely  following  the  novel),  with 
disastrous  results. 

Roland  Petit  may  have  realized  all 
along,  consciously  or  otherwise,  that  his 
forte  was  not  ballet  but  show  business. 
Although  his  choreographies  contain  a 
scattering  or  smattering  of  ballet  Steps, 
they  always  verge  on  the  music  hall,  ball- 
room  dancing,  or  the  circus.  For  a  great 
acrobatic  dancer  such  as\Jean  Babil6e,)ie 
could  also  conjure  up  a  gymnasium. 
Mostly,  though,  he  has  depended  on  a 
bag  of  tricks  and  gimmicks  for  each  new 
ballet — coups  de  theätre  that  had  their 
slickly  show-biz  impact  even  if  they  did 
not  do  Terpsichore  proud.  But  these  bags 
have  become  ever  hoarier,  slenderer, 
emptier,  and  by  now  complete  depletion 
seems  to  have  set  in.  Carmen,  for  exam- 
ple,  managed  a  certain  sweltering  sexi- 
ness  (not  with  Margot  Fonteyn,  to  be 

Photograph  by  Beatriz  Schiller. 


OWING  TO  A  MISUNDERSTANDlNG  ABOUT 

curtain  time,  I  missed  35  minutes  of  Ro- 
land Petit's  The  Blue  Angel.  Since  I  want 
to  be  absolutely  fair  to  the  show  (my  late- 
ness  was  entirely  my  mistake),  I  will  con- 
cede  that  the  first  35  minutes  may  be  ab- 
solute genius;  the  rest,  however,  is  Unrat, 
which,  as  the  program  carefully  explains, 
is  German  for  "garbage." 

Back  in  1949,  when  Roland  Petit  pro- 
duced  what  may  still  be  his  biggest  hit, 
his  dance  version  of  Carmen,  Fran9ois 
Mauriac  published  a  blistering  attack  on 
Cocteau,  Jean  Marais,  Petit,  and  one  or 
two  others,  whom  he  lumped  together  as 
a  bunch  of  perverts  who  defecate  on  mas- 
terpieces.  I  wonder  what  poor  Mauriac, 
in  his  austerely  Catholic  heaven  (though 
he,  too,  sowed  a  few  wildish  oats  in  his 
youth),  has  made  of  the  far  more  detest- 
able  adaptations  that  have  come  along 
since.  For  example,  of  the  Tragedie  de 
Carmen  of  Peter  Brook  (whose  music  was 
arranged  by  Marius  Constant,  of  whom 
more  anon),  or  of  the  Proust  of  Roland 
Petit,  or  of  any  number  of  plays  and 
operas  manhandled  by  a  whole  brood  of 
new  directors,  of  whom  Peter  Seilars  is 
but  the  latest  depressing  example.  Yet 
Mauriac  was  on  to  something,  and  let  no 
one  say  that  the  Nobel  laureate  did  not 

64        NEW  YORK/AUGUST  5,  I985 


do  his  best  to  nip  the  aberration  in  the 
bud.  That's  why  I'm  so  sure  he  is  in 
heaven. 

Some  second-rate  artists  do  manage  to 
create  one  genuinely  good  work.  Roland 
Petit  will  live — if  he  does — for  one  ballet, 
Le  Loup  (1953),  which  I  enjoyed  equally 
when  performed  by  Petit's  Ballets  de 
Paris,  the  Royal  Danish  Ballet,  and  our 
own  Joffrey.  It  has  a  shattering  scenario 
by  Jean  Anouilh  and  Georges  Neveux,  an 
irresistible  score  by  the  still  underrated 
Henri  Dutilleux  (try  to  track  down  the 
entire  ballet  on  a  discontinued  Ducretet- 
Thomson  recording,  DTL  93086,  or  at 
least  hear  excerpts  from  it  on  the  still 
available  Angel  35932),  and  compelling 
design  by  Carzou.  Other  than  that,  there 
may  be  an  occasional  revival  of  Petit  and 
Cocteau's  exceedingly  campy  Le  feune 
komme  et  la  mort;  the  many  full-length 
ballets  based  on  major  literary  works  are 
sure  to  vanish  into  the  thin  air  out  of 
\vhich  they  were  made. 

[einrichj^lann^  Professor  Unrat 
( 1 905)Ts~norexacny  a  masterpiece  {Der 
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on.VlpseTvon  Sternberg's/l930  film  Ver- 
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sure,  but  with  Zizi  leanmaire  and  Moira 
Shearer),  yet  the  sex  in  The  Blue  Angel,  as 
in  the  pas  de  deux  for  the  chanteuse  Rosa 
(Natalia  Makarova)  and  the  Student  Loh- 
mann ()ean-Pierre  Aviotte),  which  is 
meant  to  smolder,  could  not  ignite  a  for- 
est in  California.  The  subsequent  cavort- 
ings  of  three  male  students  to  the  accom- 
paniment  of  the  ensemble's  foot-stamp- 
ing  and  manual  floor-slapping  are  rather 
more  sensual. 

Particularly  disheartening  is  the  inept 
Staging  of  the  decline  of  Professor  Raat 
(Roland  Petit),  equally  insipid  choreo- 
graphically,  psychologically,  and  drama- 
tically.  in  fact,  the  attempted  strangling 
of  Rosa,  with  neither  Lohmann  nor  any- 
one  eise  so  much  as  budging  to  the  res- 
cue,  may  be  an  all-time  high  in  anticli- 
maxes.  Even  more  baflling  is  the  ending, 
with  Rosa  arriving  at  a  crowded  railway 
Station,  where  her  husband  appears  to  be 
sufTering  from  terminal  D.T.'s  or  Parkin- 
son's  disease,  while  she,  carrying  two 
suitcases  ä  la  Willy  Loman  (any  relation 
to  Lohmann?),  takes  ofF  in  a  direction 
away  from  the  trains — a  sort  of  inverted 
Anna  Karenina. 

Constant's  music  is  highly  inconstant, 
plundering  everything  from\WeilIJ  Des- 
sau, and  Eisler  to  fifties  electronic  music, 
along  with  stabs  at  dance-hall  Schönberg 
and  salon  Hindemith.  There  are  also  syr- 
upy  solos  for  violin  and  piano,  and  even 
bits  of  finger-snapping.  And  this  pastiche 
is  sometimes  adorned  with  pretentiously 
hollow  lyrics  by  Leu  Bruder  mostly  on 
the  Order  of  "Lulu,  Lala,  Lola,  /  Alles 
lallt  von  Liebe" — allusions,  no  doubt,  to 
Berg  and  Sternberg— and,  oh,  Bruder, 
are  we  ever  in  deep  treacle! 

If  anyone  was  ever  unsuited  to  portray 
a  Teutonic  burgher  of  the  professorial 
sort,  Roland  Petit  is  it.  Looking  like  a 
cross  between  a  bistro  proprietor  and 
Norman  Podhoretz,  he  cavorts  about, 
evoking  the  wee  hours  of  a  faun,  and 
conveys  no  pathos  at  all,  despite  a  most 
persuasive  tremor,  in  the  closing  scenes, 
from  an  unspecified  ailment,  possibly 
megalomania.  Equally  disappointing  is 
Natalia  Makarova,  who  portrays  the 
voluptuous  chanteuse  who  drives  men 
crazy  as  an  anorectic  rodent.  She  can 
dance,  of  course,  but  even  she  can't  do  it 
without  a  choreography,  which  is  what 
Petit  has  failed  to  provide.  So  she  is  left 
with  pantomime,  acting  ihe  femme  fatale, 
\vhich  she  can*t  provide.  Jean-Pierre 
Aviotte  goes  through  his  routines  con- 
scientiously,  but  without  a  trace  of  per- 
sonality. 

Franca  Squarciapino's  costumes  are 
suitably  flashy,  but  unsuitably  of  no  peri- 
od  whatever — or,  rather,  of  all  periods. 
The  distinguished  Josef  Svoboda,  who 
designs  magnificent  sets  on  a  heroic 
Scale,  was  here  cut  back  to  a  mere  Sil- 
houette of  a  city  that,  one  notices,  can  be 
easily  folded  for  the  show  to  travel  light. 
Light  perhaps,  but  not  very  far.         i^ 


66      NEW  york/august  5,  1985 


H 


THE  NEW  YORK  TIMES,  SUNDAY.  MARCH  12.  1995 


The  Ballerina 
In  Leslie  Caron 

The  Actress 


By  ANNA  KISSELGOFF 


EAD  THE  USUAL  BIOGRAPHI- 
cal  account  of  how  Leslie  Caron 
made  the  leap  from  French  baby 
ballerina  to  Hollywood  star,  and  it 
begins  as  follows:  Gene  Kelly  is  in 
the  audience  in  Paris  when  Ms.  Caron,  16, 
becomes  an  overnight  Sensation  in  the  1948 
premiereof  "La  Rencontre"  ("The  Encoun- 
ter"),  David  Lichine's  experimental,  and 
acrobatic,  ballet  about  Oedipus  and  the 
Sphinx.  Two  years  later,  Mr.  Kelly  chooses 
Ms.  Caron  as  his  partner  for  the  film  musi- 
cal  "An  American  in  Paris."  But  the  fact  is 
that  he  had  been  unable  to  meet  her  back- 
stage  after  "La  Rencontre."  The  young 
dancer  had  fled  because  she  was  overcome 
by  shyness. 

A  different  story,  with  a  darker  twist  of 
backstage  intrigue,  surfaces  when  retold 
recently  by  Ms.  Caron  in  a  recent  conversa- 
tion  about  her  ballet  background.  That  as- 
pect,  rather  than  her  more  frequent  work  in 
dramatic  films,  will  be  highlighted  this 
week  in  the  dance  series  "Capturing  Chore- 
ography:  Masters  of  Dance  and  Film,"  pre- 
sented  by  the  Film  Society  of  Lincoln  Cen- 
ter. Ms.  Caron  will  be  on  hand  to  comment 
on  the  clips  from  her  musicals  (including 
the  1980  French  film  "Tous  Vedettes")  that 
will  be  shown  Wednesday  and  Thursday 
nights  at  8  at  the  Walter  Reade  Theater. 

At  63,  Ms.  Caron  clearly  has  a  füll  plate 
these  days.  She  mentioned 
that  she  is  a  partner  in  an  inn 
in  Burgundy  and  last  year 
took  on  major  acting  roles  in 
two  dramatic  films  that  have 
yet  to  be  released  in  the  Unit- 
ed States:  "Funny  Bones" 
and  "Let  It  Be  Me." 

Recalling  the  fateful  night 
that  impressed  Mr.  Kelly  and 
changed  her  career,  Ms. 
Caron  noted  that  after  her  tri- 
umph  in  "La  Rencontre,"  it 
was  instant  hostility  from 
other  female  dancers,  not  shy- 
ness, that  caused  her  to  "rush 
home,  undress  and  go  to  bed." 
Ms.  Caron  carried  the 
youthful  hurt  of  that  evening 
long  enough  to  describe  it  in 
"Curtain  Call,"  one  of  the  re- 
markable  short  stories  she 
published  in  1982,  in  a  collec- 
tion  significantly  titled 
"Vengeance."  Violent  pas- 
sions,  sometimes  acted  upon, 
run  through  these  tales  of 
complex  emotions. 

The  bitte rness  she  once  expressed  about 
ballet  life  has  now  receded.  Looking  back, 
she  recalled  the  creative  atmosphere  of 
postwar  French  ballet  as  exciting,  and  she 
remains  fiercely  loyal  to  Roland  Petit  —  the 
young  choreographer  who  had  just  made  his 
own  name  when  he  invited  her  as  a  teen- 
ager  into  his  Ballets  des  Champs-Elysees  in 
1947.  She  arrived  in  Hollywood  in  1950  and 
four  years  later  went  on  leave  from  MGM  to 
dance  with  Mr.  Petifs  second  troupe,  Les 
Ballets  de  Paris,  on  Broadway;  in  1955,  he 
choreographed  two  of  her  films,  "Daddy 
Long  Legs,"  with  Fred  Astaire,  and  "The 
Glass  Slipper." 


A  retrospective  of 


Caron's  on-screen 


Performances  only 


hints  at  her  early 


formal  training. 


"Fred  was  ashamed  of  his  long  feet  and 
large  hands,"  Ms.  Caron  said.  "He  would 
keep  two  fingers  together  to  make  his  hands 
look  smaller.  He  feit  he  couldn't  do  ballet 
but  he  had  great  gifts." 

Although  she  pays  tribute  to  Mr.  Kelly  for 
introducing  her  to  a  new  ränge  of  dance 
styles,  she  considers  Astaire  the  more  natu- 
ral dancer  because  "he  had  wonderful 
breath  control." 

Dancing  was  Ms.  Caron's  birthright,  and 
perhaps  it  was  fate  that  her  mother,  who 
was  American,  was  a  dancer  named  Marga- 
ret Petit.  After  studying  in  Seattle  at  the 
Cornish  School  (whose  alumni  include 
Merce  Cunningham),  Ms.  Caron's  mother 
appeared,  like  Martha  Graham,  in  John 
Murray  Anderson's  "Greenwich  Village 
Follies"  in  the  1920's. 

"My  mother  had  seen  Nijinsky  and  Pavlo- 
va,"  Ms.  Caron  said.  "But  at  that  time,  the 
only  outlets  for  American  dancers  were 
revues  and  Broadway  shows.  1  have  seen 


certain  numbers  she  created  after  Nijinsky. 
In  one,  she  was  dressed  up  as  a  faun." 

Ms.  Caron's  mother  divorced  her  first 
husband,  a  banker  from  Seattle,  after  visit- 
ing  Europe,  where  she  feil  in  love  with  a 
well-to-do  French  pharmacist  named 
Claude  Caron. 

"My  mother  gave  up  dance  to  marry  my 
father,"  Ms.  Caron  said,  and  in  her  view,  she 
fullfilled  the  dance  ambitions  her  mother 
had  for  herseif.  In  1988,  when  Ms.  Caron 
danced  in  New  York  with  Mikhail  Baryshni- 
kov  and  Rudolf  Nureyev  at  a  gala  for  the 
Paris  Opera  Ballet,  she  said  Mr.  Baryshni- 
kov  "was  surprised  at  my  good  training." 


Serge  Lido/Film  Society  of  Lincoln  Cenic 


Ms.  Caron's  mother  had  in  fact  taken  her 
to  the  best  Russian  teachers  in  Paris,  in- 
cluding Olga  Preobrajenska  and  Alexandre 
Volinine.  By  contrast,  Ms.  Caron  hated  the 
style  of  Jeanne  Schwarz,  a  well-known 
French  teacher  at  the  National  Conserva- 
tory  of  Dance  because  it  was  "regimented, 
with  no  romantic  feeling." 

Like  the  equally  young  Violette  Verdy,  the 
future  New  York  City  Ballet  star.  Ms.  Caron 
was  discovered  by  Mr.  Petit  in  the  classes  of 
the  Russian-Armenian  teacher  known  as 
Mme.  Rousanne.  Mr.  Petit  had  formed  Les 
Ballets  des  Champs-Elysees  in  1945  with 
Serge  Diaghiiev's  collaborators  or  succes- 


Leslie  Caron,  above,  in  her  Paris 
apart ment  last  month.  At  left.  Ms. 
Caron  with  Jean  Babilee  in  **La 
Rencontre," choreographed  by  David 
Lichine  in  1948. 


sors,  including  Jean  Cocteau,  Boris  Kochno 
and  the  designer  Christian  Berard.  Ms.  Car- 
on's pungent  memories  of  that  atmosphere 
evoke  its  artistic  ferment  and  occasional 
preciousness.  "Cocteau  was  very  kind  to 
me,"  she  said.  "He  was  always  there  like  a 
good  fairy;  he  was  a  friend."  Berard,  who 
designed  "La  Rencontre"  after  Mr.  Petit 
left  in  1948,  was  different.  "He  did  not  hide 
his  distaste  for  women,"  she  said. 

"Every  premiere  was  surprising  and 
striking,"  Ms.  Caron  added.  In  "13  Danses," 
Mr.  Petit  created  a  little  solo  for  her,  which 
he  later  had  Ms.  Verdy  dance,  too.  In  "La 
Rencontre,"  the  young  French  Superstar 
Jean  Babilee  was  Oedipus  to  Ms.  Caron's 
Sphinx.  She  had  pointy  ears,  long  fingernails 
and  two  suspended  wings.  Berard  placed  the 
action  in  a  circus  decor.  Ms.  Caron, 
groomed  by  attendants  on  what  she  called  a 
massage  table,  rose  up  onto  a  trapeze.  "My 
wings  unraveied  like  two  sails  of  a  ship," 
she  recalled.  "It  was  beautiful." 

When  the  Sphinx  became  enraged  by  Oe- 
dipus's  ability  to  solve  her  riddles,  she 
plunged  headlong  in  a  spectacular  "suicide" 
from  the  trapeze.  "It  created  a  shock,  and 
the  audience  gasped,"  Ms.  Caron  said.  "I 
attached  myself  by  the  ankle  and  threw 
.myself  backward.  Babilee  used  to  pull  my 
ponytail  to  see  if  I  was  really  dead." 

When  Ms.  Caron  arrived  in  Hollywood,  it 
j  wasn't  dancing  in  films  but  the  idea  of 

j 

i 


Peier  Capelimann  (or  The  New  York  Times 


acting  that  attracted  her.  "I  was  made  to 
dance.  My  limbs  just  live  it.  But  I  had 
anemia  and  mononucleosis  during  *An 
American  in  Paris.'  I  hated  dancing  on  flat 
cement,  and  I  had  to  be  in  toe  shoes  for  eight 
hours.  I  was  fascinated  with  acting  and  took 
acting  lessons  from  the  Start." 

The  film  director  Jean  Renoir  told  her,  "I 
don't  know  how  good  you  are  as  a  dancer, 
but  I  think  you  are  an  actress."  Later,  she 
married  the  English  director  Peter  Hall, 
from  whom  she  is  divorced.  They  have  two 
grown  children:  "Christopher  is  on  the 
verge  of  becoming  a  producer  in  British 
television,  and  Jennifer  will  take  up  acting." 

Her  own  acting  career  with  a  variety  of 
international  directors  never  really  stopped, 
but  it  never  really  took  off  in  France.  When 
she  returned  to  live  in  Paris,  she  explained, 
"I  was  40,  and  that  is  too  late  unless  you  are 
a  great  dramatic  actress." 

The  implicit  admission  here  is  that  her 
fame  rests  on  her  unforgettable  Perform- 
ances in  musicals  like  "Gigi."  Even  her  two 
new  dramatic  films  allude  to  this  back- 
ground. In  "Funny  Bones,"  a  British  black 
comedy  directed  by  Peter  Chelsom  that  was 
shown  at  the  Sundance  Film  Festival  this 
year,  she  and  Jerry  Lewis  are  part  of  a 
music-hall  family.  In  "Let  It  Be  Me,"  an 
American  film  directed  by  Eleanor  Berg- 
stein, she  is  a  rieh  widow  who  takes  ball- 
room  lessons  to  befriend  a  homeless  man, 
played  by  Patrick  Stewart.  In  the  1980's,  Ms. 
Caron  toured  in  American  road  companies 
of  stage  musicals  —  Cole  Porter's  "Can 
Can"  and  Rodgers  and  Hart's  "On  Your 
Toes."  She  recently  performed  in  Berlin  in 
"Grand  Hotel"  (in  German!).  At  home,  she 
said,  she  keeps  up  with  daily  ballet  exer- 
cises.  "I  still  do  my  harre  in  my  hallway."D 


Jean  Babilee,  French  dancer,  choreographer 


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Congress  is  again  in  Session  and  whatever  their  otl^er  abilities,  poiiticians  are,  for  the  most  part, 
verbose.  Some  have  been  prone  to  include  in  their  rhetorical  flourishes  a  variety  of  word  gaffes. 
Listen  to  TV  and  read  the  paper  carefully  and  you  may  be  able  to  add  to  the  foUowing  coilection: 

Mayor  Marion  Barry  of  Washington  D.C.  declared,  "Outside  of  the  killings,  we  have  one  of  the 
lowest  crime  rates  in  the  country/' 

A  New  Jersey  State  Senator,  concerned  about  the  possibility  of  a  tax  increase,  protested,  "My 
constituents  are  fed.up  with  exuberant  taxes/' 

Speaking  at  a  patriotic  event  that  honored  Abraham  Lincoln  the  same  Senator  deciaimed,  "It  is  fitting 
that  we  pay  tribute  to  Abraham  Lincoln,  who  was  born  in  a  log  cabin  that  he  built  with  his  own 
hands. 


// 


The  late  Mayor  Daley  of  Chicago  once  told  a  group,  "Get  this  straight  -  the  policeman  isn't  there  to 
create  disorder.  The  policeman  is  there  to  preserve  disorder/' 

A  chairman  of  the  House  Armed  Services  committee  observed,  ''The  only  way  we'U  ever  get  a 
volunteer  army  is  to  draft  'em/' 

A  member  of  the  San  Francisco  Board  of  Supervisors  once  told  a  group  of  housewives,  "Ladies,  I 
have  here  some  figures  which  I  want  you  to  take  home  in  your  heads,  which  I  know  are  concrete.  He 
was  also  the  one  who  said  on  another  occasion,  "This  has  all  the  earmarks  of  an  eyesore." 

It  was  a  Nevada  Senator  who  said  during  a  senate  discussion  of  a  nuclear  waste  dump  that  he  was 
opposed  to  a  nuclear  suppository  for  his  State. 


A  Pennsylvania  legislator  cautioned,  "Don't  cross  your  bridges  until  you've  burned  them. 


// 


// 


A  Wisconsin  sheriff  warned,  "Milwaukee  is  the  golden  egg  that  the  rest  of  the  State  wants  to  milk. 

Advocating  the  passage  of  a  tax  reform  bill,  a  Pennsylvania  legislator  promised,  "It  will  go  a  long 
way  toward  nipping  the  bull  by  the  homs." 

A  Senator  from  Massachusetts  noted,  "This  is  no  time  to  pull  the  rüg  out  in  the  middle  of  the  stream. 

A  Texas  Senator  inveighed  against  a  bill  raising  taxes,  "If  we  don't  stop  shearing  the  wood  off  the 
sheep  that  lays  the  golden  egg,  we'll  pump  it  dry." 


// 


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THE 


Rudolf  Nureyev  Eulogized 
AndBuried  in  Paris  Suburb 


By  JOHN  ROCKWELL 

Special  10  The  New  York  Times 


PARIS,  Jan.  12  —  As  a  cold  winter 
sun  broke  through  stormy  rain  clouds, 
Rudolf  Nureyev  was  buried  early  this 
aftemoon  in  the  Russian  Orthodox 
certietery  of  Ste.-Genevieve-des-Bois  in 
the  Essonne  district,  a  suburb  south  of 
Paris.  The  Russian-born  dancer  and 
choreographer  died  in  a  suburban 
Paris  hospital  on  Jan.  6. 

Nureyev's  oak  coffin  was  lowered 
into  the  ground  without  religious  Serv- 
ices or  spoken  remarks.  He  was  buried 
some  60  feet  from  the  marble  tomb  of 
^he  choreographer  Serge  Lifar.  Alto- 
gether,  more  than  3,000  Russians  lie  in 
this  cemetery. 

The  burial  was  attended  by  a  small 
group  of  family  and  friends,  along  with 
Jack  Lang,  the  If  rench  Minister  of  Cul- 
ture  and  Education ;  Pierre  Berge,  the 


^  You  chose  to  be 
interred  in  the  soll 
of  France,  which 
will  be  sweet  and 
hospitable  to  you.' 


President  of  the  Paris  Opera,  and 
members  of  the  Paris  Opera  Ballet, 
which  Nureyev  led  from  1983  to  1989. 

The  burial  was  preceded  in  the 
morning  by  a  civil  ceremony  at  the 
Palais  Garnier,  the  city's  old  opera 
house  and  the  home  of  the  ballet.  The 
Wide  front  steps  of  the  building  were 
decked  with  flowers  left  by  admirers. 
The  coffin  was  lifted  from  the  hearse 
by  six  male  dancers  of  the  Opera  Ballet 
and  carried  into  the  theater  lobby.  It 
was  placed  at  the  top  of  the  Grand 
Staircase,  with  Nureyev's  two  princi- 
pal  French  honors,  his  Legion  of  Honor 
Chevalier's  cross  and  his  sash  as 
Commander  of  Arts  and  Letters,  rest 
ing  on  a  velvet  pillow  two  steps  below. 
The  Nureyev  family  —  his  two  sur- 
viving  sisters  and  two  nieces  and  two 
nephews  —  stood  around  the  coffin,  and 
the  side  stairways  were  filled  with 
dancers  from  the  ballet  Company. 
.  Twenty-four  ''petits  rats"  —  literally, 
•  Jittle  rats,  the  nickname  for  ballet- 
school  students  —  had  laid  bouquets  of 
white  Chrysanthemum  along  each  side 
of  the  Grand  Staircase. 

As  several  hundred  invited  guests 
looked  on,  the  45-minute  program  be- 
gan  with  the  first  fugue  from  Bach's 
"Art  of  the  Fugue."  There  followed 
literary  selections  in  five  languages 
read  by  friends  of  the  dancer,  as  well 
as   further   musical   selections    (per- 


formed  by  a  small  string  ensemble,  a 
flutist  and  a  soprano)  by  Bach,  Tchai- 
kovsky,  Bach  again  (the  incomplete, 
suddenly  broken-off  final  fugue  from 
"The  Art  of  the  Fugue")  and  Mahler. 

The  literary  passages  —  reportedly 
chosen  by  Nureyev  —  were  by  Pushkin, 
Byron,  Michelangelo  ("Love  has  rav- 
ished  me,  beauty  has  enchained  me"), 
Goethe  and  Rimbaud  (the  poem  "Gen- 
ius"). Particularly  telling  were  lines 
from  Pushkin's  "Eugene  Onegin," 
read  in  Russian,  which  were  translated 
as  "We  must  leave  these  sad  shores, 
the  hostility  of  this  country  . . .  and 
languish  for  sad  Russia,  where  I  suf- 
fered,  where  I  loved,  there  where  my 
soul  is  buried." 

The  eulogy  was  by  Mr.  Lang,  who 
noted  that  Nureyev  had  wished  to  be 
buried  in  France,  the  country  where  he 
defected  from  the  Soviet  Union  in  1961, 
where  he  led  the  national  ballet  Compa- 
ny and  where  he  spent  his  last  months. 

"You  chose  to  be  interred  in  the  soil 
of  France,  which  will  be  sweet  and 
hospitable  to  you,"  Mr.  Lang  said.  The 
minister's  eulogy,  which  summarized 
Nureyev's  artistic  achievements,  also 
paid  tribute  to  his  demeanor  during  his 
final  illness,  which  many  of  his  friends 
said  was  AIDS. 

"He  confronted  sickness  and  death 
with  the  same  lucidity  and  the  same 
courage  that  informed  his  life,"  Mr. 
Lang  said.  "Passion  always,  will,  and  a 
sovereign  dignity.  He  recalled  the  an- 
cient  sages  and  their  'art  of  dying.'  He 
kept  silent  but  he  fought.  He  suffered 
but  he  worked.  What  a  lesson  in  cour- 
age and  greatness!" 

Friends  and  Colleagues 

The  civil  ceremony  was  also  attend- 
ed by  Frangois  Leotard,  the  French 
Minister  of  Culture  in  the  late  1980*s, 
and  many  friends  and  former  col- 
leagues. Among  them  were  Patrick 
Dupond,  Yvette  Chauvire,  Carla 
Fracci,  Lynn  Seymour,  Marika  Beso- 
brasova,  Ghislaine  Thesmar,  Carolyn 
Carlson,  Zizi  Jeanmaire,  Roland  Petit, 
Jean  BabüeeJ  John  Neumeier,  Rudy 
zig,  Flemming  Flindl,  John 
Taras,  Leslie  Caron  and  Lee  Radziwell. 

On  Monday,  the  public  was  invited  to 
pay  its  respects  to  Nureyev.  Flowers 
were  arrayed  in  the  second-floor  lobby 
of  the  Palais  Garnier  around  a  life-size 
photo  of  the  dancer,  and  people  were 
asked  to  inscribe  their  feelings  in  sev- 
eral guest  registers. 

Last  Thursday,  at  a  news  Confer- 
ence, it  was  announced  that  two  linked 
Nureyev  Foundations  had  been  estab- 
lished,  in  New  York  and  in  Paris,  to 
accept  gifts  to  further  Nureyev's  aims. 
These  include  the  support  of  young 
dancers'  careers,  and  projects  in  un 
specified  "scientific  and  medical  re- 
search." 


THE  NEW  YORK  TIMES,  FRIDAY,  OCTOBER  30,  1970 


n 


Former  Lead  Dancer  With 
Ballet  Theater  Was  46 


Eric  Braun,  formerly  a  prin- 

cipal    dancer   with    the    Ballet 

Theater,  died  Tuesday  evening 

while  teaching  a  ballet  class  at 

the  North  Shore  Academy  of 
Dance,  a  school  he  founded  in 
Highland  Park,  111.  Mr.  Braun, 
who  was  46  years  old,  suffered 
a  heart  attack. 

Born  in  Vienna,  where  he 
studied  at  the  Opera  Ballet 
School,  Mr.  Braun  came  to  this 
country  with  his  family  before 
World  War  II.  After  studying 
with  Bronislava  Nijinska  in 
California,  he  joined  Ballet  The- 
ater, now  known  as  American 
Ballet  Theater,  as  a  member  of 
the  Corps  de  ballet  in  1945. 

He  left  the  Company  in  1956, 
one  year  after  having  been 
named  a  principal.  Among  his 
best-known  roles  were  the  lead 
cadet  in  David  Lichine's  **Grad- 
uation  Ball,"  the  title  role  in 
"pl^uleii&ple^el,""  tu  which  he 
wceeded  after  its  choreo 
rapher,  Jean  Babil^e,  create 
ih€j^how-ofr*§ailüi>*^^ 
Free^   and    "Interplay."    Other 

T  roles  included  the  Boy  in  Green 
in  "Les  Patineurs,"  Alain  in 
"La  Fille  Mal  Gard^e"  and  a 
leading  part  in  "Les  Demoi- 
selles  de  la  Nuit." 

While   with   Ballet   Theater, 

Mr.  Braun  married  a  principal 

jwith   the  Company,   Ruth  Ann 

Koesun.    They    were    later   di- 

^'Ivorced. 

^°  Since  leaving  the  Company, 
lor,  Mr.  Braun  became  a  well-known 
>rkifigure  in  the  dance  world  in  the 
Chicago  area.  In  addition  to  his 
teaching,  he  was  active  in  the 
Ballet  Guild  of  Chicago,  for 
which  he  choreographed  sever- 
al  ballets,  and  served  as  artistic 
director  of  the  Phyllis  Sabold 
Company.  He  also  worked  in 
commercial  and  industrial 
Shows. 


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THE  NEW  YORK  TIMES,  SUNDA Y.  JULY  18, 197 1 


Theodore  D'Erlanger,  81, 
Ballet  Choregrapher,  Dies 

Special  to  The  New  York  Times 

PARIS,  July  17  —  Theodore 
D'Erlanger,  the  ohoreographer 
and  ballet  teaöher,  died  Iherc 
yesterday.  Born  in  1890  in 
Moscow,  he  came  here  as  a 
refugee  from  the  Russian  Rev- 
olution. 

In  France,  Mr.  D'Erlanger 
worked  with  a  number  of  fa- 
mous  baüerinas,  including  Pav- 
lova,  and  with  Alexandre  Voli- 
nine  he  founded  a  dancing 
a^dd^ny  that  gained  a  reputa- 
^n.^fnong  his  students  were 

an  Babilee,  Janmfi^i^arxat, 
Liy«utt — Daydg^ColeUeMar- 
chandA  and  '^loTeltc  VeiUj^  a 
meniber  of  tite^-^w  Yojdt^ity 
Ballet. 

In  1954,  Mr.  D'Erlanger  trans- 
fontied  this  aoademy  into  a 
sdiGoi  for  trainlng  dancing 
teacihers.  He  was  also  head  of 
the  Municipal  Conservatory  of 
Paris. 


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THE  NEW  YORK  TIMES,  SUNDAY,  NOVEMBER  19, 1972 


^V 


V 


Smothered  in  Chic 


By  CLIVE  BARNES 

THE  first  tlme  I  encoun- 
tered  French  ballet  was 
in  London  on  April  8, 
1946.  It  hasn't  changed. 
The  occasion  I  will  never 
forget.  It  was  at  the  Adelphi 
Theater  in  the  Strand.  The 
Company  was  one  that  had 
been  formed  just  a  year 
earlier.  It  was  called  Les 
Ballets  des  Champs  Elys^es, 
the  artistic  director  was  Boris 
Kochno,  a  former  close  asso- 
ciate  of  Diaghilev,  and  the 
principal  choreographer  was 
Roland  Petit,  a  man  of  about 
24,  then  on  the  brink  of 
World  fame. 

The  first  program  consisted 
of  a  feeble  ballet  called  "Con- 
cert  de  Danses"  (by  a  chore- 
ographer called,  if  memory  is 
still  working,  Marcel  Berger, 
who  seems  to  have  sunk 
witiiout  trace),  a  classic  pas 
de  6eux,  Janine  Charrat's 
"Jeu  de  Cartes"  (which  in- 
troduced  the  great  Jean 
Babil6e  to  the  world  outside 
Paris)  and  what  remains 
Petit's  finest  ballet  of  all, 
VLes  Forains." 

I  bürden  you  with  these 
reminiscences  of  more  than  a 
quarter  Century  ago  because 
the  more  French  ballet 
changes  the  more  it  remains 
the  same.  I  thought  of  this 
the  other  day  at  the  Brooklyn 
Academy  of  Music  when  I 
saw  a  oouple  of  programs  by 
Le  Ballet-Th6ätre  Contempo- 
rain,  which,  together  with  the 
Marseilles  Ballet,  now  di- 
rected  by  that  same  Roland 
Petit,  and  the  Paris  Op^ra 
Ballet,  is  the  only  major 
dance  Company  left  in  France. 

'*■  Yes,  there  are  similarities 
with  the  long  extinct  Champs 
Elys^es  Company  and  Le 
Ballet-Th^ätre  Contemporain, 
but  the  faults  of  the  former 
have  been  exaggerated  and 
its  virtues  minimized.  This  is 
a  Company  in  a  lower  key. 
Wifth  Les  Ballets  des  Champs 
Elys^es  two  things  Struck  me 
immediately — the  wonderful 
scenery  and  costumes  that 
enchanted  on  a  scenic  level  I 
(had  never  even  envisaged  be- 
fore,  and  the  strength  and 
technical  assurance  of  the 
company's  male  dancers. 
There  was  also  a  certain 
quality  of  poetry  in  the  ap- 
proach  to  the  literary  aspects 
of  dance. 

That  very  first  ballet  they 
opened  with  "Concert  de 
Danses,"  was  set  to  Mozart 
and  had  a  fantastic  rococo 
setting,  all  in  silver  and  pink, 
by  a  then  unknown  Andrö 
Beaurepaire.  It  also  had  Poul 
Gnatt  (a  Dane  actually,  but 
with  a  Frendh  Company) 
dancing  with  effortless  ele- 
gance.  In  "Jeu  de  Cartes** 
Öiere  were  scenery  and  cos- 
tumes by  Pierre  Roy,  and,  of 
course,  Babil^e,  one  of  the 
great  male  dancers  of  all 
üme,  irrational,  irascible,  un- 
dependable  and  unforgettable. 
He  had  a  face  like  a  kdndly 
snarl,  and  danced  with  con- 
tempt  of  Clements  and  audi- 
ence  alike.  Then  in  "Les 
Forains"  we  were  given  a  few 
wisps  of  genius  by  Christian 
B^rard— one  of  the  finest  of 
ballet  designers  who  knew 
some  sumptuous  secret  of 
elimination. 

There  were  other  times 
and  other  places  when  I  feil 
in  love  with  French  ballet. 
Always  the  special  taste  of 
French  ballet  fascinated  me — 
it  was  as  pungent  as  the 
Gauloise-and-garlic  flavor  of 
the   Metro,    as    chic    as    the 


Place  Vendöme,  as  national- 
ist  as  Charles  de  Gaulle.  The 
choreography  was  never  all 
that  important.  For  years  this 
shocked  me.  I  subscribed  to 
the  Anglo-American  school  of 
dance  that  always  feit  oddly 
sinful  at  enjoying  anything  in 
a  ballet  apart  from  its  chore- 
ography. One  of  my  first 
printed  remarks  on  dance — 
and  it  was  a  couple  of  years 
after  this  French  debut — un- 
compromisingly  declared  that 
no  ballet  had  any  value  what- 
soever  that  could  not  be 
Seen  in  practice  costumes  on 


a  bare  stage  and  retain  its 
virtues  intact.  I  doubt  wheth- 
er  I  really — deep  down — ^be- 
lieved  that  then.  I  certainly 
don't  believe  it  now.  Ballet  is 
a  theatrical  activity  in  which 
dance  is  usually  predominant. 
It  does,  however,  oontain 
other  elements. 

By  Chance  France  has  not 
had  a  major  choreographer 
since  Marius  Petipa  in  the 
19th  Century,  and  he  emi- 
grated  to  Russia.  Naturally, 
there  have  been  contenders 
— Leo  Staats,  Serge  Lifar, 
Roland  Petit  and,  of  course, 
Maurice  B^jart.  All  of  them 
Ihave  been  hommes  du  th^dtre 
rather  than  great  choreogra- 
'phers.  In  a  few  instances 
Babil^e  did  show  glint  of  a 
wayward  genius.  He  might 
have  made  a  great  choreogra- 
pher but  he  got  caug^t  up 
with  an  idle  destiny  and  be- 
came  something  of  a  dil- 
ettante. 

At  least  two  men —  and  I 
am  not  even  counting  the 
gifted  Kochno — have  sihown 
signs  of  being  artistic  direc- 
tors  of  genius — ^Roland  Petit 
and  Maurice  B^jart.  Petit  has 
a  gift  for  collaboration.  He 
knows  exactly  the  artist  to 
go  to,  exactly  the  com.poser 
to  commission.  He  has  a  spe- 
cial couturier  taste  tiiat  while 
it  is  sometimes  smothered 
soul-deep  in  chic,  is  neverthe- 
less  distinctive  and  theatri- 
cally  appealing.  B^jart  is  a 
man  of  a  different  jib.  He 
has  an  almost  over-enlarged 
sense  of  the  theater,  a  Wag- 
nerian  concept  of  romanti- 
cism,  together  with  a  keenly 
intellectual  approach  to  the- 
ater. Both  men,  in  my  opin- 
ion,  have  been  held  back  by 
their  Choreographie  aspira- 
tions.  But  France  is  a  place 
where  choreography  is  the 
least  likely  of  the  arts.  The 
dancing  itself,  and  the  deco- 
rative  and  literary  flim-flam 
around  it,  is  all.  Oddly 
enough,  we  in  America  have 
something  to  leam  from  this. 

Le  Ballet-Th6ätrc  Contem- 
porain is  a  Company  formed 
by  the  stroke  of  a  pen  by 
the  French  Government  in 
1968  and  was  originally 
based  in  Amiens.  This  year 
it  transferred  its  activities 
to  Anglers,  but  it  is  a  Com- 
pany that  is  State  supported 
and  dedicated  to  no  indi- 
vidual  choreographer,  al- 
though  its  principal  chore- 
ographer is  the  well-known 
Frangoise  Adret.  The  reper- 
tory  is  wide-ranging,  and 
specially  created  for  the 
Company.  It  has  avoided  an 
American  modem-dance  con- 
notation,  but  aligns  itself 
with  contemporary  dance 
movements. 

In  Brooklyn  it  offered  two 
programs.  It  conforms  to 
precisely  the  same  pattems 
of  French  ballet  we  have  be- 
come  accustomed  to.  The 
dancing  is  generally  good — it 
was  not  for  nothing  that 
Paris  had  some  of  the  great- 
est  ömigreö  Russian  teach- 
ers  following  the  Russian 
revolution.  Two  girls,  Muriel 
Belmondo  and  Martine  Par- 
main, stand  out,  and,  main- 
taining  the  Gallic  tradition 
for  male  dance,  there  are 
James  Urbain,  Itchko  Laza- 
rov  and  Dominique  Mercy. 
Fach  of  these  three  men  has 
an  individual  style  and  gutsy 
presence.  In  general,  this 
Company — it  is  about  the 
size  of  the  City  Center  Jef- 
frey Ballet — has  better  men 
than  women.  But  few  of  either 


with    tfi? 
Dance  Company'' 
oslovakia  in  a  prol 
folk  songs  and  dam 
Camesie      Hall      Frii 


sex  would  cause  any  partic- 
ular  waves  in  American 
ballet 

The  choreography  is  gen- 
erally repetitive  to  the  point 
of  being  minimal.  I  liked  very 
much  (and  does  this  sound 
like  chauvinism?)  a  duet, 
"Hi-Kyo."  by  John  Butler, 
and  both  of  Miss  Adret's 
works,  "Requiem,"  to  an  in- 
teresting  score  by  Gyorgy 
Ligeti,  and  "Aquatheme," 
to  music  by  Ivo  Malec,  pos- 
sessed  a  shrewd  profession- 
alism.  There  was  also  a  cer- 
tain jokey  charm  to  "Pas 
Danses,"  set  to  an  out- 
rageously  odd  potpourri  of 
Stravinsky  by  Dirk  Sanders 
and  Renö  Galiard,  and  danced 
with  great  good  humor. 

What  was  particularly  in- 
teresting,  however,  and  re- 
warding  for  America,  was 
the  way  in  which  every  bal- 
let, however  bland,  had  been 
given  a  strong  Visual  identi- 
fication.  There  were  pop  bal- 
lets, and  op  ballets,  ballets 
set  against  mirrors  and  bal- 
lets with  the  dancers  wear- 
ing  nothing  but  leotards  dec- 
orated  with  Comics — yet  the 
total  effect,  while  not  emu- 
lating  or  matching  the  ar- 
tistic sensibility  and  con- 
sciousness  of  certain  earlier 
French  companies,  did  pro- 
vide  a  valuable  lesson  and, 
lesson  leamed,  antidote,  to 
the  American  common  prac- 
tice of  unframed  änd  unvar- 
nished  dance.  It  is  nice  to 
see  a  d^cor  once  in  a  while, 
and  in  America  we  see  all 
too  few  of  them. 


M  For  Bruhn  in  Retirement, 
^    Tributes  and  New  Plans 


By  ANNA 

Erik  Bruhn,  who  retired 
from  his  performing  career 
one  week  ago,  has  been  called 
Üie  greatest  male  classic 
Cancer  of  his  generation.  He 
may  also  have  been  the  most 
beloved. 

On  Saturday  night,  one  day 
after  his  decision  had  been 
announced  with  dramatic 
suddenness,  the  audience  at 
the  City  Center  rose  to  give 
him  a  lengthy  ovation  as  he 
entered  the  theater.  Mr. 
Bruhn  had  come  to  watch 
Niels  Kehlet,  a  fellow  Dane, 
in  a  role  he  was  to  have 
danced  with  the  American 
Ballet  Theater. 

Mr.  Bruhn  had  also  come 
to  Visit  the  Company.  When 
news '  of  his  retirement  had 
been  conveyed  to  the  dancers 
backstage,  they  had  burst 
into  tears.  When  he  went 
backstage  after  Saturday's 
Performance,  there  were  more 
t6a.rs. 

"It  was  a  beautiful  mo- 
ment,"  the  43-year-old  ballet 
Star  Said  the  other  day. 
"There  was  nothing  to  say. 
The  emotion  was  so  strong, 
the  silence  said  everything. 
I  have  been  very  moved  by 
the  reaction  from  the  public 
and  the  dancers." 

Since  then,  strangers  have 
stopped  Mr.  Bruhn  along  the 
Street,  and  tears  have  been 
succeeded  by  flowers  and 
letters.  In  the  ballet  world, 
so  accustomed  to  seeing 
dancers  retire  at  an  age  that 
other   mortals   consider   the 


KISSELGOFF 

prime  of  life,  there  is  no 
question  that  Mr.  Bruhn's  de- 
cision to  quit  because  of  ill- 
ness  has  had  a  special  impact. 

While  this  loyalty  comes 
obviously  in  recognition  of 
cthe  artistry  he  displayed  so 
eloquently  in  his  stage  career, 
it  is  also  a  tribute  to  the 
human  qualities  —  present  in 
the  details  of  his  Perform- 
ances—  that  were  evident 
even  to  those  who  do  not 
know  him  personally.  As  one 
of  his  partners  in  Ballet  The- 
ater wrote  a  few  days  ago, 
she  now  realized  that  they 
had  danced  so  well  together 
because  Mr.  Bruhn  had  recog- 
nized  her  "as  a  person." 

If  this  is  a  difficult  period 
for  Mr.  Bruhn,  he  did  not 
Show  it  in  the  interview  in 
the  Hast  Side  apartment  of 
his  managen  In  his  own 
words,  "Two  days  after  my 
decision  to  retire,  I  feit  as  if 
someone  had  stepped  off  my 
ehest." 

Candidly  discussing  his 
future,  he  also  summed  up 
his  feelings  about  his  26-year 
dancing  career:  "It's  been  a 
long  love  affair — so  passion- 
ate  that  it  has  taken  all  my 
time.  Being  old-fashioned,  I 
haven't  had  time  for  another 
affair.  It  was  a  love^hate  af- 
fair that  goes  on  and  on.  Now 
it  has  stopped.  I  feel  relieved. 
I  have  a  freedom  I  have  not 
known  or  wanted  until  now." 

Mr.  Bruhn's  plans  for  the 
next  six  months  include  a 
Visit  to  Europe.  He  also  has 


Th«  Hmt  Yoric  Timtt 


Erik  Bruhn 


a  keen  interest  in  writing 
fiction  and  a  film  Script.  His 
final  commitment,  he  hints, 
will  be  to  the  American  Ballet 
Theater,  which  he  joined  in 
1950. 

Although  he  also  continued 
to  appear  through  the  years 
with  the  Royal  Danish  Ballet, 
Mr.  Bruhn  considers  Ballet 
Theater  "the  Company  in 
which  I  feel  most  at  home." 
It  has  been  rumored  that  he 
might  eventually  become  its 
artistic  director.  Mr.  Bruhtn 
says  only  that  "at  the  end  of 
the  year,  I  will  find  out  in 
which  department  I  function 


best."  He  will  direct  his 
production  of  "La  Sylphide" 
for  the  Company  here  in  the 
Summer. 

In  the  fall,  he  hopes  to 
write  a  film  Script  that  he 
has  discussed  with  a  Danish 
friend  who  is  an  actress. 
Its  theme  of  "freeing  your- 
self,  without  guilt,  from  the 
past,"  he  said,  "is  the  dosest 
I  would  come  to  autobiog- 
raphy." 

On  New  Year's  Day.  after 
a  Performance  in  Washington 
that  Ballet  Theater  members 
describe  as  "his  best,"  Mr. 
Bruhn  was  "so  sick  I  couldn't 
speak."  His  illness  has  since 
been  diagnosed  as  a  peptic 
ulcer.  "I  feel  fine  now,"  he 
said,  "but  although  I  had 
hoped  to  dance  through  the 
Summer,  I  knew  in  Washing- 
ton that  I  had  to  stop."  A 
few  days  ago,  he  donated  his 
costume  from  "La  Sylphide" 
to  the  Dance  CoUection  of 
the  New  York  Public  Library. 

Mr.  Bruhn  has  been  called 
a  perfectionist  and  a  model 
for  other  dancers.  Yet  he 
himself  sees  a  danger  in 
young  dancers*  trying  to  Imi- 
tate older  ones. 

"I  have  never  thought  of 
myself  as  a  model  for  anyone 
eise,"  he  said.  "This  could 
stop  dancers  from  being 
themselyöB» — -When  I  was 
i  had  modeis  too: 
Andl^  Eglevsky,  Igor  Youske- 
vilch.  And  when  I  saw  Jean 
fabilöe,  I  asked  myself,  'Why 
im  I  dancing?*  But  I  joined 
fallet  Theater  when  Youske- 
was  there.  I  didn't^ook 

iiw>4iin^^  1^  jidn't  ^"**^^  "^^• 

No  one  is  m  anyone's  way. 
You  must  look  for  the  best 
as  a  Stimulus  and  an  inspira- 
tion  to  fulfill  yourself. 

"I  don't  believe  in  perfec- 
tion.  It  doesn't  exist.  It  is 
only  an  ideal.  But  I  had  a 
Vision  of  how  I  would  like  to 
dance.  In  Washington,  I 
didn't  lose  my  vision.  But  my 
body  would  no  longer  re- 
spond. 

"In  my  mind  and  spirit, 
I  am  still  a  dancer." 


/r 


1\ 


Bruhn 
A  Great 

Daiicer 
Retires 


By  CLIVE  BARNES 

ERIK  BRUHN  was  a 
dancer  of  pure  pas- 
sion.  He  danced  like  a 
man  possessed,  but  a 
man  possessed  by  Apollo 
rather  than  Dionysus.  When 
a  great  dancer  retires,  some- 
thing  of  dance  itself  dies. 
Bruhn,  who  announced  his 
retirement  earlier  this  month, 
was  the  greatest  male  clas- 
sical  dancer  of  his  time.  He 
was  the  perfect  stylist  and 
the  perfect  prince.  Over  the 
quarter  Century  or  so  of  his 
career — he  is  now  43  years 
old — ^he  has  been  associated 
with  many  companies  and 
has  had  successes  all  over 
the  World. 

His  career  began  with  the 
Royal  Danish  Ballet.  He  was 
bom  in  Copenhagen  and 
studied  at  the  Royal  Danish 
Ballet  School.  He  joined  the 
Royal  Danish  Company  and 
soon  became  its  leading  male 
dancer.  Yet  his  career  has  for 
many  years  been  predomi- 
nantly  in  the  United  States. 
I  first  saw  Bruhn  dance  in 
1947.  The  Situation  was  hard- 
ly  conducive  to  talent-spot- 
ting.  The  theater  was  a  tiny 
suburban  house   in  Harrow, 

Continued  on  Page  14 


M 


THE  NEW  YORK  TIMES»  SUNDAY,  JANUARY  16,  1972 


Dance 


A  Great  Dancer  Retires 


Continued  from  Page  I 

on  the  outskirts  of  London. 
The  Company  was  a  newly 
formed  British  Company,  the 
Metropolitan  Ballet,  and 
Btwhn  had  literally— that 
weck— just  joined  the  com- 
i»any  from  Dennwrk.  He  was 
dancii.g  in  the  back  row  of 
the  Corps  de  ballet  in  Victor 
Gsovsky's  "Dances  of  Galan- 
ta,"  a  ballet  füll  of  Hungarian 
verve  but  little  talent.  And 
there,  right  at  the  back,  was 
this  young  man,  blond  hair 
flailing  in  the  wind  of  the 
Kodaly  music,  dancing  his 
heart  out.  He  didn't  stay  long 
in   the  corps  de  ballet. 

He  remained  a  year  or  so, 
on  and  off,  with  Metropoli- 
.tan  Ballet.  I  recall  him  very 
well  as  a  young  Student  in  an 
oddly  attractive  ballet  by 
Frank  Staff  calied  "Lovers' 
Gallery,"  which  had  an  un- 
likely  story  about  pictures 
Coming  to  life  in  an  art  gal- 
lery. He  also  danced  in 
the  first  Performances  of 
John  Taras's  "Designs  with 
Strings,"  with  another  young 
Star  of  the  Company,  Svet- 
lana  Beriosova.  And  he  had 
his  first  chance  to  dance  clas- 
sic pas  deux,  and  such  roles 
as    tbe    Poet    in    "Les    Syl- 


phides," and  the  Spectre  in 
"Le  Spectre  de  la  Rose." 

As  a  very  young  dancer, 
Bruhn  was  cold,  brilliant  and, 
surprisin^lx^  somewhat  inex- 
prpiwv^.  iTNs^technique  was 
Irnarkable — apart  from  Jean 
Babilöe,  Europe  had  not  seen 
;uch  a  dance  technician  sii 
DeTt:>t»^^the  war.  ^ü^^'tiJpS  a 
most  surprising  elevation.  He 
jumped  with  an  ease  and 
clarity  that  was  absolutely 
breathtaking.  He  was  the  per- 
fect  classicist.  His  placing 
was  effortless,  the  whole 
technique  was  like  a  textbook 
demonstration  of  the  perfect 
classroom  dancer.  That  was 
his  initial  problem.  He  was 
so  good  he  was  almost  un- 
interesting — a  sort  of  annoy- 
ingly  impeccable  dancer.  Yet 
there  was  still  a  rare  excite- 
ment  here.  Brufm  made  his 
mark  as  a  very  young  man, 
and  instantly  established  him- 
self  as  a  matchless  classicist. 

In  Denmark  all  the  great 
classic  Danish  roles  feil  to 
him.  He  danced  James  in  "La 
Sylphide,"  not  of  course  so 
well  as  in  later  years,  but 
right  from  the  beginning  he 
left  his  mark  on  it.  He  cre- 
ated  the  lead  in  Harald  Land- 
er's    "Etudes,"    a    role    that 


went  far  in  defining  the  limits 
and  possibilities  of  the  male 
classic  ballet  technique,  and 
his  briiliance  and  perfection 
»re  everywhere  evident. 
Oie  of  his  most  interesting 
irts  was  that  of  Ove  in 
Journonville's  "A  Folk  Tale." 
Here  he  never  had  to  dance 
a  Step— and  he  subsequently 
Said  that  i/  you  can  get 
through  Ove,  where  you  don't 
even  have  the  chance  to 
move,  then  a  role  like  Al- 
brecht in  "Giselle"  is  sim- 
plicity  itself. 

Bruhn  has  always  been  as- 
sociated  with  the  Danish  bal- 
let. He  has  a  house  in 
Copenhagen,  and  he  also  has 
the  very  well-deserved  repu- 
tation  of  being  Denmark's 
greatest  dancer  since  Hans 
Beck  at  the  turn  of  the  Cen- 
tury. Some  of  his  most  won- 
derful  Performances  have 
been  given  in  Copenhagen, 
often  in  very  indifferent  bal- 
lets. 

Over  the  years  I  recall  him 
not  just  in  the  great  Bour- 
nonville  roles  and,  of  course, 
as  Albrecht,  but  also  in  local 
Danish  ballets,  in  themselves 
instantly  forgettable,  but 
made  alive  by  Bruhn's  incan- 
descent  presence. 

There  was  a  ballet  Frank 
Schaufuss  calied  "Idolon," 
which  must  have  beert  cre- 
ated  around  1954.  Toward  the 
end  of  the  ballet,  Bruhn  en- 
tered like  a  shaft  of  light  in 
a  prison.  He  whirled  around 
the  stage  as  if  he  were  a 
contemptuous  god.  A  decade 
or  so  later,  Schaufuss  staged 
a  ballet  calied  "The  Garden 
Party,"  and  once  again  Bruhn 
showed  the  world  what  male 
dancing  was  all  about. 

The  interesting  thing  about 
Bruhn  is  that  although  he 
was  a  great  technician,  his 
technique  was  the  least  im- 
portant  aspect  of  his  work, 
and  perhaps  something  that 
was  more  of  a  hindrance  to 
his  career  than  a  help.  His 
technique  over-achieved.  This 
meant  that  people  could  more 
readily  see  the  dancing  than 
the  dancer,  and  it  also  led 
to  expectations  of  technicai 
perfection  which  were  less 
important  than  the  artistry 
of  the  man  himself.  And  this, 
in  turn,  led  to  a  premature 
retirement. 

The  difficulty  of  maintain- 
ing  faultless  technical  Stand- 
ards eventually  had  to  prove 
too  much.  A  dancer  such  as 
Fonteyn,  some  years  Bruhn's 
senior,  can  continue  to  en- 
ohant  and  even  grow  in 
artistry,  simply  because  she 
does  not  have  the  special  re- 
sponsibility  that  Bruhn  had, 
of  keeping  up  with  his  own 
perfection.  Apollo  is  a  tough 
act  to  foUow. 

Bruhn  first  joined  Ballet 
Theater  in  1950  and,  although 
he  sometimes  went  through 
the  actions,  he  never  really 
left.  Ballet  Theater  was  his 


Jick  MItchtll 


Eric  Bruhn 
"Are  we  never  again  to  see  his  dancing?** 


Spiritual  home — even  though 
he  appeared  with  the  Royal 
Danish  Ballet  as  a  guest  artist 
for  many  years,  spent  a  sea- 
son  with  Britain's  Royal  Bal- 
let and  another  season  with 
New  York  City  Ballet.  For 
the  last  four  years,  concur- 
rent  with  his  dancing  duties 
at  Ballet  Theater,  he  has  been 
director  of  the  Royal  Swedish 
Ballet. 

It  was  America  that 
changed  Bruhn.  He  was  a  late 
developer.  He  was  a  consum- 
mately  good  dancer  for  so 
many  years  that  it  was  almost 
a  surprise  when  he  became 
a  great  dancer.  He  suddenly 
discovered  how  to  act,  how 
to  project,  and  he  turned  al- 
most overnight  from  a  phe- 
nomenon  into  an  artist. 

It  was  the  pure  directness 
of  Bruhn's  acting  that  was 
remarkable.  He  Struck  at  the 
heart.  More  than  any  other 
dancer  of  recent  times,  with 
the  solitary  exception  of  Ga- 
lina Ulanova,  he  acted  and 
danced  with  a  supreme  natu- 
ralness.  He  never  pretended, 
and  he  brought  a  reality  to 
Cardboard  princes  that  we 
may  have  to  wait  another 
lifetime  to  see  repeated. 

Strangely  enough  he  ex- 
celled  in  bringing  genius  to 
mediocrity.  He  never  in  his 
entire  career  had  a  great  role 
created  for  him — Balanchine, 
Tudor  and  Ashton,  where 
were  you? — and  yet  he  gave 
indifferent  roles  a  burnish  of 
his  own  individuality.  I  am 
thinking  now  of  Roland  Pet- 
it's  "Carmen"  and  Birgit  Cull- 
berg's  "Miss  Julie,"  ballets 
which  he  made  completely  his 
own. 

Bruhn's  greatness  lay  in  the 


directness  of  his  acting  and 
the  directness  of  his  dancing. 
Nothing  was  ever  faked.  He 
used  dance  as  a  way  of  com- 
municating  to  the  world — and 
the  communication  was  de- 
livered  with  a  white-hot  fire. 
His  friend  and  rival  for 
many  years  has  been  Rudolf 
Nureyev,  who  now,  on 
Bruhn's  retirement,  almost 
automatically  assumes  his 
crown.  But  they  were  never 
really  rivals,  except  in  emi- 
nence.  As  dancers,  they  have 
always  been  very  different. 
Nureyev  is  a  romanticist,  a 
free  spirit,  while  Bruhn  has 
always  been  defined  by  his 
own  pure  classicism. 

I  would  like  ^4ibir\k  that, 
like  with  Sarsm  Bernhardt, 
rumors  of  his  retirement  will 
prove  exaggerated.  Of  course, 
he  has  an  obvious  career 
ahead  of  him  as  a  director — 
he  has  alredy  been  a  great 
success  in  Sweden — but  are 
we  never  again  to  see  his 
dancing?  That  speed  and  ex- 
ultation,  the  crisp  dancing 
and  the  fierce  acting,  that 
totally  expressive  body,  that 
peculiar  moral  force  and  that 
special  dignity — all  those 
qualities  that  made  Bruhn 
that  very  particular  dancer, 
now  are  mere  memories.  It 
would  be  an  ungrateful  ballet- 
goer  who  did  not  feel,  at  the 
very  least,  diminished,  but 
also  a  little  happy — at  least 
Bruhn  left  us  at  his  best.  No 
one  ever  saw  him  give  a  Per- 
formance where  anyone  could 
have  said:  "Ah,  but  you 
should  have  seen  him  when 
..."  He  made  "when"  into 
a  life-style,  and  then  silently, 
unexpectedly,  though  grace- 
fully,  retired.  But  perhaps 
Bruhn  doesn't  retire  .  .  .  one 
presumes  he  abdicates. 


s 

Slie  J^ettr  fork  Stwe$ 

AKTS  AND  LEISURE    . 


'i 


CS 


Surw^y.July  17,  1983 1 


France's  Master  of  Story  Ballet  Brings 


\ 


Appearing  with  Roland  Petit's  Ballet  National  de  Marseille  in  its  two-week  enragement  starting  tomorrow  at  the  Metropolitan 
Opera  House  are  Rudolf  Nureyev,  Natalia  Makarova,  Dominique  Khalfouni,  Denys  Ganio»  Patrick  Dupond  and  Richard  Cragun. 


By  JENNIFER  DUNNING 


ot  to  be  too  shy.  Too  pretentious.  But  if 
there  is  one  thing  left,  I  want  love."  The 
Speaker  is  Roland  Petit,  the  French  chore- 
ographer and  director,  who  has  been 
provoking  and  charming  ballet  audiences 
for  nearly  40  years  now.  "The  theater  is  a  way  to  make 
love  with  the  others,  with  the  audicnce,"  he  continues, 
"with  what  you  know  and  don't  know,  with  the  abstract 
and  the  realistic."  The  tone  is  that  of  a  boulevardier 
caught  up  in  an  almost  solemn  moment,  füll  of  an  insou- 
ciant  warmth  that  is  at  odds  with  the  chrome  and  mir- 
rored  surfaces  of  the  Manhattan  hotel  bar  where  he 
speaks,  and  with  the  formidable  venture  Mr.  Petit  is 
about  to  embark  on. 
A  season  at  the  Metropolitan  Opera  House,  where  bis 


Ballet  National  de  Marseille  opens  tomorrow  for  two 
weeks,  is  quite  an  undertaking,  even  with  the  Services  of 
such  Superstars  as  Natalia  Maltarova  and  Rudolf  Nu- 
reyev. But  Mr.  Petit,  a  choreographer  of  international 
reputation  and  certainly  the  best  known  of  conterapo- 
rvy  French  dance-makers,  has  been  described  as  a 
kind  of  successor  to  Serge  Diaghilev  ~  because  of  his 
early  ballet  collaborations  with  fashionable  designers, 
composers  and  writers. 

A  member  of  the  Paris  Opera  Ballet  and  for  a  brief  but 
tumultuous  time  its  head,  Mr.  Petit  founded  and,  11 
years  later,  still  directs  France's  second  national  ballet 
Company  —  an  ensemble  55  dancers  that  gives  40  Per- 
formances a  year  in  its  home  city  and  spends  six  months 
touring  Europe  and  the  rest  of  the  world. 

Through  it  all,  Mr.  Petit  has  continued  to  go  his  way 
with  vivid  story  ballets  in  an  age  when  abstraction  is  the 
fashion  in  dance.  At  heart,  however,  what  counts  most 


about  him  is  that  he  has  spent  a  lifetime  bringing 
French  chic,  theatricality  and  an  indulgent  sexiness  to 
the  World  of  ballet. 

Mr.  Petit 's  work  may  seem  an  anomaly  when  one  con- 
siders  that  France  was  the  birthplac^  of  classical  ballet, 
from  the  ballets  de  cour  under  Catherine  de  Medici  in 
the  late  16th  Century  through  the  earliest  Choreographie 
efforts  of  Marius  Petipa  nearly  300  years  later.  Could 
there  be  room,  in  the  culture  that  produced  "Giselle," 
for  the  gangsters  and  movie  stars  who  roam  through 
Mr.  Petit's  "Cin6  Bijou"? 

But  it  was  Mr.  Petit  and  the  small  French  ballet  com- 
panies  that  sprang  up  in  his  wake  in  the  mid-1940's  and 
liKW's  that  brought  new  life  to  the  parochial  world  of 
French  ballet.  His  unpretentious  blend  of  populär  and 
high  art  did,  after  all,  occur  in  a  culture  in  which  music- 
hall  entertainers  could  and  did  become  Existentialist 
Continued  on  Page  22 


5,  SUNDAY,  JULY  17,  1983 


A  Master  of  the  Story  Ballet ; 
Brings  His  Troupe  to  the  Met 


Continuedfrom  Page  l 


Symbols.  Mr.  Petit  may  be  taken  less 
seriously  today  as  an  Innovator.  But  it 
was  he  whom  Mikhail  Baryshnikov 
mentioned  first,  on  his  defection  in 
1974,  as  a  Westem  choreografrfier  he 
wanted  to  work  with.  The  reason,  the 
Russian  dancer  said,  was  because 
"Petit  represents  theater  and  deals 
with  humanity  and  human  problems." 

• 

Mr.  Petit  began  his  long  career  in 
the  1930's  as  a  populär  entertainer 
when,  as  a  child,  he  danced  for  the 
customers  at  his  father's  cafe  in  Paris 
and  for  passers-by  at  Les  Halles,  the 
Paris  markets.  **  *Come  on,  Roland, 
dance,*  they'd  say,**  Mr.  Petit  re- 
called.  Soon  after,  his  father  decided 
that  if  his  son  must  dance,  he  must  re- 
ceive  classical  training  at  the  Paris 
Opera  Ballet  school,  which  he  entered 
at  10. 

"I  became  *the  little  phenomenon 
from  the  Paris  Opera'  when  I  danced, 
improvising.  Td  go  to  balls  where  they 
were  dancing  le  Java  and  everything, 
and  make  up  ages  when  people  asked 
me  how  old  I  was.  I  was  making  up  my 
own  choreographies,  then  passing  the 
hat,'*  Mr.  Petit  Said. 

He  joined  the  Paris  Opera  Ballet  in 
1940,  at  16,  but  left  four  years  later.  **I 
didn't  like  what  they  were  dancing," 
he  Said.  "Their  own  cooking.  Ballets 
like  Aveline's  *La  Grisi.'  Long 
dresses.  It  was  awful.  All  Serge  Lifar 
ballets,  in  which  everyone  was  naked. 


Or  dressed  like  soldiers."  In  1945,  Mr. 
Petit  was  instrumental  in  founding  the 
Ballets  des  Champs-Elysees  and  be- 
came a  young  name  to  reckon  with. 
He'd  just  choreographed  the  populär 
**Les  Forains,"  a  coUaboration  with 
Boris  Kochno,  the  librettist  and  a 
member^f  Diaghilev's  T:ircle,  the 
composeftHenri  Sauguet  iuid  the  art- 
ist  Christian  uerard.  Its  simple, 
evocative  story  of  wandering  street 
Players  made  it  a  curiosity  as  well  as 
a  success. 

Another  signature  work  choreo- 
graphed that  year  was  "Le  Jeune 
Homme  et  la  Mort,"  an  even  more 
fashionable  coUaboration  with  Jean 
Cocteau  and  Georges  Wgüdievitch, 
who  designed  the  set,  an  artist's  gar- 
ret  that  vanishes  to  reveal  a  night-sky- 

scape.  That  flyaway  set  helped  to 
create  the  tone  of  reckless,  brooding 
passion  that  made  the  work,  consid- 
ered  an  archetypical  French  postwar 
ballet,  so  expressive  of  its  time.  Re- 
vived  in  1975  for  American  Ballet 
Theater  and  Mr.  Baryshnikov,  the 
ballet  will  be  performed  at  the  Metro- 
politan with  its  original  set,  which  was 
too  large  for  the  Ballet  Theater  pro- 
duction  at  City  Center. 

**We  hadn't  much  money,"  Mr. 
Petit  Said,  recalling  the  ballet's  gene- 
sis.  "Wakhevitch  was  doing  a  film 
with  Dietrich  and  said  he'd  bring  us  a 
film  set.  Two  days  before  the  opening 
we  had  it,  and  it  was  built  like  the  real 
thing.  We  had  to  have  a  45-minute  in- 
terval  before  and  after,  and  the  ballet 
was  only  20  minutes  long." 

"Le  Jeune  Homme  et  la  Mort"  teils 

the  Story  of  a  young  painter  who, 

taunted  by  his  mistress,  hangs  him- 

self  in  his  garret  studio.  She  retums  as 
a  figure  of  death,  gives  him  a  death 
mask  and  leads  him  off  across  the 
rooftops  of  Paris.  **You  see  all  Paris," 
Mr.  Petit  said.  "You  breathe.  You 
have  the  Impression  that  he  is  going  to 
walk  infinitely  over  Paris  roofs.  Like 
all  Cocteau  films,  where  they  fly  off  at 
theend." 

Mr.  Petit Jiad  asked  Cocteau  for  a 
scenario  fo^Jean  Babil^^a  striking 
lead  dancer^ Ith  Aht  "TJallets  des 
Champs  Elys6es.  "I  told  Cocteau  to  do 
as  he  wanted,  and  we  would  change 
the  music  after,  like  in  a  film."  The 
ballet  was  choreographed  to  Ameri- 
can populär  music  but  performed  to 
an  orchestration  of  Bach's  Passaca- 
glia  in  C  Minor,  a  score  which  the 
company's  music  director  suggested 
would  fit  if  repeated  without  the 
fugue.  "And  there  were  the  dancers 


*rm  fatalistic.  In 
Europe,  they 
discover  me  every 
10  years/ 


doing  their  jazz  Steps  to  Bach.  The  ef- 
fect  was  so  extraÄxlinary  that  every- 
one was  screaming  in  the  audience." 

In  the  New  York  appearances,  Pat- 
rick Dupond  ,  a  guest  artist  who  has 
been  described  as  the  "golden  boy"  of 
the  Paris  Opera  Ballet,  will  share  the 
role  of  the  artist  with  Luig:  Bonino, 
and  Miss  Makarova  ^nä  Florence 
Faure  will  dance  the  mistress.  Is  the 
choreographer  worried  that  the  bal- 
let, so  much  a  part  of  its  time,  will 
seem  dated  now?  "No,"  he  said.  "Fm 
fatalistic."  He  smiled.  "In  Europe, 
they  discover  me  every  10  years.  Fm 
always  a  newbom  choreographer." 

• 

But  what  was  the  21-year-old  son  of 

a  caf6  owner  and  a  manufacturer  of 

toe  shoes  doing  hobnobbing  with  the 
Cream  of  French  intelligentsia  in  the 
1940's?  "I  had  the  luck  during  the  Oc- 
cupation  that  all  the  French  artists 
were  sort  of  an  Underground,**  Mr. 
Petit  said.  "And  I  was  curious.  I 
wanted  to  know  things  and  people. 

"I  knew  Marie  Laurengin.  Picasso. 
I  would  go  and  knock  at  the  door  and 
say,  'I  am  a  dancer  at  the  Paris 
Opera.  I  admire  you.  May  I  see  you 
doing  the  painting?*  So  all  these  peo- 
ple around  me  became  friends.  They 
helped  me.  Picasso  did  the  drawings 
in  the  program  for  *Les  Forains,* 
which  was  done  with  no  money.  It  was 
a  fantastic  period.  I  was  lucky  to  have 
been  so  curious." 

Les  Ballets  des  Champs  Elys^es 


was  the  first  of  the  small  companies 
that  sprang  up  in  Paris  through  the 
early  1950's,  one  of  them  founded  by  a 
young  man  named  Maurice  B^jart. 
"People  say  I  was  so  lucky,  that  there 
was  no  one  eise,**  Mr.  Petit  said.  "But 
at  that  time  nobody  wanted  a  ballet 
Company.  So  it  was  difficult  in  a 
way. "  He  raided  the  little  Russian  bal- 
let Studios  then  scattered  thnnigh 


^Balanchine  is  a 
genius  in  abstract 
ballets.  So  many 
others  are  bad/ 


Paris,  selecting,  among  others,  a 
teen-ager  named  Violette  Verdy  to 
dance  with  him.  **We  were  just  a 
group  of  young  kids,"  he  said. 
"Friends.  In  a  way  it  was  easy.  What 
was  difficult  was  that  we  hadn't  any 
roots.  We  had  to  build  something 

Strong."  -rr»:;'» 

Mr.  Petit  went  on  to  found  the  Ösä- 
lets  de  Paris,  for  which  he  created 
"Carmen**  in  1948.  The  company's 
last  Performance  was  in  1959,  at  which 
point  in  his  career  Mr.  Petit  jiad 
choreographed  five  movie  musicais, 
had  worked  in  television  and  had  be- 
come  known  for  the  revues  he  created 
for  his  wife,  Ren^  (Zizi)  Jeanmaire. 
"Since  I  was  20  my  Inspiration  has 
been  Zizi,*'  Mr.  Petit  said.  "She  ^1 
is.  She  is  really  Paris  for  me.  My 
birth,  my  mother,  my  lover."      ji,uc 

The  radiant  Zizi  starred  in  ^'i%e 
Bat**  when  the  Marseille  Company 
made  its  American  debut  in  its  1^^ 
New  Yori(  season  in  1980,  but  she-will 
not  dance  in  the  Metropolitan  engage- 
ment.  "I  miss  Zizi  in  every  role  she 
created,"  Mr.  Petit  said.  "She  >ra3 
naughty.  She  was  dangerous.  But  she 
didn't  want  to  dance  on  her  toe^  aäy 
more.  She  wanted  to  stop  in  time.  But 
she  will  be  at  the  theater  each  nigjfit.^ 

The  choreographer  went  right  on 
surprising  audiences  by  moving  into 
an  energetically  modern  period  in  the 
late  1960's,  in  which  Nureyev  leaped 
through  a  pair  of  huge  red  Ups  in  Mr. 
Petit's  "Paradise  Lost"  and  Margot 
Fonteyn  got  dragged  across  the  stage 
on  her  backside  in  "Pell6as  et  M61i- 
sande,"  both  for  England's  Royal  Bal- 
let, and  dancers  danced  to  the  unac- 
customed  stringencies  of  Edgard  Var- 
öse  and  lannis  Xenakis. 

Metropolitan  audiences  need  not 
fear.  For  Mr.  Petit  the  storyteller  will 
be  prominent  during  the  New  York 
season  with  the  full-evening  "PrqM9t 
—  Les  Intermittences  du  Coeur,"  a 
1974  woiic  based  on  Marcel  Prous^'s 

"Remembrance  of  Things  Past"  and 

the  hit  of  the  company's  last  seasdn 

here,    as    well    as    the    full-evening 

"Notre  Dame  de  Paris"  inspired'by 

the  Victor  Hugo  novel,  and  the  one-act 
"L'Arlesienne,"  a  1974  woric  based  on 
a  Story  by  Alphonse  Daudet  in  which  a 
man  falls  in  love  with  an  invisible 
woman.  *'^- 

"  'Proust'  was  a  flop  with  the  press 
in  France,"  Mr.  Petit  said.  "All  wrote  - 
that  it  was  not  Proust.  Everyone  sees 
him  differentiy.  But  the  ballet  is  a  big 
one  with  audiences  and  the  dancers.^I 
read  Proust  my  own  way,  and  was 
f aithful  to  one  of  the  possibilities  of  his 
description  and  atmosjrfiere." 

A  bookshop  display  of  Hugo's  woHbs 
was  what  jogged  "Notre  Dame"  into 
being  in  1965.  Mr.  Petit  had  ha4  an 
idea  for  a  ballet  set  in  the  late  18th 
Century  for  a  Paris  Opera  coquxi^ 
sion.  "It  was  a  diabolique  sexual  story 
ab^  a  crazy  monk,"  Mr.  Petit <re- 
called.  "But  I  had  a  problem  with  my 
foot.  I  couldn't  walk,  so  I  coul^^t 

Choreograph.  I  am  not  a  seated  chore- 
ographer. Then  when  I  saw  the  book- 
shop Window  I  thought,  'My  monk  is 
better  with  Hugo.'  "  The  ballet  is  set 
to  a  commissicmed  score  by  Maurice 
Jarr6  and  will  star  Mr.  Nureyev  and 
Richard  Cragun,  a  guest  artist  from 
the  Stuttgart  Ballet,  who  will  share 
the  role  of  the  Hunchback,  and  Miss 
Makarova  and  Dominique  Khalfouni 
asEsmeralda.  ^«^^1» 

Completing  the  company's  thlrd, 
mixed  program  will  be  "Soir^ 
Debussy,"  choreographed  in  1982, 
which  is  Mr.  Petit  in  an  abstract 
mood.  "I  have  done  a  few  ballets  wkh* 
out  stories,*'  the  choreographer  said. 
"I  love  them.  In  'Debussy'  it  is  possi- 
ble  to  see  naked  what  I  do.  The  press 
for  it  was  fantastic.  There  are  always 
a  few  who  say,  *0h,  stories,  always/ 
But  then  when  I  did  'Debussy'  they 
said,  'Why  not  stories?  He  does  them 
so  well.'  .;> 

"I  think  Balanchine  is  a  genius  tn 
abstract  ballets.  But  so  many  others 
who  do  choreography  in  abstract  are 
bad.  It  has  not  been  a  problem  for  me, 
struggling  against  the  abstract.  The 
problem  is  finding  something  that  I 
will  like  to  do,  and  that  the  dancers 
and  audiences  wiU  like.  For  the  resV  t 
don't  ask  if  it  is  fashionable.  I  dott^t 
care."  He  stops,  a  littie  ruefv^ 
"Well,  I  can't  say  that.  If  the  reviews 
are  bad,  I  am  very  sad.  Before  I  read 
one  I  ask,  'Is  it  good?'  Then  I  read.  I 
am  just  anxious  to  be  alive.  Anxkms 
that  people  consider  me  füll  of  enei> 

gy  »» 

What  about  revivals  of  some  of  his 
witty,  spariding  littie  ballets  of-the 
1950's?  "I  want  to  do  something  n€fw;^ 
he  said.  "Not  revive  fantasy.  Ballet  iV 
like  a  dessert.  You  must  do  it  qUfoK 
and  then  do  another.  Like  Baked  Alas- 
ka." ■  >. 


OIVE  TO  THE  FRESH  AIR  FUND 


THB  NEW  YORK  TIMES,  WEDNESDAY,  JULY  27,  19S3 


Ballet:  X^lesienne' 


By  ANNA  KI8SEL00FF 

IN  'T'Arleslenne/'  a  vlbrantly 
evocative  and  atmospheric  bal- 
let by  Roland  Petit,  the  hero 
ends  it  all  by  taking  a  running, 
headlong  diye  out  a  window. 

The  punchline  is  typical  Petit,  one 
that  perhaps  only  he  could  get  away 
with.  Nijinsky,  after  all,  remained 
head-up  when  he  leaped  out  his  more 
famous  Window  in  Michel  Fokine's 
"Le  Spectre  de  la  Rose."  "L'Arle- 
sienne"  epitomizes  the  kind  of  twist  to 
allusions  in  which  Mr.  Petit  excels.  As 
a  choreographer  and  man  of  the  thea- 
ter,  he  is  a  master  of  the  vivid  Image. 

• 

At  its  New  York  premiere  Monday 
night  with  the  Ballet  National  de  Mar- 
seilles at  the  Metropolitan  Opera 
House,  "L'Arlesienne"  by  no  means 
came  across  as  the  usual  dramatic 
ballet.  Mr.  Petit's  literary  sources 
here  were  the  Short  story  and  play  of 
the  same  title  by  Alphonse  Daudet  and 
his  score  is  the  suite  derived  f rom  the 
incidental  music  Bizet  wrote  for  the 
play  in  1872. 

Less  than  a  complete  storyteller  in 
ballet,  Mr.  Petit  teils  his  tale  obliquely 
but  sharply.  Fr^d^ri,  a  young  bride- 
groom  in  Provence  in  the  south  of 
France,  has  become  obsessed  with  a 
woman  he  once  saw  in  the  city  of 
Arles.  His  love  for  Vivette,  his 
fianc^,  is  impeded  by  this  haunting 
image  and  drives  him  into  madness. 

Onstage,  Mr.  Petit  has  given  us  a 
rather  abstract  retelling,  a  distillation 
that  suggests  a  Proven^l  version  of 
"La  Sylphide."  Whether  the  woman 
from  Arles  is  real  or  a  projection  of 
Fr6d6ri's  mind  we  do  not  know.  We 
never  see  her.  But  we  do  see  a  couple 
brought  by  a  Community  and  by  Con- 
vention into  an  attempted  union  that  is 
consistently  ruptured  by  the  man's 
anguish  and  break-free  spirit. 

The  scintillating  and  beautiful  Pro- 
ven^al  folk  times  of  the  Bizet  score, 
especially  the  chain  dance  known  as 
the  Farandole,  are  matched  vibrantly 
by  Mr.  Petit's  stylized  folk  choreogra- 
phy  for  the  ensembles.  It  is  this  folk 
atmosphere  that  carries  the  ballet, 
giving  it  an  exotic  color  that  suits  the 
Strange,  exciting  tension  that  builds  to 
aclimax. 

• 

On  this  occasion,  Dominique  Khal- 
founi,  beautiful  and  tender,  and  Jean- 
Charles  Gil,  always  intense,  were  the 
excellent  leads,  with  Mr.  Girs  vir- 
tuosic  solos  bringing  down  the  house 
as  usual. 

And  yet  the  solos  and  duets  that  ex- 
plore  the  ill-fated  couple's  relation- 
ship  only  altemate  with  the  chain 
dances  and  symbolic  group  Clusters 
that  really  define  the  ballet.  Signifi- 
cantly,  Mr.  Petit's  choreography  is 
also  at  its  best  in  the  broad  pattems 
and  small  Steps  of  the  chains,  circles 
and  diagonals  that  give  the  stage  a  re- 
gional sense  of  place.  The  more  classi- 
cal  choreography  for  the  bridal  couple 
is  less  interesting.  Although  Miss 
Khalfouni,  for  instance,  has  eye- 
catching,  small,  flexed-foot  Steps  as 
she  lopes  up  and  down  on  toe,  and  al- 
though it  is  she  who  partners  her  unre- 


T1i#  Pfo{|fciiii 


SOIRII  DCauSSY  (New  York  Pr«mitre),chort-  1 
ography,  Roltncl  Pttit;  musIc  Claudt  Dtbutsy;  Z 
wf%,  Glullo  Colt«ll«ccl;  cottumts,  Denlst  Fouo- 
troll«. 

LI  JCUNI  HOMME  KT  LA  MORT,  choreoor«- 
phV/  Roland  Petit;  baaedon  an  idea  by  Jean  Coc- 
teau; nmislc/  Johann  Sebastian  Bach;  sets> 
Georges  Wakhevitch;  costumes,  Karlnska. 

L'ARLISIENNE  (New  York  Premiere),  choreog- 
raphy and  concept,  Roland  Petit;  after  a  ihorl 

X  Story  and  play  by  Alphonse  Daudet;  musIc, 
Georges  Bizet;  scenery,  Rene  Allto;  costun>es, 
Christine  Laurent. 

Presented  by  Roland  Petlfs  Ballet  National  de 
Marseilles,  at  ttw  Metropolitan  Opera  House. 


sponsive  lover  more  than  the  other 
way  around,  these  unusual  touches 
are  rare. 

There  are,  it  is  true,  two  big  solos 
for  Mr.  Gil,  one  more  classical  and  the 
last  a  whirlwind  circling  of  the  stage 
into  persuasive  madness.  Most  of  the 
emotions  involved,  however,  come 
through  Miss  Khalfouni's  stricken  ex- 
pressions  and  Mr.  Gil's  pained  match- 
ing  ones.  Like  all  young  matin^e  idds 
today,  he  takes  off  his  Shirt  for  the 
bedroomscene. 

Nonetheless,  this  is  Petit  country, 
and  realism  yields  typically  to  a  hal- 
lucinatory  image.  Most  of  the  ballet  is 
performed  in  a  mixture  of  the  out- 
doors  and  indoors.  Ren6  Allio's  small, 
canvaslike  back  cioth  is  a  striking 
pastiche  of  the  Proven^l  landscapes 
of  both  Van  Gogh  and  C^zanne.  A  f rag- 
ment  of  a  wooden  ceiling  hangs  over- 
head.  It  is  this  back  cloth  that  is  cov- 
ered  by  a  black  mouming  drape  as 
tragedy  is  anticipated  for  the  wedding 
night.  And  when  that  drape  suddenly 
rises,  it  reveals  a  window,  noncha- 
lantly  dropped  into  place  for  the  spe- 
cific purpose  of  the  ending. 

Christine  Laurent's  equally  striking 
folk  costumes,  red  sashes  for  the  men 
in  vests  and  white  or  black  shawls  for 
the  women  in  black,  create  the  pictur- 
esque  frame  for  the  ballet.  At  one 
point,  the  ensembles  freeze  and  Mr. 
Gil  Steps  out  of  the  group  and  out  of 
time  for  a  soliloquy. 

• 

Andre  Presser  conducted  this  happy 
local  premiere  and  a  less  happy  one 
called  "Soiree  Debussy."  This  is  one 
ballet  where  Mr.  Petit  does  not  get 
away  with  it  all.  Most  of  the  choreog- 
raphy is  a  cheap  shot  at  the  Debussy 
pieces  he  uses  and  so  contrived  that 
even  the  three  main  couples  look  awk- 
ward.  The  passable  aspects  occur  in 
overcute  passages  for  an  excellently 
dancing  Luigi  Bonino  and  an  over- 
worked  wave  effect  created  by  the 
Corps  to  **La  Mer.*'  Pascal  Doye,  who 
looks  like  Joan  Crawford,  is  notice- 
able  as  a  jogging  pinup. 

The  revival  on  the  program  was  "Le 
Jeune  Homme  et  la  Mort,"  a  once  con- 
troversial  Existentialist  tone  poem 
that  Mr.  Petit  created  with  Jean  Coc- 
teau in  1946.  Natalia  Makarova  made 
her  local  debut  as  the  heartless  girl 
who  drives  a  painter  to  his  death  and 
she  slinked  around  with  a  true  preda- 
tory  stride.  Patrick  Dupond  was  suit- 
ably  vulnerable  as  the  hapless  hero.  It 
was  a  carefully  danced  Performance 
by  all,  a  long  cry  from  the  sordid  vio-  \ 

\^  llmyrt^veliTüie originarigi3i^ 
""gettaBecast. 


C18 


The  Pop  Life 


Robert  Palmer 


AI  Green 
At  His  Peak 
With  Gospels 

|VEN  at  the  height  of  his  pop- 
music  success  in  the  mid- 
1970*s,  AI  Green  never 
seemed  very  comfortable 
with  Stardom.  His  records  sold  in  the 
millions,  and  by  the  mid-1970's  the 
critics  had  singled  him  out  as  among 
the  most  gifted  and  imaginative  black 
pop  Singers  of  the  decade.  But  his 
Shows  were  unpredictable.  One  Per- 
formance would  be  intensely  emotion- 
al, like  a  Baptist  tent  revival  or  like 
Mr.  Green's  Performances  last  year 
in  the  Broadway  revival  of  **Your 
Arms  Too  Short  to  Box  With  God." 
But  on  other  nights  he  would  coax  his 
band  into  playing  so  softly  he  could 
whisper  over  them  and  still  be  heard. 
At  times,  he  seemed  distracted,  as  if 
he  were  singing  his  pop  hits  but  listen- 
ing  to  another  voice  that  only  he  could 
hear. 

During  the  late  70*s,  shortly  after  he 
announced  that  he  was  going  to  leave 
pop  music  and  devote  himself  to  reli- 
gion,  Mr.  Green  conceded  that  he  had 
been  listening  to  a  voice  during  some 
of  those  strangely  tentative  on-stage 
moments.  It  was  a  voice  calling  him  to 
preach  the  Gospel  and,  he  added.it 
was  a  voice  he  had  been  hearing  for 
some  time.  Finally»  he  said»  he  feit  it 
was  a  voice  he  coiüd  no  longer  ignore. 
But  Mr.  Green  had  been  one  of  black 
pop's  leading  sex  Symbols.  His  fans 
worried  that  any  religious  music  he 
mi^t  make  would  lack  the  sensual 
Charge  of  his  best  pop. 

Mr.  Green  has  been  preaching  for 
the  last  few  years  in  his  own  church  in 
Memphis  and  he  has  made  four  gospel 
albums  for  Myrrh,  a  Christian-music 
label  based  in  Waco,  Tex.  The  fourth 
of  his  gospel  albums,  'TU  Rise 
Again/'  has  just  been  released,  and 
any  AI  Green  fans  who  have  despaired 
of  ever  hearing  him  at  the  peak  of  his 
powers  again  should  listen  to  it  right 
away.  Of  his  earlier  gospel  albums, 
one,  "Higher  Plane,'*  had  first-rate 
songs  and  arrangements,  a  sure  sense 
of  its  own  style,  and  Performances  as 
lieh  in  sensuality  and  erotic  innuendo 
as  any  of  Mr.  Green's  pop  recordings. 
But  ;*ril  Rise  Again"  is  better  in 
every  respect.  In  fact,  the  album  is  so 
powerfully  distinctive  that  it  renders 
distinctions  between  Mr.  Green's 
secular  and  sacred  work  irrelevant. 

• 

Gospel  music  and  the  secular  rock 
and  soul  styles  derived  from  it  have 
often  been  indistinguishable  from  a 
purely  musical  point  of  view.  The 
Isley  Brothers  tumed  a  gospel  ring 
shout  into  their  rock-and-roU  hit 
"Shout,"  and  Ray  Charles  rewrote  a 
preacher-and-congregation  dialogue 
and  came  up  with  **What'd  I  Say." 
And  when  AI  Green  was  developing 
his  own  distinctive  singing  style,  he 
drew  on  the  work  of  two  earlier  styl- 


or  to  a  gospel-singer-gone-pop  like 
Aretha  Franklin,  but  shy  away  from 
buying  the  latest  AI  Green  album  be- 
cause  it's  a  "gospel  record."  What- 
ever  one  calls  it,  Mr.  Green's  "1*11 
Rise  Again**  does  what  most  good  pop 
albums  do  these  days.  It  wams  of 
Coming  apocalypse,  gives  practical 
\  advice  ("straighten  out  your  life**), 
questions  accepted  values  and  pays 
tribute  to  the  fickle  muses  of  Inspira- 
tion and  creativity  —  all  in  a  warmly 
melodic,  insistently  but  subtly  rhyth- 
mic,  contemporary  style.  And  it  pro- 
vides  a  cogent  musical  context  for 
some  of  the  most  joyously,  spectacu- 
larly  virtuosic  vocal  tums  Mr.  Green 
has  ever  recorded. 

When  AI  Green  was  growing  up  in 
eastem  Arkansas,  his  family  would 
gather  around  the  radio  in  the 
evenings  to  listen  to  live  broadcasts  by 
the  region*s  leading  gospel  Singers.  In 
those  days — the  early  1950*s — gospel 
music  was  primarily  a  radio  and  Per- 
formance medium.  Many  singers  and 
quartets  made  commercial  record- 
ings, but  they  were  rarely  as  inspired 
as  church  Services.  Radio  shows  often 
had  a  churchlike  atmosphere,  with 
friends  and  well-wishers  in  the  studio. 
Fortunately,  some  of  these  shows 
were  recorded. 

"Bless  My  Bones:  Memphis  Gospel 
Radio  in  the  50*s,*'  a  new  album  on  the 
P-Vine  Special  label  from  Japan,  col- 
lects  16  gospel  Performances  that 
were  originally  broadcast  over  WDIA 
in  Memphis,  the  first  Southern  radio 
Station  with  a  black-music  format. 
The  broadcasts  were  preserved  on 
acetate  disks;  they  still  soimd  re- 
markably  crisp.  And  the  performers 
^  the  Spirit  of  Memphis  Quartet  and 
the  Songbirds  of  the  South,  among 
others  —  sound  like  they  could  easily 
have  reduced  the  walls  of  Jericho  to 
nibble.  Paul  Simon,  Peter  Wolf,  Mick 
Jagger  and  other  rock  singers,  and 
many  black  pop  singers,  have  often 
repeated  the  truism  that  America's 
finest  Singers  are  to  be  f ound  in  gospel 
groups  and  choirs.  "Bless  My  Bones*' 
lends  that  notion  considerable  cre- 
dence.  ("Bless  My  Bones**  is  avail- 
able  through  Down  Hom6  Music,  10341 
*  San  Pablo  Avenue,  El  Gerrite,  Calif . 
94530.) 

More  on  John  and  Yoko 
As  the  Books  Keep  Coming 

The  most  mundane  and  pointless  de- 
tails  of  John  Lennon*s  last  years  and 
of  his  relationship  to  Yoko  Ono  have 
become  fodder  for  the  most  excruciat- 
ing,  vapid  and  desperate  sort  of  pop- 
music  soap  opera.  Everyone  who  can 
Claim  to  know  the  merest  fraction  of 
••the  real  story**  seems  to  be  writing  a 
John-and-Yoko  book. 

Of  the  latest  batch,  one  is  by  a  part- 
time  tarot-card  reader  for  Üie  Len- 
nons  (John  Green*s  "Dakota  Days," 
St.  Martin*s  Press).  Another  is  cred- 
ited  to  May  Pang,  an  assistant  to  the 
Lennons  who  apparently  became  Mr. 
Lennon*s  girlfriend  for  some  18 
months  in  the  mid-1970*s  C'Loving 
John:  The  Untold  Story,**  by  May 
Pang  and  Henry  Edwards;  Warner 
Books). 


<*i 


r^'/?(rA  =,_Mf , 


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7 


g..^&j^£; 


On  Baryshnikov  and  Gielgud 


Ballet  dancers  grow 

in  way  s  that 
actors  can't 


By  CLIVE 
BARNES 


THERE  ARE  few  thlngs 
more  fascinatlng  to  watch 
in  the  theater  than  the 
evolution  of  a  great  danc- 
er.  Actors  also  develop. 
They  are  given  new  roles, 
they  extend  their  ränge, 
they  get  more  mature, 
they  age,  they  gradually 
exchange  the  skills  of  ex- 
perience  for  the  instinc- 
tiveness  of  youth.  Yet  they 
do  not  evolve  in  quite  the 
same  way  as  dancers. 

The  John  Gielgud  I  first 
saw  some  40  years  ago  is 
still  the  same  Gielgud 
today,  the  voice  as  sono- 
rons,  the  technique  as  im- 
peccable,  the  timing  as  im- 
maculate  and  even  his  car- 
riage  virtually  unchanged. 
By  Chance  I  can't  even  say 
that  he  is  playing  older 
roles  now  —  for  the  first 
time  I  saw  him  was  as 
King  Lear! 

The  last  time  I  saw  Giel- 
gud was  in  London  a  few 
months  ago  in  a  play  by 
Julian  Mitchell  caUed 
•'Half-Life/'  for  the  Na- 
tional Theater.  He  was 
I^aying,  with  equisite 
Understatement  and  sense 
of  classic  irony,  an  aging 
university  professor  look- 
ing  back  on  the  long  little- 
ness  of  his  life.  This  Per- 
formance, both  Sharp  and 
mellow  at  once,  is  virtually 
a  logical  extension  of  the 
Hamlet  I  saw  him  slve  in 
the  mid  '40s.  The  outlines 
were  cdl  there. 

Dancers  have,  as  it  were, 
different  growth  pattems. 
Their  careers,  for  one 
thing  are  shorter,  their  In- 
struments more  vulnerable 
to  time  and  accident,  and 
they  are  also  more  invol- 
ved  in  the  delicate  mecha- 
nies  of  creation  than  are 
actors.  While  the  extent  of 
their  collaboration  with  a 
choreographer  will  vary  a 
great  deal  in  the  creation 
of  a  new  work  —  and  the 
choreographer  will  always 
have  the  final  editorial  say 
—  it  is  indeed  different 
from  the  relationship  of  an 
actor  with  a  playwright. 
As    a   result    dancers    do 

evolve. 

At  the  moment  I  am 
fascinated  by  the  evolu- 
tion of  Mikhail  Baryshni- 
kov —  one  of  those  divine 
spirits  who  can  always  be 
counted  upon  for  the  unex- 
pected.  It  was  in  1967  that 
I  first  encountered  Barysh- 
nikov in  Leningrad  —  he 
was  a  19-year-old  and  not 
yet  a  member  of  the  Kirov 
Ballet.  He  was  also  a  boy 
wonder  —  in  class  and  in  a 
gala  debut  on  stage.  I  had 
never  seen  anything  quite 
likehim. 

Since  then  —  and  I  was 
possibly  the  first  West- 
emer  to  see  him  —  his  ca- 
reer  has  become  a  matter 
of  remarkable  public 
record,  füll  of  surprises 
and  glories.  There  was  his 
leaving  Russia  and  his  bal- 
letic  home,  the  Kirov  Bal- 
let, for  the  West  and 
American  Ballet  Theater. 
There  was  the  movie,  "The 
Tuming  Point."  There  was 
the  defection  from  Ballet 
Theater  for  New  York  City 
Ballet.  There  has  been  the 
recent  annoimcement  of  a 
Nijinsky  fihn. 


l  Baryshnikov  and  Evelyne  Desuttei 
Ballets  de  Marseille  "Pique  Dame/' 


Last  week  in  Paris  at 
the  Theatre  de  Champs- 
Elysees  I  saw  the  latest 
transmogrification  of 

Misha — he  was  creating  a 
new  role,  not  for  George 
Balachine,  not  for  Jerome 
Robbins,  but  for  liis  old 
friend»  and  France's  lead- 
ing  choreographer,  Roland 
Petit.  He  was  dancing  Her- 
man  in  a  new  ballet  Petit 
devised  for  his  Company 
Les  Ballets  de  Marseille 
Roland  Petit,  now  in  the 
top  handful  of  European 
bsdlet  companies. 

Called  "La  Dame  de 
Pique,"  or  as  we  would  say 
"The  Queen  of  Spades,"  it 
is  based  on  the  famous 
Pushkin  story,  which 
Tchaikovsky  made  into  an 
Optra,  of  the  penniless 
young  officer  who  seeks 
his  fortune  by  extracting 
the  gambling  secret  of  an 
old  Coimtess  in  order  to 
marry  her  niece.  In  Push- 
kin and  Tchaikovsky  he 
dies;  in  Petit  he  goes  poetl- 
cally  mad,  shiiffling  his 
Phantom    cards    into    an 

etemity  of  darkness.  The 
poetic  Image  shows  the 
strength  of  Petit's  em- 
blematic  work. 

As  we  saw,  first,  30 
years  ago,  in  his  baUet, 
"Carmen,"  Petit  is  exi>ert 
at  extracting  the  essence 
of  an  opera,  or  a  story, 
placing  its  central  charact- 
ers  with  psychological  skill 
against  a  muted,  un- 
stressed  Choreographie 
background,  and  giving 
the  entire  work  a  bewitch- 
ing  sense  of  theatricality. 

This  then  is  the  new 
"Pique  Dame."  The  simple 
decors  by  Andre  Beaure- 
paire  —  a  long-time  Petit 
collaborator  —  concen- 
trate  on  an  Image  of  cards 
and  gambling.  It  is  a  back- 
cloth  Las  Vegas  or  Atlan- 
tic City  would  take  to  its 
heart.  The  music  arranged 
by  Laurent  Petitgirard  is 
less  fortunate.  It  is  chiefly 
a  not  very  clever  mish- 
raash  from  Tchaikovsky's 
original  oepra,  although 
other  pleces  are  added, 
such  as  Lensky's  aria  from 
"Eugene  OnegüL" 


Choreographically  it  is 
Herman/Baryshnikov 
everjrwhere,  and  the  rest 
almost  nowhere.  There  are 
Images,  of  course.  The 
Images  of  gambling  tables, 
frenzied  with  the  passion 
of  money,  of  the  fright- 
ened  lady  (a  sensitive  Per- 
formance from  the  fbrmer 
Paris  Opera  soloist,  Jac- 
queline Rayet),  and  the 
duet  of  yoimg  love,  always 
a  Petit  specialty,  danced 
by  Evelyne  Desutter  and 
Baryshnikov.  The  dancing  , 
for  the  Corps  de  ballet  is  ' 
essentiaUy  what  baroque 
music  might  term  a  ripieno 
accompaniment  for  the 
soloists.  With  Peüt  it  was 
eyer  thus. 

The  success  of  the  Per- 
formance is  Baryshnikov 
and  how  Petit  has  envi- 
saged  him.  You  can  under- 
stand  Baryshnikov's  inter- 
est  in  the  choreographer 
—  a  few  years  ago  he 
danced  in  Petit's  "La 
Jeune  Homme  et  la  Mort." 
and  was  convinced  that 
Petit  could  bring  out  some- 
thing  new  in  him.  Petit 
has. 

The  dancing  he  is  given 
to  perform  is  difficult 
enough  in  all  conscience, 
at  least  at  times»  but  Petit 
has  concentrated  on  a  new 
Baryshnikov,  a  sulky, 
surly,  manic-depressive 
Romantic  hero.  It  is  the 
sort  of  role  you  would  ex- 
pect  to  be  created  for  Erik 
Bruhn  or  Anthony  Dowell, 
but  Baryshnikov  glowers 
into  it  like  Bronte's  Heath- 
cliff  who  has  suddenly 
found  a  new  moor.  He  is 
the  epitome  of  the  Pushkin 
hero. 

We  have  seen  signs  of 
the  blaze  of  his  presence 
glinting  furiously  through 
his  portrayal  of  Albrecht 
in  "GiseUe."  Petit  has  Ig- 
nited  the  whole  emotional 
bonfire.  It  was  a  long  way 
from  "Push  Comes  to 
Shove."  With  Baryshnikov 
he  has  foimd  a  kindred  ge- 
nius  he  has  not  had  since 
the  days  of  his  golden 
partnership  with  the 
greatest  of  French  danc- 
ers, Jean  Babilee. 


■Tr=:  V'fcr^=rj 


Cl» 


N.J. 


(     .     THE  NEW  YORK  TIMES,  FRIDAY,  FEBRUARY  6,  1987 


1. 


Film:  Gerärd Depardieu  in  'One  Woman  or  Two' 


lARD  as  it  is  to  believe,  thc 
brilliant  director  of  "The 
Return  of  Martin  Guerre" 
has  now  made  an  idiotic 
comedy  about  a  paleontologist,  some 
women  and  some  bones.  The  bones, 
being  silent,  have  a  definite  advan- 
tage  over  the  other  players. 

Daniel  Vigne's  "One  Woman  or 
Two,"  which  opens  loday  at  the  Paris, 
turns  out  to  be  a  "Bringing  Up  Baby" 
of  sorts  for  the  indefaligable  Gerard 
Depardieu.  He's  an  actor  who  can  do 
almost  anything,  but  he  can't  turn 
himself  into  a  Gallic  Gary  Grant.  Mr. 
Depardieu  plays  a  daffy  scientist  who 


discovers  a  ^two-million-year-old 
woman  and  dubs  her  "the  first 
Frenchwoman,"  saying  things  like 
"feel  the  femininity  of  her  cute  Httle 
skull?"  He  falls  halfway  in  love  with 
this  elusive  creature  and  dubs  her 
"Laura,"  thus  making  needless  refer- 
ence  to  a  film  much  better  than  this 
one. 

When  the  scientist  enthusiastically 
builds  a  life-sized,  4-foot,  8-inch  clay 
likeness  of  Laura  and  begins  whisper- 
ing  sweet  nothings  to  it,  the  statue 
looks  alarmingly  like  Dr.  Ruth  Wes- 
theimer,  who  is  herseif  in  the  film. 
She  plays  a  daffy  American  philan- 


thropist with  an  interest  in  paleon- 
tology,  and  when  she  meets  Laura, 
she  falls  to  her  knees  and  exclaims, 
"My  God,  thank  you  for  this  prrrez- 
ious  moment ! "  Dr.  Ruth  will  never  be 
mistaken  for  an  actress,  but  she  does 
have  pep. 


Also  on  band  is  Sigourney  Weaver, 
as  a  disdainful  American  advertising 
executive  who  speaks  finishing- 
school  French  and  seems  to  begin 
most  sentences  with  "Je  deteste."' 
Miss  Weaver  looks  very  chic  and  be- 
haves  very  standoffishly,  though  the 


tilm  seems  intended  as  a  happy-go- 
lucky  farce. 

Aside  from  serving  as  the  scien- 
tist's  love  interest,  she  is  on  band  as  a 
focus  for  the  anti-American  attitudes 
with  which  the  film  abounds.  Miss 
Weaver's  character  plans  crassly  to 
use  Laura  as  a  marketing  gimmick  to 
seil  a  perfume  called  "French  Lady." 
Her  boss  in  New  York,  intended  as  an 
even  more  archetypical  Yank,  has  an 
Office  decurated  with  a  Supernian 
likeness  and  a  gold  lame  E.  T.  He 
speaks  loudly  and  wears  plaid  pants. 
"Here  in  the  U.S.,  everything  is  dol- 
lars  and  cents,"  someone  confides  to 


Ymma  ^cvb-Uii 


the  scientist  when  he  finally  Visits 
New  York  and  witnesses  a  French 
Lady  rock  Video  in  the  making. 

There  are  occasional  hints  that  Mr. 
Vigne  may  have  had  something  more 
substantial  in  mind,  like  letting 
Lauia's  story  cast  some  light  on  the 
present.  But  for  the  most  part,  any 
hints  of  intelligence  are  as  buried  as 
the  fir^t  Frenchwoman  herseif  is 
when  the  story  begins. 


"One  Woman  or  Two"  is  rated  PCf- 
13  ("Special  Parental  Guidance  Su^- 
gesledfor  Those  Younger  Than  13"). 
It  contains  brief  nudity  and  some  sex- 
ual innuendoes. 

JANETMASLIN 


Bare  Bones        t  . 

ONE  WOMAN  OR  TWO,  dirccted  by  Daniel 

'       Vigne;  screenplay  (French  with  Engl|S!i 
subtiiles)   by   Mr.   Vigne  and   Elisabeth*     „ 
Rappeneau;     director     of    photography^.    - 
Carlo   Varini;    ediled   by  Marie-Jo.sephe 
Yoyotle;  music  by  Kevin  MuIIigan,  Everl 
Vcrhces   and   Tools  Thieiemans;    a   Ha-      ^ 
chette        Premiere/ Philippe        Dussard     , 
S.A.R.L./FR3     Films/D.D.      Productions.  ^  ^ 
Production.  At  the  Paris,  Fifth  Avenue  and  " 
58th  Street.   Running  time:    97   minutes.  -^ 
This  film  is  rated  PG-13.  ..  .     v 

Julien  Chayssac Gerard  Depardieu 

Jessica  Fitzgerald Sigourney  Weaver 

Mrs.  Heffner Dr.  Ruth  Wcstheimer 

Pierre  Ca rridre Michel  Aumont 

Constance Zal^u ,    ^ 

Gino Jean-Pierre  Bisson 

Alex Yann  Babilöe.     . 

TheMayor Maurice  Barrier  * 

Patrick Robert  Blumenfeld 

Maxwell Michael  Goldman 


\;» 


26 


H 


THt  NEW  YORh    TIMES,  SUNDAY,  APHIL  13,  19H6 


'o/ice 


,   ,v../^-  ■>  / 


mrme^ 


DANCE  VIEW 


l*^«**" 


ANNA  KISSELGOFF 


rik  Bruhn 


Epitome  of 
he  Danseur 


Noble 


rik  Bruhn,  ballet's  noblest  prince,  has  left  us.  He 
died  in  Toronto  on  April  1  at  the  age  of  57,  only  a 
few  Short  weeks  after  it  was  leamed  that  he  had 
)ung  Cancer.  His  unexpected  passing  will  rob  the 
dance  worid  of  a  moral  force  whose  influenae  has 
bejjn  continuöusly  feit  —  even  in  the  decade  and  a  half 
since  he  retired  f rom  the  rules  that  established  him  as  one 
ofjhistory's  greatest  classieal  dancers. 

hl  the  last  years  he  had  continued  to  make  sporadic 
;ai  üiices  iii  churacter  roles.  But  it  was  as  the  embodi- 
)wv  of  iasäical  bnllet  at  its  purest  that  Erik  Bruhn  con- 
re.  .1  ie.~c  -  wne».  rvt^  f^taged  the  19th  Century  ballets, 
*  hH  aught  young  danters  and  when  he  served  as  a 
vu^Jipany^^  dirt'ttor  \he  National  Ballet  of  Canada, 
wrtere  he  !iad  been  artistic  director  since  July  1983,  will 
feelhis  loss  wUh  ihe  most  immediacy .  It  was clear  even  in 
this  Short  penod  that  Mr.  Bruhn  had  breathed  new  life 
intio  the  Company  He  invited  modem-dance  choreogra- 
phprs  and  innovators  to  experiment.  He  pushed  very 
yufcuig  performers  who  were  gifted  to  the  forefront  and  ac- 
quired new  talent.  He  was  opening  up  the  Company  to  a 
W1&  ränge  of  idioms  and  styles.  The  last  production  he 
coifl3[iiissioned,  Glen  Tetley's  ''AHce,'*  was  a  huge  success 
ai^g^^ili  be  seen  at  the  Metropolitan  Opera  House  in  July. 
MlJSBruhn's  tenure  imbued  the  National  Ballet  with  a  new 
viöj^ity,  one  whose  momentum  may  carry  the  Company 
ihfough  its  inevi table  transitional  period. 
I  •  •  • 

j  It  is  a  paradox  of  history  —  political  history  and  cul- 
tui^i  history  —  that  figures  who  are  perceived  as  conser- 
vatrve  v)ften  make  the  break  with  tradition  or  past  policy 
thaHfieu  more  liberal  counterparts  cannot.  U  was,  for  in- 
»tc*iK  e,  under  Charles  de  Gaulle  that  Algeria  obtained  its 
indeüendence  froiii  France.  Without  pUshing  the  analogy 
tJIFTar,  it  is  obvious  why  Erik  Bruhn,  perceived  as  the 
epiiome  of  the  dafisear  noble,  could  open  up  the  Royal 
Swedish  Ballet,  where  he  was  artistic  director  in  the  late 
1960's,  and  the  National  Ballet  of  Canada  or,  more  point- 
edly,  seek  to  dance  in  the  antithesis  of  classieal  roles.  Se- 
cure  in  his  classicism,  he  could  afford  to  extend  beyond  it. 
It  goes  without  saying  that  any  Company  in  which  Erik 


F»hoN)giaphs  oy  Fred  Feh( 

Erik  Bruhn  as,  from  the  left,  James  in  *'La  Sylphide/'  the  Prince  in  '*The  Nutcracker," 
and  Romeo  in  **Romeo  and  Juliet — His  moial  ex^mple  to  tlie  rest  of  ballet  caine  through 
the  concentration  and  seriousness  with  which  he  conimirted  himself  to  every  role. 


Bruhn  was  involved  as  a  director,  dancer  or  producer  of 
ballets  was  bound  to  see  its  standaras  of  classicai  dancing 
raised  through  his  own  example. 

He  was,  then,  the  modei  of  perfection  as  a  dancer  — 
precise  in  every  step,  beautifuUy  placed,  a  virtuoso  tech- 
nician,  noble  in  bearing,  elegant  in  every  gesture.  His  line 
was  extraordinary,  his  leg  beats  —  a  legacy  of  his  Danish 
training  —  amazing.  He  was  one  of  the  few  dancers  who 
could  bring  the  house  down  simply  by  executing  ix  series 
of  entrechats  as  James  in  "La  Sylphide."  The  steps,  no 
matter  how  brilliantly  executed,  were  always  part  of  a 
deeper  concept,  part  of  a  characterization.  Erik  Bruhn 
was  a  complete  dancer  —  a  far  cry  from  the  highly  spe- 
cialized  artist  he  was  often  made  out  ti>  he. 

It  was  a  myth,  in  iact,  that  he  was  an  aiinjf  paragon  of 
classieal  styie  At  the  begmning  of  his  career  the  dancer 
he  admired  inost  was  Jean  Babil6e  3ensuous  and  power- 
ful,  Mr.  Babil^  was  the  bad  boy  of  ballet  --  one  of  Roland 
Petit's  existentialist  heroes  -—  as  much  as  a  high  flying 
bluebird  in  ''The  Sleeping  Beauty."  Was  ic  just  human 
perversity  to  yeam  to  be  what  one  was  not?  No  two  danc- 
ers seemed  more  unlike  than  Mr.  Babil^  and  Mr  Bruhn. 
Mr.  Bruhn  once  said  he  had  even  thought  of  abandoning 


baliot  when  he  realized  he  cuuld  not  emulate  his  model. 

Just  as  süon,  howevei ,  he  recognized  that  he  could  not 
copy  anyone  elbe,  that  he  could  unly  be  hmiseif .  And  this 
ib  whal  ihe  world  saw  —  a  brilliant  and  incomparable 
dancer  of  his  own  making.  He  was,  certainly,  a  danseur 
nibble,  but  one  who  took  thai  highest  of  categories,  dating 
back  to  ballei's  codificatioii  in  the  17th  centtuy,  into  a 
nxxlern  ränge. 

i  o  appreciate  Erik  Bruhn  was  to  understand  the  com- 
plexity  and  paradoxes  t)ehind  his  career  Because  he  was 
bom  in  Denmark  and  tramed  at  the  Royal  Danish  Ballet 
(from  whose  school  he  graduated  in  1947),  the  outside 
vorld '  onsidered  him  the  epirome  of  Daaish  training.  Yet 
Ä^hat  other  Danish  dancer  before  him  had  the  same  de- 
4*-ee ( >f  vligiiity  aad  nobility?  Ihe  iraditiou of  August  Boui 
umville,  the  lyth-ceüiury  onoreogiaphei  svho  gave  the 
i)anish  Royal  Ballet  its  style  A^as  pure  and  classicai  But 
U  left  little  j(X)m  foi  the  regal  itnage  Bournonville's 
colorful  Romantic  ballets  were  tiiied  with  a  demi-caract- 
^re  eniphasiis. 

Erik  Bruhn,  the  perfect  prince,  was  not  trained  in  a 
ballet  World  of  princes.  Nonetheless,  the  Danes'  wonder- 
ful  acling  tradition  did  allow  him  to  explore  many  roles 


/ 


that  did  not  jibe  with  the  stereotyped  view  of  his  Nordic 
coolness.  The  truth  was  that  passion  was  at  the  heart  of 
every  Bruhn  Performance. 

It  was  easiest  to  spot  when  he  took  on  the  role  of  Don 
Jos6  in  Roland  Petit's  '^Carmen"  or  Jean,  Strindberg's 
butler  —  sexually  aroused  and  class  conscious  —  in  Birgit 
Cullberg's  **Miss  Julie."  But  passion  was  also  profoundly 
expressed  in  the  two  roles  from  19th-ceniury  Romantic 
ballets  that  he  refined  for  nearly  20  years  until  he  gave  up 
classicai  roles  in  December,  1971.  The  opening  moment  in 
Bournonville's  "La  Sylphide,"  would  show  him  as  a  Scot- 
tish  farmer  asleep  in  his  house,  totally  unlike  so  many 
other  dancers  tensely  posed  in  an  armchair.  This  was  a  - 
James  with  a  body  so  relaxed,  so  seemingly  deep  in  sleep, 
that  he  completely  concealed  the  concentration  necessary 
to  create  this  effect.  As  Albrecht  in  '^Giselle,"  first- 
danced  in  a  historic  debut  with  Alicia  Markova  in  1955, 
Mr.  Bruhn  moved  over  the  years  toward  an  extremely 
stylized  Performance.  Yet  it  was  no  less  passionate;  the  , 
emotions    became    increasingly    distilled    and    Hiore» 
strongly  conveyed  as  a  result. 

His  moral  example  to  the  rest  of  ballet  came  througl^,"! 
the  concentration  and  seriousness  with  which  he  commit- 
ted  himself  to  every  role.  Peter  Martins  and  Helgi  Tomas-'^ 
son,  the  two  dancers  dosest  to  him  in  style,  looked  to  him 
as  an  ideal  by  their  own  account.  Rudolf  Nureyev  did  the'. 
same  and  Mr.  Bruhn's  influence  on  the  Russian  dancer'^,^ 
early  years  in  the  West  was  readily  noticeable. 

There  has  always  been  talk  of  the  fact  that  Erik!.' 
Bruhn  was  a  perfect  ionist,  that  his  own  ideal  Standards  ^ 
were  so  high  that  he  could  not  face  falling  below  them*,! 
Certainly  he  was  not  willing  to  be  one  of  those  dancers,' 
who  keeps  dancing,  less  concemed  aboui  sloppy  finishes  . 
than  Overall  presence.  Polished  dancing  was  important  tu  ' 
him,  and  perhaps  the  idea  of  not  ending  a  double  air  tuni 
in  a  perfect  fitth  position  as  he  grew  older  did  iead  him  ig» 
quit  dancing. 

•  •     ~      • 

Mr.  Bruhn  appeared  as  a  guest  with  many  companies, 
and  with  small  ensernbles.  Yet,  he  is  virtually  unknown  in 
France,  for  example,  and  only  balletomanes  of  a  certain.^ 
generation  have  a  clear  image  of  his  dancing  during  his, 
brief  tenure  as  guest  artist  in  the  early  I960*s  with  the. 
Royal  Ballet  of  England.  His  real  homes  were  the  Roys^^^ 
Danish  Ballet  and  American  Ballet  Theater  - 

His  roles  with  both  companies  from  1950  through  the  , 
1970's  showed  him  in  a  surprisingly  wide  ränge,  including 
many  mediocre  ballets.  Mr.  Bruhn  also  took  part  in  Ballet 
Theater's  1957  Choreographie  Workshop  as  both  dancer..^ 
and  choreographer.  He  did  not  develop  into  a  major  chor*  ^ 
eographer.  But  he  played  a  crucial  and  primary  role  in  irv 
troducing  Bournonville's  virtually  unknown  ballets  and 
excerpts  into  North  Amei  ican  companies  —  most  notably  !^ 
his  1964  Staging  of  ''La  Sylphide"  for  the  National  Balle^, 
of  Canada   and  twt.  Intpr  v/pr<5ions  for  Bellet  Theater     ,  « 

It  was  uiijust  that  his  name  did  not  become  a  house> 
hold  Word  outside  the  ballet  world,  as  those  of  Rudoii  Nu- 
reyev and  Mikhai)  ßaryshnikov  have  today  The  dancfe" 
boom  came  after  ihe  start  of  his  career  —  the  hoopla 
passed  him  by.  Paradoxically,  this  Isolation  gives  hini  a 
special  and  assured  place  in  dance  history.  For  anyone 
who  Claims  to  have  a  serious  interest  in  dance  is  aware  of 
Erik  Bruhn's  greatness  a  a  dancer  —  and  this  is  because  it 
.  was  incontrovertibly  there.  ■ 


.<:-:';-i;;;i:»fc'' 


^P^M 


LEO  BLECH: 


['^%fi?<:  \ 


ao) 


Ich  wor  lapellmeister  des 


Die  Kamera  des  Konzertmeisters  der 

Leningrader  Philharmoniker  fing  1941  wäh- 
rend einer  Probe  dieses  Porträt  des  lOjähri- 
gen  Gastdirigenten  Leo  Blech  ein.  Wenige 
Wochen  später  begann  der  Krieg  im  Osten. 


»\ 


''*»: 


Mutter  und  Tochter  bi/dcen  vergnügt  in 
die  Linse  des  Berliner  Holfotografen,  dem 
1915  diese  reizende  Aufnahme  von  der  Le- 
bensgefährtin Leo  Blechs,  Frau  Martha,  und 
ihrem  vierjährigen  Töchterchen  Luise  gelang. 

Unten:  Sie  Ist  stolz  auf  ihren  berühmten 
Vater  und  blickt  liebevoll  über  seine  Schul- 
ter auf  das  Notenblatt.  Dieses  Bild  entstand 
um  1930  und  zeigt  Leo  Bledi  mit  seiner  Toas- 
ter Luise,  als  sie  im  Hause  ihrer  Eltern  lebte. 


Neun  Jahre  lang,  von  1941  bis  1949,  war  ich  Gast  der  Stockholmer 
Oper,  und  der  Erfolg  als  Dirigent  blieb  mir  auch  an  dieser  Stelle 
treu.  Aber  die  Sehnsucht  nach  der  alten  Heimat  Berlin  wurde  von 
Jahr  zu  Jahr  größer,  und  eines  Tages,  als  Tietjen  die  Intendanz  der 
Berliner  Städtischen  Oper  wieder  übernommen  hatte,  schickte  ich 
ihm  ein  Telegramm:  „Diskrete  Frage:  Haben  Sie  Platz  für  midi?"  Die 
Antwort  bestand  aus  einem  Wort  und  lautete:  »Selbstverständlich!" 
Wenige  Wochen  später  war  ich  wieder  in  Berlin. 
Wehmütigen  Herzens  ging  ich  durch  die  altvertrauten  Straßen,  aber 
idi  fand  mein  Berlin  nicht  mehr  vor.  Ich  war  entsetzt  über  den  Zu- 
stand der  Stadt;  wohin  ich  sah,  starrten  Ruinen.  Viele  alte  Freunde 
waren  tot  oder  verschollen.  Unser  altes  Haus  in  der  Mommsenstraße 
stand  zwar  noch  unversehrt  da,  aber  aus  den  Fenstern  ragten  häßliche 
Ofenrohre.  Intendant  Tietjen  war  wieder  mit  rührender  Sorgfalt  um 
mich  bemüht  und  verschaffte  mir  gegenüber  der  Städtischen  Oper  in 
der  Fasanenstraße  eine  hübsche  Dreizimmerwohnung.  Ais  dann  eines 
Tages  der  Wohnungsinhaber  aus  der  Kriegsgefangenschaft  zurück- 
kehrte, machte  ich  ihm  gern  Platz  und  zog  nach  Wilmersdorf. 
Einen  nachhaltigen  Eindruck  hat  auch  Berlins  damaliger  Oberbürger- 
meister Reuter  auf  mich  gemacht.  Er  lud  Tietjen  und  mich  zur  Be- 
grüßung zu  einem  Nachmittagskaffee  ir^i  Rathaus  ein  und  war  der 
charmanteste,  aufgeschlossenste  Gastgeber,  den  man  sich  wünschen 
konnte.  Ich  habe  später  noch  manche  Briefe  mit  ihm  gewechselt. 
Am  18.  Oktober  1949  begann  ich  abermals  mit  »Carmen",  Publikum 
und  Presse  nahmen  mich  von  Anfang  an  wie  einen  guten  alten 
Freund  wieder  auf.  Es  war  ein  bewegender  Augenblick  für  mich,  als 
sich  die  Besucher  bei  meinem  Erscheinen  applaudierend  von  ihren 
Plätzen  erhoben;  trotzdem  erinnere  ich  mich  eines  Gesprächsfetzens, 
der  in  diesem  Augenblick  mein  Ohr  erreichte:  »Warum  stehen  wir 
denn  auf?"  —  „Der  war  lange  weg  von  Berlin." 

Auch  im  Hause  selbst  kam  man  mir  mit  einer  Liebenswürdigkeit  ent- 
gegen, die  mich  immer  wieder  aufs  neue  erfreute.  Als  ich  dann  das 
erstemal  vor  das  Orchester  trat,  sagte  ich  etwa  folgendes:  »Meine 
Herren,  ich  komme  nicht  zurück,  um  Karriere  zu  machen,  die  liegt 
hinter  mir,  sondern  um  der  Symphonie  meines  Lebens  eine  hübsche 
kleine  Koda  anzufügen.  Und  dabei  sollen  Sie  mir  helfen!" 
Ich  dirigierte  in  den  folgenden  Jahren  die  »Zauberflöte",  »Ariadne 
auf  Naxos",  »Macht  des  Schicksals",  »Heilige  Elisabeth"  und  »Rienzi" 
sowie  meine  eigenen  Opern  „Versiegelt"  und  »Das  war  ich".  Die 
beiden  letzteren  standen  am  21.  April  1951,  zu  Ehren  meines  80.  Ge- 
burtstages, auf  dem  Spielplan.  Tietjen  kam  vor  Beginn  zu  mir,  führte 
mich  über  die  Bühne  zum  Orchesterraum,  und  ich  wunderte  mich  im 
stillen,  weshalb  er  so  zögernde  Schritte  machte  und  meine  Hand 
gar  nicht  loslassen  wollte.  Bis  plötzlich  hinter  dem  Vorhang  der 
Opernchor  das  »Wach  auf"  aus  den  »Meistersingern"  anstimmte.  Das 
war  ein  großer,  unvergeßlicher  Augenblick  für  mich. 

Ein  Fehltritt  mit  der  feurigen  Carmen 

Drei  Jahre  später,  am  20.  Juni  1953,  gab  mir  der  Himmel  einen 
deutlichen  Wink,  daß  es  nun  Zeit  zum  Aufhören  wäre.  Ich  dirigierte 
an  jenem  Abend  wieder  einmal  die  „Carmen".  Als  ein  im  Grunde 
sehr  schüchterner  und  verlegener  Mensch  bin  ich  zeit  meines 
Lebens  immer  sehr  froh  gewesen,  wenn  ich  den  Weg  von  der  Bühne 

Immer  noch  Ineinander  verliebt,  steht  als  Kommentar  unter  dieser 
Amateuraufnahme  geschrieben.  Sie  lag  einem  der  unzähligen  Luftpostbriefe 
bei,  die  seit  sechs  Jahren  zwischen  Lo<i  Angeles  und  dem  Postamt  Wilmers- 
dorf hin  und  her  wanderten,  und  zeigt  Leo  Blechs  einzigen  Sohn  WoUgang  mit 
seiner  Frau.    Der    1902   in    Prag    Geborene   lebt   drüben   als   Textilkaufmann. 


durch  den  Orchesterraum  hinter  mir  hatte  und  auf 
meinem  Platz  hinter  dem  Pult  saß.  I>eshalb  war 
ich  auch  an  jenem  Abend  bemüht,  diesen  Gang  rasch 
hinter  mich  zu  bringen  und  mit  Elan  die  fünf  ge- 
länderlosen Stufen  zum  Pult  zu  nehmen.  Dabei 
rutschte  ich  mit  dem  linken  Fuß  aus  und  fiel.  Ich 
raffte  mich  auf,  und  gleich  danach  begann  die  Ouver- 
türe. Der  Konzertmeister  machte  mich  durch  Zeichen  dar- 
auf aufmerksam,  daß  meine  Hand  blutete  und  auf 
meinem  Frackhemd  beträchtliche  Spuren  hinterließ.  In 
der  Pause  standen  alle  da  und  warteten  auf  mich:  Inten- 
dant, Inspizient,  Regisseur  und  auch  die  Kranken- 
schwester. Sie  bandagierte  mein  geschwollenes  Knie 
und  versorgte  die  blutende  Hand.  Als  man  jedoch 
einen  Ersatzdirigenten  für  mich  vorschlug,  protestierte 
ich  energisch.  Ich  dirigierte  selbst  weiter  und  fühlte 
mich  dabei  ungeheuer  tapfer  und  wichtig.  Meine 
Frau,  die  zutiefst  erschrocken  war,  steckte  mich  zu 
Hause  sofort  ins  Bett.  Als  ich  nach  vier  Wochen  zum 
erstenmal  wieder  aufstand,  stolperte  ich  prompt  über 
die  Teppichkante,  schlug  hin  und  zog  mir  eine  kleine 
Gehirnerschütterung  zu. 

Jetzt  hatte  ich  genug  Alarmzeichen  empfangen  und  be- 
schloß, Schluß  zu  machen  mit  dem  Dirigieren.  Man  soll, 


FÜR  OWOT 


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MkiL^/emiere  of  Tetle/s  'Sphinx' 


By  ANNA  KISSELGOFF 

IN  HIS  new  ballet,  "Sphinx."  Glen 
Tetley  has  tried  to  be  complex 
about  Oedipus.  The  end  product, 
however,  is  simpie,  and  it  was  put 
on  View  in  New  York  for  the  first  time 
Wednesday  night  at  the  Metropolitan 
Opera  House  by  American  Ballet  Thea- 
ter. 

It  is  a  ballet  that  works  quite  well 
enough  on  its  own  terms,  but  those 
terms  come  30  years  too  late.  **Sphinx" 
harks  back  to  "Le  Rencontre,"  another 
ballet  about  Oedipus  and  the  sphinx 
that  was  created  in  Paris  in  1948.  At 
the  same  time  its  form  has  a  strong 
link  to  the  1946-47  "Cave  of  the  Heart" 
by  Martha  Graham,  in  whose  Company 
Mr.  Tetley  once  danced.  "Sphinx" 
might  be  retitled  "An  American  in 
Paris." 

Mr.  Tetley  has  taken  his  Inspiration 
from  "La  Machine  Infernale,"  a  play 
written  in  1934  by  Jean  Cocteau  in 
which  the  story  of  Oedipus  and  Jocas- 
ta,  and  incidentally  the  sphinx,  gets 
the  Cocteau  commomplace  treatment. 
Cocteau  was  also  very  close  to  the 
Ballets  des  Champs-Elys6es,  which 
presented  "Le  Rencontre,"  starring  the 
16-vear-old  Leslie  Caron  as  the  sphinx 
andVgan  Babil6e  as  OedipusjDavid  Li- 
eh ine  wasTJTclRoreograplwff  Christian 
Berard  the  designer,  üenrj  Sauget^the 
composer.  Although  this  encounter  be- 
tween  the  sphinx  and  Oedipus  seemed 
drawn  from  dt  similar  episode  in  Coc- 
teau's  play,  the  scenario  was  by  Boris 
Kochno. 


Story  of  Oedipus 


SPHINX,   choreosriptiV/  Gltn  Teti«y;   musio   Bohuslav 
AAartlnu;   scenery,    Rouben   Ter-Arutunlan;    oostumes, 
Will«    Kim;    lightlnfl,   Jennifer   Tipton.    Presented   by» 
American  Ballet  Ttieater  äi  ttie  Metropolitan   Opersi 
House. 

WITH:    Martine   van    Namtl/   Clarlc   TIPPet   and    KirW 
Petersen. 


•f  •> 


Marttia  Swope 

Kirk  Petersen  and  Martine  van  Hamel  in  the  premiere  of  the 
American  Ballet  Theater's  production  of  Glen  Tetley's  "Sphinx" 


On  the  Town 


AT  THE  BALLET 


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'Sphinx' 
Shows  its 
Problems 


By  CLIVE  BARNES 


r 


JEAN  COCTEAU  and  hls 
friend  Christian  Berard  had  a 
curtous  and  ongolng  influence 
on  dance.  In  1948»  for  ex- 
ample,  they  coneeived  a  bal- 
let, with  choreography  by 
David  Lichine,  based  upon 
Cocteau's  play,  "La  Machine 
Infernale." 

It  was  called  "La  Rencon- 
tre/' had  a  score  by  Henri 
Sauget  and  starred  Leslie 
Caron — ^magnificently  enig- 
matic  as  the  ^  Sphinx — and 
Jean  Babilee.  ^ 

Tt  the  Metropoli- 
tan Opera  House,  American 
Ballet  Theater  offered  a  new 
Version  of  this  theme,  called 
here,  simply  "Sphinx,"  with 
choreography  by  Glen  Tetley 
and  music  adapted  from  Mar- 
tinu's  Concerto  for  Two 
String  Orchestras,  Piano  and 
lani. 


[AMEL 


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V^'WA. 


SEATS  AT  BOX  OFFICE  &  BY  PHONE 


FROM  BRÜSSELS 


Maunce  Bejart. 
Artistic  CHrector 


Ballet  of  the  20th  Century 


II  iniTU      I  A  K/IICriKI      **'SS  JAMtSON  APPtARS  IN  "LE  SPECTRP  DE  LA  ROSE" 

JUUI  I  n  JrMVIlOUlM    courtesy  of  the  alvin  ailey  amfrican  dance  Theater. 

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NEW      YORK      HERALD      TRIBÜNE,       FRIDAY,      SEPTEMBE 


The  Ballet 


=  By  WALTER  TERRY 


iBallet  Theatre's  ^Giselle" 

"Giselle,"  a  trifle  loolish  by  con- 
temporary  dramatic  Standards  but 
perennially    beautiful    as    dance, 

launched  Ballet  Theatre's  season 

at  the  Metropolitan  Opera  House 
last  evening.  As  she  has  been  do- 
ing  for  more  than  a  Century, 
Giselle  again  went  mad  in  the  face 
of  her  lover's  infidelity  and  again 
the  passion  of  the  two  swept  across 
the  f rontier  of  death  to  unite  them 
in  one  final  protestation  of  love. 
And  yet  once  again  this  tale  of 
romance  and  fantasy,  told  in  the 
lovely  language  of  traditional  bal- 
let, captivated  an  audience. 

That  last  evening's  audience  was 
delighted  by  this  Performance  of 
"Giselle"  was  small  wonder,  for  in 
the  principal  roles  were  Alicia 
Alonso,  perhaps  the  flnest  Giselle 
of  our  era,  and  Igor  Youskevitch, 
a  danseur  noble  in  every  sense  of 
the  term.  The  two,  especially  in 
the  second  act  in  which  the  hero- 
ine  has  become  a  ghost  and  the 
lover  invades  the  mysterious  glades 
of  the  dead  to  find  her,  wrought 
dancing  of  a  miraculous  nature. 
Lightness,  elusiveness  and  fleeting 
delicacies  of  motion  were  to  be 
found  in  Miss  Alonso's  dancing 
yet  dramatically,  hints  of  earthly 
longing,  of  the  lover's  solicitude  for 
the  beloved  were  present  to  give 
impetus  and  purpose  to  the  theme. 

m  ^  0 

In  action  and  in  mime,  Mr. 
Youskevitch  was  the  ideal  hero,  a 
cavalier  of  refinement  as  well  as  of 
strength.  In  the  first  act,  with  its 
episode  of  courtship  and  its  cul- 
minating  mad  scene,  the  two  were 
accurate  of  step  and  believable 
dramatically  but  impulsiveness, 
liveliness  were  not  achieved  to  the 
degree  desirable  in  this  inevitably 
slow  section  of  the  ballet.  As  the 
Queen  of  the  Wilis—the  ghost 
maidens — Mary  Ellen  Moylan  was 
regal  in  deportment  and  stirring 
in  action.  A  few  of  the  leaps  in  her 
opening  solo  suggested  effort  and 
some  of  the  arm  movements  were 
overly  tense  and  blurred  by  too 
fast  a  pace,  but  elsewhere  her 
sharpness  of  motion  and  her  ex- 
actitude  of  rhythmic  accent  made 
for  a  stunning  characterization  in 
dance. 

Ballet  Theatre's  corps  de  ballet, 
long  famous  for  its  precision  and 
elan,  supplied  precision  to  the  en- 
semble  sequences  of  *'Giselle." 
Elan,  it  seemed  to  me,  was  lacking 
Lines  were  straight  and  rhythms 
meticulously  kept  but  the  exuber- 
ance  customarily  emanating  from 
Ballet  Theatre's  dancers  was  not 
consistently  present.  Alexander 
Smallen's  and  the  orchestra  played 
the  delicious  Adam  score  tenderly 
but  the  Berman  settings  were  sub- 
jected  to  inferior  lighting,  includ- 
Ing  a  star-burst  Fourth  of  July 
effect  at  the  start  of  act  2  whidh 
was  presumably  intended  to  herald 
the  witching  hour  and  the  arrival 
of  the  Wilis. 

m  m  0 

Second  on  the  program  was  Jean 
Cocteau's  and  Roland  Petit's  '%« 
Jeune  Komme  et  la  Mort,"  starring 
the  fabulous  Jean  Babilee  and  his 
wife,  Nathalie  Philippart,  also  a 
dancer  of  top  caliber.  This  French 
importation,  which  served  as  the 
vehicle  for  Mr.  Babilee's  and  Miss 
Philippart's  American  debuts  with 
Ballet  Theatre  last  spring,  retains 
its  melodramatic  power  af  ter  many 


Mary  Ellen  Moylan 


BSSTSvÄ.-. 


A  principal  dancer  with  Ballet 

Theatre,   now   playing   at  the 

Metropolitan  Opera  House 


seeings  and  Mr.  Babilee's  dancing 
of  the  principal  role  remains  a 
remarkable  achievement. 

The  storyline,  as  many  will  re- 
call,  concerns  the  impatient  wait- 
ing  of  a  young  man  for  his  love, 
her  arrival,  her  contemptuous  dis- 
missal  of  his  suit,  his  death  by 
hanging  and  his  ultimate  depar- 
ture  with  the  girl,  who  has  as- 
sumed  the  guise  of  death,  over  the 
rooftops  of  Paris.  It  is  harsh, 
rough,  Apache-like  in  action,  yet 
it  possesses  a  stränge  and  bitter 
beauty  of  design  and  an  inherent 
Pathos  which  are  stimulating  to 
eye  and  heart  alike.  There  is  Sat- 
ire to,  and  of  a  highly  acid  na- 
ture, in  its  muslcal  setting,  for  it 
is  supported  by  the  noble  and 
surging  measures  of  Bach's  Passa- 
caglia  in  C  Minor. 

•        •        • 

Mr.  Babilee,  sullen  of  face, 
tremblingly  intense  in  static  mo- 
ments  and  violent  of  action,  soared 
and  crashed  and  spun  with  mag- 
nificent  command  of  the  Situation. 
His  dance  genius,  which  Stretches 
far  beyond  the  confines  of  a  spe- 
cific technique,  permits  him  to 
transform  any  kind  of  action — 
balletic,  pantomimic,  expressional, 
populär,  personal — into  a  sort  of 
universal  form  of  kinetic  expres- 
sion  which  is  at  once  exciting  and 
communicable.  Miss  Philippart,  in 
the  part  of  the  girl,  performed 
brilliantly. 

The  evening  came  to  a  close  with 
Jerom3  Robbin's  roUicking  ballet, 
"Interplay."  with  John  Kriza  as  its 
Star  and  with  Eric  Braun  and 
Paula  Lloyd  in  supporting  parts. 
A  large  and  enthusiastic  audience 
was  present  for  Ballet  Theatre's 
gala  Premiere. 


Sirens^  A  Her  Today ^ 
May  Be  Real  Thing 

Last  Regulär   Test   To   Be 
Sounded  at  11  A.  M. 

Civil  Defense  Director  Arthur 
W.  Wallander  reminded  New 
Yorkers     yesterday     that     today's 

siren  test  at  11  a.  m.  will  be  the 
last  regulär  test.  Thereafter,  un- 

less  another  test  is  previously  an- 
nounced,  the  city's  fixed  sirens  will 
sound  only  in  the  event  of  an 

enemy  air  raid. 

In  today's  test  all  city  employees 
will  seek  shelter  in  designated 
shelter  areas  of  the  buildings  in 
which  they  work.  In  addition, 
1,200  occupants  of  the  twelve- 
story  building  at  1071  Avenue  of 
the  Americas  will  participate  in  a 
building  control  drill  at  the  sound 
of  the  sirens. 


TaftSaysStateDept. 
Coddles  Newsmen 


Aim  Is  to  Propagandize 
Policies,  He  Charges 

ST.  PAUL,  Mh  n.,  Sept.  20  (UP). 
— Sen.  Robert  A.  Taft,  R.,  Ohio, 
accused  the  State  Department  to- 
day  of  soft-soaping  "most  radio 
commentators  and  many  column- 
ists  and  editors"  into  propagan- 
dizing  Administration  policies. 

The  Senator,  in  a  foreign  policy 
speech  at  a  business  men's  lunch- 
eon,  Said  the  department  "has 
operated  on  a  theory  of  expedi- 
ency  supported  by  Propaganda." 

"Whenever  a  new  policy  was  to 
be  adopted,"  Sen.  Taft  said,  *'the 
State  Department  has  summoned 
.  .  .  the  coluronists  and  commen- 
tators, the  representatives  of  busi- 
ness organizations,  woinen's  or- 
ganizations,  labor  organizations 
and  many  other  groups  into  so- 
called  secret  sessions  when  they 
have  been  briefed  on  the  (depart- 
ment's)  purposes.  ,  .  . 

*'They  have  naturally  feit  com- 
plimented  by  the  invitation,  and 
in  many  cases  have  swallowed 
without  criticism  the  arguments 
advanced  by  the  State  Depart- 
ment, which  often  had  been  en- 
tirely  different  from  those  which 
really  animated  the  proponents  of 
the  policy. 

*'If  the  State  Department  adopts 
a  policy  or  an  argument,"  Sen. 
Taft  Said,  **it  is  able  to  have  the 
party  line  broadcast  the  next 
moming  by  most  of  the  radio 
commentators  and  many  colum- 
niste  and  editors." 

He  said  the  State  Department's 
"Propaganda"  has  thrown  the 
American  people  into  "complete 
confusion"  on  foreign  policy  be- 
cause  the  nation  does  not  have  a 
"consistent"  foreign  policy  pro- 
gram. He  blamed  the  Administra- 
tion's  desire  to  impose  "New  Deal 
planned-control  ideas"  abroad  for 
America's  failure  to  assume  the 
world's  moral  leadership. 


I 


HE    BALLET 

Bv  WALTER  TERRY  ===== 


Alicia  Alonso 


A  Star  of  Ballet  Theatre,  now 
at  Metropolitan   Opera   House 


Mr.  üaDuees  wiie,  ivatnaiie 
Philippart,  also  made  her  debut  in 
the  same  work  and  although  ha* 
role  was  a  supporting  one,  shf 
succeeded  in  making  a  command- 
ing  figure  of  the  girl  who  leadß 
her  lover  to  suicide  and  returns,  as 
the  figure  of  death,  to  guide  him 
to  an  unknown  destiny  across  the 
rooftops  of  Paris.  She  too  per- 
formed  with  passion  and  with  a 
wonderful  sense  of  rhythmic  stress 
In  this  intense  and  absorbing  fan- 
tasy.  The  ballet,  with  scenario  by 
Jean  Cocteau  imaginatively  chore- 
ographed  by  Mr.  Petit,  Is  set  with 
ironic  skill  to  the  highly  formal, 
aristocratic  music  of  Bach 's  Pas- 
sacaglla   in   C   Minor. 

The  evenlng's  second  premiere 


was  "Concerto,"  William  DoUar's 
new  Version  of  his  earlier  "Con- 
stantia."  set  to  Chopin's  Piano 
Concerto  No.  2  and  with  scenery 
and  costumes  by  Robert  Davison. 
Alicia  Alonso  and  Igor  Youske- 
vitch,  with  Norma  Vance  in  a 
major  supporting  role,  were  the 
Istars  in  this  sweet  balletic  Pas- 
torale. There  is  no  story  to  "Con- 
certo," although  romance  and 
nameless  conflicts  are  suggested. 
It  is  primarily  a  pattern  piece,  and 
as  such  it  is  charming  and  restful, 
kind  to  the  eye,  if  not  entirely 
stlrring  for  the  heart.  Miss  Alonso, 
the  company's  prima  ballerina, 
performed  her  assignment  with 
telling  lyricism,  and  Mr.  Youske- 
vitch  accorded  her  sure  and  gra- 
cious  Support. 

Mr.  Youskevitch  was  seen  to 
special  advantage  earlier  In  the 
vening  when  he  danced  with 
Mary  Ellen  Moylan  in  "Swan 
Lake."  The  Performance  of  this 
classic  was  a  good  one  in  almost 
every  way.  Not  only  was  Mr.  Yous- 
kevitch at  the  top  of  his  form  but 
Miss  Moylan  gave  us  a  splendid 
characterization  of  the  Swan 
Queen.  Her  line,  barring  some 
slap-dash  arabesques — due,  per- 
haps,  to  Alexander  Smallens's 
racehorse  tempo  as  orchestral 
leader — was  impeccable  through- 
out  and  her  musical  phrasing  was 
a  joy  to  behold. 

Agnes  de  Mille's  "Rodeo."  with 
John  Kriza,  Jenny  Workman  and, 
as  a  guest  artist,  Robert  Pagent  in 
the  principal  parts  brought  the 
long  and  gala  evening  to  a  close. 


Idea 

An( 
at  thi 
carioj 
indi^ 
aboul 
port( 
less, 
Jeroi 
contri 
and 
numi 
only 
one 
into 
the  ai 
their 


]ß—FrU  Sept.  21 1951 


New  York  Journal- American 


Cheer  Alonso  As  'Giselle' 


By  MILES  KASTENDIECK 


Ballet  Theatre  brought  the 
traditional  note  into  the  Septem- 
ber ballet  season  on  its  return  to 
the    Metropolitan    Opera    House 

last  night.  It  opened  with  "Gi- 
selle,"  enabling  Alicie  Alonso  to 
triumph  In  the  famous  role.  By 
the  middle  of  the  second  act  she 
had  the  audience  cheering. 

Had  it  not  been  for  the  mas- 
tery  and  easy  s:race  of  Miss 
Alonso  and  the  elegant  bearing 


of  Igor  Youskevitch,  the  Perfor- 
mance of  "Giselle"  would  have 
sagged  badly. 

The  Corps  de  ballet  moved 
through  the  work  heavily.  Mary 
Ellen  Moylan  lacked  stylistic  feel- 
ing  for  the  role  of  Queen  of  the 
Willis.  Alexander  Smallens  ap- 
peared  at  times  to  be  conducting 
against  the  dancers  instead  of  for 
them. 

Some   pointing   up    in    detail 
in  the  choreography  served  to 


emphasize  tl^e  dramatic  aspcct 
of  the  story.  This  suggested  that 
Ballet  Theatre  is  stressing   the 
theatre  element  in  its  title. 

Both   Alonso   and    Youskevitch 

showed  more  awareness  of  char- 

acterization  than  before,  making 

their  Performance  more  effective 

from  the  story  angle.  Balletically, 

they  have  few  if  any  rrvals  now. 

Their  moments  of  virtuosity  were 

admirably  artistic. 

That  theatrical  slant  showed 
up  cl  e a  r  1  y  of  course  in  *'Le 
Jeune  Homme  et  la  Mort"  by 
Nathalie  Philppart.  No  longer 
sensational    as  a    novelty,  the 


work  1s  nevertheless  a  vivld, 
theatrical  experience.  Itappears 
a  bit  more  arty  on  acquaitance. 
The  Babilees  do  a  brilliant  Job. 

This  program  ended  brightly 
with  *'Interplay"  in  a  typically 
exuberant  Ballet  Theatre  Perfor- 
mance. The  men   outpointed  the 

girls.  EJric  Braun  won  himself  star 
billing  for  his  solo  while  Paula 
Lloyd  and  John  Kriza  executed 
their  pas  de  deux  with  nice  feel- 
ing  for  the  style  of  Morton 
Gould's  music. 

Though  the  thow  as  a  whole 
was  good,  it  lacked  the  glamor 
and  the  comph  to  set  off  Ballet 
Theatre  in  its  füll  glory. 


Music 


\ 


Ballet  Company  Puts 
Best  Toe  Forward 


By  LOUIS  BIANCOLLI. 


As  always  happens  about  this 
time  of  the  year,  the  Metropolitan 
Opera  House  became  the  Metro- 
politan Ballet  House  last  night. 

The  short-lease  tenants  were 
again  the  dancer*s  muslclans.  di- 
rectors  and  choreographers  who  go 
by  the  name  of  the  Ballet  Theater. 
The  report  today  is  that  they 
opened  their  fall  season  with  their 
best  toes  forward — the  toes  be- 
longing^o  that  nimble  little  first 
lady  of  ballet.  Alicia  Alonso. 

It  was  only  fitting  that  Miss 
Alonso  should  be  starred  in  the 
first  number,  and  just  as  fitting 
that  the  first  number  should  be 
"Giselle."  Say  what  you  will  of  this 
sentimental  woodland  whimsy, 
the  reputation  of  a  ballet  Company 
still  Stands  or  falls  on  the  way  it 
presents  "Giselle." 

No  less  is  it  the  highest  test  by 
which  a  dancer's  classical  powers 
of  technic,  expression,  and 
pantomine  may  be  judged.  On  each 
point  Miss  Alonso  came  off  bril- 
liantly  last  night.  She  was  the 
answer  to  every  would-be 
Diagbileff's  prayers — the  perfect 
unity  of  dancer,  actress  and 
woman. 

Keycd  to  Perfection. 

The  technic  was  faultless  to  the 
point  of  being  unnoticeable.  It  was 
the  language  Miss  Alonso  used  to 
communicate  a  message  of  touch- 


gave  it  a  second  thought.  As  of  last 
night  when  I  think  of  Giselle  I 
shall  see  Alicia  Alonso  in  the  part. 

Igor  Youskevitch  was  born  com- 
panion  for  this  Giselle-lithe,  gal- 
lant  and  a  mlracle  of  courtly 
grace.  Mary  Ellen  Moylan  danced 
in  much  the  same  vein — as  the 
queen  of  the  Willis.  The  entire 
Performance  seemed  keyed  to  the 
perfection  of  style  and  mood  set  by 
Miss  Alonso.  For  some  reason  the 
applause  didn't  begin  rolling  tili 
the  second  act  of  "Giselle."  Maybe 
it  was  the  heat. 

Still  Fascinating. 

Prom  the  romantic  sorrows  of 
"Giselle"  the  program  switched  to 
that  brutal  lightweight  bout  in  a 
Paris  garret  which  Jean  Babilee 
and  Nathalie  Phihppart  introduced 
to  US  last  season.  The  gifted  pair 
are  with  us  again.  "The  Young 
Man  and  Death"  is  still  the  height 
of  macabre  realism  in  ballet. 

I  found  it  just  as  fascinating  in 
its  malign  and  shattering  horror 
as  I  did  at  its  premiere — right  up 
to  the  ghastly  sight  of  the  suicide's 
body  dangling  in  mid-air  as  a 
final  Choreographie  effect.  The 
irony  of  Bach's  aspiring  music  was 
again  grotesquely  right. 

After  that  a  dash  of  light  enter- 
tainment  was  very  much  in  Order. 
Jerome  Robbins'  "Interplay" — a 
breezy  frolic  built  around  the  sheer 
joy  of  motion.  There,  as  in   the 


ing    beauty,    but    a    language    so  .cther  numbers,  Alexander  Smallens 
Ihoroughly    mastered,    she    never  was  the  ace  ballet  Conducton 


The   Theatre 


lulenspieger  Ballet  Isn  't 
iqualto  Music 

By  ROBERT  COLEMAN 

Ballet  Theatre  offered  another  **first''  last  evening  at 
the  Metropolitan  Opera  House :  Jean  Babilee's  **Till  Eulen- 
spiegel/' set  to  the  delightful  score  by  Richard  Strauss. 
Jt  is  a  prankish,  acrobatic  rough-house  that  doesn't  add 
up  to  very  much.  Anyway,  the  Strauss  music  is  a  joy  to 
hear,  even  though  the  new  work  fails  to  provide  the  eyes 
with  matching  rewards. 


Babilee    is    a    vivid,     dynamic 

dancer  with  an  interesting  style 

«nd  an    ingratiating    personality. 

We    much    prefer    him    in    "Le 

Jeune  Homme  et  La  Mort."  His 
engaging  talents  seem  wasted  on 
the  lackluster  "Till."  However,  it 
should  be  reported  that  many  of 
the  first-nighters  found  consider- 
able  in  it  at  which  to  laugh,  and 
they  were  most  generous  with 
Iheir  applause. 

"Swan  Lake,"  opening  item  of 
Ihe  lengthy  hill,  was  given  one 
of  the  finest  Performances  we 
have  Seen  in  several  Semesters 
by  Alicia    Alonzo  and  Igor  You 


with  the  grand  pas  de  deux  from 
"The  Nutcracker."  Miss  Moylan 
danced  beautifully,  and  looked 
stunning.  We  don't  think  the 
dance  stage  can  offer  a  lovelier 
ballerina.  Bruhn  achieved  excit- 
ing  elevation.  He  is  making  rapid 
progress,  becoming  a  most  im- 
portant  member  of  the  youthful 
troupe. 

We  thought  conductor  Joseph 
Levine's  beat  a  little  too  slow,  too 
deliberate.  in  passages  of  "Swan 
Lake"  and  the  pas  de  deux.  It 
appeared  to  handicap  Miss  Moy- 
lan slightly,  but  she  met  the  chal- 
lenge  with  skill  and  resource. 
Alexander  Smallens  was  in  the 
pit    for    "Till    Eulenspiegel"    and 


Ballet  Theatre   wisely,   we   be- 
lieve,  is  emphasizing  the  classics, 


^eyitch    Miss  Alonzo  was  at  her   the  concluding  number,  "Rodeo." 
best,    which    is    another    way    of       t^^i,^^  rT^i___x„_    ...__/..      ^^^• 
saying    "great."    Handsome    You- 
skevitch    proved     an     admirable 
partner,  and  was  first-rate  in  his 
variations. 

Rochelle  Bälzer,  Barbara  Lloyd, 
Dulce  Wohner  and  Jenny  Work- 
man,  as  the  Cygnets,  won  a  big 
band  with  their  precision  step- 
ping.  The  Cygnets,  when  capably 
jnterpreted,  usually  prove  show- 
stoppers.  A  salute  also  is  due 
Ihe  Corps  de  ballet,  which  has 
been  outstanding  this  season. 

Mary  Ellen  Moylan  and  Erik 
Bruhn     drew     robust     palm-pats 


•  •• 


'///////////// '/f//////^///////. 


The    Dance  ** 

0/  Frofices  Herrtdge 


/////////////////////////////. 


potency  but  Babilee  Is  still  a 
unique  experience  with  bis  prodi- 
gious  strength  and  emotional 
Charge.  ^  ^ 

The  program  ended  somewhat 
more  playfully  with  Jerome  Rob- 
bins'  jazzy  "Interplay."  It  was  as 
nicely  danced  as  usual,  but  got 
little  help  Xrom  the  orchestra 
under  Alexander  Smallens'  direc- 
tion. 

The  audience  was  large,  elite, 
and  a  trifle  subdued. 


Ballet  Theater  Opens  3-Week  Season 

Ballet  Theater,  opening  its  three-week  season  last  night 
at  the  Metropolitan,  overlaps  the  New  York  City  Ballet 's 
engagement  at  the  City  Center. 

With  our  two  best  ballet  groups  performing  at  the  same 
time,  comparisons  will  necessarily  be  made.    There  is  little 

doubt  that  Ballet  Theater  is  the 
more  polisRed  group.  It  has  a 
professional  air  about  it  which 
makes  the  other  group  look  like 
eager  students.  But  many  will 
find  the  young  exuberance  more 
stimulating.  Ballet  Theater  may 
have  the  finish,  but  there  is  more 
freshness  and  iife  at  the  City 
Center. 

The  Metropolitan  Performance 
]ast  nFght  was  flawless  in  detail, 
expertly  danced,  though  it  lacked 
^e  Inspiration  it  has  shown  in 
the  past. 

The  program,  well  chosen  for 
contrast,  opened  with  the  roman- 
tic  "Giselle"  — one  of  the  best 
pieces  in  the  repertory.  There  is 
no  finerTiselle  than  Alica  Alonso. 
She  is  ecstatic  as  the  young  peas- 
ant  girl  in  love,  equally  convinc- 
ing  in  the  mad  scene,  and  truly 
ethereal  as  Willi  compelled  to  Iure 
her  lover  to  death, 

Youskevitch  as  the  Count  is 
süperb  when  he  dances,  but  prob- 
ably  no  one  could  act  the  role 
without  seeming  a  bit  ridiculous. 

The  Chief  novelty  of  f  he  evening 
was  ''Le  Jeune  Komme  et  La 
Mort" — the  French  hit  introduced 
last  season  with  Jean  Babilee  and 
Nathalie  Philippart.  Jean  Coc- 
teau's  Strange  tale  is  of  the  young 
man  driven  to  hanging  himself 
by  death  In  the  form  of  a  woman 
who  ßpurns  his  wooing. 

It  is  more  pantomine  than  bal- 
let, lull  of  sudden  violence  and 
stage  props — eflfective  mainly  be- 
cause  of  the  Personalities  of  the 
dancers.  The  shock  treatment  of 
the   piece    has   löst    some   of   its 


Monsieur  Babilee  UnveilsHis 
Till  Eulenspiegel '  ut  Met 

By  ROBERT  SYLVESTER 

Jean  Babilee,  a  French  ballet  aancer  who  is  a  sort  of 
Marlon  Brando  in  a  leotard,  offered  another  of  his  breath- 
less  httle  novelties  at  the  Met,  last  night.  This  one  is  ''Till 
EulenspiegeV'  set  to  Richard  Strauss  music  from  the  tone 
^^ifTi     .    ^  ^^^^  "^"^^^  ^s  we  used  to  say  in  the  movies 

Babilee  is  a  muscular  little  crit  ^ ^  movies. 


ter  who  will  wear  an  orange  wig 
or  hang  himself  onstage  at  the 
drop  of  an   en- 


tre     Chat      and 
last     night,     as 
per   u  s  u  a  1,   he 
was  all  over  the 
lot.     His    ballet 
Starts     in     a 
hurry  and  loses 
no  time  getting 
f  rantic,  just  like 
one    of    t  h  o  s  e 
big    artistie 
numbers  at  Leu 
Walters'     Latin 
Quart  er.  The 
night    Club    In- 


Jean 
Babilee 


fluence  which  is  noticeable  in  most 
JBabilee  werk  is  obvious  here,  too. 
Ihere  are  double  cartwheels,  for 
instance,  and  also  that  rocking 
chair  trick  with  which  vaudeville 
comedy  acrobats  used  to  melt 
grandpa'stcelluloid  collar. 


^u   ^f  v^  ^^  *^®  ^^^^y  (»"cl  through 
with    it)    at    a    pace    suitable    to 
l^abilees  choreography,  he  is  Till 
the  Knaye,  Till  the  Impostor  and 
roguery  is  his  vocatioh.   It  says  so 
right  in  the  program.    He  turns  a 
young  girl  into  a  witch.  He  incites 
a  duei.    He  dresses  up  as  a  hunch- 
back    and    steals    the    pennies    of 
cripples.      Fate     someho^/    thinks 
hes    funny,    however,    and    he    is 
saved  from  the  ax  man  by  Sweet 
N^J^  who  '^Stretches  out  her  band 
and   brings   him   back  to  reality." 

Anyway,  It*s  Brief. 

Curtain.     And  just  in  time,  too. 

Monsieur    Babilee     often     givfs 

every  indication  that  he  is  doubt- 

less    a    topflight    dancer    and    will 

some   day   prove    it— whenever   he 

decides   it'll   be  amusing  to  prove 

lt.     Neil    is   danced  by  Ruth  Ann 

Koesun  m  two  brief  and  pointless 

appearances.    Nobody  eise  is  worth 

mentioning  unless  it  is  the  ax  man, 

who  for  some  reason  is  billed  as 

A  Hangman  and  holds  his  ax  as  if 

he  were  trying  to  paddle  a  canoe 

up  Niagara  Falls  in  reverse. 

.    Anyway,      "Till      Eulenspiegel" 

isn  t   long  enough   to   make  much 

difference  one  way  or  the  other. 

The  balance  of  last  night's  pro- 
gram  consisted  of  Alaicia  Alonso 

^'^^*r.  ¥^^y    ^"«n    Noylan    and 
Erik  Bruhn  in  "Pas  de  Deux"  and 

A^?ef  DeMille's  well-worn  but  still 
sprightly  "Rodeo." 


Music 


Happy  Ending  Spoils  Till  Eulenspiegel' 


By  LOUIS  BIANCOLLI. 

If  Jean  Babilee  proved  anythlng 
with  his  new  ballet.  "Till  Eulen- 
spiegel"  at  the  Metropolitan  last 
night,  it  was  that  he  still  is  a 
great  dancer,  and  we  are  very 
happy  to  have  him  with  us. 

What  it  proved  about  his  Chore- 
ographie abilitles  is  something  eise 
again.  These  who  expected  any- 
thing  approaching  the  impact  of 
"The  Young  Man  and  Death." 
were  in  for  a  disappointment  last 
night. 

For  the  sad  report  today  is  that 
"Till  Eulenspiegel"  is  second-rate 
stuff.  It  moves  fast  enough,  and 
it  is  bright  with  colors  and  cos- 
tumes,  but  it  is  all  dressed  up  with 
nowhere  to  go. 

Happy  Ending. 

And  why  Mr.  Babilee,  who  was 
such  a  brutal  reallst  in  "The 
Young  Man  and  Death,"  had  to 
tack  on  a  happy  ending  I'll  never 
know.    Watching  the  lovable  and 


law-breaking  scalawag  walk  away 
from  the  executioner  on  the  arm 
of  his  beloved  Neil  was  a  Jolting 
change  from  the  dangling  suicide 
of  the  earlier  ballet. 

I'm  afrald  Richard  Strauss* 
music  told  the  story  a  lot  better 
than  Mr.  Babilee  last  night — the 
rambling  tale  of  roguery  of  a  great 
scamp  of  legend,  who  outsmarts 
everybody  and  ends  by  outsmart- 
ing  himself. 

Mr.  Babilee  made  the  mistake  of 
turning  Strauss'  obvious  realism 
into  puppetry.  Both  in  Strauss' 
music  and  in  the  "Eulenspiegel" 
legends,  the  irrepressible  Till  pits 
his  mischlef  agalnst  organized 
Society.  That  is  the  secret  of  the 
fun,  a  rascally  fantasy  in  a  web 
of  reality. 

Just  Whimsey. 

I  waited  wearily  for  the  end, 
where  I  thought  Mr.  Babilee's  flair 
for  unvarnished  horror  would  pro- 
duce  some  playful  shivers  with  the 


headsman's  axe.  But  it  all  ended 
the  way  it  began — as  a  cute  but 
ineffectual  piece  of  whimsy. 

To  revert  from  Babilee  the 
choreographer  to  Babilee  the  dan- 
cer. What  there  was  of  bite  In 
the  ballet  was  in  the  way  he 
twirled  and  swirled  through  the 
cunning  deviltry  of  Eulenspiegel. 
Beside  the  dancing  mockery  of  his 
mute  laughter,  the  rest  was  the 
emptiest  shadow-play. 

I  sincerely  hope  Jean  Babilee 
isn't  a  one-ballet  choreographer. 
Certainly  as  dancers  in  last  night's 
novelty  he  deserved  a  better 
choreographer  than  Jean  Babilee. 


The  Ballet 


By.  WALTER  TERRY 


Handsome  and  Engaging 

A  merry  medieval  rogue,  famed 
!n  myth  and  through  the  arts,  was 
the  subject  of  the  ballet  which  was 
given  Its  American  prämiere  last 
cvening  at  the  Metropolitan  Opera 
House  by  Ballet  Theatre.  It  was, 
of  course,  the  awaited  "Till  Eulen- 
spiegel," choreographed  by  the 
company's  celebrated  French  star, 
Jean  Babilee,  and  featuring  Mr. 
Babilee  in  the  title  part. 

Possible  Choreographie  treat- 
ments  of  the  theme  are  numberless. 
Some  would  wish  a  theater  piece  to 
stress  the  social  implications  of 
the  character  with  respect  to  me- 
dieval mores;  others  might  desire 
Tiirs  inherent  brutality  to  be  ac- 
cented;  still  others  might  request 
ribaldry  or  period  color  or  bouncy 
humor.  Any,  all  and  still  others 
constitute  valid  approaches  to  a 
theatrical  treatment  of  Till.  Mr. 
Babilee  has  elected  to  touch  upon 
several  of  these  possibilities  and 
he  has  come  up  with  a  handsome 
and  engaging  ballet.  His  is  a  bal- 
letic  survey  of  Till,  his  character, 
his  pranks  and  his  era. 
•        •        • 

In  his  ballet,  Mr.  Babilee  has 
ßhown  US  Till  the  Knave,  Till  thfe 
Imposter,  Till  the  Clown  and, 
briefly,  Till  the  Near-Punished  and 
the  incidents  selected  to  teil  his 
tale  include  the  transforming  of  a 
lady  into  a  witch,  the  inciting  of  a 
duel,  stealing  from  pilgrims  and 
his  rescue  from  judgment  by  Neil, 
the  one  girl  he  loves.  The  scene 
is  a  marketplace,  splashed  brightly 
with  colors  we  have  come  to  asso- 
ciate  with  medieval  art  and  peopled 
with  those  who  are  rough  and 
ready,  those  who  are  savoring  the 
elegance  of  gentility,  those  who  are 
cruel,  those  who  are  forlorn. 

Against  this  background  and 
amidst  this  throng,  Till  Eulenspie- 
gel accomplishes  his  rogueries.  Mr. 


Babilee  has  kept  his  ballet  active 
but  uncluttered.  Pictorial  values 
are  many,  Choreographie  sequences 
are  logical  and  ^^amatie  and 
freshness  of  movement  invention 
gives  the  ballet  vitality,  wit  and 
point.  It  is  a  highly  refreshing 
dance  creation  and,  I  believe,  an 
important  addition  to  Ballet  The- 
atre's  expansive  repertory. 
•        •        • 

As  Till,  Mr.  Babilee  performed 
wonderfully,  showing  us  still  an- 
other,  and  unexpected,  facet  of 
his  dance  genius.  He  has  given 
US  the  somber,  violent  figure  in 
"Le  Jeune  Komme  et  la  Mort," 
the  lyrical  and  remote  Cupid  in 
"L'Amour  et  Son  Amour"  and  a 
virtuosic  "Bluebird."  Here  his  gift 
for  comedy  is  made  manifest,  for 
in  his  "Till  Eulenspiegel'V  he  re- 
veals  himself  as  a  süperb  humorist, 
using  gesture,  dance  and  acting 
to  create  the  bold  lines  of  carica- 
ture  and  the  penetrating  lines  of 
characterization. 

Fine  support  was  accorded  Mr. 
Babilee  by  Ruth  Ann  Koesun  as 
Neil,  by  Angela  Velez  as  the  wom- 
an  turned  into  a  witch,  by  Eric 
Braun  and  Barbara  Lloyd  sepa- 
rated  by  the  duel  and  by  mem- 
bers  of  the  ensemble.  The  rieh  and 
imaginative  costumes  were  by 
Helene  Pons  and  the  fine  decor 
not  credited  on  the  program  to 
any  one,  but  it  is  likely  that  both 
were  suggested  by  Thomas  Keogh's 
designs  for  the  Eui'opean  produc- 
tion  of  this  ballet.  The  lighting, 
unfortunately,  appeared  to  be 
without  plan  or  purpose  and  that 
was  a  pity,  for  effective  use  could 
have  been  made  of  it  in  establish- 
ing  mood  or  focusing  upon  shift- 
ing  Centers  of  action.  The  score 
by  Richard  Strauss  was  played  by 
Alexander  Smallens  and  the  or- 
chestra. 


22 


NEW     YORK     HE 


The  Ballet 

■  By  WALTER  TERRY  == 


Handsome  and  Engaging 

A  merry  medieval  rogue,  famed 
!n  myth  and  through  the  arts,  was 
the  subject  of  the  ballet  which  was 
given  its  American  premlere  last 
evening  at  the  Metropolitan  Opera 
House  by  Ballet  Theatre.  It  was, 
of  course,  the  awaited  "Till  Eulen- 
spiegel," choreographed  by  the 
company's  celebrated  French  star, 
Jean  Babilee,  and  featuring  Mr. 
Babilee  in  the  title  part. 

Possible  Choreographie  treat- 
ments  of  the  theme  are  numberless. 
Some  would  wish  a  theater  piece  to 
stress  the  social  implications  of 
the  character  with  respect  to  me- 
dieval mores;  others  might  desire 
Till's  inherent  brutality  to  be  ac- 
cented;  still  others  might  request 
ribaldry  or  period  color  or  bouncy 
humor.  Any,  all  and  still  others 
constitute  valid  approaches  to  a 
theatrical  treatment  of  Till.  Mr. 
Babilee  has  elected  to  touch  upon 
several  of  these  possibilities  and 
he  has  come  up  with  a  handsome 
and  engaging  ballet.  His  is  a  bal- 
letic  survey  of  Till,  his  character, 
his  pranks  and  his  era. 
t        •        • 

In  his  ballet,  Mr.  Babilee  has 
shown  US  Till  the  Knave,  Till  the 
Imposter,  Till  the  Clown  and, 
briefly,  Till  the  Near-Punishe^  and 
the  incidents  selected  to  teil  his 
tale  include  the  transforming  of  a 
lady  into  a  witch,  the  inciting  of  a 
duel.  stealing  from  pilgrims  and 
his  rescue  from  judgment  by  Neil, 
the  one  girl  he  loves.  The  scene 
is  a  marketplace,  splashed  brightly 
with  colors  we  have  come  to  asso- 
ciate  with  medieval  art  and  peopled 
with  those  who  are  rough  and 
ready,  those  who  are  savoring  the 
'clegance  of  gentiUty,  those  who  are 
cruel,  those  who  are  forlorn. 

Against  this  background  and 
.amidst  this  throng,  Till  Eulenspie- 
gel accomplishes  his  rogueries.  Mr. 


Babilee  has  kept  his  ballet  active 
but  uncluttered.  Pictorial  values 
are  many,  Choreographie  sequences 
are  logical  and  dramatie  and 
freshness  of  movement  invention 
gives  the  ballet  vitality,  wit  and 
point.  It  1$  a  highly  refreshing 
danee  creation  and,  I  believe,  an 
important  addition  to  Ballet  The- 
atre's  expansive  repertory.  « 
•        •        # 

As  Till,  Mr.  Babilee  performed 
wonderfully,  showing  us  still  an- 
other,  and  unexpected,  faeet  of 
his  dance  genius.  He  has  given 
US  the  somber,  violent  figure  in 
"Le  Jeune  Komme  et  la  Mort," 
the  lyrieal  and  remote  Cupid  in 
"L'Amour  et  Son  Amour"  and  a 
virtuosie  "Bluebird."  Here  his  gift 
for  comedy  is  made  manifest,  for 
in  his  "Till  Eulenspiegel"  he  re- 
veals  himself  as  a  süperb  humorist, 
using  gesture,  danee  and  acting 
to  create  the  bold  lines  of  c^rica- 
ture  and  the  penetrating  lines  of 
characterization. 

Fine  support  was  aeeorded  Mr. 
Babilee  by  Ruth  Ann  Koesun  as 
Neil,  by  Angela  Velez  as  the  wom- 
an  turned  into  a  witch,  by  Eric 
Braun  and  Barbara  Lloyd  sepa- 
rated  by  the  duel  and  by  mem- 
bers  of  the  ensemble.  The  rieh  and 
imaginative  costumes  were  by 
Helene  Pons  and  the  fine  decor 
not  credited  on  the  program  to 
any  one,  but  it  is  likely  that  both 
were  suggested  by  Thomas  Keogh's 
designs  for  the  European  produc- 
tion  of  this  ballet.  The  lighting, 
unfortunately,  appeared  to  be 
without  plan  or  purpose  and  that 
was  a  pity,  for  effective  use  could 
have  been  made  of  it  in  establish- 
ing  mood  or  focusing  upon  shift- 
ing  Centers  of  action.  The  score 
by  Richard  Strauss  was  played  by 
Alexander  Smallens  and  the  or- 
chestra. 


Jean  Babilee 


Whose  ballet,  "Til  Eulenspic- 
gel,"  was  given  its  American 
premiere  last  evening  by  the 
Ballet  Theatre 


Muslc 

HorrorBallet 

Gives  First 
Night  Thrill 

By  LOUIS   BIANCOLLI. 

A  daring  new  Prench  ballet — 
•The  Young  Man  and  Death"— 
featuring  a  reallstic  suicide  by 
hanging,  brought  a  rousing  Ova- 
tion from  a  houseful  of  fashion- 
able  New  Yorkers  at  the  Metro- 
politan  last  night. 

The  ballet,  a  novelty  by  Jean 
'octcat:,  •  in  which  two  noted 
PÄrislan  dancers  —  Jean  Babilee 
and  Nathane  Philippart  —  made 
their  American  debut,  was  part  of 
Ballet  Theater's  exciting  spring 
opening. 

Swings  on  a  Noose. 

Time  was  when  Metropolitan 
Patrons  turned  their  righteous 
backs  on  Salome's  tete-a-tete  with 
a  severed  human  head.  Last 
night  they  applauded  wildly  when 
a  spotüght  caught  Jean  Babilee's 
muscular  young  body  dangling 
from  a  noose. 

This  was  art,  of  course,  and 
admittedly  art  of  a  bold  and 
thorough  klnd.  But  I  must  con- 
fess  it  gave  me  a  turn  watch- 
Ing  the  young  Frenchman's  body 
quivering  in  the^  last  spasms  of 
Strangulation.  I  was  ready  to 
Jump  on  the  stage  and  cut  him 
free. 

The  whole  ballet  was  a  minia- 
ture  Grand  Guignol,  gripping  you 
with  a  kind  of  brutal  fascina- 
tion.  There  was  the  sickening 
certainty  of  the  suicide  as  the 
spumed  young  man  squirmed  and 
groveled  for  $  second  chance. 

And  Mlle.  Philippart  was  qulie 
the  sadistlc  slut  as  she  kicked 
and  slapped  and  cuffed  her  lover 
all  over  the  dlngy  attlc.  It  was 
quite  an  edifslng  spectacle — a  sort 
of  Apache  Dance  with  a  neurosis. 

Everything  was  directed  toward 
building  up  a  tense  mood  of  hor- 
ror.  The  scaffold-looking  rafter; 
the  weird  play  of  Ughts;  the  over- 
tumed  chairs  and  tables;  the  tor- 
tured  writhing  of  the  man  re- 
buffed. 

AU  over  It  was  the  Choreo- 
graphie band  of  Roland  Petit,  the 
young  genius  who  turned  "Car- 
men" Into  a  fierce,  wordless 
drama  of  death  and  sex.  This  was 
ballet  no  longer  in  Its  doll-shop 
Infancy,  but  grown-up  ballet,  with 
all  the  nasty  literalness  of  life. 

'Swan  Lake'  for  Contrast. 

The  final  stroke  of  genius  was 
the  music.  Swlrllng  around  the 
ballet.  In  growlng  masses  of  tone, 
like  a  monstrous  Irony,  was  the 
C  Minor  Passacaglla  of  Bach.  As 
everybody  knov^s,  Papa  Johann 
had  other  thlngs  on  his  mind. 

There  were  three  more  num- 
bers  on  last  night's  bill — "Swan 
Laike  (with  Mary  Ellen  Moylan 
and  Igor  Youskevltch  In  royal 
form).  "Rodeo"  and  "Concerto," 
a  brand-new  package  of  classicism 
wrapped  up  in  Chopin's  F  Minor 
concerto»  brilllantly  conducted  by 
Alexander  Smallens. 

All  very  entertaining,  but  the 
crowd's  mood  was  for  "The  Young 
Man  and  Death" — for  the  stränge 
beauty  lurking  In  ghastly  things. 
and  the  spell  of  a  final  agony 
etched  In  the  lurld  make-believe 
of  art.  * 

My  hat  Is  off  to  Jean  Babilee 
for  flirting  so  artistically  with 
death  and  remaining  the  dancer 
to  the  end.  But  it  certainly  was 
a  jolt  going  from  "Swan  Lake" 
to  suicide  last  night.  Ballet  has 
finally  gone  into  the  snake  pit. 


French  Ballet  Team 
Back  With  TAmour 

Two  young  French  dancers  who 
proved  a  Sensation  in  "Le  Jeune 
Homme  et  le  Mort"  were  back  in 
another  novelty  at  the  Metropoli- 
tan last  night,  this  tlme  on  the 
brighter  side  of  things — "L'Amour 
et  Son  Amour." 

Jean  Babilee  was  his  own 
choreographer  this  time,  and  his 
partner  was  again  the  tough  little 
Paviova  of  the  Paris  boulevards, 
Nathalie  Philippart.  Both  did  some 
beautiful  dancing  in  the  skit, 
whlch  was  charmlng  and  smooth 
and,  one  supposes,  Greek,  but  not 
very  exciting. 

The  symbolic  sets,  and  costumes, 
mostly  in  pastels,  were  the  poetle 
werk  of  Jean  Cocteau,  and  the 
music  came  from  Cesar  Franck's 
"Psyche."  Jean  Babilee,  who  was 
a  very  convlncing  suicide  in  "Le 
Jeune  Homme  et  le  Mort,'*  had 
now  graduated  to  an  equally  con- 
vlncing creature  with  wings — 
Cupid. 


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Amazing  Babilee's 
Own  Ballet  in  Debüt 

By  FRANCES  HERRIDGE 

The  French  ballet  star  Jean 
Babilee  continues  to  astound  us. 

First  by  his  electric  personality 

and  his  incredible  technique— ir- 

repressible,  dynamic,  strongly  in- 

dividual,   athletic  —  in   both   "Le 

Jeune  Homme  et  la  Mort"  and 

the  "Blue  Bird"  pas  de  deux.  Now, 

by  his  own  choreography  which 

is  the  exact  opposite  of  what  he 

has  shown  us  so  far. 

*'L'Amour  et  Son  Amour/' 
which  Ballet  Theater  presented 
last  night  at  the  Metropolitan,  is 
softly  romantic,  pale  and  lyrical. 
It  is  a  dreamy-eyed  piece  about 
Cupid  and  his  love,  two  early 
rivals  and  a  bevy  of  zephyrs. 

For  all  its  foolishness,  it  has 
many  beautiful  moments  and  a 
hypnotic,  pulsating  flow. 

"**  Babilee's  wife,  Nathalie  Philip- 
part, has  the  grieater  share  of  the 
dancing,  and  she  does  it  with  a 
rhythmic  aliveness  that  is  near- 
er  free  movement  than  ballet. 

Babilee,  as  Cupid,  has  a  brief 
solo  when  he  can  let  off  charac- 
teristic  steam — the  only  exuber- 
ance  in  the  ballet.  But  then  he 
quiets  down  to  a  love  duet  with 
Philippart  which  is  by  far  the 
best  part  of  the  work. 

Jean   Cocteau's    decor  is   cold 
but   nice    to    look    at — whith    is 
more  than  can  be  said  for  Babi- 
lee's winged  costume. 

The  Cesar  Franck  music 
("Psyche"  suite),  although  dif- 
ficult  to  dance  to,  suits  perfect- 
ly  the  limpid  romanticism  of  the 
ballet. 


BABILEE 


French  Stars  Open 
Met's  Ballet  Theater 

By  FRANCES  HERRIDGE 

Ballet  Theater  began  its  three- 
week  engagemeht  at  the  Metro- 
politan last  night  with  a  record 
n  u  m  b  e  r  of  no\elties  and  pre- 
xnieres  on  its  schedule. 

The  big  event  last  night,  for 
which  New  York'sdance  world  has 
waited  expectantV  for  months, 
was  the  Americar  debut  of  Jean 
Babilee— acclaimed  France's  best 

dancer— and  his 
wife,  Nathalie 
Philippart,  in  the 
ballet  that  had 
sensational  suc- 
cess  in  Europe. 

The  27.year- 
old  Babilee  is  in- 
deed  a  dancer 
worth  celebrat- 
ing.  He  has  as- 
tonishing  tech- 
nique, dynamic 
Impulse  in  his 
movement,  and 
tivifv  vr^  ««  .emotional  sensi- 
attack.^  ''  "^"'^^  ^^^^^^ss  in  his 

tJlnt^'^^  ""^"^^  ^^'  ^"  individual 
But    the    ballet,     "Le     Jeune 
Homme  et  La  Mort,"  is  some 
thing  eise  again.  It   has   a   snr 

With"'  «^^^y  i>y  Jean 'c^cteaii 
Pe  ?f  '^"'I^^'^S'^P^y  by  Roland 
Efj.^J?.Jh^  Powerful  music  of 

Tf  r^Z^'-'^^^^^'^  ^"  C  minor." 

nanfirs  hfmself  because  his  ^i -i 
spurns  him,  only  to  find  that  she 

tops        ""  ^"^^^   '^'^'^^  ^^^  ''«o^ 
This  of  course  is  meant  \o  be 

ii^^.u^^'k  "^^™^^^    realization    in  i 
death.  But  the  ballet  never  pro- 
jects^  more  than  surface  detail. 
ir.!.J^-i^^^  °^  violent  movement. 

lails  and  stagy  effects.  But  it 
signifies  very  little,  and  moves 
you  eyen  less. 

It  is  the  immature  idea  of 
tragedy  bombastic  and  pieten- 
Ä   u^^y^? .  simplicity     and 

which  by  comparison  makes  the 

insi^nincant. 

The  other  premiore  of  the 
evening  was  William  Dollar's 
Concerto  -a  revisod  Version  of 
his  Con.stantia"tothedeliRhtful 
r^u  ^'"n  ^^^"^  Concerto  No.  2." 
The  ballet  is  pleasantly  springlikc. 

Komantjc  in  mood,  classic  in 
technique,  it  jhows  very  stronglv 
the  mfluence  of  Balanchine's  pure 
ciance  pieces— particularly  in  the 
iovely  second  movement. 

Ahcia  Alonso  dances  it  to  per- 
fection  with  a  soft  lyricism  that 
only  looks  fragile.  Norma  Vance 
and  Igor  Youskevitch  added  fine 
Support. 

The  music  was  nicely  played 
under  Alexander  Smallens'  direc- 
tion. 

T,,^"  ^li?  opening  ''Swan  Lake," 
Mary  Ellen  Moylan  gave  an  as- 
sured  Performance-  her  first  in 
C^"^  York-as  the  Swan  Queen. 
'^^a  Youskevitch  as  usual  was 
^-^f  SS  as  the  Prince. 


BALLET  BY  BABILEE 
OFFERED  AT  'MET 


Choreographer  Dances  Cupid 

to  Philippart's  Tsyche'  in  His 

'L'Amour  et  Son  Amour' 


Babilee  and  Philippart  Bow  Here 
At  Ballet  Theatre  Opening  Night 

By  JOHN  MARTIN 


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The  long-awaited  American  de- 
but  of  Jean  Babilie  and,  Nathalie 
Fhilippart  finally  took  place  last 
night  in  the  opening  Performance 
of  the  Ballet  Theatre's  spring  sea- 
son  at  the  Metropolitan  Opera 
House.  Let  it  be  said  straightaway 
that  the  rumors  which  have  float- 
ed  overseas  of  the  prowess  of  this 
celebrated  young  dancing  pair 
from  Paris  have  been  well  iounded, 
for  they  are  definitely  excitmg, 

Logically  enough,  it  was  in  their 
most  famous  piece,  "Le  Jeune 
Komme  et  la  Mort,"  in  which  we 
saw  them  ,last  night.  A  creation 
of  Jean  Cocteau,  with  "the  Choreo- 
graphie Cooperation"  of  Roland 
Petit,  it  is  not  really  a  ballet  at 
all,  but  rather  a  kind  of  Grand 
Guignol  pantomime  with  an  occa- 
sional  burst  of  acrobatics  or  of 
ballet  technique  as  punctuation. 
Of  choreography  as  such  there  is 
none.  And  musically,  the  use  of 
Respighi's  orchestration  of  the 
Bach  C  Minor  Passacaglia  is  total- 
ly  indefensible. 

The  piece  strives  constantly  for 
effects,  but  disarmingly  enough,  it 
achieves  them.  Death  masquerad- 
ing  as  a  young  girl  traps  her  lover 
into  hanging  himself  and  then 
leads  him  away  across  the  roof- 
tops.  That  is  all  there  is  to  it.  If 
it  were  not  played  so  superbly,  it 
might  be  foolish,  but  Mr.  Babilee 
and  Miss  Philippart  bring  to  it 
such  force  of  temperament  and 
such  wondcrful  dramatic  rapport 
that  it  holds  the  attention  unflag- 
gingly. 

Mr.  Babilee  performs  some  pro- 
digious  technical  feats  which  make 
one  eager  to  see  him  dance  a  role 
with  sustained  choreography — but 
that  perhaps  is  for  later  in  the  sea- 
son.  If  his  dancing  matches  his 
technical  powers  as  indicated  in 
this  first  sample,  he  will  prove  to 
be  a  brilliant  dancer  indeed.  He  is 
assuredly  a  vivid  theatre  personal- 
ity,  and  so,  for  that  matter,  is  Miss 
Philippart. 

The  original  setting  by  George 
Wakhevitch  could  not  be  employed, 
for  .some  reasons  having  to  do  with 
contracts  and  the  like.  but  the  un- 
credited  set  that  was  used  on  this 
occasion  was  highly  effective.  All 
in  all,  it  is  a  brilliant  little  piece; 
if  only  the  Bach — but  it  is  too  late 
to  do  anything  about  that. 

The  evening  opened  with  "Swan 
Lake."  with  the  lovely  Mary  Ellen 
Moylan   and   Igor   Youskevitch   in 


the  Chief  roles.  It  was  one  of  the 
fastest  and  one  of  the  slowest 
"Swan  Lakes"  on  record,  whether 
it  was  the  dancers  or  musical  di- 
rector  Alexander  Smallens  who 
wanted  it  that  way. 

This  was  no  handicap  to  Mr. 
Youskevitch,  whose  athleticism 
made  it  possible  for  him  to  take 
his  Variation  as  if  he  were  going 
out  for  the  Olympic  Games,  but  it 
was  of  no  great  assistance  to  Miss 
Moylan.  She  is  a  very  fine  dancer, 
however,  and  her  Performance  had 
many  brilliances  and  beauties  to 
recommend  it.  It  is  not  yet  dra- 
matically  warm  or  tender,  as  it 
will  ultimately  be,  but  it  has  ele- 
gance  and  cleanness  of  line  and  a 
kind  of  vibrant  charm. 

William  Dollar's  "Concerto," 
which  he  composed  first  for  the 
American  Ballet  and  later  revised 
under  the  title  of  "Constantia"  for 
the  Marquis  de  Cuevas'  Company, 
had  its  third  incarnation  on  this 
occajsion,  with  its  original  title  re- 
stored.  It  is  set  to  Chopin's  F  Mi- 
nor Piano  Concerto,  and  under- 
takes  no  program  except  that  of 
visualizing  the  music. 

What  changes  have  been  made 
in  it  to  adapt  it  for  the  use  of 
Alicia  Alonso,  Norma  Vance  and 
Mr.  Youskevitch  are  not  perhaps 
important  to  its  structure,  but 
they  cannot  be  said  to  have 
strengthened  it  particularly.  As 
"Constantia,"  indeed.  it  seemed 
more  consistently  interesting,  less 
fragmentary  and  certainly  not  so 
long.  There  is  a  wealth  of  first- 
rate invention  in  it  and  some  ex- 
tremely  ingenious  lifts,  and  the 
second  movement  has  Choreo- 
graphie continuity  and  substance. 

Its  Performance  last  night  was 
in  every  way  adequate,  but  in  no 
degree  outstanding,  which  may  ac- 
count  in  some  measure  for  the  fact 
that  it  seemed  a  less  interesting 
work  than  one  remembered  it  as 
being.  Perhaps  the  new  candy-box 
decor  and  costumes  of  Robert 
Davison  were  less  than  helpful. 
too,  emphasizing  the  wrong  aspect 
of  the  Chopin  music, 

The  final  ballet  of  the  evening 
was  Agnes  de  Mille's  "Rodeo," 
with  Jenny  Workman  in  the  cen- 
tral role  for  the  first  time  here, 
and  John  Kriza  and  Robert  Pagent 
as  the  cowhands.  The  lateness  of 
the  hour  makes  it  necessary  to 
defer  comment  until  it  is  given 
again. 


G 
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Gi 


By  JOHN  MARTIN 

By  way  of  opening  its  second 
week  at  the  Metropolitan  Opera 
House  last  night  the  Ballet  Thea- 
tre elected  to  present  the  second 
ballet  in  the  repertoire  of  its  guest 
artists,  Jean  Babilee  and  Nathalie 
Philippart.  It  is  "L'Amour  et  Son 
Amour,"  set  to  Cesar  Franck's 
*Tsyche,"  with  d^cor  and  costumes 
by  Jean  Cocteau,  and  what  is  per- 
haps more  important,  with  chore- 
ography by  Mr.  Babilee. 

That  it  is  a  good  ballet  would  be 
difficult  to  say,  yet  that  it  is  ab- 
sorbing  to  watch  would  be  even 
more  difficult  to  deny.  It  is  in 
every  way  at  the  opposite  extreme 
in  style  and  quality  from  ''Le 
Jeune  Homme  et  la  Mort."  Where 
"l^e  Jeunj  Homme"  is  violent, 
melodrariiatic,  füll  of  theatrical 
effectn  and  stunning  acrobatics, 
**L' Amour"  is  lyric,  serene,  idyllic 
in  mood,  almost  entirely  legato  in 
movement. 

In  that  it  provldes  such  contrast 
for  the  dancers,  it  is  certainly 
worth  including  in  the  repertoire, 
lest  perhaps  we  might  be  misled 
into  thinking  of  them  as  a  kind  of 
artistic  Apache  team.  What  is 
extraordinary,  however,  is  that  in 
these  calm  and  classic  measures 
they  remain  thoroughly  vivid  and 
exciting  artists.  The  ability  to 
stand  still,  or  virtually  so,  and  still 
command  the  attention,  is  not  the 
common  possession  of  all  dancers. 

Dancing  of  Team  Praised 

Miss  Philippart  docs  wonders 
with  the  role  of  Psyche,  through 
long  phrases  of  sustained  lyricism 
with  little  change  of  pace  and  even 
less  design  in  space.  She  has  an 
admirably  subtle  dynamic  ränge, 
and  suffuses  every  gesture  with  a 
dramatic  verity  that  gives  it  a 
curiously  effortless  power. 

Mr.  Babilee  dances  Cupid  with 
Ruperb  technical  authority,  and  he 
and  Miss  Philippart  play  in  com- 
plete  rapport  at  all  times.  Choreo- 
graphically  he  has  given  himself 
some  excellent  material,  just  off 
the  orthodox  classical  style,  yet 
still  well  within  its  sphere  of  in- 
fluence.  In  the  use  of  a  small  Com- 
pany he  has  attempted  little  in 
the  way  of  ensemble  invention,  but 
he  has  used  the  groups  with  a 
natural  theatrical  instinct.  As  a 
first  Choreographie  effort,  it  is 
creditable  if  not  by  any  means  bril- 
liant. At  least  he  has  respected 
the  music,  sensed  the  powerS  of 
himself  and  Miss  Philippart  and 
resorted  to  no  trickery  or  subter- 
fuge. 

Mr.  Cocteau's  settings  are  at- 
tractive,  and  in  the  case  of  the 
second  one — a  simple  and  spacious 
panorama  of  the  heavens — emi- 
nently  evocative.  He  has  dressed 
Miss  Philippart  unattractively  and 
irrelevantly,  but  has  done  well 
with  the  other  costumes. 

It  is  a  work  which  is  not  likely 
to  be  overwhelmingly  populär,  nor 
does  it  deserve  to  be,  but  it  has  its 
own    values   and   was  well   worth 


rs 

ited 
Lse," 


Ballet  Theatre  Debüt  Terrific 


By  MILES  KASTENDIECK 

Bursting  out  all  over  with  novel- 
ties,  Ballet  Theatre  came  back  to 
the  Metropolitan  Opera  House  last 
night  primed  to  inject  new  life 
into  the  dance  world. 

It  immediately  produced  a 
sensational  item  in  "Le  Jeune 
Homme  et  la  Mort"  to  set  the 
town  talking  and  another  pre- 
miere  "concerto''  to  calm  it 
down  aRain. 

"The  Young  Man  and  Death" 
is  sheer  theatrifcal  stuff .  Concelved 
by  Jean  Cocteau  wlth  the  Choreo- 
graphie Cooperation  of  Roland 
Petit,  it  depicts  a  rendezvous  with 
death  by  hanging  and  all  in  füll 
View  of  the  audience. 

This  in  itself  migfht  bemaca- 
bre,  its  accentuation  through  an 
electrifying  Performance  by 
Jean  Babilee  wnd  Nathalie  Phi- 
lippert,  however,  literally  packs 
a  terrific  wallop.  A  breathless 
and  stunned  audience  responded 
with  cheers  and  rounds  of  ap' 
plause. 

Making  their  U.  S.  debut,  these 
very  French  dancers  really  created 
the   ballet.    Their  Apache    tech- 


nique,  füll  of  fiery  intensity  and 
quick  movement,  quite  glazes  over 
an  esthetically  unbalanced  and 
contradictory  work. 

The  use  of  Bach's  monumen- 
tal   "Passacaglia   in    C    Minor" 
need    not    disturb   purists    too 
much  since  it  is  played  in  Res- 
pighi's    orchestral    travesty    on 
it.  Nevertheless  the  form  of  the 
work     poses   Problems    which 
bring  Choreographie  absurdities. 
Clever  touches  and  thin  stret* 
ches  vie  for  prominence. 
These  matters  will  hardly  dim 
the  dynamic  thrust  o{  vividdan- 
cing.  Both  dancers  haVe  an  excel- 
lent  sense  of  timing  as  well  as  of 
effectiveness.    Their    passion    for 
Performance  will  consume  audi- 
ences.  Their  debut  was  a  Sensa- 
tion. 

William  Dollar*«  attempt  to 
revamp  an  early  ballet  bullt  on 
Chopin's  F  Minor  Piafno  Con- 
certo  has  produced  an  airy 
nothingness.  Except  for  a  few 
athletic  inspirations  his  choreog- 
raphy  appears  rudimentary, 
the  pastel  decor  by  Robert  Davi- 
son  simply  heightens  its  quaint- 


New  York  Journal-American 
***      Tues.,  April  10, 1951— 15 


ness.  It  emerges  a  pretty-pretty 
affair. 

*'Concerto"  at  least  performed 
the  Service  of  letting  Alicia  Alonso, 
Norma  Vance,  and  Igor  Yousk«« 
vitch  romp  lyrically  when  the  op- 
portunity  offered.  Miss  Alonso 
danced  much  better  than  on  her 
return  last  January.  Miss  Vance 
almost  stole  the  show 

The   first   electrkcal    moment 
in  the  opening  **Swan  Lake'*  was 
Youskevitch's  solo.  His  consum- 
mate  mastery  brought  down  the 
house.  Otherwise  the  work  pur- 
sued   a   spotty   course. 
Mary  Ellen  Moylan  has  yet  to 
identify  herseif  with  the  role  of 
the  Swan  Queen;  at  the  moment 
she  has  simply  learned  the  chore- 
ography  and  dances  competently, 
Sparked  by  John  Kriza  and 
Jenny  Workman,  the  Company 
went  appropriately  native  in  the 
frnal    ballet    "Rodeo/*    familiär 
enough  to  be  called  a  modern 
clasisc  though  quite  new  to  this 
Company.    The   entire    program 
was    conducted    by   Alexander 
Smallens. 


''^  j 


MBBiMlIMIÜiHJ 


The    Dance  ** 

By  Frances  Herridge 


/////////////////////////////^ 


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Till  EulenspiegeK  Bows  at  BdSet 

Ballet  Theater  at  the  Metropolitan  Opera  House  last 
night  gave  New  York  its  first  view  of  Jean  Babilee's  *Till 
Eulenspiegel,"  set  to  the  Richard  Strauss  tone  poem. 

It  is  based  looseiy  on  the  medieval  Flemish  legend  of 
the  merry  rogue  who  played  practical  jokes  on  society  until 
it  condemned  him  to  death,  only  to  find  his  comic  spirit 
immortal. 


Nijinsky  did  one  short-lived 
Version  of  it  in  1916.  And  now 
Babilee  has  done  a  completely 
different  one  of  his  own,  with 
himself  as  Till. 

The  character  of  Till  is   ideal 

for  his  individual  style,  his  vast 

exuberance   and    boyishness.   He 

dances   it  with  verve  and  Infec- 

lious  humor.  But  the  work  is  dis- 

appointingly  superficial.  The  tale 

has  lost  its   universal  overtones 

and  becomes  instead  a  series  of 
pranks,  sometimes  over  -  cute, 
ßometimes  slapstick. 

Till  tums  a  girl  into  a  witch 
because  she  spurns  his  flirtation. 
He  duels  with  the  lover  of  a  lady 
who  r^fuses   to   be   charmed  by 

^-"n^hback  to  colle^  peoftfesl  ^  . 
h,iT!?u^^  ar^^^ROi  funny  episodes 
^i  theyda  have  a  certain  bounce 
deS^Tdue  in  part  to  the  clever 
^kJThe    Stetion,   however,    isj 


more   pantomime  and  acrobatics 
than  dance. 

TiH's  true  love  Neil,  played  by 
Ruth  Ann  Koesun,  has  little  tc 
do  except  pas  de  bourrees  across 
stage.  Angela  Velez  and  Eric 
Braun,  as  lady  and  gentleman 
have  a  <luet  made  up  mainly  ol 
courtly  bows. 

Babilee,  who  is  four-fifths  of 
the  ballet,  obviously  has  great 
talent  for  comedy  and  mime.  Bul 
he  needs  a  better  choreographei 
than  he  is  himself  to  make  thf 
most  of  it. 

The  music,  under  Alexande. 
Smallens'  direction,  sounded  bet 
ter  than  usual. 


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BALLET  THEÄTRE 
RETÜRNS  TO  'MET' 

'Giselle'  and  Interplay'  Among 

Numbers  on  Opening  Bill — 

Alicia  Alonso  Is  Seen 


By  JOHN  MARTIN 

For  a  few  days  now  we  shall 
be  having  two  ballet  companies 
in  town,  for  last  night  the  Ballet 
Theatre  returned  to  the  Metropol- 
itan Opera  House  to  open  its  only 
New  York  engagement  of  the 
season,  while  the  New  York  City 

Ballet  is  still  dancing  up  at  the 
City  Center. 

There  were  no  novelties  on  the 
opening  program.  "Giselle"  rang 
up  the  curtain,  Jerome  Robbins' 
"Interplay"  rang  it  down,  and  in 
between  Jean  Babil6e  and  Na- 
thalic  Philippart  repeated  their 
great  success  of  last  season,  ''Le 
Jeune  Homme  et  la  Mort."  As 
long  as  these  two  exciting  young 
artists  from  France  aie  around, 
there  is  little  need,  perhaps,  of 
novelties,  for  they  have  style, 
vigor  and  tremendous  theatrical 
authority. 

"Le  Jeune  Homme"  in  no  great 
shakes  as  a  ballet,  but  it  is  a 
stunning  theatre  piece.  The  Bach 
Passacaglia  in  C  Minor  seems  no 
less  inappropriate  as  a  musical 
setting  than  it  did  at  first  ac- 
quaintance,  and  certainly  the  pres- 
ent  scenery  does  not  compare 
with  the  French  original.  Never- 
theless,  Mr.  Babil^e  dances  with 
that  unique  animal  resilency  of 
his,  putting  passion  behind  his 
prodigious  technique,  and  Miss 
Philippart  meets  him  with  a  sting- 
ing  dramatic  power,  and  the 
sparks  fly  in  a  truly  wonderful 
Performance. 

"Giselle"  provides  Alicia  Alonso 
with  her  finest  role,  and  if  she  has 
given  more  glowing  evocations  of 
it  on  other  occasions,  the  responsi- 
bility  was  not  all  her  own.  It  was, 
indeed,  a  singularly  spiritless  and 
lacklustre  production  of  the  old 
work  that  surrounded  her,  and  not 
until  the  second  act  were  there  any 
moments  to  give  it  life.  Then  Mary 
Ellen  Moylan  provided  a  decided 
lift  with  a  lovely  Performance  of 
Myrtha,  and  Miss  Alonso  gave  us 
some  superb  phrases  in  the  long 
pas  de  deux  that  set  the  audience 
to  cheering. 

Igor  Youskevltch  danced  with 
is  customary  athleticism,  and 
overplayed  the  role  of  Albrecht 
more  than  a  little.  Nobody,  unfor- 
tunately,  had  much  to  contribute 
o  the  dramatic  or  the  stylistic 
sides  of  things,  and  "Giselle"  is  at 
least  as  much  drama  and  style  as 
it  is  dance.  The  first  act  was 
model  of  rhythmic  imprecision, 
nd  for  this  the  lion's  share  of  the 
blame  must  fall  upon  Alexander 
Smallens  and  his  orchestra. 

"Interplay,"  which  did  not  come 
on  until  after  11  o'clock,  had  John  oj 
Kriza,  Eric  Braun  and  Paula  Lloyd  ti 
scheduled  for  the  solo  roles. 

The  audience  was  large,  dressy 
and  cordial,  and  there  were,  of 
course,  many  flowers  for  the 
dancers.  h 


For  the  Girls 

In  the  eleven  years  since  its  founding. 
Ballet  Theatre  has  concentrated  heavily 
on  its  so-called  American  and  English 
"wings"  of  activity-featuring  hits  by 
Americans  like  Agnes  de  Mille  and 
Jerome  Robbins  and  Britishers  like  Anton 
Dolin  and  Antony  Tudor.  For  its  spring 
season  in  New  York  which  opened  last 
week  at  the  Metropolitan  Opera  House, 
however,  Ballet  Theatre  introduced 
what  might  be  called  a  new  French 
"wing"  with  an  immediate  and  resound- 
ing  success. 

The  reason  for  all  the  excitement 
caused  on  opening  night  was  a  27-year- 
old  French  dancer  named  Jean  Babilee, 
who  made  bis  American  debut  in  a  work 
titled  "Le  Jeune  Homme  et  la  Mort" 
("The  Young  Man  and  Death").  Here 
was  Something  for  the  Girls.  Dressed  in  a 
beaten-up  pair  of  Overalls  which  hung  by 
one  strap,  Babilee  looked  like  a  pint- 
sized  edition  of  Li'l  Abner.  Furthermore, 
he  moved  with  the  grace  of  an  animal 
combined  with  the  technique  of  a 
trained  dancer. 

Principal:  "Le  Jeune  Homme  et  la 
Mort"  was  conceived  by  the  French  poet 
and  playwright  Jean  Cocteau,  with  a 
Choreographie    assist   from    the    brilliant 


THE  DAIVCE 


young  French  dancer-choreographer 
Roland  Petit.  It  concerns  a  young  man 
who  waits  for  bis  girl  in  a  Paris  garret. 
She  comes,  but  does  not  love  him,  and 
leaves  him.  In  desperation,  he  hangs  him- 
self.  The  girl,  now  recognized  as  Death, 
returns  and  leads  him  away  over  the 
rooftops.  It  is  a  mood  piece  and  hardly 
calculated  to  become  a  ballet  classic, 
but  as  a  vehicle  for  Babilee,  "Le  Jeune 
Homme  et  la  Mort"  is  a  süperb  tour  de 
force.  Walter  Terry  of  The  New  York 
Herald  Tribüne  called  it  "the  dance 
Sensation   of  the  season." 

Partner:  Babilee's  effective  partner 
in  "Le  Jeune  Homme  et  la  Mort"  is  bis 
French  wife,  Nathalie  Philippart,  whom 
he  met  in  1946,  while  rehearsing  for  the 
ballet's  premiere  which  was  presented  in 
Paris  by  Les  Ballets  des  Champs-Elysees. 
Since  then,  the  pair  has  become  so  iden- 
tified  with  the  work  that  Cocteau  pre- 
sented it  to  Babilee,  and  no  one  eise  is 
allowed  to  dance  it. 

As  is  usual  with  most  dancers,  Babilee 
looks  smaller  offstage  than  on.  He  weighs 
about  140  pounds  and  Stands  5  feet  4. 
The  son  of  a  prominent  Parisian  eye  spe- 
cialist ( bis  real  name  is  Gutman ) ,  he  was 
placed  in  the  Paris  Opera  Ballet  as  a  raw 
beginner,  or  "petit  rat."  During  the  war 
he  joined  the  Maquis.  A  natural  athlete, 
Babilee  is  a  judo  expert  and  used  to  be  a 


Jean  Babilee:  "Dance  Sensation"  in  the  winter,  athlete  in  suinmer 


AI  Choura 


88 


Colette  Marchand :  "Les  Legs"  again 

ski  Champion,  a  sport  he  had  to  give  up 
for  dancing  because  "1  was  afraid  to 
break  my  legs."  He  did  break  a  leg,  how- 
ever, dancing  "Le  Jeune  Homme"  in 
Paris  when  a  heavy  table  feil   on  him. 

During  the  month  of  July  Babilee  and 
his  wife  go  to  their  house  on  the  beach 
near  Bordeaux,  at  Bassin  d'Arcachon. 
They  do  no  dancing  and  forget  their  pro- 
fession  entirely.  "July  is  sacred,"  says 
Nathalie.  "We  live  like  fishes,  swimming 
and  sailing  our  boat."  But  all  dancers 
must  keep  in  trim,  and  occasionally 
Babilee  checks  up  his  coordination 
and  control  (see  illustration).  Jean  would 
have  liked  to  have  been  a  matador  and 
misses  no  chance  to  cross  the  border  into 
Spain  for  the  bullfights  at  San  Sebastian. 
He  is  also  devoted  to  racing  his  motor- 
cycle,  and  his  current  Shopping  problems 
in  America  concern  the  purchase  of 
leather  coveralls  and  a  füll  cowboy  outfit. 

^•Le»  Lo^M*^:  But  Jean  Babilee  did 
not  make  up  the  füll  complement  of  Bal- 
let Theatre's  French  offerings.  Also  pre- 
sented in  its  American  premiere  during 
the  first  week  was  Roland  Petit's  "Les 
Demoiselles  de  la  Nuit,"  first  given  in 
Paris  in  May  1948  by  Les  Ballets  de  Paris. 
Created  for  Margot  Fonteyn,  who  was 
then  on  leave  from  Sadler's  Wells,  the 
ballet  is  a  fantasy  about  a  white  kitten 
who  is  transformed  into  a  lovely  girl 
through  her  love  for  a  young  man.  The 
role  of  Agathe,  the  white  kitten,  was 
danced  with  Ballet  Theatre  last  week  l^v 
Colette  Marchand,  the  lovely  French 
dancer  who  took  over  the  part  when  Miss 
Fonteyn  went  back  to  England.  Miss 
Marchand,  however,  did  not  have  to 
create  a  new  public  for  herseif.  She  had 
already  done  that  last  season  and  this 
with  Petit  on  Broadway  in  "L'Oeuf  ä  la 
Coque,"  after  which  she  was  better 
known  along  the  Great  White  Way  as 
"Les  Legs,"  or  "Legs"  Marchand. 

Newsweek,  April   23,    1951 


Julvl979     $Z00 


jnwy 


'IT 


Reconstrucüng 
Diaghilev's 
Stunning 
Sets 


4 


^oding 


Regional 

Festivals  - 

Dancing 

in 

the 

Hecartland 


^  i 


/:,/ 


^ 


Nutriüon 

the 

War 

with 

Water 

and 

Welght 


K 


■#' 


The 

Double 
Image 


Janet 
Eilber 


jik^a^x^^..^ 


^DANSKINS  ARE  FOR  DANCING 


♦ 


DANSKIN  DANCEWEAR  IS  DESIGNED  TO  PLEASE  OUR  TOUGHEST  CUSTOMERS -PROFESSIONAL  DANCERS.  THAT'S  WHY  DANSKIN  GIVES  YOU  SUPERIOR 
FIT.  SÜPERB  QUALITY  AND  THE  LATEST  FASHION,  TOO.  YOU  CAN  FIND  DANSKINS  IN  A  COMPLETE  SELECTION  OF  STYLES.  FABRICS  AND  COLORS.  FOR 
DANCERS  OF  ALL  AGES.  AT  FINE  STORES  OR  WRITE  FOR  BROCHURE    D7.    DANSKIN,  INC.,  BOX  844,  TIMES  SQUARE  STATION,  NEW  YORK,  N.Y  10036. 


DANSKIN* 


^ 


JhnwcmMadnB 


July  Hneup: 


ON  THE  COVER:  Janet 
Eilher  in  costume  for  the 
American  Dance  Machine's 
reconstruction  of  Bob 
Fosse's  "Telephone 
l^umher" from  Cabaret; 
studio  photo  by  Jack  Mitchell. 


Nure\^eu  in  L'Apres  midi  d'ufi  faunt» 


Jean  BabilSe  in 
L'Amour  et  son 
Amour. 


On-film-Nijinsk\; 
George  de  la  Pef\a. 


In  thts  Issue: 


4  PRESSTIME  NEWS 
10  "SWAN  LAKE"  RETURNS 

TO  PEKING  /  Judith  Shapiro 
14    DOMESTIC  REPORTS: 

News  and  Views  From 

Across  the  Country 
19  EDITORS' FORUM 
22  REVIEW COLUMNS /Ann 

Barzel.  Theresa  Bowers.  Doris 

Hering.  Marilvn  Hunt.  Barbara 

Newman.  Selnia  Landen  Odom. 

Joan  Pikula.  Jariice  Ross.  Linda 

Small.  Amanda  Smith.  Viola 

Hegy^i  Swisher.  David  Vaughan 
24  EDITOR'S  LOG/William  ConK) 
40  FILMS:  The  Oldest  Ballet 

Movie  /John  Mueller 
44  CONVERSATION  WITH 

CLEO  NORDI  David  Vaughan 
48  ROD  McKUEN'S  BOW 

WITH  THE  AMERICAN 

DANCE  ENSEMBLE/ 

Ann  Barzel 
96  THE  WAR  WITH  WATER: 

Part  Five  in  a  Series  on 

Nutrition  for  the  Dancer  / 

/..M  Vincent.  MD 
98  TOTAL  TAP:  Part  Four  in  a 

Teaching  Series  I  Ron  Daniels 
103  A  TRIPLE'FEATURE 

CAREER:  DOUGLAS 

BENTZ' Ann  Barzel 

120  DANCEVISION:  The  T.V. 

Beat !  Norma  McLain  Stoop 
125  EDUCATION  BRIEFS  / 

Margaret  Pierpont 
129  FOREIGN  REPORTS:  News 

and  Views  From  Around  the 

World 


features: 


52  JANET  EILBER:  Leaving  the  Option  Open:  Venus  or  Terpsichore  / 

Herbert  M.  Simpson 

Not  man\;  dancers  could  carri;  off  thejazz]^  punch  of  Broadwa]^  show 
dancing  and  the  emotional  drama  of  Martha  Graham's  choreographi^,  bat 
Janet  Eilber  handles  both  with  apiomb.  She's  glamorous  and  vivacious  too. 

58  MAGIC  AT  THE  MINSKOFF:  Maurice  Bejart's  Ballet  of  the 
Twentieth  Century  on  Broadway;  /  Joan  Pikula 

In  the  "you  either  love  him  or  hate  him'  department:  Maurice  Bejart's  Ballet 
of  the  Twentieth  Centur\;  came  to  New  York  in  March  with  works  new  and 
variations  on  works  old. 

64  THE  CHARISMATIC  CAREER  OF  JEAN  BABILEE/ 
Norma  McLain  Stoop 

Fift\;-six-\^ears-old  and  still  going  sträng  (as  he  proved  in  Performances  of 
Bejart's  Life),  the  career  of  legendär]^  French  dancer  Jean  Babilee  is 
examined  anew. 

78  CUBAN  PORTFOUO  /  Lois  Draegin 

A  photo  gallery  of  the  men—the  male  dancers,  that  is—in  Alicia  Alonso's  life. 

80  DIAGHILEV RECONSTRUCTED / Barri;  Laine 

How  to  fulfill  the  awesome  task  of  recreoting  some  of  the  greatest  ballet 
costumes  and  decors  of  all  time?  We  find  out  by  talking  to  the  people  who 
accomplished  the  task  for  the  "Homage  to  Diaghilev''  program. 

84  THE  MARYLAND  BALLET'S  SPRING  SEASON:  A  Look  at  Dance 
Below  the  Mason-Dixon  Line  /  Norma  McLain  Stoop 
A  year  after  Petrus  Bosman  assumed  artistic  direction  of  this  compan];,  its 
dancers,  repertoire,  and  administration  are  said  to  possess  a  new  uerue  as 
seen  in  March  at  Goucher  College  Performances. 

88  DANCING  IN  THE  HEARTLAND:  Tu)o  Regional  Festivals  Reflect 
the  American  Obsession  with  Ballet;  Part  One:  Southwest 
Regional  Festival  /  Camille  Hard^;;  Part  Two:  Southeast  Regional 
Festival  /  Nathan  Fain 

The  first  two  National  Association  for  Regional  Ballet  festivals  of  the 
season  get  their  due. 

92  DANCE BOOKS/ 

On  the  beach,  in  the  mountains,  b\;  the  pooi  or  lazing  in  a  hammock, 
summertime  is  a  great  time  to  catch  up  on  reoding.  We  provide  a  selection 
ofdance  books  to  keep  \^ou  informed. 


Volume  Un       No.  7  Jul^  1979 


Dance  Magaiine  (ISSN  0011  69009)  is  published 
monthiv  by  Daf^od  Publishing  Company/ .  Inc., 
1 180  Avenue  of  the  Americas.  New  York,  NY 
10036  Jean  Gordon.  President,  Robert  Stern, 


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DANCEMAGAZINE  July  1979 


PRESSTIMC 
NEWS 


CHICAGO  FESTIVAL  SLATES  20 
QUEST  ARTISTSAND 
NATIONAL  BALLET  OF 
CANADA 

Audiences  attending  this  year's 
Chicago  "Third  International 
Festival  of  Stars,"  June  26-30,  will 
need  a  lot  of  stamina: 
Performances  will  begln  at  6  pm 
each  evening  with  an  hour  and 
fifteen  minutes  of  selections  from 
the  classics;  then  there  will  be  a 
one-hour  dinner  break  followed  by 
the  National  Ballet  of  Canada  In 
Erik  Bruhn's  production  of  Swan 
Lake.  The  first  part  of  the  program 
will  change  each  evening.  The  only 
night  of  the  festival  to  diverge  from 
this  schedule  will  be  June  28.  a 
"Festival  Soirrfe,"  when  Swan 
Lake  will  not  be  presented. 
Instead,  all  twenty  guest  artlsts  will 
perform  selections  from  the 
classics  and  premieres. 

The  Bruhn  verslon  of  Swan 
Lake,  with  new  sets  and  costumes 
by  Desmond  Heeley,  will  be 
receiving  its  premiere  In  Chicago, 
prior  to  Covent  Garden 
Performances.  Another  U.S.  debut 
will  be  the  palring  of  Natalla 
Makarova  and  Peter  Martins. 
taking  the  leading  roles  In  Swan 
Lake  for  two  of  the  four 
Performances.  Karen  Kaln  and 
Frank  Augustyn  will  dance  one 
Performance  of  Swan  Lake. 

Other  guests  and  special  works 
will  Include  Jean  Babllee  dancing 
Life  (Bejart)  with  Elizabeth  Platel; 
Ghlslalne  Thesmar  and  Michael 
D«nard  in  the  American/ 
European  premiere  of 
Venetian  Carnival  (Petlpa)  and  the 
World  premiere  of  Creation  (Pierre 
LaCotte);  MIkhall  Baryshnlkov 
and  Heather  Watts  in  a  ballet 
Baryshnlkov  has  commissloned 
from  an  unnamed  choreographer; 
Peter  Schaufuss  and  Eva 
Evdokimova  in  a  pas  de  deux 
from  La  Sylphide  (the  verslon 
staged  by  Schaufuss  for  London 
Festival  Ballet);  Schaufuss  and 
Makarova  in  the  Don  Quixote  pas 
de  deux;  Michael  Beard  and 
Marianne  St  Clalre  in  the  U.S. 
premiere  of  "Elegy"  from  Soft  Blue 
Sfiadow  (Andre  Prokovsky)  and 
the  Grand  Pas  Gitane  (Peter 
Darreil);  Ellsabetta  Terabust  and 
Patrice  Bart  in  the  U.S.  premiere 
of  Fantasy  pas  de  deux  (Barry 
Moreland);  Patrick  Dupond  and 
Frangolse  Legree  in  Adagietto 
(Oscar  Araiz);  and  Dupond  in  a 
World  premiere  solo. 

All  Performances  will  take  place 
at  the  Chicago  Clvic  Opera  House. 

Prices  for  the  festival  ränge 
from  $7.50  to  $30.  For  ticket 
Information  write  the  Clvic  Opera 
House  box  Office,  20  N.  Wacker 
Dr.,  Chicago,  IL  60606. 


FUNDING  GROUP  HONORED 
FOR  GETTING  BUCKS  FROM 
BUSINESS  FOR  DANCE 

In  these  days  of  matching  grants 
and  tight  money,  corporate 
Support  has  offered  the  most 
logical  alternative  for  arts  fund^ng. 
Convincing  corporatlons  of  this 
fact  has  been  the  mission  of  the 
National  Corporate  Fund  for 
Dance,  Inc.,  since  its  founding  In 
1972. 

In  recognitlon  of  the 
organizatlon's  success,  it  has 
been  awarded  the  Business 
Committee  for  the  Arts*  1978  Arts 
Award.  The  $5000  cash  award, 
underwritten  this  year  by  IBM,  Is 
for  "outstandIng  achlevement  by 
an  American  arts  Organization  In 
the  development  of  interest, 
involvement  and  support  by 
business  In  the  organizatlon's 
activities." 

On  May  17  in  New  York  City 
Victor  J.  Goldberg,  vice  President 
for  Communications  for  IBM 
Corporation,  presented  the  award 
to  Mrs.  Edward  N.  Nay,  President 
of  the  board  of  directors,  and 
Judith  A.  Jedllcka,  executlve 
directorof  the  Fund. 

The  success  of  the  Organization 
can  be  seen  in  the  numbers:  In 
1973  it  generated  $68,500  from 
fourteen  corporatlons  to  benefit 
eight  American  dance  companles; 
in  1978  It  raised  nearly  $250,000 
from  125  corporatlons  to  support 
its  nine  constituent  companles. 
American  Ballet  Theatre,  The 
Jeffrey  Ballet,  Alvln  Alley 
American  Dance  Theater,  San 
Francisco  Ballet,  Feld  Ballet, 
Nikolais  Dance  Theatre,  Murray 
Louis  Dance  Company,  Merce 
Cunningham  and  Dance 
Company,  and  Paul  Taylor  Dance 
Company  are  supported  by  the 
Fund. 

Seven  other  American  arts 
organizations  recelved 
Certif icates  of  Merlt  from  the  BCA 
this  year. 


SAN  FRANCISCO  BALLET 
SETS  SUMMER  SEA80N 
AT  THE  GEARY 

San  Francisco  Ballet  will  feature 
the  Company  premiere  of  George 
Balanchlne's  Allegro  Brillante 
during  its  three-week  summer 
season  (July  24-Augu8t  12)  at  the 
Geary  Theatre  In  San  Francisco. 
Another  Company  premiere,  that 
of  John  McFall's  We,  tfie  Clown, 
and  a  revival  of  Todd  Bolender 's 
Souvenirs  also  are  scheduied  for 
the  season. 

The  first  program,  running  July 
24-29,  will  offer  the  Balanchlne 
premiere,  plus  Lew  Chrlstensen's 
Scarlatti  Portfolio  and  Michael 
Smuln's  Quattro  a  Verdi  anö 
Shinjü.  The  second  program,  July 
31 -August  5,  will  feature  the 


DANCEMAGAZINE  July  1979 


<  '^M  «     rv  .^t  ■ 


the  chonrismatic  ccnreer  ofjean  babilee     by  normo  mciain  stoop 


Jean  Babilee  was  the 
Sensation  of  the  recent  New 
York  season  of  the  Ballet  of 
the  Twentieth  Century. 


The  curtain  of  New  York's  Minskoff  Thealre  rose  on  a  ballet  that 
was  not  on  the  program  of  the  Ballet  of  the  20th  Century's  Gala 
opening  night.  Artistic  Director  Maurice  Bejart  was  obviously 
excited  when  he  came  on  stage  to  announce  a  surprise:  The  world 
premiere  o^  Life,  choreographed  by  Bejart  for  Jean  Babil6e,  was 
next  on  the  program.  There  was  an  audible  collective  intake  of 
breath  among  members  of  the  audience,  since  Life  had  been 
scheduled  to  premiere  on  the  fourteenth  of  March,  not  the  sixth. 
Before  the  end  of  the  short  dance  work  we  all  knew  why  Bejart 
had  shown  it  early. 

Rare  was  the  key  word.  Life  was  one  ofthose  rare  ballets  so 
simple  as  to  be  profound;  Babilee  was  one  of  those  rare  dancers 
who  could  command  one's  attention  without  moving  a  muscle; 
here,  also,  was  one  ofthose  rare  pairings  of  dance  and  dancer  that 
made  each  movement  seem  inevitable,  each  silence  pregnant  with 
suspense.  Few  in  the  audience  had  ever  seen  Jean  Babil6e  perform 
because  he  hadn't  danced  in  New  York  City  for  well  over  twenty 
years — in  fact,  he  hadn't  danced  anywhere  for  ten  years,  except  in 
the  classes  he  taught.  But  now  Babil6e  was  taken  to  the  hearts  of 
those  who  watched;  it  was  as  if  New  York  had  discovered  a  new 
ballet  Star.  Pale,  five  feet  five,  stocky,  and  fifty-six  years  old,  Jean 
Babil6e  had  once  again,  as  so  often  before,  conquered  the  dance 
World. 

"You  know,"  Babilee  remarks,  lounging  on  a  couch  while  his 
friend,  the  lovely,  dark,  exotic  actress  Hermine  Karagheozian, 
makes  herseif  quite  comfortable  in  a  Yoga-like  pose  on  the  bare 
floor,  *'none  of  this  was  foreseen.  When  wecame  to  New  York, 
I  was  only  supposed  to  dance  Life  four  times,  and  Tve  done  it 
almost  every  night  of  this  three-week  season.  Now  Maurice  talks 
of  Berlin  and  of  the  Paris  Opera.  He  talks  of  Japan.''  Babil6e 
smiles  as  he  lights  another  cigarette.  **Know  what  happened 
yesterday?"  Though  he  generally  speaks  in  French,  he  sometimes 
shifts  in  mid-sentence  to  quite  colloquial  English.  **After  the  last 
rehearsal,  when  1  did  Life  fairly  well,  Maurice  watched  and  he 
walked  over  slowly  and  said,  *1  give  it  to  you.  Do  it  when  you  like. 
It's  yours.'  Wonderful,  isn't  it?  I  haven't  really  danced  for  about 
ten  years,''  he  goes  on.  **Since  the  Prodigal  San.  1  did  a  thing  at 
the  Op6ra  Comique,  a  little  opera,  just  before  Coming  here.  I  had 
text  to  say  and,"  he  concedes,  "there  was  a  physical  side  to  it,  too. 
There  was  a  big  ladder  which  went  to  the  ceiling  which  I  climbed 
as  1  spoke  and.  .  .  ."  He  breaks  off  sharply  and  draws  his  brows 
together.  '*But  that  isn't  considered  dancing.  This  work.  Im 
AfraicJ  To  Be  Eaten,  part  of  an  evening  of  three  half-hour  operas, 


was  staged  by  Jean-Marie  Simon  and  went  very  well. 

*i'm  so  happy  to  be  dancing  again!"  he  says.  ^Tve  been  wanting 
to  dance  very  much  but  I  wasn't  sure  if  I  ever  would.  When 
Maurice  suggested  it,  it  was  like  a  challenge.  He  saw  me  teaching 
at  Tatiana  Grantzeva's  in  Paris  and  came  back  five  minutes  later 
to  teil  me  he'd  phone  me.  Next  day  at  noon,  he  asked  me  to  meet 
him  at  four  at  the  Caf^  Flor.  *My  company's  going  to  New  York 
and  I'd  like  to  Choreograph  something  for  you,'  he  said,  *and 
you'll  dance  in  New  York  with  us.'  I  said  *Okay,' just  like  that. 
That  happened  on  a  Saturday;  Wednesday  1  took  the  train  to 
Brüssels;  we  rehearsed  Thursday,  Friday,  and  Saturday.  Five  days 
later,  1  left  for  New  York  and  three  days  after  that,  I  danced  the 
premiere.  It's  something  that  happened  with  unbelievable  speed. 
Between  the  time  Maurice  first  spoke  to  me  and  the  day  of  the 
premiere,  it  was  three  weeks.  An  unprecedented  dance 
experience."  He  pauses.  His  eyes  are  moist  but  he  squeezes  his 
mouth  into  a  hard  line,  to  hide  his  emotion.  **Baryshnikov  came 
by  last  night  and  hugged  me.  Many  people  didn't  miss  a 
Performance  when  I  last  danced  Prodigal  Son  at  the  Theätre  des 
Champs  ElysSes.  Here  too,  there  were  many  who  came  each  time 
I  danced  Life.  It's  stränge  that  it's  beginning  here  too  with  that 
ballet.  Another  thing  that  touched  me  and  gave  me  great  joy  was 
the  Visit  of  Jerome  Robbins." 

Jean  Babil6e's  visit  touched  the  dance  Community  and  gave  it 
great  joy.  Life  is  a  work  of  simplicity  and  strength.  Babilee  and  a 
large  Square  formed  of  aluminum  rods  are  alone  on  stage  much  of 
the  time,  sometimes  sharing  silence,  sometimes  Tom  Crocker's 
insistent  percussion.  Tall,  long-legged  Catherine  Dethy  dances  on 
and  off  stage,  mostly  to  Bach.  Babilee  hangs  from  the  frame, 
twists  his  body  around  it,  changes  its  position  in  space,  balances 
on  a  rod  suspensefully,  like  a  tightrope  walker,  whirls  away, 
whirls  back,  lies  on  the  floor  and  strains  to  pull  it  down  on  his 
body  while  Dethy  hangs  gracefully  from  it  dancing  on  air.  **The 
props  aren't  heavy,"  he  confides,  **they're  aluminum,  but  I  give 
the  Impression  they're  heavy  on  purpose."  1  know  his  age,  but 
when  he  finally  bounds  off  stage  with  the  girl,  there's  youth  in 
every  movement  of  his  body.  As  Alain  Vigot  said  of  him  long  ago, 
'*He  hastheeleganceof  a  faun.  He  walks  on  velvet  paws."  He  still 
has.  He  still  does. 

In  the  New  York  Times,  Anna  Kisselgoff  wrote  of  his  return  to 
New  York:  **Mr.  Babilee  looked  very  much  himself  even  after  an 
absence  in  New  York  of  more  than  twenty  years.  He  spent  most 
of  his  time  chinning  himself  on  the  aluminum  frame  of  a  vacant 


64 


DANCEMAGAZINE  July  1979 


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The  ballet  with  which  Jean 
Babilee  is  most  identtfiectis 
Roland  Petit  *s  Le  Jeune 
Homme  et  la  Mort 
(photos  c.  1951), 


cube.  .  .bul  he  did  so  magnificently."  At  the  start  of  her  review  of 
the  Gala,  Kisselgoff  wriles  of '*the  mesmerizing  presence  onstage 
of  Jean  BabiI6e,  the  French  ballet  star  of  the  '40s  and  '50s.  .  .  ." 

Clive  Barnes,  in  the  New  York  Post,  wrote  a  particularly 
moving  piece  on  the  great  dancer.  Speaking  of  seeing  him  dance 
in  London  in  1946  with  Boris  Kochno's  Ballets  des  Champs 
Elys^es,  he  wrote:  **His  brilliance  was  breathtaking.  On  every  side 
the  older  balletomanes  were  comparing  him  with  Nijinsky.  His 
London  debut  in  Janine  Charrat's  version  of  Stravinsky's  Jeu  de 
Cartes  burst  like  a  display  of  rockets.  .  .  .  It  was  not  simply  the 
man's  dancing.  No,  more  it  was  his  sardonic  presence,  his  ability 
to  project,  and  the  manner  in  which  he  could  hold  images  in 
Space."  Barnes  goes  on  to  say:  *The  sheer  animal  magnetism  of 
Babilöe  can  rarely  have  been  equalled  on  stage."  And  then, 
writing  about  his  Performance  in  B6jart's  Life:  *'What  he  has  on 
stage  is  what  he  always  had — raw  temperament,  kinetic  beauty, 
and  the  ability  to  leave  impressions  on  that  hidden  retina  of  the 
soul.  .  .  .heisoneof  thegreats.'' 

Jean  Babil6e  was  born  in  Paris  in  1923,  as  Jean  Gutmann  (some 
reference  works  spell  it  Gutman).  The  son  of  a  doctor,  he  was  a 
Paris  Op6ra  Ballet  *'petit  rat"  from  the  age  of  thirteen  until  he  was 
seventeen.  He  evidently  was  an  aficionado  of  skating,  swimming, 
skiing,  and  acrobatics,  though  he  told  me,  when  I  asked  him  if 
he'd  ever  done  acrobatics,  "No.  I  just  did  it  for  Life,  though  l've 
always  been  physically  in  equilibrium.  Always  in  balance, 
physically.  For  me,  it  isn't  hard  to  do  these  things — they  come 
naturally."  Still,  I  find  it  interesting  that  so  much  Tve  read  about 
Babil6e's  dancing  uses  the  term  "acrobatic"  in  describing  one 


aspectofit. 

His  teachers  included  Boris  Kniaseff,  Alexander  Volininc,  and 
Victor  Gsovsky.  His  professional  work  began  in  the  early  '40s  in 
Cannes,  where  Frangois  Andre  mounted  such  classical  ballets  as 
Swan  Lake  and  SIeeping  Beauty,  as  well  as  Le  Spectre  de  la  Rose, 
and  where  Babiiße,  as  premier  danseur,  danced  them  all.  Though 
Serge  Lifar  calied  him  back  to  the  Paris  Op6ra  in  1942,  he  was  still 
not  a  soloist  there  at  the  age  of  twenty-two.  But  France  was  in 
turmoil  at  this  time  and  the  muscular,  athletic  dancer  opted  to  use 
his  vigor  as  a  Maquis,  a  member  of  the  Resistance,  from  1943 
until  the  liberation  of  France.  A  new  strength,  both  as  a  person 
and  as  a  dancer,  was  evident  in  Babil6e  after  this  expericnce. 

As  Premier  danseur  of  Les  Ballets  des  Champs  Elys6cs,  directed 
by  Boris  Kochno,  with  Roland  Petit  as  choreographer,  he  became 
instantly  famous  in  1945  through  his  role  as  the  Joker  in  the 
Janine  Charrat  version  of  y^M  de  Cartes,  and  as  the  Young  Man 
in  Roland  Petit's  1946  Le  Jeune  Homme  et  la  Mort,  which  he 
danced  with  his  wife  Nathalie  Philippart. 

At  the  Dance  Magazine  Awards  of  1979,  when  he  was  given  a 
special  citation,  a  laurd  wreath,  Babilee  said,  *i'm  going  to  give 
Tania  Grantzeva  half  of  it."  Chatting  with  him  later,  Azari 
Plisetski  (ballet  master  of  the  Ballet  of  the  20th  Century)  and  I 
were  staggered  to  hear  Babilde  declare  that  nonc  of  the  Steps  uscd 
by  Baryshnikov  in  American  Ballet  Theatre's  1975  version  oi Le 
Jeune  Homme  et  la  Mort,  which  the  Russian  star  danced  with 
Bonnie  Mathis,  corresponded  to  those  he  had  done  when  he 
danced  it. 

Later,  I  reminded  him  of  what  he  had  told  us  and  beggcd  him 
to  make  a  film  of  the  original  version  to  help  future  dancers  do 


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66 


DANCEMAGAZINE  July  1979 


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Jean  Babilee  and  his  mfe, 
Nathalie  Philippart,  in  Le  Jeune 
Homme  et  la  Mort  (photo 
c.  1951). 


the  right  Steps  the  right  way.  "Ah,  well,"  he  answered.  **in  this 
regard,  Maurice  said  something  to  me  which  I  won*t  forget.  I  had 
gone  to  see  the  Performance  of  Rudi  [Nureyev,  with  the  Joffrey 
Ballet  in  March]  and  I  found  that  the  souI  of  Fokine  was  not 
visible.  And  yet  Spectre  and  Petrouchka  contain  Fokine's  soul.  It 
was  then  that  Maurice  said  to  me,  *  You  know,  Tm  going  to  put 
it  in  my  will  that  I  authorize  nobody  to  remount  my  ballets  except 
those  who  created  them/  Good.  Now,  to  do  a  film  of  Jeune 
Homme  doesn't  please  me.  It  doesn't  seem  to  me  a  thing  of  such 
passion  that  it  should  be  immortalized  in  film.  I  think  it's 
something  ephemeral.  A  specter  of  1946,  which  should  only  be 
done  in  a  theater  with  a  human  presence.  On  film,  it's  deformed. 
Deformed.  One  shows  something  and  people  think  it's  a  cerlain 
thing  and  it  isn't.''  He  also  insisted  that  having  it  preserved 
through  Labanotation  or  the  Benesh  System  didn't  interest  him. 
*Mt's  a  lot  of  work,"  he  maintained,  **for  small  results.  I  have  no 
longer  any  wish  to  dancc  Jeune  Homme,''  he  concludcd.  "Fd 
rather  do  Ufer 

And  yet  it  is  probably  Le  Jeune  Homme  et  la  Mort 
(choreography,  Roland  Petit:  music,  Johann  Sebastian  Bach; 
libretto,  Jean  Cocteau;  scenery,  Georges  Wakhevitch;  costumes, 
Christian  Börard)  with  which  his  name  is  most  inextricably 
linked.  Clive  Barnes  says  of  it:  **. .  .both  he  and  his  wife  entered 
dance  legend  in  the  way  Karsavina  and  Nijinsky  gave  their 
signatures  to  posterity  in  Fokine's  Le  Spectre  de  la  Rose."' 

The  use  of  Bach's  Passacaglia  and  Fugue  in  c  for  Organ  (played 
three  times,  but  without  the  fugue)  gave  this  contemporary, 
modern-dress  ballet  about  life  and  death  in  a  Paris  garret 
unforgettable  shock  value.  In  his  book,  Jean  Babilie,  (published 


68 


N 


f 


Philippart  and  Babilee  in  his 
own  ballet,  L*Amour  et  son 
Amour  (photo  c.  1948).  Opposite: 
Babilee  in   the  same  ballet   (c, 
1951). 

by  Robert  Laffont  in  1956),  Andrd  Boll  teils  how  Jeune  Homme 
was  rehearsed  to  jazz  music  and,  forty-eight  hours  before  general 
rehearsal,  Cocteau  decided  that  jazz  didn't  work  and  that  they 
must  find  seventeen  minutes  of  music,  and  chose  the  Bach  as  a 
satiric  counterpoint  to  the  modern  choreography.  Another  story, 
that  the  music  was  changed  on  opening  night  without  the  dancers' 
knowledge,  has  also  made  the  rounds,  but  BolPs  version  seems 
more  believable. 

Time  magazine's  review  when.  Ballet  Theatre  put  on  the  ballet 
in  195 1 ,  said:  "The  first  flash  was  that  he  could  leap  as  no  one 
since  Nijinsky.  .  .  .In  Jean  Cocteau's  Le  Jeune  Homme  et  la  Mort, 
Babilee  hung  by  his  neck  on  a  gallows  for  a  füll  minute,  with  no 
more  extra  support  than  he  could  get  from  one  arm  around  a 
pillar.*'  Babilie  was  twenty-seven  at  the  time. 

When  Les  Ballets  Jean  Babilee  was  performing  at  the 
Edinburgh  Festival,  Babil6e  was  eight  years  older.  Mary  Clarke 
wrote  in  the  Observer  in  1959:  ". .  .his  body  has  the  same  tingling 
magnetism  as  had  that  of  (Leonide)  Massine  and,  like  Massine,  he 
prefers  to  dance  in  trousers  and  character  shoes.  ...  He  has  some 
kind  of  genius  for  movement  and  as  an  actor  he  is  almost  without 
peer  in  the  world  of  dance.  ...  In  the  thirteen-year-old  7^««^ 
Homme  et  la  Mort,  Babilöe  is  miraculously  unchanged.'' 

When  Roland  Petit  left  the  Ballets  des  Champs  Elys6es  at  the  end 
of  1947,  David  Lichine  look  over  as  choreographer  and  created 
for  Babilee  La  Rencontre  ou  Oedipe  et  le  Sphinx  to  an  Henri 
Sauguet  score.  Sixteen-year-old  Leslie  Caron  played  the  Sphinx  to 
Babil^e's  Oedipus.  Lichine  also  created  the  solo  Creation  (without 
music)  for  him. 

DA  NCEMA  GA  ZI  NE  Julv  1 979 


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It  was  for  the  same  Company  that  Babilöe  choreographed 
L'Amouret  Son  Amour  (ihQ  story  of  Cupid  and  Psyche)  in  1948' 
and  his  TU  Eulenspiegel  in  1949.  For  a  few  years  the  Ballcts  des 
Champs  Elys6es  offered  the  postwar  generation  of  young  French 
dancers  and  choreographers  a  chance  to  experiment,  and  when  it 
died  in  1950,  a  certain  charm  and  chic,  a  certain  sexy,  youthful 
exuberance  seem  to  have  left  Parisian  dance. 

With  his  permanent  showcase  pulled  out  from  under  him, 
guesting  was  his  habit  for  five  years.  Florence's  Maggio  Musicale, 
Milan's  La  Scala,  New  York  City's  Ballet  Theatre,  and  the  Paris 
Op6ra  shared  those  years  with  him. 

Of  the  Gala  Ballet  Theatre  opening  in  New  York  in  April, 
1951,  Walter  Terry  wrote  in  the  Nen'  York  Herald  Tribüne:  '*We 
were  presented  by  a  phenomenon  in  the  person  of  Jean 
Babil6e.  ...  his  leaps  are  spectacular,  his  turns  swiftly 
vertiginous,  his  batterie  clean  and  sharp.  But  these  are  merely 
extra  frills  decorating  innate  dance  genius,  for  Mr.  Babil6e  is 
commanding  even  in  repose.'' 

And  John  Martin  said  of  him  in  the  New  York  Times: 
*Technically,  Mr.  Babil6e  is  fantastic.  .  .his  ballet  tours  en  Fair 

Jean  Bahilee  and  Catherine 
Dethy  danced  in  the  premiere 
of  Bejart's  Life  oa?  March  6, 
1979  at  the  Minskoff  Theatre. 
Bahilee's  equilihrium,  which  he 
says  has  always  come  easily  to 
him,  is  highlighted  in  Life. 


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and  il  icrrc  are  exlremely  rapid,  bul  he  can  also  execule  long 
sequences  of  acrobatics  in  slow  motion  and  wiihout  sirain.  Many 
dilTcrcnt  ballet  tricks  he  performs  with  no  visible  preparation, 
rising  as  it  were  night  off  the  floor  as  if  by  some  kind  of 
Icvitalion/' 

Emory  Lewis  wrote  in  Cue:  ".  .  .  .A  handsomc,  athletic  young 
man,  Babil6e  is  clean  and  sharp  in  his  movements,  dances  with  the 
Speed  and  sudden,  unexpecled  spurts  of  an  animal." 

AI  the  same  lime,  Newsweek  featured  a  photograph  of  the 
twenty-seven-year-old  dancer  working  out  on  parallel  bars  with 
the  caption,  "  'Dance  Sensation'  in  the  winter,  athlete  in 
summer,"  and,  in  the  lext,  '*He  was  Something  for  the 
(jirls.  .  .  .Babil6e  looked  like  a  pint-sized  edilion  of  Li'l 
Abncr.  .  .he  moved  with  thegraceof  an  animal/' 

A  few  days  later  in  the  Times,  writing  of  Babilee's  Blue  Bird, 
John  Martin  Said: 'Mt  isquiteclearthat  Mr.  Babilee's  major  gifts 
lie  outside  the  field  of  the  strictly  classical  ballet.  His  stature  is 
against  it;  his  port  de  bras  is  inclined  to  be  heavy,  and  he  has  a 
minimum  of  turnout  in  the  hips.  Yet  his  Performance  is  a 
fascinating  one.  .  .for  he  is  a  dominating  stage  personality.  . .  .  It 
is  no  news  that  his  elevation  is  thrilling.  .  .  .  If  he  is  perhaps  less 
the  blue  bird  than  the  faun,  you  will  nevertheless  watch  him  and 
cnjoy  doing  so." 

However,  Walter  Terry,  in  the  New  York  Herald  Tribüne, 
hailcd  him  as  "a  virtuosic  Blue  Bird/' 

riashing  back  about  five  years  to  Ballet  Magazine.  June  1946, 
Richard  Buckle  also  writes  of  Babil6e's  Blue  Bird:  ".  .  .  .it  was  on 
Tuesday,  April  9th,  1946.  .  .  .as  the  Joker  in  Jeu  de  Cartes,  that 
Jean  Babilee  was  first  seen  in  England.  His  dancing  in  this  and 
other  roles,  and  particularly  his  Performance  as  the  Blue  Bird, 
was  the  Sensation  of  a  sensational  month's  season.  He  has 
elevation  and  line,  his  tours  and  pirouettes  are  perfectiy  finished, 
and  his  batterie  is  remarkable;  but  it  becomes  unnecessary  to 
speak  of  technique  when  considering  a  dancer  whose  every 
movement  is  instinct  with  artistry.  To  watch  him  walk  quietly 
away  from  his  partner  in  the  pas  de  deux,  looking  back  over  his 
Shoulder,  to  see  him  stand  still  and  slowly  raise  an  arm,  is  a 
revelation  of  great  art,  such  as  one  cannot  expect  in  a  lifetime  to 
see  often  on  the  stage."* 

After  his  series  of  Performances  with  Ballet  Theatre,  Babil§e 
worked  in  1952  with  the  Paris  Op6ra  Ballet,  dancing  Spectre  de  la 
Rose  and  Albrecht  in  Giselle.  Olivier  Merlin  wrote  of  his 
**extraordinary  cabrioles  doubles  battant — Pentrechat  dix!'* 
Discouraged  by  the  bad  reception  of  Harald  Lander's  Hop-Frog, 
created  for  him,  Babil6e  left  theOpfera.  In  Paris,  in  1953,  hedid 
a  pri/e-winning  short  film  with  director  Jacques  Baratier,  Le 
Melier  du  Danseur  {The  Profession  ofthe  Danser),  which  begins 
with  barre  and  ends  with  the  overture  before  Performance,  with 
music  by  Jean-Michel  Damase. 

In  1954  this  complex  man  concentrated  once  more  on 
choreography,  creating  Divertimento  (to  Damase  music)  that 
year,  using  some  of  the  ideas  of  his  film  of  the  previous  year,  in 
which  he  skipped  rope  and  danced  with  Janine  Morin.  In  1955 
came  Balance  ä  Trois  (Damase  score)  with  Yvette  Chauvir^, 
himself,  and  Alexandre  Kalioujny  (who  appeared  on  Broadway 
with  Jeanmaire  in  The  Girl  in  Pink  Tights)  for  his  Ballets  Jean 
Babilee,  which  he  founded  that  year.  Balance  is  set  in  a 
gymnasium  and  is  füll  of  athletic  virtuosity.  For  a  few  years, 
Babil6e,  who  was  described  by  Mary  Clarke  in  the  Observer  as  '*a 
gifted,  wilful  young  man,"  devoted  his  time  to  his  Company, 


touring  extensively  with  it,  but  he  says  dispassionately,  **I  stopped 
it  because  of  money.  I  wasn't  financcd,  but  did  it  all  with  my  own 
money,  and  all  the  financial  problems  took  my  mind  away  from 

the  art.'' 

In  1954,  at  the  age  of  thirty-one,  Jean  Babil6e  had  aircady  bcen 
acciaimed  as  the  greatest  male  dancer  of  his  generation,  yet  he  did 
not  belong  to  a  Company.  Why?  Perhaps  what  Clive  Barnes  said 
in  the  Post  in  1979—"I  wonder  if  Jean  Babilee  has  ever  really 
received  his  dues?"— was  already  being  hinted  at  in  1954.  This 
dance  star,  who  had  also  choreographed  well-received  ballets, 
always  differed  from  the  general  run  of  dancers  in  that  he  never 
considered  dance  the  be-all  and  end-all  of  his  existence.  He  told 
Andr6  Boll  in  1956:  "A  half-hour  of  barre,  and  one  and  a  half 
hours  of  courses  every  day.  .  .is  enough  for  me."  In  1979  (but  I 
think  it  was  his  idea  of  a  joke),  when  I  asked  him  if,  aftcr  his  ten 
years  of  non-dancing,  he  found  it  all  came  back  to  him  quickly 
because  he  always  did  his  barre,  he  was  quick  to  answer,  "Never." 
And  when  Hermine  said,  **For  him,  it's  mental.  All  in  the  head," 
he  insisted,  *M  don't  even  do  them  in  my  head.  I  live  my  life. 
That's  the  best  exercise.  Imagine  me  at  fifty-six.  1  started  dance  at 
thirteen.  If  Td  done  nothing  eise,  Td  be  compictely  bored.  If  I 
hadn't  stopped,  Pd  be  dead.  I  stopped  like  I  did  and  kept  a 
freshness.  For  me,  dance  is  a  completely  particular  State.  It's  a 
moment  in  time,"  he  says  earnestly,  "and  that's  what  interests  me. 
If  you  don't  have  that,  you  shouldn't  dance  anymore.  But  I  stop, 
recharge  myself  and  there's  a  moment  when  it's— ready." 

In  1963  he  appeared  in  Maurice  B6jart's  La  Reine  Verte,  a  total 
spectacle  of  which  Bfejart  was  director,  writer,  and  choreographer, 
and  which  Marie-Franjoise  Christout,  in  her  book  B^jart 
(Editions  Seghers,  1972),  describes  as  a  sort  of  dance  of  death, 
and  Antoine  Livio,  in  his  book  Bejart  (La  Cite)  calls  "a  game  of 
life  and  death  or.  . .  .a  tragedy  considered  from  a  joyous  angle." 
Christout  quotes  B6jart  about  the  Green  Queen  (death), 
"Victorious  or  conquered,  that  has  no  importance;  she  always 
kills.  .  .  ."  This  duel  with  death,  to  Pierre  Henri  music,  is  not  a 
ballet,  but  a  drama  with  dance,  and  Babilee  thinks  of  it  as  one  of 
his  theater  experiences.  He'd  already  appeared  in  films  and 
theater,  and  insists  that  when  he  created  the  role  ofthe  Prodigal 
Son  in  Lazzini's  version  (variously  dated  as  1966  and  1967),  hc 
hadn't  danced  in  ten  years. 

"There  were,"  he  laughs,  "articles  all  over  saying  Babilee  was 
lost  and,  all  of  a  sudden,  there  I  was  in  a  ballet!  The  other  day  I 
ran  into  a  Journalist  from  the  Expresse  who  had  run  a  big  piece  on 
me  when  I  was  in  Prodigal  Son,  and  when  she  saw  Maurice  in 
Paris  and  he  told  her  I  was  Coming  to  New  York  to  dance,  she 
said,  *0h,  it's  not  true!  Every  ten  years!'  " 

When  Babilee  danced  Joseph  Lazzini's  Prodigal  Son  with  the 
Ballet  of  the  Marseille  Opera  at  the  Paris  International  Dance 
Festival  in  1967,  at  the  age  of  forty-four,  John  Percival  wrote  in 
Dance  and  Dancers:  "For  my  generation,  Babilee  was  the  first 
great  dancer  we  saw.  He  set  a  Standard  immediately  after  the  war 
that  compares  with  anything  we  have  seen  since. .  .  ."  Percival 
describes  Babilee  "hanging  high  on  a  net  of  ropes  down  which  he 
gradually  makes  his  way,  sliding  and  slipping.  .  . .  By  shecr 
acrobatic  control  and  force  of  personality,  Babilee  makes  this 
trick  an  image  of  a  falling  soul,"  and  writes  that  the  dancer  "can 
still  do  five  fast  pirouettes  and  powerful  doubles  tours  en  l'air.  See 
how  he  holds  back  from  a  Step  until  the  last  moment  and  then 
pounces  on  it  to  end  bang  on  the  beat,"  and,  "For  his  motorbike 


crash. .  .  .hc  literally  wraps  himself  round  a  vertical  pole At 

the  end  he  Stands  on  a  bar.  .  .  .precariously  balanced."  Percival 
describes  a  Babil6e  "with  blazing  eyes,  with  a  sharp,  bitter 
authority,  with  his  own  amazing  physical  control  and. .  .  .supcrb 
control  of  emotion  and  mood.'* 

In  the  same  issue  of  Dance  and  Dancers,  describing  the  same 
ballet,  Maric-Franjoise  Christout  writes,  "Babil6e  shows  the 
feline  grace,  magnetic  personality  and  rebellious  youth  which  we 
saw  twenty  years  ago  and  which  seems  not  to  have  aged  at  all." 

The  Paris  International  Dance  Festival  jury  that  year  chose 
Marcia  Haydee  and  Jean  BabilSe  as  the  best  dancers. 

And  what  about  the  years  between  The  Prodigal  Son  and  Lifel  In 
1967,  at  the  Spoleto  Festival,  Babil6e  producedand  danced  the 
part  of  the  Soldier  in  The  Saldier' s  Tale,  and  later  that  year 
presented  it  at  the  Berlin  Festival,  of  which  production  Everett 
Helm  wrote  in  the  Christian  Science  Monitor:  "The 
Performance,  [is] .  .  .as  close  to  perfection  as  one  is  likely  to  see 
anywhere.  .  .  .Above  all:  high  praise  to  Mr.  Babil6e  for  his 
integrated,  lively,  stylish  choreography."  There  has  been  talk 
during  Babil6e's  trip  here  with  the  Ballet  ofthe  20th  Century,  of 
having  him  bring  his  version  ofthat  total  theater  piece,  written  in 
1918  by  Igor  Stravinsky  and  C.  F.  Ramuz,  toNew  York,  but 
though  the  idea  pleases  him,  Babilee  says  in  his  calm,  deep  voice, 
"Though  it  isn't  impossible,  I  must  know  in  what  language  we'll 
play  it  and  what  musicians  we'll  find.  I've  read  two  translations  of 
it  in  English,  and  they're  both  terrible  in  the  sense  of  not 
capturing  Ramuz'  language,  which  is  so  clear  and  beautiful.  It's 
surprising  as  French,  and  there's  no  possible  English  equivalent  as 
far  as  I  know.  So,  to  do  it  less  well,  just  so  people  will  understand, 
I  find  a  little  sad.  And,"  he  throws  up  his  Square  hands  in  mock 
horror,  "if  it's  in  French,  how  many  people  would  come?" 

In  1971,  he  brought  The  Saldier' s  Tale  to  Paris  and  his 
daughter.  Isabelle,  made  her  stage  debut  as  the  Princess.  An 
injury  to  her  ankle  later  stopped  a  promising  career  in  dance. 
Babilee's  friend  Hermine  played  the  Devil.  In  1972  and  1973,  he 
was  director  ofthe  Ballet  du  Rhin  in  Strasbourg.  In  1973,  in 
Dance  News.  Irene  Lidova  wrote  of  a  ballet  he  choreographed  for 
Ballet  du  Rhin:  "In  Dances  in  Mi  Major  [music  by  DvoFäk],  his 
language  is  poetic."  In  theater,  he  created  Tennessee  Williams' 
Orpheus  Descending  in  Paris,  and  a  few  years  ago  he  played  an 
important  nondancing  role  in  Jacques  Rivette's  film,  Duelle, 
which  was  shown  at  the  1976  New  York  Film  Festival.  Hermine 
Karagheozian  was  also  featured  in  this  film,  as  well  as  in  Jacques 
Rivette's  Out  One/ Spectre,  which  was  shown  at  the  New  York 
Film  Festival  in  1974.  Babil6e's  wry  comment  on  this  director's 
films:  "Rivette's  films  are  very  confidential.  Up  to  now,"  hc 
maintains,  "I  haven't  much  Hked  being  in  films.  It's  a  life  of 
waiting:  When  the  director's  ready,  when  the  technical  end  is 
ready,  the  actors  have  to  be  ready.  No  time  to  rehearse,  no  time 
to  get  oneself  into  it.  I  like,"  he  says,  "the  slowness  ofthe  theater. 
I'm  somebody  who's  sort  of  slow.  Improvisation  isn't  my  cup  of 
tea.  But,  you  know,  I  think  I  can  be  as  happy  in  talking  as  in 
dancing,  on  condition  that  it  has  a  little  movement  and  I  like  the 
text.  I  did  a  new  Histoire  du  Soldat  for  Felix  Blaska  Twt  months 
ago.  Played  the  Soldier  and  I  adored'ii.  I  find  that  dance  is 
certainly  irreplacable  for  expressing  the  inexpressible.  You  know? 
But  the  spoken  theater,  mixed  with  this  and  that,  can  be 
fantastically  strong  and  beautiful.  I  would  love  to  have  a  fine  role 
in  the  theater." 


Babilee  in  his  own  ballet,  Til 
Eulenspiegel  (photo  c.early  *50s). 


Babilee  rehearsing  the  enor- 
mously  successful  Jeu  de 
Cartes,  choreographed  by 
Janine  Charrat  in  1945. 


74 


DA  NCEMA  GA  ZI  NE  July  1 979 


DANCEMAGAZINE  Julv  1979 


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Jean  Babilee  is  a  dancer 
celebrated  for  both  his 
technique  and  his  charisma 
(photo  c.  1946). 


> ' 


Marie  Rambert  assists 
Babilee  in  rehearsal  for 
L*Apres-midi  d'un  faune 
(phoio  c.  1949). 


.^M/f 


So  much  that  Tve  read  about  Jean  Babilee  Stresses  his 
athicticism,  his  acrobatic  skill.  So  much  he  does  in  Life  underlines 
ihose  opinions.  '^Balance,  for  me,"  hesmiles,  "comes  naturally. 
When  I  ride  my  moto  [motorcycle],  which  also  requires  balance, 
it's  a  little  like  when  I  dance.  In  many  ways.  It's  a  rechargemenl 
of  precision,  in  perfeclion,  in  every  moment  of  the  ride. 
Motorcycling  is  often  a  group  sporl;  they  leave  fifteen  streng.  But 
for  me  the  sporl  is  completely  solitary.  When  Tm  on  a  lovely 
road,  it's  the  most  beauliful  total  void  that  could  be,  when  Vm  in 
shape.  Mentally  my  motos — Tve  ridden  constantly  sincc  1  was 
fificen — have  always  been  very  important  to  me.  A  kind  of  dance. 

''And  now,  Vm  happy  io  aclually  dance  again.  All  of  a 
sudden,"  he  says,  opening  his  arms  as  if  to  embrace  it,  'Mt  makes 
me  happy  to  find  again  a  fine  Company,  very  professional,  that 
works  well,  and  1  find  that  Maurice  is  somebody  really 
marvelous,  so  accessible.  And  so  quick  at  the  same  time.  The  way 
he  organized  my  Coming,  for  instance.  I  found  it  Zen  right  up  to 
its  limit.  Understand,  it  was  done  like  whst.  .  .  ."  Babilee  lets  out 
a  whislle  any  taxi  could  hear  across  town.  "  *We1l  do  this.  Tak! 
It's  done.  And  that  pleases  me.  It's  a  lovely  surprise. 

*'That's  whal  I  wanted  to  say,"  he  confides  shyly,  "at  the  Dance 
Magazine  Awards  party  when  they  crowned  me  with  laureis.  I 
took  the  micro  and  almost  said,  *Life  is  wonderful  and  füll  of 
surprises.'  Then  1  didn't  say  it  because  I  feared  it  had  the  double 
sense,  'My  number,  Life,  is  wonderful,'  and,  of  course,  I  didn't 
want  to  say  that,  but  now  I  think  I  should  have.  Oh!  I  was  so 
surprised!  And  Bill  Como — this  is  somebody  who  really  knows 
and  loves  dance." 

Richard  Buckle  first  saw  Babilee  dance  on  April  9,  1946,  when  the 
dancer  was  twenty-two.  I  first  saw  BabilSe  dance  on  March  6, 
1979,  when  he  was  fifty-six,  but  I  think  both  Buckle  and  1  were 
emolionally  affected  in  much  the  same  way  by  the  peculiar 
elcctricity  with  which  this  charismatic  dancer  with  such  cat-like 
grace  fills  not  only  the  stage,  but  the  theater  itself;  by  his  masterly 


use  of  nonmovement  to  emphasize  movement;  by  his  drawing  out 
of  the  slows  to  achieve  almost  unbearable  suspense  and  then  his 
exclamation-pointing  of  the  fasts.  I  find  the  close  of  Buckle's  1946 
review  most  moving. 

"How  rarely  art  works  its  miracle!"  Buckle  wrote.  "The  years 
pass  and  we  seem  to  wait  in  vain.  Yet  one  night  the  curtain  goes 
up,  and  to  the  well-known  tinkling  tune,  before  black  hangings,  a 
boy  of  twenty-two  is  beginning  to  run  through  the  familiär  Steps 
— when  suddenly  our  heckles  [sie]  rise,  we  become  conscious  that 
a  divine  wind  is  blowing  through  the  theatre;  and,  while  some  sort 
of  resurrection  happens  in  our  heart,  Babilee  dances.'" 

Time  is  growing  short.  Jean  Babilee  must  rehearse.  But  I  need 
to  teil  him  how  excited  I  feel  during  Life,  when  he  runs  around  the 
aluminum  frame  catching  on  to  the  sides  so  they  don't  change 
Position.  How  everytime  I  see  that,  Vm  more  impressed  by  the 
sequence's  beautiful  use  of  Space  and  time  and  the  constant 
heightening  of  suspense — will  he  make  it  before  the  frame 
topples? 

"For  me,  too,''  he  says,  "because  the  balance  then  is  so  vitally 
important.  And  thetiming.  Yesterday,  the  first  balance  I  did  well. 
1  passed  quietly  from  one  side  to  the  next.  But  the  second — poof! 
There's  something — it  has  in  a  way  to  do  with  this  that  l  want  to 
say.  What  bothers  me  a  bit  in  the  end,  it's  that  I  don't,"  he 
declares  earnestly,  "want  to  be  a  legend.  See?  What  1  mean  is  that 
people  sometimes  look  at  me  as  if  I  were  something  special.  I,  I'm 
someone  very  simple  who  loves  the  dance  and  happens  to  have 
gifts.  That's  why  I  love  everyone  in  B6jart's  Company;  there's  a 
kind  of  professional  simplicity  that  pleases  me.  The  other,  the 
hero-worship,  makes  it,  in  a  way,  too  hard  for  me  to  dance 
afterwards.  You  see?  Tm  speaking  of  my  work.  1  want  very  much 
to  be  onstage  as  simple  as  I  am  actually.  I  don't  want,''  he 
Stresses,  "to  dance  like  a  legend.  What  more  do  I  want  to  say? 
Good."  A  Wide  smile  transforms  Jean  Babilee's  so  often  tense  and 
serious  face.  "Give  me  the  rest  of  my  life  to  say  it,"  he  suggests. 
"Yes?"  D 


76 


DANCEMAGAZINE  Julv  1979 


'j 


I       I 


i 


I  I 


a  cuban  portfoUo 


I 


Jorge  Esquivel  talking  about  the 
attitude  toward  boys  in  ballet  in 
Cuba  Iwenty  years  ago:  *'Parents 
with  a  son  who  wanted  to  be  a 
dancer  would  prefer  for  him  to 
be  a  garbage  collector."  He  goes 
on  to  explain  that,  through  the 
widespread  education  of  the 
public  by  Alicia  Alonso  and  the 
Ballet  Nacional  de  Cuba, 
acceptance  of  the  male  dancer 
has  grown  in  Cuba. 

But  twenty  years  ago,  when 
Alonso  was  scouting  promising 
ballet  students  (with  Castro's 
financial  backing),  it  seemed 
logical  to  select  and  train  young 
men  who  did  not  have  parents 
who  might  object.  Alonso  went 
into  orphanages  and  chose  sixty 
boys  for  ballet  studies.  Esquivel 
was  among  those  youngsters. 
Obviously  a  good  choice,  for  he 


has  gone  on  to  join  the  roster  of 
Alonso's  famous  partners— 
Dolin,  Youskevitch,  Eglevsky, 
Fernandez,  Plisetski.  And 
indeed,  Alonso  could  have  no 
partner  more  attentive, 
supportive,  or  dedicated  at  this 
point  in  her  career  than 
Esquivel. 

Female  dancers  in  the  Ballet 
Nacional  always  have  had  to 
contend  and  compete  with  the 
image  of  Alonso.  Not  that  such 
fme  ballerinas  as  Loipa  Arujo, 
Josefina  Mendez,  or  Marta 
Garcia,  among  others,  haven't 
been  produced,  but  it  is  always 
Alonso,  the  prima  assoluta,  who 
forms  the  female  ideal  of  Cuban 
ballet.  The  males,  without  a 
similar  paragon,  haveemerged 
as  a  distinctively  vital  part  of  the 
ensemble.  It's  not  just  their 


c 

O 

c 

O 

c 
c 


78 


DA  NCEMA  GA  ZI  NE  July  1 979 


ntOgiC  Ot    thcminShoff   maurice  bejartsballet  of  the  twenUeth  centurv 
on  broadtvay,  march  6-25,  1979  reviewed  byjoan  pikula 


Ivan  Marko  (Icfi)  and  .lonic 
■Donn  in  I  cak,  (/  (hn'i  crcawd  hv 
MauiiiV  Hc/art  iwcniv-ihrcc  ycars 
au(>  and  /h'rjornh'd  i/wn  hv  l/ic 
chorcoüra/y/wr  and  a  wonian. 
l Ins  \inknr^  and  cni\iniaiu 
ditncc  H(/s  iH'rfornu'd  on/y  oncc 
dm  im:  ilw  Hallet  oj  ihr 
Tw'cniicth  C'cnnny's  scason  ai 
ihc  Minski  dl  J  hcairc  hcjorc 
hi'in'^  (Imppcil  Jroin  ihc 
rc/h'ri<nrc  /krause  af  ilincss  and 
in  IUI  \   whuh  hcsct  ihc  Company 
duniwi  iis  \c\\'  York  siav. 


Janet  Eil  her  in  cos  tu  nie  froni 
Grahani's  Seraphic  Dialoguc  in  a 
.  studio  Portrait. 

House,  and  in  ihe  Dance  In  America  program  for  PBS.  But  she 
has  a  dream  of  Graham  being  allowed  to  make  her  own  TV  work, 
created  for  the  medium.  She  feels  thal  Graham's  notebooks  Tor 
The  Scarlet  Letter  suggest  a  desire  to  use  filmic  lechniques  for 
myslic  effecls  not  possible  on  the  stage.  That  reminded  me  that 
she  had  danced  with  Nureyev  in  that  work,  and  I  asked  about 
working  with  him. 

**Nureyev  was  fantastic.  He  was  so  sincere,  yet  accused  of 
looking  for  just  another  Spotlight;  whereas  I  think  he  was  looking 
for  yet  another  outlet,  yet  another  artistic  experience.  He  wanted 
to  explore  and  expand  himself,  rather  than  show  off,  as  he  was 
accused  of  doing.  I  could  only  be  convinced  of  his  sincerity  by  the 
way  that  he  would  ask  me  questions,  and  the  way  that  he  would 
study  what  I  was  doing.  I  don't  know  whether  he'd  ever  done  as 
much  lloor  work  and  knee  work  and  falls  as  he  did  with  Martha. 
But  one  time  she  got  him  down  on  the  floor  in  some  god-awful 
Position,  and  he  turned  to  me  and  said,  *So?  So  how  do  I  get  up?' 
assuming  that  there  was  a  special  recovery  for  every  position  on 
the  floor.  And  I  said,  'Well,  in  that  position,  I  would  put  my  hand 
down  on  the  floor  and  give  a  good  push!  There's  nothing  special 
about  that  one;  just  get  up!'  Utterly  no  problem  with  English; 
most  of  his  humor  is  double  entendre,  and  very  witty,  and 
sarcastic. 

*'Being  onstage  with  him  was  quite  an  experience,  too.  He  was 
very  low-key  in  rehearsal.  He  would  do  the  movement,  then  study 
it,  never  giving  a  füll  Performance.  Obviously,  he  was  thinking 
about  how  he  was  going  to  do  it,  and  very  into  himself.  Then,  when 
1  got  onstage  with  him  in  Lucifer  (after  Margot  did  our  gala,  I 
went  into  that)  and  in  Scarlet  Letter,  it  was  like  someone  had 
turned  headlights  on  in  his  eyes!  I  mean,  the  energy  that  came  out 
ofthat  person  when  you  were  Standing  across  from  him  was 
staggering!  1  said  to  myself,  *0K!.  .  .  Here  we  go!'  And,  well.  .  .1 
learned!  Or  I  triedio  match  it.  I  mean,  you  see  what  that  quality 
is  and  you  see  why  Rudolf  Nureyev  is  Rudolf  Nureyev. 

"Martha's  concern  over  her  technique  being  bastardized,  by 
the  way,  has  led  her  to  Copyright  the  technique,  so  that  we  will  be 
able  to  certify  teachers  and  send  them  out  across  the  country, 
almost  like  a  franchise — like  Kentucky  Fried  Chicken.  And 
people  won't  be  able  to  say,  M  studied  Graham  technique  with 
Tina  Toetap  in  Missouri.'  We  have  people  Coming  into  the  school 
who  say  they've  had  six,  seven  years  of  Graham  technique,  and 
when  they  get  into  class,  it's  like  starting  all  over  again.  The 
technique  has  been  passed  on  by  someone  who's  taken  a  master 
class  here  or  there.  But  it  is  such  a  formal,  specific  technique;  Vm 
still  finding  new  things  in  it.  And  when  you  get  a  chance,  when 
Stuart  Hodes,  or  Yuriko,  or  Jane  Dudley — people  who  know  the 
old  technique — come  back  to  teach  in  the  school,  we  find  where 
some  of  theexercises  we  do  today  come  from.  It'sjust  mind- 
boggling  to  me  that  she  came  up  with  a  totally  original  movement 
vocabulary.  It  would  be  a  good  idea  to  Copyright  the  terms,  too, 
because  we  have  our  own.  Actually,  some  of  them  could  be 
clarified.  For  instance,  when  1  say  *the  exercise  in  six,'  anybody 
who  studies  Graham  technique  would  know  what  that  was,  but 
God  only  knows  how  many  exercises  we  have  to  the  count  of  six. 
You  throw  yourself  into  an  arabesque  penchß  turn,  usually  from 
a  kneeling  position,  just  unwind  and  you're  upside  down,  and 
that's  calied  a  *cave  turn'  because  she  did  them  first  in  Cave  ofthe 
Heart.  But  the  term  is  used  in  class  every  day  without  referring  to 
the  ballet;  I'm  sure  there  are  a  lot  of  students  who  say,  *Gee,  I 
wonder  why  they  call  that  a  'cave  turnl 

*Mt's  true  that  a  lot  ofthose  exercises  were  built  on  women's 
bodies,  but  Martha's  adapted  them  to  men,  adapted  them  to 
different  body  sizes,  and  regardless  ofthe  fact  that  men 
sometimes  have  trouble  in  those  early  fioor-positions,  they  are 
still  exercises  that  are  built  to  line  you  up  and  to  teach  you  the 
most  efficient  way  of  moving.  She  not  only  came  up  with  new 
movement,  but  with  movement  that  would  train  the  body.  When 


I  take  a  ballet  class  with  any  great  teacher,  the  corrections 
invariably  take  the  same  approach,  the  same  squaring  ofthe  hi[» 
or  Shoulders.  Invariably,  as  Martha  says,  there's  no  one  kind  of 
dance  or  another;  there's  just  good  dance  and  bad  dance.  One's 
healthy  for  your  body  and  one  isn't.'' 

Of  the  first  meeting  with  her  mentor,  Eilber  said,  **I  met 
Martha  Graham  when  I  was  in  high  school.  An  interview 
was  set  up  for  me  with  Martha.  And  this  was  in  '69, 
when  the  Company  was  disbanding,  and  there  were  a  lot  of 
Problems;  Martha  was  sick  a  lot  ofthe  time  and  had  not  accepted 
the  idea  that  she  would  no  longer  be  dancing.  But  1  came  into 
New  York  and  danced  for  her.  She  actually  showed  up  for  the 
appointment;  everyone  said  that  she  wouldn't.  And  she  sat  and 
talked  with  my  mother  for  about  half  an  hour,  and  was  lovely, 
just  lovely!  She  suggested  that  we  go  over  and  see  Juilliard, 
because  she  knew  immediately  that  my  mother  wanted  me  to  go 
to  College,  and  said,  *Some  of  my  Company  members  are  there.* 
So  we  went;  I  watched  a  rehearsal  of  Jos6  Limön,  and  all  of  a 
sudden  1  knew  that  that  was  where  I  would  be  going.  The  point 
is  that  interlochen  had  prepared  me  so  well  that  I  wasn't  sure  that 
1  didn't  want  to  be  a  Journalist  or  biologist,  or  maybe  a  ballerina. 
I  have  a  tendency  to  leave  my  options  open,  until  there  are  really 
desperate  decisions,  and  then  it  always  seems  to  just  sort  of 
happen  to  me.  This  happened  when  I  was  invited  into  the  Graham 
apprentice  program,  and  when  Dance  Machine  asked  me  to  join 
them.  Things  just  seem  to  fall  into  place. 

'Mt's  very  nice  to  have  choices.  Last  fall  I  had  to  look  for  work. 
I  modeled  for  Halston  for  two  months,  and  then  I  did 
'Conversations'  with  Agnes  de  Mille  and  the  Joffrey  Ballet.  De 
Mille  put  together  a  sort  of  history  of  American  dance:  tap 
dancing  and  Charleston,  early  black  dancing,  Square  dancing,  an 
excerpt  of  Jerome  Robbins's  Interplay,  and  a  variety  of  things, 
and  I  represented  Martha.  And,  of  course,  it  was  all  interspersed 
with  her  witty,  eloquent  remarks. 

**Doing  the  modeling  shows  and  ramp-modeling  was  fun  and 
interesting,  and  paid  very  well.  But  I  was  also  a  house  model  for 
Halston,  which  is  a  nine-to-five  Job  with  a  low  weekly  salary.  It 
was  interesting  to  look  at  a  fashion  designer  at  the  top  of  his  field 
at  work,  but  I  saw  Halston  for  maybe  four  or  five  minutes  a  day: 
When  the  designs  came  down  from  the  seamstresses  we  would  put 
them  on  and  he'd  correct  them.  But  the  waiting  and  just  being  a 
body  taught  me  how  much  1  appreciated  dance.  Had  I  chosen  to 
stay  in  modeling,  being  a  Halston  house  model,  with  his 
recommendation,  1  could  certainly  get  work. 

'M've  thought  about  dancing  with  other  companies  when  I'm 
off  from  Martha,  but  really  there's  no  other  drama  like  the  roles 
Martha's  created.  If  I  move  on,  it  will  be  an  expanding 
experience,  something  new  for  me.  I  did  quite  a  bit  of 
choreography  in  high  school  and  College,  but  I  don't  have  it  in  me 
to  fight  the  New  York  battles  of  a  struggling  choreographer.  I'm 
very  proud  of  and  in  awe  of  Peter  Sparling,  who  has  applied  for 
grants  and  did  three  concerts  at  the  Riverside  Church  which  I  was 
in,  and  has  gone  through  the  struggles  o{ everything:  the 
costumes,  the  lighting,  trying  to  pay  your  dancers,  getting  an 
audience.  Ninety-nine  percent  of  it  is  not  the  joy  of  doing  the 
choreography;  it's  the  hassle  of  finding  the  rehearsal  space  and 
Space  to  perform  in.  If  somebody  said  to  me,  'Hey  Janet,  we're 
doing  an  off-Broadway  show  and  we  need  a  choreographer; 
would  you  like  a  Job?,'  that  would  sound  good  to  me:  They've  got 
the  Space,  the  music.  But  I'm  not  what  Martha  was:  'I've  got  to 
do  this;  I've  got  to  create  roles  for  myself.'  I  guess  at  this  point  I'm 
more  an  interpreter  than  a  maker.  If  I  had  that  Choreographie 
drive,  I'd  be  doing  it.  But  right  now,  what  could  be  better  than  to 
be  an  instrument  for  Martha  Graham?  But,  as  I  said,  I'm  leaving 
my  options  open.  I  can't  be  sure  what  I'll  want  to  do  in  the 
future." 

Maybe  it's  the  fact  that  I'm  sure  that  she'll  do  it — whatever  it 
is — beautifully  and  with  ease,  that  is  the  disturbing  thing  about 
Janet  Eilber.  Our  folklore  has  it  that  artists  are  supposed  to  travel 
a  rocky  road,  and  it  seems  almost  immoral  to  glide  along  upwards 
as  gracefully  as  she  does.D 


DANCEMAGAZINE  July  1979 


57 


|i>r  Ihc  Ihrcc  weeks,  Manch  6  through  25,  that  Maurice  Bejarfs 
Ballcl  1)1"  Ihc  I  wcnticlh  C'cnlury  danccd  in  New  York,  I  walchcd 
ihc  siagc  ofthe  MinskolTTheatre,  slartied,  awed,  puzzied,  and 
^dclighlcd.  I  saw  ihe  dicholomy  of  Bejart's  balleis— the 
labyrinlhinc  lushness  ofhisdance  spectacles,  thepristine 
cicanness  oi'  his  duels.  I  saw  ihc  invenliveness  of  his 
chorcography,  Ihe  complexily  of  his  mind,  and  ihe  conscious 
dccision  lo  subjugale  ihe  cerebral  lo  ihe  physical,  and  to  ihe 
cmolional.  I  saw  dancers  dancing  wiih  an  emoliona!  commilmenl 
and  w  iih  a  generosily  ihal  is  rare— dancers  arduously  schooled  in 
classical  lechnique  and  imbued  wiih  a  kind  of  ecslalic 
spirilualism. 
These  are  ihe  ihings  I  saw.  More  precisely,  Ihey  are  whal  I  feit. 


'%^^-r 


^ 


^j^mt-- 


^-..^ 


For,  ultimatcly,  if  one  is  to  embracc  (or  evcn  accept)  Bejart,  it  will 
be  through  allowing  his  works  to  touch  the  senses.  I  believe  they 
are  made  to  be  communicated  this  way. 

The  most  sensory,  and  sensual,  of  the  ten  works  in  the 
Minskoff  repertoirc  was  Bolero.  When  Bejart  created  this  ballet 
almost  twenty  years  ago  to  the  well-known  Ravel  music,  he 
presented  a  woman  elevated  on  a  large,  round  table  surrounded 
by  thirty-eight  or  forty  men  who  gradually  rose  to  the  challenge 
of  her  intensifying  demands.  It  was  performed  this  way  at  the 
Minskoff.  Exactiy  the  same  choreography  was  performed  with 
Jorge  Denn  in  the  central  role,  first  surrounded  by  women,  then, 
for  the  last  dance  on  the  last  night  of  the  season,  surrounded  by 
men. 

The  movements  of  the  central  figure  (The  Melody)  are  sensual, 
compelling,  and  escalatory.  The  arms  rise  above  the  head,  the 
hands  snap  inward,  then  trace  downward  across  the  face,  breast, 
pelvis,  legs.  Sometimes  they  stop,  opening  outward  to  frame  the 
groin.  The  knees  bend  slightly  in  soft,  bouncy  plies.  The  hips 
thrust.  These  movements  intensify  with  the  music,  incorporate 
snaking  arm  patterns,  more  volatile  thrusts  of  torso  and  limbs, 
the  open  invitation  of  a  backbend,  and  sweat.  Some  of  the 
movements  are  echoed  by  those  surrounding  The  Melody  (The 
Rhythm),  who  rise  from  their  seats  a  few  at  a  time  and  gravitate 
with  increasing  intensity  toward  the  inevitable  release  which 
hurtles  them  onto  the  table,  and  the  central  figure,  in  a  unified, 
climactic  lunge. 

The  switching  about  of  sexes,  which  I  view  as  being  more 
innovative  and  experimental  than  theatrical,  made  subtie 
differences  in  the  ballet.  When  Donn  danced  surrounded  by 
women,  it  was  somehow  frightening.  There  was  something  about 
the  power  he  exuded,  and  about  the  total  surrender  to  that  power 
by  the  women— who  seemed  young  and  virginal  in  their  simple 
black  and  white  skirts  and  tops,  with  their  hair  pulled  into  buns 
— that  made  this  Version  of  the  ballet  move  beyond  sexual  passion 
into  the  realm  of  mind  control.  The  women  seemed  trancelike  and 
powerless— that's  what  was  so  frightening.  With  a  woman 
(Shonach  Mirk)  in  the  central  role,  Bolero  settled  back  into  the 
sexual  fantasy  ballet  I  think  it  was  meant  to  be,  partly  because,  in 
Mirk's  hands,  the  power  seemed  more  benign,  partly  because  the 
men  around  her — muscular  and  macho — appeared  to  be  dealing 
with  her,  and  themselves,  on  a  physical  level,  never  really  losing 
control  of  anything. 

In  the  startling  all-male  version,  the  whole  thing  seemed  to  be 
on  a  more  equal,  and  totally  physical,  plane.  Although  I  found 
the  first  arrangement  (with  Donn  and  the  women)  the  most 
psychologically  interesting,  and  the  second  version  (Mirk  and  the 
men)  the  most  sensual,  I  found  the  all-male  Bolero  the  most 
generally  satisfying— and  certainly  the  most  exciting. 

In  Gälte  Parisienne  and  Amordi  Poeta,  the  two  sumptuous 
extravaganza  ballets  brought  to  the  Minskoff,  B6jart  uses  a 
Collage  technique  to  people  the  stage  with  images  drawn  from  the 
minds  of  his  central  figures.  In  GaUe  Parisienne,  the  mind  is  that 
ofa  young  dance  Student  in  Paris  who  seeks  release  from  the  rigid 
disciplines  of  classical  study  and  a  despotic  teacher  by  escaping 
into  a  dream  world  filied  with  fanciful,  benign  characters.  In 
Amordi  Poeta,  the  mind  is  that  ofa  poet  who  loses  himself  in  a 
world  he  has  penned — a  world  filied  with  the  deceptive  nature  of 
fantasy  and  reality  and  teeming  with  an  array  of  characters  who 
ränge  from  the  bizarre  to  the  beautiful. 

Both  ballets,  first  shown  in  Brüssels  in  1978,  are 
autobiographical.  Both  deal  essentially  with  the  struggle  (both 
physical  and  metaphysical)  which  besets  the  artist.  They  might,  in 
fact,  represent  the  dark  and  the  light  sides  ofthat  struggle.  In  the 
lighter  Gatte  Parisienne,  to  the  Offenbach  score,  Victor  Ullate 
dances  the  role  of  the  central  figure.  Bim,  a  puckish  imp  endowed 


at  birth  with  the  gift  of  dance  by  six  men  who  bestow  its  various 
aspects  on  him  in  brief  opening  solos  (much  as  the  fairies  dowered 
the  Sleeping  Beauty).  And,  just  as  Carabosse  spread  some 
darkness  on  that  scene,  a  black-caped  Madame  (wonderfully 
mimed  throughout  by  Mathe  Souverbie)  brings  to  the  infant  the 
bürden  of  hard  work,  then  serves  as  his  taskmaster  in  Paris. 

Street  scenes,  class  scenes,  and  dream  sequences  bring  forth  a 
series  of  vignettes  which  include  images  ofa  whimsical, 
lightfooted  Offenbach  (Micha  Van  Hoecke);  a  darling  vision-of- 
innocence  young  girl  (Rita  Poelvoorde  or  Katalin  Csarnoy);  a 
singing  Terpsichore  (Maryse  Patris)  rooted  in  hefty  pomposity 
upon  a  pedestal;  an  inane  Paris  Opera  Ballet,  and  a  line  of 
exuberant  boys  kicking  out  the  can-can.  Underlying  Bim's  real 
and  imaginary  encounters  with  these — and  a  horde  of  other — 
characters,  is  the  love-hate  relationship  with  his  teacher.  Ullate's 
Bim  is  a  delightfully  spirited  rebel,  fiopping  out  of  classical 
Position  or  jutting  off  into  angles  behind  the  stern  back  of  his 
mentor.  Yet,  it  is  through  this  relationship  between  teacher  and 
pupil  that  B6jart  gives  us  the  ballet's  most  poignant  moments — 
and  perhaps  its  only  reality. 

Bejart  has  said  his  Amordi  Poeta  is  about  death  and 
resurrection,  which,  in  a  metaphysical  sense,  it  is.  The  central 
figure  of  the  poet  (Jorge  Donn)  travels  through  a  volupluous 
montage  of  characters  and  experiences  which  confuses,  destroys, 
and,  ultimately,  restores  him.  Set  to  Robert  Schumann's  song 
cycle,  Dichterliebe,  mixed  with  music  by  the  contemporary 
composer  Nino  Rota,  the  ballet  begins  austerely:  The  poet  leaves 
his  writing  desk  and  executes  a  series  of  graceful  balances,  leaps, 
and  fiowing  arm  gestures  while  his  three  muses  bend  in  long,  cool 
arabesques  or  stand  in  repose  at  individual  barres.  From  this 
beginning,  the  action  snowballs  toward  its  circus-like  climax, 
gathering  momentum  and  Stockpiling  symbolisms  as  the  poet 
encounters  what  Bejart  refers  to  as  the  Forces  of  Death  and  the 
Friends.  He  is  touched  and  changed  by  these  encounters,  and  by 
others  more  enigmatic  in  nature. 

In  the  end,  one  is  left  with  a  confusion  of  awesome  images:  of 
Donn,  lying  along  the  back  ofa  magnificent  white  Pegasus,  his 
head  thrust  back  to  nestle  in  the  horse's  feathered  wings;  of  seven 
women  in  belted  black  leotards  stepping  out  of  Balanchine's  Agon 
to  knife  through  space  with  jabbing  extensions  and  kicks  and 
windmilling  arms;  of  bobbing  lights  and  the  screeching  sounds  of 
revving  motorcycles,  penetrating  a  backdrop  and  heralding  the 
entrance  of  seven  HelTs  Angels  who  burst  through  the  paper  wall 
and  careen  around  the  stage  before  snapping  into  a  far-from- 
threatening  jazz  routine;  of  seven  doll-women  in  pantaloons  and 
lavender  dresses,  borne  aloft,  rigid-armed  and  -legged,  by  football 
players;  ofa  stage  filied  with  spinning  white  clowns,  their  soft 
Pulcinella  costumes  swirling  about  them;  of  rows  of  barechested 
men  moving  stridently  to  drumbeats  and  fiute,  being,  somehow, 
African,  Eastern,  and  militaristic  all  at  once;  ofa  golden 
Zarathustra  eating  up  space  with  dazzling  leaps,  alternating 
classical  and  jazz  steps.  And,  mostly,  images  of  Donn — Donn,  a 
glittering  rock  star  in  sequinned  fuchsia  and  silver,  stomping  out 
a  Latin  beat  with  three  Carmen  Miranda-like  women;  Donn 
playing  tenderly  with  little  children,  then  stepping  into  a  black 
Pulcinella  costume  and  struggling,  without  success,  to  keep  the 
poet  alive;  Donn  rolling  across  the  fioor,  desperately  grabbing  the 
scattered  papers  of  the  poet  to  his  breast;  Donn,  a  grotesque,  sad- 
eyed  clown  putting  a  gun  to  his  head,  pulling  the  trigger,  littering 
the  stage  with  fallen  images,  then  blowing  those  images  away. 
Finally,  Donn,  stripped  down,  vulnerable,  reaching  upward  in  a 
gesture  of  hope,  his  head  thrown  back,  spine  arched,  ehest  opened 
outward  in  ultimategiving. 

In  comparison  to  the  fanciful,  often  ambiguous,  images  and 
symbolisms  o^Amordi  Poeta,  Bejart's  Petrouchka,  to  the 


60 


DANCEMAGAZINE  Julv  1979 


/ 


I 


Slravinsky  score,  is  a  fairly  siraightforward  story-ballel  about  a 
young  man  who  loses  bis  own  identity  in  the  confusion  of  role 
playing.  Drawn  from  bis  revelry  witb  friends,  tbe  Young  Man 
(Donn)  follows  a  magician  into  a  ball  of  mirrors  wbere  be  puts  on 
a  series  of  masks  whicb  alter  bis  personality.  Witb  tbe  first  mask, 
that  of  Petroucbka,  a  puppet,  Donn  slides  into  angied,  disjointed 
poses,  bis  body  flopping  and  stiffly  out  of  control.  Witb  tbe 
second  mask,  wbicb  is  brown,  be  moves  ape-like  about  tbe 
mirrored  room,  arms  dangling  between  bis  legs,  bands  flapping 
stupidly,  back  buncbed  forward.  Witb  tbe  tbird  mask,  tbat  of  a 
girl,  be  turns  into  a  mincing  parody  of  a  ballerina. 

Tbese  cbaracterizations  (wbicb  refer  to  tbe  Petroucbka, 
Ballerina,  and  Blackamoor  puppets  in  tbe  original  Petroucbka 
created  by  Micbel  Fokine)  are  ecboed  by  tbree  mirror-images 
wbo  ape,  tben  taunt,  tbe  Young  Man  as  be  struggles  witb  bis 
toppling  personality.  In  this  struggle,  Donn  soars  in  beautifui 
extensions  and  leaps,  tben  crumbles  into  twisted  collapses.  In 
utter  confusion,  be  tries  to  remove  masks  from  tbe  maskless  faces 
of  his  friends,  tben  from  bis  own  face,  staring  in  borror  at  bis 
band  eacb  time  as  if  seeing  tbe  masks  there.  He  bas  lost  toucb 
completely  witb  reality  and,  in  tbe  final  image,  be  Stands  alone  in 
a  beam  of  ligbt,  bis  body  caving  in,  bis  arm  reacbing  out  as  be  is 
swallowed  in  darkness. 

Altbougb  tbe  impisb  bumor  of  Gatte  Parisienne  is  a  deligbt, 
and  tbe  bizarre  complexity  of  Amor  di  Poeta,  intriguing,  I  find 
Petrouchka  tbe  most  satisfying  and  approacbable  of  tbe  tbree 
**big"  works  brougbt  to  New  York.  But  all  tbree  of  tbese  ballets 
sbowed  clearly  tbe  tecbnical  skill  and  flexibility  of  Bejart's 
dancers. 

Tbe  duets  sbown,  eacb  somewbat  different  from  tbe  otbers  in 
tone  or  (wben  it  was  present)  mood,  bad  about  tbem  a  simplicity 
and  a  sense  of  mystery  that  was  especially  appealing.  Tbe 
standouts  were  Duo  (a  pas  de  deux  from  a  revised  version  of  tbe 
longer  Les  Vanqueurs)  and  Life,  wbicb  Bejart  created  just  before 
tbe  season  opened  for  tbe  famous  Frencb  dancer  Jean  Babilee.  I 
bad  not  expected  ever  to  see  Babil6e  dance.  He  badn't  appeared 
in  New  York  since  tbe  early  Tifties  and  bad,  in  fact,  been  retired 
from  tbe  stage  for  more  tban  a  decade.  It  was  an  extraordinary 
experience  to  see  bim,  at  fifty-six,  equal  tbe  reputation  witb  wbicb 
so  many  of  us  bad  tbougbt  to  content  ourselves. 

B6jart's  construction  for  Babilee  was  simple — a  combination  of 
spurts  of  motion  and  bursting  stillnesses  set  in  and  around  a  metal 
framework,  and  against  tbe  limber  movements  ofa  young  girl  in 
pink  (Catherine  Detby).  Babil6e  is  solid,  compact,  centered  low  to 
tbe  ground,  and  smootb.  Moving  to  silence  slasbed  witb  Bach  and 
percussion,  be  approacbes  tbe  metal  frame,  considers  bis  moves, 
tben  grasps  a  vertical  beam  and  lifts  bis  body  up  off  tbe  ground. 
He  moves  slowly,  tightly,  supporting  bis  weigbt  witb  bands  and 
arms  as  be  Swings  bis  legs  to  the  side,  tben  hangs  there  as  if 
suspended  in  Space.  He  Stomps  across  the  stage,  thumping  his 
heels  into  the  Hoor.  And  he  spins — fast. 

The  girl  in  pink  enters  with  high,  smootb  kicks.  She  comes  and 
goes,  moving  her  body  in  easy,  strong  attitudes  wbile  Babilee 
metes  out  the  energy  tbat  courses  almost  palpably  througb  bis 
body.  Togetber  they  reposition  tbe  framework,  turning  it  into  a 
low,  wide  structure,  tben  taking  corners  inside  it,  like  fighters  in 
a  ring;  or  setting  it  on  end,  diamond-sbaped,  taking  turns  rocking 
eacb  other,  dangling  from  a  high  crossbeam.  In  tbe  end,  Babil6e 
sits  on  tbe  framework,  now  positioned  so  that  it  is  a  high,  narrow, 
corridor-like  structure.  He  is  still,  his  bead  in  bis  bands  in  a 
gesture  of  despair,  maybe.  But  tbe  girl  in  pink  enters,  takes  bis 
band  with  infinite  tenderness  and  holds  it  to  herseif  until  he  takes 
spark,  leaps  up,  and  pulls  her,  running,  from  tbe  stage.  I  am 
Struck  by  the  power  of  this  man,  by  bis  aura  of  reined  violence. 


Yanr]  Le  Gac,  in  a  studio 
Portrait,  wcaritifi  the  winfis  of 
Pegasus  and  his  own  cos  turne  as 
a  motorcycle  An^el,  from 
Bejart 's  sumptuous  evenin^-lon^ 
spectacle  hallet,  Amor  di  Pocta. 

and  his  control.  And  I  am  Struck  by  Bejart,  wbo  created  so 
spontaneously  this  gift  be  calied  Life  for  Babilee. 

In  some  ways,  Duo  is  tbe  most  beautifui  and  purely  abstract  pas 
de  deux  Tve  ever  seen.  In  it,  two  dancers  (Shonach  Mirk  and 
Daniel  Lommel)  execute  a  series  of  stunning  moves,  sometimes 
fitting  together  witb  a  seemingly  inevitable  precision,  sometimes 
poised  in  isolated  gesture.  They  move  into  tbe  piece  to  sounds  of 
tbe  sea  and  gulls  and  Wagner,  as  if  emerging  from  the  ocean, 
beavy  witb  salt,  pushing  steadily  forward.  There  is  a  roundness  to 
the  opening  section,  as  there  is  to  the  last,  wbile  tbe  middle,  to 
Indian  music,  is  more  angular  and  intense.  I  like  the  way  the 
isolated  movements  whicb  make  up  this  piece  work  as  smootbly 
as  if  they  were  joined  by  transitions.  And  I  am  left  with 
afterimages  of  Mirk  and  Lommel,  Standing  as  if  suspended,  rib 
cages  arched  out,  spines  curved  in,  knees  together  and  slightly 
bent,  bands  folded  on  their  stomacbs,  like  waves  caught  curling 
shoreward;  of  Mirk  clinging  along  LommeFs  body  in  a  Variation 
of  a  fisbdive,  her  bead  dose  to  the  fioor,  her  back  stretching 
upward  along  bis  tbigh  and  bips,  her  legs  scissoring  bis  ribs  and 
back  in  one  long,  languid  movement;  or  tbe  way  Mirk  Stands  as 
if  poised  in  flight,  back  arched,  bead  and  arms  thrown  back, 
sustaining  tbe  gesture.  Wben  tbe  curtain  closed  on  tbe  shifting 
configurations  of  tbese  two  perfect  forms,  I  feit  as  if  I  bad  lost 
sometbing. 

Verdi,  a  pas  de  deux  from  Bejart's  1977  Verdi  Come  (to 
Giuseppe  Verdi's  Attila  and  /  Masnadieri),  also  comprises  isolated 
dance  phrases  and  gestures,  but  witb  a  more  lyrical  flow  and  a 
tension  not  present  in  Duo.  In  Verdi,  tbe  dancers  (Katalin 
Csarnoy  and  Lommel)  create  an  aura  of  mystery  as  they  are 
repeatedly  drawn  together  for  brief,  lovely  poses,  only  to  move 
apart  again  and  again  to  dance  alone.  There  is  a  sense  of  mystery, 
too,  in  Song  ofa  Wayfarer,  tbe  1971  male  duet  to  Mahler.  Here 
Donn  and  Lommel,  as  a  man  on  a  quest  and  bis  shadowy  seif, 
create  an  ambience  of  high  drama  and  tension  througb  a  series  of 
precise,  enigmatic  gestures. 

The  least  successful  of  tbe  duets,  for  me,  was  Bejart's  version  of 
Le  Spectre  de  la  Rose,  created  in  1978  for  Judith  Jamison  (of  tbe 
Alvin  Ailey  American  Dance  Theater)  and  performed  in  New 
York  by  Jamison  and  (before  an  injury)  Patrice  Touron.  Set  to 
tbe  Carl  von  Weber  music  of  tbe  original  Fokine  ballet,  Bejart 
Updates  tbe  scenario  so  tbat  the  young  girl  returning  from  a  ball 
witb  a  rose  wbicb  comes  to  life  and  dances  with  her  in  a  dream  is, 
in  this  Version,  an  extremely  glamorous  and  svelte  modern-day 
woman.  Wben  Jamison  strips  off  her  white  gown  to  reveal  that 
she,  too,  is  a  rose  in  her  brown  body  stocking  (identical  in  its  vein- 
like  markings  to  tbe  pink  one  on  Touron),  she  does  it  witb  a  kind 
of  cballenge  wbicb  characterizes  the  prickly  duet  in  whicb  the  two 
engage.  For  all  tbe  ballet's  dazzling  leaps  and  dramatic  arm  work, 
it  never  does  become  more  tban  a  very  good  opportunity  to  watch 
tbe  commanding  Jamison  mystique  in  action. 

Because  of  an  injury  to  Patrice  Touron  (wbicb  necessitated 
several  cast  changes),  and  Jorge  Donn's  illness  of  several  days' 
duration,  many  of  us  missed  Teak,  wbicb  was  performed  only 
once  before  being  dropped  from  the  repertoire.  It  would  have 
been  interesting  to  see  this  duet,  created  by  B6jart  twenty-tbree 
years  ago,  and  performed  tben  by  tbe  choreographer  and  a 
woman.  In  the  one  New  York  Performance,  it  was  danced  by 
Donn  and  Ivan  Marko. 

I  tbink  some  of  us  sorely  need  the  expansive  sensuality  and 
romanticism  offered  by  Bejart,  for  wbat  he  gives  us,  among  other 
things,  is  a  respite  from  tbe  logic  and  precision  and  coolness  ofa 
granite-and-glass  tecbnology.  And  wbile  I  understand  that 
everyone  doesn't  need  such  an  escape,  I  understand,  too,  and 
well,  that  many  of  us  do.  D 


62 


DANCEMAGAZINE  July  1979 


o 


O 


Daniel  Lommel  and  Shonach 
Mirk  are  seen  here  in  Bejart  's 
Duo,  a  ballet  set  to  Wagner  and 
Indian  music,  and  to  the  sounds 
of  rushing  y\^aves  and  sea  gulls. 


Daniel  Lommel  and  Katalin 
Csarnoy  in  Bejart  's  pas  de  deux, 
Verdi,  a  section  of  the 
choreographer's  1977  Verdi 
Come.  This  work  isfilled  with 
lyrical  movements  and  a  sense  of 
intriguing  tension. 


Maurice  Bejart  's  Ballet  of  the 
20th  Century  will  make  a  series 
of  appearances  in  the  United 
States  during  April,  1980,  in 
conjunction  with  *'Belgium 
Today,  "  a  U.S.  commemoration 
honoring  150  years  of  Belgian 
independence.  The  cotnpany  will 
appear  at  the  Brooklyn  Academy 
of  Music  during  the  week  of 
April  14;  at  the  University  of 
California,  Berkeley,  during  the 
week  of  April  21  (with  one 
Performance  during  that  week  at 
the  Opera  House  in  San 
Francisco);  and  at  the  Shrine 
Auditorium  in  Los  Angeles 
during  the  week  of  April  28. 
These  Performances  are  made 
possible  in  part  by  grants  fr  am 
the  National  Endowment  for  the 
Arts  and  the  National 
Endowment  for  the  Humanities, 
and  are  co-sponsored  by  the 
Belgian-American  Cultural 
Foundation. 


o 

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^^ß^* 


~^*-T^ 


New  Bolshol  Star 
Andje  Hepa 


■■^jLlm« '■*■«. 


X  DANSKIN  IS  FOR  DANCING 


P 


DANSKIN®  PROFESSIONAL  WEICHT  LEOTARDS  COME  IN  A  GLORIOUS  SELECTION  OF  STYLES  AND  COLORS.  STYLES  FOR  PRACTIC- 
ING,  STYLES  FOR  PERFORMING.  COLORS  FOR  EVERrTHINC.  SO  VERSATILE,  SO  BEAUTIFUL.  AND  OF  COURSE,  DANSKIN  LEOTARDS 
PERFORM  UP  TO  THE  STANDARDS  YOU  EXPECT  FROM  A  LEADER.  AVAIU\BLE  AT  FINE  STORES  AND  DANCE  SHOPS  EVERYWHERE. 


Danskin^ 


) 


Daneenuigfidne 


Bolshoi  feet,  pmrt 
of  the  Bolahol 
Story,  beginning 
page  62. 


Januaty  lineup: 


On  the  Cover. 
Andje  Liepa,  aon 
of  Marie  and 
upcoming  star  of 
the  Bolshoi; 
exciusive 
photography  by 
Gerard  Rancinan. 


Relnhild  Hoff  man, 
German  dancer 
and 

choreographer,  In 
her  dance-work 
Planks,  beglnnlng 
page  80. 


in  this  issue: 


4     Presstime  News 


features: 


12     Domestlc  Reports:  News  and 
Views  from  Across  the  Country 

18     Foreign  Reports:  News  and 
Views  from  Around  the  World 

22     Review  Columns  /  Mind\;  Aloff, 
Mart\;  Cohen,  Camille  Hard];, 
Julinda  Lewis,  Selma  Landen 
Odom,  John  Perciual,  Suzanne 
Shelton,  Herbert  M.  Simpson, 
Linda  Small,  Amanda  Smith, 
Elizabeth  Zimmer 

26     Dancescape 

28     Editor's  Log  /  William  Como 

60     Readers'  Forum 


86     Teachers  Teaching:  David 
Howard  /  Margaret  Pierpont 

88     The  Personal  You:  Making 

Friends  with  Yourself,  Part  Two 

/  Marian  Horosko 

90     Dancebooks  /  Richard  Philp 

99     Dancefilms:  Fonteyn's  Magic  of 
Dance  /  John  Mueller 

104     Dancer's  World:  Preparing  a 
Role,  Part  One  /  Burton  Ta\;lor 

106     Dancebiz:  Los  Angeles  Seen  / 

Donald  Bradburn 

108     Dancebiz:  Las  Vegas  Seen  / 

Morag  Veljkovic 

110    Dancevision:  Dance  on  TV  / 

John  Gruen 

112     Focusing  on  Films:  Blood 

Wedding  /  Norma  McLain  Stoop 

115     Educatlon  Briefs  /  Margaret 
Pierpont 

117     Classifleds 

1 23     School  Directory 


62    A  NIGHT  AT  THE  BOLSHOI  /  photos  by  Gerard  Rancinan,  text  b\; 
Laurence  Lavollee  and  Richard  Philp 

This  exciusive  photo  essa\;  with  text  explores  the  backstage  actiuities  and  intrigues  at  the 
world-renowned  Bolshoi  Theater  in  Moscow,  offering  a  unique  view  of  the  dancers  and 
artisans  who  comprise  the  Bolshoi  Ballet,  as  well  as  the  power  struggle  between  those  who 
want  to  maintain  the  Status  quo  and  those  who  would  initiate  newer  forms  of  dance. 

73    ARTHUR  MITCHELL  AND  THE  DANCE  THEATRE  OF  HARLEM  /  Tobi  Tobias 
In  twelve  ^ears,  this  compan]^  has  garnered  international  praise  and  achieved  man]^  of  the 
goals  set  b\;  founderdirector  Arthur  Mitchell.  It  is  now  working  toward  a  ''distinct  look,  a 
st\;le  that  will  be  unmistakabli^  our  own  - classical  and  authenticall];  American." 

76     VITTORIO  RIETI,  AN  INTERVIEW:  Composingfor  Ballets  /  Joan  Ross  Acocella 
One  of  Diaghilevs  ^'y^oung  lions"  talks  about  his  music  for  the  Ballets  Russes  productions  of 
Le  Bai  and  Barabau,  sharing  his  recollections  of  the  great  Impresario,  of  George 
Balanchine,  and  of  the  controversial  premiere  Performances  of  Stravinsk^s  Les  Noces. 

80       KALEIDOSCOPE:  The  Many  Moods  of  Dance  Today 

This  month  we  look  at  Tanz- Forum /Cologne  director  Reinhild  Hoff  man,  one  of  West 
Germanins  boldest  \;oung  choreographers,  and  at  Dances  of  Love  and  Death,  artistic 
director  Robert  Cohans  workfor  Englands  major  modern  dance  ensemble,  London 
Contemporary;  Dance  Theater. 

1 00    JANUARY  PERFORMANCE  CALENDAR 

A  glance  at  this  listing  of  dance  events  around  the  world  gives  a  clear  and  optimistic  view 
of  the  State  of  the  art  as  we  enter  1 982. 


Volume  l.VI    No.  1 


Januaryl982 


^nce  Magazine  (ISSN  001 1  6009)  is  published 
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permission   Printed  in  USA   Danee  Magazine  is 
the  onl\i  dance  publieation  indexed  in  the  Headers' 
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ANCEMA  GAZIN E  January  1982 


l 


PRESSTIME  NEWS 


JOFFREY  BALLET 
WINS  LARGEST 
CORP  GRANT 

The  Jeffrey  Ballet,  which  kicked 
off  its  twenty-fifth  anniversary 
celebrations  last  October  with  a 
city-wide  birthday  block  party  and 
a  gala  retrospective  of  the  Jeffrey 
repertoire,  has  received  its  largest 
corporate  gift  ever,  from  Philip 
Morris  Incorporated. 

The  gift  to  the  Jeffrey  marks 
Philip  Morris's  first  funding  of  an 
Annerican  dance  Company, 
although  they  have  been  longtime 
supporters  of  the  arts.  The  award 
will  go  toward  sponsorship  of  the 
Joffrey's  twenty-fifth  anniversary 
national  tour,  which  will  span 
twelve  eitles  over  seventeen 
weeks,  beginning  March  1982. 

The  tour  begins  in  Pittsburgh, 
March  1-2;  continuing  with  dates 
in  Washington,  D.C.,  Boston, 
Chicago,  Minneapolis.  Iowa  City. 
Fort  Worth,  San  Antonio,  Houston, 
San  Francisco,  Portland,  and  Wolf 
Trap  Farm  Park,  Virginia. 

The  Jeffrey  Ballet  was  honored 
by  New  York  City  at  a  ceremony 
on  October  19  hailing  the 
company's  twenty-fifth  year. 
Mayor  Edward  I.  Koch  presented 
the  City 's  highest  cultural  award, 
The  Handel  Medallion,  to  the 
company's  founder  and  director, 
Robert  Jeffrey. 

NEW  WORLD 
FESTIVAL  PLANNED 

The  New  World  Festival  of  the 
Arts,  consisting  of  over  180 
Performances  of  twentieth-century 
modern  dance,  ballet,  opera, 
Chamber  music,  theater, 
symphony,  musical  theater,  film, 
and  graphic  arts.  will  take  place  in 
Miami.  Florida.  June  4-26,  1982. 

Nearly  thirty  premieres  by 
leading  contemporary  artists  will 
highlight  the  first  season,  with  new 
dance  works  commissioned  by 
modern  dance  artists  such  as  Bill 
Evans,  Wally  Lord,  Kathryn 
Posin,  and  Paul  Taylor.  New 
classical  works  will  be  created  by 
Vicente  Nebrada  and  Norbert 
Vesak;  musical  theater  events  will 
include  a  new  music/dance  work, 
The  Creation,  by  Geoffrey 
Holder  and  /,  Anastasia,  by 
Robert  Wright  and  George 
Forrest. 

The  New  World  Ballet,  formed 
for  the  festival,  will  present  its 
debut  there.  Vesak  will  serve  as 
artistic  director  and 
choreographer,  and  it  is  hoped 
that  the  Company  will  become 
Miami's  first  resident  ballet 
ensemble.  The  NWB  will  present 
thirteen  Performances  at  the 


Theater  of  the  Performing  Arts. 
including  a  new  ballet, 
Tchaikovsky  Dances,  to  the 
Eugene  Onegin  score, 
choreographed  by  Vesak  with 
Cynthia  Gregory   and  Fernando 
Bujones  as  soloists.  Nebrada  will 
Choreograph  a  new  work  to  a 
score  by  Handel;  it  will  feature 
dancers  Galina  Panova  and 
Alexander  Godunov. 

Also  included  will  be 
Performances  of  The  Women, 
choreographed  by  Oscar  Ariaz 
to  the  music  of  Grace  Slick,  and 
Le  Sacre  du  Printemps,  by  Vesak 
with  designs  by  Rouben 
Ter-Arutunian. 

Miami's  Fusion  Dance 
Company  will  present  twenty 
Performances  at  the  Fusion 
Theater  with  premieres  by  the 
modern  choreographers 
mentioned  above.  and  the  Paul 
Taylor  Dance  Company  will  give 
five  Performances  at  the  Theater 
of  the  Performing  Arts,  which  will 
include  the  premiere  of  a  new 
work  created  for  the  festival. 

For  more  information  on  all 
programing,  write  New  World 
Festival,  Inc.,  1235  Southwest 
22nd  Terrace,  Miami,  Florida 
33145,  or  call  (305)  858-9850. 


DTW  SCHEDULES 
WIlSrrER  EVENTS 

The  Winter  Events  1982  series 
at  Dance  Theater  Workshop 
(DTW)   begins  this  month  with  six 
Performances  by  choreogrpher 
Charles  Moulton  and 
composer/collaborator  A.  Leroy, 
January  20-31  at  the  Bessie 
Schonberg  Theater,  219  West  19 
Street.  New  York  City. 

Also  included  in  The  Winter 
Events  will  be  DTW's  Tuesday 
Project,  featuring 

Choreographer  and  dancer 
Charles  Moulton  (far  right)  will 
open  DTW's  The  Winter 
Events  1982." 


dance/performance  artist  Tim 
Miller,  January  27,  February  2,  9, 
and  16. 

The  first  half  of  Moulton's 
program  will  consist  of  a  nonstop 
presentation  of  five  separate 
pieces,  including  Expanded  Ball 
Passing,  Duet,  Trio,  Fourth  Shift, 
and   Arch  Extract.  The  second 
half  of  the  program  will  feature 
two  new  works,  one  of  them 
commissioned  by  DTW.  This 
three-section  work  combines 
dance.  music,  sets,  and  lighting 
design  through  a  unified  structural 
development.  The  second  work  is 
a  Short  piece  for  sixteen  dancers. 

Miller  will  premiere  his  Postwar, 
a  full-evening  work  with  an 
original  score  by  the  electhc 
music  group  Big  Game.  Miller's 
work  has  been  described  as  a 
unique  synthesis  of  dance, 
theater,  music,  and  projected 
Images.  Kirk  Winslow  will  be 
projection  coordinator. 

Performers  and  groups  to 
appear  at  DTW  through  April 
include:  Risa  Jarislow  and 
Dancers,  Barbara  Roan,  Jim 
Seif  (in  both  solo  and  group 
works),  Peter  Anastos  and 
Helen  Thorington,  Johanna 
Boyce,  Jazz  Tap  Ensemble, 
Nina  Wiener  and  Dancers,  Meg 
Erington,  and  Susan  Salinger. 
For  more  information  call 
(212)  924-0077. 

YELLOW  SOUND 
AT  GUGGENHEIM 

The  Yellow  Sound  (Der  gelbe 
Klang),  described  as  an  "abstract 
stage  piece,"  and  performed  by 
Singers,  dancers,  actors,  and  a 
Chamber  orchestra,  will  be  staged 
at  Marymount  Manhattan  Theater, 
221  East  71  Street,  New  York 
City,  February  9-14.  It  will  be 
produced  in  conjunction  with 
"Kandinsky  In  Munich: 
1896-1914,"  an  exhibition  of 
works  by  this  Russian-born 
landscape  painter,  abstractionist, 
expressionist,  stage  designer. 
poet,  illustrator,  and  librettist. 

This  production  will  be  the  first 
to  incorporate  the  original  score 
by  Thomas  de  Hartmann,  a 


Pictured  here  is  Robert  Israel's 
costume  design  for  painter 
Vasili  Kandinsky's  The  Yellow 
Sound  (Der  gelbe  Klang),  which 
will  be  presented  at  the 
Guggenheim  Museum  in  New 
York  City. 

colleague  of  Vasily  Kandinsky's. 
The  presentation  will  be  produced 
and  directed  by  lan  Strasfogel, 
former  director  of  the  Washington 
Opera  at  Kennedy  Center. 
Composer/conductor  Günther 
Schuller  will  orchestrate  and 
conduct  de  Hartmann's  score. 
Hellmut  Fricke-Gottschild,  a 
former  assistant  to  Mary  Wigman 
and  now  director  of  the 
Philadelphia-based  Zero  Moving 
Dance  Company,  will  create  the 
movement  sequences. 

Describing  the  movement 
sequences,  Fricke-Gottschild  says, 
"They  will  be  in  the  European 
tradition  of  Laban  and  Wigman, 
based  on  movement  principles, 
rather  than  on  forms,  as  is 
American  modern  dance." 

Fricke-Gottschild,  along  with  the 
eight  members  of  the  Company, 
will  dance  in  the  work,  which  he 
describes  as  neither  "a  narrative 
nor  a  collage."  Continuing, 
Fricke-Gottschild  explained, 
"There's  a  feeling  of  continuatlon 
about  the  work.  Different  things 
surface  at  different  times,  the  way 
the  mind  works.  Kandinsky 
described  it  as  'concreto  Images 
and  vague  creations.'" 

Fricke-Gottschild  began  working 
improvisationally  with  his  dancers 
in  December  to  create  the 
movement  for  the  scenes,  or 
"pictures,"  (as  Kandinsky  calied 
them)  that  include  dance. 

Robert  Israel  and  Richard 
Riddell  will  design  the  scenery, 
costumes.  lighting,  and  special 
effects.  A  European  tour  of  The 
Yellow  Sound  is  planned  for 
1982-83. 

For  more  information  call  (212)      ^ 
860-1357. 


DANCEMAGAZINE  January  1982 


On  a  trip  to  New  Orleans  last  summer,  Mitchell  became  fully 
aware  for  the  first  time  of  the  rieh  and  venerable  culture  ofthat 
region — **the  tremendous  sense  of  tradition,  and  of  cosmopoli- 
tan  stylishness.*'  In  the  nineteenth  Century,  New  Orleans  was 
the  most  European  of  American  cities.  Both  the  Creole  popula- 
tion — descendants  of  the  French  settlers — and  the  Negro  popu- 
lation  (including  the  mixed-race  mulattos  and  quadroons)  con- 
tributed  to  the  glamour  and  exoticism  of  its  atmosphere.  "Sud- 
denly  I  realized,"  Mitchell  says  eagerly,  "that  Old  Louisiana's 
elegance  and  sophistication  are  our  American  equivalent  of  the 
aristocratic  European  scene.  By  referring  to  this  heritage,  Dance 
Theatre  can  do  tutu  and  tiara  ballets  and  be  plausible;  we  don't 
have  to  be  doing  a  stiff  imitatiön  of  a  culture  that  is  completely 
foreign  to  us.  Vm  revising  my  Fete  Noire  for  the  current  season 
with  this  in  mind. 

"But,'*  he  continues  elatedly,  "that  will  be  just  a  warm-up  for 
my  next  project — a  production  of  Giselle  set  in  Louisiana." 
MitchelPs  conviction  is  riveting  as  he  translates  the  story  into 
his  terms.  "Giselle  will  be  the  daughter  of  a  freed  slave,  who 
can't  hope  to  marry  the  Creole  Albrecht  because,  you  see,  that 
was  the  real  Situation;  matches  that  crossed  those  racial  lines 
were  forbidden  by  law.  But  of  course  there  was  all  kinds  of 
contact  between  the  groups — as  we  know,  for  instance,  from  the 
lavish  quadroon  balls,  where  upperclass  white  men  chose  their 
quadroon  mistresses.  And  then  just  think  of  the  atmosphere  of 
my  second  act — the  misty  bayous,  all  that  Spanish  moss!'* 

Mitchell  may  joke  about  the  moss,  but  he  is  serious  about  his 
need  to  translate  the  classics  in  ways  that  will  make  them  con- 
vincing,  first  to  Dance  Theatre,  and  thus  in  turn  to  its  audience. 
The  company's  new  version  of  Firebird  follows  this  thinking.  It 
will  employ  the  Stravinsky  score  and  the  general  outline  of  the 
scenario  known  from  Fokine's  ballet,  but  its  new  choreography, 
by  John  Taras,  and  its  decor,  by  Geoffrey  Holder,  will  place  the 
action  in  a  nonspecific  setting — a  lush  fantasy  landscape — that 
Mitchell  believes  will  give  the  ballet  a  more  universal  appeal. 

While  one  may  balk  at  the  seeming  naivete  of  this  need  to 
domesticate  dance  materials  that  are  widely  accepted  as  meta- 
phoric,  one  must  remember  that  Balanchine  himself,  the  least 
naive  of  dance-makers,  knew  from  his  very  first  days  in  America 
that  it  would  be  foolhardy  to  expect  our  native  dancers  to  com- 
port  themselves  comfortably  in  Maryinsky-style  productions, 
and,  when  he  came  to  mount  Firebird  and  Swan  Lake,  found 
it  necessary  to  translate  them.  The  viability  of  Mitchell's  ideas 
will  be  determined  by  the  ballets  they  spawn. 

Another  aspect  of  Dance  Theatre  of  Harlem's  "new  look," 
Mitchell  reveals,  will  be  an  emphasis  on  theater-dance,  an  ele- 
ment  that  has  been  implicit  from  the  first  in  the  company's 
name.  At  this  juncture,  Mitchell  feels  the  repertory  needs  to  be 
balanced  with  a  heavy  infusion  of  ballets  of  this  genre.  The 
public,  which,  he  emphasizes,  must  always  be  served,  is  disaf- 
fected  from  the  "starkness  and  spareness"  of  the  abstract  neo- 
classical  ballets  that  followed  in  the  wake  of  Balanchine's  great 
inventions.  The  general  audience,  he  says,  has  recently  demon- 
strated  its  preference  for  ballets  with  clear,  colorful  narratives, 
full-fleshed  characterizations,  and  rieh  production  values. 
Dancers,  too,  are  served  by  the  expressive  demands  of  such 
works,  which  "open  them  and  free  them,"  Mitchell  asserts,  after 
years  of  putting  pure  technique  above  everything. 

Where  will  these  dance-dramas  come  from?  First  the  existing 
repertory  will  be  invaded.  The  Company  has  already  added  Ruth 
Page's  1938  Frankie  and  Johnny  (based  on  the  "done  her 
wrong"  song)  to  its  störe.  The  New  York  season  will  also  in- 
clude  the  Company  premiere  of  Valerie  Bettis's  A  Streetcar 
Named  Desire  (made  in  1952  for  the  Slavenska-Franklin  Com- 
pany and  based  on  the  Tennessee  Williams  play)  and  of  Domy 


Reiter-Soffer's  Equus  (made  in  1980  for  the  Maryland  Ballet 
and  based  on  the  Peter  Schaffer  play).  Likely  future  acquisitions 
are  Eugene  Loring's  Billy  the  Kid  (Ballet  Caravan,  1938)  and 
Jerome  Robbins's  New  York  Export:  Opus  Jazz  (Ballets:  USA, 
1958).Wishful  thinking  that  may  yet  become  a  reality  includes 
the  mounting  of  Agnes  de  Mille's  Fall  River  Legend  and 
"something  by  Tudor" — Jardin  aux  Lilasl 

Success  along  these  lines,  Mitchell  believes,  will  make  DTH 
something  of  a  custodian  of  classics  of  Americana,  several  of 
them  unjustly  neglected  ones.  Mitchell  is  also  confident  that 
these  acquisitions,  emphasizing  his  dancers'  conspicuous  dra- 
matic  flair,  will  stimulate  contemporary  choreographers  to  cre- 
ate  new  theater  pieces  for  the  Company. 

A  concomitant  development  will  be  a  greater  emphasis  on 
individual  stars  among  the  artists  than  there  has  been  in  the 
past.  "Now  don't  get  me  wrong,"  Mitchell  cautions,  "I'm  never 
going  to  be  doing  box  office  on  one  or  two  big  names  because 
then  if  they  don't  dance  on  a  particular  night — kaput,  nobody 
wants  to  come.  But  now  that  the  image  of  Dance  Theatre  of 
Harlem's  ensemble  has  been  established,  and  people  have 
learned  to  equate  our  name,  as  a  group,  with  excellence,  it*s  time 
to  be  bringing  along  certain  Single  personalities." 

The  Company  already  has  at  least  half  a  dozen  candidates  who 
deserve  and  who  will  reward  that  treatment,  none  more  perhaps 
than  Virginia  Johnson,  who  joined  DTH  in  its  first  year.  John- 
son is  essentially  a  lyric  ballerina — "a  Diana  Adams  with 
touches  of  Maria  Tallchief,"  Mitchell  offers  lovingly — but  her 
versatility  has  risen  to  such  diverse  challenges  as  the  speed  of 
Allegro  Brillante,  the  pyrotechnics  of  the  Don  Quixote  pas  de 
deux,  and  the  inherent  drama  of  the  central  woman  in  Greening, 

This  season  Johnson  will  be  the  first  to  inherit  the  solo  Geof- 
frey Holder  made  for  the  beautiful  Carmen  de  Lavallade — 
Songs  of  the  Auvergne.  "Ld  like  to  do  it  barefoot,"  Johnson 
muses,  "because  it's  about  that  kind  of  freedom  and  joy.  You're 
running  through  a  field  and  the  wind's  blowing  your  skirts 
behind  you."  Johnson,  who  will  also  be  featured  in  the  theatri- 
cally  meaty  role  of  Blanche  DuBois  in  Streetcar,  welcomes  the 
new  focus  on  dramatic  dance  because  she  feels  it  deepens  a 
dancer's  use  of  her  capabilities.  "I  want  to  be  a  dancer  in  every 
part  of  myself,"  she  says  intently,  in  her  low,  musical  voice.  "I 
don't  just  want  to  have  a  dancer's  feet  or  a  dancer's  back.  I  want 
to  be  dancing  completely,  down  to  the  ends  of  my  hair." 

All  of  the  company's  hopes  and  plans  must  be  tempered  by 
financial  realities.  Like  most  arts  organizations,  DTH  is  suffer- 
ing  from  the  current  lean  period  in  the  economy.  "Not  only  are 
there  the  threatened  cutbacks  in  government  support,"  Mitchell 
relates,  "but  in  the  last  two  years,  because  of  the  difficult  eco- 
nomic Situation  worldwide,  money  Coming  from  the  private 
sector  has  dried  up.  What  we  have  to  do  now  is  seek  out  corpo- 
rate Support  more  aggressively,  and  we  are  restructuring  our 
board  and  hiring  a  managing  director  to  assure  that  progress. 
Foundation  support,  which  was  our  primary  source  of  aid,  has 
also  evaporated,  and  we  recently  found  ourselves  with  a  deficit 
of  $350,000." 

Dance  Theatre's  immediate  response  to  this  financial  emer- 
gency  was  the  radical  move — unhappy  but  necessary — of  shut- 
ting  down  all  but  the  senior  preprofessional  division  of  its 
school. 

This  is  not  the  first  hard  accommodation  Mitchell  has  had  to 
make  in  the  course  of  Dance  Theatre  of  Harlem's  histofy,  and 
his  sanguinity  remains  unquenched.  "Adversity  only  aids  and 
abets  my  tenacity,"  he  remarks,  "and  if  there's  one  thing  Fve 
learned,  it's  that  achievement  takes  time  and  patience.  What's 
important  is  that,  no  matter  what  you  have  to  go  through,  you 
never  lose  sight  of  your  first  dreams."  D 


DA  NCEMA  GA  ZINE  January  1982 


75 


Composing  for  Ballets 

Vittorio  Rieti, 
An  Interview 

by  Joan  Ross  Acocella 


In  the  Chorus  of  bright,  sharp,  iconoclas- 
tic  voices  that  invaded  European  music  in 
the  1910s  and  1920s,  delivering  it  definite- 
ly  from  Wagnerism,  one  of  the  sprightliest 
was  that  of  Vittorio  Rieti.  Rieti  was  born 
in  1898  to  Italian  parents  living  in  Alexan- 


dria, Egypt.  The  father  owned  a  success- 
ful  import  business,  which  he  planned  to 
pass  along  to  his  son.  The  boy  showed 
an  interest  in  music  and  liked  to  compose 
little  things  at  the  piano— a  laudable  hob- 
by  that  the  parents  encouraged  without 
taking  it  too  seriously.  Here  follows  the 
usual  Story.  After  four  years  in  the  Faculty 
of  Economics  at  the  University  of  Milan 
(1911-1915:  *That  was  one  of  the  silliest 
things  my  father  ever  did  for  me.")  and 
two  years  in  his  father 's  Office  (1915- 
1917),  Rieti  was  still  interested  only  in 
composing  things  at  the  piano.  Dispirited, 
the  father  sold  the  business  to  a  cousin, 
and  in  1917  the  family  moved  back  to 
Italy,  settling  in  Rome. 

Rieti  still  had  had  no  systematic  musical 
education,  nor  did  heeverreceiveone.  (**I 
did  it  myself.  Who  taught  me?  Bach 
taught  me,  Mozart,  Verdi,  Debussy.") 


r/ifs  month,  on  January  28,   1982, 
composer  Vittorio  Rieti  celebrates 
his  eighty-fourth  birthday — an 
occasion  to  he  remembered 
especially  when  you  consider  the 
scope  of  his  long  career  in  music 
and  his  continuing  vitality,  well 
past  the  time  when  most  of  us 
would  be  considering  retirement.  A 
concert  of  his  works  is  scheduled 
to  be  given  in  New  York  in  March 
by  the  St.  Luke*s  Chamber 
Ensemble;  and  last  March  Rieti*s 
opera  The  Clock  was  given  its 
World  premiere  at  the  Brooklyn 
Academy  of  Music.  Rieti  is  an 
extraordinary  octogenarian:  Joan 
Ross  Acocella  teils  us  why  in  the 
following  interview. 


But  he  had  a  folder  of  compositions,  and 
by  making  contact  with  the  musical  world 
in  Rome,  he  was  able  to  get  some  of  them 
played.  Soon  his  name  reached  Diaghi- 
lev's  Sharp  ears,  and  in  the  late  twenties  he 
became  part  of  the  Ballets  Russes  corral  of 
young  talent.  When  Diaghilev,  in  a  grand 
show-off  gesture,  decided  that  for  the 
1 926  London  premiere  of  Stravinsky 's  Les 
Noces  he  would  have  the  four  on-stage 
pianos  played  by  four  young  composers 
(see  how  much  talent  I  have  at  my  dis- 
posal?  I  can  staff  my  pianos  with  com- 
posers), Rieti  was  one  of  the  four.  Out  of 
this  Rieti  gained  some  useful  Publicity  and 
a  lifelong  friendship  with  Stravinsky. 
More  important  for  ballet  history  is  the 
fact  that  Rieti  contributed  two  scores  to 
the  Ballets  Russes,  Barabau  (1925)  and  Le 
Bai  (1929),  both  choreographed  by  Diag- 
hilev's  new  find,  George  Balanchine. 

Within  three  months  of  the  premiere  of 
Le  Bai,  Diaghilev  was  dead,  and  all  his 
young  lions  were  uncaged.  Like  many  of 
the  others,  Rieti  went  on  to  a  rieh  artistic 
maturity,  first  in  Europe,  then  in  the 
United  States.  (Fleeing  the  Nazis,  he 
moved  here  in  1940.  His  mother,  believing 
it  was  safe  to  remain  in  Europe,  died  in 
Auschwitz.)  In  addition  to  his  works  for 
Diaghilev's  Ballets  Russes,  he  has  written 
ballet  scores  for  the  Paris  Opera  Ballet, 
the  Ballet  Russe  de  Monte  Carlo,  Ballet 
Theatre,  the  Joffrey,  the  Harkness,  the 
Royal  Winnipeg  Ballet,  the  Indianapolis 
Ballet,  and  the  New  York  City  Ballet.  Of 
these  scores,  probably  the  most  familiär  is 
La  Sonnambula  (Night  Shadow,  1946) 
on  themes  from  Bellini.  He  also  has  pro- 
duced  a  long  catalogue  of  orchestral  and 
Chamber  works,  which  are  distinguished, 
like  his  ballet  music,  for  their  neoclassical 
virtues:  wit,  elegance,  clarity,  and  rhyth- 
mic  vitality.  Today  he  lives  in  New  York 
City,  still  composes  (primarily  for  Musica 
Aeterna  and  the  St.  Luke's  Chamber  En- 
semble), and  has  some  interesting  things 
to  say  about  Diaghilev  and  Stravinsky. 


76 


\ 


DA  NCEMA  GA  ZINE  January  1982 


Äcocella:  Who  was  it  who  introduced  you 
to  Diaghilev? 

Rieti:  With  Diaghilev  it  came  like  that.  I 
had  a  piece  played,  a  concerto  for  wood- 
winds  and  orchestra.  It  was  first  per- 
formed  in  an  ICSM  festival  in  Prague. 
From  there  it  went  all  around.  And  it  was 
played  in  Paris  by  a  symphonic  group.  I 
was  not  there,  and  Diaghilev  was  not 
there.  But  some  people— Poulenc  and  old 
man  Messager  [Andre  Messager,  French 
composer  and  conductor  (1853- 
1929)] — they  were  there,  and  later  they 
told  Diaghilev,  **You  know,  we  heard 
something  which  is  exactly  the  kind  of 
music  you  are  looking  for.  You  should  get 
in  contact.''  So  all  of  a  sudden,  from  out 
of  a  blue  sky,  I  received  a  telegram  from 
Diaghilev.  I  was  in  Rome;  that  was  my 
home.  I  had  never  had  any  personal  con- 
tact  with  him  before. 

Äcocella:  Were  you  delighted? 
Rieti:  Oh,  yes,  you  can  imagine.  The  tele- 
gram asked  me  if  I  could  meet  him  in 
Venice,  in  some  months.  This  was  in  1925. 

Äcocella:  Then  Barabau  must  have  been 
written  very  quickly. 

Rieti:  No,  it  was  already  written.  When  1 
met  Diaghilev  in  Venice  in  1925,  I  had  al- 
ready very  much  stuff .  He  wanted  to  hear 
everything  that  I  had  written.  He  had  a 
piano  there,  and  he  wanted  to  hear  again, 
again,  again.  I  had  a  few  pieces  that  I  had 
written  for  ballet,  without  any  commis- 
sion,  just  like  that,  because  I  liked  the 
form.  One  of  these  pieces  was  Barabau, 
and  that  was  his  choice,  among  other 
things.  But  of  course  I  had  to  revamp  it. 
He  wanted  me  to  add  some  pieces,  be- 
cause it  was  too  Short,  and  this  he  wanted 
to  cut,  and  that  he  wanted  to  change,  and 
on  and  on.'  He  was  very  meticulous.  He 
checked  everything,  bar  by  bar. 

Äcocella:  Is  that  when  you  wrote  him  that 
letter  that  I  have  seen  quoted,  saying, 
**You  can  do  what  you  want  with  this,  but 
don't  ask  me  to  do  anything  more  to  it"?^ 
Rieti:  No,  that  was  about  Le  Bai,  Le  Bai 
was  also  a  story.  It  was  even  more  diffi- 
cult,  because  it  was  from  Scratch. 

Äcocella:  Did  you  ever  ask  yourself 
if  Diaghilev  was  worth  the  trouble? 
Rieti:  Yes,  but  he  was  always  worth  it. 
Diaghilev  was  one  of  the  great  influences 
on  my  life.  He  was  a  real  musician.  For 
him  the  music  was  the  basis  of  the  ballet, 
and  it  was  for  this  reason  that  he  could  at- 
tract  such  high-quality  composers.  But 
going  back  to  Barabau,  this  had  already 
been  written,  as  I  said,  before  I  met  Dia- 
ghilev. It  had  also  been  taken  by  a  publish- 
er,  and  it  was  already  around,  in  Ger- 

DA  NCEMA  GA  ZI  NE  January  1 982 


many.  In  fact,  a  German  choreographer, 
Yvonne  Georgi,  was  already  working  on 
it.  Diaghilev  was  not  too  pleased  about 
that — that  his  Barabau  would  not  be  the 
only  one.  But  his  was  the  world  premiere, 
so  that  was  all  right.  The  Georgi  version 
was  produced  a  few  weeks  after  the  Ballets 
Russes  Version— in  Gera,  a  small  town  in 
Germany.  After  that,  Barabau  was  per- 
formed  all  over  Germany — in  seventeen 
different  theaters,  I  think — always  with 
the  original  score  and  I  don*t  know  what 
choreography — perhaps  the  Georgi,  per- 
haps  something  new. 

Äcocella:  When  did  you  Start  work  on  Le 
Ball 

Rieti:  Almost  as  soon  as  we  had  finished 
with  Barabau.  But  Le  Bai  took  years.  It  is 
on  a  plot  by  Boris  Kochno,  who  was  Dia- 
ghilev*s  secretary.  Kochno  and  I  worked  it 
and  worked  it,  and  Diaghilev  liked  this 
and  not  that,  and  this  and  that,  and 
change  and  change  and  change.  It  dragged 
on  until  at  last  the  ballet  was  performed 
early  in  1929.  And  that,  unfortunately, 
was  Diaghilev's  last  season.  But  during 
those  years,  betwen  1925  and  1929,  I  was 
very  much  in  contact  with  Diaghilev.  I  was 
with  the  Company  every  season,  or  almost 
every  season,  in  Monte  Carlo,  in  Paris,  in 
London.  And  I  also  did  other  little  things 
for  Diaghilev.  In  London,  you  know,  they 
played  music  during  the  intermissions. 
Well,  1  orchestrated  some  pieces  tha^  pia- 
ghilev  wanted  played  during  these  inter- 
missions— a  polka  by  Glinka,  a  piece  by 
Dargomijsky.  Also  during  the  intermis- 
sions I  played  my  own  first  piano  concer- 
to, with  Goossens  [Eugene  Goossens, 
English  conductor  (1893-1962)]— that  was 
in  *27  or  *28 — and  in  1929  I  conducted  a 
suite  that  I  had  made  from  my  Noah*s 
Ärk,  which  was  one  of  those  ballets,  or 
tentative  ballets,  that  I  showed  Diaghilev 
when  I  first  met  him  in  '25. 

Äcocella:  Didn't  Diaghilev  also  ask  you  to 
take  on  Igor  Markevitch,  his  last  protege, 
as  a  pupil? 

Rieti:  Yes,  that  was  this  young  prodigy, 
Markevitch.  He  was  a  Student  of  Nadia 
Boulanger,  like  everyone  eise.  And  so  Dia- 
ghilev feil  in  love.  That's  another  story.  I 
don't  want  to. . . 

Äcocella:  Actually,  that's  in  the  books 
now. 

Rieti:  Well,  Diaghilev  asked  me  to  give 
Markevitch  some  orchestratioh  lessons. 
Markevitch  had  written  a  concerto  for 
piano  and  supposedly  orchestra,  and  Dia- 
ghilev wanted  to  present  him,  playing  this 
concerto,  during  the  London  season  in 
1929.  But  the  piece  was  sketchy,  not  or- 
chestrated, so  the  lessons  I  gave  to  Marke- 
vitch were  mostly  around  that  piece.  He 


was  very  quick.  He  didn*t  know  anything 
about  the  orchestra,  but  he  was  very 
quick,  very  intelligent.  He  came  and  he 
understood,  in  a  minute.  A  long  story, 
Markevitch. 

Äcocella:  Let's  go  back  to  1926.  Once 
Barabau  was  finished,  Diaghilev  asked 
you  to  be  one  of  the  pianists  at  the  1926 
London  premiere  of  Les  Noces. 
Rieti:  Yes,  but  first  we  played  it  in  Paris, 
also  in  1926.  Then  we  went  to  London.  As 
you  know,  the  four  pianos  were  supposed 
to  be  played  by  four  composers,  but  the 
fourth  pianist-composer,  Dukelsky,  was 
not  there  in  Paris,  so  his  place  was  taken 
by  Marcelle  Meyer,  who  was  actually  a 
professional  pianist  and  had  played  at  the 
Paris  premiere  in  '23.  She  played  the  third 
piano,  I  played  the  second,  Poulenc 
played  the  fourth,  and  Auric  played  the 
first.  When  we  got  to  London,  Dukelsky 
was  supposed  to  play  the  third,  taking 
over  from  Marcelle  Meyer.  But  of  course 
he  had  mixed  up  everything,  and  he  pre- 
pared  the  second.  That  was  quite  Dukel- 
sky, to  do  things  like  that.  So  I  was  obliged 
to  take  the  third,  in  spite  of  the  fact  that  I 
had  prepared  the  second.  I  improvised. 

Äcocella:  You  did  what  came  to  you? 
Rieti:  I  did  my  best.  The  whole  thing  was 
not  a  very  good  idea.  After  all,  it  was  just  a 
Publicity  stunt,  to  have  it  played  by  four 
composers.  It's  much  better  when  it's 
played  by  professional  pianists. 

Äcocella:  And  that  was  Diaghilev's  idea? 
Rieti:  Yes,  and  Stravinsky  was  not  very 
happy  about  it.  Stravinsky  was  not  in 
London  for  that  Noces  premiere,  but  he 
was  in  Paris  for  the  1926  Performance  that 
I  played  in.  And  it  was — 1  wouldn't  say 
disastrous,  but  not  very  good.  Musically, 
that  is.  And  Stravinsky  was  not  pleased. 

Äcocella:  Do  you  mean  only  the  first  night 
or  the  following  nights  also? 
Rieti:  I  don't  remember  how  many  times 
we  played  it — probably  three  or  four 
times.  Most  likely,  the  first  time  was  the 
least  good.  In  Paris,  this  was  not  so  impor- 
tant,  because  the  audience  already  knew 
the  music.  They  had  heard  it  already  from 
1923.  But  in  London,  in  1926,  it  was  the 
premiere.  And  it  was  very  ill  received  by 
the  critics.  For  example,  Newman  [Ernest 
Newman,  influential  music  critic  (1868- 
1959),  then  writing  for  London's  Sunday 
Times]. 

Äcocella:  I  think  that  was  the  occasion  on 

which  Newman  called  Stravinsky  a  non- 

entity. 

Rieti:  Yes,  and  he  said  that  there  was  a 

fourth  of  a  composer  at  each  piano. 

Äcocella:  Two  English  critics  noted  that 
the  pianists  seemed  to  be  in  considerable 


77 


i 


pain.  Newman,  for  example,  wrote  that 

there  was  an  *'agonised  expression  on 

their  faces."  Was  the  piece  very  hard  to 

play? 

Rieti:  Yes,  oh,  yes.  And  as  1  said,  we  were 

not  professional  pianists. 

Acocella:  Speaking  of  pianist-composers, 
Stravinsky  played  the  piano  at  many  Per- 
formances of  bis  works  from  the  twenties 
onwards.  How  good  a  pianist  was  he? 
Rieti:  He  played  well  when  he  prepared. 
He  was  not  a  good  sight-reader.  After  all, 
he  was  not  a  professional  pianist  either. 
But  when  he  prepared  something . .  .  And 
also,  he  had  so  much  authority.  He  had 
strong  hands.  He  played  like  iron.  So  it 
was  rather  impressive. . . .  Now  getting 
back  to  that  thing  in  London,  the  Noces 
premiere.  It  was  H.G.  Wells  who  wrote  in 
answer  to  the  English  critics.  He  had  been 
prepared  by  Diaghilev  during  the  rehear- 
sals.  Diaghilev  had  invited  Wells  to  come 
and  hear.  I  remember  very  well.  I  can  see 
them  on  the  stage,  Wells  and  Diaghilev, 
and  Diaghilev  introducing  Wells  to  people 
and  explaining  to  him  what  it  was  all 
about.  And  then  after  the  premiere  Wells 
wrote  that  letter  answering  the  reviewers 
and  defending  the  ballet.^ 

Acocella:  Yes,  and  Diaghilev  had  the  letter 
distributed  at  the  theater  at  subsequent 


Performances. 

Rieti:  Diaghilev  was  always  interested  in 
the  newspapers,  the  press  reports.  He  was 
rather  sensitive  to  that,  for  practical  rea- 
sons,  of  course,  because  it  has  a  certain 
impact.  Not  the  impact  that  it  has  here  in 
America,  where  a  critic  can  destroy  a 
thing.  The  same  in  Germany.  But  not  in 
England.  In  England  the  public  is  very 
much  independent.  Barabau,  for  in- 
stance,  was  premiered  in  London,  and  the 
reviews  were  very  bad.  But  the  public,  no, 
the  public  enjoyed  it  very  much. 

Acocella:  That  seems  to  have  been  some- 
what  the  case  with  Les  Noces  as  well.  Did 
you  ever  get  a  chance  to  see  the  ballet, 
without  playing  it? 

Rieti:  Yes,  but  not  in  that  season.  I  saw  it 
years  after,  in  revivals.  But  then,  no,  we 
didn't  see  it.  Well,  we  saw  a  little.  In  Lon- 
don the  pianos  were  on  the  stage.  In  Paris, 
no,  they  were  in  the  pit. 

Acocella:  In  1926,  in  Paris,  the  pianos 
were  in  the  pit? 

Rieti:  Yes.  But  mih  Les  Noces,  you  know, 
the  ballet  is  not  essential.  After  all,  it's  a 
cantata,  much  more  than  a  ballet.  The  im- 
portance  of  Noces  is  the  music. 

Acocella:  Why  do  you  think  the  critics 
were  so  hostile  to  the  music?  They  had  had 


Rieti  and  his  lifelong  friend 
Igor  Stravinsky  are  seen 
studying  a   score  in  this 
classic  H.   Cartier-Bresson 
photograph. 


78 


ten  years  to  swallow  Sacre — actually,  thir- 
teen  years  in  the  case  of  London. 
Rieti:  It*s  very  difficult  to  teil.  Even  with 
SacrCy  the  whole  thing  is  not  so  easy  to 
understand.  You  can  say  that  the  public 
was  not  prepared  for  that  kind  of  music. 
But  then,  the  foUowing  year,  in  Paris,  the 
Sacre  was  played  in  concert,  again  with 
Monteux,  and  it  was  a  huge  success.  Now 
it*s  not  possible  that  in  just  one  year  the 
public  could  come  so  far.  It  was  just  an- 
other  public.  The  public  of  the  concerts 
and  the  public  of  the  ballet  are  not  the 
same.  The  public  of  the  ballet,  of  the 
theater,  it's  much  more  amateurish.  The 
Sacre  scandal,  a  little  bit  it  was  a  repetition 
of  what  happened  fifty  years  before,  with 
Tannhäuser  in  Paris.  That,  too,^  was  a 
famous  scandal.  But  there  again,  it  was 
not  so  much  that  they  didn't  appreciate 
the  music.  It  was  that  the  theater  public 
wanted  an  opera  with  ballet  in  it,  and  with 
this  and  with  that,  and  not  that  kind  of 
thing. 

Acocella:  They  wanted  what  they  were 
used  to. 

Rieti:  Yes,  they  wanted  a  Meyerbeer 
opera.  And  Tannhäuser  is  only  half 
Meyerbeer.  You  know,  that  Sacre  concert 
in  1914,  I  heard  a  very  amusing  anecdote 
about  that.  It  was  told  to  me  by  Casella 
[Alfredo  Casella,  Italian  composer  (1883- 
1947)1,  who  was  there.  He  was  in  a  box  to- 
gether  with  some  people,  including  Saint- 
Saöns.  So  you  know  how  Sacre  Starts,  with 
the  bassoon  playing  the  high  C.  At  the 
first  note,  Saint-Saens  says,  **Who's  that? 
Who*s  playing  that?"  And  the  people  say, 
'The  bassoon."  **It's  not  possible,"  he 
says,  and  he  looked.  And  dejected,  he  sat 
back .  At  the  end  of  the  first  part  he  walked 
out. 

Acocella:  He  too  wanted  what  he  was 
used  to. 

Rieti:  Yes,  Saint-Saöns  was  terribly  con- 

servative,  an  enemy  of  everything  which 

was  new. 

Acocella:  The  long  composition  period  of 
Les  Noces  raises  some  questions.  One 
wonders  whether,  if  Stravinsky  had  start- 
ed  it  in  1921  or  1922— in  other  words,  clos- 
er  to  the  time  of  its  premiere — rather  than 
in  1914,  he  would  have  written  something 
of  that  kind. 

Rieti:  Probably  not,  because  by  then  he 
was  already  in  his  neoclassic  phase.  No,  he 
probably  wouldn't  even  have  chosen  that 
subject,  to  say  nothing  of  that  musical 
style.  Even  if  the  final  version  of  Noces  is 
1923,  the  music  belongs  in  exactly  the 
same  period  as  Sacre.  The  rhythmic  pat- 
terns,  the  changes  of  rhythm — these  are 
the  patterns  he  invented  in  the  Russian 
period,  and  in  the  so-called  neoclassic  they 

DANCEMAGAZINE  January  1982 


disappear.  Les  Noces  is  the  crowning  of 
Stravinsky's  Russian  period,  by  which  I 
do  not  mean,  though,  that  I  think  it  is  bet- 
ter than  Sacre.  But  for  us  Les  Noces  was  a 
revelation.  You  know,  you  ask  me  about 
Stravinsky.  There  is  an  aspect  of  Stravin- 
sky  that  I  don't  think  has  ever  been  put  in 
the  right  focus.  That  is  this:  He  changed 
his  mind  about  everything,  about  Wagner, 
about  Verdi,  about  Prokofiev,  about  Mo- 
zart— over  the  years  you  can  hear  him  say 
the  exact  opposite  of  what  he  said  before 
— but  he  never  recognized  the  fact  that  he 
had  changed.  It  was  a  kind  of  complete 
conflict  with  him.  On  the  one  side  was  his 
evolutionary  experience,  which  was  very 
healthy.  It's  not  a  fault,  to  change.  After 
all,  it*s  only  stupid  people  who  always  say 
the  same  thing.  But  on  the  other  side  were 
his  strong  orthodox  religious  views,  his 
philosophy,  or  his  assumed  philosophy — I 
don't  know  if  it  was  very  sincere — that 
things  don't  move,  don't  change.  So  what 
happened  was,  he  changed  but  he  never 
admitted  it.  He  always  found  some  rea- 
son,  some  justification,  to  prove  that  he 
said  always  the  same  thing,  when  some- 
times  it  was  the  exact  opposite.  And  not 


only  about  other  people's  work,  but  also 
about  his  own.  For  instance,  the  Sym- 
phony  of  Psalms.  In  later  years,  he  would 
take  the  very  last  section  almost  twice  as 
slowly  as  he  did  originally.  Originally  it 
was  da  da  da-da  dee.  Then  later  it  was 
daaa  daaa  daaa-daaa  deee.  Double  lento. 
I  said  to  him,  **You  know,  I  heard  it  the 
first  time,  and  it  was  not  like  that." 
**Oh,"  he  said,  **well,  at  that  time  they 
were  not  used  to  that,  so  I  had  to. .  . "  But 
of  course,  it's  not  more  difficult  to  play  it 
more  slowly.  It's  just  that  he  didn't  want 
to  admit  that  he  had  changed  his  mind. 

Acocelia:  Of  course,  his  style  changed, 
too,  many  times  and  drastically.  Do  you 
think  that  in  all  that  evolution  Stravinsky 
had  one  **great,"  or  at  least  greatest, 
period? 

Rieti:  Yes.  I  think  the  great  Stravinsky  is 
the  Russian  Stravinsky.  His  most  impor- 
tant  work — what  will  stay  in  history — is 
Firebird,  Petrouchka,  Sacre  du  Prin- 
temps,  Renard,  Noces,  also  Histoire  du 
Soldat.  And  of  all  his  Symphonie  or  Cham- 
ber music,  the  so-called  neoclassical,  the 
best  is  the  first:  the  Octet  for  Wind  In- 


struments. But  you  know,  whatever  he 
did,  it's  always  Stravinsky.  In  a  sense,  it's 
better  than  anything  eise. 

Footnotes 

1  For  a  discussion  of  the  changes  that  Rieti  made  in 
the  score  of  Barabau  at  Diaghilev's  behest,  see 
Reha  Adler,  "Vittorio  Rieti \s  Harahau,"'  Dance 
Chronick\  Vol.  4,  No.  4  (1982),  in  prcss. 

2  This  letter,  misquoted  in  the  interview,  reads,  in 
füll,  as  foUows:  "February  27,  1929.  Dear  Mon- 
sieur Diaghilev:  Here  is  Le  Bai.  It  is  dedicated  to 
you;  it  is  yours;  do  what  you  want  with  it,  but  above 
all  don't  expect  me  to  work  on  it  any  more!  Yours, 
as  always,  Vittorio  Rieti. "  Now  in  the  collection  of 
the  Stravinsky-Diaghilev  Foundation,  New  York, 
the  letter  is  quoted  in  S.L.  Grigoriev,  The  Diaghilev 
Ballet:  1909-1929,  translated  and  edited  by  Vera 
Bowcn  (Harmondsworth,  Middlcsex:  Pcnguin, 
1960),  p.  257. 

3  Wclls's  June  18,  1926  letter  protcslcd  against  the 
London  critics'  "conspiracy  of  wilful  stupidity" 
and  claimed  that  Les  Noces  was  "a  rendering  in 
sound  and  vision  of  the  peasant  soul,  in  its  gravity, 
in  its  deliberate  and  simple-minded  intricacy,  in  its 
subtly  varied  rhythms,  in  its  deep  undercurrents  of 
excitement,  that  will  astonish  and  delight  every 
intelligent  man  or  woman  who  goes  to  see  it."  The 
füll  text  of  the  letter,  along  with  excerpts  from  the 
reviews  that  provoked  it,  may  be  found  in  Nesta 
Macdonald,  /)/V/^'/7//c'v'  Ohserved,  hy  Critics  in  Eng- 
land and  the  United  States,  1911-1929  (New  York: 
Dance  Horizons,  and  London:  Dance  Books, 
1975),  pp.  324-329. 


* 

I 


Chronology:  RIETI  BALLETS 

Barahau,  Ballet  with  chorus.  Choreography:  George  Balanchine.  Libretto: 
Rieti,  based  on  Italian  nursery  rhymc.  Scenery  and  cosiumcs:  Maurice 
Utrillo.  First  Performance:  Dec.  11,  1925,  The  Coliseum,  London,  Ballcts 
Russes  de  Diaghilev,  Later  versions  include:  Yvonne  Gcorgi  (1925),  Ninctte 
de  Valois  (1936),  George  Verdak  (1975). 

Le  Bai  Choreography:  Balanchine.  Libretto:  Boris  Kochno.  Scenery  and 
costumcs:  Giorgio  de  Chirico.  First  Performance:  May  7,  1929,  Casino, 
Monte  Carlo,  Ballets  Russes  de  Diaghilev.  Later  versions  include:  Kurt  Jooss 
(1930),  Leonide  Massine  (1935). 

David  Triomphant.  Choreography:  Serge  Lifar.  Scenery  and  costumcs: 
Fernard  Leger.  First  Performance:  Dec.  15,  1936,  Ihcatrc  de  ia  Maison 
Internationale  des  Etudiants,  Paris.  For  later  Performances,  at  Paris  Opera, 
Rieti  supplementcd  the  original,  all-percussion  score  with  music  for  other 
instruments. 

Waltz  Academy.  Choreography:  Balanchine.  Scenery:  Oliver  Smith. 
Costumcs:  Alvin  Colt.  First  Performance:  Oct.  5,  1944,  Boston  Opera 
House,  Boston,  Ballet  Theatre. 

The  Mute  Wife.  Choreography:  Antonia  Cobos.  Music:  Rieti,  symphonic 
elaboration  of  Paganini's  etudes,  ending  with  Paganini's  Moto  perpetuo. 
Libretto:  based  on  story  by  Anatole  France.  Scenery  and  costumcs:  Rico 
Lebrun.  First  Performance:  Nov.  22, 1944,  International  Theatre,  New  York, 
Ballet  International. 

Night  Shadow.  Choreography:  Balanchine.  Music:  Rieti,  on  thcmes  from 
operas  of  Bellini.  Libretto:  Rieti.  Scenery  and  costumcs:  Dorothea  Tanning. 
First  Performance:  Feb.  27,  1946,  City  Center,  New  York,  Ballet  Russe  de 
Monte  Carlo.  Later  performed  by  many  other  companies,  including  Grand 
Ballet  du  Marquis  de  Cuevas  (1948),  Royal  Danish  Ballet  (1955),  New  York 
City  Ballet  (1960),  Ballet  Rambert  (1961),  London  Festival  Ballet  (1967), 
American  Ballet  Theatre  (1981).  In  1961  Balanchine  renamcd  the  ballet  La 
Sonnambula. 

The  Triumph  of  Bacchus  and  Ariadnc,  Ballet-cantata.  Choreography: 
Balanchine.  Libretto:  based  on  carnival  song  written  by  Lorenzo  de  Medici. 
Scenery  and  costumcs:  Corrado  Cagli.  First  Performance:  Feb.  9,  1948,  City 
Center,  New  York,  Ballet  Society.  Later  version:  George  Verdak  (1971). 


Pasticcio.  Choreography:  Ruthanna  Boris.  Music:  Rieti,  from  various  pieces. 
Scenery:  John  A.  Russell  and  John  Graham.  First  Performance:  Feb.  27 
(23?),  1956,  Winnipcg,  Royal  Winnipcg  Ballet. 

Native  Dancers.  Choreography:  Balanchine.  Music:  Rieti,  Symphony  no.  5 
(1945).  Scenery:  David  Hays.  Costumcs:  Peter  Larkin.  First  Performance: 
Jan.  14,  1959,  City  Center,  New  York,  New  York  City  Ballet. 

Partita  for  tour.  Choreography:  Gerald  Arpino.  Music:  Rieti,  from  Partita 
(1945).  Scenery:  Thomas  R.  Skelton.  First  Performance:  May  14,  1961 ,  92nd 
Street  YM-YWHA,  New  York,  Gerald  Arpino  &  Co.  Revived  by  City  Center 
Joffrey  Ballet  (1968). 

Madrigal  Suite.  Choreography:  George  Verdak.  Music:  Rieti,  Madrigale 
(1927).  First  Performance:  May  3,  1963,  Clowes  Hall,  Indianapolis,  Butler 
University  Ballet. 

Capers {aho Caprices).  Choreography:  Brian  Macdonald.  Music:  Rieti,  from 
various  piano  pieces.  First  Performance:  Oct.  15,  1963(7),  Kirov  Theater, 
Leningrad,  Robert  Joffrey  Ballet. 

Harlequin  and  Columhine.  Choreography:  George  Verdak.  Music:  Rieti, 
Quartet  no.  1  (1926).  First  Performance:  1967,  Ciowcs  Hall,  Indianapolis, 
Butler  University  Ballet. 

Suite  Champetre.  Choreography:  George  Verdak.  First  Performance:  June 
20,  1975,  Civic  Theater,  Indianapolis,  Indianapolis  Ballet  Theatre. 

Scenes  Seen.  Choreography:  George  Verdak.  First  Performance:  March  26, 

1976,  Clowes  Hall,  Indianapolis,  Indianapolis  Ballet  Theatre. 

(iemini Sextet.  Choreography:  George  Verdak.  First  Performance:  Nov.  9, 

1977,  Civic  Theater,  Indianapolis,  Indianapolis  Ballet  Theatre. 

String  Quartet  No.  3.  Choreography:  Dace  Dindonis.  First  Performance: 
Nov.  9,  1977,  Civic  Theater,  Indianapolis,  Indianapolis  Ballet  Theatre. 

Medieval  Variations.  Choreography:  George  Verdak.  First  Performance: 
Feb.  1978,  Civic  Theater,  Indianapolis,  Indianapolis  Ballet  Theatre. 

Where  the  music  is  not  specified,  the  title  of  the  published  composition  is  the 
same  as  that  of  the  ballet.  In  addition  to  the  works  listed  above,  a  number  of 
ballets  by  Balanchine,  Anton  Dolin,  John  Taras,  and  others  have  used  music 
arranged  and  orchestrated  by  Rieti.  — J.R.A. 


*  ^^0^»^0^0^9^9^^^0^^^0^9^0^^^^^0^0^0^^^*^0^0^0^0^0^0^0^»^0^0^0^9^0^»'^^0^9^0^  ^■^#s»^s#s»#s»s»^s»^s»^s»^s#^s»^s#s#^s^.#^s#>#»^>^s»s#s»s»s#>^s»>»>^>#s»s»s»'^s»s#s»v#s 


<^>^ 


DANCEMAGAZINE  January  1982 


79 


'\.  ^ 


/ 


>*k-*i^- 


''••HW 


^ 


^  A^.V'M*"* 


'■^y*' 


on  the  Cover 

A  Chorus  Line*5  nzzle-dazzle  ßnsüe, 
**Otte, "  from  the  film  choreographed  by 
Jeffrey  Hornaday  and  directed  by  Richard 
Attenborough.  Related  features  begin 
pages  46  and  51,  Photo  by  Jack  Mitchell, 


Finis  Jhung,  director  of  the 
small'but-mighty  Chamber 
Ballet  U,S.A,  See  page  54, 


Dancemaeßzme 


4  Press time  News/ Gary  Parks 

25  Review  Contents 

30  Dancescape 

32  Editor's  Log/William  Como 

66    Dance  &  Fashion  and  Best  Buys  for 
the  Holidays/ Nancy  Vreeland 

68    Technique:  International 

Competitions:  How  Do  Americans 
Stack  UpT/Manan  Horosko 

70    Personal  You:  How  Many  Vitamins 
Are  Enough?/Manan  Horosko 

72  Dancevision:  Dance  on  TV /John  Gruen 

74  Dance  A  Video/ Deirdre  Towers 

87  New  Dance  Books 

99  Education 

104  Obituaries:  Stanley  Judson,  Helen 
Kingsbury,  Hugh  Lambert,  Larry  Lynd, 
Arthur  Mahoney,  Margo,  John  Herbert 
McDowell,  Rafael  Romero,  Terry 
Westmoreland 

105  Dance  Directory 
114    Classifieds 


december  Jine-up 


20    JEAN  GORDON,  1903'1985/Richard  Philp 


n% 


Volume  LIX  No.  12 


December  1985 


Dance  Magazine  (lSSN-001 1-6009)  is 
published  monthly  by  Dance  Magazine,  Inc., 
33  West  60th  St.,  New  York.  NY  10023.  Jean 
Gordon,  President;  Robert  Stern,  Secretary. 
Second  class  postage  paid  at  New  York,  New 
York,  and  additional  mailing  Offices.  Copyright 
1 985  by  Dance  Magazine,  Inc.  AU  rights 
reserved.  Contents  of  the  magazine  may  not 
be  reproduced  in  whole  or  in  part  without 
permission.  Printed  in  U.S.A.  Dance  Magazine 
is  the  only  dance  publication  indexed  in  the 
Readers '  Guide  to  Periodical  Literature. 
Recorded  on  Microfilm  and  N  Y.-Microfiche 
at  Xerox  University  Microfilms,  Ann  Arbor, 
Michigan,  and  Bell  and  Ho  well,  Micro  Photo 
Division,  Wooster,  Ohio.  Book  reviews  are 
indexed  in  "Book  Reviews  Index. "  Unsolicited 
manuscripts  must  be  accompanied  by  a 
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responsibility  for  unsolicited  manuscripts  or 
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le/i  or  submitted  on  speculation.  Subscription 
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year  $23. 95,  two  years  $42. 90.  Single  copies: 
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change  of  address  call  toll  free  800-227-5782 
(Continental  U.S.A.  or  Canada),  or  write  to 
Dance  Magazine,  Box  960,  Farmingdale,  NY     11737. 
*  Dance  Magazine.  Inc..  1985 

DANCEMAGAZINE  December  1985 


42    TIM  WENGERD:  SOLO  ADVENTURES/Marilyn  Hunt 

His  choreography  displays  an  American  robustness  ofprairies  and  open  space,  and  his 
roots  are  in  the  American  Southwest.  This  month,  Wengerd  shares  his  new  adventures 
in  a  one-man  concert  at  New  York*s  Riverside  Dance  Festival. 

46    A  CHORUS  LINE  COMPLETE:  The  Movie  Tbey  Said  Would  Never  Be  Made/ 

Kevin  Grubb 

The  S24-million  filming  of  Broadway*s  longest-running  show  brings  together  director 
Richard  Attenborough  and  choreographer  Jeffrey  Homaday  in  a  powerful  drama 
about  seventeen  young  Broadway  gypsies  willing  to  bare  all  to  get  the  show. 

51    JEFFREY  HÖRN  ADA  Y  BREAKS  TRADITION:  Life  after  Flashdance/D/wi  Cox 

When  Michael  Bennett  first  choreographed  A  Chorus  Line  Off-Broadway  a  decade 
ago,  Homaday  was  a  San  Jose  high  school  dropout  whose  ßrst  big  break  would  be 
choreographing  music  videos  in  Mexico.  Now,  with  the  success  o/*  Flashdance  behind 
him  and  his  latest  dance  Ulm,  A  Chorus  Line,  about  to  be  released,  he*s  the  hottest 
ßlm  choreographer  in  Hollywood. 

54    GREAT  THINGS  IN  A  SM  ALL  PACKAGE:  Finis  Jhung's  Chamber  BaUet 

U.S.A./Gary  Parks 

Here*s  a  compact  ballet  Company  that's  portable  and  affordable — and  its  growing 

success  is  helping  to  set  a  trend. 

HC'l    NUTCRACKER  A  HOLIDA  Y  CALENDAR 

HC'3    CONTENTS:  Where  to  Find  Festivals,  Performances,  Tours,  and  Workshops 
During  the  Holiday  Season 

59  RIETPS  BALLETS  RESTAGED:  Haunted  Ballroom/Joan  Ross  Acocella 
Vittorio  Rieti,  one  of  the  last  living  Diaghilev  coUaborators,  is  still  creating  and 
orchestrating  ballet  scores.  Indiana  Ballet  Theatre's  Rieti  Festival  not  only  featured 
early  Rieti/Balanchine  works — Le  Bai  and  Barabau — but  also  offered  two  new  ballets: 
Dace  Dindonis's  Indiana,  and  Suite  de  Valses,  created  by  the  Company 's  artistic 
director,  George  Verdak,  to  Chabrier  waltzes  orchestrated  by  Rieti. 

60  MOTHERS  WHO  DANCE/Anne  Wilson  Wangh 

The  two  professions  are  not  mutually  exclusive  as  people  once  believed:  These  days, 
mothering  can  dovetail  with  dancing  in  ways  the  dancer  never  dreamed  possible. 


^A 


Italian  prima  ballerina  Carla  Fncci, 
Seen  here  with  her  husband,  Beppe 
Menegatti,  and  their  soa,  Francesco, 
cff.  1970,  i§  one  of  the  mothers  who 
dance  featured  in  an  articie  beginning 
on  page  60, 


i"^: 


PRESSTIME  NEWS 


'#s 


#• 


POINTING 
DANCERS  TO 
TOMORROW 

NEW  YORK  CITY— "Kl88  to- 
day  goodbye  and  point  me 
toward  tomorrow"  begins  the 
populär  song  "What  I  Did  for 
Love"  from  the  long-running 
Broadway-musical-tumed-mo- 
vie  A  Chorus  Line.  The  lyrics 
articulate  the  purpose  of  a 
newiy  formed  division  of  The 
Actors'  Fund  calied  Career 
Transitions  for  Dancers.  A 
benefit  premlere  of  Richard 
Attenborough's  film  of  A 
Chorus  Line  December  9  at 
Radio  City  Music  Hall  is  ex- 
pected  to  raise  $100,000  for 
the  fund. 

The  program's  origins  may 
be  traced  to  the  Conference 
on  Career  Transitions  for 
Dancers,  held  in  June  1982  at 
Lincoln  Center.  Managed  by 
Ed  Weston,  a  former  Broad- 
way dancer  and  the  executive 
director  of  the  West  Coast 
chapter  of  Actors  Equity,  the 
Conference  focused  on  a  com- 


Danca:  10;  Looks:  10.  Even  If 
you're  a  high  scorer  llke  A 
Chorus  Un€t%  Audrey  Landers, 
it  may  be  difficult  to  find  an- 
other  |ob  after  retiring  from  the 
boards. 

mon  plight.  Because  they 
spend  most  of  their  lives 
studying  dance  and  music. 
dancers  find  they  have  limited 
employment  opportunities 
outside  the  theater. 


Diane  Nichols,  director  of 
social  sen/ices  for  The  Actors' 
Fund  and  Career  Transitions 
for  Dancers,  as  well  as  a  clini- 
cal  social  worker,  believes 
that  "when  dancers  must  stop 
dancing  because  of  injury  or 
age,  they  go  into  a  period  of 
mourning.  They  may  still  be 
physically  fit,  but  may  feel  lost 
because  their  livelihood  has 
been  taken  away." 

According  to  Nichols,  Ca- 
reer Transitions's  functk)ns 
may  be  divided  into  five 
categories:  1)  providing  psy- 
chological  counseling;  2)  pro- 
viding vocational  testing  and 
career  counseling;  3)  provid- 
ing training  grants  toward 
courses  designed  to  develop 
other  skills;  4)  establishing  in- 
temships  with  both  dance  and 
nondance  businesses  (the 
first  will  be  with  the  Shubert 
Organization);  and  5)  organiz- 
ing  educational  Seminars  with 
dance  companies  to  alert 
dancers  how  to  plan  ahead. 

The  advisory  committee  for 
Career  Transitions  for  Danc- 
ers includes  Mikhail  Barysh- 


JOFFREY  CELEBRATES  30  YEARS  WITH  NEW  PLANS 


LOS  ANGELES,  California- 
Robert  Joffrey,  artistic  director 
of  the  bicoastal  Joffrey  Ballet, 
has  announced  plana  for  the 
next  three  seasons,  with  ac- 
tivities  ranging  from  New  York 
to  California. 

The  thirtieth  anniversary  of 
the  Company  will  begin  in 
Spring  1986  with  new  produc- 
tion  designs  for  John  Cranko's 
Romeo  and  Jul/'et,  first  per- 
formed  by  the  Joffrey  in  1984. 
New  ballets  by  associate  artis- 


NEWS  INDEX 


issues  in  the  News 6 

Sokolow  Endures 6 

Halprin  Renewt 

Myth'8  Power 9 

Ft.  Worth's  Dancing  ......  10 

Bay  Area  Loses  Exec....  10 

Hotline 12 

Ballet  au  Centre 101 

Bat-Dor's  Works 101 

Can  Portiand 

Divide  By  Two? 102 

Usher  on  Stage 102 

Chicago  Restarts 103 

Dance  Conspiracy ........  103 

Obituaries 104 


tic  director  Gerald  Arpino, 
Laura  Dean,  and  James  Ku- 
delka  will  be  added  to  the  rep- 
ertoire.  A  work  specially  com- 
missioned  by  the  Mancher 
Auditorium  of  the  University  of 
Iowa  will  celebrate  the  fiftieth 
anniversary  of  the  Iowa  Center 
for  the  Arts. 

The  Company  premiere  of 
Frederick  Ashton's  evening- 
long  Fif/e  Mal  Gardöe  will  take 
place  next  fall.  This  1 960  work 
augments  the  Joffrey's  collec- 
tion  of  Ashton  ballets,  which  is 
the  largest  of  any  American 
Company.  (The  Joffrey  has 
previously  danced  Fif/e  in  a 
1960  Staging  by  Fernand 
Nault.  Rochelle  Zide  was  Lise, 
and  Arpino  portrayed  Colin.) 
Also  in  the  fall  of  1986,  mave- 
rick  choreographer  Mark  Mor- 
ris will  create  his  first  work  for 
the  troupe. 

A  reconstruction  of  Vaslav 
Nijinsky's  1913  Sacre  du  Prin- 
temps  will  highlight  the  1 987 
season.  Dance  historian  Milli- 
cent  Hodson  will  restage  the 
choreography  to  Stravinsky's 
monumental  score.  The  Jof- 
frey's September  engagement 


that  year  at  the  Dorothy  Chan- 
dler  Pavillon  will  be  part  of  the 
1 987  Los  Angeles  Festival. 

That  city  will  see  the  first 
production  of  the  company's 
full-evening  Nutcraci^er  in  De- 
cemk>er  1 988.  It  is  hoped  that 
Performances  will  be  sched- 
uled  at  both  the  Dorothy 
Chandler  Pavillon  and  the 
Orange  County  Performing 
Arts  Center'. 

Meanwhile,  the  Joffrey's 
1985-86  national  tour  begins 
in  February  with  stops  in  Iowa 
City,  Minneapolis,  Chicago, 
and  Washington,  D.C.  Follow- 
ing  return  engagements  in 
New  York  and  Los  Angeles 
next  spring,  the  Company  will 
perform  in  San  Diego  and  San 
Francisco.  D 


Joffrey  Classic:  Four  of  the 
original  six  members  of  the 
Company:  Gien  Tetiey,  John 
Wilson,  Beatrice  Tompkins,  and 
Gerald  Arpino.  (The  others 
were  Diane  Consoer  and  Bru- 
niida  Ruiz).  Robert  Joffrey 
founded  his  Company  in  1956, 
when  he  was  only  twenty-five 
years  old. 


nikov,  Michael  Bennett,  Agnes 
de  Mille,  Peter  Gennaro,  Gene 
Kelly,  Arthur  Mitchell.  Sono 
Osato,  Jerome  Robbins,  Her- 
bert Ross,  and  Gwen  Verdon. 
Tickets  for  the  premiere  are 
priced  $50  to  $100  and  may 
be  obtained  by  calling  Wally 
Munroat  (212)  221-7300. 

For  a  brochure  on  Career 
Transitions  for  Dancers,  write: 
The  Actors'  Fund  of  America, 
1501  Broadway,  Suite  2400. 
New  Yori<,  NY  10036. 

Kevin  Grubb 

DAY  TO  DANCE 

MONTREAL,  Canada— The 
Dance  Committee  of  the  Inter- 
national Theatre  Institute  des- 
ignated April  29  as  Interna- 
tional Dance  Day  at  the  XXI 
Worid  Congress  last  June. 
That  dato  is  the  k)irthday  of 
Jean-Georges  Noverre,  the 
eighteenth-century  ballet  re- 
former  and  author  of  the  influ- 
ential  Lettres  sur  la  danse  et 
sur  /es  bai/ets  (1 760). 

Among  the  countries  in- 
forming  the  ITI  secretariat  of 
their  observance  of  the  day 
are  Belgium,  Canada,  Cyprus, 
Great  Britein,  Hungary,  India, 
Poland,  and  the  U.S. 

In  other  action  by  the  com- 
mittee, Chetna  Jalan  of  Cal- 
cutta  was  elected  one  of  the 
new  vice-presidents  of  the 
group.  An  exponent  of  kathak, 
a  narrative  form  of  Indien 
dance  combining  both  Hindu 
and  Muslim  influences,  Jalan 
delivered  the  national  report 
from  India  to  the  Committee's 
plenary  session. 

Sunll  Kothari 


DANCEMAGAZINE  December  1985 


Haunted  Ballroom: 

Rieti's  Balkis 


Restaged 


by  Joan  Ross  Acocella 


Tk  TTot  many  of  Diaghilev's  collaborators  are  still 
/  ^/  around,  but  one  who  is  is  Vittorio  Rieti,  composer 
JL  If  of  feraZ7aw(  1925)  and  Lefey(l 929),  amongBalan- 
chine's  first  and  last  ballets  for  Diaghilev's  Company.  On 
September  14,  Indianapolis  Ballet  Theatre,  whose  artistic 
director,  George  Verdak,  has  choreographed  a  dozen  works 
of  bis  own  to  Rieti  scores,  staged  a  Rieti  Festival,  to  honor 
the  composer's  achievement,  early  and  late.  On  the  program 
were  two  new  ballets,  Indiana,  by  Dace  Dindonis  to  a  com- 
missioned  score  by  Rieti,  and  Suite  de  VaJses,  with  choreog- 
raphy  by  Verdak  to  a  set  of  Chabrier  waltzes  orchestrated  by 
Rieti.  But  the  biggest  draws  of  the  Rieti  Festival  were  Ver- 
dak*s  remountings  of  Barabau  and  Le  Bai. 

For  Le  Bai,  Verdak  tried  to  create  something  suggestive  of 
the  original  choreography,  using  photographs  and  reviews  of 
the  1929  production,  along  with  a  marked  piano  score,  which 
he  owns.  He  also  relied  on  the  evidence  of  other,  related 
Balanchine  ballets:  the  film  footage  of  Cotillon,  some  of 
which  is  Said  to  have  been  cannibalized  from  LeBal,  and  also 
the  extant  choreography  of  La  Sonnambula,  which,  though 
much  later,  resembles  LeBalamd  Cotillon  thematically — the 
fatal  encounter  with  the  mysterious  lady — in  addition  to  the 
fact  that  it  too  has  a  Rieti  score.  Verdak's  Bai  also  repro- 
duced  di  Chirico's  original  set  and  his  amazing  costumes, 
fashioned  from  architectural  motifs,  with  trouser  legs,  for 
example,  as  fluted  columns  and  bosoms  braced  by  lonic  capi- 
tals.  Even  just  the  costume  designs — which,  on  loan  from  the 
Wadsworth  Atheneum,  were  exhibited  at  the  Indiana  State 
Museum  in  honor  of  the  Rieti  Festival — give  off  an  over- 
whelming  strangeness,  joining  ancient  and  modern,  mobile 
and  static,  the  quick  and  the  dead,  just  as  the  heroine  of  the 
ballet  goes  from  young  beauty  to  wizened  hag  and  back 
again.  The  original  ballet  must  have  been  a  powerful  experi- 
ence  of  surrealism,  a  dream  both  horrid  and  lovely,  and 
Verdak's  tribute  conveyed  some  memory  of  this  shock. 
With  Barabau  Verdak  wielded  a  freer  band,  for  he  had  less 

Vittorio  Rieti,  ca.  1955. 


Dale  Shields  and  Kevin  TrybaJski  in  George  Verdak's  new  rersion  of 
Le  Bai. 


pictorial  evidence.  The  sets  and  costumes,  originally  by 
Utrillo,  were  redesigned  by  the  French  painter  Fabio  Rieti 
(the  composer's  son),  and  the  choreography  is  brand-new 
Verdak.  Barabau  teils  of  a  wily  Italian  peasant  who  feigns 
death  to  avenge  himself  on  the  local  militia,  who  have  tram- 
pled  his  vegetable  garden.  From  this  humble  joke  Verdak 
spins  out  dances  füll  of  sweet  and  pungent  comedy.  Upon 
Barabau's  "death,"  all  the  village  women  hurl  themselves,  in 
a  huge,  grieving  heap,  on  his  body — one  wonders  that  he 
survived — and  his  little  vegetables  (IBT  students  encased  in 
papier-mache  sculptures  of  carrot,  eggplant,  etc.)  bow  their 
leafy  heads  in  sorrow.  Meanwhile  the  chorus  intones  the 
requiem:  **E  morto  Barabau!  /  Ucciso  da  dolor!'*  If  only  to 
air  Rieti's  glorious  cantata,  here  played  by  the  Indianapolis 
Symphony  Orchestra  and  sung  by  the  United  Methodist 
Church  Choir,  this  production  was  a  gift. 

Also  honored  at  the  festival,  and  in  attendance  with  Rieti, 
was  Alexandra  Danilova,  who,  as  a  young  Diaghilev  recruit, 
figured  among  the  gap-toothed  peasant  chorus  of  Barabau 
and  who,  four  years  later,  danced  the  lead  in  Le  Bai.  In  the 
State  Museum  exhibition,  one  could  see  a  photograph  of  her 
in  the  latter  role.  Her  dark  eyes  averted,  her  hands,  in  finger- 
less  gloves,  pointed  one  up,  one  down,  she  Stands  balanced 
in  stillness  on  black  points,  breathing  the  silvered  magic  of 
this  ballet.  That  magic  can't  be  reconstituted,  but  Verdak  is 
to  be  thanked  for  giving  us  some  idea  of  it.  D 


DANCEMAGAZINE  December  1985 


59 


Mothers  Who  Dance 


by  Anne  Wilson  Wangh 


5  he  picked  up  her  sister's  baby  and  held  it  close.  Tears 
came  flooding  down  her  cheeks.  "Oh,  I  do  want  a 
baby  of  my  own,"  she  whispered.  "Bob  and  I  have 
been  talking  it  over  for  a  long  time  now.  He  says  it's  up  to 
me.  But  what  will  happen  to  my  body  if  I  get  pregnant,  my 
beautiful  ballet  body  that  I  worked  so  hard  to  create?  What 
about  nursing?  What  about  touring?  Right  now  I  can't  afFord 
to  lose  my  place  in  the  Company,  when  Fm  just  starting  to 
get  the  good  roles.  But  Fm  thirty.  How  much  longer  can  I 
wait  to  have  a  baby?"  She  looked  over  at  me.  "What  did  you 
do?"  she  asked. 

I  thought  back  to  the  time  before  my  children  were  bom. 
I  was  twenty-three  and  a  soloist  with  American  Ballet 
Theatre.  I  knew  that  I  wanted  a  husband,  a  career — and 
children.  It  all  seemed  like  a  lovely  prospect.  Suddenly,  my 
child  became  real.  With  that  birth,  needs  blossomed  in  me 
that  I  had  never  known.  Dancing  became  a  memory — faint, 
distant,  sometimes  nagging.  I  locked  all  my  costumes  in  the 
cellar  for  twelve  years,  and  then,  at  thirty-five,  I  became  a 
dancer  all  over  again.  That's  what  happened  to  me,  but  what 
about  other  mother/dancers?  What  did  they  do?  I  began  to 
ask  them,  and  I  began  to  read  their  biographies. 

Sono  Osato  told  me,  "I  can  remember  when  my  son  was 
in  his  crib  and  I  got  a  call  from  a  producer  who  wanted  to 
know  if  rd  be  interested  in  doing  a  revival  in  Texas  of  On 
the  Town  in  which  I  had  starred  on  Broadway.  I  looked  at 
my  son  and  I  thought,  There  is  no  show  in  the  worid  that  is 
as  important  to  me  as  being  with  this  child.'*  Sono  never 
retumed  to  the  theater.  "There's  been  a  sense  of  loss  about 


I^atalia  Makarova  and  son.  Andre,  in  1979, 

the  dancing,"  she  added,  "but  it's  counterbalanced  by  love  of 
the  children  and  my  husband." 

Romola  Nijinsky  wrote  that  in  dance  "you  train  for  twenty 
years  and  are  famous  for  three." 

Nina  Stroganova  stopped  performing  after  her  child  was 
bom.  She  teaches  now.  "When  we  were  touring,"  she  said, 
"I  was  always  thinking  about  the  baby.  When  I  was  before 
the  mirror,  making  up  for  a  Performance,  I  would  be  nervous 
about  how  she  was  being  taken  care  of " 

Kay  Mazzo  also  tumed  to  teaching.  "In  dance  it's  youth," 
she  remarked.  "And  I  had  tumed  thirty-six.  We  were  mar- 
ried  for  four  years,  thinking  that  we'd  have  a  child  at  some 
point.  Because  of  a  back  injury,  I  was  dancing  less,  so  I 
looked  around  and  began  thinking  about  starting  a  family.  I 
had  Seen  other  ballerinas  stay  and  dance  less  and  less  and  get 
more  and  more  upset  about  it.  I  didn't  want  that  to  happen 
to  me.  It's  wonderful  that  I  met  my  husband  when  I  did, 
because  if  I  had  met  him  ten  years  earlier,  I  probably 
wouldn't  have  gotten  married.  It  wasn't  easy.  I  just  feit  the 
time  was  right  and  that  I'd  met  the  right  person." 

As  Ted  Shawn  put  it,  "Dance  is  the  only  art  in  which  we 
ourselves  are  the  stufFof  which  it  is  made."  Since  the  dancer 
is  her  own  instrument,  how  about  the  physical  reality  of 
pregnancy  and  childbirth? 

No  one  has  written  about  them  with  greater  insight  and 
passion  than  Isadora  Duncan:  "The  feelings  I  experienced  in 
childbirth  were  immense,  ancient,  primitive.  Rather  than 
retreating  from  the  enigma,  I  gave  myself  to  it,  knowing  that 
my  surrender  would  produce  a  child. . . .  It  was  stränge  to  see 


60 


DANCEMAGAZINE  December  1985 


'^ih^ '  l<^lq 


Maurice  Bejart  and  Jean  Babilee 


Gordon^Gin. 
Ifs  crystal-dear. 


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By  Arrangement  with  Mel  Howard 
The  National  öpera  of  Belgium 

Theätre  Royal  de  la  Monnaie  \ri^{^^   d^ 

Director:  Maurice  Huisman 
presents  the 

Ballet  of  the  20th  Century 

Artistic  Director:  Maurice  Bejart        Administrator:  Anne  Lotsy 

Assistant  Artistic  Directors:  Louba  and  Pierre  Dobrievich 

Assistant  to  Maurice  Bejart:  Patrice  Malguy 

Administrative  Assistant:  John  Capp 

Lighting  hy  Alan  Burrett 

U.S.  Lighting  Supervisor:  Eugene  Lowery 

Chief  Dance  Teacher:  Jose  Pares 

Ballet  Master:  Azari  Plissetski 

Guest  Artists:  Judith  jamison*       jean  babilee       jorge  donn 


'<fl 


Aida  Amirkhanian 
Angele  Albrecht 
Axelle  Arnouts 
Francky  Arras 
Anouchka  Babkine 
Sophie  Baule 
Marilyn  Berlanger 
Martine  Buyse 
Jean-Paul  Balmer 
Dariusz  Blajer 
Jean-Michel  Bouvron 
John  Bean 
Kym  Cassiman 
Benedicte  Charlier 
Katalin  Csarnoy 
Brigitte  Cuvelier 
Serge  Campardon 
Tom  Crocker 
Martine  Detournay 
Ljubkina  Dokic 
Soussan  Deihim 
Bertrand  D'At 
Christian  Dedeene 
Elisabeth  Demaret 
Catherine  Dethy 
Judith  Eger 

*courtesy  of  Alvln  Ailey  American 


Jean-Yves  Esquerre 
Fernand  Esser 
Maria  Fernandez 
Dominique  Genevois 
Cecile  Grignard 
Michel  Gascard 
Anne-Marie  Garin 
Daniel  Keith 
Peter  Kubik 
Kyra  Kharkevitch 
John  King 
Daniel  Lommel 
Jean-Marie  Limon 
Philippe  Lizon 
Yann  Le  Gac 
V^ronique  Lefebvre 
Shonach  Mirk 
Jeanine  Manin 
Christiane  Marchant 
Angela  Margenat 
Ariane  Masure 
Michäle  Mottet 
Ivan  Marko 
Alain  Massen 
Piotr  Nardelli 
Jan  Nuyts 

Dance  Theater 


Rita  Poelvoorde 
Maryse  Patris 
Frangois  Passard 
Olivier  Perriguey 
Bertrand  Pie 
Jackie  Planeix 
Michael  Phillips 
Math^  Souverbie 
Robert  Secondi 
Alain  Sornin 
Dominique  Sournac 
Jacques  Sausin 
Catherine  Sarrelangue 
Jean-Marc  Torres 
Agnes  Thore 
Patrice  Touren 
Patrick  Tridon 
Victor  Ullate 
Daniel  Vandevandel 
Catherine  Verneuil 
Micha  Van  Hoecke 
Vincent  Wineglass 
Jean  Vinciair 
Gärard  Wilk 
Andrzej  Ziemski 


Beefeater* 

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BOLERO 


(New  Version) 

Premiere  PiiriM   In   1070 

MuNir  by  Maurice  Rnvel  ChoreuKrupliy  by  Maurice  B^Jart 

by  iirriinf^renient   with  Tlieodf>re  FreMNcr  Co.,  ai^ent  t'or  Durand  und  Cle.,  Pariü, 

pubÜMher  and  Copyright  owner 

Maurice  B^jart  describes  his  conception  of  Kavel's  score,  as  follows:  Music  al- 
ready  too  well  known  but  always  new,  thanks  to  its  simplicity — a  Single  tune  (of 
oriental  and  not  Spanish  oriji^in)  which  is  repeated  inexorably — a  Symbol  of 
femininity,  warm,  supple  and  self-contained — then  a  masculine  rhythm  which 
whilst  remainin^  always  unchanj^ed  giadually  grows  in  volume  and  intensity, 
filling  Space  with  sound,  finally  engulfs  the  melody  itself. 

CAST 

THE  MELODY 

Jorgr^  Donn 

THE  RHYTHM 

Axelle  ArnoutH 

Catherine  A^erneuil 

Shonacli  Mirk  or  Kntalln  Cwarnoy 

Anouchka  Babkine  or  Alda  Amlrkhanian 

Dominique  CienevoiM 

Sophie  Baule 

Catherine  Dethy 

Kyra   Khnrkevitch 

Martine  Detournay 

To  reverse  the  sexes  without  changing-  a  Single  movement  of  the  existing  choreog- 
raphy  ...  In  an  epoch  where  the  difference  between  the  sexes  in  daily  life  is 
blurred,  it  seemed  interesting  to  us  that  dance  be  as  avant-garde  as  this  reality. 

— Maurice  B6jart 


Kyni  Cassiman 
Maria  Femandez 
Judith  Eg:er 
Michele  Mottet 
Soussan  Deihlm 
Agnes  Thore 
V^ronlque  Lefebvre 
ChrlNtlnne  Marchant 


Sunday  Evening,  March  25, 1979 


PETROUCHKA 

SEE  WEDNESDAY  EVENING,  MARCH  21 

INTERMISSION 

LIFE 
SEE  WEDNESDAY,  MARCH  21 

PAUSE 

VERDI 

(l>nN  de  Deux  froni  V.  Come) 
MunIc  by  C;iUMe|»pe  Verdi  Choreo^rraphy  by  Maurice  B^Jart 

Katalln  Ciinrnoy  Daniel  Lommel 

INTERMISSION 

BOLERO 

SEE  SATURDAY  EVENING,  MARCH  24 


WIIO'S   WIIO   IN   THE   COMPANY 


MAURICE  BEJART  {Artistic  Director) 
has  choreographed  some  100  works  from 
1950-1979  for  the  stage,  films  and  TV.  He 
is  generaily  regarded  as  the  most  impor- 
tant  choreographer  in  Continental  Europe. 
Through  the  Brussels-based  Ballet  of  the 
20th  Century,  his  works  have  been  per- 
formed  in  Africa,  Asia,  North  and  South 
America  and  Europe.  In  total,  the  Com- 
pany has  appeared  in  34  different  coun- 
tries.  In  the  United  States,  since  its  debut 
here  in  1971,  the  Bejart  Company  has  ap- 
peared in  26  cities  on  eight  different  tours. 
Since  its  inception  in  1960,  the  Ballet  of 
the  20th  Century  has  mounted  over  150 


ballets,  about  two-thirds  of  which  are  by 
Bejart  and  the  remainder  by  such  chore- 
ographers as  George  Balanchine,  Anton 
Dolin,  Milko  Sparemblek,  Hans  van  Man- 
en, Lorca  Massine,  Lar  Lubovitch  and 
Robert  Weiss.  Among  the  company's 
members  who  have  choreographed  bal- 
lets are  Micha  van  Hoecke,  Paul  Mejia, 
Jose  Pares,  Paolo  Bortoluzzi  and  Dyane 
Gray-Cullert.  The  80  dancers  of  the  Be- 
jart Company  represent  19  different  na- 
tionalities.  Many  dancers  in  the  Company 
have  graduated  from  Mudra,  the  school 
Bejart  founded  in  Brüssels  in  1971. 


45 


JUDITH  JAMISON,  (Guest  Artist),  is 
a  Philadelphian  native  who  began  study- 
ing  dance  at  age  six  and  continued  until, 
as  a  psychology  major  at  Fisk  University, 
she  realized  dance  was  not  an  avocation 
but  her  career.  Agnes  de  Mille  convinced 
her  to  come  to  New  York  for  her  profes- 
sional debut  in  The  Four  Marys.  Miss 
Jamison  joined  the  Alvin  Ailey  American 
Dance  Theatre  in  1965  and  with  them  has 
performed  throughout  the  U.S.,  Europe, 
Africa,  Russia  and  the  Far  East.  Her  guest 
appearances  include  those  with  American 
Ballet  Theatre,  The  Harkness,  San  Fran- 
cisco and  Dallas  Ballets.  TV  audienceshave 
Seen  her  on  the  "Today"  show,  the  ABC 
special  "Americans  All"  and  NET-TV's 
"Alvin  Ailey,  Memories  and  Visions." 
Life  Magazine  honored  her  with  a  color 
spread  after  the  premiere  of  Mr.  Ailey's 
Cry  and  she  has  appeared  on  covers  in- 
cluding  New  York  Magazine,  Encore  and 
The  Sunday  Times.  She  received  the  1977 
Dance  Magazine  Award  and  has  been  a 
member  of  the  Board  of  the  National 
Council  on  the  Arts.  After  appearing  with 
the  Ailey  Company  at  Paris'  Palais  de 
Sports  she  was  hailed  as  **the  new  Jose- 
phine Baker."  She  starred  in  Joseph' s  Leg- 
end, choreographed  by  John  Neumier  at 
the  Vienna  Opera  House  where  she  also 


performed  in  galas  with  Mikhail  Baryshni- 
kov.  She  danced  at  the  Inaugural  Eve  Con- 
cert  at  Kennedy  Center  for  President  Car- 
ter and  at  a  "command  Performance"  at 
the  White  House.  Miss  Jamison  danced 
the  World  premiere  of  Le  Spectre  de  la 
Rose,  partnered  by  Patrice  Touron,  in 
Brüssels  in  October,  1978.  Miss  Jamison 
will  make  her  acting  debut  next  month  in 
the  Rubinstein  Theatre  Foundation  pro- 
duction  of  a  new  play  by  Ken  Rubinstein 
entitled  Am  I  Asking  Too  Much?, 


JEAN  BABILfiE  was  recently  described 
by  critic  Clive  Barnes  as  **indisputably  one 
of  the  handful  of  great  dancers  of  the  20th 
Century."  Trained  at  the  Paris  Opera,  he 
danced  in  Monte  Carlo  and  Cannes  before 
joining  the  Resistance  Army  during  World 
War  II.  For  Roland  Petit's  Ballets  des 
Champs-Elysees  he  created  the  role  of  The 
Joker  in  Jeu  de  Cartes,  danced  Le  Spectre 
de  la  Rose  and  Blue  Bird  and  created  the 
role  of  his  life,  the  Young  Man  in  Le 
Jeune  Homme  et  la  Mort.  He  choreo- 
graphed L'Amour  et  son  Amour  and  7/7 
Eulenspiegel  for  Petit's  Company  before 
becoming  a  guest  star  with  the  Grand  Bal- 
let du  Marquis  de  Cuevas  and  dancing  a 
season  with  the  Paris  Opera.  For  his  own 


After  the  show... 


THE  FOÜIR  SE 


.A 


Tom  Margittai 


Paul  Kovi 


Follüw  the  last  act  with  dinner  at  the  Four  Seasons. 
And  whcn  you  do,  be  sure  to  bring  the  American  Express  Card. 

W    East     52nd    St.    ReSerVatic^nS    PL    4'^H^4.      AmcrKant.prc«  Company.  I**?^ 

The  American  Express  Card.  Don't  leave  home  without  it 


46 


w* 


Company,  Les  Ballets  Babilee,  he  created 
Sable,  Cameleopard,  and  Balance  a  Trois. 
His  other  ballets  include  La  Boucle  and 
Divertimento.  He  was  a  guest  artist  with 
American  Ballet  Theater  and  has  acted  in 
films  and  on  the  Paris  stage  in  Tennessee 
Williams'  Orpheus  Desecending  and  in 
The  Green  Queen,  written  and  staged  by 
Maurice  Bejart. 

JORG£  DONN  was  born  in  Buenos  Aires, 
Argentina,  and  while  still  a  young  boy, 
enrolled  at  the  Dance  Academy  of  the 
Teatro  Colon  where  he  studied  traditional 
and  classical  dance.  At  the  same  time  he 
studied  drama  and,  at  age  13,  acted  and 
danced  the  role  of  Puck  in  A  Midsummer 
Night's  Dream.  In  1963  he  joined  The 
Ballet  of  the  20th  Century,  then  on  tour 
in  South  America.  He  has  danced  in  every 
ballet  in  the  repertory  and  gained  particu- 
lar  acclaim  for  his  roles  in  Webern,  Op.  5, 
Romeo  and  Juliet,  Nijinsky,  Clown  o) 
God  and,  most  recently,  Amor  di  Poeta. 
He  will  receive  the  1979  Dance  Magazine 
Award  on  March  19th.  Mr.  Donn  has  ap- 
peared  with  The  New  York  City  Ballet 
and  in  June  will  appear  as  guest  artist  with 
both  The  Paris  Opera  and  The  Bolshoi 
Ballet,  partnering  Maya  Plisetskaya  and 


Ekaterina  Maximova  during  the  company's 
Paris  engagement. 


STAFF  FOR 
BALLET  OF  THE  20  CENTURY 

Technical  Director Alan  Burrett 

Chief  Stage  Technician  .  . .  Richard  Behets  and/ 

or  Maurice  Bivort 

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Daniel  Vandevandel,  Alaain  Sornin 

Lighting Alan  Burrett,  Cesar  Margenat 

Settings  executed  in  the  Studios  of 

the  Theatre  Royal  de  la  Monnaie, 

under  the  direction  of Edouard  Mahillon 

Costumes  executed  in  the  Studios  of 

the  Theatre  de  la  Monnaie, 

under  the  direction  of Nadine  Leioup 

Coiffures Marguerite  Goulin 

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Jos6  Pares,  Jacques  Sausin 
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Pianists Cliare  Paulet,  Peter  Kubik 

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M icrowave  Classics:  A  Ballet  in  Minutes 


79 


By  Deborah  Jowitt 


MAURICE  BEJARTS  BALLET  OF  THE  20TH 
CENTURY.  At  the  Minskoff  Theatre  (through 
March  25).  Bcjart's  Gaiu  Pahsienne,  Petrouchka,  Le 
Spectre  de  la  Rostj  Duo,  Bolero,  Life. 

HOMAGE  TO  DIAGHILEV.  At  the  Mark  Hellin- 
ger (through  March  25).  Rudolf  Nureyev  and  the 
Jofirey  Ballet  in  Petrouchküy  Le  Spectre  de  la  Rou, 
L' Apres  Midi  d'un  Faune,  Parade. 


Maurice  Bejart's  Gatte  Parisienne  begins 
with  The  Sleeping  Beauty  (well,  why  not?). 
Each  of  the  six  fairies,  who  are  male  dancers, 
performs  a  solo  of  benison  around  a  large 
crib.  The  first,  as  far  as  I  can  teil,  endows  the 
invisible  habe  with  leaps;  the  second  with 
turns;  the  third  with  beats;  the  fourth, 
crouching  in  buggy  symmetry,  offers  a  capac- 
ity  for  grotesquery;  the  fif th  gives  acrobatics; 
the  sixth  a  rippling,  muscular  lyricism.  Et 
Voila!  Bejart. 

And  my  fundamental  quibble  with  his  cho- 
reography  has  less  to  do  with  his  ideas  for 
ballets  than  with  these  ingredients  and  with 
the  blocked-up,  unmusical  way  in  which  he 
stirs  them  together.  Large  flamboyant  ges- 
tures, flung  so  hard  they  lose  their  elasticity 
are  connected  by  clever,  seemingly  arbitrary 
transitions.  (Who  but  Bejart  would  use  a 
hitch-kick  as  a  linking  movement  in  a  waltz?) 
In  Bejart's  retelling  of  Petrouchkay  the  music 
Stravinsky  designed  for  P's  solo  in  his 
room — which  gives  the  illusion  of  brevity  in 
Fokine's  ballet — seems  to  go  on  forever,  so 
crammed  is  it  with  unvariegated  dancing.  In 
Bejart's  Le  Spectre  de  la  Rose,  the  Ailey's  lus- 
cious,  free-spirited  Judith  Jamison  dances  as 
if  the  choreography  is  a  corset  she  can't  bust 
out  of . 

Bejart's  method  of  stimulating  audiences  is 
not  to  make  something  new,  but  to  tum 
something  familiär  backward  and  inside  out, 
as  if  the  glimpses  we  catch  of  his  model 
would  highlight  the  cleverness  of  his  gloss  on 
it.  In  the  repertory  his  Ballet  of  the  20th  Cen- 
tury performs  at  the  Minskoff,  some  of  the 
dislocations  involve  a.  reversal  of  traditional 
sex  roles;  others  are  comments  on  traditional 
ballets.  The  concept  of  the  latter  strikes  me 
as  odd:  although  Bejart  is  interested  in  reach- 
ing  a  mass  audience,  passages  in  some  of  his 
ballets  might  well  be  conf  using  to  anyone  but 
a  balletomane.  Consider  Bejart's  Petrouchkay 
a  fable  about  the  roles  in  the  eternal  triangle, 
the  disguises  the  actor/dancer  assumes,  the 
selves  within  an  individual,  and  God  knows 
what  eise.  The  hero  (Jorge  Donn)  is  seduced 
by  a  magician  away  from  a  joUy  crowd  of 
Russian  working  girls  and  boys  (who,  oddly, 
break  into  poses  associated  with  Fokine's 
puppets).  In  an  onion-domed  hall  of  mirrors, 
he  puts  on  a  Petrouchka  mask,  and  instanüy 
three  men  in  Petrouchka  masks  appear  to 
dance  with  him  and  at  him.  When  he  puts  on 
the  Moor  mask  and  lurches  around  (in  an 
offensively  simian  manner),  they  do  the 
same.  But  when  he  puts  on  a  ballerina  mask, 


no  three  ballerinas  appear;  instead,  one  of  the 
men  comes  out  in  a  Moor  mask  to  partner 
him.  Is  this  simply  because  in  the  original 
Stravinsky-Fokine  scenario,  the  Moor  did 
dance  with  the  Ballerina  at  this  point? 

Bejart's  Le  Spectre  de  la  Rose^  a  dismally 
coarse  ballet,  also  depends  for  some  of  its 
power  on  the  audience's  knowledge  of  the 
original  Fokine  choreography.  We  laugh 
when  Judith  Jamison  is  a  toney  lady  with  a 
highball  and  a  white  boa  instead  of  a  19th- 


DANCE 


gives  way  to  Indian  music,  white  the  dancers 
create  a  slow,  virtuosic  series  of  living  pic- 
tures  from  the  Kama  Sutra.  Boleroy  a  repel- 
lent,  yet  fascinatingly  theatrical  piece,  fea- 
tures  a  woman  (whore-slave-queen  bee) 
dancing  on  a  large  table,  while  18  men  in  rut 
gradually  rise  from  their  chairs  to  pace 
around  her,  swinging  their  pelvises  back  and 
forth  to  RavePs  obsessive  rhythm,  and,  at  the 
end,  hurl  themselves  on  her  en  masse.  Bejart 
has  now  created  a  new  version  of  Bolero  by 
reversing  the  sex  roles — ^man  on  table,  wom- 
en  prowling  below.  Role  reversal  is  seldom 
that  simple:  one  woman — ^horrid  as  it  is  to 


from  Be  jart^s  Gaite  Parisienne 

Century  virgin;  we  are  surprised  and  puzzled 
when  the  Rose  (Patrice  Touron)  is  evil  and 
arrogant;  we  say  "oh"  when  it  is  she  who 
Jumps  out  the  window  at  the  end  and  he  who 
looks  crestfallen.  Since  the  male-female, 
good-evil  role  exchange  isn't  made  really 
clear  in  the  choreography,  I  don't  know  what 
the  man  off  the  street  makes  of  it. 

For  Bejart,  anything  worth  doing  is  worth 
ritualizing.  Treated  as  a  rite,  the  simplest  ac- 
tion  becomes  solemn  and  important.  In  Be- 
jart's theatre  you  don't  see  two  people  mak- 
ing  love;  you  see  Celebrants  of  Sex.  In  Duoy  a 
man  and  a  woman  (I  saw  Daniel  Lonunel  and 
the  slim,  almost  freakily  lithe  beauty,  Sho- 
nach  Mirk)  yearn  to  Wagner  (from  Les  Vain- 
quers)y  twining  seductively  and  spectacularly 
together.  But  for  the  hot  stuff,  the  Wagner 


contemplate — could  Service  all  those  men, 
but  ...  the  other  way  around?  Jorge  Donn 
is  effective  in  Bejart's  ballets,  but,  watching 
Bolero,  I  can  neither  identify  with  him  nor 
crave  him. 

Gaite  Parisienne — good  entertainment  and 
spectacle — mixes  the  tale  of  Bejart's  begin- 
nings  as  a  dancer  with  his  Paris-induced 
dreams  of  the  Second  Empire  and  with  Mas- 
sine's  Gaite  Parisienne,  Remember  the  crib? 
Well,  out  of  it  Springs  Victor  Ullate,  an  ur- 
chin  Version  of  the  young  Bejart.  His  jumps 
and  turns  are  great,  he's  inventive,  but  not 
classical.  His  teacher  (Mathe  Souverbie),  a 
powerful,  attractive,  and  somewhat  pathetic 
figure  strides  around  telling  him  so  in  Rus- 
sian-accented  French.  Gaite*s  an  cverything- 
but-the-complete-Stüan-Lafee  ballet— Offen- 


bach, daily  barre,  scraps  of  Bejart's  Rite  of  ^ 
Springy  cliches  of  Paris  street  people,  Ludwig  ä 
of  Bavaria,  Napoleon  III,  Terpsichore  (a 
singer),  a  G>untess  with  a  whip  (a  man  in 
drag),  a  Paris  Opera  spoof  featuring  drunken 
balletomanes  and  Gerard  Wilk  in  a  sedate 
leopard  skin  tunic  belping  Catherine  Ver- 
neuil  or  Angele  Albrecht  to  perch  in  stifi, 
tipped-forward  arabesques,  like  Adeline 
Genee  in  old  photos.  The  can-can  begins  as  a 
cocky,  all-male,  up-yours  strut  (the  hero  may 
have  just  slept  with  his  ballet  teacher  and 
gained  new  perspectives  on  manhood  and 
classicism).  One  of  the  few  thoroughly  de- 
lightful  bits  of  dancing,  as  dancing,  is  the  solo 
for  Micha  van  Hoecke  (as  Offenbach);  not 
only  does  van  Hoecke  perform  it  superbly, 
but  its  busy-footed,  loose-limbed,  veering  ex- 
uberance  fits  the  music  (it's  the  part  Massine 
used  for  the  rambunctious  Peruvian).        / 

Bejart  created  Life  for\jean  Babilee^^e 
great  French  dancer  of  the  4us,  m  a  couple 
of  weeks — out  of  admiration  and  affection. 
But  the  ballet  tumed  out  to  be  more  than  a 
gracious  gesture.  Babilee,  at  S6  no  k)nger  a 
virtuoso,  gives  a  movingly  simple  and  pro- 
found  Performance.  His  body  and  his  emo- 
tions  seem  more  susceptible,  more  finely 
timed  than  those  of  Bejart's  younger  dancers. 
Perhaps  he  accepts  himself  as  he  is.  In  some 
ciu*ious  way,  he  made  me  think  of  Daniel  Na- 
grin,  because  of  his  tough  look,  because  of 
the  way  he  can  strike  out  with  force  and  then 
suddenly  soften.  Again  making  his  comment 
on  someone  eise's  ballet,  Bejart  evokes  Ro- 
l'^nd  Petit's  Le  Jeune  Homme  et  la  Mort,  The 
ame  Bach  organ  music  even  floats  in  from 
time  to  time.  Babilee  dances  quietly, 
thoughtfully  around  and  in  a  box-shaped 
metal  framework — a  dancer  testing  out  his 
body,  remembering  dancing.  A  young  wom- 
an dancer  in  white  practice  clothes  enters 
(Catherine  Verneuil),  genüe,  angelically  ex- 
pressionless.  They  face  each  other  across  the 
box;  he  tilts  the  frame  like  a  huge  seesaw  and 
she  rises  in  the  air  hanging  by  her  hands;  she 
tilts  it  and  he  rises.  When  he  covers  his  face 
with  his  hands,  she  sofdy  takes  them  away. 
At  the  end,  he  looks  at  her  almost  with  aston- 
ishment,  almost  with  delight,  and  on  an  in- 
take  of  breath  takes  her  band  and  runs  off- 
stage  with  her.  Bejart's  understated  **plot"  is 
as  simple  as  a  primer:  instead  of  glamorous, 
predatory  Death  snatching  away  a  young 
man  in  his  prime,  the  vestal  of  dance  brings 
an  aging  dancer  back  to  life  (i.e.,  dancing). 
Babilee's  Performance  ought  to  go  down  in 
history. 


*  -* 


®^      Continued  from  preceding  page 


8 

z 
ü 


sfl 


ballets  Diaghilev  produced — or  incited — 
bespeak  the  care  taken  to  create  for  each  bal- 
let, with  movement,  music,  decor,  costumes, 
an  individual  climate.  Not  real  and  not  relax- 
ed,  each  of  the  ballets — in  this  case,  Petrouch- 
ka,  Parade,  Le  Spectre  de  la  Rose,  and 
U Apres  Midi  d*un  Faune — seems  geared  to 
present  a  fantastic  scene,  more  vivid,  more 
intense  in  its  particular  quality,  more 
suffused  with  itself ,  than  anything  in  life.  In 
Petrouchka,  it  is  the  noise  and  heat  and  mess 
of  the  crowd  that  Stands  out,  in  contrast  to 
the  lonely  stiffness  of  the  dolls.  In  Parade^  it's 
the  circus  of  novelties,  presented  with  tradi- 
tional  theatrical  flourishes:  the  Satie  music 
that  typewrites,  a  brash  little  girl  who  taps,  a 
spiendiferous  Conjuror  who  swallows  this 
and  snatches  that  out  of  the  air,  a  charming 
two-man  horse,  gigantic  Walking  Cubist 
paintings  by  Picasso. 

Fokine's  rose  ballet  is  all  sugary  surface 
and  veiled  sexuality.  The  after-the-ball  music 
by  Weber,  the  ruffly  bedroom,  the  sleep- 
dancing  virgin,  and  the  disturbing  figure  cov- 
ered  with  rose  petaU — gende  in  the  way  he 
ripples  his  arms  and  touches  the  girl,  but  ob- 
viously  male,  obviously  powerful.  In  Vaslav 
Nijinsky's  faun  ballet,  the  sexuality  isn't  so 
veiled,  but  in  this  curious  and  remarkable  lit- 
tle work — not  seen  here  in  its  original  form 
since  1916  and  the  novelty  of  the  season — the 
important  thing  isn't  the  subject  so  much  as 
how  it's  presented.  We  see  the  events  the  way 
we  would  see  them  on  a  frieze,  processionally 
and  two-dimensionally.  The  faun  reclining 
on  his  rock  with  his  flute,  against  the  glowing 
blue  and  gold  impressionistic  backdrop  by 
Leon  Bakst,  is  a  focal  point  at  the  beginning 
and  end  of  the  ballet,  but  we  follow  the  inter- 
play  between  faun  and  nymphs  as  if  we  were 
sitting  and  turning  a  painted  vase  between 
our  hands.  Only — and  this  is  really  odd — the 
action  often  happens  in  two  Channels,  in 
themselves  flat,  but  creating  an  illusion  of 


depth  since  one  is  behind  the  other. 

The  nymphs  in  their  interesting  draperies 
(filmy,  but  bold  in  border  pattern)  who  pro- 
cess  on  with  angular  grace  must  turn  their 
toes  180  degrees  in  order  to  glide  ofi  again  in 
alarm.  The  innocendy  randy  faun,  the  shy, 
sly  girls  all  move  as  if  pressed  between  invisi- 
ble  sheets  of  paper.  Quaint  now,  these  un- 
compromisingly  antique  attitudes  must  have 
seemed  exceedingly  radical  in  1912,  especial- 
ly  in  the  way  they  stud  the  dense  current  of 
Debussy's  music,  especially  when  created  by 


a  virtuoso  dancer  for  himself.  Nurcyev  has 
studied  the  photos  carefully;  occasionally  he 
slips  into  three  dimensions,  but  on  the  whole 
captures  splendidly  the  pictorial  sensuality, 
as  well  as  the  subde  pathos  in  the  way  the 
faun  picks  up  and  caresses  the  chief  nymph's 
shed  drapery  (she  has  a  short  tunic  under  it). 
Contemporary  reports  told  of  the  scandalous 
ending — the  faun  lowering  his  groin  deliber- 
ately  onto  the  scarf  and  then  throwing  back 
his  head  in  ecstasy — but  not  of  the  childlike 
care  with  which  he  arranges  the  scarf  on  his 


Nureyev  and  Boniiie  Wyckoff  in  VApres-Midi  d*un  Faune, 


rock,  as  if  trying  to  mold  it  into  the  nymph*s 
semblance. 

What  is  subdy  lacking  in  the  Performance 
is  the  flow  to  animate  the  minimal  dancing, 
to  make  it  more  than  Uving  pictures.  Often 
Nureyev  moves  and  then  poses,  instead  of 
moving  through  poses.  And  the  women,  in 
trying  to  be  correct,  lose  the  sense  of  fleeing, 
of  alarm,  of  taunting. 

Nureyev's  Petrouchka  is  fine— very  fran- 
tic,  so  that  you  feel  the  alternating  limpness 
and  stifiness  of  his  movements  as  impedances 
to  his  spirit.  In  Le  Spectre  de  la  Rose,  the  ex- 
tremely  beautiful  line  of  his  arms  and  Shoul- 
ders, the  elasticity  with  which  he  makes  the 
wreadiing,  fluttering  gestures  are  beautiful, 
but  as  usual,  Tm  distracted  by  the  effort  he 
puts  into  dancing,  by  the  way  his  concentra- 
tion  seems  to  shift  all  the  time.  Denise  Jack- 
son is  wonderfully  feathery  in  her  dreaming 
in  Spectre;  Christian  Holder's  Moor  in  Pe- 
trouchka is  far  clearer  and  more  subde  in  his 
Pantomime  than  he  used  to  be,  and  hidden 
under  the  Charletan's  white  beard  and  cloak 
is  Gary  Chryst  miming  experdy.  Russell 
Sultzbach  and  Ann  Marie  de  Angelo  are 
bouncy  and  limber  as  the  acrobats  in  Parade, 
and  Doima  Cowan  is  charmingly  brash  as  the 
litde  girl. 

Interesdng  to  wander  back  and  forth  be- 
tween the  real  Petrouchka  and  Spectre  and  Be- 
jart's  redefiniüon  of  them  and  to  wonder  if  he 
has  really  made  them  more  contemporary  or 
just  more  like  himself.  A  line  inadvertendy 
cut  last  week  from  my  arücle  on  Douglas 
Dunn's  Coquina  pointed  out  that  the  archaic 
poses  embedded  in  the  dance  might  also  be 
dance  fragments:  Nijinsky  in  Faun,  Petrouch- 
ka, Isadora  as  a  Tanagra  figure,  a  lift  from 
Dunn*s  own  Rille.  But  how  differendy  Dünn 
and  Bejart  go  aboui  plundering  the  past: 
Dünn  uses  it  for  formal  explorations  about 
continuity  and  inheritance;  Bejart  as  a  hall  of 
mirrors  to  reflect  and  magnify  his  own  ideas. 

■ 

This  week  Dance  Events  appears  on  page  96. 


Compr*h«nslv«  BALLET  das« 

ROBERT 
CHRISTOPHER 

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Bäbile^:  iStar  of  Bejart's 
*Life'  and  beyond 


.     BY  CLIVE 
BARNES 

I  WONDER  if  Jean  Babil 
ee,  now  dancing  with 
Maurice  Bejart's  Ballet  of 
the  20th  Century  at  the 
Minskoff  Theater,  has  ever 
really  received  his  dues. 

Babilee    was    the    first 
great  male  dancer  of  the  ' 
postwar  period. 

Born  ih  Paris  in  1923.  his 
ccu-eer  proper  started 
when  he  was  associated 
with  Roland  Petit  and  Ja 
nine  Charrat.  In  1946  he 
was  the  principal  male 
dancer  of  Boris  Kochno's 
Les  Ballets  des  Champs 
Elysees,  It  was  in  April  of 
that  year  I  first  saw  him 
dance  in  London. 

His        brilliance  *  '  *  was 


breathtaking.  On  every 
side  the  older  balletoma- 
nes  were  comparing  him 
with  Nijinsky.  His  London 
debut  burst  like  a  display 
of  rockets  —  the  ballet 
was  Charrat's  Staging  of 
Stravinsky's  Jeu  de  Car- 
tes,  and  Babilee  was  the 
Joker. 

It  was  not  simply  the 
man's  dancing.  His  eleva- 
tion  and  speed  were  in- 
credible,  but  even  in  this 
role,  tailored  for  him,  sub- 
sequently  Rene  Bon  and 
even  Jean  Guelis  danced 
the  role  with  equal  techni- 
cal  aplomb.  No,  more  it 
was  his  sardonic  presence, 
his  ability  to  project,  and 
the  manner  in  which  he 
could  hokl  images  in  space. 

A  curious  maverick  of  a 
dancer,  it  soon  became  ob-^ 


vious  that  he  was  rather 
more  interested  in  motor- 
cycles  and  hell-raising 
than  in  dance  class  or  dis- 
cipline.  It  didn't  matter  too 
much  —  he  was  a  genius. 
In  1946,  with  his  wife 
Nathalie  Phillipart,  he 
danced  in  the  Jean  Coc- 
teau/Roland Petit  Le 
Jeune  Homme  et  la  Mort, 
and  both  he  and  his  wife 
entered  dance  legend  in 
the  way  Karsavina  and  Ni- 
jinsky gave  their  Signa- 
tures  to  posterity  in  Fo- 
kine's  Le  Spectre  de  la 
Rose, 

Between  1950  and  ,1952. 
Babilee  and  Phillipart 
spent  two  seasons  with 
American  Ballet  Theater 
—  until  this  present  en- 
gagement  these  were  Ba- 

Cantinu0d  an  Page  ^9) 


Jean  Babilee  and 
Catherine  Dethy  in  re- 
iiearsal  for  Life,  wiiich 
Bejart  created  espe- 
ciaUy  f  w  Bafalk^  r 


Babilee:  star  of 
*Life'  and  beyond 


Continued  from  Page  33 

bilee's  only  appearances  in 
this  country.  He  danced  in 
Petit 's  Le  Jeune  Homme  et 
la  Mort,  the  Bluebird  pas 
de  deux,  and  two  ballets 
choreogrphed  by  himself, 
L'Amour  et  Son  Amour 
and  Tyl  Eulenspiegel. 

For  many  years  Babilee 
experimented  with  his  own 
companies.  He  showed  con- 
siderable  promise  as  a 
choreographer,  but  he  flir- 
ted  with  the  art.  He  ap- 
peared  for  one  season  with 
the  Paris  Opera  Ballet  and 
he  would  very  occasionally 
turn  up  with  Petit.  I  recall 
him  giving  an  incredible 
Performance  in  Petit's  Le 
Loup.  He  would  also  ap- 
pear  in  movies,  and  once  in 
a  while  in  a  play.  For  ex- 
ample,  he  created  Ten- 
nessee Williams's  Orpheus 
Descending  in  Paris,  and 
was  once  again  discovered 
as  a  Star.  But  this  was  al- 
ways  a  shooting  star,  and 
the  shots  were  always  at  a 
tangent. 

The  sheer  animal  mag- 
netism  of  Babilee  can 
rarely  have  been  equalled 
on  stage.  Until  last  week  I 
had  not  seen  him  on  stage 
for  nearly  20  years  when 
he  was  with  his  own  Com- 
pany at  the*  Edinburgh 
Festival. 

Last  year,  or  maybe  the 
year  before,  I  was  told  he 
had  had  a  big  success  per- 
forming  with  his  daughter 
in  Stravinsky's  A  Soldier's 
Tale.  Then,  not  long  ago, 
Bejart  found  him  in  Paris 
giving  a   ballet   class.   He 


must  be  happier  giving 
ballet  dasses  than  he  ever 
was  taking  them! 

Bejart  saw  him  dance  in 
class  and  was  amazed.  He 
challenged  him  to  return 
to  the  stage  and  promised 
to  create  a  ballet  for  him. 
Now  Babilee  is  once  more 
in  New  York,  and  you  can 
be  amazed  too. 

Bejart's  piece  for  him, 
Life,  is  obviously  carefully 
tailored  to  Babilee  yet  Ba- 
bilee needs  to  make  no 
apologies.  What  he  has  on 
stage  is  what  he  always 
had  —  raw  temperament, 
kinetic  beauty  and  the 
ability  to  leave  impres- 
sions  on  that  hidden  retina 
of  the  soul.  See  him  if  you 
can  (his  final  Bejart  Per- 
formance is  tomorrow 
night)  —  he  is  one  of  the 
greats. 

It  is  good  to  see,  inciden- 
tally,  that  he  has  just  been 
given  a  special  citation  by 
Dance  Magazine  in  their 
Annual  Award  ceremonies 
last  Monday. 


LAST  5  TIMES! 


>■ 


eiar 

Ballet  ^oftheSOth 
Century 

/ 


"Bdbilee  is  sens8tional  in  WT 
-  Chve  Barnes.  N.Y.  Post 

T0NI6HTat8PM«UPE 
Petrouchka  /  Duo  I  Gaite  Paristenne 

TOM0RR01IVat2PM«UFE 
Petrouctika  I  Gaite  Parislenne 

TOMORROWatSPM«  Gälte  Parisienne 
Spectre  de  la  Rose  I  Bolero 

SUN0AYat2PM«Anx)rdiPoeta 

SllNDAYat7:30PM»LIFE 

Petrouchka  I  Verdi  /  Bolero 

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"MJart*s  ballet  Company  —  a  Cecll  B.  DeMille 
ipectacle.  It'll  wow  the  audience!" 

—  Uz  Smith,  N.Y.  Daily  Ntwi 


4*DDITI0NAL  PERFS.  OF  "LIFE' 


''faabilee  is  sensational  —  a  dancer  of  genlus!" 

r  —  Cliv»  Barnet,  N.Y.  Post 


N0WttwuMAR.250NLY! 

FROM  BRÜSSELS 


Maurice  Beiarl 
ArtistiC  OireclOf 


^  ^^^  '^^•■Pl  A^tistic  Oireclof  \  w 

(allet  of  the  20th  Century 


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TONIGHT  at  8PM  •  BY  POPULÄR  DEMAND! 
ADOmONAL  PERFS.  by  JEAN  BABiLEE  in  'UFE'! 


TONIGHT  at  8PM:  LIFE  /  Petrouchka  /  Teak  /  Garte  Parisiam 

TOM'W  AT  2PM:  UF!  /  Petroudilij  /  Saiti  ParisieBM  •  AT  SPM:  Iner  di  Piita 

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SUNOAY  at  7:30PM:  Petrouchka  /  Duo  /  Bolero 

"Babllee  is  sensational  —  a  dancer  of  genlus!" 

—  Cllve  Barnes,  N.Y.  Pott 

Bejart's  ballet  Company  —  a  Cecil  B.  OeMille 
spectacle.  It'll  wow  the  audience! " 

-  Li2  Smith,  N.Y.  Dtlly  Nowt 

N0WthmMAfl25ONLY!. 

FROM  BRÜSSELS 


<i 


COMPANY  Of  90 


M8uf<«  Be»afl 
ArtfStfC  Oireclor 


Ballet  of  the  20th  Century 


*Teak'byBejart 

By  CLiVe 


BARNES 

MAURICE  BEJART'S  Bai 
let  of  the  20th  Century 
continues  its  season  at  the 
Minskoff  Theater  with  a 
certain  defiant  gusto.  Most 
of  New  York's  ballet 
critics  do  not  like  Bejart  — 
indeed  that  is  a  mild  way 
of  putting  it. 

Unlike  my  New  York  col- 
leagues  I  have  watehed  his 
work  right  from  the  t>egin- 
ning  over  the  past  30 
years,  and  yet  I  don't  like 
much  of  it  myself.  How- 
ever  I  do  respect  his  aspi- 
ration  as  a  man  of  theater, 
and  I  must  report  his  suc- 
cess  in  bringing  audiences 
to  ballet. 

Bejart  offers  a  new  ap- 
proach  to  dance,  eclectic 
and  dangerous,  yet  valid 
for  many  people  who  are 
not  unduly  interested  in 
Balanchine  and  would 
prefer  Stephen  Sondheim 
to  Guiseppe  Verdi.  Such 
audiences  are  not  cri- 
minals.  Neither  is  Bejart. 

Bejart  is  suggesting 
something  that  might  be 
called  popdance.  In  this 
Gase  it  happens  to  have  a 
certain  intellectual  back* 
bone  —  Bejart  has  a  smar- 
ter mind  than  the  critics 
who  criticize  him  —  yet  its 
purpose  seems  to  l)e  to  ex- 
tend  the  Choreographie 
language  to  the  kinetically 
unaware. 

•"  Last  night's  program 
was  typical.  It  included  his 
own  bizarre  recensions  of 
Gaite  Parisiennc  and 
Pctrushka,  both  of  which 
have  some  kind  of  hysteri- 
cal  purpose  that  is  more 
dramatic  than  historic.  For 
balletomanes  they 

scarcely  work  on  either 
level  —  but  certain  Per- 
formances, such  as  the 
brilliant,  and  convention- 
ally  secure,  Victor  UUate 


as  the   nostalgic   hero  in 
Gaite,      must      command 
'  total  respect. 

This  is  a  Company  of  ex- 
tremely  strong  and  like- 
able  dancers.  Bejart  uses 
them  to  a  theatrical  effect 
that  may  offend  many  ac- 
customed  to  the  pristine 
classic  virtues  of  a 
Balanchine.  yet  can  in- 
trigue  people  who  know  lit- 
tle  of  dance  beyond  the 
briüiantly  conventional  ex- 
pertise  of  Fred  Astaire. 

The  premiere  last  night 
was  Teak,  a  work  Bejart 
descril)es  with  the  com- 
ment:  "Man  can  seduce, 
even  tarne  the  forces  of 
evil,  but  he  can  also  be 
crushed  by  the  evil  that 
these  forces  unleash."  I 
have  no  idea  what  the 
piece  means.  When  I  first 
saw  it,  some  20  years  ago, 
it  was  danced  by  a  man 
and  a  woman.  now  unisex- 
version,  it  is  given  to  two 
men. 

Brilliantly  danced  by 
Jorge  Donn  and  Ivan 
Marko,  set  to  jazz  music 
by  Gerry  Mulligan  and 
Tito  Puente,  it  uses  a  won- 
derful  wooden  sculpture 
by  Martha  Fan,  as  a  Sym- 
bol of  aggression  and  Sub- 
mission. The  sexual  under- 
tones  —  even  the  sexual 
overtones  —  are  different 
when  danced  by  two  men, 
but  the  simplistically  effec- 
tive  power  of  the  piece 
remains  unaltered. 
^  Bejart  understands 

people  and  dancers.  The 
program  also  included  his 
latest  work  for  the  56-year- 
old  yjean  Babilee^  Life, 
whicn  ün  U  ■  i>Wöna  seeing 
seems  even  more  life-en- 
hancing  than  on  a  first. 
Bejart  is  not  your  usual 
kettle  of  fish,  indeed  he  is 
a  horse  of  a  very  different 
color.  But  fish,  horse  and 
kettle  apart,  I  think  he  is 
very  worth  seeing.  Even  if 
to  disagree  with. 


MISS  lAMISON  AmARS  M -IE  SKCTKf 
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Bejart  Re-choreographs 
2  Ballets  f  or  March  Series 

Maurice  B^jart's  Ballet  of  the  20th 
Century  will  begin  a  three-week  en- 
gagement  at  the  Minskoff  Theater  next 
Tuesday,  with  premieres  of  two  famil- 
iär ballets  re^horeographed  by  Mr. 
B6jart.  Seen  on  opening  night  will  be 
his  "Galet6  Parisienne'*  and  ''Le  Spec- 
tre  de  la  Rose/'  as  well  as  a  new  ver- 
sionof  his**  Bolero" 

The  Belgian  Company  will  also  be 
Seen  in  the  new  full-length  ''Amor  di 
Poeta/*  set  to  music  by  Robert  Schu- 
mann and  Nino  Rota;  Mr.  B6jarfs  new 
"Petrouchka."  and  new  works  set  to 
the  music  of  Verdi,  Wagner  and  Gerry 
Mulligan  and  Moondog. 

The  series  will  also  be  notable  for  its 
guest  artists.  Judith  Jamison.  balle- 
rina  of  the  Alvin  Ailey  American  Dance 
Theater,  will  be  seen  in  the  tradition- 
ally  male  role^of  the  Rose  in  JJLe  Spec- 
tre  de  la  Rose.  VJean  Babilee,>||  French 
Star  of  the  40*s^iTtt  5(r§fWin  perform 
•*Life,"  choreographed  for  him  by  Mr. 
B6jart.  ''Song  of  the  Wayfarer"  will 
complete  the  engagemenfs  repertory. 


3  WEEKS  ONtYl  MAR.  6  THRU  MAR. 


ffOM  BRÜSSELS 


COM^ANVOrM 


L 


2 


:t  of  the  20th  Century 


JORGE  DONMVlftllMBIl^ 

miRBE  TCXETS IV  FHQNt  CALL  OMROT  (212)  239-7177 


>NESDAY,  MARCH  7,  1979 


Bejart  presents  daring 
pro  gram  at  Minskoff 


By  CLIVE 
BARNES 

THE  PURBLIND  audaclty 
of  Maurice  Bejart,  whose 
Ballet  of  the  20th  Century 
opened  a  three-week  sea- 
son  at  the  Minskoff  The- 
ater last  night,  is  down- 
right  attractive. 

Bejart  dares  New«  York 
to  hate  him,  as  if  he  didn't 
even  know  he  was  being 
daring!  This  season  he  is 
offering  new  versions  of 
cid  works  —  on  the  first 
night  he  even  gave  a  new 
Version  of  one  of  his  own 
old  works  —  and  seems  to 
tremble  not  at  all  at  past 
prejudices. 

This  opening  program 
showed  rechoreographed 
versions  of  Leonide  Mas- 
sine's  Gaite  Parisienne, 
Michel  Fokine's  Le  Spectre 
de  la  Rose  and  his  own 
Bolero,  Come  to  think  of  it, 
Bolero  was  not  so  much 
rechoreographed  as 

retreaded.  Nevertheless 
the  principle  is  sustained. 

But,  oddly  enough,  the 
highhght  of  this  opening 
was  an  announced  world 
premiere,  a  duet  to  percus- 
sion  interspersed  with  a 
Bach  Partita.  It  was  called 
Life,  and  Bejart  himself  in- 
troduced  its  sneak  preview 
—  for  it  was  originally  an- 
nounced for  a  later  date  — 
immediately  after  his  Ver- 
sion of  Specire, 

Life  was  very  special.  It 
reintroduced    the    French 


dancer  Viean  BabileeV  to 
New  York  lor  Ihe  rirst 
Urne  since  the  '50s.  Babilee 
is  one  of  the  few  truly 
great  dancers  of  our  time. 
However  he  is  now  56- 
years-old,  and  he  has  not 
been  active  in  dance  for 
some  ten  years.  It  must  be 
15  years  since  I  last  saw 
him  in  Edinburgh  and  he 
hasn't  been  seen  in  New 
York  since  1952. 

He  is  sensational.  He 
looks  much  the  same  as  he 
did  when  I  first  saw  him  33 
years  ago  —  the  tousled 
hair,  the  taut  body,  the 
rumpled  antagonistic  man- 
ner. He  can  still  spin  like  a 
top  —  today  only  four  or 
five  fast  pirouettes  ^om- 
pared  with  the  eight  or  ten 
of  yesteryear  —  and  the 
effect  is  remarkably  the 
same. 

His  muscular  acrobatics 
seem  unchanged,  his  sense 
of  dramatic  tension  un- 
diminished,  his  use  of 
Space  still  infinitely  unde- 
fined.  He  was  a  dancer  of 
genius  —  one  of  the  dozen 
or  so  of  the  Century  —  and 
incredibly  he  still  is. 

In  this  duet,  Life,  the 
title  is  a  symbolic  thing 
with  a  tubulär  cube  and  a 
pretty  girl  —  Babilee  was 
partnered  by  a  cutely  long- 
stemmed  Catherine  Dethy. 
But  what  was  clever  was 
Bejart's  choreogrraphic  use 
of  him,  a  use  that  recalled 
the  past  as  a  special  theat- 
rical  Image. 

This  is  Bejart's  strength. 
He  feeds  on  the  past,  and 


always  with  a  peculiar 
taste  that  will  offend 
many,  please  many  more, 
and  always  interest  those 
ballet  cognoscenti  who  can 
see  where  he  has  been,  and 
note,  sometimes  horrify- 
ingly,  where  he  is  going. 

Massine's  Gaite  Pari- 
sienne  was  a  terrible  ballet 
to  a  good  score  and  a 
bright  idea.  Bejart  has  pin- 
ched  the  score,  giving  it  a 
whole  new  scenario. 

Bejart's  Spectre,  is 
something  eise.  It  uses  a 
little  jazz  as  a  prelude  to 
the  familiär  Weber,  and 
his  young  girl,  Judith  Jam- 
ison, is  more  than  a  match 
for  the  Spectre,  a  some- 
what  effete  Patrice 
Touron.  Jamison  wins  — 
she  even  jumps  out  of  the 
Window  —  but  the  Bejart 
choreography  loses.  It  is 
banality  extended  to 
music. 

Bolero  has  a  twist.  Once 
upon  a  time  Bejart's  Ver- 
sion was  38  men  lusting 
after  one  woman.  The  new 
Version  has  38  women  lust- 
ing after  one  man  —  the 
energetic  Jorge  Donn  — 
but  it  doesn't  help.  StiU 
any  program  that  can 
offer  Babilee  is  worth  the 
history  books  and  the 
memory. 


Dance:  Bejart  Opens 
With 'Bolero' and 'Life' 


By  ANNA  KISSELGOFF 

IN  Maurice  Bejart 's  new  **Gaite 
Parisienne,*'  the  hero,  represent- 
ing  Mr.  B6jart  himself,  is  told  by 
a  singing  figure  of  Terpsichore 
that  **you  are  not  handsome,  you  are 
not  rieh.*'  His  talents  lie  elsewhere,  she 
assures  us  and  him.  Yes,  but  where? 

Most  of  the  opening  of  his  Ballet  of 
the  20th  Century  from  Brüssels  last 
night  for  a  three-week  run  at  the  Minsk- 
off Theater  was  an  embarrassment. 
The  evening  was  partly  redeemed  by  a 
gimmicky  new  version  of  his  Ravel 
•'Bolero"  and  by.the  mesmerizing 
presence  onstage  oi\ean  Babileejme 
French  balllet  star  of  liie4U  saiidoO's, 
who  made  a  surprise  guest  appearance 
in  Mr.  Bejart *s  new  duet,  **Life." 

• 
The  other  two  works  were  weak  in 
their  choreography  and  childish  in  con- 
ception.  Judith  Jamison,  another 
guest,  managed  to  keep  a  straight  face 
in  Mr.  B^jart's  remake  of  "Le  Spectre 
de  la  Rose,"  in  which  she  blooms  into  a 
prickly  rose  herseif.  The  choreogra- 
pher*s  penchant  for  using  the  titles  of 
other  people's  ballets  was  continued  in 
"Gaite  Parisienne,"  which  leaned  on 
the  patchwork  of  Offenbach  music  of 
Leonid  Massine's  ballet  in  a  deliber- 
ately  wayward  manner. 

All  in  all,  it  was  clear  that  we  do  not 
have  to  wait  for  summer  for  the  camp 
season.  It  is  already  upon  us. 

"Gait6  Parisienne"  mixes  the  chore- 
ographer's  personal  and  professional 
autobiography  with  fantasy  references 
to  France's  Third  Empire,  a  period  in 
which  he  has  shown  himself  at  home  in 
the  past  in  previous  theater  pieces.  It  is 
not  obvious  at  all  why  he  identifies  with 
Ludwig  II  of  Bavaria,  but  the  fact  that 
he  does  so  is  not  without  significance. 
Ostensibly,  he  sees  himself  as  a  Wagne- 
rian  figure,  but  at  th.e  same  time  the 
ballet  is  also  meamt  as  a  tribute  to  Mr. 
Bejart's  teacher,  the  late  Madame 
Roussane. 

• 
Life  is  just  a  series  of  plies.  This 
seems  hardly  a  large  enough  theme  to 
build  an  entire  theater  piece,  but  the 
idea  of  hard  work  and  discipline  as  nec- 
essary  to  a  dancer,  is  hammered  home 
here  without  respite.  We  first  see  the 
aspiring  Bejart  figure  attended  by  six 
fairy  godfathers  in  practice  clothes  at 
his  crib.  Carabosse,  the  wicked  fairy 
from  **The  Sleepinjg  Beauty,"  is  Ma- 
dame Roussane,  played  by  Math^  Sou- 
verbie  in  a  speaking  role.  She  promises 
nothing  but  hard  labor  ahead  and  urges 
Victor  Ullate,  as  the  hero  prone  to 
pirouettes,  to  study  in  Paris.  Within  the 
all-purpose,  Paris  Opera  set,  Mr. 
Bejart  manages  to  take  an  understand- 
able  swipe  at  the  Paris  Opera  Ballet  for 
his  Views  of  him  in  the  early  years.and 
his  parody  of  a  leopard-skin  cavalier 
with  big-tutu  ballerina  and  Jockey  Club 
members  is  not  all  that  bad. 

Choreographically,  the  rest  is  pretty 
thin  stuf  f.  Mr.  Ullate  gets  some  too  cute 
solos,  and  the  usual  Bejart  male  duet 
here  goes  under  the  euphemism  of  a  f  a- 
ther-and-son  number.  Ivan  Marko  gets 
a  Variation  on  the  effete  side  as  Lud- 
wig, and  whether  this  is  a  strivlng  for 
historical  accuracy;  only  the  choreog- 
rapher knows  for  sure.  Bim,  as  the 
hero,  is  deprived  of  love,  but  his  love 
fantasies  include  what  was  uninten- 
tionally  a  parody  of  the  Soviet  Chiffon 
ecstasy  duet,  with  Shonach  Mirk  and 
Daniel  Lommel,  a  ghost  of  his  past  seif. 


THE  NEW  YORK  TIMES,  WEDNESDAY,  MARCH  7,  1979 


Jack  Mitchell 


Judith  Jamison 


The  Progrom 


MAURICE  BEJART  BALLET  OF  THE  MTH  CEN- 
TURY, at  the  Minskoff  Theater,  45th  Street,  west  of 
Broadway. 

GAITE  PARISIENNE  (New  York  Premiere),  musIc, 
Jacques  Offenbach;  choreography,  Maurice  Beiart; 
sets  and  costumes,  Thierry  Bosquet;  lighting,  Alan 
Barrett;  adapted  and  orchestrated  by  Manuel 
Rosenthal. 

WITH:  Victor  Ullate,  MathÄ  Souverble,  Micha  Van 
Hoecke,  Gerald  Wllk,  Maryse  Patris,  Dominique 
Genevois,  Michael  Phillips,  Ivan  Marko  and  Compa- 
ny. 

LE  SPECTRE  DE  LA  ROSE  (New  York  premiere), 
musIc,  Carl  Maria  von  Weber;  ct>oreoQraphy,  Mau- 
rice Bejart;  sets  and  costumes,  Joelle  Roustan  anc 
Roger  Barnard. 

WITH:  Judith  Jamison  and  Patrice  Touren. 

BOLERO  (New  York  premiere),  musIc  Maurice 
Ravel;  choreography,  Mr.  Beiart. 

WITH:  Jorg^  Donn  and  Company. 


spent  most  of  his  time  chinning  himself 
on  a  the  aluminum  frame  of  a  vacant 
cube  in  response  to  the  leg  extensions  of 
Catherine  Dethy.  But  he  did  so  magnifi- 
cently.  It  might  not  be  all  that  stränge 
to  see  "Life,"  which  uses  some  Bach 
and  percussion,  as  Mr.  Bejart 's  gloss 
upon  the  Cocteau-Roland  Petit  *'Le 
Jeune  Komme  et  la  Mort,"  which  used 
its  own  Bach  score  much  more  sensa- 
tionally.  This  was  the  existentialist  bal- 
let that  made  Mr.  Babilee  an  interna- 
tional Star.  He  used  to  wear  overalls. 
Now  he  wears  jeans.  He  used  to  follow 
the  allegorical  female  figure  of  death 
out  the  Window.  Now  he  is  just  middle- 
aged  and  alienated. 

The  female  figure  has  the  upper  hand 
however  in  **Le  Spectre  de  la  Rose," 
where  Miss  Jamison,  retuming  from  a 
party  to  some  cocktail  music  runs  up 
against  Patrice  Touron  as  a  Dracula- 
looking  Rose.  She  Strips  down  to  her 
brown  leotard  and  engages  her  preen- 
ing  partner  in  some  simplistic  choreog- 
raphy. Simplicity,  however,  works  in 
favor  of  the  new  ** Bolero,"  where  a 
man  —  Jorge  Donn  —  is  now  atop  a 
table  surrounded  by  gyrating  women. 
It  used  to  be  a  woman  surrounded  by 
men.  After  Elvis,  who  will  say  it  does- 
n't  work  both  ways? 


Mr.  Babilee,  however,  looked  very 
much  himself  even  after  an  absence  in 
New  York  of  more  than  20  years.  He 


J 


34 


NEW  YORK  POST,     THURSDAV,  MARCH  8,   1979 


On  the  Town 


:*^::-:--v;.:-'-::;-!:i:> 


i!:?.  :•:.;-■:•!;  ■••;<•■■;•;: 


Joffirey  bows  with  homage  to  Diaghilev 


By  CLIVE 
BARNES 


FIFTY  YEARS  ago  the 
great  Russian  impresario 
and  artistic  director,  Serge 
Diaghilev  died  in  Venice,' 
and  this  year  all  over  the 
World  homage  is  being 
paid.  Last  night  Rudolf 
Nureyev  and  the  Jeffrey 
Ballet  paid  its  own  re- 
spects  at  the  Mark  Hellin- 
ger Theater,  opening  a 
special  month  long  Diagi- 
lev  season. 

The  program,  which  will 
be  unchanged,  shows 
Nureyev  in  three  of  the 
role's  created  by  Diaghi- 
lev's  most  celebrated  male 
dancer,  Vaslav  Nijinsky  — 
the  title-role  in  Petrushka, 
the  Spectre  in  Le  Spectre 
de  la  Rose  and  the  Faun  in 
L'Apresmidi  d'un  Faune, 

The  Faun  was  being 
danced  by  Nureyev  for  the 
first  time  in  his  career, 
while  Petrushka  marked 
the  first  time  he  has 
danced  the  role  in  New 
York.  Both  Faun  and  Spec- 
tre were  new  productions 
for  the  Joffrey  comj>any 
and  the  Petrushka  appears 
to  have  been  considerably 


refurbished.  The  program 
was  completed  with  the 
Joffrey  dancers  in  their 
own  produetion  of  Leonide 
Massine's  Parade. 

At  a  time  when  many 
companies,  either  for  econ- 
omy  or  by  choice,  make 
use  of  the  barest  minimum 
of  props  and  scenery,  and 
employ  the  simplest  of  cos- 
tumes,  it  is  important  to 
recall  that  in  the  days  of 
the  Diaghilev  Ballet,  from 
1909  to  1929,  one  of  its 
major  innovations  was  to 
bring  great  artists  and  de- 
signers  into  ballet's  Crea- 
tive process. 

Appropriately  enough 
this  Diaghilev  homage  has 
elaborate  designs  by  Alex- 
ander Benois,  Pablo  Pi- 
casso and  Leon  Bakst,  all 
of  them  handsomely  res- 
tored,  the  Bakst  desig:ns 
for  Faun,  a  genuine  rarity, 
being  particularly  wel- 
come. 

The  evening  was,  of 
course,  a  tour  de  force  for 
Nureyev,  showing  once 
again  the  spiritual  kinship 
he  seems  to  have  with  his 
legendary  predecessor. 

The  Petrushka,  which 
opened  the  evening,  was 
the   least   satisfying.   The 


Joffrey  llad  never  really 
got  the, hang  of  this  ballet 
In  the  past  and  they  still 
haven't.  The  dancing 
lacked  verve,  the  lighting 
looked  flat  and  even  the 
snow  made  a  couple  of 
false  flurries  before  its 
proper  entrance.  This  slop- 
piness  —  even  though  pre- 
sumably  a  first  night  haz- 
ard  —  was  unfortünately 
symptomatic  of  the  pro- 
duetion. 

Nureyev  has  eschewed 
the  traditional  Nijinsky 
face  —  the  button  nose, 
the  putty  cheeks  and  the 
twisted  slash  of  a  mouth 
—  in  favor  of  a  more  nat- 
uralistic  makeup,  chalky 
white  but  definitely  more 
human  than  puppet,  this 
approach  informs  his 
whole  Performance,  which 
has  more  blood  than  saw- 
dust  to  it.  There  is  hero- 
ism,  irony  and,  at  the  end, 
even  triumph,  but  little  of 
that  bleakness  of  the  soul 
that  the  choreographer, 
seemed  to  suggest  in  his 
marionette  movements  of 
despair. 

His  Spectre  we  saw  last 
Summer  at  the  Metropoli- 
tan Opera  House  with  Lon- 
don  Festival  Ballet»   who 


have  lent  Joffrey  its  pro- 
duetion for  this  season.  It 
is  an  exquisitely  judged 
Performance,  particularly 
strong  in  its  line  and  those 
tendril-like  arm  move- 
ments, like  art-nouveau 
traceries,  that  were  caught 
so  vividly  in  that  Cocteau 
poster  of  Nijinsky  in  the 
role. 

Hardly  anyone  risks  Ni- 
jinsky's    Faun    nowadays 

—  although  it  is  the  only 
remnant  of  Nijinsky*s 
startling  choreography 
that  remains  to  us.  Since 
the  war  I  have  seen  it  ini 
Europe  witA  Jean  Babik 
even  Serge  Lrfkr  m  weil 
solo  Version,  and  the  Ballet 
Rambert  has  maintained  it 
in  its  repertory  for  years 

—  which  is  where  the  pre- 
sent  Version  derives. 

History  has  long  over- 
taken  the  ballet's  Sugges- 
tion of  scandal  —  it  was 
once  thought  obscene  — 
but  its  two  diminsional, 
frieze-like  choreography, 
its  Suggestion  of  erotic 
frolics  and  wall-paintings 
still  has  a  potency,  and 
Nureyev  marvelously 

caught  all  those  hard- 
edged  poses  and  postures 


imprinted  on  our  minds 
from  a  dozen  or  so  Ni- 
jinsky photographs.  There 
was  as  much  artistry  in 
this  remarkable  evocation 
of  the  Nijinsky  Image,  as 
there  was  in  Rouben  Ter- 
Arutunian  loving  and 
lovely  reconstruction  of 
the  set  and  costumes. 

The  Joffrey  Balley  — 
Said  to  be  in  dire  financial 
straits  —  is  obviously 
doing  the  season  chiefly 
for  money,  which  while  not 
dishonorable  is  perhaps 
unfortunate.  They  danced 
Parade  with  their  usual 
elan,  although  the  injured 
Gary  Chryst  was  missed 
as  the  Conjuror  —  Chryst, 
did  however  make  a  nota- 
ble debut  as  the  Charlatan 
in  Petrushka,  where  Den- 
ise  Jackson,  also  fine  in 
Spectre,  and  Christian 
Holder  scored  as  the  Balle- 
rina and  Blackamoor.  I 
was  also  impressed  with 
the  fugitive  sensuousness 
of  Charlene  Gehm  as  the 
leading  nymph  in  the 
Faun's  aftemoon. 

But  it  was,  naturally 
enough,  Nureyev's  evening 
—  and  Diaghilev's. 


f 


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VivE  Ia  BRA^KRiE 

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Vivt  U»ku«t»!  (WencvercUHc') 

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Vivt  IacROMmI!  tNe*  Yorksmiist  interwling  people 

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15  ;  .ar.;   1^)70 

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d^un    >ffuvr#»   iriJipir« —   't  d«j  von.^   r'^trorvf^r  rtpr*«—- 

Voici  rlont  je  vous  ei  pftrl^  du  ^''^v   >'ori'  Tics^^s  H'hirr. 

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Si  voun  nvi^R  tm  r»oeient   pour  v.  »»h  )>Äll?i'pr,   je  vouflroi:^ 

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WASHINGTON. 

Just  as  1974  ended,  a  black,  much- 
decorated  Chicago  detective  died  of  a 
Iheart  attack,  leaving  behind  a  poignant 
written  lament  on  racism,  which  said 
in  part,  **M'me  is  a  wasted  life,  füll  of 
degradation,  muted  feelings  and  not 
belonging.  This  is  one  hell  of  a  world 
for  a  black  man."  On  the  same  day,  the 
school  board  which  has  been  opposing 
court-ordered  busing  in  Boston  voted 
to  appeal  to  the  U.S.  Supreme  Court 
the  desegregation  ruling  that  triggered 
racial  turmoll  in  that  city. 

For  those  who  regara  racial  progress 
as  a  test  of  society,  these  events  were 
ä  sad  way  of  ending  a  year  that  in  many 
other  respects  saw  substantial  ad- 
vances  in  the  cause  of  civil  rights.  When 
Roy  Wilkins,  head  of  the  NAACP,  cele- 
brated  his  70th  birthday,  he  said: 

"Some  days  it's  optimism,  some  days 
sheer  frustration,  but  optimism  prevails. 
If  I  didn't  believe  it  was  possible  for 
minority  groups  in  this  country  to 
achieve  equality  by  using  the  tools 
within  the  System — voting,  legislation, 
court  action — I  would  have  given  up 
long  ago."  ^    ^ 

*  *  * 

On  the  wtiole,  there  was  niuch  in  1974 

—  especially  voting  —  to  sustain  his 
hopes.  The  most  obvious  and  spectac- 
ular  gains  were  produced  by  the  No- 
vember elections,  notably  In  the  South. 
In  the  11  States  of  Dixie,  blacks  won 
more  state  and  fcderal  legislative  seats 
than  in  any  election  since  the  Civil  War 
Reconstruetion  era.  Thirty-five  new 
seats  were  picked  up,  while  50  seats 
previously  won  were  retained.  Out  of 
118  black  candidates,  85  (or  72  per  cent) 
were  successful.  In  all,  97  black  legis- 


BLACK  PROGRESS  IN  1974 


lators  now  serve  the  South  In  Washing- 
ton or  Dixie.  A  dozen  years  ago  there 
were  no  black  legislators  at  all  in  the 
South. 

The  results  are  a  testimonial  to  the 
1965  Voting  Rights  Act.  which  in  10 
years  has  Increased  black  registration 
in  Dixie  from  less  than  1.5  million  to 
3.5  million.  The  Voting  Rights  Act,  Inci- 
dentally,  expires  in  1975.  It  should  not 
only  be  renewed  but  made  permanent. 

The  gains  have  not  been  confined  to 
the  South.  In  the  1970-74  period,  New 
York  and  New  Jersey  nearly  matched 
Dixie's  growth  rate  for  all  elected  black 
officials.  Michigan,  with  194.  continues 
to  be  the  state  with  the  most  elected 
blacks,  followed  by  Mississippi  (191), 
New  York  (174),  New  Jersey  and  Illinois 
(152),  Arkansas  (150),  Louisiana  and 
Alabama  (149)  and  Ohio  (139). 

Two  black  candidates  were  elected 
lieutenant  governor  in  California  and 
Colorado,  capturing  the  highest  state 
Offices  ever  won  by  blacks.  The  signifi- 
cant  thing  about  the  results  in  Cali- 
fornia is  that  black  candidates  are  con- 
sistently  winning  in  districts  where  they 
are  a  distinct  minority.  It  is  not  sur- 
prising  that  the  National  Black  Politi- 
cal  Convention  tabled  a  resolution  call- 
ing  for  a  black  politlcal  party. 


'3 


Elections,  of  course,  are  not  the  whole 
Story.  Black-owned  businesses  increased 
19  per  cent.  Black  families  with  Incomes 
exceeding  $10,000  a  year  went  up  from 
885,000  (or  20  per  cent  of  all  black  f ami- 
lies) to  1.9  million  (or  35  per  cent).  Yet 
the  latest  figures  show  black  incomes 
are  still  not  keeping  pace  with  white«'. 

Help  seems  to  be  on  the  way,  how- 
ever.  In  1974,  a  number  of  large  corpo- 
rations  were  forced  to  pay  millions  of 
dollars  in  damages  and  back  pay  to 
black  employes  who  had  been  discrim- 
inated  against.  Mandatory  hiring  goals 
have  also  been  clamped  on  more  than 
100  local  construction  unions  across  the 
country.  Even  so,  the  black  employment 
record,  especially  among  the  young,  re- 
mains  dismal. 

#  «  # 

Beyond    statlstlcs,    there    are    some 

heartening  straws  in  the  wind.  Tlie 
Elks,  America's  largest  fraternal  Organ- 
ization with  1.5  million  members,  voted 
4-1  to  repeal  its  white-only  policy.  The 
U.S.  Air  Force  chose  a  black  sergeant 
to  be  its  top  enlisted  man.*It  was  the 
first  time  any  of  the  Services  selected 
a  black  for  the  highest  enlisted  ranking. 

The  Rev.  Harold  Wright  became  the 
first  black  suffragan  bishop  of  the 
Episcopal  Diocese  of  New  York,  and  the 
Rev.  Lawrence  Bottoms  became  the  first 
moderator  of  the  Presbyterian  Church 
in  the  United  States.  The  new  moder- 
ator has  a  sense  of  humor.  When  he 
received  a  ceremonial  Celtic  cross  from 
his  predecessor,  he  smiled  and  said,  "It 
always  makes  me  nervous  when  a  white 
person  puts  anything  around  my  neck." 


The  Ups  and  Downs  of  Creativity 


From  "V.  SackviUe-West"  by  Michael  Stevens   (ScHbner's,  $7.95). 

To  her  art  Vita  Sackville-West  brought  a  real  poetic  gift.  But  her  attiiude 
toward  her  muse  was  one  of  great  humllity.  "You  know,"  she  wrote  to  Harold 
Nicolson,  '*I  do  get  so  frightfully,  frenziedly  excited  writing  poetry.  It  Is  the 
only  thing  that  makes  me  truly  and  completely  happy.  And  then  I  feel  that 
what  I  have  been  writing  is  so  very  pooi>-^so  wretched  a  reflectlon  of  what  has 
been  going  on  in  my  mind  while  I  am  at  it.  Why  should  one  rise  so,  high  and 
and  then  go  so  completely  flop?** 


\ 


8 


THE  NEW  YORK  TIMES,  SUNDAY,  JANUARY  19,  1915 


A  Cocteau  hero  killing  himself  in  a  Parii  tttic,  a 
dybbuk  on  East  92d  Street,  a  muted  rltual  at 
Lincoln  Center  and  the  gala  rctum  of  a  prodigal 
— no  one  could  claim  that  1975's  first  fuU 
week  was  not  eventful  for  dance.  All  this  and 
Nureyev  and  his  buddies,  too,  implacably 
introducing  thousands  of  new  people  to  dance.  Tha 
committed  dance  lover  has  been  wandering  around  town 
with  the  perfervid  look  of  an  Impulse  buyer  let  loosa  in  a 
bargain-price  supermarket.  It  has  been  difficult  to  know 
where  to  tum.  Decisions,  decisions.  Should  one  do  this 
and  gö  here,  or  do  that  and  go  there.  At  times  one  feit  likt 
calling  the  whole  thing  off  and  going  fishing. 

It  was  in  1946  that  Boris  Kochno,  then  director  of 
Le«  Ballets  des  Champs  Elys^es,  invited  Jean  Cocteau  to 
devise  a  ballet  /or  his  Company.  The  result  wai 
"Le  Jeune  Homme  et  la  Mort,"  which  had  choreography 
by  Roland  Petit,  music  by  Bach,  an  existentialist  atory  of  a 
young  artist  meeting  a  woman  who  was  death,  and  two 
Performances  by  Jean  Babil6e  and  Natalie  Phillipart 
that  seemed  likely  to  find  a  place  among  ballet'i 
performing  legends. 

It  was  really  a  ballet  for  its  time — for  that  postwar, 
chic  and  savage  Parisian  romanticism  where  it  was  almost 
commonplace  for  a  young  man  in  Overalls  to  be  led  to 
his  doom  over  the  rooftops  of  Paris  by  a  strangely 
beautiful  girl  whose  beauty  tums  into  a  death'i  head, 
Poets  like  Cocteau  and  Jacques  Prövert  found  such 
themes  highly  impressive. 

Wakhevitch's  elaborate  setting  was  an  aitelier  that 
eventually  was  transmogrified  into  the  Paria  Skyline  with 
the  Eiffel  Tower  flashing  Citroen  for  the  world  to  sea. 
(Why  the  commercial?  Did  Citroen  contribute?)  It  ia  sald 
that  it  was  rehearsed  to  le  jazz  hot  and  that  ttm  dancera 
did  not  hear  the  Bach  until  the  first  night.  Who  knows? 

The  nub  of  the  ballet  was  BabiMe's  Performance.  Ha 
was  one  of  the  greats,  and  his  brooding  presence,  lupine 
looks  and  explosively  muscular  dance  style  gave  him 
a  kind  of  madness.  Both  Petit  and  Cocteau  must  hava 
realized  this  because,  as  far  as  I  know,  no  one  but 
Babiläe  danced  the  role  on  stage,  although  a 
film  of  it  was  made  many  years  later  with  Nureyev. 

This  season  American  Ballet  Theater,  which  at  tha 
beginning  of  the  1950's  once  showed  "Le  Jeune  Homma 
et  la  Mort"  with  Babil6e,  has  remounted  it  for 
Mikhail  Baryshnikov.  It  was  a  cheap  and  vulgär  balleC  In 
1946,  and  it  is  a  cheap  and  vulgär  ballet  in  1975.  Tha  thema 
ij  trite,  the  choreography  is  füll  of  tricks,  and  tha 
characterization  has  the  one  dimension  of  the  sensatlonal. 
But  it  is  a  vehicle,  and  Baryshnikov  jumped  aboard  it 
with  marked  success.  Wisely,  Petit  has  rechoreographcd 
quite  a  lot  of  it  to  suit  Baryshnikov's  more  mercurial 
dance  style,  and  his  more  intense  but  less  vivid  acting 
presence.  I  saw  Babil6e  in  this  dozens  of  times,  and  his 
lank  hair  and  snarling  pirouettes  created  an  image  of 
frustration  and  pain  that  transcended  the  work. 
Baryshnikov,  matched  by  the  coldly  chic  Bonnie  Mathis,  is 
a  more  intellectual,  less  sensual  hero,  but  he  dances 
vsrith  a  grace  and  passion  that  are  all  hds  own.  This  young 
man  might  be  said  to  have  been  possessed. 

Peari  Lang's  ambitious,  full-evening  new  work,  premiered 
at  the  92d  Street  Y.M.H.A.,  is  called  "The  Possessed."  It 
Is  based  on  S.  Ansky's  modern  Yiddish  classic. 
"The  Dybbuk."  Recently  we  have  had  Jerome  Robbins's 
abstracted  Version  of  the  tale  (with  Leonard  Bernstein's 
music)  called  "Dybbuk  Variations."  Miss  Lang's  attempt  to 
realize  what  Ansky  himself  called  "a  realisttic  play  about 
mystical  people"  is  far  more  literal,  even  though  I 
wonder  how  much  of  the  story  would  be  clear  to 
audiences  unfamiliar  with  the  play.  What  Miss  Lang  ha» 
captured  in  her  choreography,  and  her  own  remarkablt 
Performance,  is  the  play's  sense  of  moral  force.  It  is 
not  just  a  horror  story;  it  is  a  play  about  man's  duty  to 
man  and  to  the  spirit. 

It  is  usual — and  perfectly  accurate — to  stress  Lang's 
Choreographie  indebtedness  to  Martha  Graham,  for  she  is 
an  ackmowledged  disciple  in  the  Graham  tradition.  But  the 
dramatic  and  literary  basis  of  their  work  is  very  different. 


DANCE  VIEW 


CLIVE  BARNES 


Notes  From  All  Over  Town 


Graham  would  have  seen  "The  Possessed"  as  the  retro- 
spective  landscape  ofthe  heroine,  Leye,  who  is  possesed 
by  the  unquiet  soul  of  her  dcad  lovcr.  Miss  Lang  is  more 
objective.  She  draws  a  picture  of  Hassidic  life  at  the  be- 
ginning of  the  Century,  showing  Leye  and  her  father  and 
lover  against  their  unchanging  background  of  life  and  beliefs. 

Miss  Lang  herseif  is  a  Cancer  of  speed  and  ecstasy. 
She  swirls.  <She  concantrates  on  the  momentary  dance  phrase, 
and  her  dancing  seems  to  be  given  deliberately  littla 
punctuation,  so  at  times  there  ii  more  immediacy 
here  than  depth.  Her  movements  are  controlled  and 
harmonious;  she  can  never  be  caught  in  a  gesture  less 
than  graceful  or  merely  decorative.  She  is  a  wonderful, 
unique  dancer.  The  Company  gathcred  for  the  occasion  is  a 
good  one,  with  William  Carter  as  the  Channon  (the 
Lover),  Bertram  Ross  as  both  the  Messenger  and  tha 
exorcising  Tzaddik,  and  Alexander  Mintz  as  the  rieh 
father.  All  were  excellent.  Tha  music  and  sound  score  by 


Meyer  Kupferman  and  Joe!  Spiegelman  seemed  incidental  to 
the  proceedings,  but  some  of  the  design  and  projections 
proved  interesting  and  dramatic. 

There  was  more  ritual — at  least  I  suppose  It  was 
ritual — when  New  York  City  Ballet  premiered  Jacques 
d'Amboise's  "Sinfonietta"  to  a  1950  score  by  Paul 
Hindemith.  The  music  is  dull  but  not  nearly  so  dull  as  the 
choreography.  Mr.  d'Amboise  has  set  his  ballet  in  front 
of  something  that  looks  a  bit  like  a  tree,  and  there 
appear  to  be  a  few  somewhat  ill-chosen  virgins  in  the 
vicinity.  There  is  little  story,  as  such,  and  little  ballet,  as 
such.  The  choreography  keeps  slavishly  to  the  beat  of  the 
music,  and  the  Choreographie  invention  at  its  most 
original  can  be  called  grotesque. 

Why  does  Balanchine  continue  to  press  his  sorccrer's 
apprentices  upon  his  captive  subscription  audience?  During 
the  time  he  was  with  the  Company,  John  Clifford  (Balan- 
chine's  Choreographie  blue-eyed  boy)  created  about 


rmm. 


",i 


^^^i 


m: 


elght  works  for  City  Ballet.  Now  that  Clifford  himself 
has  left,  every  Single  one  of  his  ballets  has  apparently  been 
abandoned.  Is  there  no  message  here? 

On  to  happier  things.  On  Jan.  11,  American  Ballet  ^  j» 

Theater  celebrated  its  35th  Anniversary  with  a  gala  that     '*  5 
really  was  gala.  The  present  Company  excelled  with  a  '  ^ 

most  impressive  display  of  dance-power,  and  many  of  tha    ,/^ 
goodies-but-oldies  were  around,  even  from  the  first  aeason. 
Some  of  thßm  (such  as  Nora  Kaye,  Hugh  Laing, 
Andr6  Eglevsky,  Igor  Youskevitch  and  Agnes  de  Mille) 
actually  performed,  while  others  took  a  smiling  formal 
bow  in  mufti  at  the  end.  But  for  one  returning  prodigal, 
it  seemed  to  be  something  eise.  Erik  Bruhn  danced  in  tha 
kitchen  scene  from  Birgit  Cullberg's  "Miss  Julie"  as  if 
he  had  never  been  away,  and  now  appears  to  have  had 
second  thoughts  on  his  premature  retirement  three  years 
ago.  The  way  he  was  dancing  at  the  gala,  he  looked 
good  for  another  10  years! 


16 


Dance:  'Jeune  Homme' 


Ballet  Theater  Brings 
Cocteau  Work  Back 


By  CLIVE  BARNES 

Memories,  memories!  On 
Thursday  night  at  the  City 
Center  55th  Street  Theater, 
American  Ballet  Theater  re- 
vived  Rolan  Petit's  "Le  Jeune 
Komme  et  la  Mort,"  which 
has  not  been  seen  locally 
since  1951.  The  leading  role 
in  this  ballet,  conceived  by 
Jean  Cocteau,  was  then 
danced  by  the  man  who 
created  it  in  1946  for  Les 
Ballets  des  Champs-Elysees, 
Jean  Babil^e,  one  of  the  great 
male  dancers  of  his  day.  Cer- 
tainly  the  most  tempera- 
mental. 

On  Thursday  night  the  role 
passed  to  Mikhail  Baryshni- 
kov.  Mr.  Baryshnikov  gave 
a  tremendous  Performance; 
his  dancing,  his  actin,  his  to- 
tal concept,  proved  remark- 
able.  Mr.  Babil^e  was  a  sav- 
age,  unkempt  virtuoso.  He 
almost  spat  as  he  danced. 
Mr.  Baryshnikov  is  the  per- 
fect  classicist.  His  technique 
has  a  refinement  and  bril- 
liance  beyond  that  of  his  pre- 
decessor.  And  his  acting  is 
far  more  controlled  and 
focused.  He  gives  this  young 
Vtist  with  a  differently  ac- 
<Änted  frency.  Yet  he  does 
'|0t  spit. 

« 

The  ballet  has,  reasonably 
enough,  been  largely  rechore- 
ographed  for  Mr.  Baryshnikov 
by  Mr.  Petit  The  origi- 
nal concept  by  Jean  Cocteau 
of  a  young  artist  with  an  as- 
signation  with  a  girl  who  is 
DEATH  (in  those  days  in 
French  arts  and  letters 
DEATH  was  always  in  capi- 
tal  letters  and  was  often 
been  kept.  It  was  a  simple 
more  glamorous  than  a 
lower-case  life)  has  of  course 
been  kept  It  was  a  simple 
concept,  very  typical  of  Coc- 
teau's  chic  facility. 

The  d^cor,  a  Sensation  in 
its  time,  was  by  Georges 
Wakhevitch,  and  this  has 
been  retained.  For  some  tech- 
nical  reason  at  the  City  Cen- 
ter the  walls  of  the  artist's 
studio  where  the  entire  ballet 
takes  place  before  its  final 
transfiguration  cannot  be 
used.  This  is  a  pity.  The  cos- 
tumes  are  still  credited  to 
Christian  B^rard,  and  the  yel- 
low  dress  worn  by  Bonnie 
Mathis  is  passingly  like  the 
original.  Mr.  Baryshnikov, 
simply  half-naked  in  blue 
Jeans  is,  however,  a  far  cry 
from  the  original  concept,  the 
subtly  designed  overalls  wom 
by  Babil^e.  The  difference  is 
significant. 

Mr.  Petit  has  used  Mr. 
Baryshnikov*s  compiete  bod- 
iiy  command  to  sensational 
and  commanding  effect.  Here 
is  one  of  the  great  dance- 
actors  of  the  world.  Previous- 
ly  we  had  seen  Mr.  Baryshni- 
kov only  kempt  and  con- 
trolled in  ballet  tights.  Here 
he  was  in  blue  jeans,  mod- 
ern and  angrily  distraught. 
He  leaped  on  tables,  threw 
around  chairs  and  started 
rihilism  in  the  face.  His 
muscular  control,  his  ability 
to  project  life  through  darce, 
was  fantastic.  His  haunted 
face,  his  taut,  constricted 
body,  his  psychic  agony,  all 
offered  an  Image  of  the  artist 
as  a  young  suicide.  What 
more  can  one  say?  Cocteau 
would  have  loved  it;  this  was 
the  re-creation  of  a  role,  of 
a  mood,  of  a  period.  It  also 
showed  a  darkly  dramatic 
side  to  Mr.  Baryshnikov 
earlier  hinted  at,  but  never 
before  demonstrated. 

Bonnie  Mathis  as  the  death 
in  his  life  is  absolutely  love- 
ly.  She  may  not  have  the 
bizarre  kinkiness  suggested 
by  Nathalie  Philipart,  the 
role's  Creator,  but  her  gentle 
persistence  and  inevitable 
power  are  vastly  impressive. 

The  music  is  a  Bach  Pas- 
sacaglia,  »and  it  is  the  major 
objection  that  one  can  make 
to  the  choreography  that  it 
just  does  not  matter.  Here 
is  a  gimmick,  cleverly  up- 
dated,  sumptuously  per- 
formed,  that  maans  the  same 
fundamental  nothing  it  was 
way  back  in  1946.  Age  may 
not  wither,  nor  does  it  help. 
Yet  in  1946  Mr.  Babiläe  took 
this  vdiicle  and  set  the  world 
on  its  ear.  In  1975  Mr.  Bary- 
shnikov in  his  sharper,  more 
delineated  way,  is  going  to 
do  precisely  the  same  thing. 
• 

T*ie  Drogram  also  included 
**Les  Sylphides,"  in  which 
Ivan  Nagy  was  the  most  ele- 
gant and  stylish  of  poets, 
and  Hilda  Morales  in  the 
Waltz,  Eleanor  D*  Antuono 
in  Mazurka  and  Marianna 
Tcherkassky  in  the  Prelude 


The  Program 

LE  JEUNE  HOMME  ET  LA  MORT  (re- 
vlval  Premiere),  ballet  by  Jean  Coc- 
teau; choreography,  Roland  Petit; 
music,  J.  S.  Bach;  orchestration, 
Respighi;  scenery,  Georges  Wdkhe- 
vitcti/  costumes,  Christian  Berard; 
production  Supervisor,  William  Pitkin; 
Jighting,  Nanamie  Porcher.  With  Bonnie 
AAathis  and  Mikhail  Baryshnikov.  Pre- 
sented  by  American  Ballet  Theater  at 
the   City   Center  55th   Street   Theater. 


(what  a  cultivated  dancer 
she  is!)  all  added  up  to  a 
sensitive  Performance.-  In  Al- 
vin  Ailey's  *'The  River"  we 
had  a  number  of  unexpected 
cast  changes,  including  a 
subtly  diffident  but  gallant 
Dannis  Wayne  (he  went  on 
at  a  notice  that  gives  mini- 
mal a  new  dimension)  part- 
nering  Miss  Morales,  and 
Janet  Popeleski  weaving  her 
way,  hopefully  but  promis- 
ingly,  through  the  spinning 
thickets  of  the  Vortex 
Variation. 

Completing  the  program 
were  Cynthia  Gregory  and 
Ted  Kivitt  in  Victor  Gsov- 
sky*s  ghastly  but  mildly 
gorgeous  "Grand  Pass  Clas-, 
sique."  Miss  Gregory  was  at 
iher  most  wittily  brilliant. 
She  has  the  kind  of  over- 
kill  technique  that  once  in 
a  while  you  can  use  as  a 
very  ecstatic  joke,  and  here 
she  was  doing  too  much 
with  such  insolent  ease  that 
you  laughed  at  her  and  loved 
her  all  at  once.  Mr.  Kivitt 
had  the  same  approach, 
style  and  calm  technique, 
and  the  total  effect  was 
funny,  sweet  and,  most  of 
all,  reward ing. 


V« 


1 


U"« 


Dance:  Te  Jeune  Homme  et  la  Morf 


I 

■«1' 


Ballet  Theater  Brings 
Cocteau  Work  Back 


■Wj. 


-4 


I 


By  CLIVE  BARNES 

Memories,  memories!  On 
Thursday  night  at  the  City 
Center  55th  Street  Theater, 
American  Ballet  Theater  re- 
vived  Roland  Petit's  "Le  Jeune 
Homme  et  la  Mort,"  which 
has  not  been  seen  locally 
since  1951.  The  leading  role 
in  this  ballet,  conceived  by 
Jean  Cocteau,  was  then 
danced  by  the  man  who 
created  it  in  1946  for  Les 
Ballets  des  Champs-Elys6es, 
Jean  Babil6e,  on5>öf  the  great 
e  dancei^-efnis  day.  Cer- 
tainT5r"TtTe  most  tempera- 
mental. 

On  Thursday  night  the  role 
passed  to  Mikhail  Baryshni- 
kov.  Mr.  Baryshnikov  gave 
a  tremendous  Performance; 
his  dancing,  his  acting,  his  to- 
tal concept,  proved  remark- 
able.  Mr,  Babil6e  was  a  sav- 
age,  unkempt  virtuoso.  He 
almost  spat  as  he  danced. 
Mr.  Baryshnikov  is  the  per- 
fect  classicist.  His  technique 
has*"a  refinement  and  bril- 
liance  beyond  that  of  his  pre- 
decessor.  And  his  acting  is 
far  more  controlled  and 
focused.  He  gives  this  young 
artist  with  a  differently  ac- 
centered  frenzy.  Yet  he  does 
not  spit. 


M>      The  ballet  has,  reasonably 

^  enough,  been  largely  rechore- 

mt  ographed  for  Mr.  Baryshnikov 

;i  by     Mr.    Petit.    The    origi- 

ow  nal  concept  by  Jean  Cocteau 

JJ  of  a  young  artist  with  an  as- 

•b;  signation  with  a  girl  who  is 

;;^  DEATH    (in    those    days    in 

mm  French      arts     and      letters 

DEATH  was  always  in  capi- 

tal    letters    and    was    often 

more     glaniorous     than     a 

CM  lower-case  life)  has  of  course 

been  kept.  It  was  a  simple 

concept,  very  typical  of  Coc- 

teau*s  chic  facility. 

The  d6cor,  a  Sensation  in 

"  ^  its    time,    was    by    Georges 

—  Wakhevitch,     and    this     has 

heen  retained.  For  some  tech- 

iical  reason  at  the  City  Cen- 


I 


The  Program 

LE  JEUNE  HOMME  ET  LA  MORT  (re- 
vlval  Premiere),  ballet  by  Jean  Coc- 
teau; choreography,  Roland  Petit; 
musiC/  J.  S.  Bac|];  orchestration, 
Re$plgt>l;  scenery,  Georges  Wakhe- 
vitch;  costumes,  Ctiristian  Berard; 
produrtion  Supervisor,  William  Pitkin; 
liohting,  Nananne  Porcher.  With  Bonnie 
Mathis  and  Mikhail  Baryshnikov.  Pre- 
sented  by  American  Ballet  Theater  at 
the   City   Center  55th    Street   Theater, 


ter  the  walls  of  the  artist's 
studio  where  the  entire  ballet 
takes  place  before  its  final 
transfiguration  cannot  be 
used.  This  is  a  pity.  The  cos- 
tumes are  still  credited  to 
Christian  Börard,  and  the  yel- 
low  dress  worn  by  Bonnie 
Mathis  is  j>assingly  like  the 
original.  Mr.  Baryshnikov, 
simply  half-naked  in  blue 
Jeans,  is,  however,  a  far  cry 
from  the  original  concept,  the 
subtly  designed  Overalls  worn 
by  Babil^e.  The  difference  is 
significant. 

Mr.  Petit  has  used  Mr. 
Baryshnikov's  compiete  bod- 
ily  command  to  sensational 
and  commanding  effect.  Here 
is  one  of  the  great  dance- 
actors  of  the  world.  Previous- 
ly  we  had  seen  Mr.  Baryshni- 
kov only  kempt  and  con- 
trolled in  ballet  tights.  Here 
he  was  in  blue  jeans,  mod- 
ern and  angrily  distraught. 
He  leaped  on  tables,  threw 
around  chairs  and  stared 
rihilism  in  the  face.  His 
muscular  control,  his  ability 
to  project  life  through  dance, 
was  fantastic.  His  haunted 
face,  his  taut,  constricted 
body,  his  psychic  agony,  all 
offered  an  Image  of  the  artist 
as  a  young  suicide.  What 
more  can  one  say?  Cocteau 
would  have  loved  it;  this  was 
the  re-creation  of  a  role,  of 
a  mood,  of  a  period.  It  also 
showed  a  darkly  dramatic 
side  to  Mr.  Baryshnikov 
earlier  hinted  at,  but  never 
before  demonstrated. 

Bonnie  Mathis  as  the  death 
in  his  life  is  absolutely  love- 
ly.  Sh3  may  not  have  the 
bizarre  kinkiness  suggested 
by  Nathalie  Philippart,  the 
role's  Creator,  but  her  gentle 
persistence  and  inevitable 
power  are  vastly  impressive. 

The  music  is  a  Bach  Pas- 


Baryshnikov  Gives  Role 
Classicist's  Touch 


sacaglia,  and  it  is  the  major 
objection  that  one  can  make 
to  the  choreography  that  it 
just  does  not  matter.  Here 
is  a  gimmick,  cleverly  up- 
dated,  sumptuously  per- 
formed,  that  means  the  same 
fundamental  nothing  it  was 
way  back  in  1946.  Age  may 
not  wither,  nor  does  it  help. 
Yet  in  1946  Mr.  Babil6e  took 
this  velhicle  and  set  the  world 
on  its  ear.  In  1975  Mr.  Bary- 
shnikov, in  his  sharper,  more 
delineated  way,  is  going  to 
do  precisely  the  same  thing. 
• 

The  program  also  included 
"Les  Sylphides,"  in  which 
Ivan  Nagy  was  the  most  ele- 
gant and  stylish  of  poets, 
and  Hilda  Morales  in  the 
Waltz,  Eleanor  D'Antuono 
in  Mazurka  and  Marianna 
Tcherkassky  in  the  Prelude 
(what  a  .cultivated  dancer 
she  is!)  all  added  up  to  a 
sensitive  Performance.  In  Al- 
vin  Ailey's  "The  River"  we 
had  a  number  of  unexpected 
cast  changes,  including  a 
subtly  diffident  but  gallant 
Dennis  Wayne  (he  went  on 
at  a  notice  that  gives  mini- 
mal a  new  dimension)  part- 
nering  Miss  Morales,  and 
Janet  Popeleski  weaving  her 
way,  hopefully  but  promis- 
ingly,  through  the  spinning 
thickets  of  the  Vortex 
Variation. 

Completing  the  program 
were  Cynthia  Gregory  and 
Ted  Kivitt  in  Victor  Gsov- 
sky's  ghastly  but  mildly 
gorgeous  "Grand  Pas  Clas- 
sique."  Miss  Gregory  was  at 
her  most  wittily  brilliant. 
She  has  the  kind  of  over- 
kill  technique  that  once  in 
a  while  you  can  use  as  a . 
very  ecstatic  joke,  and  here 
she  was  doing  too  much 
with  such  insolent  ease  that 
you  laughed  at  her  and  loved 
her  all  at  once.  Mr.  Kivitt 
had  the  same  approach, 
style  and  calm  technique, 
and  the  total  effect  was 
funny,  sweet  and,  most  of 
all,  rewarding. 

1 


i 


The  Dance 


FRANCES  HERRIDGE 

Baryshnikov  Confronts  Death 

Mikhail  Baryshnikov  has  shown  us  what  a  Superstar 
he  is  in  classic  ballet.  There  is  no  one  today  who  can  match 
him  in  such  works  as  "La  Fille  Mal  Gardec/'  "G.selle"  and 
"Coppelia."  Last  night  at  the  City  Center,  American  Ballet 
Theater  gave  him  a  new  kind  of  role  in  "Le  Jeinie  Homme 
et  La  Mort"— a  1946  Roland 
Petit  piece  revived  by  the 
Company  after  20  years  and 
originally  adopted  as  a  show- 
piece  for  Jean  Babilee. 

Tt  is  a  minor  novelty,  con- 
ceivcd  by  Jean  Cocteau  as  a 
suicidal  young  man's  bout 
with  death  and  dioreo- 
graphed  with  Petit's  usual 
f lair  for  theatrical  flourishes. 
But  once  again  Baryshnikov 
demonstrates  what  a  sensa- 
tional  dancer  he  is.  With  hls 
stupendous  technique  and  hls 
süperb  acting  talent,  he 
makes  the  ballet  an  exciting 
happening — sl  rare  event 
which  left  the  audience  In- 
sistent  for  more   of   him. 

Wearing  nothing  bat  blue- 
jeans,  he  looks  more  beautl- 
ful  than  in  fuller  costumes. 
The  choreography  goes  in 
for  realism  and  violent  move- 
ment.  Baryshnikov  sits  Smok- 
ing a  cigaret  dejectedly  on  a 
rumpled  bed  in  a  dingy  gar- 
ret.  Suddenly  he  begins  to 
thrash  about  in  frenzied  de- 
spair  beating  on  the  furni- 
ture  and  himself. 

Conipletely  Convinclng 

This  isn't  easy  to  do  with- 
out  looking  ridiculously 
melodramatic.  But  he  Is  com- 
pletely  convincing.  The  jerky 
spasms  come  from  deep  in- 
ner pain.  And  although  what 
he  does  is  tremcndously  dif- 
ficult  physically — even  gym- 
nastic— he  makes  It  seem  na- 
tural. 

When  Bonnie  Mathis  comes 
in  as  death  in  the  guise  of  a 
seductive  woman,  the  frenzy 
continues — she  domineering 
and  sultry,  he  both  wanting 
and  rejecting  her.  The  en- 
suing  due<t  between  them  is 
Apache  style,  with  his  throw- 
ing  tables  and  chairs  and 
himself  around  unt.il  the  final 
hanging  seems  almost  un- 
necessary.  All  this  to  Bach's 
majestic  "Passacaglia  in  C 
Minor!" 

Electrifjing 

Sounds  extreme  perhaps. 
But  as  Baryshnikov  does  it, 
not  a  gesture  is  too  much. 
He  is  electrifying  through- 
out,  utterly  spellbinding. 
Miss  Mathis  is  a  stunning 
foil    as     she     tempts     him, 


B.\RlSHNIKOV 

taunts  him  and  lures  him  to 
suicide. 

Georges  Wakhevitch's 
Paris  rooftop  setting,  with 
its  flashing  Citroen  sign, 
adds  appropriate  atmosphere. 
It  is  not  a  ballet  which  bears 
watching  repeatedly,  but  it 
certalnly  adds  another  facet 
to    Baryshnikov's    scope. 

Last  night's  program  also 
had  an  exceptionally  good 
Performance  of  *'Grand  Pas 
Classique."  by  Cynthia  Gre- 
gory and  Ted  Kivitt.  Miss 
Gregory  has  developed  im- 
mense assurance,  and  her 
balance  on  toes  in  hard  to 
believe. 


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Jean  had  danced  the  BLUEBIRD  PAS  DE  DEÜX,  Youskevitch  took  his  young  daughter, 
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that's  real  Real  taste — and  real  pleasure — 

are  what  smoking's  all  about.Winston  is  fbr  real 


Warning:  The  Surgeon  General  Has  Determined 
Thai  Cigarette  Smoking  Is  Dangerous  lo  Your  Health. 


19  mg.  "lar".  1.3  mg.  nicotine  av.  per  cigarette, 
FTC  Report  OCT.  74. 


A  Fabulous  Team 


by  Walter  Terry 


Ah,  the  great  ballet  teams  of  the  twentieth 
Century!  Karsavina  and  Nijinsky.  Markova 
and  Dolin.  Alonso  and  Youskevitch.  Kaye 
and  Laing.  Tallchief  and  Eglevsky,  Fracci 
and  Bruhn  (all  too  briefly).  Fonteyn  and 
Nureyev.  Perhaps  Kirkland  and  Baryshni- 
kov.  Not  all  great  ballet  teams,  however, 
function  in  glamorous  pas  de  deux  behind 
the  footlights.  Some  make  ballet  history 
behind  the  scenes.  And  the  greaitest  of 
such  teams  is  Luoia  Chase  and  Oliver 
Smith. 

Miss  Chase,  a  Superlative  dancer-ac- 
tress,  occasionally  appears  on  stage,  most 
frequently  these  days  in  settings  (the  opu- 
lent **Swan  Lake"  and  the  ominous  'Tal! 
River  Legend")  designed  by  Mr.  Smith, 
hig'hly  praised  and  honored  at  home  and 
abroad  for  scenery  which  is  at  once  stun- 
ningly  theatrical  and  wholly  respectful  of 
that  World  of  space  in  which  dancers  sculpt 
their  art.  On  her  own,  Miss  Chase  has 
been  honored  with  both  the  Capezio  and 
the  Dance  Magazine  Awards  for  her  long 
and  distinguished  service  to  dance  and  by 
the  University  of  Wisconsin,  the  first  col- 
legiate  institution  to  oflfer  dance  as  a  credit 
course  and  as  a  dance  major,  with  the  hon- 
orary  degree  of  Doctor  of  Humane  Let- 
ters. And  as  a  designer  for  the  theater. 
Mr.  Smith  has  fistfuls  of  Tony,  Donaldson 
and  Critics  Awards  plus  a  one-man  exhibi- 
tion  of  stage  designs  for  the  Museum  of 
the  City  of  New  York. 

Together,  Lucia  Chase  and  Oliver 
Smith,  guiding  the  course  of  the  American 
Ballet  Theatre  for  thirty  of  its  thirty-five- 
year  history,  have  racked  up  a  record  of 
ballet  achievement  that  would  be  difficult 
to  match  anywhere  in  the  annals  of  dance 
history.  When  Ballet  Theatre,  as  it  was 
fir&t  named,  was  conceived  in  1939,  Oliver 
was  in  his  senior  year  at  Pennsylvania 
State  University,  and  Lucia,  a  young 
widow,  was  ballerina  of  the  Mordkin  Bal- 
let (1937-1939),  a  modest-size  Company 
drawn  from  the  ballet  school  headed  by 
Pavlova's  most  illustrious  partner,  Mikhail 
Mordkin. 

The   Mordkin   ballerina  met   a  young 


man  with  a  dream,  with  a  dream  öf  a  Com- 
pany that  would  be  theater  as  well  as 
dance,  that  would  cherish  and  renew  the 
great  ballet  classics  and  foster  new  Choreo- 
graphie adventures  in  theatrical  dancing. 
His  name  was  Richard  Pleasant  and  Miss 
Chase  has  always  given  credit  for  the  con- 
cept  of  Ballet  Theatre  to  the  late  Dick 
Pleasant.  Further,  she  has  carried  his 
visions  forward  and,  with  Oliver  Smith, 
has  presided  over  the  building  of  a  ballet 
repertory  which  has  in  ränge,  in  diversity 
and,  yes,  in  ballet-as-theater  no  equal  any- 
where in  the  world.  Lucia's  and  Oliver's 
American  Ballet  Theatre  has  been  referred 
to,  sometimes  condescendingly,  as  "eclec- 
tic."  And  eclectic  it  is  in  that  dictionary 
definition  which  states  "not  following  any 
one  System  .  .  .  but  selecting  and  using 
what  are  considered  the  best  Clements  in 
all  Systems." 

Lucia  began  with  Ballet  Theatre  as  a 
dancer.  She  was  co-founder  with  Pleasant 
of  the  Company  and  a  patroness,  but  she 
always  thought  of  herseif  as  a  dancer.  She 
danced  in  ABTs  definitive  ''Les  Sylphides" 
(staged  by  Fokine  himself),  "Petrouchka,*' 
"Carnaval,"  "Pas  de  Quatre"  and  created 
many  roles,  among  them  the  Eldest  Sister 
in  "Pillar  of  Fire,"  the  Queen  in  "Blue- 
beard,"  the  Nurse  in  Tudor's  Version  of 
"Romeo  and  Juliet,"  the  Greedy  One  in  de 
Mille's  "Three  Virgins  and  a  Devil,"  and 
other  distinguished  characterizations.  Not 
long  ago,  Lucia  said  to  me,  "I  took  on  the 
Job  of  co-director  of  the  Company  in  1945. 
I  thought  it  would  be  temporary.  I  was  a 
dancer  and  that's  all  I  wanted  to  be."  She 
said  it  wistfully. 

Oliver's  first  stage  design  for  ballet  was 
not  for  Ballet  Theatre.  It  was  for  the  Bal- 
let Russe  de  Monte  Carlo  and  for  a  ballet 
which  made  not  only  dance  but  theater 
history,  Agnes  de  Mille's  "Rodeo"  ( 1 942 ) . 
The  following  year,  he  did  his  first  work 
for  Ballet  Theatre.  It  too  made  theater 
history,  for  it  was  Jerome  Robbins'  first 
füll  ballet  and  it  was  the  first  collaboration 
of  a  remarkable  trio  of  young  theater 
geniuses:  Robbins,  Smith  and  Leonard 
Bernstein.  I  guess  everyone  knows  that 
this  milestone  ballet,  an  ageless  favorite, 


Mikhail  Baryshnikov,  Gelsey  Kirkland  in 
ABT's  three  act  ballet,  coppelia 


Michael    Denard,    Cynthia    Gregory    in 
American  Ballet  Theatre's  giselle 


Ivan  Nagy  and  Natalia  Makarova  dance 
in  American  Ballet's  la  fille  mal  gardee 


^W 

►r»* 

Eleanord'Antuono  and  Warren  Conover  in 
the  betrothal  scene,  la  fille  mal  gardee 


*Tancy  Free,"  within  a  short  time  ex- 
ploded  into  the  first  Broadway  musical  that 
the  three  had  ever  done,  "On  the  Town." 
Oliver  had  no  intention  of  becoming  a  bal- 
let director.  But  in  1945  that  was  his  and 
Lucia's  Joint  fate.  The  co-directorship 
may  have  started  out  as  a  matter  of  inter- 
regnum  expediency,  as  a  duty.  But  it  was, 
and  remains,  a  duty  wedded  with  love  of 
the  theater  of  ballet  and  the  American  Bal- 
let Theatre  specifically. 

The  dance  world  knows  that  in  the  now- 
dimming  past  both  Lucia  Chase   (espe- 
oially  she)  and  Oliver  Smith  were  objects 
of  criticism.    What  did  they  know  about 
directing  a  Company?  about  administra- 
tion?  about  artistic  policy?  The  rhetorical 
questions  have  long  since  been  answered 
by  a  record  of  accomplishment  which  has 
made  the  American  Ballet  Theatre  one  of 
the  world's  great  ballet  institutions. 

Just  one  minute  ago,  as  I  am  writing 
this,  I  telephoned  Maria  Karnilova,  a 
charter  member  of  the  American  Ballet 
Theatre  and  now  a  Broadway  star.  "Maru- 
sia,"  I  snapped,  "what  comes  first  to  mind 
when  I  say  one  word  to  you,  LUCIA!" 
*'BALLET  THEATRE!"  she  yelled.  "And 
now  one  more,'  I  said.  "OLIVER!"  The 
instantaneous  response,  "With  Lucia  all 
the  way!"  A  pause,  "God!  I  never  really 
thought  of  it  before.  What  a  fabulous 
team!" 


Walter  Terry,  Dean  of  American  Ballet 
Critics,  writes  for  Saturday  Review  and 
has  written  more  than  a  dozen  books  on 
the  dance. 

PLAYBILL 


Volume  12        January  1975 


ARTHUR  T.  BiKSH—publisher 

JOAN  ALLEMAN  RUBW—edUor-in-chief 

CYNTHIA  CAJLTY— program  editor 

LEO  LERMAN— 5en/or  editor 

WALTER  VATTER— fl«ocifl/e  editor 

THOMAS  A.  STEINFELD— na//ona/  sales  director 

L.  ROBERT  CHARLES — general  sales  director 

ELAINE  KLEIN — director  of  special  sales 

RUSSELL  CANNIZZARO — comptroller 

MiMi  HOKOV/nz—publication  coordinator 

MARY  F.  SEATON— fl55W/fl/i/  to  the  publisher 


PLAYBILL  is  published  monthly  in  New  York,  Bos- 
ton and  Philadelphia.  New  York  edition  is  published 
by  American  Theatre  Press,  Inc.  151  E.  50th  St., 
N.Y..  N.Y.  10022.  212-751-9550.  Pres  &  Treas.:  Ar- 
thur T.  Birsh;  Vice-Pres.:  Steven  J.  Kumble;  See: 
Mary  F.  Seaton.  Printed  in  U.S.A.  Copyright  © 
American  Theatre  Press,  Inc.  1975.  AI!  rights  reserved. 


t 


rr  L£TS  YOU  INDULGE  VOURSELF 
\miL£  STILL  BEING  SENSIBLE. 


Until  now,  if  you 
wanted  to  indulge  your 
desire  for  luxuriousness  in 
an  automobile,  you  might 
have  expected  to  sacrifice 
efficiency. 

This  year,  you  can 
have  both  improved  effi- 
ciency  and  luxuriousness 
in  the  same  automobile: 
Caprice  Classic  for  1975. 

Lots  of 
luxuriousness. 

Caprice  Classic  trans- 
ports  six  adults  smoothly 


and  comfortably.  And 
handsomely;  the  new 
Caprice  grille,  taillight 
assembly  and  rear  window 
treatment  more  than  meet 
the  most  demanding  ideas 
of  luxuriousness.  So 
does  the  deep,  cut-pile 
carpeting  which  extends 
up  the  lower  door  panels 
and  the  available  50/50 
reclining  front  seat. 
Indulge. 

Quiet  elegance. 

Caprice  rides  as 


\ 


elegantly  as  it  looks.  It's 
particularly  quiet  on  the 
road,  with  its  radial-tuned 
Suspension  and  built-in 
Quiet  Sound  insulation  to 
get  you  from  place  to  place 
smoothly  and  quietly. 
Indulge. 

New  efficiencies. 

Caprice  Classic  for 
75  is  a  more  sensible  auto- 
mobile than  ever.  The  new 
Standard  engine  is  a  350-2 
V8,  replacing  last  year 's 
400-2.  And  the  combina- 
tion  of  this  new  smaller 
V8  and  Chevrolet's  new 
Efficiency  System  lets 
Caprice  go  substantially 
farther  on  a  gallon  of 
gasoline,  based  on 
Environmental  Protection 
Agency  City  Driving  Tests. 
Caprice  also  goes  farther 
between  recommended 
oil  changes  and  tune-ups 
and  lets  you  operate  a  truly 
luxurious  automobile 
without  being  out  of 
Step  with  the  times. 
Sensible. 


There  are  no 
Caprice  sort-of'classics. 

Other  car  companies 
are  currently  offering 
lesser  versions  of  their 
traditional  top  modeis. 
But  there  is  only  one 
uppermost  Chevrolet. 
Caprice  Classic  is  upper- 
most in  quality,  in 
luxuriousness  and  in 
quiet  elegance.  And  for 
1975,  Caprice  Classic  is 
uppermost  in  overall 
operating  economy  com- 
pared  to  Caprice  modeis  of 
recent  years.  We  think 
that  for  '75,  Caprice  offers 
you  the  best  of  two  worlds 
in  allowing  you  to  indulge 
yourself .  . .  while  still 
being  sensible. 

CHB/ROLET 
MAKES  SENSE 
FORAMERKA 


Chevrolet 


Parliament.The  recessed  ffilter  cigarette 


i'i 


*'/ 


*«^''^ 


«  ..'f. 


.•"X. 


% 


•** 


Songwriter  Murray  Kalls 
couldn't  compose  himself 
without  his  cigarette  holder. 
Besides;  it  gave  him  cleaner 
taste. 


__,    .,0  need  for  a  cigarette 
holder  today.  Parliament's  filter 
is  recessed,  so  you  taste  only 
rieh,  clean  tobacco  flavor.  It's 
in  tune  with  the  times. 


)i 


It  works  like 

0  cigarette 

tiolder  works. 


PARLIAMENT 


17mg"idr,"  l.lmg.nicoline 
av.percigareiie.  FTCRepüfiOci:74 


KICCSSED    riLTCR    WiTH    ChARCOAl 


Warning:  The  Surgeon  General  Has  Deiermined 
That  Cigarette  Smoking  Is  Dangerous  to  Your  Health. 


CITY  CENTER  55th  STREET  THEATER 


BALLET  THEATRE  FOUNDATION.  INC. 

in  association  with 
City  Center  of  Music  &  Drama,  Inc. 

presents 


AMERICAN  BALLET  THEATRE 

LUCIA  CHASE  and  OLIVER  SMITH,   DIRECTORS 

ANTONY   TUDOR,      ASSOCIATE   DIRECTOR 


MIKHAIL   BARYSHNIKOV 
ELEANOR   D'ANTUONO 
JONAS   KAGE 
NATALIA   MAKAROVA 
TERRY  ORR 
MARTINE  VAN   HAMEL 


KARENA  BROCK 
MICHAEL  DENARD 
GELSEY  KIRKLAND 

BONNIE  MATHIS 
MARCOS  PAREDES 

SALLIE  WILSON 


FERNANDO   BUJONES 

CYNTHIA  GREGORY 

TED   KIVITT 

IVAN   NAGY 

JOHN   PRINZ 

GAYLE  YOUNG 


Buddy  Balough  William  Carter           David  Coli           Warren  Conover 

Deborah  Dobson  Nanette  Glushak            Kim  Highton            Keith  Lee 

Jolinda  Menendez  Hilda  Morales       Marianna  Tcherkassky       Charles  Ward 

Dennis  Wayne                                   Maria  Youskevitch 


Elizabeth  Ashton 
Susan  Frazer 
Cynthia  Harvey 
Francia  Kovak 
Sara  Maule 
Kirk  Peterson 
Cathryn  Rhodes 
Frank  Smith 


Clark 


Carmen  Barth 

Rodney  Gustafson 

Kenneth  Hughes 

Linda  Kuchera 

Ruth  Mayer 
Janet  Popeleski 
Richard  Schafer 
Tippet         Denise  Warner 


Amy  Blaisdell 

Kevin  Haigen 

Marie  Johansson 

Charles  Maple 

Christine  O'Neal 

Leigh  Provancha 

Kevin  Seif 

Patricia  Wesche 


George  de  la  Pena 

Melissa  Haie 

Susan  Jones 

Dennis  Marshall 

Michael  Owen 

Giselle  Roberge 

Janet  Shibata 

Sandall  Whitaker 


General  Manager 

DARYL  DODSON 

Regisseurs 

DIMITRI   ROMANOFF 
ENRIQUE  MARTINEZ 


Principal  Conductor 

AKIRA  ENDO 

Ballet  Masters 
SCOTT  DOUGLAS 
MICHAEL  LLAND 

Resident  Lightir^g  Designer 
NANANNE  PORCHER 


Conductor 

DAVID  GILBERT 

Ballet  Mistress 

PATRICIA  WILDE 
FIORELLA  KEANE 


The  Governing  Trustees  off  Ballet  Theatre  Foundation  wish  to  express  their  gratitude  to 
The  National  Endowment  for  the  Arts  and  The  New  York  State  Council  on  the  Arts 
for  their  support  which  has  made  possible  these  Performances  by  American   Ballet  Theatre 


American  Ballet  Theatre  is  the  Official  Company  of  the  John  F.  Kennedy  Center  for  the  Performing  Arts 

Latecomers  will  be  seated  at  the  discretion  of  the  management 


BEEFEATER 


First  name 
for  the  martini 


FROM  tN(ilANO  BY  KOBRAND,  N  Y.  •  94  PROOF  •  100%  GRAIN  NEUTRAL  SPIRIIS 


This  week, 
someone  with  $250,000 
will  talk  to  Irwin  Fields. 

You? 


Irwin  Fields  is  typical  of  the  trust  finan- 
cial  planning  officers  at  Manufacturers 
Hanovcr. 

His  Job:  to  work  with  someone 
like  you  and  your  attorney  in  creating 
a  financial  plan  for  your  es  täte.  Hisob- 
jectives:  to  provide  greater  care  and 
protection  for  you  and  your  heirs,  and 
to  lessen  the  impact  of  estate  taxes. 

Here's  how  he  goes  about  it: 

He  begins  with  a 
confidentialdiscus- 
sion  with  you  and 
your  attorney  to  find 
out  just  what  your  fi^ 
nancial  Situation  is 
—  and  what  it's 
likely  to  be  in  the 
yearsahead. 

With  your 
specific  needs 
and   those  of  your 
heirs  as  the  guide- 
line,  Irwin  Fields  rec- 
ommends  the  Man- 
ufacturers   Hanover 
Services  that  will  help 
realize  your  goals.  An 
Investment  Management 
Account . . .  a  Living  Trust 
simple  Custodianship  of  se- 
curities . . .  whatever. 


When  the  planning  involves 
choosing  an  executor  or  setting  up  a 
trust,  he  works  with  the  attorney,  who 
will  design  the  will  or  draw  the  trust 
agreement.  Where  appropriate,  he 
meets  with  your  life  insur- 
ance  underwriter  to  see  that 
existing  or  new  policies  are 
properlycoordinated 
with  your  plans. 

Finally,  he  can 
draw  on  the  wealth 
of  practical  experi- 
ence  of  his  col- 
leagues  at  Manufac- 
turers Hanover  who 
have  spent  years  ad- 
ministering  and  invest- 
ing  estates  and  trusts. 
Irwin  Fields  does  this 
week  in,  week  out  forpeo- 
ple  like  you.  And  he's  able 
to  do  it  because  he's  backed 
up  by  a  700-member  trust 
Organization   that's   recog- 
nized  as  one  of  the  finest  in 
the  business. 

Let  him  do  it  for  you.  Call 
him  at  350-4392  and  set  up  an  appoint- 
ment  with  you  and yourattorney.  You'll 
find  out  why  Irwin  Fields  is  known,  to 
people  like  you,  as  a  trust  man. 


MANUFACTURERS  HANOVER 


Thursday  Evening,  January  9,  1975 

I 

Les  Sylphides 

Choreography  by  Michel  Fokine 

Midsic  by  Frederic  Chopin 

Scenery  by  Alexandre  Benois 

Ughting  by  Nanannc  Porcher 

Les  Sylphides  was  first  prcscntcd  at  a  charity  Performance  in  St.  Petersburg  in  1908 
o"?w  5^  *  Chopmiana  and  assumed  its  prcsent  title  when  brought  to  Paris  by  Diaghilev. 
Bauet  Theatres  production  was  the  last  to  be  personally  superviscd  by  Michel  F^o 
aod  Stands  as  the  definiüve  version  of  the  work. 

Eleanor  D'Antuono,  Hilda  Morales, 

Marianna  Tcherkassky,  Ivan  Nagy 

Hilda  Morales 

Eleanor  D* Antuono 

Ivan  Nagy 

Marianna  Tcherkassky 

Eleanor  D* Antuono  and  Ivan  Nagy 

Eleanor  D' Antuono,  Hilda  Morales, 

Marianna  Tcherkassky,  Ivan  Nagy 

Amy  Blaisdell,  Janet  Shibata  and 

Misses  Ashton,  Frazer,  Harvey,  Johansson,  Jones, 

Kovak,  Kuchera,  Maule,  Mayer,  Popeleski, 

Provanoha,  Rhodes,  Warner,  Wesche 

Conductor:  David  Gilbert 

I  N  T  B  E  IC  I  fl  1 1  O  N 

n 

Le  Jeune  Homme  Et  La  Mort 

(The  Young  Man  and  Death) 

Ballet  by  Jean  Cocteau 

Choreography  by  Roland  Petit 

Music  by  Johann  Sebastian  Bach  (*Tassacaglia  in  C  Minor'*) 

Scenery  by  Georges  Wakhevitch 

Costumes  by  Christian  Berard 

Production  Superviston  by  William  Pitkin 

Light ing  by  Nanannc  Porcher 


Nocturne 

Waltz 

Mazurka 

Mazurka 

Prelude 

Pas  de  Deux 

Waltz 

and  Ensemble 


« I 


Launch 


BLE 

lars 


another 
Cutty. 


FROM  SCOTLANO  S  BEST  DISTILLERIEb    IHE  BUCkiNGHAM  CORPORATION,  iMPOHItHi  •  NEW  YORK.  N.Y   •  DISIILLEO  AND  BOTTLEO  IN  SCOTLAND  •  BLENOED  86  PROOF 


DREAMS 
BEGIN 
WITH 
DANSKIN 


There's  still  a  long 

way  to  leap  before  the  New  York 

City  Ballet  asks  for  her  hand. 

But  even  in  her  first  Danski n  she 

knew  she  was  a  prima  ballerina. 

Danskin  full-fashioned  nylon  tights, 

leotards,  trunks  and  skirts. 

At  fine  Stores  or  write  for  illustrated 

brochure  NSP,  Danskin,  Inc. 

1114  Avenue  of  the  Americas 

New  York,  N.  Y.  10036 


O^NSKiN 


Pleasure 

We  fiound  a  way  to  bottle  Ü 


f 


1 

I 


1 


RARE 
r  SCOTCH 


JUSTEIUN1. 


BALLET  THEATRE  FOUNDATION,  INC. 

888  Seventh  Avenue,  New  York, 
New  York  10019     212  PL  7-7035 

Justin  Stanford  Colin  Lucia  Chase 

President  A.  Lawrence  Groo 

Vice-Presidents 
Robert  E.  Rubin  F.  Robert  Wheeler  Jr. 

Treasurer  Secretary 

Accounting  ....  Marlene  Blain,  Catherine  Barnes 

Administrative  Assistant Diane  Blair 

Patron  and  Subscription 

Services Mrs.  Jack  Bushiing 

Publicity   Joan  Ehrlich-White 

Friends  Activities 

&  Staff  Assistant  to  Oliver  Smith  .  Charles  France 

Director  of  Public  Relations   ....   Virginia  Hymes 

Assistant  Treasurer    Natalie   Riley 

Receptionist    Sandra   Suber 

Secretary   Charles  Williams 

Certified  Public  Accountant   Jesse  Borck, 

Borck  &  Mensch 

General  Counsel Henry  C.  Shays, 

Golenbock  &  Barell 

Travel  Agent    Jay  Lazarus,  Troubadour 

Travel  Ltd. 


AMERICAN  BALLET  THEATRE  SCHOOL 

Leon  Danielian,  Director 
3  West  61  Street,  New  York, 
New  York  10023     212  JU  6-3355 

AMERICAN  BALLET  THEATRE  FRIENDS 

Mrs.  William  Zeckendorf,  Jr.,  Chairman 
Mrs.  Richard  Englund,  Associate  Chairman 
Mrs.  Jules  Bryan  Aaron,  Secretary 

AMERICAN  BALLET  THEATRE 


Executive  Secretary 
Rehearsal  Assistant 


Florence  Pettan 
Terry  Orr 


STAFF 

Company  Manager Herbert  Scholder 

Production  Stage  Manager Dan  Butt 

Stage  Manager Jerry  Rice 

Assistant  Stage  Manager Bentley  Roton 

Carpenter Wes  Wright 

Electrcian Steve  Lambert 

Property  Man   Alan  Price 

Assistant  Electricians   Robert  Slomger, 

Bill  Downs 

Assistant  Carpenter   Stan  Lambert 

Fiyman    Gerard   Bartlett 

Wardrobe   Robert  Holloway, 

May  Ishimoto,  Robert  Boehm 

Orchestra  Personnel  Manager Fred  Loeb 

Company  Pianists   Howard  Barr, 

Martha  Johnson,  Steve  Rosenthal 

Music  Librarian Cyrus  SegaJ 

Lighting  and  Technical  Coordinator  

Nananne  Porcher 

Production  Assistant  to  Miss  Porcher 

Marian  Kmsella 

Rehearsal  Supervisor Anne  Barlow 


^^%l 

^^*^T 

...,.^ 

^ 

^ 

■t 

/ 

;  ©itiviuii«  :■ 

CREDITS 

Costumes  for  "Coppelia",  "Giselle",  "Grand  Pas 
Classique",  "Jardin  Aux  Lilas",  "La  Fille  Mal 
Gardee",  "La  Sylphide",  "Les  Sylphides",  "The 
River",  "Theme  and  Variations"  and  "Unfinished 
Symphony"  executed  by  Grace  Costume  Inc.;  for 
Mss  Krkland  in  "La  Sylphide"  and  "Les  Sylphides" 
by  Carl  Michell.  Scenery  for  "Coppelia'\  "Fancy 
Free",  "Giselle",  "La  Fille  Mal  Gardee",  "La 
Sylphide",  "Les  Patineurs",  "Les  Sylphides"  and 
"Theme  and  Variations"  executed  by  Noian 
Scenery  Studios.  Fabrics  by  Gladstone  Fabrics, 
J.  C.  Hanson  Co.  and  I.  Weiss  &  Sons.  Wigs  by 
Alfred  Barris.  Tights  by  Jesse  Zimmer.  Shoes  and 
Boots  by  Anello  &  Davide,  Ltd.,  Capezio  Ballet 
Makers,  La  Ray  and  Selva  and  Sons,  Inc.  Sound 
by  Masque  Sound  &  Recording  Corporation.  In- 
surance Agents,  Schiff  Terhune  Inc.,  Technical 
Consultants,  Dallas  Stage  Scenery. 


STAFF  FOR  CITY  CENTER 

OF  MUSIC  AND  DRAMA,  INC. 

Director  of  Productions  ....  Robert  P.  Brannigan 

Company  Manager John  Scott 


STAFF  FOR  CITY  CENTER  THEATER 

Manager John  J.  Miller 

Asst.   Manager   Laurie  Burpee 

Treasurer    Fred  Santore 

Asst.  Treasurer Edward  Fazio 

Carpenter  Harold  Lynch 

Electrician    Robert  Wright 

Property  Man   Gerald  O'Connor 

Chief  Usher Marceline  Cannon 

Building  Manager Robert  Lorelli 


A  NEWLY  INSTALLED  BAR   IS  NOW  OPERATING 
ON  THE  MEZZANINE  FLOOR 


WARNING 

The  photographing  or  sound  recording  of  any 
Performance  or  the  possession  of  any  device  for 
such  photographing  or  sound  recording  inside 
this  theatre,  without  the  written  permission  of 
the  management,  is  prohibited  by  law.  Violations 
may  be  punished  by  ejection  and  may  render  the 
offender  Nable  for  money  damages. 

FIRE  NOTICE:  The  exit  indicated  by  a  red  light 
and  sign  nearest  to  the  seat  you  occupy  is  the 
shortest  reute  to  the  street.  In  the  event  of  fire 
or  other  emergency  pleate  do  not  run — WALK 
TO  THAT  EXIT. 

Thoughtless  persons  annoy  patrons  and  endan- 
ger  the  safety  of  others  by  lighting  matches  or 
Smoking  in  prohibited  areas  during  the  perform> 
ances  and  intermissions.  This  violates  a  City 
ordinance  and  is  punishable  by  law. 

John  T.   O'Hagan— FIRE  COMMISSIONER 


Original 
Gast  Recording 

Available  on 


obc 


Kcconis 


TM 


**Le  Jeune  Homme  et  la  Mori"  had  its  premiere  in  Paris  at  the  Theatre  des  Champs- 
Elysees  in  1946. 

A  young  man  waits  in  his  Paris  garret  for  a  girl  who  does  not  love  him.  When  she 
arrives,  he  begs  for  her  attention  and  afTection  but  she  spurns  him  and  leaves.  In  despair 
he  hangs  himself .  The  garret  scene  changes  to  the  rooftops  of  Paris  and  the  figure  of  Death 
enters,  removes  her  death  mask  and  places  it  on  the  dead  boy.  Death  is  the  girl  and  she 
leads  him  away  over  the  rooftops. 

Bonnie  Mathis  and  Mikhail  Baryshnikov 
Conductor:  Akira  Endo 


INTBRMISSION 


m 


Grand  Pas  Classique 

Choreography  by  Victor  Gsovsky 

Staged  by  Oleg  Briansky 

Music  by  Francois  Auber 
Costumes  by  Marcos  Paredes 
Lighting  by  Nananne  Porcher 

Cynthia  Gregory  Ted  Kivitt 

Conductor:  Akira  Endo 


INTBIM  IStlON 


IV 

The  River 

**.  .  .  of  birth  ...  of  the  well-spring  of  life  .  .  .  of 
reaffirmation  ...  of  the  heavenly  anticipation  of  rebirth  . .  .** 

Duke  Ellington 

Original  Score  by  Duke  Ellington 

Choreography  by  Alvin  Ailcy 

Costumes  by  Frank  Thompson 

Lighting  by  Nicholas  Ccraovitch 


A  Hit  before  it^  even  opened 


n. 


\ 


Chivas  Regal 


l?Yt»«OlO»fO»lDWIUt     »llNOtOSCOICM  «MISKT    »»  P«OOf     CINIDAI  WINI  4SPmiIiCO.  mwVOII«,  N  r 


12 


Richard  Chamberlain  is 


fhe  , 

öuntpf^ 

A^nfeCrisio 

also  sföf  fing  Trevor  Howard      1^ 
Louis  Jourdan  •  Donald  Pleasence  and 
Tony  Curtis,  as'Mondego" 

Bell  System  Family  Theatre 

Frlday  January  10,  öp.m.  EST  NBC-TV 


Cheersl 

Theater-goers, 

unite.  And  toast 

the  Performance 

on  US.  Just  present 

your  ticket  stubs. 

And  we'Il  present 

you  with  a  rave- 

ratingdrink.  When 

you  join  us  for  dinner 

or  late  supper 

( group  functions 

excluded  )  at  one  of 

these  fine 

Stouflfer 

restaurants. 


Top  ofthe^ix's 

666  Fifth  Avenue  •  757-6662 

ACFI 

W.  42nd  at  Broadway  •  695-5919 


RESTAURANT 
UriM  Huildin«  •  W   Slst  at  Broadway  •  581-7700 


Wine  and  dine 

bGüoTG  and  after 

the  theatre... 


Generous  drinks . . .  delicious  dinners . . . 

great  place  after  theatre.  Shows  may 

come  and  go— but  Ma  Beils  is  still  the 

longest  playing  hit  on  Shubert  Alley. 

Meet  your  friends  where  the  stars  meet 

to  eat.Tonight!  (You  can  even  drop 

in  for  a  fast  but  friendly  drlnk 

during  intermission.) 

On  Shubert  Alley 
45th  Street  West  of  Broadway 

VO  9-0110 


If  music  be  the  fi^od  of  love,  play  oii. 

If  not.  how  about  dinner 
at  otie  of  tnese  great  restaurants? 


American  Express^^  knows 
the  most  fulfillinK  evcnin^ 
at  the  theater  or  a  concert 
includes  a  great  dinner.  And 
we  know  the  best  way  to  pay  for  it 
— with  the  American  Express  Card. 

If  you  don't  already  have  the 
American  Express  Card,  any  one  of 
these  establishments  will  he  happy 
to  provide  you  with  an  apphcation. 

Front  around  the  world« 

Barbetta.  321  W.  46th  St.,  246- 
9171.  Authentic  Italian  food  and  a 
dining  place  of  great  elegance. 
Open  daily  except  Sunday  for 
liinch,  dinner  and  supper. 

II  Gattopardo.  45  W.  56th  St., 
586'  3978.  This  attractive  restaurant 
is  rapidly  becoming  well-known  for 
its  excellent  Italian  cuisine  to 
suit  the  taste  of  any  goumiet. 

Sardi's.234W.44thSt.,524' 
0707.  Famous  New  York  restaurant. 
Favorite  of  the  stars.  Open  for 
lunch,  dinner  and  after-theater 
supper  Mon.'Sat.  Specialty: 
supreme  of  chicken  a  la  Sardi. 


Solely  seafood... 
or  beautiful  beef. 

Cheers  Steak  House.  120  W. 

41st  St.,  986-4565.  For  beef  aficiona- 
dos  and  those  interested  in  good 
drinks.  Cheers  is  as  gcx)d  as  its  name. 

Gallagher's  Steak  House.  228 

W.52nd  St.,  245-5336.  Steak  is 
kin^  in  this  Manhattan  landmark  of 
31  years.  Acclaimed  as  N.Y.'s  official 
Steak  house. 

Joe's  Pier  52. 144  W.  52nd  St., 
245-6652.  Featuring  a  wide  array  of 
seafood.  Showboat  loun^^e,  enter- 
tainment  ni^htly.  Open  daily  for 
lunch  and  dinner. 

Special  places. 

Catdeman  West  154  W.  51st 
St.,  265- 1 7  37.  This  branch  of  the 
famous  Cattleman  is  conveniently 
IcKated  near  the  theater  district. 
Enjoy  its  Steaks  and  fine  seafcxxl. 

Ma  BeU's.  218  W.  45th  St.,  869- 
0110.  First  eatingand  drinking  place 
in  Shubert  Alley  in  68  years.  Drink 
at  its  80-f(LX)t  bar. 


SPRING 

Keith  Lee 

Rodney  Gustafson         Kenneth  Hughes        Charles  Maple         Dennis  Marshall 

Michael  Owen         Richard  Schaf  er         Clark  Tippet 

Melissa  Haie        Cynühia  Harvey        Sara  Maule         Leigh  Provancha 

Cathryn  Rhodes        Giselle  Roberge        Sandall  Whitaker 


Nanette  Glushak 


MEANDER 

William  Carter 


Marcos  Paredes 


GIGGLING  RAPIDS 
Marianna  Toherkassky        Terry  Orr 

LAKE 

Martine  van  Hamel        Jonas  Kage 

and 

Rodney  Gustafson        Kenneth  Hughes        Charles  Maple        Dennis  Marshall 

Michael  Owen         Richard  Schafer        Clark  Tippet 

VORTEX 

Marianna  Tcherkassky 


William  Carter 


FALLS 

Dennis  Marshall        Clark  Tippet        Charles  Ward 


RIBA  (MAINSTREAM) 

Kirk  Peterson 

Rodney  Gustafson        Kenneth  Hughes        Charles  Maple         Dennis  Marshall 

Michael  Owen         Richard  Schafer        Clark  Tippet 

Melissa  Haie        Cynthia  Harvey         Francia  Kovak        Sara  Maule 

Leigh  Provancha        Cathryn  Rhodes        Giselle  Roberge        Sandall  Whitaker 

TWO  CITIES 
Sallie  Wilson  and  Keith  Lee 

Conductor:  David  Gilbert 

Music  Coordinator:  Martha  Johnson 

Assistant  to  Mr.  Ellington — Ron  Collier 

Ballet  Theatre  Foundation  gratefully  acknowledges  the  matching  grants  from 

Mr.  and  Mrs.  Justin  Stanford  Colin 

and 

The  National  Endowment  for  the  Arts 

which  have  made  this  production  possible. 


\bii  can  take  a 


ere 


People  notice  your  taste. 

BLtrjDED  SCOTTH  WHISKY   86  PROOF   FOllR  ROS^S  DlSlILltRS  CO    U  Y   f    SOLE  IMPORTERS  FOR  IJ  S 


17 


PLAYBILIi 

SHOPPING 
GUIDE 


THE  BALLET  SHOP 

A  Omca  Book  Shop  and  Gallory 


Show  u(  your  Playbill 
frea  Ballat  Graating  Card 
minimum  purchaia  of  $2.1 


1867  Broadway  N.Y,  N.V.  10023     Phona  5817990 


BIBI— 135  W.  72nd  St.  Collect- 
or's  Items  for  your  wardrobe 
styled  &  lovingly  selected  by 
Bibi.  Discover  a  pure  silK  velvet 
cape  from  the  20's  or  an  indi- 
vidually  designed  piece  cut 
from  Paisley  shawls.  Accessor- 
ies.   10-7   Mon.-Sat.  362-8840 

CLEMENTS  MEN'S  HAIR  STYL- 
IST —  Complete  hair  Services 
for  men,  includin^  mustaches 
and  beards.  Manicures  avail- 
able.  Appts.  are  necessary, 
prices  reasonable.  Convenient 
midtown  location.  East  46th 
Street,  Suite  502.  697-0366. 

THE  CRIMPERS  —  know  every- 
thing  about  cutting,  curling, 
perming,  even  painting,  (!)  hair. 
por  fellows  and  girls,  Uptown, 
137  East  62nd  PL-2-8750,  and 
Down,  47  West  8th  OR  7-2150, 
In  White  Plains,  50  Mamaroneck 
Ave.  (914)  428-8502. 

DELLE  CELLE  —  Classic  pure- 
silk  crepe-de-chine  blouses  in 
exciusive  prints  and  solid  col- 
ors,  impeccably  hand-finished. 
From  Milano,  Gherardini  leather 
accessories,  skirts^  hats  and 
unique  costume  jewelry.  All 
ours  only.  41  East  78th  Street. 
744-5820. 

ENCORE  —  1132  Madison  Ave. 
(84th)  open  10:30  AM.  Resale 
clothes  with  a  touch  of  class — 
the  first  "resale"  Shop  and  the 
largest  —  established  in  1954. 
Clothes  of  every  designer  you 
can  name  are  on  our  racks  at 
various  times  —  browse  often. 
Visit  Encore  and  have  a  sur- 
prising  experience. 


EYE-LASH  STUDIOS  OF  JEAN 
KANE — Individually  applied  eye- 
lashes,  top  &  bottom.  Makeup 
for  television  and  stage.  Eyelash 
kits  for  personal  use,  repairs — 
with  instructions  $5  and  up. 
Also  book  calied  Eye-dentifica- 
tion  explains  technique.  14  East 
60th  St.  Suite  604.  486-1716  or 
586-0877. 

MATER'S  MARKET  MATERNITY 
BOUTIQUE— 231  E.  53rd  St.  An- 
nounces  a  sensational  sale  on 
selected  merchandise.  Chic 
sportswear,  pantsuits,  long  and 
boot-length  dresses.  Plus  a  spe- 
cial design  collection.  Be  pretty 
and  pregnant  tooü  355-7977. 


boutiquing 


by  Walter  Vatter 


In  the  West  Village  at  3 1  Bedford  St.  is  bedford/down- 
ING  STAiNED  GLASS,  a  glass  boutiquc  that  (in  spite  of 
its  name)  sells  mostly  clear  or  imported  German  crackle 
pieces  with  color  inlays  serving  as  decoration  rather  than 
substance.  "We're  more  interested  in  texture,  geometry 
and  reflections  than  we  are  in  cliche  stained  glass,'*  ex- 
plained  Ingo  Williams,  one  of  the  shop's  owners.  .  .  . 
Some  items  on  sale  at  Bedford/ Downing  are  planting 
pots,  $10  to  $20;  geodesic  terrariums  (hanging  or  sit- 
ting),  $85  to  $105;  mirrors  (in  the  style  of  designer/ 
architect  Robert  Mackintosh,  who  bridged  the  period 
between  Art  Nouveau  and  Art  Deco),  $50  to  $125; glass 
tables,  which  may  also  be  used  as  terrariums,  $95. 
There's  also  a  selection  of  small  inexpensive  items  like 
candle  holders  in  wonderful  combinations  of  deep 
colors  ($2.50)  and  glass  triangulär  candle  chimneys, 
which  create  a  prismatic  reflection  of  the  flame  ($10). 

Smack  in  the  middle  of  boutique  heaven  (East  60th  St. 
between  Second  and  Third  Avenues)  is  Madonna,  which 
caters  to  men  and  women  who  want  their  clothes  to  be 
not  only  the  latest  in  style,  but  also  the  finest  in  quality. 
Madonna's  signature  item  is  a  snug  fitting  (body)  shirt 
for  both  sexes  that  comes  in  a  füll  array  of  colors  and 
patterns.  It's  Italian  nylon  ("a  good  fabric,"  says  one 
of  the  owners,  Susan  Kornblum,  "because  it's  light  and 
porous  and  wash-and-weaf ).  The  shirt  sells  for  $45. 
.  .  .  Madonna  also  features  men's  pants — cottons  at  $30, 
gabardines  to  $80.  Suits  run  $290  to  $425;  blazers,  $1 80 
to  $225.  There's  a  big  line  of  suits  and  pants  and  blazers 
cut  for  women  too.  Another  Madonna  specialty  for 
women  is  the  line  of  hand-made  silk  and  satin  slips 
which  are  made  to  order  and  run  from  $  1 1 0  to  $  1 65.  .  . . 


In  the  shadow  of  Lincoln  Center  (Broadway  at  63rd)  is 
THE  BALLET  SHOP,  A  Dance  Book  Shop  &  Gallery.  Here 
proprietor  Norman  Crider  (who,  incidentally,  is  an  in- 
ternational juggling  champ)  collects  and  sells  every 
kind  of  dance  art.  There  are  post  cards  for  a  dime, 
Dresden  figures  for  $12,  a  Meissen  porcelain  figure  of 
Fanny  Eissler  for  $1800,  books  and  jewelry,  original 
signed  photos  by  outstanding  dance  photographers  such 
as  Ken  Duncan  and  Max  Waldman.  This  boutique  is 
one-of-a-kind. 


NEW  YORK  ACADEMY  OF  BAL- 
LET   &    DANCE    ARTS    —    667 

Madison  Ave.  (61st  St)  TE8-0822 
Classes  day  and  evening  in  bal- 
let, jazz  and  Spanish.  Beginners 
to  advanced.  Dance  classes  for 
body    conditioning. 


YANKEE  PEDLAR— at  215  East 
76th  St.  always  Stocks  a  large 
selection  of  classic  women's 
sportswear.  We  feature  quality 
separates  in  sizes  6  to  16.  All 
at  discount  prices— 10%  to  50% 
below  regulär  retail.  Open  Tues. 
to  Sat.   10:30  to  6:30.  988-9910 


To  reach  920,000  theatregoers  euch  month  at  special  low  rates  call  Barbara  Hara  at  751-9550 


THEATRE  GUIDE 


AdverHsement 


ABSURD    PERSON    SINGULAR   — 

"Brilliant  Comedy!"  —  Barnes, 
Times.  Starring  Kichard  Kiley, 
Sandy  Dennis,  Geraidine  Page, 
Larry  Blyden,  Carole  Shelley, 
Tony  Roberts.  Group  Sales:  54i- 
417d.  Eves.  8;  Mats.  Wed.  &  Sat.  2. 
Music  Box  239  W.  45  St.  246-4636 


ALL  OVER  TOWN  — "Hilarious  & 
Zany!"  Starring  Cleavon  Little. 
Tues.,  Wed.,  Thurs.,  Evgs.  &  Sat. 
&  Sun.  Mats.  $10,  8,  7,  6.  Fri.  & 
Sat.  Evgs.  $12,  10,  8,  /.  Wed.  Mats. 
$9,  8,  b,  5.  For  Group  Sales  Only: 
354-1032.  Booth  Thea.,  45th  St. 
W.  of  B'way  246-5969. 

BLACK   PICTURE   SHOW— A    New 

Play.  "Totally  Absorbing".  Tues.- 
Thurs.  at  8  &  Sun.  Evgs.  at  7: 
$9,  7,  5.50.  Fri.  &  Sat.  Evgs.  at  8: 
$10,  8,  6.50.  Wed  Sat  &  Sun.  Mats. 
at  2:  $8,  6,  4.50.  Beaumont  Thea., 
Line.  Center,  150  W.  65th  St. 
EN  2-7616. 

CANDIDE— The  Theatrical  Event 
of  the  Year!  Tues. -Thurs.  Evgs. 
Sat.  &  Sun.  Mats.:  $12,  8.50,  5. 
Fri.  Evgs.:  $15,  10,  7.50.  Sat. 
Evgs.:  $15,  10,  7.50.  Wed.  Mats.: 
$10,  7,  5.  Evgs.  at  8;  Mats.  Wed. 
&  Sat.  2,  Sun.  3.  Broadway  Thea., 
1681   B'way  247-7992 

CAT   ON   A    HOT  TIN   ROOF— Ten 

nessee  Williams'  Pulitzer  Prize 
winner  starring  Elizabeth  Ashiey, 
Keir  Dullea,  Fred  Gwynne,  Kate 
Reid.  "A  TRIUMPH!"— Time  Mag. 
Phone  Res.:  247-5198.  Amer.  Exp., 
Bank  Americard.  Group  Sales: 
PL  7-  5100.  Eves.  at  7:30;  Mats. 
Wed.  &  Sat.  at  2:00.  Anta  Theatre. 
52  St.  W.  of  B'vt/ay,  246-6270 
Spec  Hol  Mat.  Jan  2  2:00 

EL  GRANDE  de  COCA-COLA— Last 

Weeks!  Hilarious  satire  on  show 
business  set  in  the  sieaziest 
nightclub  in  Latin  America.  Phone 
Res.  Accept  PL  9-3933.  Tues.  & 
Thurs.  at  8;  Wed.  at  2:30  &  8;  Fri. 
&  Sat.  8  &  10.  Sun.  3  &  8.  Plaza  9, 
Plaza  Hotel,  59th  &  5th  Ave. 

EQUUS  —  "Broadway  Has  Found 
A  Triumph  In  'EQUUS'. "—Barnes, 
Times  Mon.-Fri.  Evgs.  &  Sat. 
Mats.  $10,  9,  7.50,  6.  Sat.  Evgs. 
$12,  10,  7,  6.  Wed.  Mats.  $8.50, 
7.50,  6.50,  5.  Evgs.  at  7:30  Mats. 
at  2.  For  Group  Sales:  796-3074. 
Plymouth  Thea.,  236  W.  45th  St. 
246-9165 

GOD'S  FAVORITE  —  "A  Comic 
Masterpiece"  Neil  Simon's  New 
Comedy.  Mon.-Fri.  Evgs.  &  Sat. 
Mats.  $10,  9,  6.50,  4.50.  Sat  Evgs. 
$12.  10,  7.50.  5.  Wed.  Mats.  $9, 
8,  6,  4.  For  Group  Sales  Call: 
354-1032.  Eugene  O'Neill  Thea., 
230  W.  49  St.  246-0220 


GODSPELL  —  "JUBILANT."  Tues.- 
Thurs..  at  7:30;  Sun.  at  2  &  5  p.m. 
$8.50,  7.50,  5.90,  Fri.  at  7:30.  Sat. 
at  6  &  9:  $9.90,  8.50,  6.90.  Phone 
Reservations:  799-7690.  Promen- 
ade Theatre  2162  B'way  at  76th  St. 


GOOD  NEWS  —  "Pure  Enchant- 
ment."  Starring  Alice  Faye  and 
Gene  Nelson  Mon.-Sat.  Evgs.  7:30 
$15,  13,  11,  9,  5.  Wed.  Mats.  at  2 
$10,  9,  8,  7,  5.  Sat.  Mats.  at  2 
$11.50,  10,  9,  8,  5.  St.  James 
Thea.,  246  W.   44th   St.   695-5858 


GREASE  —  B'way's  Longest  Run- 
ning  Musical  Hit!  Mon. -Thurs. 
Evgs.  7:30:  $10.90,  9.50,  7.90, 
5.90,  4.50.  Fri.  &  Sat.  Evgs.  at 
7:30:  $12.90,  10.90,  9.90,  7.50. 
5.50.  Mats.  Wed.  &  Sat.  at  2:  $8.50, 
7.50.  6.50,  5.50,  4.  Royale  Thea., 
242  W.  45  St.  245-5760. 

IN  PRAISE  OF  LOVE  — Starring 
Rex  Harrison  and  Julie  Harris, 
also  starring  Martin  Gabel.  Mon.- 
Sat.  Evgs.  $10.  9.  7,  5.  Wed.  Mats. 
$8.  7.  b.  4.  Sat.  Mats.  $9,  8,  6.  5. 
Croup  Sales:  524-2748/ Ticketron: 
541-7290.  Morosco  Thea.,  219  W. 
45th  St.  246-6230 

OF  MiCE  AND  MEN  —  Starring 
James  Earl  Jones.  Tues. -Fri.  Evgs., 
Sat.  &  Sun.  Mats.  $8,  7,  6.50,  6, 
5.50,  5.  Sat.  Evgs.  $9,  8,  7.50.  7. 
6.50.  6.  Wed.  Mats.  $7.  6,  5,  4. 
Brooks  Atkinson  Thea..  256  W. 
47th  St.  245-3430 


PIPPIN— B'way's  Biggest  Hit  Mu- 
sical Comedy— Winner  of  5  Tony 
Awards.  Mon.-Fri.  Evgs.  at  7:30: 
$12.  10.  9,  7,  6.  5.  Sat.  Evg.:  $15. 
12,  10,  8.  7,  6.  Wed.  Mat.  at  2: 
$9,  8.  7,  6,  5,  4.  Sat.  Mat.  at  2: 
$10,  9,  8,  7.  6.  5.  Imperial  Thea., 
249  W.  45  St.  265-2412. 

RAISIN— Best  Musical— The  1974 
Tony  Winner— 2nd  Smash  Year! 
Tues.-Thur.  7:30  &  Sat.  2:  $12.  10. 

8,  7,  6.  Fri.  7:30:  $13,  11,  9,  7.  6. 
Sat.  8:  $15,  13.  11,  9.  7.  Wed.  2 
PM:  $9,  8,  7.  6.  4.  Sun.  3  PM:  $10. 

9.  8,  6,  5.  Group  Sales:  354-6724. 
Lunt-Fontanne  Thea.  205  W.  46  St. 
586-5555 


SCAPINO- "If  you  miss  it  you'll 
be  crazy."  Limited  Engagement 
thru  Mar.  2  Tues — Thurs.  Evgs. 
at  7:30,  Sat  Mats.  at  2  P.M..  Sun. 
Mats.  at  3  P.M.  $10,  9.  6.50.  4.50. 
Fri.  &  Sat.  Evgs.  at  7:30  $12,  10, 
7.50,  5.  Wed.  Mats.  at  2  P.M.  $9, 
8,  6,  4.  For  Group  Sales  Call:  354- 
1032.  Ambassador  Thea.,  219 
West.  49th   St.  265-1855 


SHENANDOAH— The  New  Music- 
al. Mon. -Thurs.  Evgs.  $12.50,  11, 
9,  8,  6.50,  5.  Fri.  &  Sat.  Evgs.  $15, 
12.50,  10,  9,  7.50,  6.  Wed.  Mats. 
$9,  8,  7.  6,  5,  4.  Sat.  Mats.  $10.  9, 
7.50,  6.50,  5.  Amer.  Exp.  Accept. 
Alvin  Thea.,  250  W.  52nd  St. 
Pnone:  757-8646 


SHERLOCK  HOLMES  —  "Miracu- 
lous!  '  Mon.-Fri.  at  8  P.M.:  $12.  10. 
8,  6,  5.  Sat.  Evgs.  at  8:  $13.50, 
12,  10,  8,  6.  Wed.  Mats.  at  2:  $9, 
8.  7.  6,  4.  Sat.  Mats.  at  2:  $10,  8, 
7,  6,  5.  Tkts.  at  Ticketron:  541- 
7290.  Broadhurst  Thea.  235  W. 
44th  St.  Cl  6-6699 


"SIZWE  BANZI  IS  DEAD"  and 
"THE  ISLAND".  —  "2  EXTRA- 
ORDINARY  EVENINGS".  The  most 
important  theatre  on  Broadway 
this  season.  —  Newsweek  Mag. 
"SIZWE  BANZI"  and  "THE  IS- 
LAND" PACK  A  WALLOP  COM- 
PARABLE  TO  "EQUUS".  —  Daily 
News  Evgs.  Tues.  thru  Sun.  Mats. 
Wed.,  Sat.  &  Sun.  EDISON  THEA. 
47th  St.  W.  of  B'way  757-7164. 
Ticketron,  Amer.  Exp.,  Bank 
Americard 


THE  HOT  L  BALTIMORE  —  Best 
American  Play.  Tues. -Thurs.  at  8; 
Sun.  at  3  &  7:30:  $7.50,  6.50, 
5.50.  Fri.  Evg.  at  9.  Sat.  at  7  &  10 
P.M.  $8.50.  7.50.  6.50.  Phone  Res- 
ervations Accepted.  For  Group 
Sales  Only  Call:  796-3074.  Circle 
In  The  Square..  159  Bleeker  St. 
Phone— 254-6330 


THE  MAGIC  SHOW— Starring  the 
Amazin  Doug  Henning!  Wed. 
Thurs.  at  7:30:  $11,  9.  7,  6.  Fri.  & 
Sat.  at  7:30:  $13.  11,  9.  8.  Wed. 
Mats.  at  2:  $9,  8.  6,  5.  Sat.  Mats. 
at  2:  &  Sun.  at  2  &  5.:  $10.  9,  7, 
6.  Group  Sales:  796-3074.  Ticke- 
tron: 541-7290.  Cort  Thea.,  138  W. 
48th  St.  Phone— 489-6392. 


THE  MEMBER  OF  THE  WEDDING 

— Presented  by  the  Phoenix  Rep- 
ertory  Co.  Mon.-Fri.  Evgs.  7:30: 
$8.  7.  5.  Sat.  Evgs.  7:30:  $9,  8,  6. 
Wed.  &  Sat.  Mats.  at  2:  $7.  6,  4. 
Insta-charge:  265-4850.  Helen 
Hayes  Thea.,  210  W.  46th  St. 
246-6380 


WHERE'S   CHARLEY?— The    New 

Musical.  Starring  Raul  Julia.  Evgs. 
7:30;  Mats.  Wed.  &  Sat.  at  2;  Sun. 
3.  All  Seats  $9.95  Circle  in  the 
Square  Thea.,  50th  St.  W.  of  B'way 
581-0720 


Say^^YES^to 
Martini  &Rossi 
on  the  tocks« 


tollNIvRf^ 


iTINIjR^ 


>- 
Z 


0; 


A  wine  with  a  character  all  its  own.  ^ 


Friday  Evening,  January  10,  1975 


Pas  de  Quatre 

Choreography  by  Anton  Dolin 
Music  by  Cesar  Pugni,  arranged  and  orchestrated  by  Leighton  Lucas 

Costumes  after  Chalon 
Lighting  by  Jean  Rosenthal 

In  1845  Jules  Perrot  produced  a  divertissement  at  Her  Majesty's  Theatre,  London,  in 
which  were  united  for  thc  first  time  on  any  stage  the  four  greatest  ballerinas  of  that  day. 
This  Pas  de  Quatre  had  a  most  successful  reception  and  was  performed  before  Queen  Vic- 
toria. In  1935,  as  a  result  of  research  by  Cyril  W.  Beaumont  and  Poppoea  Vanda,  the  orig- 
inal Pugni  music  was  discovered  in  the  library  of  the  British  Museum.  Leighton  Lucas  ar- 
ranged and  orchestrated  the  score.  Keith  Lester  recreated  the  choreography,  following 
such  indications  of  the  original  style  as  were  to  be  found  in  the  press  clippings  and  litho- 
graphs  of  that  day.  In  1941,  The  Ballet  Theatre  presented  '*Pas  de  Quatre"  as  restaged  by 
Anton  Dolin. 


Mme.  Taglioni 

MUe.  Grisi 

Mlle.  Grahn 

MUe.  Cerrito 


Natalia  Makarova 
Eleanor  D* Antuono 
Karena  Brock 
Gelsey  Kirkland 


Conuductor:  Akira  Endo 


INTBRMISSION 


n 


At  Midnight 


Choreography  by  Eliot  Feld 
Music  by  Gustav  Mahler  Decor  by  Leonard  Baskin 

Costumes  by  Stanley  Simmons  Lighting  by  Jennifer  Tipton 

I. 

Ivan  Nagy 

Rodney  Gustafson         Dennis  Marshall        Michael  Owen        Richard  Schafer 

Clark  Tippet 

n. 

Marianna  Tcherkassky        Terry  Orr 

UI. 

Ivan  Nagy 

Jolinda   Menendez        Giselle   Roberge        Janet  Shibata        Denise  Warner 

Warren  Conover        Kevin  Haigen         Kenneth  Hughes        Frank  Smith 

IV. 
Bonnie  Mathis         Marianna  Tcherkassky        Terry  Orr 


Everynishtis        \ 
openins  night  for 

the  world's  driest  %\n 

Fleischmann^ 


DISTILLED  FROM  AMERICAN  GRAIN  •  86  PROOF  •  THE  FLEISCHMANN  DISTILLING  CORP  ,  N  Y.C. 

20 


L«IF' 


k"  *  - 


V. 

Bonnie  Mathis         Marianna  Tcherkassky        Ivan  Nagy        Terry  Orr 

Jolinda  Menendez        Giselle  Roberge        Janet  Shibata        Denise  Warner 

Warren  Conover         Kevin  Haigen        Kenneth  Hughes        Frank  Smith 

The  production  of  this  ballet  has  been  made  possible  by  a  grant 

from  the  Rockefeller  Foundation  as  part  of  a  Joint  program  with 

Ballet  Theatre  Foundation  to  provide  opportunities  to  new  choreographers. 

•By  arrangement  wiah  Theodore  Presser  Company,  agent  for  Universal  Editions,  Vicnna 

Sung  by  William  Metcalf 
Conductor:  Akira  Endo 

INTBRMISSION 

m 


Pas  de  Deux 


(Grand  Pas  de  Deux  from  "Don  Quixotc") 

Choreography  after  Marius  Petipa 

Music  by  Leon  Minkus 

Natalia  Makarova         Mikhail  Baryshnikov 

(a)  Pas  de  Deux  (b)  Variation  (c)  Variation 

Conductor:  Akira  Endo 

INTBRMISSION 
IV 


(d)  Coda 


Fancy  Free 


Choreography  by  Jeromc  Robbins 
Music  by  Leonard  Bernstein 

Scenery  by  Oliver  Smith 

Costumes  by  Kermit  Lovc 

Lighting  by  Nananne  Porchcr 

The  ballet  concerns  three  sailors  on  shore  leave. 

Time:    1944,  a  hot  summer  night. 

Place:    New  York  City,  a  side  street. 

The  first  Performance  of  "Fancy  Free"  was  presented  on  April  18,  1944. 

(in  Order  of  appearance) 

Bartender    Michael  Owen 

Sailors     John  Prinz,  David  Coli,  Dennis  Wayne 
Passers'by     Nanette  Glushak,  Karena  Brock,  Patricia  Wesohe 

Conductor:  David  Gilbert 


Charming.  unique 
restaurants  serving 

1 10  varieties  of 
authentic  French  crepes 
at  moderate  prices. 

B'wavat67St./  57  W.  56St. 
158  W.  44St./3rd  Ave.  nr.58St. 
15  Greenwich  Ave./59  Nassau  St. 


Completely  redecorated 

More  beautifui  than  ever 
I       ^        the  World  Famous 

nawaff  Kai 

SOth  St.  &  B  way  -  PL  70900 

DINING-DANCING   SHOW 
Exciting  Hawaiian  Revue 
nitely  in  the  lounge 

Special  Füll  Course  $^^95 
Deluxe  Dinner  %9 

Music  Charge  $1  after  music  Starts 

■IV-.       No  Cover-  No  IVJin. 
y^    Major  Credit  Cards 


21 


PLAYBIIiL  DININC  GUIDE 


AJANTA— 156  W.  44th  St  (off  Bdwy).  Authentic 
India  Pakistan  Cuisine  served  in  an  Exotic 
Atmosphere.  Reasonable  prices.  Lunch,  Dinner 
and  After  Theatre  specialties,  Cocktails.  Credit 
Cards.  Tel.  869-8945  or  582-9663. 


CARLOS  —  BeautifuI  Black-owned  rest.  in  mid- 
town.  Spec.  fish  dishes.  Pre-thea  hot  app.  & 
drink,  $3.50.  Aft.  thea.  light  sup.  (fried  shrimp 
or  spec.  Chicken)  &  carafe  wine  $6.00.  Bring 
this  ad  for  Ist  drink  free.  36  W.  48,  869-0366 


ALGONaUIN  — 59  West  44th  Street.  DellghtfuI 
after  theatre  Supper  Büffet,  serving  delicious 
edibles  and  potables  In  a  legendary  house- 
party  atmosphere.  Also  süperb  pre-theatre 
Dinner.  AE.  DC.  BA.  RES.:  687-4400 


CATTLEMAN  WEST— 51  &  7  (Taft  Hotel)  265-1737 
Opulent  Western  setting  steakhouse.  Pre  & 
atter  theater  dinners  $4.95-$8.95.  Nancy 
Winston  plays  nightly  in  the  Saloon. 


ARIRANG  HOUSE— 28  W.  56  ST.  "A  UNIQUE  EX- 
PERIENCE  IN  KOREAN  DINING."  *  *  *  N  Y 
TIMES.  LUNCH,  DINNER  COCKTAIL  LOUNGE 
CR.     CDS.     PRIVATE     DINING     ROOM     FOR 
PARTIES.    MON-SAT.    LT   1-9698— LT    1-9699. 


CHATEAU  BRASIL— 252  W.  46  St.  FINEST  BRAZIL- 
lAN  REST.  IN  N.Y.  LOCATED  IN  THE  HEART 
OF  THEATRE  DIST.  SPECS:  FEIJOADA  &  BRA- 
ZILIAN  BEEFSTEW.  LUNCH,  DINNER  &  AFTER 
THEATRE  ENTREES  $2.50  to  $5.50.  221-1620 


AUNT   FISH  SEAFOOD   RESTAURANT  &  OYSTER 

^  BAR — 63rd  St.  &  Broadway,  adjacent  Lincoln 
Center.  Newest,  nicest  West  Side  elegant  stop 
for  truly  fresh  fish.  Lunch,  dinner,  supper, 
after  theatre.  799-7200. 


DANNY'S  BROWN  JUG— Ist  Ave.  Bet.  61  &  62. 
Fresh  Seafood,  Lobster,  Complete  Dinners  to 
2  AM.  .  .  .  Georgia  Kay  at  the  piano  8:30  til — 
Impromptu  sessions.  TE  8-2230 


AU  TUNNEL— 306  W.  48  St.  CO  5-9039.  A  Great 
French  Restaurant,  DelightfuI  Decor,  Fine 
Service,  Moderate  Prices,  Outstanding  Cui- 
sine, Open  Lunch  &  Dinner,  Cocktails,  Fine 
Wines,  Closed  Sunday. 


DIAL-A-STEAK— or  lamb  chops  or  lobster  and  re- 
ceive  baked  potato,  salacf,  rolls  free.  4-11  P.M. 
daily  in  Manhattan  to  96th  St.  (further  by  spec. 
erränge.)  15%  Service  Charge  (min.  $2.50) 
credit  cards.  593-3888 


BARBETTA— 321  W.  46  Cl  6-9171.  Open  tili  mid- 
night.  Chamber  music  highlights  this  elegant 
north  Italien  restaurant  serving  hound-hunted 
fresh  white  truffles.  Fashion  show  Wed.  lunch. 
Pre-theatre  din.  $13.50  AE  CB 


BOUI-BOUI— 69  W.  55.  586-0004.  DelightfuI  res- 
taurant with  international  menu.  Spec:  duck 
l'orange,  Omelettes,  Weish  Rarebit.  Same  a  la 
carte  menu  all  day  11:30-12:00,  entrees  $1.25- 
$4.95.  Wines  &  beer  only.  Closed  Sun. 


DOWNEY'S 

44/45TH   ST.  ON   8TH  AVE.   RES.   PL  7-0186 
STEAK  HOUSE  •  IRISH  COFFEE  BAR 


BROTHERS  &  SISTERS— 355  W.  46th  (off-B'way) 
Cabaret  Room  stars  Top-rated  Award-winning 
Stars  ($3  show  Charge).  Also  piano  bar 
with  free  showcase  entertainment.  Cocktails, 
dinner,  supper,  tili  1:00  AM  7  days  765*7848. 


DU  MIDI— 311  W.  48  St.  (comfortable  old  brown- 
stone)  Excellent  provencial  French  Cuisine, 
Open  7  Days,  Lunch — A  La  Carte,  Cocktails, 
Dmner  —  table  d'hote.  Recom.  By  Holiday. 
Theatregoers'  Favorite.  CO  5-9395,  582-6689 


CAFE  DE  FRANCE— 330  W.  46  ST.  OFF  B'WAY 
HOST  NICOLAS  FABRO  FORMERLY  OF 
FRENCH  LINE  &  ROGER  BONNET.  FIRST 
PRIZE  WINNER  "FRENCH  GASTRONOMIQUE". 
L  DAILY  12-3  D  5-11  CL.  SUN.  586-0088. 


E.  58th  ST.  SPAGHETTI  &  MACARONI  FACTORIA— 

6  E.  58th,  751-9060.  Colorful  Ristorante-Bar- 
Cabaret  Disco.  L  fr  $2.75  D  fr  $4.95.  After- 
thea.  sup.  Reubens-type  breakfastto4  AM.  Ent. 
wknds.  Cr.  Cds.  Fun  for  kids  wknd.  afternoons. 


CAFE  FUNDADOR— 146  W.  47th  St.  (OFF-BWAY) 
SELECT  FOOD  FROM  SPAIN  &  MEXICO 
LUNCH,  DINNER,  SUPPER,  AFTER  THEATRE 
DINING,  PARTIES,  MAJ.  CREDIT  CARDS,  REC- 
OMMENDED  BY  GOURMET  &  CUE.  265-3690. 


ENRICO  &  PAGLIERI—  7  nr.  51^  541-7116.  Charm- 
ing  ristorante  features  unlim.  antipasto  plus 
Italien  specs.  $3.95-$6.95.  Unlim  beer,  wine 
or  sangria  $.95  pp  with  dinner.  Specials  Mon.- 
Thurs.;  Italien  feast  Daily  $7.25.  L/D. 


L — Luncheon     C — Cocktails     D — Dinner     S — Supper 


TEST  YOUR  THEATRE  MEMORY 

1965 — Ten  years  ago  on  Broadway 

1.  On  Feb.  16,  1965,  Baker  Street  opened 
at  the  Broadway.  Martin  Gabel  played  the 
evil  Professor  Moriarty,  but  who  played 
Sherlock  Holmes? 

2.  Who  wrote  the  lyrics  for  Richard  Rod- 
gers' musical  Do  I  Hear  a  Waltz?, 
which  starred  Elizabeth  Allen  and  Sergio 
Franchi? 

3.  Who  did  Barbara  Cook  and  George 
Gaynes  replace  in  Any  Wednesday  at  the 
Music  Box? 

4.  Ten  years  ago  on  March  10  a  block- 
buster  Neil  Simon  play  opened  at  the  Ply- 
mouth  Theatre.  Art  Carney  and  Walter 
Matthau  starred.  What  was  the  name  of 
the  play  and  who  was  the  director? 


5.  During  the  1964-65  theatre  season, 
Paul  Anka  filled  in  for  vacationing  Steve 
Lawrence  in  what  musical  at  the  45th 
Street  Theatre? 

6.  Based  on  H.  G.  Wells'  Kipps,  this  mu- 
sical starring  Tommy  Steele  opened  at  the 
Broadhurst  on  April  25. 

7.  This  was  the  year  in  which  Liza  Min- 
nelli  starred  in  her  first  Broadway  musical. 
What  was  its  title? 

8.  Ten  years  ago  Julie  Harris  starred  in  a 
musical  based  on  Eimer  Rice's  Dream 
Girl.  It  opened  at  the  Lunt-Fontanne. 
Title? 


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LIQUORE  STREGA  EIGHTY  PROOF.  SCHENLEY  IMPORTS  CO..  NEW  YORK.  N.Y.  ©1974 


FRANKIE  •(  JOHNNIE— 269  W.  45.  CUE  MAG.— 
"This  Upstairs  Restaurant  has  great  Steaks, 
chops,  seafood  since  1926".  Cocktails  &  Din- 
ner only  4:30-1  AM.  Free  pkg.  From  6PM.  Steps 
from  theatres.  D.C..  AE,  245-9717,  CO  5-9776. 


GALLAGHER'S  STEAK  HOUSE— 52nd  Street  just 
West  of  Broadway.  Sports  and  Theatrical 
Celebrities  favorite  Steakhouse  for  over  40 
years.  Dinner  up  to  12  midnight  including 
Sundays.    245-5336. 


GAVROCHE— Open  Till  Midnight.  Cozy,  intimate, 
casual  atmosphere.  Excellent  authentic  French 
cuisine.  Füll  meals,  lunch  (12-3)  $4.95-7.25, 
dinner  $6.95-12.00  222  E.  58th,  838-0279, 
MC  BA 


GAYLORD— 50  E.  58th  ***NY  TIMES.  RECO.  BY 
CUE  &  GOURMET.  "THE  BEST  INDIAN  REST. 
IN  NY  &  THE  ONLY  ONE  EQUIPPED  WITH  A 
TANDOOR  (CLAY  OVEN)."  LCH.,  DIN.,  COCK- 
TAIL LOUNGE.  7  DYS.  CR  CDS.  PL  9-1710. 


LA  MILONGA  RESTAURANT— 755  9th  (cor.  5lst) 
Typical  Argentine  kitchen  with  Spanish  dishes 

6  seafood  specialties.  Lunch:  Mon.-Fri.  Dinner 

7  days,  5-11  PM.   LATE  SUPPER  TILL  4  AM. 
Cr.  Cds.  586-9867  or  541-8382. 


LANDMARK  TAVERN— Est.  1868,  NY's  third  oldest 
&  most  authentic  tavern.  Steaks,  seafood, 
daily  spec.  $2.25-9.95.  ***NY  Times.  Free 
prkg.  Private  party  facilities.  Daily  to  midnight. 
46th  &  llth  Ave.  757-8595. 


LE  VERT  GALANT— 109  W.  46  St.  Excellent  French 
Cuisine.  Rec.  highly  by  Cue  &  New  York  Mag. 
Best  onion  soup  in  N.Y.  L-$5.25-$6.95.  D- 
$7.25-$11.25.  M-F  5  PM-12  PM  Sat.  4:30- 
12  PM.  Maurice,  Host  &  Owner.  JU  2-7989. 


LES  PYRENEES— 251  W.  51st  Street.  Supero 
French  Restaurant,  Opposite  Uris  Theatre. 
Lunch,  Cocktails,  Dinner.  Pris  fixe  dinner, 
$8.00.  Open  Sat.  'til  1  AM.  Party  facilities 
Recom.    by    Holiday.   246-0044.   Closed    Sun. 


GIORDANO— 409  W.  39  Wl  7-3883.  ELEGANT, 
NORTH  ITALIAN  CUISINE.  L:  MON-FRI  12-3 
A  LA  CARTE  $4.75-7.75  D:  3-12  SAT  &  SUN  FR 
5:00  A  LA  CARTE  $6.00-9.50.  CR  CARDS. 


GOLDEN  LION  PUB— 143  W.  44th  St.  765-1587 
Log.  in  heart  of  thea.  dist.  Fab.  Steak  D.  $4.95 
or  Lobster  D.  $5.95.  Free  p.irk.  for  entire 
evening  with  $12.95  min.  purchase  per  car. 

GALA  DINNER  &  DANCING 

ENTERTAINMENT 

REGULÄR  DINNER  MENÜ  PRICES 

8:00  tili  .  .  . 


GREAT  AUNT  FANNY'S— 340  W.  46th  St.  765- 
7374,  VERY  CASUAL.  DRINKS,  LUNCH,  DIN- 
NER, SUPPER;  5-1  MON.-SAT.  PRIV.  DINING 
ROOM  WITH  TV.  LUNCH  FR.  $2.25;  DINNER 
FR.  $5.95;  SUPPER  FR.  $1.95;  10-2.  AE,  MC. 


HO  SHIM— 120  W.  44  (btwn.  6th  &  Bdwy.  In  the- 
atre district).  Korean  and  Japanese  cuisine. 
Lunch,  dinner,  supper.  Live  native  entertain- 
ment.  Open  7  days.  Courtesy  parking  for  $1.50 
at  Kinney,  116  W.  44  575-9774. 


KASHMIR— 10  W  46  St.  Exotic  curries  of  India 
served  daily  12-12.  Weekday  L  $1.90  &  $2.10. 
Complete  early  curtain  &  After-Theatre  Din- 
ners, $3.50-5.50.  Cocktails.  Parties  &  Catering. 
247-8785,  869-8584.  Credit  Cards. 


LA  BONNE  SOÜPE  —  48  W.  55.  Hearty  soups, 
delicious  fondues,  irresistable  deserts,  saucy 
hamburgers.  Lunch,  Dinner,  After  Theater  to 
midnight  weekdays,  1  a.m.  Fri.  &  Sat.  Closed 
Sun.  JU  6-7650. 


THE  MAGIC  PAN— Distinguished  French  &  Hun- 
garian  Creperie  located  in  a  beautifui  French 
townhouse  at  149  E.  57th  St.  (371-3266) 
Luncheon,  Dinner  &  Late  Supper.  Open  7  days. 
Garden  dining.  Private  Parties.  MC,  BA,  AE. 


MARY'S— 42  BEDFORD  ST.,  A  VILLAGE  LAND- 
MARK, REC.  BY  TIMES,  GOURMET,  CUE,  N.Y. 
MAG.,  ABRUZZI  SPECIALTIES  —  (LUNCH. 
DINNER.  COCKTAILS.)  OPEN  7  DAYS  TEL. 
CH  2-9588. 


MICHAELAS  PUB 

ENTERTAINMENT  NIGHTLY 

211  EAST  55th  STREET  •  PL  8-2272 


Teddy  Wilson  &  Charlie  Ventura  12/17-1/11 
Terry  Gibbs  1/14-2/8 


MOLFETAS  RESTAURANT  &  BAR— 307  W.  47th 
JU  6-9278,  581-0674.  Heart  of  Theatre  Dist. 
Real  Greek  Home  Cooking,  mod.  prices  — 
Spinach  pie,  Shish  Kebab,  Moussaka.  Green 
Room  Nite  Club,  Li>fe  Music  to  4  AM 


NICKELS~227  E.  67th  St.  An  elegant  East  Side 
Steak  House  that  serves  first-rate  prime  Steaks 
&  seafood.  A  swinging  bar  frequented  by  ce- 
lebrities. The  perfect  spot  for  after  the  theatre 
794-2331 


PEKING  PARADISE  RE6TAURANT-^137  W.  52nd 
St.,  Steps  from  tlieatres.  Open  Lunch,  Dinner, 
After  tneatre  to  1  AM.  Mandarin,  Szechuan, 
Hunan  creations  by  master  chef  UNCLE  HO, 
formerly  of  Grand  Hotel.  Taiwan.  757-4605. 


LA  BOURGOGNE— 123  W.  44  St.  A  real  French 
bistro.  Excellent  French  Cuisine.  L  12-4  $3.25- 
$5.50,  D  Mon-Sat.  4-11:30,  Fri.  &  Sat.  to  12, 
$4.95-$8.50  (Steak)  &  a  la  carte  SpecialiW: 
Cheese  Souffle.  Cl.  Sun.  AE,  BA,  DC.  JU  2-4230 


LA  CHAUMIERE— Charming  Village  Restaurant, 
like  Country  Inn  with  lovely  fresh  flowers. 
Unusual  French  entrees  $4.65-12.00  a  la  carte. 
D  fr  6:30,  füll  menu  to  1  am.  Reserves  taken 
to  midnight.  310  W.  4th,  741-3374.  AE,  MC. 


LA  FONDUE^^  W  55  St  Dine  bef.  &  aft.  theatre 
in  charming  European  Cellar,  Cocktails  au- 
thentic Swiss  cheese  fondue,  cheese  &  sau- 
sage snacks,  prime  broiled  filet  mignon 
Complete  D.  fr.  $4.95  L  fr.  $1.95  To  1  AM. 


LA  FORTUNA— 16  E.  41st  St.  Ambiance,  superior 
North  Italian  kitchen.  Reservations  required 
for  lunch.  Relaxed  dining  before  theatre  from 
5:30  Mon.  thru  Sat.  5  min.  by  cab  to  theatres. 
All  er.  Cards.  685-4890  Ciao 


THE  RAINBOW  GRILL— Rockefeiler  Center,  65th 
floor.  Christopher  Davis  &  Company  1/2-1/18. 
Shows  at  9:15  and  11:15  pm.  Dinner  Show 
seating  from  6:30  to  8:00.  Cocktails,  Dinner 
or  Supper.  Res.  757-8970. 


RINCON  DE  ESPANA— 226  Thompson  St.,  N.  Y. 
Times— "One  of  the  best  Spanish  kitchens  in 
N.  Y."  Spec.  Octopus  &  shrimp  a  la  Carlos  & 
Paellas,  Flamenco  Guitar  nightly.  L.  D.  C. 
Credit  cards.  Cl.  Mon.  260-4950,  475-9891 


ROCK  GARDEN  OF  TOKYO— The  only  unique  Jap- 
anese Yakiniku  (Broiled  Meat)  Steak  House 
in  N.  Y.  Exquisitely  served  at  YOUR  OWN  PRI- 
VATE TABLE  in  an  atmosphere  of  Japanese 
elegance.  34  W.  56th.  245*7936.  MaJ.  Cards 


ROMANIAN  VILLAGE— 13  E.  37  (Bet.  5th  &  Mad.) 
"The  only  authentic  Romanian  Rest,  in  N.Y." 
L.  D.  Cocktails  —  7  days  —  Live  Ent.  Brunch 
Sat.  &  Sun.  12:00  to  3:30  AE  DC  MC  679-4437 


I 


RUSSIAN  TEA  ROOM— 150  W.  57  NEXT  TO  CARN- 

«    NEGIE     HALL     IN     LINCOLN    CENTER    AREA 

RUSSIAN   SPECIALTIES   IN   EUROPEAN  CAFE 

ATMOSPHERE   CREDIT   CARDS   OPEN    DAILY 

UNTIL  1  A.M.  CO  5-0947.* 


SPINDLETOP  —  254  W.  47th  ST.  Cl  5-7326  THE 

BEST  STEAKS  &  PRIME  RIBS  IN  N.Y. 

ENTERTAINMENT  NIGHTLY 

DANCING  SATURDAY  NIGHT 

AFTER  THEATER  SPECIALS  FROM  $3.95 


STEAK  &  BREW— 221  W.  46  (Edison  Hotel)  & 
B'way  at  51  Ent.  fr.  $3.95-$7.95  incl.  unlim. 
sa!ad.  Unlim.  beer,  wine,  Sangria  $.50  pp.  with 
dinner.  Mel  Dancy  plays  Tues.-Sat.  in  46th  St. 
lounge. 


TOP   OF   THE 

^  CATED    IN 


PARK  — 60th  ST.  AT  B'WAY  LO- 
GULF 4-  WESTERN  BLDG.  43 
FLOORS  ABOVE  CENTRAL  PARK.  SÜPERB 
DINING  WITH  N.Y.'S  MOST  MAGNIFICENT 
VIEW.  COMPLETED  D.  $8.25-$12.75  333-3800. 


TORREMOLINOS— 230  E.  51  St.  (Btwn.  2nd  & 
3rd)  Authentic  Spanish  Cuisine.  Guitarrist 
Nightly.  Lunch:  11  AM-3  PM.  Dinner:  5:30- 
11  PM,  Fri.  &  Sat.  to  midnight.  Cr.  Cds. 
755-1862. 


VESUVIO— 163  W.  48th  off  7th.  LANDMARK  SINCE 
1901  FOR  SUP.  ITALIAN  CUISINE  IN  THEATRE 
DIST.  L.D.S.  CKTLS.  7  DAYS.  MON.-FRI.  11:30 
AM-1:00  AM.  SAT.  4:00-1:00  AM.  SUN.  1:00- 
10:00  PM.  CR.  CARDS.  245-6138 


*Convenient  to  Lincoln  Center 


WALLY'S— 224  W.  49  St.  WALTER  GANZI  JR.  OF 
THE  PALM  RESTAURANT  WENT  WEST  TO 
OPEN  WALLY'S.  STEAKS  &  WHALE  SIZE  LOB- 
STERS  ARE  FABULOUS.  GREAT  FOR  LUNCH, 
PRE  &  AFTER  THEA.  DIN.  7  DAYS.  582-0460 


YOUR  FATHER'S  MUSTACHE— 7th  Ave  &  lOth  St. 
675-4630.  Old  fashioned  fun  &  food  at  old  fa- 
shioned  prices.  Sing  along  with  Ed  Sullivan's 
favorite  banjo  band.  Present  this  book  for 
FREE  admission.  8:00  pm  tili  late,  7  nites. 


As  dose  to  fresh 
seajfood  as  you  cati  get, 

without  getting  wet. 

You'd  have  to  be  a  f isherman  to  get  fish 

any  fresher,  and  if  fish  is  not  your  dish, 

"Joes"  also  features  he-man  cuts  of 

Prime  Beef  and  sizzling  Prime  Steaks 

plus  a  Wide  seiection  of  other  populär  entrees. 

Live  Entertainment  Nightly  in  the  Shcm  Boat 
Lounge  and  Bar 

l  UNCHEON,  COCKTAILS,  DINNER    AFTER  THEATRE 
American  Express  ar)d  AU  Ma/or  Credit  Cards 


*Convenient  to  Lincoln  Center 


Joes  Pier  52 


144  West  52nd  St, 
245-6652 


CITY  CENTER  OF 
MUSIC  AND  DRAMA,  Inc. 

New  York  State  Theater  at  Lincoln  Center 
City  Center  55  Street  Theater 

OFFICERS 

ABRAHAM  D.   BEAME 
President 

RICHARD  M.  CLURMAN 
Chairman  of  the  Board 

MRS.    IRVING   MITCHELL   FELT 
Vice  Chairman 

MARTIN  J.  OPPENHEIMER 

Chairman,  Executive  Committee 

MRS.  NORMAN  LASSALLE 
Secretary 

MORTON  L.  JANKLOW 
Development  Chairman 


FOUNDING  DIRECTORS 

Mrs.  Lytle  Hüll  Mrs.  Arthur  M.  Reis 

Honorary  Vice  Chairman    Honorary  Vice  Chairman 


Fiorcllo  H. 

LaGuardia 

1882-1947 


Newbold  Morris 
1902-1966 


Morton  Baum 
1905-1968 


BOARD  OF  DIRECTORS 


John  W.  Barnum 
Mrs.  Morton  Baum 
Francis  J.  Bloustein 
Mrs.  Bernard  Botein 
Lawrence  B.  Buttenwieser 
Richard  M.  Clurman 
Raymond  R.  Corbett 
William  Feinberg 
Mrs.  Irving  Mitchell  Feit 
Martin  D.  Fife 
Stephen  O.  Frankfurt 
Mark  Goodson 
Jerome  Greene 
Mrs.  David  Guyer 
Ernest  S.  Heller 
Mrs.  Skitch  Henderson 
Mrs.  J.  Mitchell  Jablons 
Morton  L.  Janklow 


Thomas  M.  C.  Johnston 

Allen  T.  Klots,  Jr. 

Mrs.  Norman  Lassalle 

George  London 

Gerald  McKee 

E.  Howard  Molisani 

Edwin  H.  Mosler,  Jr. 

David  J.  Oppenheim 

Martin  J.  Oppenheimer 

Laurance  Rockefeller 

Harvcy  Rothenburg 

WiUiam  Scheide 

Dr.  Victor  I.  Sendax 

Peter  Jay  Sharp 

Dr.  Gert  von  Gontard 

Shannon  J.  Wall 

Franklin  H.  Williams 

Charles  Wohlstettcr 


TRUSTEES 


Dr.  Louis  Carp 
Mrs.  Norris  Darreil 
George  T.  Delacortc 
Mrs.  James  W.  Fosburgh 
Mrs.  Oscar  Hammerstein  11 
Joseph  D.  McGoldrick 


George  L.  K.  Morris 

Roy  R.  Ncubergcr 

Martin  E.  Scgal 

Harvey  Stevenson 

Edward  Streeter 

Jean  Tennyson 

25 


NOW   THRU    SUNDAY,    FEB.   2 


TUES. 

WED 

THURS. 

FRI 

SAT.  MAI. 

SAT.  EVE. 

SUN.  MAT. 

SUN.  EVE. 

Dec   31 

at  2  00 
6ISELLE 

at  8  00 
COPPELIA 

Jan  2  at  5  30 

Fancy  Frti 
LA  SYLPHIDE 

Jan   3  at5  30 

Lat  Palinauri 
LA  SYLPHIDE 

Jan  4  at  2  00 

Lat  PatiNOuri 
LA  SYLPHIDE 

Jan  4  al  8  00 
GISELLE 

Jan  5  al  2  00 
GISELLE 

Jan  5  al  7  30 
GISELLE 

Jan    7  al  8  00 

Las  Sylphidai 
At  Midni|M 
Dan  Quiiola 
Tlia  Rtvor 

Jan  8  at  8  00 

Fancy  Froo 
LA  FILLE  MAL 
GARDEE 

Jan   9  at  8  00 

Lat  Sylpliidat 
*l%  Jouna  Homma 

at  la  Mon 
Grand  Pat 

Claitiqua 
Tha  Rivar 

Jan    10  at  8  00 

*f»i  da  Quaira 
AI  Midnight 
Don  Ouiioto 
Fancy  Frai 

Jan   11  al  2  00 
COPPELIA 

Jan    11  at  8  00 

GALA  35TH 

ANNIVERSARY 

PROGRAM 

Jan  12at2  00 
COPPELIA 

Jan   12  at  7  30 
COPPELIA 

Jan    14  at  8  00 

Harbingar 
^Pas  da  Quaira 

Jardin  Aui  Lilai 
^Concorlo 

Jan   15at800 

Concorto 
^Lo  Jauna  Homme 

at  la  Mon 
Don  Quiiola 
Tha  Rivar 

Jan    16at8  00 

Napoh 

Divonittemantt 
Dark  Elagiai 
Diana  and  Actaon 
Thamo  and 

Variationt 

Jan    17at800 

Billy  tha  Kid 
LA  FILLE  MAL 
GARDEE 

Jan   18  at  2  00 

Harbingar 
LA  FILLE  MAL 
GARDEE 

Jan   18  at  8  00 

^Concorto 

-=  Lo  Jauna  Homma 

al  la  Man 
Uafiniihod 

Symphony 
Tho  Rivor 

Jan    19al2  00 

Harbingar 
LA  FILLE  MAL 
GARDEE 

Jan    19  at7  30 

Lot  Sylphidoi 
Dark  Etagiat 
La  Cortaira 
^Concano 

Jan   21  at  8  00 

Billy  tho  Kid 
LAFILLEMAL 
GAROEE 

Jan  22  at  8  00 

*f»t  da  Quatra 
Dark  Elagiai 

Grand  Pat 

Claitiqua 
Lat  Patinourt 

Jan   23  at  8  00 

Harbingar 
'Gamini 

Jardin  Aui  Lilat 
^Cancono 

Jan  24  at  8  00 

Harbingar 
Unliniihad 

Symphony 
Fall  Rivar  Lagand 
^Concono 

Jan  2t  at  2  00 

Billy  tha  Kid 

*Pai  da  Quaira 

Lat  PaliMurt 

Jan  2b  at  8  00 

Lot  Sylphidoi 
Fall  Rivar  Lagand 
La  Cortaira 
Thama  and 
Variationt 

Jan  26  al  2  00 

Billy  tha  Kid 
Jardin  Aui  Lilat 
Thama  and 
Varialiont 

Jan  26  at  7  30 
Napoh 

Divaniiiamanli 
Fall  Rivar  Lagand 
'Gamini 
Lat  Palinauri 

Jan   28  at  8  00 
COPPELIA 

Jan  29  al  8  00 

Thome  and 

Variation! 
'Gamini 
Don  Quiiota 
Fall  Rivar  Ltgand 

Jan   30  at  8  00 
COPPELIA 

Jan  31  at  8  00 

'Gimini 

^La  Jauna  Hommo 
al  la  Mon 

Don  Quiiola 

Tha  Rivar 

Feb   1  al  2  00 

Concino 
Jardin  Aui  Lilat 
Fancy  Fraa 

Feb  1  318  00 

Napoh 

Divanuiamonlt 
-=  Lo  JouNo  Homma 

al  la  Mon 
Diana  and  Acloon 
Fancy  Froo 

Feb  2at  2  00 

Ltt  Sylphidai 
'Gamini 
Lat  Patinourt 

Feb  2  al7  30 

Tha  Rivar 
La  Cortaira 
*La  Jauna  Hommo 

Ol  la  Mon 
Thama  and 

Variationt 

'Premiere 


^Revival 


Programs  subiecl  lo  change 


THE  NATIONAL  CORPORATE  FUND  FOR  DANCE 

is  a  Consolidated  campaign  to  raise  funds  from  the  business  Community  for  the  support  of  seven  major 
national  touring  dance  companies. 


PARTICIPATING    DANCE    COMPANIES 

THE  ALVIN  AILEY  CITY  CENTER 
DANCE  THEATER 

AMERICAN  BALLET  THEATRE 

THE  JOFFREY  BALLET 

MERCE  CUNNINGHAM  AND  DANCE  COMPANY 

MURRAY  LOUIS  DANCE  COMPANY 

NIKOLAIS  DANCE  THEATRE 

THE  PAUL  TAYLOR  DANCE  COMPANY 


OFFICERS  ANO  DIRECTORS  OF  THE 

NATIONAL  CORPORATE  FUND  FOR  DANCE,  INC. 

ANTHONY  A.  BLISS 

JUSTIN  COLIN 

Chairmen 

ALEXANDER  C.  EWING 

WILLIAM    BARNABAS   McHENRY 

Vice-Chairmen 

JOHN  C.  WADDELL 

President 

JOHN  P.  HOLMES,  JR. 

Vice-President 

JAMES  E.  SIEGEL 

Secretary/  Treasurer 

GAVIN  K.  MacBAIN 

JOHN  C.  WADDELL 

Campaign  Chairmen 


AMERICAN  BALLET  THEATRE  AND  THE  OTHER  CONSTITUENTS  OF  THE  NATIONAL  CORPORATE  FUND 
FOR  DANCE  WISH  TO  ACKNOWLEDGE  THE  6ENER0US  CONTRIBUTIONS  OF  THE  FOLLOWING: 


ARROW  ELECTRONICS,  INC. 

BRISTOL-MYERS  FUND 

THE  CAPEZIO  FOUNDATION,  INC. 

THE  CHASE  MANHATTAN  BANK  N.A. 

CHEMICAL  BANK 

CORNING  GLASS  WORKS  FOUNDATION 

EXXON   CORPORATION 

IBM  CORPORATION 

MONOGRAM  INDUSTRIES,  INC. 

OPPENHEIMER  &  CO. 


OTIS  ELEVATOR  COMPANY 
THE  PRUDENTIAL  INSURANCE 

COMPANY  OF  AMERICA 
RCA  CORPORATION 
READER'S  DIGEST  FOUNDATION 
SETH  SPRAGUE  EDUCATIONAL  AND 

CHARITABLE  FOUNDATION 
THE  EVELYN  SHARP  FOUNDATION 
JAMES  TALCOTT,  INC. 
ANONYMOUS  (10) 


The  National  Corporate  Fund  for  Dance,  Inc.  has  received  funding  for  operating  expenses  from  the 
ROCKEFELLER  BROTHERS  FUND,  the  NATIONAL  ENDOWMENT  FOR  THE  ARTS,  and  the  NEW  YORK 
STATE  COUNCIL  ON  THE  ARTS. 

NATIONAL  CORPORATE  FUND  FOR  DANCE,  INC. 

130  WEST  56th  STREET     ROOM  800 

NEW  YORK,  NEW  YORK  10019 

212— 582-0130 


Delta  gives  you  a  Florida  break. 

Steak  &  Champasne 
in  Iburist  to  Flonda. 

[Miami,  Ft.Lauderdale and  Tampa/St.Pete] 


Delta  has  a  dozen  nonstops  every 
day  this  winter  to  Miami/Ft.Lauder- 
dale.  Also  morning,  evening  and 
night  nonstops  toTampa/St. Pete. 
And  on  every  mealtime  nonstop 
we're  serving  free  steak  to  every- 
one-f  ree  Champagne  to  every 
adult.  Free  Champagne  on  thrifty 
Night  Coach  nonstops.  too.  The 
night  fare  is  only  $78  to  Miami  or 
Ft.Lauderdale.  just  $73  to  Tampa/ 
St. Pete.  So  live  a  little  - fly  Delta 
to  Florida. 

k 


See  your  friendly  Travel  Agent. 

Delta  and  your  Travel  Agent  accept 
American  Express  and  all  other 
major,  general-purpose  credit 
Cards.  For  instant  reservations 
thru  Deltamatic;call  Delta  in  New 
York  at  832-7000,  in  New  Jersey 
at  622-21 1 1 .  And  have  a  nice  tnp' 


Miami  Five  nonstops  daily.  Day 
Tourist  and  Night  First  Class,  $98. 
Night  Coaches,  only  $78. 

Ft.Lauderdale  Seven  nonstops  a 
day.  Our  9:40am  nonstop  is  a 
Wide-Ride'"superjet.  Day  Tourist 
and  Night  First  Class,  $98.  Low 
$78  Night  Coaches,  too. 

Tampa/St.Pete  Fly  nonstop  any 
morning  or  evening  Day  Tourist 
and  Night  First  Class,  $92.  Night 
Coach  nonstop,  only  $73. 

Jacksonville  Nonstop  evenings  at 
5;45pm.  Day  Tourist,  $79. 

The  Bahamas  Nonstops  to  Nassau 
and  Freeport  every  morning.  21  - 
day  Midweek  round-tnp  Tourist 
Excursion,  just  $166.  (Weekends 
slightly  higher]  Add  applicable  tax. 


The  airline  tun  by  prolessionals 


Delta  is  ready 
when  you  are: 


^.     ^aju-o^ji^    iCt^tunh^^ 


/iM^     6L 


^Mi 


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V, 


nvy  11,  1967 


I>.ar  Mr*  Baniest 


»1^.1 


tlifet  bellet  vlth  Jj:  JTUNE  SOWIE  5^  LA  rCHT^ 

If  I  au  not  entirbiy  aistakeu^  JTÖKE  ISDMME  v&»    creat^ 
ly  J^ciik  Cocti»aUj  not  iMu>lan:'  i:^etlt«    Mhjii  I  r^at^arched 
«nd  prapfirod  the  ciUy  live  telt^vlijion  appean^c«  of 
Bebll€<^  ariu  Phillipext  in  thiü  couutxy   (on  tiu.  long 
aifunct  Lilli  ^bIxj^t  vJhov),   tii^y  toid  »^   the  baüet^u 
ötoxy  5it  giHaat  length-—  th  t  a«ts  also  vere  Ijr  Cocteau-^ 
ai.j  Vc  öuded  lop  ly  iüaikJLiig  Cocte&u  ;ii<    foctil  point  of 
ttc  TV  pxn:'graiL» 

I  aXao  qiifcatiou  v^ciy  ttrongiy  youi-  inttrpi'i'^tatioii  of 
Jilfiii:  H0MJ2«     At   iiu:   vi:L:t;  of  it»  cr^^edon  axid  intöT- 
pifyta'ioni  Bubilet^  v».l  extxsrtly  l^^^ppi^  r.arried  to 
Phüliparvj  and  qidt<i:   itiad  e^bout  wviaen  iii  genfer^l^     I 
C€ai  eL^üurc  you  tii/.t  ncthijEg  vuö  fiirtlurr  frois  hi^  ;JLad 
ti^an   cO  luok  ut  Uosian  as  the  fjQ&t:>culjEitor»     1h^  coticti^pt 
li^  taujdli  r^thtiT  An^^io-^axoj-  cukI  Ai..  i^ici^n^  ^^na  qiU  a 
fwreiica  tc  thc*  Frtiiich  p^r^^iie^  evui  that  of  hot-iosöxufilß» 
li  ßhould  also  b^  uoted  tbat  diwitii  ii^  ^rench  iö  LA  i^iort^ 
not^  aa  iix  Qi^rmau,  for  in^teuc^di^  DI^B  xod« 

To  Bjr  icQO^wlede:©^  Coctc^au  laoant  D^^t.ih  quitc  li'  rj;ral3jr 
iii-JE:dJ*E  iiQm;\,  juöt  ai.  lii  hi;.  fii;ii  OhU?HEL  wxit^xe  >'Ärla 
^C&s$&r^8t  vho  püLqirdd  la  PrlBcebaü  ^••«  uGt  la  Kort  d* 
Qrphee*^  not  (frKbolicßUty  so  in  accorc  ance  vith  Cocteau*© 
Ow^uiug  r^j^mxks  lii  tiiv   book  «ditic>n  of  Ui.  füja*  ^IX 


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liiere  is,  I  WlieY«,  qUU  a  dif f««»e* 
«s  U.fe-tJi%>jr  and  «aao  Ofc«th^iver,  *.ud 

to  act  «8  ti»ö  latter.     I  «a  a  vriter  uxü 
ly  anu  oonceXT5«o  vltjh  tMs  tr^K"  iü  tht 
Ol  our  tliB^,  — 


thai-  thfct  the 
i»«r  Yexy  best 
■Otft  alaratcd 
^erlcan  cititur« 


thöfatre  in  the  fall,     B^  :t  wlsiitjl  »^riow» 


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D&ucv  ]2dltor 


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THE  NEW  YORK  TIMES.  THURSDAY.  MAY  11.  1967 


Sance:  ^Paradise  Losf  Is  Given  at  Met 


>..f 


Royal  Ballet  Pcrforms 
Roland  Petit  Work 


y  CLIVE  BARNES 

1   WALKED  oul  of   the 

Metropolitan  Opera  House 

last       night,       one       standeo 

emitted   a   stonlorian    boo.    It 

^\\'?^    directrd    al    the    ballet 

•  ''Paiadise  Lost,"  which  vvas 
!  liiRvinp:  its  Anit^rican  piemirre 
L  Afifi,  dcspite  the  efforts  of  this 
'  ilißilJy     vocal     nonconforniist. 

'  ^'k«f  being  chcered  to  what  1 
belirvc  is  known  in  the  busi* 
IveöÄ  as  the  echo.  Indced  I 
ffit^<:y  quite  a  lew  ecnoes  were 
Im  the  hou  ;e.  WhetJiei-  this 
latest  Royal  Ballet  offering 
wotild  have  been  so  laptur- 
tttrsly  received  had  it  not 
staned  Margot  Fonteyn  and 
lludölf  Nureyev  I  take  leav€ 
to  doubt.  For  this  ballet  by 
IToi^nd  Petit  st^emed  papcr 
thtot  and  wispily  trivial  at 
fir^T  secing.  Thai  might  have 
Htcti  charming:  its  apparent 
jprf»1Len.sions  provcd  Icss  en- 
^  gajsffng. 

It   is    a    diificult    ballet    to 

•  abso^'b  in  one  viewing.  Foi.see- 
;    \f\^  Jhis,  I  had  askcd  permis- 

•  ^^^to  see  a  dress  rehearsal, 
l  iWacility  the  Royal  Ballet 
.    normally     gives     in     London. 

But  this  apparently  proved 
.  injpössible — perhaps  the  conn- 
;  pany  does  not  have  dress  re- 
'.  hcarsals  in  New  York— and 
;  ÜiOtefore  the.se  are  first 
'.  Views,  which  I  may  be  able 
I    to  ^^iipplement  later. 

;  **  The  ballet  is  not  hased 
iip<in  .lohn  Miitons  poem  of 
tlif  *  ."^ame  na  nie,  whirh  is 
tenlli  a  roinridenee  and  a 
kindnes.s.  It  tinds  its  origin 
in  a  French  poem  by  Jean 
Tau.  which  teils  a  jather  bit- 
ter .story  of  a  man'.s  disillu- 
sion  with  a  uonian,  who  has 
fhe  admittedly  diseoncerting 
quality  of  being  both  "water 
and  thirst."  The  ballet  as  a 
whole  doe.s  not  paint  a  very 
jrisy  pirture  of  heterosexiial 
relationships,  iniplving, 
.seems,  that  woman  i.s 
cma.scnlatof  born. 
The   ballet   opens   with 

'   Wrth      of      the      man, 
Nureyev  weaiing  white  tights 

;  artd  mod  suspenders.  who 
einrrge.s  from  a  giant  cgj::, 
aftei'  an  appropriate  count- 
doMltn  five-four-three-two- 

i>i\!^Rudi  and   dances   Mr. 

Prtit's  ( horeography  with 
^re^t  brilliance  nntil  the 
>"ciie  changes  and  Miss  F"on- 
re>^  f Woman»  enters,  weai- 
,ifig;_  the  niiniest  of  mini-skirts. 

,    Xi^f^y  fall  in  Inst  and  grope  a 
ttif     therc    is    nothing    eise 
them   to  do-  \mtil   Temp- 
tion   arives   in   the   form   of 
^0;^$  m.en   who   make   serpen- 
^j5!^3&$^  foimations    and    confuse 
wie    simple    issiie. 


it 
an 

the 
Mr. 


»p   scenery   and   costume^ 

'by  the  Freneh  pop  artist 

<MÄl?tiil  Ray?sc,  and  now.  hav- 

jHij5^ ,  already   moved   from   the 

'iAi<tia:  e?^^:^  to  a  prettily  dia- 

grarrmatic  simset,  it  offers  a 

ered     im.age     backdrop. 

,  ,.,Uring  piominently  a  lar-ge 

äy  (sc'hool  nf  aberrated  Roy 

Itl  IWI>  I  I 


Lichtenstein)  with  luscious 
red  lip*?.  In  one  of  the  great 
ro///M  df,  thidtre  for  which 
Mr.  Petit  is  Justly  relebrated, 
Mr.  Nureyev  concludes  this 
sectian  by  circling  the  »tage, 
with  iLs  staii's  at  the  back,  a 
couple  of  times,  then  plung- 
ing  straight  through  these 
enoi-nious  lips.  Whatever  it 
means  symbolically.  theatri- 
cally  this  i.s  a  treniendous 
moment. 

The  lest  has  t<x)  much  tre- 
niendous tedium  to  it.  Mr. 
Nmeyev  and  Miss  Fooitcyn 
get  niixed  up  with  tlie  mad- 
ding  crowd,  all  shining  vinyl- 
sjnart  in  Uieir  purplc  and 
yellow  costumcs,  and  Miss 
ITonteyi]  tums  on  the  opcn- 
mouthed  and  silenlly  scream- 
ing  Mr.  Nureyev  and  kills  him 
like  a  dog,  conlempluou.sly 
tuining  over  his  dead  body 
with  her  always  neatly  point- 
ed  foot. 


Roland  Petit  is  a  m.-^.stoi'  of 
the  thcator.  but  less  of  a 
ma.stor  of  (horeography. 
"Paradise  Lost,"  which  vciy 
incidentally  has  music  by 
Mariu.-  Constant  uith  whirs, 
pings,  moans  and  bumps  that 
might  do  rather  well  for  a 
space-age  television  yerial  on 
a  minor  Channel,  bcars  a  crtr- 
tain  similarity,  both  in  its 
thcme  and  choreography,  to 
his  1947  ballet  for  Jean  Ba- 
billee  and  Nathalie  Phillipart, 
"Le  Jeune  Hommo  et  fla 
Mort." 

The  battle  of  the  sexcs, 
with  the  pooi"  stallion  man 
losing  out  to  the  vicious 
woman  of  mystery,  remains 
protty  much  unchanged.  and 
even  the  slow  rolls  and  fast 
jiggers  of  the  choreography, 
that  Cocktail  mixtuie  of 
classic  dance  and  contrivance 
Oiere  perhaps  given  extia 
savor  by  the  influence  of 
American  modern  dance)  .«itill 
remains  the  mixture  as  be- 
fore.  Hcady  to  the  imsophisti- 
cated.  and  ainied  there  i.Sj  no 
special  härm  in  this  -mor(^  at 
the  general  theatcigoer  than 
the  man  oi"  woman  who  knows 
anvthins:   about   ballet. 


Dame  Margot  and  JMr. 
Nureyev  are  always  readjy'  to 
do  anything  at  least  t\N|ice, 
and  when  you  Imagine  tihey 
could  pick  up  the  same  (fees 
by  just  dancing  any  old  (l;las- 
sic  pas  de  deux.  this  spirit 
of  ad  venture  is  the  morrt  re- 
markable.  Certainly  they  have 
done  their  ic^putations  no 
haim  with  this  "ParAdi.se 
Lost,"  for  what  slendcr  m^^erits 
the  piece  has  are  simply  tjhose 
of  a  vehicle.  and  the  two  .">^tar.s 
ride  it  triumphantly.         i 

Mr.  Nureyev's  fantlastic 
body  control.  his  magnc-tism 
and  his  animal  scnsr^  of 
kinctic  value  have  i'arelly,  if 
ever.  looked  more  .sonsati'onal. 
Nor  Dame  Margot's  wijlow- 
slimness  and  insinuating  lj)ody- 
movement  found  moie  s^uc 
tive   opportunities.    The 


brightly 


Stars 
ina    pi^rf]ectly 


shone 
enipty  sky. 

That.  I  think  i<  wh.vf  the 
audience  cheeicd  so  hHJppi'y 
and  loudy.  And  I  could  see 
thcir  point.  I  could  alsi  see 
the  point  of  the  solitary  hooi-i'. 


Pei'haps  that  i.s  what  p<'ople 
mean  when  they  ask  nie  to  be 
objective. 

Ballet  Theater 

Just  like  Dolly,  it's  .so  nice 
to  have  Ballet  Theater  back 
whore  it  belongs  in  New 
York.  In  fact.  remembering 
Dolly.  I  think  it's  nicer.  Now 
installed  at  the  New  York 
State  Theater  for  its  all-too- 
brief  month's  season,  it  would 
be  ca.sy  to  picture  American 
Ballet  Theater  as  the  bi'ave 
little  David  pitted  against 
the  Goliath  of  Britain's  Royal 
Ballet  in  regal  residence 
acro.ss  the  Plaza  at  the  Met. 
But  I  think  we  can  conserve 
our  sympathy.  Balk^t  The- 
ater scom  to  be  doing  fine. 

Last  night  it  played  hcarts 
to  the  Royal  Ballet's  dia- 
mond.=: — putting  Italy's  Carla 
Fracci  and  Denmark's  Erik 
Bruhn  against  Margot  Fon- 
teyn and  Rudolf  Nureyev. 
Luckil>',  in  my  rush  across  the 
Plaza  I  never  found  out  what 
were  trumps,  and  thereby 
preserved  my  trans-Atlantic 
cool. 

Miss  Fracci.  the  firsi  inter- 
na tionally  acclaimed  Italian 
balleiina  since  Piei'ina  Legnini 
in  the  la?t  ccntury,  is  a  dream 
of  a  dancer,  all  style  and 
emotion.  Mr.  Bmhn  is  still 
the  peerless  male  dancer  of 
our  time.  and  they  go  togeth- 
er  like  a  king  and  his  consort. 
They  were  dancing  the  "Bal- 
cony  pas  de  deux  fiom  Romeo 
and  Juliet."  choreographed  by 
Mr.  Bruhn  himself,  to  the  Pro- 
kofiev  music. 

With  a  very  spaise  deeor, 
this  cxcerpt  lo.^t  a  good  deal 
fi-om  its  lack  of  eontext.  and 
Mr.  Bmhn's  choieography 
could  eonsequently  haidly  be 
assessed.  aithougli  it  wn^  fhi- 
ent  euough  in  a  mannei-  tend- 
ing  laigely  toward  the  Soviet- 
oriented  conventional.  But  the 
dancing.  enrnptured  and  bit- 
ter-svveet,   pio\ed  memorable. 

• 

Years  ago  l  saw  Mr.  Bruhn 
in  Edinburgh  dance  Romeo  in 
Ashton's  Version  of  the  ballet, 
and  years  later  I  caught  Mi.ss 
F'i-acei  in  Stnttgait.  dancing 
Juliet  in  John  Cranko's  pro- 
duction.  Both  were  fineiy  po- 
etic  inteipretations.  and  now, 
in  a  different  Version,  they 
eome  together.  niaking  one 
wonder  how  they  would  go  in 
the  complete  ballet.  Certain- 
ly their  dancing  of  this  Bai- 
eony  Scene  Icft  little  to  be 
desiied. 

Beiore  niaking  my  coni- 
muter's  hop  aeio.ss  the  Plaza. 
I  was  also  able  to  catch  the 
Ballet  Th(^ater  production  of 
"Les  Sylphides."  Apart  from 
the  nionstroiis  solecism  of 
using  a  blown-up  ( but  not  far 
enough)  enlargement  of  a 
Corot  painting  as  the  back- 
drop, this  is  as  stylish  a  "Los 
Sylphides"  as  you  will  find. 
Ruth  Ar-n  Koesun  looked  in 
far  bettoi-  .stylistic  grace  than 
last  season,  and  was  well 
par-tnercd  by  the  controUrd 
and  pcrfectly  manncred  Paul 
Sutherland.  SpIHp  Wil.«^on,  fly- 
injT  as  high  as  a  cloud.  was 
splendid  in  the  mazuT'k;^.  But 
something  nceds  to  be  done 
aboul    the  nichestra. 


I    I 


134 


Jean  liahilee,  oiir  of  Europe's  most  celebrated  dancers,  arrives  this  inonth  to  make  his  debut  with  Ballet  Theatre.  Ban- 
lain-sizc(L  ma«inetic  M.  Babilee  was  a  "petit  rat''  with  tbe  Paris  Opera  Ballet  at  eleven  and  fougbt  with  the  Maquis  dur- 
iiig  the  war.  Now  twenty-seven,  he  is  as  unpredictable  as  Marlon  Brando — carrying  a  jackknife  to  rehearsals  and  scorching 
throujih  Paris  on  a  red  motorcycle.  With  his  wife  Nathalie  Philippart,  he  will  introduce  at  the  Metropolitan  Le  Jeune 
i  el  la  Moil — a  striking  Surrealist  ballet  by  Cocteau,  costuined  by  Berard  and  set  to  music  by  Johann  Sebastian  Bach. 


'r 

U  online 


HARPER'b  BAZAAR, 


133 


Madame  Vincent  Auriol^  the  First  Lady  of  France,  is  now  in  this  country  with  her  husband  on  an  official  visit. 
At  home  she  divides  her  time  between  the  splendid  Palais  de  TElysee  and  the  simple  little  town  of  Muret,  near 
Toulouse,  where  President  Auriol  has  been  Mayor  since  1925.  During  the  German  occupation,  while  her  husband 
was  working  with  ihe  Allies  abroad,  and  their  son  was  in  the  Maquis,  Mine.  Auriol  lived  for  two  years  under  a 
false   identity   and   worked   as   a   decoder   of  allied   messages.    For    this    she    holds    the    Medal    of    the    Resistance. 


BAZAAR,  APRIL   1951 


Marilyn  Monroe,  Walking 


Tini 

Mari] 

Star 

in  A\ 

phali 

man« 

tentij 

"Yoi 

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Will 

Reti 

Despl 

tieth\ 

cordi 

crowi 

Ferrj 

extri 

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natr 


.* 


THE  BALLET  THEATRE,  INC. 

25  West  45th  Street,  New  York  19,  N.  Y. 

LUCIA  CHASE    •    OLIVER   SMITH,  KAm\i\\iXioX\vt  Directort 


PRESS 

representative 

Walter  Alford 
630  Fifth  Avenue 
New  York  20,  N.  Y. 
Clrcle  5-7930 


JEAN  BABILEE  and  NATHALIE  PHILIPPART 


vi. 


.^.:;>' 


^^.^^ 


Jean  BabilÄe  and  Nathalle  Philippart  of  Paris >  Europe^s  most  celebrated 
young  dance  couple,  will  make  Uieir  U»S#  debut  ander  the  auspices  of  Ballet  Theatre 
during  the  American  dance  corapany's  spring  season  at  the  Metropolitan  Opera  House, 
April  9-29 f 

The  advent  of  the  celebrated  Paris  dance rs,  who  have  bcen  a  Sensation 
eveiywhere  in  Europe  during  their  five-year  association  with  Les  Ballets  des  Champs- 
Elysees  ,  is  an  event  of  considerable  Import  in  local  dance  circles«     Although  other 
managementa  several  times  in  past  seasons  have  announced  sponsorship  of  their  first 
American  appearance,  they  have  selected  Ballet  Theatre  for  that  honor»     During  every 
Performance  of  Ballet  Theatre •s  three**week  November  engagement  at  the  Palais  du 
ThÄÄtre  de  Chaillot  in  Paris,  BabilÄe  and  Philippart  were  conspicuously  present# 
When  the  Ballets  des  Champs-^lysÄes ,  vdth  which  they  have  toured  Europe,  Egypt, 
Israel,  South  America,  dissolved  last  spring,  they  became  free  to  accept  other 
engagements»     Their  appearance  with  Ballet  Theatre  in  the  ütS«  has  been  airranged 
through  their  European  representative,  Anatole  Heller. 

Negotiations  arestabig  concluded  with  M«  Heller  and  with  Rigey  Builcsj  wanag- 

,  to  permit  Babilöe  and  Philippart  to 
a  stunning  ballet  which  they  have  made  peculiarly  their  owni      "Le  Jeune 
Komme  et  la  Mort**  (The  Young  Man  and  Death),  from  a  scenario  by  Jean  Cocteau,  with 
choreography  by  Roland  Petit  to  music  by  Johann  Sebastian  Bach|r  agaiapt  ^iegP'ty 

dance  the  leading  roles  of  Eros  and  Psyche  in  BabilÄe's  first  choreography, 
"L'Amour  et  son  Amour'^  (Love  and  His  Love),  to  C^sar  Franck's   "Psyche"  music,  with 
scenery  and  costumes  by  Cocteau.     Babil^e  wMk  also  perform  his  celebrated  "Bluebird" 
Variation  (from  "The  Sleeping  Beauty")  with  Ballet  Theatre  «s  AUs4a  Atama  -itd  Ruth 
Ann  Koesun^  *8Bw»^<P?llLy(»giH^^]ia  mk\  ii|JipiiJ'üii'ai»l*<ii  iiii  th»  #4jiii>hpii»<iliipifin 

Born  in  Paris  in  1923  -  he  is  now  27  -  handsoroe,  lithe,  blond,  athletic 
Babll4e  Is  the  son  of  a  well-to«do  Paris  eye  specialist,  Dr.  Qutman.     He  entered  the 
Paris  Opera  Ballet  at  the  age  of  eleven,  as  a  "petit  rat",  and  studied  with  Alexandre 
Volinine,  Gustave  Ricaux,  Victor  Gsovsky  and  Boris  Kniaseff .     Among  his  Opera  roles 
were  "Le  Spectre  de  la  Rose",   "The  Bluebird",   "Les  Sylphides"  and  ^Carnaval".     During 
World  War  II  he  served  with  the  Maquis  in  the  wilds  of  south-^astern  France,   and 
after  the  Liberation,  he  left  the  Opera  Ballet  to  make  his  professional  debut  with 
Marika  Besobrasova's  small  Les  Ballets  de  Cannes,  where  his  "Bluebird"  was  outstand- 
ing.       His  first  Paris  appearance  as  a  soloist  was  in  a  seriea  of  Soir^es  de  la 
Danse,  ballet  Performances  organized  by  Irlne  Lidova,  which  paraded  such  brighi 
young  Stars  of  the  current  dance  world  as  Roland  Petit,  Ren^e  Jeanmaire,   Ethery 
Pagava,  who  have  all  performed  in  the  U.S.  in  the  past  two  seasons,  at  the  ThÄÄtre 
Sarah  Bernhardt  in  early  19ii5#     In  this  group  was  also  dancer  Nathalie  Philippart, 
a  pupil  of  Lubov  Egorova,  Alessandri,  Gsovsky  and  Kniaseff.     Babil^e  ehose  her  as 
his  partner  in  a  pas  de  deux  he  coraposed  to  Beethoven' s   "Grand  Sonata  Path^tique" 
and  shortly  afterwards  they  were  married«     Now  25,  Nathalie  coraes  from  a  family  of 
"haute  bourgeoisie"  or  small  nobility,  rieh  wine-growers  of  Bordeauxt 

^JVhen  Roland  Petit,  Boris  Kochno,  Mme  Lidova  and  Roger  Budes   (director  of 
the  ThÄ^tre  des  Champs-Elysees)  formed  Les  Ballets  des  Champs-Elysees ' In  October, 
19li5j  BabilÄe  and  Philippart  auLigned  their  fortunes  with  this  young  troupe,   and 
although  still  in  their   'teens,  achieved  great  success  in  such  ballets  as  Janine 
Charrat's   "Jeu  de  Cartes**  (The  Card  Game)  to  Stravinsky  music  with  Pierre  Roy  decor, 
in  which  BabilSe  displayed  tireless  agility  in  the  role  of  The  Joker;   the  Roland 
Petit-Boris  Kochno-Jacques  Ibert-Jean  Hugo  collaboration,   "Les  Amours  de  Jupiter" 
(Jupiter 's  Loves)j   and  the  celebrated  Petit*^octeau  "Le  Jeune  Homme  et  la  Mort". 
In  their  hands  the  latter  became  a  masterpiece,  acclaimed  throughout  the  tours  of 
Europe  which  were  financed  by  the  French  Govemment's  Mdnistry  of  Beaux  Arts,  with 
Babil^e  as  a  poetic  young  man  in  a  shabby  Paris  garret,   spurned  by  his  sweetheart, 
later  visited  by  Death  in  the  face  and  figure  of  his  glrl» 

When  Petit  left  Les  Ballets  des  Champs-Elysees  to  form  his  own  Les  Ballets 
de  Piiris  in  19U8,  Babiläe  stayed  on  to  become  its  leading  light,  and  was  encouraged 
to  develop  his  own  Choreographie  ideas»     His  first  ballet  was  »*L'Amour  et  son  Amour*', 


(MORE) 


-  2  « 


a  poetle  concept  of  the  relationshlp  of  Eros  and  Psyche,  its  Foklnc-like  lyricism 
wlnning  hlm  acclaim«     Another  of  his  ballets  is  '•Till  Eulenspiegel" ,  based  on  the 
same  l5th  Century  Flemish  folk  tale  which  has  inspired  Nijinsky's  ballet  of  33  years 
previous,   and  using  the  same  Richard  Strauss  tone  poem,  with  new  döcor  by  the  Irish 
artist  Tom  Keogho     Babil^e  made  the  prankish  Till  a  figure  of  pure  fun,  and  gave  him 
one  true,  sentimental  love#     Philippart  was  Neil,  the  girl» 

Roles  they  have  recently  danced  have  been  many  and  varied#     Philippart  has 
danced  Effie,  the  heroine  of   »'La  Sylphide",  the  old  romantic  ballet  that  was  a 
Taglionl  vehicle  in  1832,   and  which  Roland  Petit  revived«     She  has  perforraed 
Herodiade  in  a    ballet  by  that  name  l^  Janine  Charrat  to  Hindemith  music«     She  has 
danced  a  circus  rider  in  Petit's   "Les  Treize  Danses"  (13  Dances) •     She  has  also 
danced  opposite  her  husband  in  "Le  Spectre  de  la  Rose"  and  "Jeu  de  Cartes",  and  had 
leading  roles  in  Petit's  "Les  Forains"   and  "Le  Rendezvous"»     Babil^e  has  had 
apectacular  notices  recently  in  two  David  Lichine  balle tsi   "Le  Rencontre"   (The 
Meeting),   or  Oedipus  and  the  Sphinx,  to  Henri  Sauguet  muslc  and  B^rard  dlcor,   in 
¥rtiich  he  was  Oedipus|   and  in  "The  Creation",   a  ballet  viithout  music  -  in  both  of 
which  he  was  partnered  by   Heen-aged  Leslie  Caron#     Together  the  husband-wife  team 
has  also  danced  in  "Serenity^,  and  in  "Le  Portrait  de  Don  Quichotte'*,  a  ballet  about 
a  man  who  wlshes  to  become  the  living  symbol  of  Don  Quixote,  with  Babil^e  as  the  man 
and  Philippart  as  an  evil  Dulcineae     This  had  choreography  by  At  de  Miloss,  music  by 
Petrassi,  d^cor  by  Keogh»     Last  season,   at  a  huge  all-star  gala  in  a  mammoth  Stadium 
in  J^ndon,  in  honor  of-NiJinsky,   Babil^e  danced  for  the  first  time  ''L»Apr3s-4/Iidi 
Faune",  invoking  favorÄb^e  comparisons  to  the  great  Russian  dancer  who  had 

he  also  danced  in  "Pulcinella",   a 
ballet  by  Boris  Romanoff  to  Stravinsky  music  and  Rateau  dScor,  with  the  Opera  Ballet 
of  La  Scala  in  Milan«     For  a  while^jtiiM  he  and  his  wife  perforraed  various  roles  in 
the  South  of  France  with  the  Marquis  de^uevaa'  Grand  Ballet  de  Monte  Carlo» 

An  impression  of  Babil^e's  personal  magic^Ts^TrtmtälKed' in  an  article  by 
Richard  Buckle  in  the  London  dance  publication  Ballet  (Jan»-Feb«,  1951):  "He  is  a 
born  dancer,  but  unpredi c table .>     Short,   slight,  naturally  graceful,   and  possessing 
a  fascinating  pale  rodent-like  face   crowned  by  a  shock  of  light-brown  hair,  his  face 
wearing  a  concentrated  though  slightly  scomful  expression,  he  is  the  ideal  raw 
material  for  classical  ballet  •••he  is  like  some  üuperb  greyhound  or  song-bird  ^o 
may  for  a  time  be  bent  to  the  usages  of  hiimanity,  to  the  purposes  of  our  higher 
pleasure,  but  who  is  forever  on  the   brink  of  breaking  free:     a  wild  glance,   a  sudden 
violent  gesture  give  warning  of  an  imminent  revolt  against  the  twin  bridles  of  art 
and  civilization,   and  it  is  onl^    a  question  of  time,  one  feels,  before  he  is  off 
into  the  tree-tops  or  over  the  hüls»" 


Of  "Le  Jeune  Homroe  et  la  Mort",   Cyril  W^   Beaumont,   doyen  of  London  ballet 
critics,  wrote  last  season:      '^Rendered  by  Babi].^G  and  Philippart  with  their  usual 
artistry,   it  remains  the  masterpiece  it  always  has  beeno"     Babil^e^s   "Bluebird'', 
Beaumont  wrote,   "is  still  worth  going  far  to  see,  if  only  for  his  elevation  and 
his  bris^j ,  which  really  do  suggest  that  he  is  borne  by  invisible  wings  and,  like 
Vestris,   only  comes  to  the   ground  so  as  not  to  huniliate  his  fellow— artistes«" 
Of   "L'Amour  et  son  Amour*^  the   critic  reported:     "This  ballet  depends  less  on  the 
actual  choreography,   often  composed   of   the  simples t  steps  and  movements,  than  how 
it  is  done»     Here,  execution  is  all*    But,   rendered  by  two  fine  artists,  Philippart 
and  Babilee,  iNho  exhibit  a  süperb  control  and  timing  in  eveiything  they  do,  and  Tho 
in  this  work  invest  their  least  gesture  with  a  poignant  beauty,  this  composition 
gives  visible  form  to  music  which  whispers  of  celestial  joy,  of  a  love  far  removed 
from  that  of  the  senseso     Few  of  those  who  saw  it  will  forget  the  poetry  of  Babilee«" 
And  of  his  "Bluebird",  Richard  Buckle  reminiscesi     "In  this  great  pas  de  deux,  which 
is  one  of  the  raasterpieces  of  classical  choreography  and  contains  movements  which 
are  vividly  suggestive  of  flight,  Babilee  danced  with  a  soft,   feline  grace  -  and  I 
use  the  word  'feline»    deliberately  although  I  know  he  was  roeant  to  be  suggesting  a 
bird  -  which  was  something  completely  new  in  ny  experience«" 


raconte  en  Images,  le  spectacle  le  plus  dlscute  de  Tannee 


Commentaires  de  Jean-Pierre  Lenz 


r-perrassant  de  nullite  >♦,  «  prestigieuse  f6erie  »,  «  eclatant  de  ridicule  », 
-■'  «  incomparable  novateur  *  :  on  s'est  battu  ä  Paris  pour  oii  contre  Maurice 
Bejart  (1).  Pas  de  milieu  :  pour  les  uns,  c'est  ie  plus  grand  homnie  de  theätre 
vivant,  pour  les  autres,  un  faiseur  pretentietix,  auteur  d'uii  texte  inepte  oü 
se  meleiit  en  un  desolant  sabbat  Cocteau  et  Lautreamont,  Prevert,  Freud, 
Claudel.  1  rois  jours  apres  la  generale  de  la  «  Reine  Verte  »  le  theätre  Hebertot 
etait  un  desert.  l^s  critiques  avaient  fait  le  vide.  Alors,  les  producteurs  ont  pris 
une  decision.  Quitte  ä  perdre  les  150  000  Francs  qu'avait  coüte  le  spectacle, 
que  ce  füt  au  moins  devant  des  salles  pleines.  Ils  ont  baisse  les  places  ä  8  F 
et  le  petit  public  est  venu  —  celui  qui  a  envie  de  theätre  et  pas  de  nioyens. 
II  est  venu  80  fois.  «  Car  enfin,  disent  aujourd'hui  les  producteurs,  on  n*allait 
pas  laisser  tuer  Bejart,  quand,  pour  la  premiere  fois  depuis  10  ans,  il  se  de- 
cidait  ä  monter  un  s|jectacle  directement  |X)ur  Paris.  A  l'heure  oü  tout  le  monde 
se  plaint  de  ne  pas  avoir  d'auteur,  oü  tous  les  Grands,  sans  exception  —  Roussin, 
Achard,  Anouilh,  Montherlant,  Audiberti,  etc..  —  descendent  la  [)ente,  voilä 
qu'on  assomme  un  gar<;on  de  36  ans,  plein  de  fougue  et  d'ambition,  qui  tente 
avec  son  theätre  «<  total  »  oü  musique,  danse,  texte,  cinema  sont  confondus, 
une  experience  difficile,  oü  tout,  certes,  n*est  pas  parfait,  niais  oü  la  vie  eclate, 
le  temperament,  l'audace. 

Crenial  ?  Insupportable  ?  Quoi  qu'il  en  soit  de  cet  enfant  terrible  de  la  danse, 
qu'il  agace  ou  qu'il  enthousiasme,  les  feux  de  Tactualite  sont  aujourd'hui 
braques  sur  lui.  Apres  la  «  Reine  Verte  *,  qui  part  en  tournee  pour  l'Angle- 
terre  et  les  Etats-Unis,  et  dont  Bejart  a  lui-meme  tire  un  film  d'une  heure 
qui  sera  projete  dans  plusieurs  pays  devant  25  niillions  de  telespectateurs, 
c'est  «  la  Daninationrde  Faust  >►  qu'il  regle  en  ce  moment  ä  l'Opera  et  le  «  Maha- 
gony  »  de  Brecht  qu'il  mettra  en  scene  dans  quelques  jours.  «<  La  Veuve  Joyeuse  » 
qu'il  presentait  ä  la  Monnaie  de  Bruxelles  voici  deux  mois  —  dans  le  tumulte 
et  les  polemiques  —  sera  vraisemblablement  montree  cet  ete  au  7  heätre  des 
Nadons.  l^es  Fran^ais  vont  pouvoir  juger  sur  pieces.  1964  sera  l'annee  Bejart. 
II  en  sortira  couronne- ou  dechu. 


A  .  T  L'argument  de  la  «  Reine 
■"  -^v-LCJ  1  "  Verte  «  decrii  en  trois 
actes  situes.  Tun  dans  le  climat  de  1900, 
Tautre  en  1925,  le  troisiemc  aujourd'hui, 
l'affrontement  de  la  Mort  (incarnee  par 
Maria  C^asares;  ci-contre  au  centre)  et  d'un 
honinie,Jean  Babilee  qu'on  nous  montre  aux 
trois  äges  de  la  vie  :  l'adolescence,  la  maturite, 
la  vieillesse.  La  Mort  achoisi  letheätrecomme 
champ  dos  pK>ur  son  empoignade  avec 
rhomme.  Bejart  la  dotee  des  ori|x?aux  et  du 
langage  surannes  d'une  vieille  reine  d'of>era. 
Quatre  servantes  parees  de  somptueux 
collants  rinfornient  du  coniportenient  de 
son  juvenile  adversaire.  C^est  encore  [X)ur 
rhomme  le  temps  oü  la  mort  est  lointaine, 
oü  il  peut  la  narguer.  Un  ecran  de  cinema, 
surgi  des  cintres,  revele  de  temps  a  autre 
ce  qu'il  fait  :  il  reve,  il  tourne  en  rond,  il 
danse,  il  s'interroge,  il  s'amuse  —  au 
deses}X)ir  de  la  Reine,  qui  s'impatiente. 
Mais  voici  que  Babilee  bondit  sur  le  plateau 
et  danse  en  une  sorte  de  muette  extase, 
sans  musique,  la  joie  d'etre  homme  et  d'etre 
vivant.  Un  instant  il  tourne  autour  de  la 
Reine,  semble  meme  fascine,  s'approche, 
va  l'etreindre,  lorsqu'il  aper<;oit  sur  le  sol 
la  rose,  Symbole  de  la  vie.  11  s'en  empare 
d'un  geste  rapide  et  sort  de  la  scene  (ci- 
contre)  victorieux.  Pour  ce  l*^*"  acte,  Bejart 
a  choisi  un  curieux  decor  presque  nu,  qui 
6voque  les  coulisses  du  theätre,  oü  les  riches 
atours  de  la  Reine  et  des  servantes  jurent 
sur  I'austerite  desinvolte  des  planches,  des 
radiateurs,  des  projecteurs  laisses  ä  decou- 
vert. 


(1)  Voir  dans  .  Röalit^s  •  de  Janvier  1963  notre  ^lude  sur  Maurice  B6jart. 


"^ä^^^ii    -^t^^'^  ^^^^ 


photographies  Gilles  Ehrmann 


I  I 


I  i 


J 


l^e  sujet  cherche  des  compensa- 
tions  elementaires  a  son  drame 
interne  :  manger,  desirer  des  plai- 
sirs  charnels. 


La  phase  de  remission,  de  retour 
apparent  ä  son  etat  normal,  est  due 
partiellement  a  la  semonce  de 
Pottard.  Par  eile,  l'auto-punition 
a  trouve  sa  reponse,  donnee  vio- 
iemment,  mais  dans  l'interet  du 
sujet.  Le  sujet  est  apaise,  comme 
un  accidente  agressif  dont  le 
subconscient  voulait  Paccident 
et  qui  sourit  de  satisfaction  sur  le 
brancard  qui  l'emmene  ä  Thopital. 


du  xfilla^e  africain,  les  casiers  ä  mil  dr  mes  manueLs,  les  cases  longueSy  hmses,  ä  compartiments, 

les  voilä...  Je  reste  couche, 

<  Taut  ce  que  farrive  ä  faire y  c'est  de  manger.  Je  m'en  mepiise  un  peu  phis.  Im  nuü,je  me 

reproche  de  xmrre.  Je  reste  lä,  etendu,  je  ne  tire  meme  plus  ma  movstiquaire .  Je  suis  jnque, 

J'ecouie  les  bruiLs  de  Ui  savane  tonte  proche.  CVest  riieure  des  sortilegeSy  je  revois  mori  aven- 

ture.  Pottard  devient  dans  les  phantasmes  de  la  nuit  une  sorte  de  diable  attache  ä  ma  perte, 

J*ai  des  desirs  coupabtes  de  chair,  de  violence  :  le  pechey  Vimpurete  me  doviinent,.,  II  me  semble 

ne  m^endorviir  Jamals.  Pourtant,  cela  doit  aniver,  mais  meme  dans  le  somvieil  la  sarabaruie 

dmt  continuer, 

C/est  le  jour  de  depart...  Ilfaut  rentrer  en  France^  battUy  ecrase.  Une  sorte  d'energie  s'empare 
de  moi.  Je  pousse  la  parte  de  Pottard.  «  Pourquoi  m  'en  vevx-tu  taut  ?  »  Je  lui  ai  crie  cela  sans 
meme  le  saluer  ou  jrapper  ä  sa  chambre.  II  se  met  en  colere.  II  me  traite  d'egoiste,  me  revele 
tout  le  mal  qii'il  s'est  donne  poiir  moi,  tous  ses  efjorts  pour  yn'aider...  Je  suis  comme  douche  : 
je  ne  discute  pas  avec  Pottard,  je  lui  dis  :  «  Tu  as  raison  ».  II  crie,  se  cabre  pendant  une  heure. 
Ma  mecanique  secouee  par  Vorage  se  repare  hriusquement  :  devant  Pottard  etonneje  ressiiscite, 
je  parle  de  travail,  je  fais  des  projeLs  pour  sauver  mon  enquete.  Tout  cela  a  du  hon  sens  :  je 

vats  rester  trois  jours  encore^jlrai  voir  tout  un  ensemble  de  gens.  Puls  je  retournerai  en  xnlie, 

je  jinirai  mon  travail  lä-bas.  Pottard  annoncera  ä  Paris  que  j\ii  ete  fatiguey  que  je  suis  gueri, 

que  je  reste  une  semaine  de  plus.  Je  m\ictivey  decommande  ravioriy  fnencLs  des  rendez-vous. 

Personne  neu  croit  ses  yeux.  Je  me  sens  bien.  Cette  foisy  ce  nest  pas  un  sursauty  je  suis  sorti 

A  du  cauchemar.  Pottard  me  quitte,  encore  un  peu  inquiet.  Je  vais  m'installer  ä  Vhotely  prends 

une  chambre  ä  air  conditionne.  Je  vais  m\iccorder  une  grande  nuit  fraiche.  En  attendanty 

je  m'installe  devant  Thotel,  je  parle  aux  Noirs  qui  consomment  au  bar.  J'observe  VAfriquey 

je  complete  mon  plan  d'attaque  pour  le  lendernain.  Je  vais  ä  la  gare  obsetuer  le  chargement 

et  le  dechargement  d'un  train,  tout  ce  que  fai  apfrris  dum  les  hureaux  des  ministe  res  devient 

clair.  Je  vois  ce  que  les  gens  vendent,  achetent,  le  trafic  d'une  region  tribale  traditionnelle. 

Tout  se  remet  en  place  et  cela  me  semble  normal.  Je  me  promene  comme  autrefois  avec  mille 

yeux  aux  aguets. 


La  remission  est  finie  :  cette  fois 
la  mort  est  proche.  Ce  ne  sont  plus 
les  jeux  infantiles  des  phases  pre- 
cedentes.  La  maladie,  qui  est  en 
somme  une  defense,  empeche  le 
sujet  de  mener  ses  tentatives  a 
ierme. 


Mes  echecs  me  sautent  ä  la  figure 

Je  me  couchcy  il  fait  frais,  je  prends  un  somniferCyje  m'endors paisiblementy  je  vois  DickoUy  ma 
familley  lu  maison  et  son  lierrCy  les  vigneSy  le  bonheur. 
<  Quand  je  m'eveilley  tous  mes  echecs  sont  In.  C/en  est  tropf  Je  ne  veux  plus  supporter  cela. 
Je  monte  sur  lu  terrasse  de  rhotel.  Trois  etages,  cela  doit  sufjire,  mais  ily  a  un  reborden  cimenty 
une  balustrade.  Je  ne  saute  pas,  car  cela  nest  pas  commode.  Je  cours  ä  la  garey  mais  le  train 
demarre  trop  lentement  pour  quil  jmisse  m'ecrasei.  Je  fais  venir  un  medecin  qui  me  donne  ' 
beaucoup  de  drogues,  m'ordonne  de  me  reposer,  me  parle  de  mon  travail  ä  Jinir.  Je  boiule 
ma  valisey  je  fuis.  II  y  a  un  train  pour  la  villeyje  peux  encore  avoir  Vavion  de  Pottard.  Nous 
traversons  la  brousse.  Les  portieres  sont  ouvertes  :  les  Africains  me  voient  essayer  de  me  jeter 
sur  la  voiCy  ils  croient  que  je  m'amuse,  iLs  rient.  Uun  d'eux  m'ojjre  une  banane. 
Pottard  m\u:cu£ille  gentiment  :  nous  par  Ions  deux  heures  dans  In  nuit.  Le  lendemainy  il 
vient  me  chercher.  Cinq  minutes  avant  le  depart  de  Vavion  je  pense  ä  V ordonnance  que  m'a 
donne  le  medecin  la  veille.  Je  dois  etre  contagieuXy  avoir  contracte  je  ne  sais  quelle  maladie. 
Je  viens  de  passer  le  contröle  sanitaire.  Je  nai  rien  dit.  C'est  une  honte  de  plus.  Je  ne  peux  p(Ls 
partir.  Pottard  me  raisonne,  m^interroge,  finalement  me  remet  ä  un  ami  et  m'emhrasse.  Je  ne 
compiends  pas  :  il  m'aime  dorn  ?  II  ne  sait  pas  qu'ä  la  Mission  Taccident  qui  ajait  deux  morts 
c'est  de  majaute,  c*est  moi  qui  avais  enerve  tout  le  monde  et  les  malheureux  sont  tombes  du  haut 
d'un  echafaudage... 

II  pleuty  devant  le  terrain  un  lue  se  cree.  Le  bruit  sur  les  vitres  est  terrijiant.  Notre  ami  est  la, 
il  va  m'emmener  ä  rhotel;  nous  montons  en  voiture,je  lui  demande  draller  chercher  un  medecin. 
Je  jerai  ce  quon  me  dira.  Cette  fois  je  ne  resisterai  plus.  La  portiere  s'ouvrey  Pottard  nest  pas 
partiy  il  na  pas  voulu  me  laisser.  Nous  roulonSy  prisonniers  dans  notre  cocon  de  pluie  :  on  ne 
voit  rien,  on  va  au  pas.  Personne  ne  parle.  Ce  voile  d'eau  qui  couxnre  les  vitreSy  cette  buee 
partout y  c*est  tout  ce  qui  me  separe  du  monde.  Je  voudrais  parier y  je  ne  dis  rien.  J'attends  les 
medecins,  leurs  drogueSy  leur  sommeil  artificiel.  QuHls  m'enferment,  me  regentent,  me  piquent, 
qu  ils  Josse nt  ce  quils  veulent.  (/est  Jini.  La  pluie  redouble,  on  ne  voit  meme  plus  les  phares 
des  voitures  enjace...  Le  bruit  sur  la  carrosserie  est  terrible.  C/est  peut-etre  cela  la  mort. 

FIN 


33 


un 


ii 


pauvre  type 


ii 


o 


on  en  transmet  au  grand  public  une  image 
systematiquement  pejorative,  notamment  par  ie  cinöma 

Pourquoi  ? 


^   Une  enquete  sociologique  d'Evelyne  Sullerot 
el  la  reponse  des  professeurs 

(^hatun  d'entre  nous  porie  en  lui  uiie  ccilaine 
Image  des  personnages  sociaux  (roffkier,  le  juge, 
le  depute,  etc.)  (]ui  rentourent.  (x^tte  image  est  le 
fruit  de  Souvenirs,  d'experiences  personnelles,  mais 
aiissi  de  la  prodigieuse  action  des  moyens  de  Commu- 
nications modernes  :  presse,  radio,  cinema,  televi- 
sion,  qui  agissent  d'ailleurs  souvent  ä  notre  insu. 
S'interessant  au  professeur  de  lycee,  Evelyne  Sullerot 
a  cherche,  dans  le  cadre  d'une  enquete  internatio- 
nale effectuee  pour  VInstitute  of  Communication 
Research  de  Tuniversite  dlllinois  (E.U.),  quelle 
image  le  cinema  fran(;ais  developpait  de  ce  person- 
nage-cle  de  notre  imivers. 

Elle  nous  communique  les  premiers  resultats,  assez 
inquietants,  de  son  enquete.  Nous  avons  ensuite 
demande  ä  des  professeurs  de  nous  dire  s'ils  se 
reconnaissaient  dans  ce  portrait  souvent  vitriolique. 

Par  (lefiiiiiion  tont  |)r()fesscur  a  un  public,  scs  eleves,  devant 
(|ui,  de  personne,  il  devicui  personnaj^^e.  Ölte  fataliie 
semble  avoir  tente  les  scenaristes  qui,  au  nioinent  de  fabriquer 
un  personnage,  ont  pense  a  la  dualite  du  professeur,  et  se  sont 
plu  a  en  jouer. 

Toutefois  les  fihns  franc^ais  sont  peu[)les  d'une  nuiltitude  de 
personnages  parnii  lesquels  les  professeurs  sont  tres  minori- 
laires.  Le  gangster  fleurit  plus  volontiers  sin'  Tecran.  Une 
cinquaniaine  de  filnis  ont  cependant  represenie  des  ensei- 
gnants  dans  la  production  tinematographicjue  franc^aise 
depuis  1945.  Une  (juinzaine  seulement  s'attachent  aux  profes- 
seurs de  Tenseignement  secondaire,  aux  universitaires.  Tous 
40 


ces  fllnis  je  les  ai  \  us,  ou  bien,  s'ils  avaient  dispaVu  des  etrans, 
j'ai  recheithe  leur  scenario  et  leur  decoupage  (dialogue 
et  indications  s(eni(jues  preparees  en  vue  du  tournage). 
Si  je  ine  pennets  de  dire  :  ^'  (les  filnis  sont  tres  signifuatifs  •», 
cela  veut-il  dire  (ju'ils  sont  represenlatifs,  vraiment,  fidele- 
mein,  des  professeurs  ?  Non.  U/est  plus  coinplique  que  cela, 
et  tout  le  mecansinie  de  la  communication  se  trouve  alors 
implicjuc  . 

Le  choix  du  lieios  professeur  est  d'abord  im  sympUme  c|ui 
renseigne  sur  Tauteur  du  film  :  cjue  Le  (llianois  ait  fait  c|uatre 
films  avec  des  personnages  enseignants  donne  ä  entendre  que 
les  problemes  de  reducation  dans  une  sotieie  Tinteressent, 
consciemment  ou  inconsciemment.  Qiie  Pagnol  en  ait  realjse 
trois  ou  cjuatre  rappelle  cju'il  a  ete  lui-meme  j)rofesseur.  (^ue 
Carlo  Rim,  poiu'  faire  rire,  semble  avoir  un  faible  pour  les 
persomtages  professeurs  ridicules  laisse  a  penser  qu'il  a  un 
vieux  tompte  a  regier  avec:  les  professeurs  cjui  ont  assombri 
—  ou  egaye  !  —  son  enf ance,  etc. 

Puis  dans  la  perspective  de  la  eonnnunication  avec  le  public, 
c'est  un  sigrie,  un  signe  fait  aux  spectateurs  afin  (lu'ils  reagissent. 
L'auteur  suppose  leur  experience  anterieure  moyenne  du  pro- 
fesseur süffisante  pour  (|ue  ce  seul  mot  declenc be  l'etat  d'esprit 
qui  convient  au  spectacle  propose.  Au  seul  mot  de  «  profes- 
seur »  les  notions  accjuises  sont  alors  mobilisees  rapidement, 
inconsciennnent  :  les  professeurs  (ju'on  a  eus,  ceux  (ju'oni 
nos  enfants,  ceux  (|ui  mancjuent  a  la  France,  les  «  chers  profes- 
seurs »  et  la  politique,  les  examens  necessaires  pour  etre 
professeur,  les  traitements  et  les  vacances  qu'ils  ont,  les  greves 
qu'ils  fönt,  etc.  Cette  notion  de  «  signe  fait  au  public  »  devient 
interessante  si  Ton  considere  c|ue  dans  la  plupart  de  ces  films 
le  personnage  se  meut  dans  une  vie  fictive  totalement  etrangere 
ä  l'ecole,  au  lycee.  Voici  par  exemple  trois  films  de  gangsters  : 


A  g^ff:^  T  T  Installe  daiis  une  bai- 
^^^^^^  11  "  giioiic  dorn  la  lic- 
dfur  s\  rnlx)lise  rabrulisseiiK'iit  du  coidoit 
et  l'oubli  dt*  la  mon,  rhoinine  laisseerrer 
sa  pensee,  cependaiu  (|ue  Teaii  retioidit 
lentemciu,  (oinine  la  vie  dans  son  corps. 
Ses  somnolt'iucs  sont  plusieins  fois  cou- 
pees  de  reveries  sublimes  qui  Ic  foul  se 
dresser  (ei-contie)  sur  sa  baignoire  et 
qu'iiuaine  son  double  j^randiose  :  le  tu- 
nambule  (au  lond)  (jui,  par  des  exertices 
perilleux  et  speciaculaires,  sublirnise  les 
elans  avortes  du  heros.  Mais  I'eau  bientot 
sera  fVoide  et  la  Reine  (|ui  aitend  (au 
lentre),  n'aura  plus  t|u'a  s'enijjarer  de  la 
Rose,  Symbole  de  la  vie,  j^agnant  aiiisi 
contre  l'homme  la deuxieme  mancbe.  (^'est 
egalenient  la  defaile  de  Thomme  que 
miment  et  dansent  les  iroisjeunes  fillesen 
collant  bleu  (a  gauche:  Ursula  Kubler); 
rose  (au  centre:  Laura  Proven<;a)  et  mauve 
(Mate  Souverbie)  qui  ont  eie  placees... 


(iKA(:lKlJ.Sl:.S   iMANAIlONS  DU   h^:ro8... 


.El    MOMMt-S  —  I.IGKS  Dt.  LA  MORT. 


...par  B^jart  comme  les  in- 
carnations  de  la  subjecti- 
vite  du  heros.  Leurs  contor- 
sions,  leurs  grimaces,  leurs 
extases  factices  traduisent 
les  divers  etats  d'äme  de 
Babilee,  sa  confiance,  son 
aveuglement,  ses  instants  de 
lucidite,  sa  deconfiture  fi- 
nale qui  transforme  les 
danseuses  en  pantins  dis- 
loques  gesticulaiits  et  gro- 
tesques  au  son  d'un  disque 
raye  (jui  repete  inlassable- 
nient  les  premieres  mesmes 
de  «  L'Heure  exquise  ».  De 
menie,  les  gar<;ons  sont  les 
emanations  de  la  Reine 
Verte,  ses  « insectes »  comme 
eile  les  nomme,  qui  roden t 
autour  du  h^ros  et  guettent 
fVoidement  sa  lente  agonie. 


.KJVAUSfcN'I   U  ASSIDUIIi:.. 


'> 


AirrorR  dk  la  baii;noirf.  ou  il  s  kha  r  insocciant. 


1 


V:» 


MAIS  SON  ACKJNIE  KNTRAINE  1  A  VKTOIRK  DES  flMISSAIRKS  DE  LA  KeINE. 


39 


El   LE»  JEl'NES  KU  LES  SE  D^SACHMIENI   EN  INE  (.E.SIK  L'l-Vl  K)N  lll'Rl.ES<iLE. 


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A  ^f^    T  T  T       ^^'  '  roisieme  acte,  la  Morl  et  rhonnnc 
"    /^^tC    111    "  j^^.   fionnent   un   ultime  lendez-vous 

jx)ur  joiier  «  la  belle  >».  Mais  les  ennemis  de  naguere  soni 
niainteiiant  fascines  riin  par  l'autre.  O  sont  deux  complices 
ei  non  plus  deux  lutteurs.  Des  rap[K)tts  (|uasi  amoureux 
se  noiierit  eiiire  la  Reine  et  le  garc^on,  qiii,  arrive  au  Ik)ui 
du  themin,  n'esjx're  plus  rien  de  la  vie.  (Test  d'abord 
pres(|u'uiie  })r()ie(  tion  <)u'il  cherche  ehe/  eile,  et  Babilee 
expi'ime  cette  innoeerue  retrouvee  pai  des  attitudes  lovees 
d'einbrvon  (ci-eontre  a  gauche),  tiguraut  ainsi  la  proxi- 
1  mite   des   deux   äges   :    lenlaiue  et   la  viei Hesse... 


...Puis  ('est  la  lasciiiation  pantheiste  de  la  leire 
et  de  la  iiier  qui  saisil  le  heros.  l.a  Reine  le  roide 
un  instant  (ei-contre)  parmi  les  vagues  imagi- 
naires,  cefKMKlani  (|ue  la  musi(|ue  conirete  de 
Pierre  Henrv  — element  essentiel  du  s|x»ctaele  — 
evoque  le  dechainement  des  Hots.  «  l.a  lerre, 
retite  Babilee,  dans  ini  texte  dont  on  a  beaueoup 
criti(|ue  les  naivetes  —  la  lerre  contre  mon 
veniie...  la  terre  dans  nia  bouche...  laisse-nioi 
(ontre  la  terre...  « 


3  ...Knfin.  e'est  par  la  memoire 
que  le  personnage  tenie  une 
idtiine  estapade  hors  des  f  roids 
rovaumes  de  la  Mort.  Klle  et 
lui  se  souviennent  ensemble. 
en  une  longue  litanie,desdiveis 
objets  et  moments  qui  emergent 
de  leur  passe... 


.\ 


1 ' 


...Mais  le  sort  en  est  jete.  l.e  4 
heios  (d-eonire  a  g.)  est  pre- 
(ipite  dans  la  mort.  Pointant  a 
peine  i^u  sol,  Babilee  se  re- 
dresse  :  «  II  est  mort,  dii-il, 
montranl  la  place  oii  il  gisaii. 
Mais  je  suis  vivani,  nioi...  » 
—  exprimant  ainsi  rargument 
de  Bejari  :  «  Ln  homme  peui 
mourir,  mais  1' Homme  vii  tou- 
jours  et  se  dresse  inlassablemeni 
devant  la  mort...  » 


..."  La  vie  conti nue  »,  af'firme 
alors  Babilee  et  il  entraine  en 
un  ballet  endiable  les  autres 
datiseuis  vers  une  }K)rie  au 
fond  de  la  scene.  I  ous  bon- 
dissent  ä  lexterieur  du  iheätre 
Heberioi  et  vom  se  piaquei . 
mains  en  l'air,  contre  le  mur 
de    la    rue    (ci-contre    a    dr.)... 


6  ...Cependani  que  dans  le 
theäti^.  la  Reine  Verte  defK)uille 
lentement  ses  oripeaux  d'o|>era. 
Elle  apparait  en  costume  de 
ville  (ci-contre  ä  droite),  prend 
la  Rose  entre  ses  mains  et  rit 
.sa!doni(|uernent,  prete  a  re- 
prendre  sm  un  autre  humain 
son  cruel  travail.  Ix^s  trois 
coups  resonneni,  la  voix  de 
Maurice  Bejart  retentii  dans  le 
haut-parleur  :  «  tu  es  prete. 
On  va  commencer  ». 


4-      *■  1       i 

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AA  250ai       MUenSAM   FAMJlV  C0U£WLot^ 


/ 


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lolio 


Ze/\[\  "BAeicEe-  MtA^oj/^  -ßv  ^urf^  ma^to/v/  1^75 


\ 


When  American  Ballet  Theatre  revived  for  ilüüiail  üaryßiuiikov  .,     •> 
LE  JEUNE  llOmE   ET  LA  MORT,  the  ballet  ty  Jean  Cocteau.  -ChoreögraijEe^  ^ 
Roland  Petita  vith  music  ty  Johaiin  Sebastian  Bach,  it  was  inavi table  tbÄt 


those  In  the  audlence  vho  had  seen  Jean  Babilee 


V  '^  i 


the  title  role  in 


1951  at  the  Metropolitan  Opera  House,  remömbered  him,  and  those  too  young 
to  know  asked,  "Jean  Babilee?" 

BaiyshnlkoY  is  a  brilliant  classic  dancer  and  the  audience  vent 
wild  over  him  but  their  reaction  was  tarne  tfir  comparisou  with  tlxe  storms  that 
broke  loose  eveiy  tiroa  I  saw  Babilee  danco  and,  I  am  toid,  were  repeated 
vhenever  and  \dierever  he  appeared  throughout  his  career —  ail  over  the  world» 
There  was  something  about  this  French  dancer  that  electrifled  audiences  to 
a  point  rarely  matched  ly  perfonners  In  aiy   mediiam«  Although  mach  has  been 
vritten  about  the  phaenomenon  of  Jean  Babilee,  it  is  dlfficult  to  explaln 
something  as  elusive  -m^  the  impact  of  a  presehce  qf   the  aura  of  a  personallty 


t' 


/\ 


.  ^  "{MAi^L^K'i  iv 


> 


tL\,\    U,^V. 


vithout  usliig  i4>  cliches  »i|»uniqvie»  ^naroic,  deonsi««»!«»«  I  thlnk  that  Itytr- 
seendngly  effortless  acrobatlc  feats«'  an  elevatlon  that  defled  the  ^ 
^■\,    lavs  of  gravi-t^,  It  vas  Jean  babilee 's  inner  tensiony  even  in  repose»  hls 
Xlvu^^j^A  intensiv  and  artistic  Obsession,  that  Iranscended  the  ballet ^s  frame  and 


9 


\ 


I 
leaped  right  over  the  footlights  to  inake  his  Performance  a  dramatie  experience 

of  extraordlnaiy  dimenslons« 

In  1965  in  lUce,  at  the  age  of  for1y<-one,  Jean  Babilee  danced  le 

jeune  hoMoe  for  the  last  tlme«  An  cjye-wltness  sxonmed  it  up,  "The  audlence 

was  diesolved  in  tears*" 

In  the  summer  of  1949,  on  a  visit  to  Paris,  I  had  seen  CiÜ^MEN  vith 
Jeanmaire  and  Roland  Petit  as  Jose«  To  us,  the  generation  of  the  Fortiee,  it 


I  I 


II 


was  a  v©iy  oxciting  bcai^t,  different  from  aiything  we  knew,  Ubaratad,  erotic, 
of  oiar  tlme*  Yet  the  contlnuoiaB  refrain  from  ny  friends,  all  young  writerSf 
actors,  artlsts,  invariabijr  waSf  "That's  nothingl  You  must  see  Jean  Babüeel 
LE  JEUiiE  KOMME  ET  LA  MQRT.,." 

The  pages  of  a  coffeo -table  pitture^book  of  dancers  were  fiipped# 
"Theral"  thcy^  voiad  sey,  pointing  at  that  incredible  photograph  #f  a  young  man, 
bl8  back  to  the  vlever,  hls  face  in  profllet  han^lng  by  the  chin  (not  by  the 
back  of  his  head,  as  Baiyshnlkoy)  from  &-pe^  In  Vakhevitch's  settlng  of  a 


Parlßian  garret« 


^\ 


^ 


He  had  danced  L'APRES-MIDI  D»ON  FAUNE  for  Nijixißky  becauae  it  was 
hoped  that  Babileef  his  talent  considered  dosest  to  that  of  Nljins^ky,  mlght 
spark  a  looioent  of  recognltion,  bring  a  glimmer  of  hope  into  Nijinsi^'s  night« 
But  as  iosDobile  as  ever  ^^^ili^ljfimmfL^  watched  the  young  Faune —  unseeijagjly  • 

^  There  were  the  stories  about  BabllSe  and  the  contradictions  of  hls 
lifej;  about  his  vildness  and  his  lack  of  conventlonalism,  his  backgroimd  of 
Wfialth,  his  indepeiidence«   The  son  of  Dr«  <jrutzDan,  &  prominent  Parisian  eye 
specialist,  he  had  been  a^petit  rat**  at  the  Opera  at  eleven;  his  mother,  whose 


roaiden  name  he 


adopted,  was  an  artist,  his  sister  a  surgeon«  Nathalie 


Philippart,  called  Pixle,  his  vife  and  partner,  also  came  from  an  upper-»class 
fami^y,  vine  growers  near  Bordeaux«  Jean  and  Pixie  were  inseparable  and,  if 
th^  represented  the  jeunesse  doree  of  France  in  mary  woys,  th^  also  were  in 
revolt,  as  artists  and  Öxrough  vt|ieir  striking  Personalities.  If  not  dancing, 
thcy  roamed  the  world« 

No  one  mentioned  what  probably  was  Babilee's  tra^ec^«  He  was  short, 
almost  too  short  for  a  dancer:  five  feet  four«  In  a  sense  it  was  also  his 
triumpb« 


In  April  1351,  dwlng  Its  season  at  the  old  Met  on  39-th  Street» 


dauced  the  BLUEBIBD 


.<^w 


American  Ballet  Theatre  mounted  LE  JElHiEi;  UÜMME  £T  LA  HURT  for  their  ^uast  stars 

Jean  Babilie  and  Nathalle  Philippart«  Uitb^Koesun^  he 

PAß  DE  DEUX  and/  again  with  Philippart,  two  ballets  he  had  choreographed  himself^^'^y^). 


/  L^AMDÜR  ET  ÖÜK  AMÜUB( 


^ 


ILL  EDLKNSPIEGELiJA 


.f^ 


"^ 


üf  coursej  I  va&  not  the  on:ijr  one  avare  of  the  faioe  that  haA  preceded 
their  New  i^ork  debut«  Mary  people  were  weaiy  of  such  reputatione —  th^t^  too 
often  lost  their  luster  vhile  crossing  the  Atlantic«  Others,  like  nb^self,  wonder- 
ed  as  to  vhat  to  expect,  vhether  aiy  artist  could  iadeed  justify  the  exalted 
reactlone  he  seemed  to  elicit  eveiywhere« 

I  think  no  one  was  reaUly  prepared  for  Jean  Babilee« 

It  began  vith  hie  first  movei  the  extraordinaiy  arc  he  described  vlth 
his  arm  as  he  looked  at  his  vatch««« 

This  young  man —  his  Overalls  roUed  half  up  his  legs  in  different 
lengths*-—  was  literally  trembling  vith  inner  fuzy,  tension,  despair*^  a  young    . . 
tiger  f^ing  over  chairs  and  tables«««.  iIILb  extedsioni  ws&e  beautiful,  and  " 


X 


V 


rfül 


)<^-^€ 


deapite  his  shortness  he  managed  to  give  the  illu^ion  of  length  of  llne 


did  the  most  fantastlc  acrobatics,  in  slow  motion  as  vell  as  vith  feline  vehemence 
—  yet  this  v&s  no  acrobat  but  a  dancer  vhose  evszy  move  vas  unconventional, 
unexpected,  different« 

Philippart  as  the  yoimg  girl  vho  spiams  him  and  drives  him  to  suicide 
by  hcuiging  himself ,  retums  as  Death,  on  Greek  cothumi  qyrmbolizlng  the  super- 
natural (but  omitted  in  the  current  revival),  eases  the  noose  and  leads  the  young 
man  avey,  across  the  rooftops  of  Paris« 

The  interpl£iy  betveen  them  vas  immedlate  and  füll  of  the  subtlest 
nuances,  her  taunts  incitlng  his  tifa^oAiqf   to  the  limit,  to  utmost  violence  but 


s 


I  I   1""! 


ia  April  iJbl,  during  its  sea&on  tit  Ui»..   oxci  Met  on  ö^Ui  i^tro«.t^ 
AwMriciai  k'iilct  l'iitratre  riouiiLcd  Lii  J^Ma:.  iiolH^lE  ^-1  LA  luK^  fox'  Uis.ir  u^'^J:>t  stars 
Jean  Babilee  axid  i^ttthaiiu.  r^hiiip^iirt.     ^iüi  Üo«  .  uii,   tu    ait-o  dtJiccd   Uiv    BLülLIKD 
PAS  DJ,   DLUX  and,  a^^ln  vith  ir^hilip^^arti   tvo   üali«..t.    ix.   haa  chort-ogrt^hed  xJlLiöeifi 

üf  couTö'^,   I  vrüi  not   tht:  oiily   oue  av.art  of  tliu  f  j  .       thiit  h/ui  proccced 
their  üt^v  i'ork  dt>but«     Mfiy  peopic'  vire  vofiiy  of  iiuch  r»'puiMior:c —  tluy  too 
uf  L'.ii  ioi.t  th(  ir  luivtcr  vhilv    croarin^j  the  AtlAntic«     Otiicrc,   xi-ie  lystir,  vomier- 


#d  at:  to  what  tu  ocpcCt|  vhi  th  r  aiy  iirütt  couxd  ind».L     jiu.tLiy    ih. 


lud 


ri-t-Ctiont)  xu 


d   to  idicit  4;Vt^r/vhtjnu 


I    tj:iiuk  uü  oiMi  vr.ö  r«  fiJ;/'  prepi^Xinl  für  Jiu.n  i>toll4#t 

It  L'  ,.  L.  viüi  iiii»  flTLit  lüOVüj   üic  frztraordixiaUf  arc  h^    u   »,.cx"ibua  vxüi 
hiö  an:,  h^.    iu    iook^d  fit  hir  viitdu.» 

This  yoiLxt,  iQfcn —  hit>  overBÜs  rolled  half  up  hiü  ie^c  izx  diflereat 
iciiüthü —  v:  ;,  iiter2;i3y  tx      .-iiiia  vith  iiUKr  f^-ay,    trUi^ioii^  det^^-tilr —  ajouii^ 
tii.:v  r  fiyiiiii  ov  r  ciiidriLi  mau  tabies...     Hi^  .  xte;^;-ionü  wert   üetiUtiful,    und 
da^pltt   hi6  ühorUieetJ  ht   Lxixuigtsd   lo  t;iv«    Uit    illu^ion  of  Inngth  of  liiiej  he 
üia    Üix:  inoüt  lhnttii:tic  acrobatice^   ia  blov  ißutiun  9Lbj  VfUi  a;i  viüi  f<.iiuti  yLh^i^^ticm 
—  y^t  Uiiü  v?..e  no  iicrobat  but  a  daac^r  vhoö©  eVi-iy  lüove  va;Li  uiiconvcritiom:.!, 
unexpectod,   differeat^ 

Philippfcrt  r.ö  tiie  youiig  girl  vho  spiürriti  him  ano  arivut»  hiiri  tc  Mucidt» 
iy  huii^^iritj  hi   .    if,  r»  t-unu.  «ic.  Dueitlij  ou  Gr- ^  k  cothiimi    ,,    .iOii2ii.tj   ^h^    t>^      - 
mitur^ii   (but  onitttfd  In    Üi     curr»  nt  r  vxv.Dj   ^abe^j  Üi.    nooüt   anc  it-iiiü  the  youiig 
man  a^ry^  :.croüB  tlii    rooftopt?  of  i'aric» 

Thf.    ixil.  rpi'v    bc'tvc'Mi    ih.  i.  v.  i<  lüttedlaU;  ii*Li  füll  of  tii-.    bUi/tir,.k>t 
ii\UAncy.hp  her  tnuutii  iiicxiino  hii-  f  rociV    to  th^  lii:.lt|    to   al    ^     i   viüXraict;  uut 


I  I 


with  perfect  controi  at  all  tiioas»  ^^,   /p 

Ve  in  ihm  audlence  sat  at  tha  edge  of  our  (ä^ix^f   spellbound  aliuoet 

bcgrond  endurance« 


I  had  let  the  Babllees  know  that  ve  had  mutual  acqualntances  in  Paris« 
Jaan  called  as  soon  as  he  received  the  message^  not  becaime  of  someone  in  i^aris 
but  because  he  vae  iBHoenaely  curious  and  eager  to  meet  i^ew  XorkerB  other  tban 
tho&e  at  parties  arranged  ly  Ballet  '-l^heatre«  I  became^  as  Pixie  phra^ed  it^ 
their  "friend  in  New  York*'* 


Ve  spent  mar^  honrs  together^  at  lunch  or  dinner^  at  the  Algonquin 


\diere  JÜK 


€|^  sti^ed^  or  at  the  siaallj  unpretentiQu&  rest^urant  oppoeirte  the  stage  -..^ 
entrahce  ^i  the  Met#  there^™!!^  Iot  conversations  in/ /their  dressingroom  betveen 
matinee  and  evening  Performances: *Th6B 


r:x:.jr^ 


^^^^   cu  "^^lihu^M^i^ 


tingA  / 


^ 


\"Sbe^e  called  Rouasaj^  ^Jean  acdai x6  ColetW  w^ehand«  using  the  pet 


naiae  ts^   French 

friends  had  given  me«  Eveiyboc^  laughed«  But  the  banter  stopped  the  moment  Jeanr 

.  <^l^Ü<^^^^.^  taut 

sat  dovn^aMl  M  becsüM"-«dä>4Lbsqrb9d;  ^s  face  tanni  vith  concentration,  bis  «eres 


as  thou^  rlvetad  to  the  staga«     He  reacted  with  the  saioe  absorption  to  a  BroadwQ/ 
plcy  I^to-fcnsan  took  tham  aleRg^^. 

Onca,  after  a  Performance  of  the  BLUEBIRD  tA3  DE  DEUX,  I  found  «^ean 
in  his  dressingroom^  raging  against  the  conductor  who  had  been  too  slow  for  the 
Variation* 


In  an  ef fort  to  divart  him  I  asked  hov  ax^  human  jbeing  could  remain 

C 

floating  in  the  air  the  w£^  he  did« 

"Breath-control,"  he  said«  "Xou  hold  your  breath —  \antil  you  want  to 
come  dovn  again«**  J^  resucxed  cursing  the  conduct4r« 


^.tt^   ,*.:.» ^L  .mMl.  .  -.^_ 


'^ni. 


Vith  ^'  rf«  et    cüKtroi  ^^t  uil   ti  i  i». 


1  had  l6t  Ihr  Üabilet^iJ  knov  tiu.t  v>.    h^.d  inutual  acduiiintiuicr  t>  in  k*rrttö* 


Jtcu  culXeQ  ftü  yuc^u  ciii  iit.*  rcc*  ivtü  üi- 


i.   ,   noi.  üv,  ixuUji.r  of  t>o.-.c.oiu    iii  i't.i^ii; 


but  bvM.:£tUj:>r,  ii'    v«-.;:  i 


1^'    curiouii  lUici  e^i^er  io 


t  l^ii^\,  iorkt.rt>  üil-it  r  tUin 


tiu  ir  'Tritjaid  In  4»tv.  lork", 

whv  r     thcjy   titay'.d,   or  cit  tiit:    i)i-i*b.ii,   tui^rt  U::itious  rv)i. teuren t  o^.pocitt   Uie  bta-oti 
entriUiCt    of   Iho  M^tj   tiior^  Wi-iFi-  ioxii,;  cünvrrfc>atioiiß  in   llu-ir  ciri.^;>ingroon  bf-tv^-  xi 


-.'t;  aiid  ^'V-uin^i  ^jc-rfori..^  rici';^^    Lh\, 


a-LüUfci  tu   th.    üüx 


bi  r::  of  iiu-  Company ,   tu  V2*lch  v/itii  Ünm  vhat  Ujh  ir  cQix»  <- 


d  rv.r 


V.  Tv    uciag» 


•'iiie'i:.  crilled  Ik>ust=k'.,*'  Jr-rn  Bald  to  Cole'tte  i^archand,    u&ini^  th?:  pet  n«:   -  *"•    Fr-nch 

fr^    üOm  ima  ^-iven  lüt»«      Ehr#xyb«^dy   iain,.     ü,     i>uL  tlu    b^ait^^r  ;^r-o^i>eti   Ua       •^...  ,.t  J^.>  ü 

laut 
öat  do\.xi  and  ht  bt^ca:.     rll-j^btiurbcdi   hii:   fac»    jkjauoK  vith  cunc^ntration,  hi;      , 


c 


aL   thou^x  rivett^d  to  th-     :  taij*:.,     k»,   rcücted  vlth  th       'aiif   aböorptiOn  tc  -    broadwey 

Pxh^    I   Xu    UiT^k    tooL    th4Ni  nxoiii^m 

Oact|   aft<r  a  pcrfor>  ^uc\    ol  tx.^    i:LUTi:IRD  r'A^i  D..  DmjX^   I  fou^a  «'can 
in  hl.    cir»":-:"lntiroomj  ra^iing  eyainct  thc    coiaractur  vJio  hau  been  too  i;xOv  for   tii© 
vari&tion* 


In  an  cffurt  tu  divrt  hiai  1 


-1  ho\.  aiv    hUi.LU  uting  couxd  n..  ain 


floatiuo    in   Uk.   i.ir   th?    v;y  he  did, 

^hr-^ßtii-^control^"  h       aid.     'Tlou  hold  your  or»  .'»tii —  uaLiyou  want  to 


coi.,b  üw'..n  a^i-in«       -^'^-    r.  .01.^0 d  curüii-ts  tiie  couductir« 


f  I     II 


I  tried  to  re-assiire  him,  "But  the  axidience  adored  it  aiywayl" 
"The  audiencet  Who  cares  about  the  audiencel  I  dance  for  nyself  i 

IV  a  l  who  mußt  be  pleaaedl" 

He  was  crouching  on  the  dresslngroom  fioori  dejected^  brooding^ 

and  bareiy  civil  to  the  endless  stream  of  vlaitors —  congratulatlxig  him« 


One  evening  after  dinnar  we  strolled  up  Broadway,  tovards  Tiines 
Square»  A  dense  crowd  coiled  aroimd  what  ve  assiimed  to  be  a  flght«  Vlthln 
a  second,  Jean  had  plimged  into  the  throng  and  dlsappeared,  to  Pixle^s  despadr« 
It  was  iBiposslble  to  hAld  him  back,  she  explalned,  he  alvaors  had  to  be  in  the 
thick  of  tblngs —  eee  eveiything,  participate  in  eveiything,  experience  eveiy- 


thinß« 


So  höre  ve  stood,  vorried,  valting«,« 


After  the  police  had  broken  up  the  crowd,  Jean  joined  us  again* 
He  was  vexy  lapset«  '*Thqy  hit  theml  In  the  stoioachl  Th^  Just  knocked  them 
out —  two  young  black8«##"  As  meuay   Parisians  he  hated  the  police,  and  it 
took  a  long  tiioe  for  him  to  accept  that  here  the  police  had  used  actual  force« 

Yet,  he  was  fascinated  \y   force,  ly  violence« 

He  coUected  knives  and  swords,  he  was  a  passionate  aficionado  of 
buUfights  and  veiy  knowledgeable  about  thexD«  As  it  happened,  two  filme  deal- 
ing  with  bullfights  were  running  in  i^ev  iork  in  1351,  THE  BRAVE  BÜLLS  in  the 
spring,  and  THE  BULLFIGHTER  AND  THE  LAOT  in  late  fall,  when  the  Babilees 


had  retumed  from  their  American  tour  and  were  spending  another  few  weeks 
in  New  York«  Ve  went  to  see  both  f  ilms —  theer  adoptfd  the  cinema  in  general 
and  spoke  with  gsrnmi,  admiration  of  John  Huston  whose  ASPHALT  Jül^GiiE  waa  one 


of  their  all-time  favorites* 


jvrswraBSZ^^Si 


■1 1  i    ■  ■  ■»■ 


m  KW  wTJ^i^rrvT 


I       I 


I  tried  to 


tjur<.  hiia*     "bat  Uu;  audienct;  aüoruQ  it  ar^w^yl" 


'^'iiio  tuditjnci:. l     Uiü   Ci^Tuü  tLbou;.   ini.  au»      accl     i  '..c;iicw.'  Tor  ..yb*;!!! 


It'i..  I  vlio  luixbt  bo  plt^&aecl" 


liL   UL.b  crouchin^'  on  Üu-  dpeeyliitjrocatt  fioori   dr.jected^  broodlüt^i 


laiü  burci^    civil  to  u*-     _iidlii#« 


of  vxiiitora—  coufc^ruiulai-int;  iiini« 


üiu'  O.V  nifk;:,  ftivr  dinru:r  wc   strolled  up  Üroadw^y,    towe;rde  Tineg 
ij^üi^rt;.     A  dc^növ.   crovo  coii*äd  ßroUiid  vm  L  w«  a»tJiL    •_.  to  b#  a  fight«      -itiiixi 
a  iätconui  Juli  hiiii  p^^iiiijrd  i:ito  ttie  tiirong  and  diLti^pi^nvod^   to  i-'ixit^ti  <.      .  :  ir 
It  w;  ..  ii.po^fcible  lo  höla  hii..   U.ck^    she  expl;aij[-*edf  h'    :  lv:i;^'i   huu   lu  ir-  in  tba 


^axcJ^  vi  Uilüb^* 


^vei;y' tbiiig,  pi^.rticipo.U.  in  eYniyUiiugi    t>:^;ricnco  tjVL-iy- 


So  heTe  V-    tstüoci,  vorried|  vaitiag».» 

Aft^r   Lue  poiico   had  brciu...  up   thv    crovu,  Jeini  juiiiuc  U6  a^aia. 
Hifc  waa  vt;i>'    uptc^t,      "Th€y  iiit    üu...l     Xi;  thij  fc>tOiiiacbl     Tx..^-    j  <.  t  kiiock^.^   L. 
ovit-^  tvü  youii^^  blüCKj;«.,'^     /u:  msiy  r'iiriv.iMi;-  he  hat' '1     h.    polic'.  ,   an.:  it 
took  n  lüiit>  tlm.;  f^r  hir;   to  accopt   that  her     tht   poiice  iiaa  Uöod  actual  forc-L» 


Yet^   xa   w.^  faaoiiiatcü  ly  fo 


L^'     VXO^cAiCi. 


H«  collc'Ctad  iür*ive;-3  aau   to^.o^da,  hvj  v^ 


.at>j;iua^i     aficioxudo  of 


bulifit^htu  and  v<ji^^  knoviodi^oftbl«?  about  them*     Ar    it  hapi^enod,   two  fllms  deai- 


inti  with  bulifii^htö  v^t.rc  roiu.iat;  in  i*cv  x^rk  In  IjMi  Th.^  -^ 
i^pring^  a;io  TiiU  BULLFIOlIThJx  AWD  Mli-'  UOf   In  latv   fviil^    ... 


büLLu  iii  tna 
.  i  il-T. ,  is 


h:  ..,  ri.turxu;d   fror,   thcir  Ast  rief Ji  tour  and  v  r     :  ,    udinij  anot*i.<  r  i .  v;  v.cekß 
in  *vvv  i'crK«     'a^    v^rut  to  ü^      both  filiiie-^  tiuy   aaured   tb.    clnüwa  in  ^sentTal 
and  ü^okt;  vixh  ij^art  awlratiou  of  Juha  nu^toa  '^hutsL,  AliPHALl  Jü.  .  uu^ 

of  th  ir  ail-tir.i.'   l'avoritta# 


^HidwM^.  1;^^-^' 


SjÜiu 


i 


'  *>  the  polnt  of  eruditlon  n^^M^p  ftrr  JBflljilPirjii  ii^ei0ixt~£Qr|rt#     As  ci 

important  in  E^ptian  antiquity  thcgr  feit  it  was  qulte  conslstant  vlth  the 
coiuatxy's  histozy  vhen  a  cat  foUov^d  them  to  tli#lr  botel  and  Inslsted  on 
Staging  vlth  th^m;   thoQr  adopted  It  and  made  It  their  houae  pet  in  ^rancai 


At  the  time  >  ida^^  X9&lrf  1  was  involved  vitJQt  a  fifteen-minute  live 
televislon  talk  shov^  the  ,f  irst  of  its  kind^  ho^d  ly  Lilll  Falmer^  tha 
actress^  i!  Both  Babll4es  ,were  not  only  articiilate  but  reasonabJy  fluent  in 


^y 


H 


; 


Sugllsh  aM  vere  Invlted  to  appear  on^the  shov 


\th#»  rHov^  V^ 


; 


^ 


Thc^  wanted  to  talk  about  their  friend  Jean  Cocteau^  eraek  better 


known  in  An^rlca  for  his  avant-garde  films  than  for  his  writings,  and  how 
LE  JEUiiE  KOMME  ET  LA  MÜRT  had  first  been  staged  in  Paris* 

Qn  the  eve  of  the  shov  I  dropped  lg-   at  the  Algonquin  wlth  ovir 
Script  and  the  firm  adioonition  under  no  circuntstances  to  leam  it  ly  heart« 
It  was^only  to  serre  as  a  guidelinet  an  approxiioate  sequence  of  the  varioiis 
points  thfiiyr  planned  to  diaciies« 


^, 


radiate  firevorks« 


thi^ 


dagi,( 


Ihßf 


vore  used  to  prominent  and  entertalnlng  guests^  iaa.i^  of  them  foreigners  thc^ 
had  never  heard  about  ^  and  paid  llttle  if  aqjr  attention  to  theio,  concentrating 
on  their  own  vork«     B  ut  this  time  thc^r  vere  hanging  around  the  set,  vatchingi 
listen! pgj  fascinated«     It  was  obvious  that  vhether  at  the  vast  Metropolitan 
Upera  Houae  or  in  the  sioall  confined  Space  of  this  television  stage  without 
an  audience^  the  air  eeenaAj^^crackle  vith  iffüietrJiCTuritm t g  töat  tranelated 


J 


i 


I>oih  ri  ad  prodi^ium-ly  tynd  v/-  r»    Vrii-v  rsicci  in  s:.ri 


XOUSlCi     tu 


tat  ^'Oiiit  of  '  rucition  "bout,   for  inctance^  Mncimi  Kt^'pt»     kt  catt>  hnö  boan 
laportuiit  iii  \j -^tiun  ^.i.tiquity   ti^.^  feit  it  v.  i>  .^uii.t    co.  .itittut  vi  in  tuy 
coui^txy'i:  hi^toiy  viiLi;  :       '  t  follu'\.;  o  th        to   Üuir  hottl  auc   inüittv-cl  on 
•tJiylng  vith  them;    tlitt^  adoptod  It  and  aace  it   tfA-ir  hoiui.    ycx  in  ^rancel 


At  Uitr  tine^   in  lu;,i,   I  V.  ,    invulv».d  vith  b.  flftu.u-iidi;ute  Ixv« 
telovißiün  talk  tiiov,    the  f  iri  t  cf  it;:  kind,  hüi.;ted  ly   Li^li   Volmer,    tiitj 
actrtj^vt;^     both  bat^iit- ..  wer.,   not  oniy  Krticulate  but  reaeonaDiy  flueiit  in 

Thty  vuntüd  to   talk  about  tiurir  frl  ^f    J-  ii  Cocti  au,  nuch  better 
knovn  in  Azaerica  for  hits  eivrait-fc^ardt»  filins  tiAfüi  for  hia  vrilinüa^  and  how 
LE  JlUur:  üü:..       1   1.A  lÜH'i  bad  fir..t  be-n   i^t^^icü  in  iuv\,\^m 

On  thfe  evi;.  of   ü;.    aiiov  I  dropj^t  d  l^'-  ai-  U*i;  /U^or.^.uln  vivn  our 
Script  and  Uie  firin  admonition  uiidfr  no  circuriptanc^ti  to  1-  am  it  Ijy  heart« 
It  vae  onj^    t-o  i:^  rvt   l...  .^  ^uia<.^im^,  an  &ppru>:ii,.atu  aecimmce  uf  tii*::  varioua 
poiiitij   tncy  planttMi  to  dijjcui::.» 

The  oonant   tlicy   r^nttTcd  tiu    ßtucio   tht    next  di^y,   Jt;c.n  eei^td  to 


raüJLaUj»  firevorkß. 


"tho'a  hti?*'  evujy   tiingli-  i    ^Xjvv  of   U*     crtw  c 


a  to  ki^ov»     'inty 


Wcjrt.  U00€l  to  proüJLnent  and  f^nterlr.ir^ini,  giaestc,  \ibx^  of  th<  i    for  igners  thcy 
Jiad  never  heard  eboutf  micj  paid  little  If  c^iy  attention  to  theü,    concentratiag 


on  tlieir  own  voric.     b  ut    Lbiti  tiiüo  th«^-  wer^  haa^iinb  arouiici 


t|   wuLcblngi 


üsjU  nin^^,   f^.acinated«     It  Wc.ü  obviouii^   tnat  viit^ii.  r  at  thi    vac.-t  Hi  tro^^Oxitan 
Oper«  nous€   or  in  the  sBifcii  confinod  cpace  of  thie  toX«  viüion   ot^.b'-'  vithout 
an  audi^nc«!   the  alr  8«MMd  to  cruckle  vith  #l^ctric  ciut  utb  tuat  tranblatad 


iiita  Instant  excltement« 

It  was  replac^d  ty  instant  despair —  tho  run-throijgh  was  a  disaster# 
^•spite  n^  wamingSf  Jean  and  PixLe  bad  spent  the  evenlng  leamlng  their 
linesj  theer  were  letter  perfect  but  had  lost  all  spontanelty  and  sounded 
wooden  and  avkward« 

Theif   reallzed  qulckly  that  soioething  was  aixdss« 

^Ho   good?"  Jean  asked« 

There  was  no  time  to  be  tactful —  we  were  almost  on  the  air«  Ve 


urged  them  to  forget  that  daxoned  scrlpt  taid  Ut 


UlHX,   and 


the  televlslon  aiidlence  somewhere  In  thelr  own  homes^  what  th^y  had  descrlbed 
to  Die  so  vividiy  and  füll  of  sparkle# 


les-— *  but  we  had  spoken  in  ^rench,  not  in  English 


•  •  • 


Never  mlnd  tiiat»  Lilli  would  help,  shoiild  th€5^  diy  up««# 
ThGfT*  exchanged  a  few  qulet  words  between  them,  and  then  something 
happened«  As  ^f  ^abilee  had  decided  to  riek  hls  €l11.««  With  the  same  reck«- 
lessnessj  the  same  mixture  of  passlon  and  utter  diecipline  he  showed  as  a 
danceri  he  threw  hlmself  Into  the  adventiire^  the  iinkisown  el^nents  of  this 
new  experience« 

He  Introduced  Cocteau  \jif  retelUng  the  anecdote  of  how  l^iaghilev 
had  demanded  of  the  young  poet  to  ^astonish  himl"  The.  foUowed  the  unusual 
stoiy  of  how  LE  jEÜNE  HOJME  ET  LA  MüRT  had  been  put  together  and  wiy  Baches 


.caglii 


Cocteau  had  developed  the  ballet  with  eveiy  detail  written  for  their 


particular  gifts^  tailored  it  to  their  bodies  and  en^otions«  As  no  music  had 
been  decided  on  yet^  the  Babilees  rehearsed  ly  counting^  right  up  to  the  last 
dress  rehearsal.  Meanwhile^  a  frantic  search  had  gone  on^  first  for  a  suit- 


i^ 


I  I      iTi 


iia^L-j     L'.y  v.xT;,   it  i.     r  i>t  rf .  et  bux  hnJ  lui;t  all  ti^pont    .    ity   :  .. .    .  oxuw^  d 
woodcn  Liiiii  Hvkvt*r(im 

Th<y   i\    li2<.,d  (juiciU^''    Uu.i  coiuc  ihlnj^  va3  f:^^.ieß# 


"iJo  ..oüd?'^     J^  u 


L. 


TL.  i\    s,:\i.  no  tii  t.  to  bf  tactful —  v 


r        I   ^  hL  oii   xhe  air«     We 


upged  thcii:  to  forji  t  that  daaiu  d  ;icript  luiu  iu  th  xr  ovu  viy  ttil  Liill,   auo 


Ui<^  lei.vi;jiüa  auul  ac 


lii  tiuir  ov.ii  iiü     .,.,    v.....t   ti.  .^    iuui  *,     cribcd 


to  :..;      ü  vivtuiy  iu.c  liul  uf  .>^i.rklc;. 

Yr: --  biit  wt  had  ß]X)k.ox*A  in  ^raich,  not  in  fntjllöh*,. 
i^t^v<:^r  ruiiid  Uuitm     bixii  wuid  help^   iihouiu  tiuy   dxy  up.,# 
Tbti^  ».xci.  a  f<5V  q       l  vordi>  b.tvt:  ii  th.u;^  and  xht^a  ia, 

hf.ppvn'.'d*     Ab  If  ^Kbilct    hur,  u».  cid^rd  to  rit^k  hit.  ull.»»     VlUi  tli«    r 
lv;;.>LU  ..  ,    t:>*'  8ii»e  r^ixtur^    oI  ^^iu.  ion  ^ad  utti^r  di{>cii)~ine  h^      aowt  u  t 


cic- 


doaec.r^  in:    Uircw  hi    .   j.f  ialo  tiAw.  auvc.aturoi   ta^   la^cauva 


^* 


IMV  ex^  eriincc« 


hii 


.-.  i  i. 


lU'  iutroductc  Coctt^u  by  rc  tt-ilia^  t-h^  uiecdoti-  of  hov  )  ißt>hllaY 
LL  of  Ui».  youa^,  pot  t  to  "ö^toaiLiii  hi.l*'  liii^  fuxlo,  Uiv  lu.u.  .  ^ 
•tory  of  how  Ll  j7Ulii:  iiOMi;!.  H*  LA  MORT  h^ic  becn  put  to^i  tiit.r  a.ia  v.xy  iiuUi^ß 
Fai^öaciiglla  had  co.'^^    *o  b.    diov  n  für  the  BiU3ic« 

Cocteau  aad  a.  vi  loped  Uxif.   .  a-iltt  vith  v.v..iy   d.uiii.  vrittoa  lor   ta*/ir 
particular  ^^ifii:.,    taixorv d  it  tw  tiiedr  bodiuts  uic      .-./tioa^;«     i^.    ao       .  ic  aad 
b<^n  docided  oa  yot^   the  Btblleiju  r  r   r...r&od  ty  couiitin^,   ri^j^ht  up  ro  tat    i^^t 
ur^i-o  Tva^i^rij/il*     i.;  ai..XAiic^   «)   fnaitic  soarch  aau  ^oiu.    oni    fir^t  lor  u   i.uit- 


iMi.iiuü,imii_jWj 


II 


tt'^M-^K/U^oc/l 


able  jdÜMLaxaJbqaiodbr  coxnpo&ltion,  then  for  ar^  kind  of  muslc  that  voiild 
precißaiy >^  the  seventeen  ndnutes  the  ballet  lasted.     Only  the  Passaca^lia    V'a/a 


axifivefdiS^ta  that  requirement« 


But  It  was  iz&posslble  to  relate  to  tt^  muslc  betveSzi 


/\. 


rst;^  aress- 


rehaarfi^  aad^premlere  so  that  thc^  continued  thelr  countlng  right  through  tbir 
opeulrig  nlghtj  vith  Plxie  evan  stopplng  xip  her  ears  so  as  not  to  be  distracted«   ^.^ 
Only  aftervards  thc^  ^nchronlzed  thelr  dance  wlth  the  Pa8sacagll4#  in  th#-end 
-      making  It  a-^stunnlng  fu^op  of  "po^J^t  «nd  counterpoint"  • 

was  spiüijLbound  sllence  in  the  studio 

T^V^X^^  iD08t\  .^^^-^  \\ 

^ftcamerthfft/suc^tessful  of  the  entire 


^efore  e 


i 


K 


\ 


■4jj.aii'JijAiy:if'^'(kiO: 


(illears  later^  I -read  ^  uj  ar ti<aL%  ^  Jean  CocieaiTüiat  he  regarded 
LE  JEONE  HOHME  ET  LA  >iORT  as  a  paraphrase  of  his  film  LE  SANG  D«UN  PÜETEj  that 
It  was  not  really  a  ballet  but  a  ^lulmodraioe"  in  which  pantomlme ] w4dflTttd  its 
styie  ^o  that  of  the  dance«     It  vas^  he  wrote^  a  silent  pl^y« 

H/->~^     l^v        (^      ^  L     ..tiiitkiißt  onlv   vi±h  his  lnt«roretation  of  le   ieune  homne  Jean  ßabilS«     ^Y^ 


m?> 


■^iui^j^t  only  vitii  his  Interpretation  of  le  jeune  homme  Jean  ^abii^e      ^k'- 

(vi>>  /  \ 

■j'h''^  /  f> / / ik ft*^**fl*^  extraordinaiy,  ondiuntii'uiit.#;^  i 

0  '  W"////' Fi^'^  ^  ...     l  tift  igSL,r"lgor  Youshevitch,  -iküi'th«  leading  danseur  noble  of  Ballet 
4^'  Tbeatre»  took  hie  young  daugntar>  age(^  jpetrhape  5  or  6  backstage  after  Jean 

H^\'J{       had  danced  tb«  BLUEBIKU  FAS  D£  DEIK,(\  Leaving  Jaan's  aresslngrooiDj,  Yousk^vltch 


> 


'^JJA 


bent  dovn  and  I  heard  him  vhisper  to  her^  '^I  vant  you  to  reolember  that  you  have    \ 
oet^itHiy  Seen  on  the  stage  biä  tüte»  met  In  person  the  greatest  demcer  of  our 
time," 


THE  END, 


_.  «  .#t4jf  .  ''  L^  aHLJ^lJ^    X  •*'  tjt.4.k^>.   ..^.^< 


abie  yxxKxxwtxMiOwiTg  conipoßition,    thcn  for  uy  kinri  of  nu^ic  Ui&t  vüuxd  fit 
pr»cibei^    Üiii  aeventd^n  mliiut^s  Uie  ballt  t  lafc>Ujd*     orüy   Uik..  ?aeö«.cat>liÄ 

But  it  wa;.  impotüibl^r  tu  r».  latc    to  the  music  betvtvXi  ttu:  leü  t  dresB 

rehearsal  ßiid  prt>iaicre  ivO  tiiat  tluy  continued  their  couiitiiHJ  rit^ht  tiirough  the 

op«nli3e  nlght^  with  r'ixxe  «vcu  t-topping  up  htr  ttirti  t>o  ti^  not  to  bc  diötracttd« 

Oni;/    «iftorvardL^  tii.y   uyiiChrouized  tutir  utoice  with  thü  ?ut>;        csiii»#   in   üie  «ud 

iriMkixig  it  &  stuniiinii  fULdon  of  "p^^^^^-  *^<^  counu^jrpoint*'« 

Just  üß  in   the  tiu(.lrt.|    tii^  rv    v;..    ..pi^ilbotuxd   i;»ii0lio#  in  tiic   &tuaiu 

:3iOöt 
btvforw  ev^^^xyboqy    <.^.i^li*uut  d  vildiy«      ih.     i^iiov  b.  (  Uü^/ijUcc        fui  uf     :,  tire 


serles« 


YviÄX'j:.  ii^i^ri  I  r^^ü  iii  mi  articic   b/  Jt^Mi  Coctv«-.u  Umt  h.    r  ^j  ru  d 
LE  J  Ü.^L   üültiE  LT  LA  /lüKT  £.a  ^.  ,.ar^phra£>^  ol  nit  film  LK  üAüG  D«üi^  ?üi:TEj    Uiat 
it  \n^i>  not  reaily  a   ballc^tt  but  a    "lüiüiourai::«'*  Ui  wUich  paiitomitit;  viel»  rüt/d  ita 
eV^*  "^^  Uiat  of  UiK^  daxiCt«     II  mu^,  h<-    wrotu^   a  silent  pla/» 


but  uüt  ouiy    V  ith  his  iiiterpr^rtation  of  ic  j^>uiie  hoiL;..w  Jtau  ^hbiie<e 


arou;>6d  axtrauraiiiaiy  MiGhaixtK.t;rit« 


l  Jn  IQ^li  Itjcr  iiou 


l^ii^cUA 


Uu-   Itadi  .       'cjietur  nobit   of  i^iuLlci. 


Tiiaatre^   tooic  hiß  youiig  dau^t^r^  aged  perhapa  i-  or  6  backtaat^t   rftAT  Jtan 
hau  danced  th©  bi-.L'Ll)IKi;  ?AL»  i:     D.^i^     Lcaviiit;  Juaii'..  drt- ösiügrouiii,  Y-ouak.- vitcii 
b^at  üown  aiKi  I  hi  arU  hirn  whiL;pt-r  to  her,   "I  vtnt  you  to  r  i  r  tiiat  yuu  havc 

not  oiiiy   ßi^'.Xi  on  the.  eta^e  out  ii^^o  Biet  in  jierbon  th     ^r^atc^t  dMacer  of  our 
tiiae^" 


aIü-.  iiiiD^ 


1  d 


JEAi.  BABILEE 


Uhen  AjDQerlcan  wallet  ^beatre  revlved  for  i^lkhaü  Bazyshnikov 
LE  JEUt^E  EÜHME  ET  LA  MORT,  the  ballet  ly  Jean  Cocteau,  cho<^graphed  bgr 


X" 


Roland  i^etit^  vith  muslc  ty  Jobann  Sebastian  i:>ach^  It  was  inevltable  that 


tho6«  In  the  audiance  who  had  aeen  Jean  ^abULee  dance  the 


title  role 


in  1961  at  the  uti  Metropol^itan  Opera  Hou8e>  remembered  him^  and  those 
too  young  to  knov  k»jpt  e^fckjaftgy  **Jean  Babilee?" 

Bazysbnikov  is  a  briUiant  classic  dancer  and  the  audience  went 
vlld  over  hin  but  their  reaction  vas  mild  ly  comparison  wiUx  the  storms  that 
brcke  looae  evezy  tiio«  I  aal^'  Babilee  and,  I  am   told,  vhenever^  and  vherever 
he  .dfffisvd  throughout  his  career —  all  over  the  vorld«  There  vas  eomething 
about  idam  this  ^ rench  dancer  that  electrif  ied  audiencea  to  a  >ioint  rareJy 

.um«   M\ 


inatch#d  IxznQCZBMtlvn  tjy  performers  in  aiy  medii 


^J^uchina 


8  been  vritten 


Y\, 


about  the  phaenomenon  of  Jean  ^abilee  «dd^  It  ia  dif  f  icult  to  explain  aoiDething 
aa  elBHive  as  the  impact  of  a  preaence  er  the  aura  of  a  personaliVf  vithout 
uaing  up  cliches  such  aa  unique,  ctynamis,  dexnoniacal«««  ^   think  that  be^ond 
seemingjy  effortlesa  acrobatic  feata,  an  elevation  that  defied  the  lavs  of 
gravily,  it  was  Jean  Babil4e^s  iiuier  teiigion,  even  in  repAse,  hia  inteiisitjy 


-e^LflfOvt 


dramatic 


and  artistic  Obsession,  that  transcended  the  ballet 's  fraine  and  leaped  right 
over  the  footlighta  to  loake  hia  appearanceai  aiil 
experience  <^  apig^,  leveia •   l  ^  ^^^ ^^^^   ^  ^ 

In  1965  in  Nice,  at  the  a^e  of  forty -one,  Sean  Babilee  danced  le 
jeime  homme  for  the  last  tlme;  in  tvo  Performances«  An  cye^^vtiness  summed  it 
lop,  ^The  audiences  werewv^mQved  tte<^H2|j|M>^eagep<^  tears«" 


i 


i  d 


JE/u.  BAüILEE 


wh.in  A...t:riCon  iJ^ilet  -^iirjatr»  r..:vivec  für  ^-iiuiiiii  iiaiy t,rj:iiitov 
Li:  J::Uii  .:  ilUyjIL'  et  LA  MÜRT,    thci  ballet  ly  Jeai;  Cocteau,   choeVot.rai.hed  hy 
Fioiauö  i\.  tit,   with  inuiiic  by   Joha:m  L).  bai^tic.n  i  ach,    it  wtii^  iiievitable   that 
thob*    in  tiie  auciiiiUCe  vho  i^ia  smmn  Jean  i^abile.-   danci^   ti.o  litxK  titx..    luie 
in  l-£^6i  at  the  oibl  Motrüi.ui|fit.ai*  üpt-ra  Houbti,  r  ladrib^r.^r'-d  hirn,   and  tho&e 
too  yoiii.g  lo  knov  kept  eisicing,    "Jean  Babilee?" 

ßaiytihnikov  is  a  briiiiant  cia^^ic  danct  r  aiid  th'=  audienct^.  vent 
vild  over  hiin  but  tütdr  rcactiou  vat;  milü   b/    co::iparik.on  vl^i^  th':    btoruib  tiiat 
broki    iooee  eVf-iy   tir.      I   'öh'^  babilee  and,   I  ara  told,   vhenev.  r  and  vhvrtjvtx 
he  danced  tiiroughout  his  care^^r —  all  o\- r  thi    vorld.     Th^-r»    v^l..  t^o:.ething 
about  ic±nc  thit;  i'rtnch  danc:  r  t.iat  civ  ctrified  uuui  iictjS  to  a  ^uint  rar^  jy 
iriatched  iazKS^'zx^KZVSiX  hy   ^^t^rf or:..t  r^   in  aiy  ir.ediuiri*     HucU  haa  b.vn  vrittt^n 
about  th     phaenomenon  of  Jean  ^abilee  and   it  is  difficuit  tu  expxain  boiüi-.thing 
aa  eiuuivc  ul   th^    liapact  of  a  preöence  or  tii«    tura  üf  a  pcPbonaxiv  ,    v.iUiOut 
usint.  Ui>  clichcß  öuch  as  uniqut^i   c^naiiiEi   a  :;i0niacal»,«     i  thiuk  that  btyond 
atoiiiingly   Bffortl«.:ss  acrobatic  l'eats,  an  eievation  that  uefitci  the  lavj3  of 
gravity,   it  was  Jeiin  i>abile<f'a  imu-r  ttmeion,   evt^n  in  r-  pÄse,   hi.s  inteuöity 
ano  artiütic  obdeßsioni    tliat  transc^naed  thw-   ballet* t>  fr^iiA    ano  leaped  riecht 
ov^r  thc  footlights  tp  raak<    his  appearancriX  anl  ali:>^öt  unfceorablt    draciatic 
experience  on  njiny   levtUS« 

In  lJ6w  in  iJico,   at  the  age  of  forty -ont>,   It  ^-n  «^GDile©  danced  le 
jeune  hoir        for   tho  laat  tiiruj   in   tvo  perfür:::anctj^#     An  e-y^ -vULness   auitiined  it 


up,    "Thc>  ßiiditinces  were   00  nioviid    that  th^;y  wcrcr  in  tears»*' 


I  I 


Z  d 


In  the  sumner  of  1949,  on  a  vlsit  to  Paris,  I  had  seen  CAKMEN 

vlth  Jeamsaire  and  Koland  Petit  aa  Jo6#«  To  \x&,   tha  generation  of  tbe 

Fortias,  it  was  a  veiy  exciting  ballat,  |i  dif f erent  froxn  ar^thing  we  knev, 

libarated,  arotic,  6f  cur  time,  It*t  th©  continuous  refrain  from  öjr  friends, 

all  yoimg  vriters,  actors,  artists.invariabiy  was,  "All  thi&  is  nothingi  You 

) 

iDuat  3#a  Jean  BebUee*.#  LE  JüUlviE  HÜMME  ET  LA  ^iÜRT,,.  •• 

The  pages  of  a  coffee  table  picture  book  of  dancers  wäre  fiipped, 
and  there  it  was,  that  Incredible  pfaoto  of  a  young  inan,  hia  back  to  the  viever, 
bis  face  in  profile,  banging  ly  the  chin  (not  by  the  back  of  bis  head,  as 


r,  >      ti.^ 


r\ 


Baiyshnikov),  from  a  pole  in  tto  Wakhevit^h^^set  of'a  Parißian  garrot« 

He  had  danced  L»APRES-MIDI  D»UM  FAUNE  for  NijinW^r  because  it  was 
hoped  that  Babilee,  his  talents  considered  dosest  to  those  of  Nijinsisy, 
Bdght  spark  a  i&oxDent  of  recognition,  bring  a  glimmer  of  hope  into  iNiJinsl^'s 
night«     But  as  liomobile  as  ever  IMijinsisy  vatched  the  young  Faune —  luiseeingjy 

There  vere  the  stories  about  Babilee  and  the  contradictlons  of  hia 


lifo,  about  his  vildness  and  his  lack  of  conventio] 


.lu 


>nali|^rx  his  background  of 
^2<./  Dr«  ^tman,  /^ 


^ 


wealth,  his  indepence«     The  son  of/a  f)rominent  Parisian  fff-e  specialiat,  he 

A 

had  been  a  '^petit  rat**  at  the  Opera  at  eleven;  his  loother,  whose  maiden  name 

I  called  Pixie, 

he  adopted,  was  anlartist,  his  sister  a  surgeon«  ^iathaiie  Philppart,/his 

vife  and  partner,  also  came  from  an  upper^class  famlly,  wine  grovers  near 

Bordeaux«  Jean  and  Pixie  vere  inseparable  and,  if  thc^  represented  thejeunesse 

doree  of  Francei  th€^  also  vere  in  revolt,  as  artists  and  through  their  ^unusual  l 


Personalities«  If 


.«.♦  <  >  M 


not  dancing,  th€^  roamed  the  vorld« 


No  one  mentioned  vhat  probabJy  was  Babilee 's  tragec^«  He  was  short, 
aliQost  too  Short  for  a  dancers  five  feet  four« 


■  lalliltoü  llMiilllMliiMPiillUMMMiUlMiJiilillJIMÜllLMIIÜ  lü^  lUlUW 


I  I 


I  I 


2  d 


In  üu.  öummLr  of  194j,  on  fi  Visit  to  ?ariü^  I  htd  8#eti  C/J. 
vitli  Jeannaire  and  Koland  Fetit  as  Jose«     Tu  us,   the  gt-iiii-ratioii  of  the 
tbrtiesi   it  waii  a  veiy  e^ccitin^  ballet,   tso  üiffüri^nt  from  aiytiiing  we  kiiew, 
überat  a,  erutiC|   of  our  ti»e«     i^t  tht   coutinuouL   rdrain  froi^  Kjr  friv^ndöi 
all  youritj;  writert;,   actori-i    artxött.  iiivariüLoy  va^j   ''Ali  ÜaI.    iii  notiiixi^l     iou 
muift  See  Jean  i^abilee...     LK  Jl^lJ^E  iiüMMF  FT  LA  MÜRT...    » 

The  pagos  of  a  coffee  taole  picturii   dook  of  d<•inc^;^i.  vere  fxipped, 
aiid  tiicr .  it  v<:fc.|  thüt  incru^diblf-  photo  of  a  /oui*^  laau,  hib  back  to  tlit;  vieveri 
hii:;  facH    in  profile,  han^iin^  ty   th.    chin   (noi,  by^    tht   back  of  hiu  head,   as 
faaiyijlmlkovji   from  a  pole  in  th^^  Vakbvitvh  crt  of  a  Farisian  ^arret« 

He  had  danced  L' APhKu-i-IIDI  D^Ui^  FAUüE  for  iUjinhl^jr  b#ceu3u  it  wati 
hoped  that  Babil'»  ,  hib  teltnts  consid«.  r  d  closcist  to  those  of  Wijinsky, 
might  cpark  a  inonent  of  racognitioa,  bring  a  gliinnicr  of  liope  iulo  idjinaky's 


nii^iit.     Bat  as  iii:iaobile  as  cver  i'^jii.eiy  veitcn-d  th»    yvUi.^  faiLii,- 


eilig  ly  . 


There  v-  r^    tli«  tstoritiS  aLout  babilee  und  iiu    contradictlOüti  of  hit$ 

life,   aüout  hi;5  vildnt-ös  and  bis  lack  of  conv^cuitioiiaiit/ —  i^ib   backerounc  of 

vea-Lth,   hiti  inor^^tncu«      iht    ^.on  of/a  proiaiiient  Paribian  eye  sp'.ciaiist,  ha^ 

Xiac  bc;t!n  a  "petit  rat''  at  Uk,  Opera  at  olc^Vtn;   hi^  inothLr,  whot .    inaid  n  ..i 

I  call^^d  Fixie, 

he  adopted,   vat  anlartisti   hiü  elfter  a  euTBeon.     I^atiialitr  Fnilppart|/hi3 

wift-  aiiG  partrier,  aleo  caüie  froia  an  up.>er-ciaßs  fard-/,  wine  grovtrL>  n^ar 


bordt^aux«     Jt-;ijn  and  Fixi...  vtTv   ix^s^parable  and,   if  th^y  reprcb  nted  tb. 


jr.  unea 


\ 


dorCe  of  Francr,   th  y   ait;0  Vrr«    in  rvvoit,  a^  artiütß  and  throui;h  their  nnubuii 
peröonalities«     If   tiogucxKxx  not  dexicing,   tney  roamed  the  worid# 

i.«o  oxi«  aantioned  what  proDabJ^^   was  babiiee'&  tTu^<aym     He  vaö  bhort. 


aimoBt  too  Short  for  a  danccrt   fiv.    fe<  t  four* 


3  c 


In  April»  1951,  ^tto^  .American  Ballet  ^lidatre»  during  its  eeason 
at  the  oid  Met  on  39th  Hr#et,\imounted^LE  JEUail  HOWME  ET  LA  MORT  for  their 
guest  Stars  Jean  Babllee  and  Nathalle  Philippart«  Vltb  J^^oesuHi  he  also 
danced  the  BLÜEBIRL'  PAS  DE  DEUX  and>  agaln  with  Philippart,  tvo  ballets 
he  had  choreographed  hlinself,  L»AMOUR  El   SON  AMÜUR  and  TILL  Ellßi.bPIEGEL. 

Of  coursci,  I  va&  not  the  on3y  one  avare  of  the  faine  that  had 
preceded  thelr  New  York  debut«  Mai^  people  were  veaiy  of  such  reputations 

—  thcßr  too  often  lost  thelr  lust  vhlle  crosslng  the  Atlantic«  Others,  like  , 

^'  indeed  ^.^^^.^M 

üjrself  f  wondered  as  to  vhat  to  expect,  vhether  axv'  artist  coitLd  T■yi18^J^g^^d|^>  r  t 

the  exalted  reactions  he  seemed  to  elicit  eveiyvhere« 

I  think  no  one  was  real3y  prepared  for  Jean  '^abilee« 

It  began  with  his  first  loove,  the  extraordinaiy  arc  he  described 

with  his  arm  as  he  looked  at  his  watch««« 


This  yotmg  loan —  his  Overalls  roUed  half  up  his  legs  in  different 


C'c'U'vy^-U^^ 


l^engths —  was  trembUng  with  inner  fiuy,  tension,  despair—*  a  yoimg  tlgtr 


over  chairs  and  tables«««  jtfbspite  his  shortnüssliip; 


8  extensions  were  beaut- 


iful,  anm^e 


kjLi 


nanaged  to  give  the  iUuslcm  of  leiigth  of  line;  he  did  the 


most  fantastic  acrobatics,  in  slow  siotion  as  well  as  with  feline  vehexoence 
~-  yet  this  was  no  acrobat  but  a  dancer  odiose  tvexy  move  was  unconvexitional. 


.'5 


unexpected,  different« 


Philippart  as  tbe  yoiing  girl  who  spumi  him  and  df>4¥#6  him  to  suicide 

ty  hanging  himself ,  retuma  as  Death,  on  C^eek  cothurnus  to  ^xn^oXize  the 

mM.u  ^  revival  MJt 

s^perHaatnrcüL  (but  osdtted  in  the  current  ^fgjdtmxmaaxm) $  loosenst  Vkm  noose  and 

leads  the  young  man  awe^,  across  the  rooftops  of  Paris« 


C< 


/ 


'y 


•M 


The  interplay  between  them  was  inunediate^i^St  of  the  subtlest 
nuancei,  her  taunts  inciting  his  farooiV  thfi#:imaed  to  ipo-^r  the  limiti 


2  c 


In  April,  iJbi,   iiit'   Arrerictm  Ballet  'iheatre^   duririt.;  itö  seaeon 
tit  tlu-  olci  ifct  on  5Jth  ^trtn-t,   ujüiuited  LH  Jiüüi.:::  hUlM]::  i:T  LA  KURi   for  tiieir 
i^uest   ötarß  Jatm  BabiK»    and  K^iÜialit;   ^hllip^:.rt#     '»'ith  ^io-tiUiii   he  ftl£30 
duncru  the  bLUI'blRI:  PA5  D^.  DüüX  and,   «t;c.in  with  Philippart,   tvo  balli^ts 
tu,  had  choreographed  hiiuself,   L'Ai'lüÜK  ;:T  uÜK  A^WUIlyind  TILL  i.ÜGi;ii.5rIi'.G:li, 

Cf  cüursv!,   I  waL:  not  the  oul^-  one  avare  of  Üit  fa;.e  that  iiad 
preceded  tli*  ir  i^lew  ifork  dcbut»     Mary  peop^e  Wc.r*    weaiy  of  such  r^pututions 

•ei- 

—  thoy   toü  oft-cu  lost  their  lust  whiie'  crossinii  thü  Atjiantic*     utiicrb,   iike 

i^yöeif,   vondtreu  ab  tu  vhat  to  cXpeCL,    whu;ÜiLT  tay  arti;:t  cuuiu  rxyiay  match 

tlie  exalted  rt^&ctionc  h^.   seoued  to  elicit  evei>'wh<.>*rä* 

I   think  no  on^    v*  ^3  really  pn^pared  for  J\M.n  ^abiiee» 

It  üe£;an  vith  his  firi.t  luüve,   the  uixtraordiuaiy   arc  hc  dv;;criböd 

vith  hib  arm  at:  he  loüked  at  his  vntch»«« 


i^xiß  yoyxfii^  man —  hio  ovrxallL^  rclltd  half  up  hi3  IfgL  in  oifferent 
Icjn^ithe —  wafc.  treiabli'ng  vith  innr  r  fuiy,    tt^ncion,  dt:Lpair —  a  youn^:  ti^er 


v>       «Jt 


hortneß 


1^1  tr"Xtenr>ior:s  Wf  re  ütraut- 


r  • 


iful,    ar.c/hi 


menaged  to  givr   tiie   iilusion  of  Idigth  of  iin?:;j  he  did  the 


iLübt  fantattic  ficrobatics,   in   üiow  n-olion  rL*>  vtil  as  vith  f .  ilne  veh- Kiene« 

—  yet  thii;  vat>  no  acroLat  but  a  dancer  vhos^-  evc-iy  luove  waj;   uiiCouv.  . .tioi*til| 

unexpected,   difftrent« 

Philippart  l^^  üh.  yuunä  öiri  vho  ßpurns  hixn  and  drivt^j;  hin»  to  tjuiciae 

ty  haiit^in^  niii.seif ,   rcturnt;  aa  Dt>ath|   on  ^re  k  cothurnus  to  .yi^boiize  the 

revival 
super -natural   (but  oniitted  in   the  current  jCKxfÄZXxmrx),   loosen,    Jtlit3  nooöe  and 

leadß  tliM  young  man  av^iy,   across  tlie  rooftopjs  of  Pörit:« 


The  intorpiciy    üotv.u^n  XlikM.s  yvs  imiüeciatfci  yt-t  of  the  iiubtit;öt 


nuancei,  hör  taunt;:.  incitine,  hiß  ferocity 


to   tlac    iiidt 


* 


II 


4  c 


W-IÜM^  J^ 


at  all  tiiQ«8« 


to  utmost  vlolenca  but  parf •ctJjjjf  control||^ 


We  In  the  audlenc#  sat  at  tlie  edge  of  oiir  seate,  spellbound^  aliaost 


b«crond  endurcuice« 


U^tO<UiU<^^c^ 


Jean  called 


I  had  let  the  Babileee  know  that  ve  bad  a  mutual  JBrl^id    in  Parle« 


•!_•        »  ^ 


1       1      »    ♦     »    «       »   « 


as  80on  a8  he  received  the  messagef  not  because  of 

eagar 
that  aoiDeone  in  Paris  but  because  he  was  Immianseiy  curious  and  xiitai  to  meet 


I  .«  x^^^  ^  ..„« 


at 


partlds  arranged  ty  Ballet 


Theatre«  I  becainei  as  Pixie  phrased  it^  their  "frlend  in  New  ¥ork*'« 

or 
Ve  spant  mai^  houre  together,  at  lunch  xst  dinniar»  at  the  Algonquin 


vhere  thc^^  stayed^or  at  the  small,  unpretentlous  rastanrant  oppoaite  the  stage 
entranc#  of  the  Met;  thera  vere  long  conversatlon  In  their  draasingroom 


between  matinae  and  evening  Performance;  ^mrnt  th€{r  took  me  along 
to  the  aanter  box  raaerved  for  ^wHE>aJl^tet,  to  vatdi(  wlth  xheio  vbat  their 
coUeagues  were  doing«  ^She^s  called  Bouase.^  tt»v'-'%M  tnTiji/üffiiiii  we  t^  (^olette 
Marchand^  using  the  pet  naice  ser  French  f  riends  had  glten  me^  /  But  thA  laoinent 


sat  dovn  fais  attenüm^  hls  concentratiKin  otf  the  stageTbecame  all-absorb 


Oneet  i^ ter  a  Performance  of  the  BLUEBIRD  PAS  DE.  DEUX  I  foimd  Jeen 


^~u 


^^ 


.^v-^.^ 


y^/'5 


raging/Ui  hie  dressingro6]iu\    ^e  conductor  had  been  too  slow  for  hls  variai^rLon« 
[^  In  an  effort  to  divert  hin  I  asked  hov  az^  human  being  coxild  reisaln 

floating  in  the  edx  the  w^  he  dld« 

«Breath-control^ "  he  said«     "lou  hold  your  breath —  until  you  want 
to  come  dovn  agaln«««**     Ua  resumed  cursing  the  conductor« 

"But  the  audience  adored  It  axvvayP     I  tried  to  r^ssure  him« 


Ji  V 


.  u  \.''*j!^SÜS3ST^\ 


-  '11  ■    '■*- 


4   c 


to   th;    ^oint  üf  hu::jen  liiult^ition —  tu   ut;  05t  violtnce  but  p.  rf i^ctiy   controlied 
at  all  times» 

W;^  in   Uit   audi  aca  aat  at  the  edfc,c  of  otir  ü^Lt^tß,   y^- lijouiiti,   iU-uott 
b»:yüad  enduraixo« 

I  iiixd  it>t  tliti  BabilGes  kiiüw  that  v.    haa  a  mutUcil  Uiä^^^    ii^  i^aritj« 

Je  Ml  calieu  xaOBiatiidtxiyc  ats  soon  ae.  In    rec<  ived   th.    iDtüi>age^   uoi  b'ccauau  uf 

eaeser 
that  soDöOne  ix\  iraris  but  bccaußc:  he  wc^ti  imni  nsfly   curiouü  hua  xacDCfcxK  to  i:.eet 


a  i'^ev  ioT^vT  otlier  tiuiu  thost- 


^^ic:"»!»»*»«;^ 


i\  t 


partieiü  arran|j;ea  by  baixet 


Tlieatrc     I  btcainti^   aj>  Pixit  ^hrased  it|    ti^^ir  "frienu  iii  Nt^w  York*'« 

or 
Ve  öpent  mnriy  hoi^:>  togetiu  r,   at  luiich  xxat  dinneri   at  th*    Alt;oii(;uin 

vherc   thty   stayed.or  at  thc^   sraali,   unpreteniiouu  rest^urant  oppositt^  th-   Litage 

»traiiCi^  of   Üi#  Iktj   tiit)r^  verc  iont  convtiHMition  In  tiioir  drt  ßt^ingroom  x±taKZ 


EXpSLXdEQZZXnXB 


anxi 


to  Üie  centt^r  box  rtsrrvtid  for/th» 


tiity    iüok  me  tdong 


I  *to  vatch  vith  theiu  vhat  Uicir 


cüileagutriß  w^r^    Qoiug*     "Öht '  t.  calied  Küu88ä>*^   ti^grHaMKi-  iiitruauctu!  mt-   ty  ^oletta 

^.c<>^  ß>cM:A.^  jt^^'^i;<  iji>ctai^M\ 

Marcliand,   using  th^  pet  naru   e^   Frr.nch  l'ri^  na^iiau  ^iv.h  1  i.^     t>ut  u.s.  Qc. .  at 


w 


sat  down  his  attention^   hi^:  conct-ntri/ttdn  lW- tht    ötat;u  pecatie  ali-aLyorbing  ,, 


V 


üiice,   aftLr  a  j,.t;rfori::ance  of  tiu    bLülilKD  PA»--  Li.'.  DiUX  I  founa  Jt  ui 
r^igliig  i^  hi:?.  drt^btiingroom«     Tiitr  conductor  had  büen  tuo   .slov  for  iii^  Variation» 

In  an  effort  to  aivert  him  I  aüked  hov  aiy   hui::an  Lt.ing  couiu  r-ruain 
fluaLino  ii*   tüv:;  air   ihr  vtiy   he  did, 

•'Br^-aüi-controii*'  he-   said.      ''You  hold  ycur  br^-ath —  uixtii  you  want 
to  coiüe  dovn  ag^iin,,»"     He  re^sumed  curtiing   Uie  concuctor« 

"But  th<r   auditnce  adort  d  it  aiyv-yl"     I  trit^ci  to  rcfrt>;juri'  hiiii. 


5c 


**The  audloDcel     Wbo  cares  about  the  audlencel     I  dance  for  n^rself  1 
It'e  I  vho  must  be  pleasedt** 

He  was  crouching  on  the  dressingrooin  floor^  brooding^  aud  barely 
civil  to  the  ttifcVAT-^nriinfc   streejn  of  visltors« 


One  evening  after  dinner  we  strolled  up  Broadway^  tovards  Tiiaee 
Square«     A  dense  crovd  coiled  around  vhat  we  assumed  to  be  a  flght«     Vithln 
a  second,  Jean  had  plunged  Into  it  and  disappeared^  to  i^jjcle's  despalr«     It 
vae  Impoßsible  to  h&ld  him  back-r- ne  alweiya  had  to  be  iniiie  thick  of  thlxxga 


^T^ 

'I 


US 


-  See  eveiything,  participate  in  eveiything,  experience  eveiything« 

So  here  ve  stood^  vorrled^  vaiting««« 

y^iJh..^  KxOJk 

4tp4&&^  the  police  broke  up  the  crovd  endj  vexy  upsi&t|  «^ean  jolned 

5^^^aln#(  ^Tliv  hit  themi  In  the  stonachl  Thecr  just  knocked  thein  out —  two 

young  blacks«««''  Like  mar^  Farlslans  he  hated  the  police^  and  it  took  iwT^ 

long  t^üne  to  accept  that  here  the  police  had  used  actucü.  force« 

^c^  he  was  fasclnated  ly  force^  bQT  vlolence« 

He  collected  knlvea  and  svords^  he  vas  a  passionate  af  llclonado 

of  bullflghtB  and  vezy  knovledgeable  about  them«  As  it  happened,  two  f ilms 

deallng  with  bullfights  were  runnlng  in  New  York  in  1951,  THE  BRAVE  BÜLLS  in 

the  Srplng,  and  THE  BULLFIGHTER  AND  ThE  LAUf  in  iate  fall,  a^^ev  the  Babilees  Hili\ 

retumed  froia  thelr  Aioerican  tour  and  spenty-  another  few  veeks  in  ^%w  Xork« 

Ve  went  to  see  both  filme —  theiy^  adored  the  clnexna  in  gei^^eral  and  spoke  with 

special  admiration  of  John  Huston  whoee  ASPHALT  Jüin.GLE  was  one  of  their  all- 


time  favorites«, .-  ,  ^  ^ 

Jeaa.  read  prodigiousJy  and  vaa  equaliy  knowledgeabla  about  art  and 


music  and,  for  instance,  ancient  Eg/pt«  Cats  hau  been  important  in  E^ptian 


•  'lJiü.l.i'''f,IIL.'  JjL^-.^  ...iL  iimmuf,  iJ^ClLi|IAl»<!.f £*Jüi JgJAifl.  'm-g»B!Ji  JJjaB'A.ilJ.MlMlfti 


I  I 


l—t 


6c 


"The  ÄUdi  ncci     V,ho  can-^ti  aboul  tiit   aucii  ncc  l     I  tiaiiCi   für  xqyß^.lfl 
It't;  I  vho  musl  be  plöas«:*dl" 

He  wrs  crouching  on   tht    dresi^lngrooin  floor,    .roodtrieii   and   biiFi^Jiy 
civil  to  th^   n*4:ä9--**ft«"r!fr^trc ..::.  of  viL^itorts« 


One  evening  afUr  cinn^r  we  strolli^U  up  ^roadv/^y,   tovards  TlmeB 
Squart.»     A  dtnst    crowd  cuilud  arouiid  wiiat  V:    ati^ULuoci  to  be  a  Ixiiiit«     Witiiin 
H   SuCürid,  J«  i:ii  had  plunged  into  it  and  di:iapi^e.arBd|    tc  r'ixie'b  uespair.      It 


was  lr.]po 


inipoüsible  to  hduLd  iiim   ücxk— /  ht.-  always 


always  had  to  bt-:  intii»    thick  '^f  things 


—  saö  ev.Tjtiiixi^f  iJa^ticipatt.^  in  ev.  ly thing,   experit^nce  tiVtiiytumg. 

So  her     v^    stood,   vorriea^  waiting««. 

At  iööt  th.    polict":   brok-:    up   th^:    crovd   arici,   veiy  ups^  t,   Jnan  joined 
US  a^jifiin,      ^'Thty   hit  tiieni     In  th.    ;i;toiQachl     Ih«y  ju;3t  knocked  theni  out—  two 

« 

yoUiio  blacks*»**'     Like  maii/"  Paritiians  he  hfited  tiio  poiice,  anti  it  took  hiia  a 
long  tirfA    to  accept  thht  h.  r^    tli     polici    had  ustd  äctui.l  force« 

iw*i|  ht  w:.j3  faßcinated  iy  forct  ,   by  violcnct*« 
He  collect4;id  kuivet:  and  svoruö,  hv.  vaö  a  pasisiouatt:  affficiomido 

q£  bulifightß  and  Vci^'    knowltjdgtablt    about  thcin«     Ai^  it  l:xapp.nvd,    two   films 

* 

dealing  vitii  bullfit;hts  wern:  running  in  i^-v  York  in  IjoI,  THL  bWiVr^  bULLS  in 


tht 


c^^ping. 


and  lii..  iiüLL.FIÜii'l.:ii  Ai^D  Ihi.  LAUl    in  latv    fall,   af  L<  r   tiu.«  Üabileaß 


retum»  ci  fron  their  Ai:u:rican  tour  and  spinnt  another  few  weeks  in  *vv  ^urk» 
We  wemt  to   sc-    both  filins—  thry  adortd  thr-   cinrina  in  t,eii^^ral  and  ^;:poke  with 
epeciai  acL..iration  of  John  ^^UL^Lon  vüoßt    Abi^HALT  JUi.ünli:  was  one  of  uivir  all- 
tiiiK.  fiivorites« 

ie:si  read  ^rodigiously  and  Vc^  i;<]unlly  knowledgt  abi     .  bout  art  and 
mußic  and,   für  instanci-,   ancit;nt  'gypt*     Cfits  ha     been  iiiportent  in  Lgyptian 


•I.  •  'JUU!         ^.  Jf.  St 


-  a-  -  -  -Trrrt 


f       I 


6  c 


antlqully   so  that^  vhen  a  cat  folloved  theb  to  their  hotel  iii  Calro  and 
inelsted  uln  stec^ing  vith  tbem,  thc^  feit  tMs  wa8  qidte  in  keeplng  vlth  tha 
countxy's  hlstozyf  adopted  It  and  took  it  wlth  them  to  ^raiice« 


In  1951^  I  was  Involved  vltb  a  f Ifte^i-^minute  televislon  talk  shov, 
tht  flrst  of  its  kind«  hosted  bvr  Lilli  Falinert  the  actre&s«     Goth  ^abilaes  not 
onJl^  veiy  articula  e  but  reasonabl^  fliaent  In  English  to  loake  intere^ting 
g^ieaitjPid  ^ere  Invlted  to  appear  on  ihe  shov«  rh/y 

ThcDT  vanted  to  talk  about  their  f riend  Jean  Cocteau^  iobtai  wel^knovn 
in  America  for  his  avant-garde  f^lmsMBStlm  tb4n  hiß  vritings^  and  Uie^-n^te»- 
UJPrasraaF^*^  LE  JEUUE  HOMME  ET  LA  MORT  had  first  been  etaged  in  Paris. 

On  the  eve  of  the  shov  I  dropped  ty  at  the  A)^onquin  vith  our  Script 
and  the  firm  adnionition  under  no  circumiBtanceß  to  leam  it  1y  heart«     It  vaa 
nothiag  more  than  a  guideline^  an  approximate  sequence  of  the  various  pointe 

th^    VMMMM^tO   diSCUBS«  >      . /; 

^1^1^)^^^  b— Ti  "Biß^W  ppoiüinent  and  entertaining  guesta  on  tne 
1|^  Lilli  Palmer  Shova^  ll7tJ^0I^•*€i;^  but  nOM  eetAd  even  reiootely  o< 

\dL^  those  two  yotn^g  FpMch  dancers«  ^^ ^^L^  Ct^/\ 

i    p.  The  moment  thig^  entered  the  stiidio  for  the  rim-throvigh^  Jean  seexDed 

to  sfwrk  f  irevorkW' '  *%)bo *  s  hmi^  evexy  Single  menber  of  the  crev  deioanded  to 

V 

knov«  U&ually  ^  thcj^  concentrated  on  their  vork  and  cared  not  in  the  least 
about  the  gues^Sj  wm^f^'^ft^JSimBir  foreigner s  th^r  had  never  heard  about«  but  this 
tiioe  th€[y^  ve:f%  hang  mg  aroimd  the  aet^  vatching^  listening,  fascinated«  It 
w«6  obvioua  that  \Aiether  at  the  vast  Metropolitan  üpera  House  or  in  the  sbäH 
contained  space  of  ihle  televieion  stage  vithout  an  audience#  the  air  seemed 
to  crackle  vith  electric  currents  that  translated  into  instant  exciteoent« 


f  I 


6  c 


«uitiquity   ßo   Uuitj   vht  n  ti  cit  foliov.  d  thew  to  thelr  hotoi  in  Cairu  aud 

lnfc:l6t-d  An  ßtaylue,  vith  thcm^   th  y    feit    tiiis  was  u^ulte  in  ice':*i;iiit>  vith  tha 
CQUiitiy'i.  hißtory,   ndopted  it  and  took  it  v.lth  thtiin  to  -^rance« 


In  r3olj   I  va3  iiivolved  vitli  ü   fifti    n-jniuul.     ttiv  vli^ion   talk  choV| 
th^-    fir^^t  of  its  kind,  hot.trri  ly  Liiü   PmImv^f,   the  aclrt-ös,    (poih  i^abilüi>-t>  not 
oiu^    vt.r>.  tirticuiaC>   Lut  nasonaul/   fiu^.hl  in  i-ntlish   tu  !"i'^^^   im..'  l^^^»t>iilg' 
rrvtiM^v.    inv-Llrci   tu  a^^pcar  on  tli     i;;how« 

Tiity  vtuitcd  to   talk   rbout  thc  ir  f  riuid  ,  Jeini  Cocteau,   ttox -wafak-knovn 
in  Ai:.erica  für  hii>  ßViint-^;6rde  fiiling;}^  gcrsSiT*- Uu.4^hii:  vritings,  and  ^ 


Q^ 


miUbuecCiiii^    ij^  Jii^üi«:-  Iil  ..1  LA  ]'i<>iiT  had  Tir^'-t  ^     n  ütat:^.d  in  Pari;i# 

Ün  tli'    4  V     üf  tiu    ishow  I  droppcd   ty  at  tlie  A4.gonqviin  viih  our  ücript 
anu   tiiL  firiii  ad::ionition  ander  no  circuinstfinces  to  Icarn  it  by  heart*     it  vas 
uuthini;  mortt   tnan  a  guidiiii-   ,    an  approximate   sequcnce  of  tii.    v..riouö  pointe 
thiy   waiitcd    to  diücu^b* 

There  had  been  niaiy   proi.dnent  ana  <:nt  rtaining  guestt>  on   tue  fif ty- 
tv<p  iiiili  r^lia*s,r  UiOVB^  iiv.    tar  on  filiui  bul  non_   couid  c^ven  r«  Kütviy   cojnpar*^ 
vith  tiiüCi    tvo  yoiing  French  d^ncrs» 

1\\Q  rnoiTAnt   th-^y   .  nt^rvd  tiie  ötudio  for   ihfr  run-tiiroughi  Jrm  sr  r-d 
to  spark   firtvorküv-f 
knov»     üt:iu«':.l]y ,   tixi;y  concontrated  on  tht-^ir  vork  anu  carc-.o  not  in  th     leatät 
about  Uie  gut  ste^  irary   of  thom  for^.ignerö   th^   had  nevc;r  hi-iarci  ?  bout.     hut  ttiiü 
tiiiic  thry  wcrPu   hang  ng  around   the  sc-t,  vatching^   li&tcuiniji   fabcinated»     It 
vai^  obvioufci   that  vh^-tiiur  at   Uit;  vatit  lictro^ülitan  ^j;^  ri;   Houb-.    er  in   tiic  üneJLx 
/    c.niaiiu;d   spac^  of  4hiß  t  1  viüion  stage  vithout  an  audi^rnce,    the  air  ;>     rx.d 
tu  cracklt^  with  elcctric  currtntr>   that   traislatea  into  ini>tant  txcit        it, 

* 

I 


I  I 


7  c 


,«>;.  i'.s.od^u^^ 


But  the  run-throiigh  tiirMid  4^ 


Despite  w   vam- 


lng8f  Jean  and  Fixle  had  spent  the  evenlng  leamlng  their  lines;  thecr  vere 
letter  perf ect  but  aounded  so  vooden  and  awkvard  that  the  excltement  diedu^ovn 
replaced  ly  instant  despalr« 


I 


Thecr  realized  qulckiy  that  eoi&ethln^  was  andss« 

"No  good?"  Jean  asked« 

l'hare  was  no  tiine  to  be  tactful —  we  vere  almost  on  the  alr«  We 
urged  them  to  forget  that  dainned  Script  and  in  thelr  ovn  veor  teil  i'illif  and 
the  television  audience  somevhere  in  their  ovn  homes^  what  Vaey   had  described 
to  ine  to  vividljr^  so  sparklingly« 

Yes —  but  ve  had  spoken  in  ^rench^  not  in  JEnglish«»» 

Never  sdnd  that«  Lilli  voiild  help^  should  thc^  diy  up«*« 
They  exchanged  a  few  quiet  words  between  them^ 
/And  then  something  happened«  As  if  •babilee  had  decided  to  risk 

evezy tniAg •  •  •  Vlth  the  same  recklessness^  the  same  mixture  of  wi^biees  and 

utter  discipllne  he  showed  as  a  dancor^  he  threw  himself  into  the  adventure# 

the  unknovn  elwients  of  this  new  eocperience» 

He  Introduced  Jean  Cocteau  ty  reteiling  the  anecdote  of  how 

Diaghilev  had  demanded  of  the  young  poet  to  "astonish  himt"  Then  followed 

the  sUplHng  stoiy  of  how  LE  JüUliE  HOMME  ET  LA  MORT  had  bet^  put  togetatjr 


tal^ 


CO  ^ 


and  vl^  Bach 's  Passacaglia  had  come  to  be  chosan  for  the  music« 

ballet  with 
Cocteau  had  develop€id  the/eveiy  d4ti^  written  for  their  particular 

X   g^ts  and  to  their  bodies.xAThe  Babilees  4«Ki:  re-  ~> 

haeursed  without  ^i^^  Buslp^  and  i^i^kM  yj   counting^  right  lap  to  the  last  dress 

rehearsal«  Af *er.  a  frantic  searQh/for  a  sui table  piece  of  music^Jthen  for 

ajqy  kind  of  music  that  would  talte  ^precisely  seventeen  minutes  the  ballet 

lasted^  on]y  the  Passacaglia  fitted  that  requireroent«  But  the  Babilees  were 


I  I 


7   c 


bui  ihr   ruri-throu^;;!!  turned  into  total  disastor»     i^eipitt    rjy  warn- 
ing&i  J*.cJi  tuul  Pixi<,  had  spent  th«  ©veniug  learniiig  thoir  liiiesj  thcy  vtr^i 
Iv  tt  r  perfect  but   Foxiiid.  d  so  vood  n  and  avkwcird  th&t  the  t^xciten^nt  div^dovn 
T^pluctii}   ty   in;3tiint  despair» 

'ihty   rt;.'lized  nuic.Uy    ihat  öOi,,t  thin^^  waö  aiideb» 

"IJo  tjood?"     J^aii  asked. 


/ 


Ther.  was  no   tii...-  to  be  tactful-—  Vc  verc.  aiinost  üii  tht    air«     We 
urg^d  tiit'xn  to  fori^t  t  that  dainned  Script  and  in  their  üvn  woy   teil  Lilli,   axid 
tlie  telovieion  audi^nce  öomtfvhi,r     in  their  ovn  hoinos,   vhat  tiity  haci  dtLcribüd 
to  Lie  fco  vlvidly,    so  sparklingly. 

iTes —  but  wt   had   spoken  in  i'r^nch,  not  in  Eneiliöh,».» 

Uev^r  mind    thnt»     Lilii  vould  htdp,    ßhoula  thty  dfy   up»»» 
Thcy   exchangf'd  a   few  quiet  wordti  betvp^n  theuii 
^  r-         -    /And  Ihr])  t;oi.>  thint:  h.^pp^  nod»     At.  if  i^aLilee  had  decided  to  risk 

evc'i^^ Uilng •  e .     V;ith  the  t^arav    r«  cklGbt3n<:.se^   thc    sam.:   mixture  of  vildncs«  and 

utt.  r  diccipiine  ht-    ßhov'.d  aü  a  dancer^  he  thr«v  hicöelf  iüto  the  adveiitUTt  ^ 

th     iiiikno>.Ti   .Ir  Clonts  of  thic  nev     ::;;  rL;nce» 

He.  iutroducr:  d  Jt  t.ii  Cocteau  Ly   rt^teiling  th-    anecdote  of  hov 

tia^^hilev  iiad  utr^iiiandt^d  of  üii*  youn^i  pot  t  to   "astouit>Ja  hiiuP'     Th^n  foilovtjd 

the   etartliiib  v-^tory  of  how  LE  Ji.Ul»:    liüMIIiL  LT  LA  WT\T  had  bt-n  put   i.Oi^c.tikr 

and  vbjr  Bacli'^:  Passaca^jüa  had  corje  to  bt    chost;n  for  the  nuyic« 

üaiic  t  vith 
Cocteau  had  developt^d  tiu/evciy  dfbtail  vritten  for  tneir  particuitir 

g^o^s  axid^to   Üieir  bodicß#     ih.    -^abileeii  liad  re- 


t€ilerrE5f 


h*;arsttd  vitJiout  aiy  nujji^c  anci  vorked  ty   couiitint,,   ri^;ht  up  to  th     labt  drt^se 

reh«-ari:al«     Äa»^  il  frantic  ö<-arch  for  a   suitablo  piecc   of  music,   tht  n  for 

thü 
aiy  kind  of  music  that  would  t^^  preciöt^iy   seveiiteen  iidnutce  tn«-  ballet 

löötr.dj  onjy  tiu:-  Paasacaiilia  fittod  that  rtquirtin-.nt«     i>ut  Uits  Babilees  vere 


.xjffigja 


I  I 


"^.. 


«-.8  b 


M, 


so  %jßed.to  ittteir  counting  ^at  ev«ö  durlng  opening  night  "they  ßtlü  danc#d 
l^at.  wi^--*  Plxle  evan  stopped  ho:c.  oars  so  as  not  -^  be  distract6d|;  thy  v#rt 
Vl^ü^fi  sudderüly  relate  to  music«     GradoaaUjr  thciy  ss^^^^^^^^^d  thair  danc« 
with  the  Passacagliai  in  tha  ond  making  it  a  stuniüjag  fusion  of  "point  and 


countarpoint" • 


Just  as  d 


in  the  theatre^  there 


vas  spellbound  silence  in  the  studio  before  eveiyboc^  applauded  wildJjr»  5ii^  ^^I(^ 
partix^u^tAT  ahov  became  the  most  intore^ti^g  of  the  entire  series« 


lears  later^  I  read  in  an  article  ty  Cocteau  that  he  regarded  LE 

JH^Üi^E  HÜMME  ET  LA  MÜRT  as  a  para0irase  of  his  film  LE  SAhd   D»UH  PüETE;  that 

\  widened 
it  was  not  really  a  ballet  but  a  "miiaodraine^  in  vhich  pantoml   "^ 

style  to  that  of  the  dance»  It  vas,  he  wrote,  a  silent  play« 


. ' « I  » <  1 


Its 


But^Jean  ^abilee  arousedjnot  ojxly  with  his  interpretation  of  1^ 
jeune  homme'such  enchantment  that  inai^  of  his/damirers  reriise  even  tAie^  to 
see  ai^  one  eise  in  the  part« 

In  1951,  af ter  a  matinee  in  vhich  Jean  danced  the  BLUEBIRD  PAS  DE 
DEUX,  Igor  Youskevitch,  tJhen  the  leading  danseu^,  noble  of  IflT  American  Ballet 
Theatre,  took  his  young  daughter,  aged  perhaps  5  or  6,  backstage«  Leaving 


Jean's  dresslngroom,ixluMuedxh±B  You 
to  her,  ^I  want  /ou  to  remember  for 


that  70U  have 


oiüyr  Seen  bti^t  -^aiaa^-aet-  the  greatest  dancer  of  rour  time^'^ 


THE  END, 


S  e^^  c 


(>ui 


^% 


ü^p. 


O 


. j-..  PÄ tm .■'■■  ■/ Ji  f#i">iMi '  ^ 


I   I 


3  b 


so  used  to  their  cowiting  th?-t  ev»  n  daring  opening  ni^ht  tli^jr   t^till  dancod 

miüble   suddcn]ly  r^  iaU    to  HiUtiic«     urcdiUilly   th.y  t:yn  ehr  out  «ad  thelr  danc# 
vith  thr.    Piißcacö^lia^  in  tiie  and  i.Mking  it  a  stunnint;  fut^ion  of   ''..'Oint  and 


couxit»  rpoint"* 


Juat  aß  f^hECüB} 


ir_  gjjüL^'" '^    ^  «mj 


8^  izi    thfc  tla:atre,    tii;  re 


vas   sptllbüuiid  i>ilencc  in  lii::   titucio  bcfor^:   ev^iybocy  applaudöd  vilcU^«     x. 

show  b-caine   tru-.  mos!  intern {^ting  of  th       ritiri^   series« 


I<,ari:.  iaUri   I  r..ud  in  an  iirticie  ly   Coct»-au  tlxat  ht.   r  ^ji^rded  LE 

JiiUlviF  KOMME  KT  LA  MÜRT  a^s  a  par?  phrase  of  hi^s  film  Ln  SAhCj  l)»Ui^  PUtlTEi   tii^^t 

\wio»  Utid 
it  vaf3  not  reaUy   <    b&llet  but  a    *'ir!ixnodra»e"   in  Vi^icli  pantori.iin< 


4  I  .«  r.xc 


its 


style  tc   that  of  th# 


It  was,  h^  wroto^  a  silent  piay^i 


BuV^Zan  ^abilet^  arouoed/iot  on]y   vlth  hls  int' rprctation  of  1« 


JHun^:   hoBBaÄ^öUch  vinch:intirt*nt  tiiat  Tnaqr  of  hit  d/.nirers  r  f u; 
ö«:  r   A-iTsy-  on*      1^'    in  thv    p^a^t« 


-.    V 


;;   if^dry   to 


In  VJbl,   aft^  r  a  iietin^-5e  in  vhichi  J^  <•  n  d^nced  the  BLUrüIRJ)  PAS  DE 
DKUX,   Igor  i^ouakrrvitch,   tJntn  tlie  Ir^adint,  dinib^^Jf  noblt*  of  th»-  Amcric^lIi  b-lli..t 
Thaatr#|   took  hii^  yoiuig  daughterj   ag^d  pirrhapü  ü  or  6|   backte:    ^.«     Leaving 
Jt»an'b  dTtüülni^room,  ixisKardixhia  Youskevitch  btnt  down  anc   I  h  aru  hir::  whispor 
to  ht^r,    ''I  wunt  you  to  rt-iiembiT  fcr  tht   r^at  of  your  lift    that  you  hnv^    not 
only   Seen  but  ^so  lu.'.t   Üiv    t,r.:atet>t  danc<.r  of  your  tiue^*' 


THE  nw. 


l  p- 


JEM  BABII.F.F. 


When  American  Ballet  l'heatre  revived  LE  HüiUNE  HüWffi  ET  LA  MORT, 
a  ballet  ly  Jean  Cocteau,  choreographed  ly  Koiancl  i^etit,  with  music  ly  i^ach, 
for  Mikhail  Baiyshnikov,  It  was  inevitabie  that  those  in  tbe  aiidienca,  who 
had  8##n  Jean  ^abilee  In  1961  at  the  Matropolitan  Opera  danc^  reioembered  hlm, 
and  those  vhovere  tooyoung  to  icnow^  heard  the  naioe  axiü  asked^   '^Jiean  i^abilee?*' 

^aiy^hnikov  wi^^illiant  and  the  au  ience  went  wild  over  him, 

l^af»  An  HrrHi^wt^^ffft  pipfin^|^T^^|-^yt^^  tViniigh  Baiyshjaikov  was  brilliaht 
and  the  aiidience  vent  wild  over  hisi^  tiäe  reactlon  to/ babilee  haA  been  yet  wilder 
^WcMtt0  soiDethlng  about  hlo  ±k^  electrif  led  tJM  audlence  to  $i  polnt  rareJy  (,'  ^ 
reached  by     a  perf  omer  In  aiy  medium«    Veiiiw  ^veaius  ox  loaterial  have  been  /^t   /> .    r. 
written  about  the  phaenomenon  that  Babilee  was     titzkixztenftduy  and  it  is  dif-     i^t'A    i 
flcult  to  explain  ai^thlng  as  elusive  as  the  aura  of  a  perscmalllT'—  it  is         '-  /     ^ 


k: 


^ 


< 


A    ^^ 


bouni  to  use  up  such  cUches  of  unlque^  c^nanic,  almost  demoniac*»«     I  thlnk  V4 

seemlngjy  iyt^'^ 

th>^t,  bcp-ond  l^tf/effortless  ac;robatic  feats^  feiö  elevation  that  defied  the       \  ^*^-  ^ 

laws  of  gravity^  it  wae^t^B  inner  tension,     hie  artistic  y\      that  transcended  \^V,/; 

üwxiaxexii^zBfx  the  ballet 's  fra^ie  and  leaped  right  ov«^,  the  footllght&^c^^f^^ 

i        l  on  a  Visit  to  Paris,  itOji^^^^C^  ^m?. 

>'tha  Kummer  of  1949,/!  had  seen  CABMEM  tnxftroiey    aiid,  as  all  thd'  //> 


'  fjJMM    ai^ 


In 


V*-' 


young  actors>  writerst  artists 

and  although  I,  as  well  as  all  ny  friends —  a  group  of  young  French  writers^ 

actors^  artists^  were  excited  by  the  baelletj  so  dlfferent  from  aiythlng  we 


knew  (PeUt 


danced  Jose  then)  the  contlnuoua  refraln  from  uy  friends 


alweys  was^  ^Ah —  but  all  this  is  nothing l  You  must  see  ism  Le  Jeune  homme  et 

picture 
la  V)ovXmmm     Jean  bailee«««*'  &kd  the  pages  of  a  coffae  table  book  of 


•»  I  » * 


of  dancers  ere  flipped  axJkÜL  and  there  it  was^  that  incredivle  photo  of 
^abilee«  his  back  to  the  viiiweri  his  lie&d-  in  profile^  as  he  wgg  hanging  \ 


A...m\\.mL\wmii^''mmsmmtmtmmmm 


«  I 


J:;/i:\  BAi^Il::;!. 


ir 


II 


Wh^n  Arat-ricMi  bail-  t  Thr-stre  rnvived  L'-^  a[i:.üi\E  i^KKZ  :-1   LA  ..UM, 

f-^r  ^  ikhf  ii  i^aiy  shiiiKov,    it  vas   iü^/vitable   t!u  t  tnoi-;-   lii   tue    auditincct,   vno 
hfiG   Seen  J*  ^m  -^aüileti  in  iJbl  ;.t  t\\^  i^'intropoiitria  Op^^^r^^   dfaicf/  rr^irjf".inb«:?rea  hiiu. 


Bfci;^^.vh-:lkov  w^e   briilicriit  find   thr-  au  innc»    veiit  v üc  o\    r  hirn^ 

» 

and   the  fiUaiv^riCtj  vli:.!  vüg  ovtr  hiin,   tn     rv^ction  to  i^^uiiee  ha*  bv  ri  yat  vügvt 

bt^cause  boiu:  LniUt,   ^.üout  him  tiixt  electr.fied  th?  ijUüi-.r,nce   to  a  i^oiiit  rare-iy' 

r'.<  chüc  by      a  ptrfv^rmer  in  axy   :  -uiuxn»     itexuxxx  Ivaüiis  of  r^L  i   riai  ht^vc   üoen 

writ  en  ai^out  th-    piiö^^noriienoa  tixat  babilee  mtü-     iHzfciixzNßjPcd^igR  aac   it  is  dif- 

ficuit  to  expiain  Mything  as  elusivr-  as  tht?  aura  of  u  prrsonf>iity —  it   is 

boiLig   ^^'  ui:     up   tiudi  ciichr..  of  uniqa-,   (^-lunnic,    ai:::o.'j:t  deinoni::.c..#     i    üink 

se^^iiduc^Jy 
tii  t,   beyond  hi^i/t  f  fortleos  hcrobatic  foitjj,  his  eirvstion  tmt  d.  f  ied  tiie 

i^Vc   of  i^rcfvity,    it  wa&  hiiLi  inn«^r  tei.ßion,     nis  •  rtistic   *         tii^t  trMiscended 

iNBxbJicHiily^iaiix   t.:     uuilv  l's  fraint:-  lu^d  iv  ap  •.;  rit>bt  o     r  tne   rootLit^htü« 


on  fi  vi  alt  to  Pc«riv  , 
In  th     b^-uniur-^r  of  lü'lJ,/!  had  se^ni  CAIu.x„^i  inxjdxciey 


anc^  KU  all  the 


ycunt,  £ictv;ri>,  wrii  ro,   &rtiw>tt 

ana  aitiiou^h  I,   ^^s  w.ii  fi;3  all  \\y   frienris —  ;]   ^roup  of  yount,  fV- nch  v^rit' r^:.^ 

actort,   ortiLts,  ver.      xcited  ty   thr  ba^^llut,    so  difft-rait  froni  aiyti.ing  ve 

kiiev   (Petit  hins -if  ci^noid  Joüt^   tüenj   the  conti,  uovu-   r-fr-iiu  fr^m  ly   friencs 

aiw;ys  wit^'i    "Ah —  but  all  thi:.   i;  no•^nln^l     "iou  must  üd-  ibcx»  Le  J^il»-   liOiriü«  t>t 

pictur-; 
xri  r^^rt»,,     Jr^  iaa  -»hilee«»«"     Ääc!    thr«  pa^efc^.  of  ;*   coffee   table  book  of  jcJNifim 


of  dtiiiC;?rü     er«    fiipped 


find  thcr     it  wr  ..,    that  inert -üivl^    photo  of 


-^abilee,  his  back  to  tho  viww-^ri   hi.    hf ;  c   In  profilt-,   at    he  w^     haneiing  fro;ii  a 


JÜAN  bABILEE 


t 


The  audiance  at  the  ^iiy  Center,  watchintj  American  bauet  Theatre's 
openiüfe,  the  evenisg 
l£b  i3:U^ai]M3/had  appiauddd  in  measurad  cadenzas  bat  alter  ^arishxj^kow  had 

b#en  led  av^  over  the  rooftops  of  Paris  in  LE  JEUwE  HO>öffi  ET  LA  MÜRT,   presented 

\ 
for  the  first  tiine  since  läSJ.,  thejy  vent  wild.     /' 

baiy  shnikow '  8  intcif'pretation  had  been  brilliant>  he  was  eveiy  bit 

\ 
the  extraordinaiy  dancer  his  Imputation  had  claimed*     Roland  Petit,  the  choreo- 
grapher,  still  elegant  aß  he  waß  twenty'-five  years  ago,  but  vith  a  siPiall  bald 

\  / 

Spot  nov  on  the  top  of  his  head,\  took  curtain  bovs  with  his  Jeime  Hoinne,  and 

necessaiy —  Jean  Babllee^  for  vhoin  «ean  Cocteau  had  created  the  ballet—  and 


Lhile 


\ 


who  had  glven  It  to  kixx.  ^ahilee  as  a  present-—  and  for  whom  Fetit  had  choreo- 

/         ^  •■   V 

graphed  it  thenj  had  alreaq/  danced  it  all  over  the  world«  ^^ev  xork  had  meant 

nev  territoiy  to  conquer/but  the  role  with  which  to  do  it  had  long  ago  becojiie 

J  ^' 

identified  with  its  fii/st  txkmx  and  up  tö  now  onljr  Interpreter« 

/ 

Invariabi/^  iq^  thoughts  went  back  to  Jean  ^abilee  and  yiy  1  feit 

dwp^^ite  i^ariöhiykow'i  firework's  tiie  yonng  Russian  was/aiies  xiogic  oehiad  his 

\ 

predecessor«*«  ha^  it  beedi  the  times,  then  apd  now,  that  defined  the  differ- 

ence?  Had  it  bee^  Babilee,  his  presence  that  ^lectrified  not  on3y  a  theatre 

audience  but  also  a  television  studio  crew  who  had  no  idea  who  he  was?  And 

I  reiaeinbered   /  whispering  atvübly 

I  wonder  wheth^r  Igor  louskevitch  would  also  have  taken  his  young  daughter, 

/  in  front  of  tiis  dress^groom 

then  about  5  0r  6,  backstage  and,  while  we  werd  wai^ting/for  Babilee  to  get 

'^decent'^  audibjy  tsi±  whisper  to  her,  "I  want  you  tp  remember  that  you  have 
not  oniy  seen  but  alao  \ 

met  the  greateet  dancer  of  your  time««*''   Would  he  have 


I  remeiobered  Igor  Youskevitch,  nitiwg  with  his  young  J^aughter,  then  about 

&  or  6,  wa/lting  with  the  crowd  in  front  of  Babilee 's  dr^ssingroom,  and  audibjy 

whispering  to  her^  ^I  want  you  to  remember  that  you  have  not  ov^   sean  but  also 

taken  his 

met  the  greatest  dancer  of  your  tiine«,."  ^ovHä  Yousiievitch  have  done  the  same 


jKfdi  L/ißlL.'JE 


i(^ 


-» 


Ib.-  i^cidience  ht  the  ^iXy  Ceuter,   vatchiiio  Ai-eric^m  i^.  li^.'t  lueatre  ß 
Ll*^  t^uthlLE3/hhd  appltiUüt;d  in  iDeasured  caüt-uzae  bat  niter  i^ariyfiaiykov  ruid 


utritn  led  av^y  ovr  tii«-^  r^oftü^;^-.  ol    i^ariu  ia  ii-^  Ji-Ud«»^  iJJs.^ 


LA  i-.URT,    ^.Tt^öeiited 


for  thc.:   firiit  tiie  tincf'  1951,   tlu.y  went  wi-ud. 


Baryöhxiixüw'i-   intt?rprf*t6tion  hnd   be^^n  brilliant,  he  wt.8  eveiy   bit 

\  / 

the  «xtraordiaaiy   dancer  hi;j  reputatiüu  had  c-^<  Jcluc-d«     l^iana  l^ietiij   Uu.   choreo- 

gThphtTp   ßtiil   elegant  ae  h*-   vas  tvt  rity-flVi/y».arL  a^iO^   tut  with  a  si  /;  11  üald 

6>.ot  nov  OD   tiie  top  of  h: 


\ 


hfe  hau  uot  buvU  Uu:r«r.   ixi  iJ^l,   if  1  r  /.  luboP  cori\ctiy.     it  h^u.  aot  ut..  u 
iieCr.söaiy— -  J»  an  babilee,   für  \vhoiii  4(^hx\  Cocte/u  had  croateu  tii-  bali-Tii —  and 
vno  had  tji'voii  it  to  kixx  ^r  bii**V  ^e  a  presriit —  aüd   for  vnoKi  Fetit  had  cnoreo- 


t>raph«^^d  it  thuij  had  air«ac(y    d^^tei  it  alx  ovt;r  tht    voria«     A^tv  loric  had  niMUit 
nev  tc-rritoiy   tu  Cv^^nnuer  bul/the  i^sjit  vith  vliiei:  tu  cu   it  had  xuii^,     b^  b-.coije 

\ 

identified  vith  it::.  firwt/faotxr  and\up  tu  nov  oni;^'   intc:rpr?::U.r» 

Inv:;riabjLy ,  ;ty   taou^htß   V0^at  back  tu  JeMi  ^abilee  axiU  vijj/    i  l'rät 

/  \  still 

dr-jß^dte  ^aribhiykow'^^firuVQrk's  tnr- yyui.c,  ^^usüian  vab/jLil«:.^:.  xxjg^   ^c-iiiau  hiü 

predeceösor.  ••     iiad"  it  br-u  thir^  tißHü,  W-n  end  nov,   that  d«  f  med  th*^  uifftr- 

ence?     Had  it  b^fn  Babilee,  his  presence  Vhat  tltctrified  liOt  unly  e   theatre 

r^udi  nee  but  a/bo  a  teievision  t>tudio  crevVwho  had  nu  idea  who  iw.  vaö?     And 
1  rcujeriibered   /  vhis^^-iriiig     audibly 

I   vonder  vh^jlOi^  r  Igor  Youßkevitch  vuuiü  alöuXhavt    takdi  his  youri^,  daue;ni.er| 

/  in  rroi\t  of  hit.  dres.  .ngroon: 

^  or  6, 


thfcti  about 


7 


backöta^e  and,  whil^  vf  ye\.  waitin(;/für  habilee  to  ^^et 


^'dect-int"  /  auaibjy  ±3t±i  vhisper  to  ht^r,    **1  vaut  \o\x  tu  r  -^..r;Ltir  that  you  Im\q 

not  oniy/öeen  bui  aieo 

met  tiia /fc^reatet-t  danccr  of  your  tiicr.*,'^       ^ouidXn-  have 

I  rr:Jii.tri^üer<-?d  Icjor  louskt.vitch,  xxJLtlxg  v>ith  hio  yuUi*b  dauoht':  r,   th^n  about 

5  ur  yt,  waiting  vith  th^  cruwd  in  front  of  i:>abilee*av  ^v^^^ii^hiToom,  and  auaiuiy 

vhibpt.rin^   to  her,    "I  Viint  yuu  to  remt    .    r  that  yuu  havt:  not  ui^  ae 'n  bat  alüo 

taKen  hiö 
met  th<    greatt;t>t  danctrr  of  your  tiüie.#."       woulu  iuuskevitch  havt-   don.:   th^j;  aaiM 


a 


X 


&<;.. 


daughter  backstage  to.£ar4.shiykow  with  the  saiD^  words? 


In  1949,  liy'lng  was  still  veiy  excitlng  and  it  had  not  bothered 

gattlng  / 

me  much  that  n^  plan*  >Vs  Z  hours  lata  ±kxsb± 


at  Le  Bourget  to  drive  im  to  the  countiy  whare  I  was  st^lug —  about  an  hoxjr's 
ride  from  Paris —  w^re  l^isß  casual  about  the  delay«     '^ou  only  missed  the 


opening  night  of  CABMEi^,*^  th^  remarked« 

•'CariDai —  a  ballet?" 


•  Ant 


/ 


••By  Boland  i?etit«  And  there  has  never  been  ar^y'thing  like  it  before-  " 

\  /  bruhni 

Roland  Petit?  I  had  never  heard  the  name  before«  Youskevitch,  i%levslsyf/i<ifar 

\  /        of  the  Paris  Opera 

—  thoae  vere  our  contemporaz;^  I  iiiad  saan  in  America,  ^\XbX$J^  had  aiw€^s  heard 

••Ah —  but  Carmen  is  not  a  classical  ballet —  it's —  a  gestuare 
finished  the  explanation#   ' 


about« 


replaced 

\  / 
A  few  dfiiys  later,  I  saw  the  ballet  and,  like  ev6iy  one  eise  in  Paris, 

was  taken  awa^  vlth  it«  Indeed,  it  was  unlike  a^ything  I  had  ever  seen,  vhether 

/    \ 

classical  or  modern  dance«  It  expressed  eomething  nev,  a  directness,  an  erotic 

freedom,  a  certain  vildness,  that  was  brand  new  to  ua,  the  generation  of  the 

rorU,3.  P^pe  th^,  «..  ^^  .an  ti^th,  T„«,U«-  I  vculan't  ^o«. 

All  over  Paris,  anö  particuliarly  among  njr  friends,  all  young  actors 

and  ariters  and  directors,  Carman  wa(»  discussed«  It  had  its  critics,  of  course, 

but  ^diether  friends  or  foes,  xiSKSü^   th^re  was  the  sentence,  **•««  but  j£f^  it 

can't  be  compared  with  «feiane  homme  becausel"     \ 

The  pages  of  \ 

/4  coffee  table  book  ataaiitxdKBXuai  were  flipped,  dancers,  male  and 

feudale-*-  bf^lets —  and  then,  that  photograph,  Jean  i^abilee,  his  oack  to  the 
^k(cJ.    ;^  \\U^^^'   fro© 

v:iewer,  hanging  mm,  a  pole  in  the  tttdsönr  of  a  garret«   \ 

••This  is  it,"  I  was  told«  "The  »pitosp«  There  is  nothing  like  it 


in  the  dance  of  toda^—  You  must  must  miist  see  him—  " 


X2  0- 


l 


dau(^h\  r  backstage  to  baribhiykov  with  tiie   sai.     wurdt? 


In  lJ4i^|   Ifying  was  Qtill  vt^iy   excitiriij  nnd  it  had  hol  DOtiiered 
oe  iLUch  tXiiL'^  ^  pla:.*':  wfiS  r  hour..  late  ±so<;|pf±  to  Pari«.     Mf  friendi.,  v^ating 

at  U-  Bourjj^t  to  drivt>  nie  to  tiic   couittry   whor-    I  way  ötryiiig —  about  an  hour's 

/ 
ride  froin  FarXö —  vere  less  cassual  ubout  Uie  d<;icy«     "You  ou):/  lidüsed  tiie 

/ 
opeiiiiij^  uitjht  oiV  CAfiMEii,"   thoy   r    .   rK<d» 


•^Cariij  nV-  a  bailt^tV" 


/ 


^^'\y^  IvolaiiX  ^tjtit.     ^And  tht-Pt    iuit?  never  be-  n  ari^)' tiiiiib  ÜK«  it  btforr:—  *' 

/  bruim. 

rvoianu  i^t^tit*^     i  had  xAvtr  bcard  Ui<;   muue  before«     xouökfcvilch,    ---(älevöKy^/^iiar 


about* 


"Ah —  but  QinntA  ii3  not  a  clasüicai  ballet —  it'o —  a  ti^stüre 


replacüd  tjui  fiuisatta   \Xi^  exj^Alanatioxi« 

k  f^jw  dayj  lelerj    I  ö^w  tii^-.  ballet  aad,   liiCe  ev..i7    oia.    .  Itit-j  in  x'arii^, 
wetJ  taken  evay  with  it«     Ind' f.-<Q|\it  v?.ö  unlikp?  ai^ythino  I  had  evr-^r  t;e-n,   vlu-ithor 
cläi:sical  or  modern  dance*     It  expi^^üst*d  sometniiib  xibv,   a  directnt>Sö|   aii  erotic 
fretädom^  a  ccrt&in  vildnüSSi   taat  va\  brana  ucv  to  ut;|   th<    ^s  a  ratiou  of  tii« 
Forti»;;^^,     Pi^rhaps  th»;r^.:  was   sojaetLing  Vkln  to  th'    Twenties —  I  wouldnH  kaov. 

All  over  t^aris,   and  particioli^rly   among  ny   l'riendß,  all  younj  actors 
and  aritürji  anU  dirtiCtori>>   Carman  Vht>  dii^iCUbtSijd«     Xt  iiad  itö   criticü,    oi   uuurüe^ 
but  vliötht^r  frionds  or  foeö,   ußur.lly  tiier^  was  thö  aentencei    "•••  but  oh —  it 


can 


pared  vith  Jeune  honane  becausel" 
^u*-  pa^oü  of 
/A  coffee   tablo   book  «tiöMtxa&iiÄfciiac  w^r     fiipped,   danc.  r.>,   tiial-c   and 

fei:-ajLe—  ballet« —  and  tii^^n,    that  photo^^r.vph^  J^an  baDiiee^  hi3   uack   to    ihe 

from 
vievt^r,  haiibi^ig  ää  ^  pole  in  XX\~    mlddic:  of  a  e>arrc  t« 


"This  11^  it,"   I  was  told.     »'The  ppitonja,     Then.  i^  notnini,  like  it 
in  tht;  dance  of   todäy —     -^ou  nuiit  inut^t  mutit  see  hin — -  •' 


Vöiakevitch  's  , 

i>ol«  in  the/s«tting  of  a  Parieian  attltj  AgarrettJ  • 

\ 

There  vero  the  stories  about  him,   about  his  vlldne3&ibi&  lack  of 

conveiitionality^  hi^  wealth  and  independenca •  His  father  was  a  prominent 

\  /  f^ 

ph^sician,  a  leading  ophthalmologist^  1$  professtaer  ^utinanif«  Hie  siater 

was  a  aurgeon^  bi&  motber  an  artist,  whose  luaiden  nairje  34^1  Patei^ee  had  takan 

as  his  stage  naioe«  His  vife  and  partaevp   Nathaüe  Philippart ^  caled  ^ixie^ 

also  came  from  an  uppsr-class  background,  wlne  grovers  ix  i^ordeaux«//  %«yv\^ 

were  inseparable  and^  wh(wi  not  dancing,  traveied  all  over  the  world««»  '^huN-l—^-'^ 

war§  x>bt  onH^  the  jeunesse  doree  of  Paris  but  great  artists  and  unusuaL 

.rt„ .^=_  .A r.. ../.....  jsiyh^  ■  'i 

t3 


per  ^na^itiea, 'lITieeiiBd*     No  One  ever  menttoned  p^  vhat 


have  bee 


^ 


Babllee's  tragecty^s  he  was  short^  almost  too  short  for  a  danseur  nobles  5  ft  4« 


/ 


\        V 


He  had  danced  L'apres-inidi  d'un  faxme  for  tUjinsk/  because  it  was 

hoped  that  perhaps  bablleei   considered  dosest  in  resembling  iUjinsky^  sii^ht 

spark  a  looment  of  recognition^   bring  llght  into  i^ijinsky^s  night«     B  ut  aa 

ixxsne  f  aune 
immobile  as  everi  i^ijinsky^  watched  the  young  jbonsknoi«—  uaseeingly« 


In  the  sunun^  of  1949  thera  was  no  Chance  of  seeinI;  Le  jeune  hoiome 
et  la  mort  but  in  tkexB]aBn|^e£  1951^  BalleVllieatre  announced  it  f^r  its  x 


spring  season«     -^mmediateJy  f  I  poiighta  ticket 


y 


X' 


the  W£iy  up  in  the  Fainlly 
Circlei  the  top  balcoiy,  at  the  old^ijetropolitan  Opera' House>^  on  3dth  otreet» 

^  \  /^  X  \ 

I  knew  I  would  not  go  backstage  unless  Ihvited^  in  n^r  lirop^sm  upbringing^  and 

/    ,  /  V     \  /      \  \ 

80  I  dropped  Babilee  a  note,  referriiig  to  oxii?,  mutual  friends  in  Paris«  He    \ 

proiDptljT  calied  ^d  asked  me  to  his  and  l^ixie's  dressingroom  after  the  premierei 


\  «•iiiilMitilfci 


^ 


Whtiki?vitch*s 


../ 


'Ihere  va^rc   Uie   stories  about  him,   about  hiü  vi^dncjjbjhit;  xack  of 

Cünventionalityi  his\^alth  and  independexico^     His  fatirfer  Vi::;  a  i^roininent 

^iysician,  a  ieading  opht^aliüologist,  le  prüfesbUeiy^utiriannc     hiß  aister 

M9lS  a  6urü<'0n,  hitj  mother  aivvartist^  vhose  naidez/naiie  Jean  ^abilee  had  taken 

as  his  staije  najne«     His  vife  a^d  partnePi  i^iatl^/lie  Philippart ,   caJbd  ?ixie, 

also  casm  frorc  an  upp'-^r-clasü  bÄLckgrourid,  vih-    f^rover.s  ix  i^^ordeeua«//     Th^ 

wert   iiiiöi^parable  and,  vhea  not  doiiciiit;,   travc>led  all  over  the  world»«.      ^h'jy 

wen:*  iiot  onl^    th'.-  jeutn^-sse  dorec^  oV  Paris  but  ^reat  artists  bx\C  vinusiuil 

\      / 

pfcT  onaiitios,   it  öe^mtd»     No  one  e\tr  Dienttoned  of  vhat  initjht  havr    been 
Babiltje^b  trat^ecbrl     he  Vhb  shorti   als^pst  too   short  for  a  dans^ur  noble:   £  ft  4» 


He  had  danced  L'apres-iiiidi  d\un  faune  für  iUjinsisy  becauöe  it  vas 

hop^d  that  pernapö  babiiee,   coiiaidered  cijosttit  in  resi^inoling  .^ijlnbky,  nä^nt 

/  \ 

r  \ 

spark  a  rrjomt^nt  of  rccoguitioni    irint,  lightXinto  idjii*;ji>y 'ü  nx^^nt^     h  ut  as 

^  \    fiducsKX  faune 

immobile  as  everi   Wijinsky  vatched  the  yoiinA  i^jaöustawus —  Ulise^iingiy» 

/  \ 

In  the  sUBsner  of  l^AJ  th^rri^  was  noXchance  of  nmming  Lm  j»iur;e  hoxijne 

tocntk  \ 

et  la  inort  but  in  tkaxzjiisxa^zflf  IJH,  ballet  'ih\atrd  annoiuicud  it  i^r  its  x 

/  \ 

spring  seauon«     ^jmedU\ iJaly ,   I  boughta  ticket—  ^^ll   t.he  vny  up  in  tha  Fairliy 
Circle,   the  top  bfilcory/,   at  the  oid  Metropolitan  Op^a  Houöe>i  ori  3jth  ^tr«;tit« 
I  knev  I  Vüulci  not  tjo  nackstage  unlcss  invitf^di   in  n^  \urop«ian  up^rin^ixife,  and 
eo  1  droppec  b^ibilee  al  not^i   referring  to  oui-  mutual  fri»  fuijs  in  Paris^     Ha 
proniptly  called  and  asked  mt  to  his  and  Pixie's  drestingrooi^  afttr  the  pr^init^re. 


I  I 


\  hr5  dawa^fri  a  few  llnes  to  babilee«  referrlpe  to  mutual  xriends 


in  Paris  ^-«id^e  had  called  at  once^  Inviting  n«  to 

/ 


■^      1"^  • 


»•  •«   1 .1   ••  •• 


meet  htm  and 


\>ixle  in  th«ir  dressingroom  efter  the  perforuiance»  It  was  a  rather  t^pical 


/ 


gastursi  aß  it  turned  out*    H^  was  iimenseiy  curious' and  I  vas  the  only  person 

^ ~  f\      j^^  couidnH  have 

vho  had  vrltt^n  hlm^  tk  h^  waht^d  to  nuiet  I^ev  Yorker 8 f  t^ttctrsSlODt 
cared  less  :idBaDit  that  ve  knmt 
^4jf^  the  BBBiö  people  tli  Fftfls  -    some  of  the  eame  people  In  Paris« 


ter 


that  first  brief 


encoixnter  in  that  jocob  I  becaioef  as 


Pixie  called  it^   "oxir  friend  in  i'ew  lork".   • 

'^{^.'^^u\t    televi  sion 

At  the  tine^  I  vaa  involved  with  tiiexlhiil  a/^talk  shov —  the  fir&t 

Both  habilees  spoke  £nglish 
of  its  kind —    hoeted  tg-  Lilii  Paliaer*a*dx»»7i1nei>eattjrtaiar7.iBKiieiziie  fairJjr 


well>  and 


in  ha 


ve  of ten  had  f oreign 


giiestst 


we  invited 


U 


ttW<^     spoke 


Ue  often  had  foreign  gueeta  and  JTnmedlateJy  invited  the  babllees^ 

\  on  Ihe 

falr^  weil«     ^^v>#&  ti^e  oixjiy  tlxoe  th^^  nave  ever  appeared  n  J.ive/ Aioerican 


i^ngliah 


ieln±i±eB9  tube«^ 


/ 


4 

/ 


As  vas  oiür  custom^  I  dii&cuaeed  vith  the  baileea  vhat  \Am  vanted 
/        \  /  j  \  iie  jeiuie  homdie 

to  talk  about-—  Jean  Qocteau  and  the  iinuaual  vcqf  ihexbxeÜBi  had  coJne  to 

drafted  the\  /  j  \       /    redone         '   \ 

be  done —  «zeteocait  m  Script  >miGh  th^i  vas  appro\ad  or  not  ly  Lllllk 

/  \      /  f  y  /        \ 

Ihe  Babilees  Vianted  to  talk  about  Jean  C^teau  and  the  unu^iial  ve^^ 

/  A  /  /    \  /  \ 

Le  jeune  hoiaioe  had  baen  ftre^ted;  I  reioeiaber  the  evenipg  I  brought  them  our 

/   .     .  /   \        !    ^        \     /     ,    \ 

jy  use  it  as 


provisional  Script  and  vamed  them*  not  to  learn  it  bui  simp. 

/        /      \    '   !       /      \   7 


t 


guidüne— ^  thce^  shpuXd  speak  spotaneousljr  and  hever  mlndVif  there  were  errors 

/  /  \  «  /  X  V 

in  JSnglish.     If  thi^  dried  up— *  l»lllt  had  co^siderable  e^p^ience  in  such 

^  /  \ 

cases  and  vould  eai3/  thav  them  a^ain« 

Tes^  gres —  th^  understood«««/  vere 

Of  t^e  62  shovs  \  ^.    in  that  series^         vith  soioe  prett^ 

A  üi/i/illi  Palmar  did  52  shovs^  live  and  on  f  iim,  s&kvtztkarazxaxzxei 

\ 
pponinent  and  entertaining  personallties  of  the  entertainment  vorld# 

1 


I  I 


s    ^ 


I  ru.d  (.iroppcd  a  fwv  iiiieü  to  ^huilv^  ,   rcferriat»  tu  inatoal  fri^nd£> 

in  Paris  aiid  he  had  Cf:lled  at  once,   invitixi^  M  to  kixxxxsbckxx  Baet  hiia  and 

pixie  in  tiieir  aret>t>inyroom  aftt-r  tir.-  purforiüance«     It  was  a  rath  .r  Vpical 

get-ture^  ac  it  turned  out»     Ht*  wks  iinmen^>-.Ior   curious  and  I  waü  tli     only  ^röon 

he  couiui.H  huve 
who  had  written  him,  ik  he  vanted  to  nie':i't  i^ev  Yorkers j   txmt  v     kxui  knev  DO\m 
cartrc  li-L^i-  xJDOKJt  tnat  w;j  iUitiV 
of  Ui<     bcHi...    p-.opx:.   in  Pariü       some  of  the  eanie  peoplt'   in  Pariü» 

After 

jtxjctK   that  fir.t  brief  nadÜcn  encounter  in   that  r.ob  I  b.-.criJNlt  as 


Fixir:  caiied  it|  ''our  friend  in  ^^t  w  ^ork*'„ 

tclt Vision 
At  tiie    tiniei    i  Wiiü  involved  vith  UondiilJL  a/talk  shov^—   tnt;   firt-t 

i)üOi  i^£.üiieet.   spoke  i^n^iloh 
of  itsii  kind —    hostt^d  uy  ^ilii  P^.Lr.or«aHt2xBf3^ziaBxea.iKiÄi7Li:ÄtoA:ijtßÄzia  fiSrly 


weil,   and  since  Vi    öftren  had  for  ign  t^ue^tsi   w^    invitt!d 


ö^ük^ 


Wt-  ofttn  had  furei^n  ^uests  and  iiniiiediateiy    i;ivitea  ti^ie  Labilies, 

On     tiit:, 

fairo^'   weil»     It  waa   liie  onl^    tiiuo  tii^y  iiave  ev^r  appeared  m  xivty  iU4u;rican 


Uioiiöh 


täkixs±£±c^n2  tube« 

Ag  vas  our  cu^ton,   I  discusöec  with  tne  beilfeeö  what  tsiiy  Wf.nted 

Le    jeUnc    hoir: 

tu  taik  about —  Je^n  Cocteau  and  Lli<,  unuauai  Vcy   tiiExbEaüxt  had  coz-     to 

drafted  the  redone 

be  done —  KroiexOÄt  x  t>cript  which  tn.:n  vas  appro     d  er  not  ty  Lixii, 

'Ihr  BabiieeB  vanted  to  t:-.lk  about  Jv.^n  Cocteau  and   th.    unm^uai  v'sy 

u>.  joun*,  hoinuie  had  ütj.n  cr««t0d;   I  ramember  thtj  evriiin^^  I  orout^ht  th^vn  our 

proviüional  ücript  and  vamed  thcm^  noL  to  Icarn  it  but  L'ii.ip];/'   us»:.  it  as  a 

t^uicÜLint —  tiuy   snpuiu  sprü-k  ö^otan^our^ly  and  n       r  iriid  if  thc^r     v,erc  trrors 

in  i  nglish»      Ii    tnf.y   dri-.a  up —  Lilii  h^'d  considerabi».     .>pcri»:nc^  in  oucn 

caöeö  and  vouid  eaiJ/   thav/  th..;ii  a^ain« 

Te6|  yt:ö~  thti5y  unds  rbiood*.«  wtru 

Of    Liie  bi:   t>howi»  in   tiiat   bt.ricß,  wiüi   box.v    px'«..tty 

xV^-'iüi  Paliuer  diu  b?  bhovt^,   livtt  anc  on  fiim,   iibutztfaÄrxzxüxzÄat 

ttxßjuixixiifiuais  ppoLjiutiit  ana  entcrtitinin^^  i.erbonhiitiet^  of  thur  untartainiZit^nt  woridr 


<Ql 


•i; 


"^B  spent  maiy  houre  together,  often  in  their  dressingroom,  after 

a  Performance  or  betveen  matlnees  and  evenlnggUl  remember  fiabllees  fxuy  at 

Bluebird^ 
tba  condixctort  vho  had  been  too  slow  for  täe/^ab  de  Deiix«     I  tried  to  ft[^B_ 

hJjQi  äoaxtr-  hov  vcgs^JULittttW^  p^cgibie  :Sx>  stc^  ae  long  in  the  alr  as  1 


*^#ath-control^ "  he  sald«     •TTou  hold  your  breath  until  you  want  to  come  dovn 


^ 


again*#«*  Ha  kept  ranting  against  the  condiictor<{il  ^'^ut  the  audience  adored 
It  aiQrvay^"  I  trled  to  reasaure  hlm«^^  ^The  audiencel  Uho  cares  about  the 


audience?  I  dance 

be  pleasedl* 


for  ngrselfl  It's  I  who  must 


iind  he  sat  on  the  floor  of  the  dressingroom^  laausaadef  his  <iye- 
brov5  dravn  together^  bareljr  civil  to  the  never-ending  streaB  of  visitors« 

One  evening>  after  ve  hsd^^öätdinneri  ai^etly  in  the  small^  unpre«* 
tentious  re^)i«Brant  opposite  the  atage  entrance  of  the  old  Met  on  5äth  ^treet^ 
ve  stroUed  doMi  Broadve^y  tovards  T^isats   Square«  ä  tt^fiX^jfd£^^^ jm  Wt 


all  we  coüld  s^ee  vae  the  den— -cji  eed 


A  dense  crovd  was  coiled  around  what 


ve  aasumed  to  be  a  f ight#  Vithin  a  second,  babil4e  had  plunged  into  it^ 
to  Fixie*s  deapair«  She  ali^giHir  voxried  about  hinu  ^he  corfjgted^  but  It  waa 


ixopossible  to  hold  hin  back —  he  alwegra  had  to  be  in  the  thick  of  evezything« 

Ve  vere  vaiting  fo^  hiui  ndt  so  patientJy«^«  \il'inalJy^  the  pollce 
brokt^  up  Üie  cröwd  aiid  Babilee  joined  us  again,  veiy  \ips*it«  "Thcjy  juet  hit 


l 


thenii"  he  said^^in  the  stomach —  thcpr  just  knocked  them  out —  tvo  young  blacks«««^ 


iek^' 


X 


tlik 


e  fCxir       I 


Ut  took  hin  a  long  time  to  accept  that  tne  pol4ce> 'vhom 
Pari sianSf  had  actuai:^  used  force««« 

And  yet,  he  was  fascinated  ty  force«  He  collected  knives  and  öwords, 
he  was  a  passionate  ^buHf  ight>  af  f icionado  and  veiy  knowledgeable  eBout  them 
but  he  was  equaUiy  knowledgeable  about  ancient  Sgypt^  about  art^  music««« 


4     ©^ 


We  öpexit  laaiy  hour^s   tOe^eth.r,  uft,..  in  tiieir  dr«süin{;,rooiii|  after 

a  ptrfoniance  or  bctv.   n  Jiiatiuu^ö  aim  tVvnin^j   I  r  .    uiü.  r  ür.-iiC.io  fuiy   ^t 

BlUfLiird 
tlie  conriuctor,  vlio  h&U  üu  in  too   ;ulov  für   Uh/^at  cI     Deux,     I  tri  c    to   a.lm 

hXi>.  düv.'n~  hov  vai.    iL  hiiinaiUy   pos.:ibli    to  i^tiy  as  lou^-.  in  thü  alr  a^  he  did'i 

"breath-coiitrol,**  hc   said»     "iou  nolö  your  br  i^tii  a  itii  you  vaut   to  cüjuö  gov-u 

a^iain,.«"     He  kei^t  rantiui^  a^aiii^t  thc^  concuctor,     "i^ut  the  auuiLiict;  adored 

it  aryv^yi*'  I  tritd  to  roasiurt  hliß,     "'Ih..  audieiict^     ^^lio  Cc^ir  ii:  tbout  the 

euditiiice?     I  dnnce  for  ny   ovri  batisftiCtion —  for  iTyscifl     It'i;  I  Vvho  inust 

btt  pluastdl" 

And  he  öiat  on   thr   floor  of  th     drt:;^cingroom|  ::.hUL'.öade^   hi^:  ey<-i- 
brovs  drevu  tocetht.Ti   barviy   civil  to   th«    iitiV  r-^'näing  stxeai^!  of  visitors» 

Qm  evt^iiiii£,   af  tv  r  w     had  had  dimur,   inoötiy  ia  Üi^i   üj.  ..il,    uü^t-v- 
tentious  r«^^^ fetaar^int  opposit«.    Uit    suit^c  ♦-ntrcince  of  th.    oid  Met  on  3jth  »^tr  •■  t| 
V©  strollnd  düvn  i^roadwejy    towards  Times  ücjUari.*     A  fib^t  was  feoiug  on  but 


all  wc  couid  See  was  th^  donse  cx^wwd 


A  denst-  crowd  w<x  coiied  arovuiü  viiut 


ve  aseuü         to  ba  a  figbt«     within  a  sccond,  i-abileo-  hau  piun^^d  iuto  it> 

to  rixi'.  'wi  de.spair«     ühe  alwayt  vorried  about  hiüii    sno  coi.fidcd|    but  it  vab 

ii..puö{>ible   to  hold  hira  Dack-—  hk^  elwriy^  had  to  br  in  tiie    tiiicx  of  üV^^iy  tidiife# 

Wti  Vcr^j  waitiiit,  i^^r  him^  not  iso  patient^.  •  •  •     I'inaliy,    lii     police 

brok  •;  up  the  crovd  and  Babilet.  join-u.  \xs  a^;  in,   v«iy  upa-  t,      "Th;:y    juiit  hit 

them, "  he  Said,  "in  the  stomach —  th.ry  juf?t  knockeü   thrin  out —   Lvo  yourit;  blackß.t," 

It  toük  iiim  a  lon^^  tia«  to  acc^pt  Uu  t  thr   poiic^ ,   vho.]i  h.-  hetod,   ÜKa  a-1 

Paritiians,   ha«^  actu-lly  us  ci   force..». 

Ana  y   t,  he  way  faGcinat^^^d  ty  force»     He  collected  knives  and  uwords, 

of 
ha  uma  a  paaaionate  bulifit'.ht  afficionaao  axid  v.  r/   knowlocgeablt-   öfout.  üaom 

and 

but  he  was  aqualily  knovli.dgtabici  about  rucii?nt  ''gypt,   cbout  art^  jnubic.«» 


/ 


^ 


Jean  Coctoau  and  tha 


th^ir 
For  jd^^elevi^ion  appeararice  th\d  Bab 

/ 


wanted  to  taik  about 


SLUaiK 


Evan  thoxigh  i'ixie  could  not  rastrain  him  whan  ha  joinad  a  crowd, 
thara  was  an  artistlc 
vhanavar  itzwazxziiiiasliBBxai:   quastlon  or  probl^a^  ha  voxild  discuss  it  in 

averjr  dataiJL  and  often  defarrad  to  her«  Thalrs  vas^  certaln}/  at  that  tima^ 

a  ¥M3^  harxDo^ious  relationshlp  and^  It  saamad^  aspaclall^  in  professional 

aatters>  thair  rasponsas  wera  axtraordinarily  tunad  to  one  another« 

For  taelr  talavision  appaarance  thc^y^  vanted  to  talk  about  Jaan 

Coctaau —  with  Babilae  dolng  most  of  the  talking —  and  U»il  tha  lanuaual  way 


i^ 


la  jeiine  hojBime  et  la  mort  had  be^^n  dona« 

The  avaning  bafora  the  show  I  broii^tit  thein 

Script  vith  tha  stam  admonltion  not  tP  laanx  it  >yi  haagt^ywupr  btrt-^me^  uaa 

ü^  as  a  gTiidallnaj^  a^Bnou±laB  tha  approxlmata  saquance  of  tha  varioiis  points 

The)/  bfli^  to  speak  spontaüeouigr  and  naver  mind  thair  iiinglish«— 
th^  wantad  to  dlscuss« .  it zktttztaxlmzAQ HazayaH t>ii wian a jy xancUhl tt ti^ zytozkai 

,/tH.W^        x^    liilll  \  or 

halp  thwi  along^/in  casa 


a  Xat  of 


th^  driad  up  or  vant  ^ff  on  a  tangant^ 


wonld 


«fkan^sKuzmziipcznHffttaraMgkzhafaxaxtkaxBl^ 

and  antartaining 
Thara  had  been  plantar  of  promlnant/guasts  ftn  tha  LiJLli  Palmar  l^how     . 
in  that  sariae  of  62  shows,  live  or  an  film,  (U^^  /^  ^^  *  y 

but  of  tha  52  live  nona  was  lika  that  vi-Ui  tW  ( 

Bfthntaa^-  Siuvczxaxaxmxswuudtifli  'l'he  noinant  thc^r  came  into  tha  studio  for  tha 

run-through,  Jaan  ^y^  saamad  to  spark  firavorks,     **V/ho  is  ha?*^  avaxy  singla 

mamber  of  tha  craw  vantad  to  knov«     üsnaUy^  th^  couldnH  cara  lass  who  tha 

guasts  v%Te  and  eAmpJ^  concantratad  on  thair  Jobs«     ^Mv  wara  hanging  around 

the  setj  watching^  fascinated«     Obviousi^^  whether  it  was  tha  Metropolitan 

contained  wlShout  ürrtoidi^ice 

Üpera  housa  andianca  or  tha  sisall  space  of  a  talavision  staga  (thare  was  nö^ 

aaccapt  for  ^tljosa  inniaäiately^iliyoivad  wi  th  ^thiFtSSo^,  tha  air  saemad 


i » <  1 1  •( 


>Jr!Lt"^ 


./^ 


<l 


y 


txxe/ir 

For  kbc  telt^viüion  appearaiice  th. 


bnbilööö  va:;t«u   t,ü    tuik  about 


Jtan  toctoau  iuici   Üih 


»c.i  Uioutih  i^ixit    couici   aot  PcGtr^in  liiin  vhen  ht>  joiaed  a  crovd, 
thtriPi:^.  vtiß  an  artij.:1..ic 
\vhenever  xizKüxza:zB|UKaiiaBxo£       que&tion  or  problen,  he  ^.ouici  üiiixu&b  it  in 

evtjy   Qt:i6iii  ano  oltun  c^.furred  to  hr^r«     Theiry  w-is,   certaialy,  at  th^.t  tiiiie^ 

a  vei>    hannouiouti  rtdutiO:.t>hip  aiui,   it  öeeined,  ö^peciall^  in  ^rul\o»iioual 

matterb^   tht.ir  rt^^ponses  wert  extraorriinariiy   tuiiea  to  oiie  anoth  r» 

i'or  their  "»^elovision  app^^araiiCt-  tinrjy  wanttiU  Lo  taik  aoout  Jejn 
Cocteau —  with  i:>al'iiec   doiujj  itübt  of   th..   taxkiiiü —  auu  t-  11  the   uiiUt.iuJ.  \i\sy 
ie  j:-iUiie  nomine  ^X  ia  mort  had  be.  n  done# 

The  evenixig  b  foro  th^   shov  I  brout:;hv.  tii<:Ji/i  o\ir  draft  of  Uivf  mxrxgx 

fcicript  wiüi  tna  Stern  adii;0:iition  not  to  learn  it  ty  nearopcijoQ^L   üuL  juüt  uöä 

it  at)  a  t>^iüt.äin6|  Ä>.t:iiaa:aiiüa   Ihe  approxiinato  ••quenc^-  of  the  variou:.  poiiits 

Tüej'    ha<:   to   öpt>rik  aponta.eou^   and  ne     r  miiid  tnvir  :.ii^li&h— 
thfry  Wönted  to  dij:>cuös»     i%z)si2:±zijAy^iL'zA^'ViiLy.zT^^ 

Lilli  or 

a  lot  of  e^perience  vith  difficuit  (jutats,  Wüiud  julkxjt  help  thaxi:  alongi/ia  cage 

tht.y  drit;d  up  or  w^jit  off  on  a  taij^^ij^t^ 

zTti]S;rx2>Ka>Lr;&zri3gff:zrun#itbrQU^zkzfGraxt^ 

and     nttrtiäning 
Ther^.  had  bo.  n  plr^nty   of  pror:inHnt/ii;U6ötß  ön   tne  Liili  r^aliaer  w>how 
in  that  seriee  of  62  shovs,  liv:    or  en  filn:, 
but  of  tnt  ö;:  live  nonv.:  wa^.  likd  that  vitn  thö 

Babileeö«     'i'kqyczMexexaxaKßBaliaaa  '^Ihe  nioriont  th  y  cajUd  into   the  stuciio  for  tha 

run-tnrouohi  Jean  i^daLlee  ßeemed  to  spai'k  firiworKS«     "Wno  is  he*^"  eveiy   öingia 

ineinbcir  of  the  crew  vanted   to  k^ov«      Üi:jUH^.ii^^    th*y    couidnH  car..  leüß  vno  tli# 

csUci:>ti>  vare  ano  fc;il;:/-pjy    conc  ntrattu)  on  their  Jobs»     Th^  were  han^ing  around 

the  set|  vatching,   faöcinatfd«     ÜLviously,  whether  it  w^ö  tho  MetropoliUui 

ConUiin<:;d  vvitnout  an  aucli^nce 

OpL.ra  hout>u  auciuice  or  the  eiiall  Space  of  a  television   stage   ^tner»    vxl.  hq 

-KXäÖL-ssKSOKk  exctipt  for  thost:   iruijedlateJy   involved  vith  the;  shov,    tiit>  air  ceemed 


t  i 


to  crackld  vlth  electrlciV  tbat  translated  Into  In&tant  excitement« 

IiÜt|  th9  run*through  was  Ji  dlsaster«  Despite  w   wamings^  jean 
and  Plxie  jbad  learned/ihax^ESBifcfc  thair  Hnes  ky  hsartf  In  fact,  Vav   were 


^  <>\ 


i 


lett«r  perfect*  Äa  |h^  sounded  wooden  and  awkvard  and  the  excit^foent 


/. 


died  dovn^  replaced  ly  instant  despalr« 

somathing  had,go|\e  vrong*  [jj[^an  asked^/No  goodlT  ^iÄ^^TTBre  as^tactful  «T —   ^-n5^- 
possible«     V/aa  l'b  not^waibia  Ito  forgat  that  damn^  ßcrlpt  ana  sdanpay  teil 


t£>.reallza  at  once  that  ,     fi  . 


aa  l'b  not^oaaibia  l^o  forgat  that  damn^d  script  anaadaBpäy  teil  cl(^  ^j 

unsaen  television     ^  ^6^ 


Lilll~  and  th^y^audienca  —  what  th^^  had  told  ma  so  vividJiy,  so  spcurklingiy  ?     /^ 

Uever  xnlnd  thaat«     LlUi  would  help^  If  thcor  drldd  up«««  X^U^^ 


ä£    ^as«-*  but  ve  had  spokan  In  ^'ranch^  aud  now  It  was  Eiiglish«»« 


Änd  then  soiaethi  ng  happened —  I  can  onJ^  describe  It  b,>^  If  Babilea 

declded  to  risk  avexythlng —  and  vlth  the  same  racklessness^   the  same  mixtura 

ha  had:  showiCLWi  a  dancer 
of  vlldness  and  utter  dlsclpllnaf/ha  thrav  himself  into  the  advanturai   tha 

elements 
unknovn/of  his  on]^  Aiuerican  talevision  showf  iifci  tBBXJgyaatttagyiagxfiaetaKax 


^ 


X 


There  was  the  stozy  of  Diaghftlay  ad 


•^astonish  himP 


"Vjki 


Ivttlhg 


the  young"^ctaau  to 


rösi 


Ha  introducad    Jaan  Coctaau  ty  raeuziag  j^IhI.Ihü  thn  fanriup  ntiiorjr  \)x^ 
|kowJDiagbilav  had  toäflkthe  yomg  poat  to  "astonish  mal"     And  then  c^Mutha     -^   ^ 

aiozy  of  hov  La  jeuna  hoxrsne  et  la  mort  had  baen  put  togathar^  and 
wty  Bach 's  Passacaglla    in  C  ndnor  caiDe  to  be  chosen  as  tixe  music« 

VeGbly  moagteBäy-^nouah»  Vha  BakiXaas  had  rehearsad  tha  exitire  ballet 
without  ary  arusic  whatevar«     There  simp]y  was  nona#  ^They  wäre  working  ly   coimting 
right  up  to  the  last  dress  rehaarsal.     Maanwhlle^  JA- had  t^mad  out  that  tha 
ballet  lastad  17  loinutesj  WßA  a  frantic  search  had  begun  for  a  place  of  music^^ci^ 
/ary  kind  of  music  f inaliy  •  that  viMfat*r4ake  pracisely  17  loinutes  in  be  iiwfmined 
and  the  onjy  muaic  to  fit  that  reqxiirement  was  the  Passacaglial     Indeed,  during 

opening  night  the  Babilees  were  so  used  to  counting  instead  o^  wopkintr  vithi     ^-^^  ^ 

A 


6 


^ 


and  Pixic  had  leamt  d  thexaKiipi;  tiieir     ainn^tj  ty  heart.   In  fact,   ti^-y  wt^ro 
ietttT  ,uerf<  et»     .^ut  tu'.y   tjoxmöed  voüd-n  and  avkward  aiio  tn-     axciteiiv^nt 
dlt^d  düvii,   r.'plfictid  ly   iiit>tai:t  dospair» 

Thty  vrT.  I   of  ccur:;.  ,    sensitive  enough  to  r  'liz     at  onct    xhht 


•oiüvtliixi^^  had  feOb^    Mvoug^     J<  iii  aükt  d,    ^'Wo  ^'Oud?"      mi    v^r^.    ai^  thctiui  a 


a 


pOü:::ibie0      Wat;  it  uot  poöüil'i.:    tu  for^i  t   that  dai.uiud   scripL  and  tsir.pjy    teil 

unsown  tol^'V^^:iün 
Liili —  and   tli*yauditnce  ~  vh^t   they   had.  toic  lx    jso  viviaiy,    i^o   sparkiiiif^ly*^ 

ibt    i^t;t> —  but  v<-  nad  ^poKeu  iii  iivach,    ano  uov  it  wab  ü^nbliüh»*» 


i^eVcT  mind  thi:at*     Lilii  voiLd  h.-lp,   ii    liicy   arictu  up. 


•  • 


And  th'.n  soinr  thin^  happ- ned —  I  cnn  otily    ueticrib^-;  it  ai^   if  Babiioe 

decided  to  risk  evciything-^  and  vixh  tn-    saii.    rt  ckl^-bünötiis,   tne  saine  ciixturt-; 

he  nad  tihov/n  ab  a  (xuiv'.r 
of  wildnutiö  lULQ  utt..r  Qißcipxint.,/htj  tiirov  hiü-t..  if  into   Üio  aavtüiturc,   the 

i^'li.mentß 
Uiiknovrn/of  his  only  A.    rican  tcl.  vx:hiion  ühov,  tjdLstKipiapwisiagzafxfeftftßt'/icux 

'^lier     w^u.7  the.  ötciy  of  Dia^^l^itlev  ndxiiiinj;  thi^  younj^  tocter^u  to 

li    lutro^uctd     J     rj  Coctvau  iy   r  cxziing  Trlatiu^  tht-  faj^ous  Jitoiy 

hov  riayliii^v  h.vd  told  Th-  yoiing  po<et  to   ''a^tonii^h  l.cI"     And  tiKU  ctiine  the 

ftEtonishing  ttoiy  of  how  L.    j   une  homme  et  la  mort  haa  b^jon  piit  togcitntr»  and 

viy  bach'L  Päss:i^xat;lia     in  C  inix.or  a    '.-  to   b     cho^  n  aß   UiL  u^Uüic» 

¥eii,   aniazintil^'    t^nou^h,    ihr  batil'    s  had  rehearüed  tno  entir»-  bf-lirst 

\ 
without  ar^  music  vhf-tever«     Th^rc   ütmpJy  wuö  nono*     They'  wert    working  Ij/   counting 

riöhi  up  tu   the  la..t  dr-.o;^  r*h'.  irreal«     w,;.)ivhlle^  it  had  turnod  out  tnat  th# 

balitit  laL.ttd  i7  -^inutt.|   and  a  fnaitic  titarch  had  btibUii  1.  r  a  ^.i^?Ct'  of  inutsic, 

ary    kinc  of  muiiic  fin^^illy,    that  wouid  t^k.    p^^  Ciöt^ly  17     inutet   to  b     ^t-rforined 


a 


nd   ths    oniy   luu^i-ic  to   fil    ihat  requir^öent  vaa   Ui     Fat^bacf.t.iial     Inoe^d,   uuilntj 


opt-jidn^j  ni^ht  tht?  babil^-  :    vt-T     so  uync;d   to  cuutitinb  int^t  aa  of  vorkii-t.,  vith 


M 


muslc  that  thcjy^  kapt  on  coimting  rlgbt  througb  tha  premldre- 


^ 


*\. 


-.  ^ 


th€|^  wara^ 


unable  to  haar  tha  music,  «b  Babllae  '^'*^  *^      * 


Ha  bald  all  of  us  spallbound  and  that  particular  talk  8hov  becama 

tkJKamBtzmmaauutsüL   one  of  the  most  succassful  of  tha  antlro  sariea« 

LataPf  I  raad  in  an  artlcXa^^  Coctaau  that  h»  ^imikwAz 
y^      \  /         c^aiobrated   ,/" 

comparad  tha  ballat  witi  tha  assahca  of  his/film  Le^-SAliG  Dȟi^  POET 

X  \  /  V         ^^ 

not  vant  It  to  ba  consldared  a  ballat  in  tha  elaßsic  senaa  but  a 


^ut  did 


^aars  latar^  I  raad  in  an  article  fcQr  Coctaau  that  ha  considarad 
La  jaune  honsie  et  la  icort  a  paraphrasa  of  his  film  La  sang  d'voi  poata*—  and 
that  it  was  not  raaU^  a  ballat  but  a  "mlmodraxaa*^  in  Khich  tha  pantomima 
axaggaratad  its  style  to  that  of  tha  danca^  og|  ih  was  a  silant  ple^« 

Jaan  Babilaa^had  mada  tha  jaime  homme  so  much  his  vaiy  ovm^  he  had 
bacoxna,  all  ovar  the  world,  so  idantifiad  with  tha  part^  that  Jaan  Coctaau 
hadY-gjhraa  him  the  ballat  as  a  prasant« 


UxiTi^e^   mad 


Inis^.l^i  I  ass 
it  ha 


T 


3 


aside  from  a  film 


f  th^  raason  that  lu^-^io^öov—  i 
var  baani  dancad  Adrth  ai^  o  na  eise  th^  Jaaii  Babilae« 


^^      k  ^ktw  ■ 


I      I 


0, 


Eutic  tiirjt  tii'y  kc:|:t  on  countiiii,  ri^iit  tiirou^h  U*     ^r  niicri—  tiity  weru,  in  a 
öonßei  uiir.blc  to  ht-ar  IL«.-  mu^ic,  ac  b&bilo     put  it» 

iic-   hulc  axl  of  u..   ii.p  .libowiü  und   Ihot  purtitnaiar  talk  öhüv  LecaBia 

Lcter,   I  rei-ci  in  an  artici     by  Cocteau  tii&t  ht,  tEÜaitztiaKzkgÜKt 

cej.r.-brht..jd 
cor.yared  tt^    l^illtt  vith   thu  ^fc.&<;;nCc  of  his/rilrü  b     üA^^U  D^Uh  i'uJ£i:  iUL  uid 

not  vai'it  It  to  bts  coj;;3iderecl  a  bc-XI^t  in  tue  clas;^ic  ti^aAt:..:    buL  a 

i©T3nr    Y^'ari:  laXvrj   I  rtJ^d  in  an  artici-  ly  toctni-u  that  lie  considt  r  d 

Lf^  jrun«.  hoimne  et  Iti  rorx  a  par^phiTüS*^  uf  hiL>  lilin  W  s«n^  a'un  po^t>tb —  Liid 


tbr^t  it  Wcis  not  rci.-LI;>'   o.  bi.ll^.  c  but  a     iaJUuouraiut;     in  vhicü   üu-  pantu.  ii..< 


exa^iicTSit -..d  iti:  s^tyl.;    to  U.t.z  ui*   li^c  uc^iiCtt— •  ur 


xt  Mixü  a  sijLent  pity» 

* 


Jeui  babilee  had  madc;  tJie  j^un     homm^»  so  much  hio  vtiry  o'^n,  h;    had 
becoin»->,   .-.11  ovvr  th.    world,    so  idcntlfied  vith  thr:   part,    that  Jt:.an  Cocteau 
had  giv.-^n  hiin  th.    bailtt  as  a  preeent« 

IniL.  ii.,   I  Eosume,   ilh    Tkl^ou  that  up  to  nov. —  asid..;  from  a  film 
i.ur  yev  mader-  it  has  nevor  be^.n  danced  vitli  aiy   o  ue  wiöe    ui..a  Jtiaa  i^aüiieö* 


f  I 


1   <c 


J£iU4  BABTI.FF. 


.4^ 


for  ^4iülail  Bazyshnlkov 
Ibtn  Ai-j«rican  Bauet  Ineatre  revived/JuE  JüUi^E  iiÜMME  £T  LA  l'DRT, 


y 


#"  ballet  by  Jean  Cocteau,  choreographed  ty  Rolärid  i^etit,  vith  niusic  ty  Bach, 
It  va&  Inavitable     that  those  In  the  aiidlence,  vho  had  seen  Jean  ^abilee 


the 


role  In  1951  at  the  l'IetropojMan  üpera,  remembered  him  - 


and  those  too  young  to  knov  fi|^klng,  '^Jean  BiyLlee? 

BaiyshAlkov  is  a  brllUeuxt,  classic  dancer  and  the  audience  went 
vild  over  him  but  ^hst  reaction  vas  mild  ty  comparlson  vith  storm  that  broke 
loose    evexy  tline  I  sav  BabllM  and,  I  j^  told  >^^«r«ver  he  danced  all  over 


the  World  #     There  vas  something  about^^fir 


u^i^  \  ii^y^^&i^i^ 


that  electrlfied 


aiidiences  to  a  point  rareJbr  loatched  ,ly  perfpmers  in  ajqy  inediixm«     Kuch  has 
been  vritten  about  the  phaenoioeno^  iiAjKaj^.and  it  ie  difficult  to  expj^in 
soioethlng  ae  •lusivr  as  th«  aura  of  a  personällV  wlthout  iielng  up  clichss 
such  as  uninüe,  (^itoinic,  alnK>si  demoniacal.««     I  think  that  Dci/ond  kkm 
seemingJLy  effortl^es  acrobatic  f#at8>  an  elevation  thaty  defied  the  laws  of 


gravit7,  it  vas  Jean  BablieeB  inner  tenslou^.his  artistic  Obsession .that 
transcended  the  ballet 's  frame  and  leapeä  S*ight  over  the  footlights  to  make 


^^.■ 


his  dteCftga^e^^  alioost  unbearable  dramatic  experienceP^    y^i^ccs  i/bu  -^-^  , 
'  iJi  i^ice,  ^  (  dxMWlz±ex9Kix6xtUQBUz 

In  1965i  at  the  age  of  J»,  Jean  Babilie, 


iadüu  le  Jeune  honne  for  the  last  tlme  in  tvo  Performances  •     An  eye^vitness 
simply  seid,  "The  audliices  wge  dlnianlved  ItT  teare#''     '     '"-- ^ 


^hl 


In  the  Summer  of  1949,  on  a  visit  to  Paris,  I  had  seen  Ö^^Mieij 
vith  Jeanmaire  and  Roland  Petit  as  Jose«     To  ue,  the  gi»:ieration  of  the  ^orties, 
all  jr^ing-^>frtAftr£y  aetcqrs^  artistNF^  «Kolting  ballet,  so  different 

from  aiything  ve  knev  l^  the  continuoxia  refraixl\;^  ly  friends,  all  yoiang 
writers,  actors,  artists,  unvariabjy  vas,  "Ül 


\  /" 


^ 


this  is  nothing l    You  must 


see  LE  JEmE  HüMME  ET  ioA  HORT.,.  -^Äean  Babilef..."     J^jfhe  pages  of  a  coffee 


4 

\ 

1 

1      X 

Ji.^'ix  bAülLr^:. 

f^r  ..ikiiüii  -<:ry :.Jruiikov 

y.                    ulien  A,    ricm  ::hllct  '^uclIt^    rnviv.  cI/u     J-  Ui.;:  üÜ^IMl:  ^T  LA  .ORT, 
^bal^  t  a/  Jean  Coct^f  u,    chortr^ogr^pheu  by   noi-  na  i^etit,   wiiii  :»Ubic  ly  i>ach, 

ix      -  — .  .        J  . .  . . ..  i  X.  ^  V  *1  ., .          *  ...s  -■  O.       4-  L .  ^^  .             ^  .  .      4.  ^>. J  4      ...-,..           .    1«  ^      ^-.   .  .  ;       ..      _-  .. .       T   .  -   . ,      r",  _   i    1  "1  ^  _ 

creete  tiie  roit-   in  19L1  at  the  Hetropoitiaii  üptm,   r^      iilvr  -  hiir. 
unc  thoöc   too  yovuig  t.o  kiiov  as/iing,    ''Jean  Bailee  <i" 

Batyjshiikov  is  a  brilliant,   classic  dimcer  aad  tiic  auuicnce  vent 
vild  ovr  r  hiin  but  th^t  r  iction  va^  mila  ly   coir^hri'^on  vith  Sterin  tiu^t  broke 
loose     evt  ly   tijii-    I   tsaw  babiitre   and,   I  am  toid  vherev^  r  h'^  danced  aü.  ov(  r 
tiic  vorid,     Th-re  Vfijs  sometnini-;  tbout  the  young  Ire  nch  dans^-r  tiiat  el^xtrlfi€?d 
aunituces   txD  a  point  rar^  jy  match^d  Ly  perforier,    iu  aiy   n.txiiui:.,     ^'-ach  has 
be«jn  writt»u;  about   tii     pha  uomt^non  h     wa.    anci    it  i;.  difficuit    lo  c/p^ain 
fcjOiiti Uiixig  8fc>  t>iusivt    at>  in-   aura  ol  ;    p^^rtonelity  without  uslUe;  up  ciiches 
buch  at  Uiiivuci    o^iMinic^   airao^t  dciuoiiiäctii«  ••      I  tiiink    liiat  Ots^oud  kjbc 
Sftir.intiiy  effortltjüt.  acrobatic  feats^   fin  eli  vation   th<.t  dt  f ied  th^    lavs  of 
gravity,   it  was  Jean  i^abllees  inner  tei4jL>ion|  his  artiütic  obr.esaion  tnht 
tran^canoeü   thc   Uilict'b  frc;.^.:e  and  leapeu  right  uvtjir  tat-  fo<;txi^ntö  to  inake 
his  pt^rforiii^ince   au  alinost  unbeartble  dranatic  experi-nCv  • 

in    iäCe,  tiaBfiie^ZXk^XJKIUlQXiifiUDBlBZ 

In  iJ65>   at  the  age  of  39,   Jean  ^abilee,   xxx±X3CBbQpixxxJ6M  rwicr^ated 
tKiKe  1*-.  jeune  horane  for  th-    lai^t  tijiie  in  tvo  p^rformanceö.     In  t-yt^^vitm^ss 
ßimpV    Said,    "Tht  audinc^.^^  Wf  r     diöLolved  in  teartJ," 


In   th«  öiurjner  of  1^)49,   on  a  Visit  to  Pfirir»,   I  haa  sev  n  Sanrwi, 


v»iLh  JeaniGairr.   and  roland  Pttit  i^iS  Joti;  ♦     To  us,    tlic:  gei^rration  of  Ua.  ioriiti^, 
all  youiio  vrit' r  ,   actorti,   artis:iö,  it  v^s  im  *^'xcitinj-,  btdlet,    l^ü  diffvTc-nt 
from  axything  vo  kn^w  but  tn«    continUDUi.  r«  fr.'.in  of  iiy   friund:^,   all  yo ung 
vritc.r..,  actorh,   arti^tb,   unviiriabiy  vat;,   "Ali —  ull  thi^.  it>  nouiingl     luu  ijiuüt 
&tt   L.:'  Jl'ÜNE  KUMME  LT  LA  1!URT...     i^un  bebilue..,"     And   tu.    pt-^^es  of  a   .:üifö© 


.  4  M  .^^  ^ 


k^  »IL.«.«!^      .^.»k.*!. 


z  % 


table  plcture  book  of  dancers  were  flippedf  and  there  It  was^  that  IncriKllble 
photo  of  a  7^ung  irjan,  hiß  back  to  the  ylewer,  hie  face  in  prof ile,  hanging 
1y  the  chln  (not  the  back  of  his  head^  as  Baiyshnikov),  from  a  pole  in  the 
Uakhevitch  aet  of  a  Farisian  garret« 

Hc  had  dancfd  L»APRES-MIDI  D»ÜN  FAÜl^E  for  l^ijiixsiy  because  it 
was  hoped  that  Babil&ef  considered  closest  ieBr  T^BrntbitL^   MijinskyiiuLgnt  spark 
a  0K>iBent  of  recognition^  bring  Xie&t^Sto(  i^ijlns^*^ night«  But  as  innnobile 


a3  ever  l^ijinslty  vatched  the  yoimg  Faune —  unseeingjy« 

There  vere  the  s.ories  about  Babileej»  the  contradictions  of  his 
life^  about  his  vildness  and  lack  of  conventionaliV —  ^^  liackground  of 
vealth^  hiß  independence»  His  father^  I^«  ^tman^  a  prominent  Farisian 
i^e  specialist^  vas  mentioned  ly  Proust;  his  sister^  i«Mr  a  surgeon|  his 
Dotherf  vhose  loaiden  name  he  had  adopted^  an  ar^TstU;  ^athalie  Fhilippartf 
called  Pixie^  his  vife  and  partner,  also  cesiefrom  an  upper-class  fansily^ 
vine  grovers  near  Bordeaux •  Jean  and  Pixie  vere  inseparable  axdjpzaduouaut 

represented  tue  jeunesse  doree  ^^f  Paris^ 
tetfe  as  artists  and  Beeaiiee  *f  their 


ÜMMMiMg^zixmjD^Mi  and,  if  th«^ 
thgy^liMillGjiiiiiiji^e  ijo^l^olt,  Usb^ 


unusual  personalities« 

No  one 


mentioned  vhat  probabjy  vas  Babilee's  trage<^«  He 


vae  Short,  almost  too  short  for  a  dancer:  five  feet  four« 


/e 


6V  a 


m  '4' 


\ 


n 


I  I 


Z  e 


table  picture  book  of  duicers  witr'.  fiipped,   aiui  tnere  it  wjt;,    iWt  incredible 
photo  of  a  y  uii^  i-iaii,  hii.  back  to   tiiu  viowcr^  hit.  fuc     in  profus.  |  hMitsirig 
ty    the  chln    (not  Üio   L/ack  of  hlü  head,   at.  bMyühiiikov}|   froin  jx  pol^;  ia  the 
Waichevitch  set  of  a  Pfirieian  t>^^rret« 

üe  h.-d  danced  L' APKrJw-KiLI  b'Lfü  fAUiri  für  ^^i^iirj^    because   it 
vasj  hopad  that  babilee,   coiisidrir-d  ciosett  iii  rusei^biiüfei  l«iji:.bky,x:lgiit  spark 
a  nionent  of  recogaition,   brin^  ügl^^t  iuto  ^»ijini^iijr '   night*     but  as  immociitj 
ab  tv<-r  Adjinökjr  vatch^d  th^i  youn^  rauiui —  iui««eingjy, 

Iherc  Vöre  thi?  s  ori*:'i>  about  Bo.biiee,   the  coatradictions  uf  his 
life,   about  hie  vildnesc  and  lack  of  conveationility —  his  eackground  of 
vealth,   hii;  independence«     iüb  father,   ^r.  *^utnan,   s  prominent  Prrislan 
üpccifctiist,  vhb  rientioned  ty  Proust;   his  si^ttr^  wa^  a  surgeon^  hie 
mothtr,   v/hosc  rcaid^n  na  ■    h;    had  adopt^  Cp   an  artiiit»     iV.thalit:.  i'hiiippart, 


Cfilled  r^ixie,   his  wif»-  f]iu\  partnf.ri   alcü  corjt  f roi-:  an  upptr— ciast.  faiiiiiy. 


^*ine  grovcTw   ntar  i-urdt-LUx»     Jt-^n  anri  ?ixi'    verv   ixitiLpart-bla 


Ufit 


dKUiKgyztFKUKixd  and,   if  th^^   axi>o  r  prest-nU^d  t       j    ai.t,;>;t>»:^  dort>e     f  i^aris, 
they   seeioed  to  be  in  r*-.volt|   too^   coth  as  artistb  anu  becaubt    of  trifir 
unusuai  pcrtsonalitioii« 

1^0  one  ever  mentioned  what  probabl^^  vati  babiiee'jL.  tra^e<4y«     He 
waö  shorti   aLaoöt  too   ishort  for  a  aancer:    fiv:    feet  four« 


«^.j«  '"i«. 


.n   .        tfl^vri.w«   *1b« 


f      I 


»% 


In  April^  1951,  l  lüerican  Ballet  Theatre,  during  Its  season  at  the 
old  Met  on  39th  Street,  mounted  JLE  JEÜisE  HOMME  ET  LA  WORT  for  their  guest 

Stare  Jean  Bdilee  and  Mathalle  l^illppart»  Witb  Koesun,  he  also  danced  the 

Bluebird  _.  ^ 

Pas  de  i>eux  Stsam  and,  again  with  PhUppart^  tvo  balle ts  he  had  choreographed 

hlmself,   "L»A14DUR  ET  SON  AMDUR"  and  "TILL  EULEMSPIEÜEL"^ 

üf  courae,  1  was  not  the  oniy  one  Vytin  tiBäYlwäoBJ^iare  avare  of 
the  fame  that^pr^ceded  their  New  York  appearaj^^    Maqy  people  vere 


^  V 


4(r^~ 


n 


Xr 


weazjr  of  such  areputatlons  bVOfnee  th^  often  lost  their  luster  vhlle  crossing 
the  Atlantic«     üthers,  like  i^self/ vondered/^abeut  vhat  to  expect,  whether 
axiy  artist  could  Hve  jbp  to  tkie  eocaltations  tcMp  seemed  to  ellcit  evezyvhere« 
^    ,.    ^    -#0*  I  thiiüc  no  one  was  reaUy  prepared  for  \Ami^  iiSL^^Hm^  ^-v   c  <? 

XIC4I -  It  begaiTlrtlth/extraordlnaiy  ardä  he  described  with  his  aurm  \^iMt 

he  looked  at  his  y^tch...  ..  ^^         ^    (i^f(j^ 

roiled/up  his  legsCT^was  trembling 
with  inner  fuiy,  tension-^  despair^^a  young  tiger  flew  over  chairs  and  tables,. 

fixz  thi&  was  no><acrobat  but  a  dancer  y^  eveiythin^  he  did  was 


ö 


,.  A  y Qung  man*  i»  oyerallSj.  kxtt 

7^  *^.4Jt=trz4>  '^^ 


t  / 


unconventioiial,  imexpected,  different« 


*  > 


cv^. 


Bnrn  nn r e  iTT n r n  1 1}^  W t  11T~ ttilT^hlto  Pf  tllftST'  t^aftt^* 
as^^eyoimg  girl  who  tn,i»tc  Ji^^  l.nver^  ^pllrn6^ÜBL^aIId 
Philippart  haixitt>ti»z»p|HMgtMa±<gKzt>xdtgpfaptvtoinct»g^^ 

drives  him  to  epOBHÜr  suicide^by  hanging  hlmself  ^ 

bittxtkexexna  .  >;^  retnms  as  i^eath^  on  Greek  cothurnus  wiiieh 


f 


^4ai  essential 
curreiit  perf  orinanc%)  -dse  ioosens 


\ 


jkMiai»  impitmation  ^\9mit  onltted  in  the 
nooee^-andleads  the  young  man  awcy. 


tj^pi-U^-^^-^Jr-^ 


V.7, 


across  the  rooftops  of  Paris*  ^  /c 

TbMv:::iiift|Mui  Interpl^y  between  them^^the  siibtlest  nuancest  her 
xtanhts     the^  €ilik3Jkwg4|^^  his  f eroci^  that  s^eiaedj  sup*rh\axnan  in  its 

violencei  perfecta  controllsd 


c 


•  L.  <    '  r  J 


I  I 


Iii  Ajjrili  i'Ji.1,     mrtvichn  Bailot   ihv.ttr.  j   d-tri:.b  its  ütauon  at  the 
oid  Met  on  2Jth  ^treet,   uiouiited  U:  J^UKI  IIüMI'iE  ET  LA  iMORT  für  tli^dr  ^ut^öt 

ötfcrü  Jeuii  i^iÜle«!'  ai.d  i^athalie  i-'hliippf.rt,     With  äooliUii,   h-  al30  a.Miced  the 

BlueLird 

x^uö  Qt-   x^t^ux  £xi[M  aiiU|   atiaiii  vidi  Vhilppart^   tvo  balle tb  he  had  cuort?üt>rapiiC^d 

hlmeelf,    "L'AMDUR  ET  Ü0i\  AI-üüR»'  and  'n^ILL   :!;ULr!iiJPI}:üi;L% 

Of  couTöe,    1  was  not  Ur   onJiy  one  who  iiKc:x)aKerd  was  avarc  of 

tiic  fa'i.e  that  precodcd  their  1«lw  Yofk  appearaiict«     .  Li]y  p  v>ple  vere  frrsiiagkly 

weery  of  such  rtpu.ations  btcau^«    tht;y  oft-n  lost  th-^ir  luet -r  vhlle  croL.  ing 

tht   Atlantic»     Uthers^   like  üyself ,  vondered^  about  vmat   to  expect,  whethf,r 

ery  artipt  could  livt.  up  to  th.    «xaltations  th.;y   ;        eu  lo  elicit  cvt-r^  vi;ört?» 

L'Ut  I  thiiik  lio  one  waj;  r..  c'  lly   prepan-d  for  what  wi«  öav« 

the 
It  berj>aii  viTii/txtraordinai^/   arck  h.    üescriDed  vlth  his  t\rm  vti&n 


he  looKec  at  i-iiy  watch«% 


half 


A  youn^^  man,   in  overallö,  kxxi  rolic.cyup  ni.,  ie^iii   vab  treJiiblti:»g 
vitii  inriLT  iuiy,   tension —  df^spairi   a  youiifc,  ti^^er  flev  ovcr  ch^iir^  and  taoies 


3ÄÄrifcLJtifiß^fcü*z  thiL  wat>  no  acroLat  but  a  dancer  yet  ev^ryUiiii.,  ht  uiu  was 
uiiConvcntioiial,   unexfectc^d,   differ*:rit« 

'ihv;  entire  audicnce  literalJy   öel  at   the  edt,c  oi'  their  üeats« 

aa  tue  yount;  girl  who  tauntb  h.r  xovrTi    y^ums  nliii  and 

Phi^ippart  £iad>:±±txixz8pj^QjrtMaiigr:^laxai:öjft2i3gexhiKXxtit£Ctdileix±xzxzxi^ 
drivas  hirc   to  coronit  suicicie,   by   hfir.ginei  hinseif, 
iautxtxarzv.vxa  returns  as  b^ath,   on  ür^    k  cothurnus  which 

ia  t^jiSc^ntiGi  to  Ui. dtrstand  itc-  tsuperhuir.an  i;:pxication   {F.nd  o  itted  in  the 

currt^iit  pvrfori  ance)   aht.   iooöt  ns  tht   nooi:^    and  leads  tlie  youn^j  uian  av^iy^ 

acroc;3  Uic  rooftops  of  Pari^:» 

Ihnr.    wai5  an  intt'rplr^y   between  them  of  thc   j.ubtiet5t  nuanceü,  hör 
graceful 
tauntß     Üiv.   challenge   (Wj    for  hin  f  rocity   Uiat  seein&d  auperhiBHan  in  its 

vioii  nce,   perftyctjy    controlled  es  it  w^fc>• 


4 


I 


.iy 


Ve  sat  at  the  odge  of  oxir  seats,  spellbound,  alnost  b€i/ond 


eiiüurttnc«« 


<K 


I  had  let  the  BabUees  knov  that  we  had  inutual  acquaAntance^  in 
Paris  >p<fc  JLt  irets  jy plx^aX'^ . ^^^% ^"^'^^ tfege^ he  called  iranediateiyii^after  receiving 
s^  loessage^  A[ot  because  of  that  soni^eone  in  Paria,  but  bacauae  he  wa&  iiatoeiaeely 
curiou8  and  vanted  to  meet  a-vec^x^av  lorker^^ciaiae-irroa  those  he  »et  at:  /,   i.         v 


/ 


^^3 


the  partiee  arranged  ty  Ballet  'i^^heatre*  I  became^  a&  Pixie 


tf  friend  in  i^ew  York". 


Ve  speait  maur  hoixrs  tdgetherji^ 


in  their  dresfeingroo©  after^  '^^<t 


tv 


9 


rf(  perf  ormancem  or  betveen  matinee  and  evening;    /^      •>.  /      .  y  w     .    ']\       .    .  Ji 

^     ,  i  remaniberJean  *  s  fiuy  et  the  con^uctor  rf  ifho  had  bean  too  slow  for  ^.>      ' 


\f 


-a) 


«ü,^  his/variati^. 

'l^zTiSM  to  div«rt  hlm  I  asked  hov  aznr  human  beliüg  could 
floatlng  in  the  air  the  wey^  h»  ccnsäd? 


remain 


"Breath-control, •*  he  seid«     "lou  hold  yoiar  breath —  imtil  you  want 
to  coine  dovn  again««,  ^     Üzmawtiei .  U$jt  kmfk  cursing  the  conductor« 


"But  the  audience  adored  it  aqywc^j"  I  tried  to  reaaure  him« 
^llie  audience  I     ^y  cares  about  the  audience?     I  dance  for  fl^self  I 
It's  I  vho  nuet  be  pleasedP  ^  ,  0      n^U^tJs^ 

And  he  dVI  on  the  floor  of  hiß  dressingrooi&j   b^ol/li^l|^^  barely  civil     ^ 


to  the  never-ending  stream  of  visitors«        ,/,7.      .i      ^  o       ^  ^       ;  ..l./]^   ^^ 


-/ 


■«-  \. 


dcxUu^A'i^  n)2uci^^ß.th^  * 


c 


/ 


A 


Qne  evening ^s^after  dinner  in  the  soeüf  \mpretentiou8  restaurajat  j 


V 


V  .c>/ . 


oppoeite  the  etage  entrance  or  the  old  Met^^  v#  stroUed  do^o^  Broadway  ^  towarde 


J  V 

Tiines  Square»  A  dense  crovd  was  coiled  around  vhat  ve  assumed  to  be  a  fight« 


«  Jb- 


We  sat  at  Ulf   e(ii,t    of  our  ij  ^t{3,    :ip.  ilLouiid,   alüio^it  o^  ond 


enciurciuce«*« 


I  ht;d  Ict  Uit:  Bf.biltnis  kiiov   that  w^    h:.d  uiUtu^l  ac(.ua4utancee  in 
Pari^.  and  it  va^:  t^:- picLd  fer  jeim  th^it  ho:  CfH^^d  irriinediaUly ,   .tftcr  rtCciving 
ny  message»     i^ot  becmse  of   x'XihX  öOi.eone;  in  x^f^riti  bu     bticaui;     he  vuo  immeiiseiy 
curiüUß  iüid  vaiited  to  lastt  a  Ttm^x  i^ev  Yorker,   atiiüt*  froi..  thobe  hc  met  £xt 
tii     purtit:ü  arr:.ii4;ed  ly   Ballt:!  '^lut.trt»      I  becamei   as  Pixi..   called  It,   Jiiiieir 
friend  in  i^^.v  YorK'*. 

We  cpent  inaifr  hourcj  togeth-r,   of  ti  u  in  tncir  dr^s;^intiroom  Lfwr 

a  ^erfonriancfx  or  b«-tv>.-rin  natinc     and  evouing. 

i  reint:;inbt'rJ;ian'ü  fvuy   at  iJa^    conciuctor  rf  v>ho  had  been  too  lilov  für 
Uu.bird 
Ml«  üf  hii:/ Variation* 

'ir/Li^  to   div.rt  hin  I  aöki.d  hov  ary  huj;..  n  Ocln^  cciL..    3JOücx±ä  r       in 

floj.tifig  in  tlK    air  tht.    v^^y  he  could? 

*'broatl:i--control,*'  \ii    öaid,      "li^ou  hold  your  or  ^itii —  ii.til  yuu  Vvtnt 

rcüumcd 
tc  coüe  dcvn  at,;  in.*t    "     itzxosHiflft    Hc  kaqdt  curi>ing  tht    co..ductür» 


"Eut   th;:    audi.nce  adored  it  arvvay^"  I   tried  to  r.  as^ure  him» 

■ 

"'ihr   audioncel       h^    Ci.rt5fj  obout  th«-   auoi^ncfc-?     I   dance  für  nyselfl 
IL';j  I  vho  muöL  b^.   plcasedP 

i\nd  hü  öat  on  tiit-  floor  of  hit:  dreöüin&room,   scovliii^,   b;.rc,ly   civil 
tu  \i^^  never-endin^  str^ani  of  visitorc« 


ünt;  ev.  i:iii|i,   after  dinn^r  in  tiie  5i..ail,   uni^r.. t-^  ..tioub  r<:.  t*  ur^mt 
oppotita  Üit   ötage   entrancc    or   riu.   old  Met^  vc   btroliud  dovii  Broadvsyi    tovitrds 
'i'ijnes  ijquarcf     A  dons-:    crovd  was  coiled  around  what  v»-^   «s^uriKd   to   be   a   fight» 


Ib- 


Vlthln  a  second,  Saki  JeaniW  plunged  Into  lt«fto  £"1^6 's  despalr. 
It  was  impossible  to  hold  him  back —  h^  always  had  to  be  in  the  thlck  of 


thlng—  See  eveiything,  participate  in  eveiything,  experlence  eveiything# 

So  h^re  ve  stood j/  waltlng  f or  him^  nat*-eMieM|Ba4pirtiH0asr«  * 

^tmMrj-  thf  police  broke  up  the  crovd  and^  ve.y  lipset^  <^ean  jolned 
US  again«  "Theer  ^^SB:  hlt  theml  In  the  stomachl  Th^  just  knocked  them  out-~ 
tvo  yo\iag  blacks«««**  Llüe  maiv  J^arisians  he  hated  the  police  and  it  took  hlm 
a  long  tiise  to  accopt  that  th^  had  aciaBii|r  ixsed  force» 

let,  he  was  fasclnated  ty  force^  ty  violence« 

He  coUected  knives  and  svords^  he  vas  a  paasionate  afficionado  of 
bullfights  and  veiy  knowledgeable  about  thöm«  As  it  happened^  two  films 
dealing  with  bullfights  were  running  in  i^ew  York  in  1951^  THE  BRAVE  BULLS  in 
tbe  Spring,  and  THE  ßüLLFIGHTSR  A14D  THE  LAEK  rf  in  late  fall,  after  the 
Babilees  retumed  from  their  American  tour  and  a|jyed  t^n  anothar  few  veeks, 

in  New  York,  We  went  to  see  both  films —  they  adored  the  cinemai  aiyway,  and 

whose  ASPHALT  JUKGLE  was 
spoke  with  partlcnliar  adnilratign  of  John  Huston^  One  of  their  favorite  t 

But  '■'^ean  was  equally  knowledgeable  about  ahcient  -^E^pt,  about 

art  €uid  music«  H^  read  prodigiously^jdift  l^or  Christmas  they  gave  me  two 

a  leiy  off-beat  (author  .Frei^ch/  -^^i\  f4<^J   /     \ 
bock 8  tQT  iiauriee  Sachs^  mexbaridaflffthc^  hopeci  I  wou!^d  enjqy  the  woi*j^  of  **this 

terriUie  man^l  Cats  wfirii»  üf'^t^iratj  ^.i&portant  in  Egy^ptian  antiquitjy  and 

^^^  g,  vJ^^  feit  this  was 

when  a  cat  had  followed  thcon  to  thöir  hotel  in  Cairo,  theor  siapiy— adopted -it^ 
quite  in  keeping  with  the  countiy's  histoiy, 
and  took  it  aleag^  ini  *^er4e  adopted  it  and  took  it  along  to 


•  ».•  r    )  «    •  t   >  #f   «   I    i 


Faris» 


^u  ^"-d 


At  tt-hr'itAye  I  was  involved  with  a  fifteen-^minute  television  talk 
Show —  the  f irst  of  its  kind —  hosted  ty  Ljlli  Palmer»     Jöoth  Babilees  were 


.X. 


Jly 


V.iüiin  a  öucorid. 


Jeuii  jad  üluiiged  iiito  it,    to   i'lxio'ö  despair 


It  vfiti   liupOGijiblt'   to  hold  him  back —  ho  aivi.y  s  had   to  be   In   Uim   thick  of 
avtr^  tfaing-—  se»?  evei:>' thlng,  particlpat..   in  evcxy  tiiing|   «xp^riancö  everything, 
t>o  h  rti  v#  ;jtood,   vaiting  f  or  hijij,   not  tooactiy  patic^i.tJ^  » 

FiiifiJJly,   th     poiic     broK»:.  up   lh<.   crowd  arid^  vt  y   upi3*:t,   Jean  joixied 
US  a(:i-ln«      "Tht^y   juüt  hit  theiJ     In  the   stomachl     Tluy   ju^t  knocked  thu.i  out— 
tvü  younti  black;^»,«''     Liko  i:uii^   i^ariöianü  he  haluu   txic  polico  anci  it  took  hixa 
a  long   tiine  to  accept  Uiat  thty  haci  actuaiiy   usud  force« 

Yet,  hc  v.'ad  faidcinated  \sj   force>   by  viol^tncr;» 

Ht!  Csjücctca  knives  and  üword.ü,   ho  vab  a  pasLionat«:;  afficionauo  of 
bullfi^htG  and  veij'-  knovln-Algciable  about  tnv^ri.«     As  it  happenr  d^   tv/o  füre 
dea^ing  viti^i  builfi^hte  vore  riinnine;  in  ^-t  v  York  in  1J51,   THü;  BIUVE  blTLLS  in 
the  Spring,   and   aTIE  büL.J'IUH'..-.R  AaD  'ihl.;  nAlJf   icf  in  late   fall,   aftr-T  the 


Babil&eß  returnvjd  froia  their  ^W.rican  tour  anu  stayed  for  .^aioih  x  fev  wt-f^k 


Ü 


ir:  A^i^v  York^     Ue  wt^iit  to  s«'(    both  flLis — 
epokf   vith  particuliar  adiairation  of  Johi. 


th  y  ad^rad  tha  cintjina  ai^^'vay,   and 

vhosc  Aoi'iiiU.T  JÜJ^ÜLE     vas 
liust^on/     biu;  of  tiieir  favorite 


But  '^ean  vab   Ov/ual]^'^   knovlt d^'-^tblo  about  ancient     t^pt,   about 

art  and  lausic,     üe  read  prodigioubiy   and  for  Cnristüias  tii<;y  ^^avt^  me  tvo 

a     eiy    ofi-buat  a-.Lnor  i'rexxh 
buokü  ly  ic  urice  ^achy/  Cr;  .ar/^in^  tncry  nupcu  I  vouid  eixjcy   tn«^  vork  of  *'thiö 

torriblö  ir.an"l     Ci.tü  v.-re,   cf  course,   i-^pürtaiit  in  E^iyptian  antiquity  and 

feit  tait>  was 
vhen  a  cat  had  foilovod  theiii  to   th»:  ir  hotel  in  C<-iro,    tli'y    siriapiy  adopted  it 
q^iit::.  in  Keepint^  vith  tn*::   couiitiy^ö  hibtoiy, 
ai;d  tooK  it  alone,   to  x^aris  adoptea  it  ana  tooK.  it  aa-Oii^i  to 

Per  s« 


At  tne   tijLo  I  v^b  invulved  vith  a  fifteen-iuiiiUt»:^   tal«viüion   T>aik 
(rtxo^n —  tlia  firtit  of  it;:>  kind —  hosted  by  iiilii  x'almer»     i^oth  babiieea  vare 


I    1^^  ■  t  fciii 


I  I 


6     b 


pecipite  but  spoke  Engllah  well  ei 

to  a>>pear  on 
Lt  VoLeff  were  liwited  £8z/the  shoi 


Th^BT  vanted  to  talk  about  immm  their  friond  Jean  Cocteau  aiid  the 

flrst  been  wiM«twi  staged 
unusual  w^  LE  JEUNS  KOMME  ET  LA  MÜRT  had  innnxina/in  Paris  • 


./^ 


On  the  eve  of  their  first.  Ainerican  tWljerti^Äon  appoarance  I  dropped 
tjr  at  th©  A^gonquin,  i^^©  ^thejr  i;^e  st^ing,  with  JÜm  o\xr  Script,  adiaonishing 
them  steral^  under  no  circumstances  to  leam  it  ly  haart^     ^t  was  nothing  more 
than  a  guidi  ine  —  an  approxixoate  sequenca  of  the  various  points  th^cr  vanted 


to  discuss« 


^1 
There  had  been  ^^jgXjialiP-^' proudnent  and  enter taining  '■  p  eof  üie  on  the 


KT 


Lilli  Palmer  Show  but-«rf--ttie^  fifty-two^  live  and  on  film 

rj.  French  -     \ y 

«dMu^^ith  those  tvo  jODOis  dancers« 


üp  none  had  was  like    ,      n 


/.i 


The  moment  tliqj^  entered  the  studio  for  the  run-through,  Jean  seemed 


to  spark  flreworks« 

"Who's  he?^  eveiy  Single  member  of  the  crew  wanted  to  knpw^  '^suaUy^ 
concentrated  on  their  work  and  2^1. tzt!  /tuTt  ^    V^'  UA''^^^^' o^(j-^cif  ^Ij^^  I M-^Xi^) 
thy/ee^lcin^A  cnam  less  vho  the  ^uedts^^wereH^Nznai^  of  them  foreignors  thc^/-  had 

) 
never  heard  about-«^  But  this  tiiue  thejr  were  hangixig  aro\ind  the  set,  watching, 

listening,  fascinated«  Obylously^  vhether  £t  was  the  ^tropolitan  Opera 

Kouse  >iiiiieBic  u  or  the  suall,  contained  space  of  a  television  stage  Iwithout 

an  audience),  the  air  seemcKi  to  crackle  with  electric  cuxrents  that  trans— 

lated  into  instant  excitement« 

But  the  run-through  tumed  into  total  dieaster«  Despite 

varnings,  Jean  and  Pixie  had  spent  the  evening  laam^  their  llnes 


^ 


f 


J 


.JäsB^  sounded  Moden  and  awkwardyesfd 


'"i(^^}^ 


ixettement  died  dovn,  replaced  ly  instant  despair« 


6     b 


liot  ün3y   vt;iy   urticulate  peopl»:    but  8^>oke  JEnijliöh  Wr-il  r  nougii  to     ak-   them 

tu  ii;.ptjir  on 
intv.rjötin^  ijueiits     o  that  tiiey  wt>r:    luvited  fjoytiio  öhov« 

Thty  vt..it  ci  to  talk  alout  tecx  t.   ir  fri.jid  J<  ,  n  Cocteau  and   trie 

unusurJ  vay  L     JFiUN:^  HOMME.  ET  LA  MÜRT  had  kKKXXämx/ in  i^ariy. 


Oll   ihe  evt"  of  th^ir  firi::.t  Arjericifin  tci  vicion  eppeararjc*?  I  ciropped 
Ly  at  Üiv  Al^onquiii,  vher:;,   th^y   v,-  r<-*   stcylni-^  viih  ±ii3c  üur  :icrii«t>  adiiioai ühing 
thtir:  stumiy  uiidHr  no  circuiibtMxcvn^  to  learn  it  b/   hcart,     it  vkü  uothia^  ir.ore 
thMi  a  guidälinc  •—  ^ui  approxixnatc   i^^^v^utnc;    of  ^iie  vsrioun  poiiit.s   tnty  vanted 
to  diücaö;^« 

Ih^-r*  hau  bc- n  plenty  of  proriniut  and  eatertaiiiiag  ^^üpit  on  the 
Liili  iPalirier  ^nov  but  oof  ttie  fifty-tvo,  live  and  on  film,  uone  h&d  wa.s  like 
tnat  viUi  tiiobi.    tv/ü  jcsB3iH%  danc^.;rs♦ 

The  jaojrieiit  tnty  ont.  r  (i  th-:..    studio  for   Uk    ruii-throu,jh,  Jv.cOi  eevjiuL.d 

to  t>park  firrvorkf;-« 

"Who';i  iu:?"   eveiy   singie  membor  uf  tiie  crow  wantc  J   to  icacv,      ^üUi.lly, 
coac'.  ntr&t:.  d  on  their  vofk  and 
th  y/c:ouiau't  car.    lesö  vho   ta„     ,.^Ui„»_.tc)  vtTe—  iw.xy   of  tn       fort-it^ncrb  thty  had 


nevt:.r  hncird  about— r     But    ihlij   tlme   th  y  Vvr     hai.^jiii^  around  th(^  t:ot,  vatching, 
liötridn^i    fasciuated»     Übviouji]y,  vh<  thtr     it  vat'   tht.  i'^itftropolitaa  Opera 


hous#  ÄUai/nc^;  or  thti   bja^iil,    couiciiuvü   spact.    of  a  t<U«  vi:^iOii  t>t 


Uilhout 


{in  audit-nct  ),    tht:^  air  St  uiir^d  to  cracklr  viUi  el   ctric  ciirrentü   Unit   trants— 
l«tttd  into  ini^'tant.  excitexaeüt* 


x3ut  th^.  ruii-üirout',ii  turiRc  into  total  aisujiicr,     i-'     ^  ite  ly 
vari.ixit>i5,   J«  rn  anc  ?ixie  had  ep^ Jit    tht-  ev^nirit;  icarmd  tJieir  ILiei^   'y   huart, 


in  facti   they  ver».    letter  peri  ect,     Thty   ^  ounded  ikiiod  /n  aad  avkward,  and    Üi 


i.' 


ajtüit  -ijeut  diua  Gown^   raj..laced  ly   ii^t.^tiiut  u*:L>pair. 


7b 


^^ 


«^  * 


Tatff   reallz^d  qulckijr  that  soiaethlng  had-^gone  yrQ)ag# 

^No  good?"  Jean  asked« 

There  vas  no  tlsie  to  be  tactful —  we  vere  aimost  on  the  air«  Ve 
explalnod^  that  thieer  bad  to  forget  that  daimed  scrlpt  and  in  their  ovn  vs^ 
teil  LiUli  and  the  televislon  audlence  somevhere  In  their  homes^  what  th€|^ 
had  described  to  me  so  viTid2y^  so  aprtLing3y# 

Zes—  but  ve  had  spoken  In  French^  not  in  En^llsh««« 

Never  mlnd  that«  Lilll  vould  help^  if  th^  drled  up««« 

And  then  something  happened —  I  can  otüjr  describe  It  as  if  Babilee 
decided  to  risk  eveiything«««  Vith  the  same  reckleasness^  the  saine  mixtur# 
of  vildness  and  uttar  discipline  he  showed  as  a  dancer^  he  threv  himselT  into 
tbBcmknnxf  the  adventuroi  the  unknovn  elements  of  bis  on]^  American  talk  shov^ 

He  introduced  Jean  Cocteau  ly  retelling  the  al|bcdote  <-S  hov  Dia*- 
ghilev  had  demanded  of  the  yowxg  poet  to  "Astooish  ^1"  Ihen  folloved  the 
starUing  stoiy  of  how  LE  JEül^E  HOMffi  ET  LA  1«)RT  had  been  i>ut  together  and 
\fla;f   Bach 's  PassacagJJLa  in  C  minor  came  to  be  chosen  as  the  music« 

STean  Cocteau  had  developed  the  stozy  with  eveiy  detail 
written  for  their  particuliar  taients^  tailored  toi their  bodies^^their^T^ötd§t!^^^J^ 
Sid-the  Babilees  had  rehearsed  the  ballet  vithout  ax^iy  musici  Isttie^  vorked  \y 
countingf  right  up  to  the  last  dress  rehearsi^«  /  Meanvi]|;Lle^<^:^    it  had 
turz^ed  ouv  that.  the  b>üJLet^  last^  st^ä^t^en  lainutes^'^a  fraiitic  search  for 


turpi 


Ct^'- 


It' 


a  sui table  piece  of  music  YrsOnssgSü^  finalJy  acor  kind^of  music  that 
precisely  seventeen  mlnutes  knd  the  oiOy  iDusic  fitting  that  requirement  vas 


"^^  ^c-. 


<i. 


kn< 


the  fassacaglia*     The  ^abilees  vere  ^  so  used  to  their  couutlng  that  evea  durlng 
openlng  night  thi^  still  mrliarl  that  vajy- —  Pixiev  stopped  her  ears,ey«i/ — 
th^  vere  ,  .ia-ar-ue^  unable^to  Tianr  Mnm  imnlr       It  was  oiüy  gradually 


.i^  ^X««^'.  ^  .-y 


I  I 


7b 


Tüisy  reeiized  c^LiicKl;,^   tliat  BOaieU^iai;,  hau  e^üiic  vro^^, 

^'lio  üOüdV"     Je  Ml  aL^k.d« 

There  was  no  time   to  bc   tactful —  ve  wer-r.  aiinoßt  ou   üu   air«     We 
•xpluineci/  tiiat  thty  had  to  foPt/ct  that  diarinec   ocri^'t  arid  iu  uieir  ovii  v»;-^ 
teil  Lilli,   femi  th^  tvrlevision  fmdience  öor.>>wh<r,ri-   in  tiieir  hontit.,  vhi::t  ti.vy 
had  deccribed  to  me  üo  vividly,    so  aprkliiifjly« 

TtP6 —  *  üt  wr   h*td   öpoken  in  Fr»/nc;h,  not   in  üi^^lifch.»» 

Kt^ver  'iix-d   Uieit«     Lilii  wouid  ii«.ii^>    i/:    U'>    uri.u   u^;^.* 

Aiid   Ui -n   if.oniet.hljit;  h?pp^ri«d —   1  cisi  oiily  dupcribr    it  es  If  Babilee 
decidf^d   to  ritk  e^v«-.i>^thingw,*     Vith  tii;    r.urr'r-  r^a^kivaüntJi»!'^    tl*.    o^Sirit   iiiixtur« 
of  viidtn::.L.ö  und  utt^^r  discii^lin.    h\    r:i-cn  ;d  rs  l  uK:;C'..r|  Lw.   Lhrcw  uii^ö^il  i^ito 
ibxtKCKLiÄiiÄj:  "tiit:-  advthtiUTvv,   th».-  lu.knovn  ^Lu^nt;.   ul'  ni^  onl^'   /nurici.ii  ii.lk  shcv, 

He  intrcciucfcid  Jean  Coctiunu  by    17  teilin^^   int    :.berdoi4'     f  aov  i-'ia- 
giiiii:V  hat  o       ad^d  of  thc  yoxmc  P^i-t  to   "A:,tc(ai..h  l^^I"  Uu:i*  foiiovea  thö 
»tc.rtliiig  'ctcrj    of  how  L?  w"  Ul/'  HOIfrlF  El'  L/i  bSURI  h^^a  ht^a  ^ut   10^,.  ln..r  i..id 
vi^r  i3adi*i>  Fatic-aca^liö   in  C  minor  Cti...t.    to  b;*  choüen  a^j  th»..  iiiLU:,ic« 

ITefjn  Cocte?'U  had  O'^'Vf/lopea  Ui^j   stciy  v.iu}    :V:iy    d.; '.ail  -LiitsrtlJy 
writtt^n  for  U.c.ir  i..'articaiir^r   tax;nte|   ti^ilorod  to  their  bodi...^|   tair  n.  -as^ 
arid  the  Babilee^'  had  rc-he^Trsed   tho  ballet  vithout  imy  .rj-icic;    t..^y  vorkec.   i:y 
coux.tirig,   ri^:ht   up  to  the  Ihbt  dr^ißb  rcheRriitl*     Meii.i:vr.ii  p    -ft^.r  iv  had 
turiii  ^    out    Uiat  thc   Luilrt  ia^t- c   s^'Yunit^::n  ini:iut<;::|  o  frai  lic  ^.f.rch  f^r 
a  suitatlu    i^inc.    o£  .:.Ubic  h^c'  b-gUD,   f  ii;:  lly    ar^  klnd  of  mu^ic   thf^  t   Uok 
prtcicely   B^>v-aU*^n  mirmtee  »na  tb.    onl^^  mufiic  fitttnj  thi;t  ri^uireinfcnt  was 
thM  i^atjtacat^liü«     'Ih*:   o^LileaB  v-^^r.-^   hO   ui^.a  t'^-  tn..ir  coajtin^    Lhat   eVvU  a<^ine^ 

opeiiint;  night  tiity   still  vork^d  that  wiiy —  i^ixle  ctoppruo  lu^r  Marc  .'Vrm^ — 
thty   vei^  ,   in  fii  vf^i   uni.bie   to  ht  ur  thr   :r:Ui;ic»     it  wao  onJy   t>raouaiJy 


Tartif^:r- 


II 


3  > 


Va-i^.>,>i^^i',^^ 


that  thqr  ciHiXd  ^nchronlzf^the  daace  vlth  the 
a  stunnlng  fueion  of  ^coimt  and  counterpolnt"« 


p  in  the  end  making  it 


• 


tfe=^ 


Jußt  as  durlng  LE  JEÜx^E  KOMME  ET  LA  MÜRT  there  was  spellbomid  silance 

^  most  interesting 

Ho,  anrii  "^hls  particiliar  show  became  the  imV^^  the  entlre  saries« 


Xears  latar^  I  read  in  an  article  b(^  Cocteau  that  he  regarded  iiE 
JEUNL  KUMME  ET  LA  i^RT  as  a  parapharase  to  his  film  i£  bAx>iÜ  D«Uw  PüETLj   that 
it  was  not  reaUy  a  ballet  but  a  ''nimodraine'^  in  which  pantomiiDe  -exlcaggemt^d 
its  st^le  to  that  of  the  dance«     It  was^  he  wrote,  a  silent  pla^# 


wlth 
But  it  was  APt  on}^ 

that  Babilee    aroused  s  ^ch  ad2ai<pa^r4en  that 


his  Interpretation  of  le  jeune  htome 

maxv  of  his  Wrtrs  4<^^\ 


-aäno  refus»  to  see  ai^  one  eise  in  the  part^xcsBxntt 

In  1951,  af ter  a  matlnee  in  vhich  Jean  danced  the  BLUEBIRD  PAS 
DE  DEUX^  Igro  Youskevitchj  then  the  laefitnt:  danseütx  noble  of  the  Ainerican 
Ballet  Iheatre^  took  his  young  daughter^  aged  perhaps  5  or  6  tlM»^  backstage« 

I    ^'^ — ^'      \-       ^  fcT^^H^^ — ~~^^— — >^   ^^ 

vXJieard  hin,  whisper  to  her#  juat  bef ere^ -eatering  Jean's  dressingroolft^ '^I  want 
yoM  to  remcvDber  that  vou  have  not  onl^r  seon  but  also  mW  the  greatest  dancer 
of  our  time." 


#♦♦♦♦♦# 


s^cU'UiH.ii-<<  iU 


L  L 


^ 


> 


•r  ..'Jr^ClflC^'k. 


^'miI^ 


8  a 


that  the^  coulcj   jyrichroaian  ihm  dunce  villi  the  music,   iii  th»  tnci  lü^klng  it 
a   stuiining  fudon  of  'xount  and  co-ntcrpoint"« 

Jubt  ai3  duritiß  LT.  JKUi^E  HütlME  ET  LA  MüRT  thcr^i  vaö  öpellbouiid  eilence 
m  thu  i^tuciio  and  tliib  particoLüi*  vshow  becamtü  th^-  kMxit/of  the  eutiro  ßerieü» 


Yearö  iat<;ir,   I  rc^aci  in  an  article  ky   Coctr^au  thiit  h^>  rc^arded  JF. 
Jiühi.  HüMUE  ET  LA  1«RT  as  f.  paröphr£.;.ti  to  hiö  filin  jJr.  bAi>.ü  D»üi^  Pü.i:aii.j    that 
it  vat  not  rtiaiJy   a  b^LLlt^t  but  a  "miinodrarae**  in  v.'iiicn  pantümiiaö     xxu^t^^rattd 
it£  ;L^tyie  to  that  of  the  dance«     It  vat>,  he  vrotu^   a  siient  piay» 


vith 
but  it  vmi^  not  oniy  JDxxxMSüöcKi  his  in  .orpr.  talion  of  Ic   jcunt-..  h 

that  Bribile::     2rous**d  s  ch  ad:  .lr:.t.ion  thfit  thf^rt:-  ar     nary  of  hit;  df'imirers 

vho  rr'fur.  •   tc   s?^r.v  ar^'  oae  eis-  in  the  partt:xCKßxcKÄ 

In  1951,   aftt.^r  a  natincr-    in  vhich  Jiin  dtUiCfu   tia   bLLi:^jIPwL  PAb 

D"    DEUX,   Igro  Youskevitch,   th..;i;  the  |jwiatn[,  danseut  noble  of  th  .  hi .  vidin 

Bc-ilict  'Ihi'fitrei   took  his  yoxxxu;  dftUi^.htur^  ag-^^-o  p^rhapL--.  &  or  o  then,   back:3tage« 

I  hoard  hin:  whisper  to  hör,   ju;it  b^eifor^:-  -^.-xittring  Jt^^an^i^  dr6St.in(;room,   ^'I  vant 

you  to  r.       .bi.r  t>iat  you  havt^  not  otil^/   sccn  but  ali^o  üit^  Üiu  tirt  at'jbt  danc<;r 


of  our  tiriiOt 


!' 


♦  #*•;<•*   ^  * 


.  f  ^       .  .    .1  ■- 


/ 

< 


J>UN  BAinU^:E  —  MAllCll  1979,  New  York. 


On  1^'ebruary  28,  1979,  l>r,  Wiikler  had  told  rae  that  I  had  no  adrenalin 
left,  no  reserves,  and  the  best  he  could  recommend  was  some  **motivation"-—  some- 
thing  that  would  interest  me,  distract  me,  amuse  me»,.   I  could  think  of  nothing 
and  concluded  to  myself,  too  bad,  b\it  no»  way.  ••   (l  had  finished  CAT  OK  MANY 
LIVKS,  lived  too  long  only  on  "nervous  energy*'  and  since  Xmas  1Q78  had  barely  been 
able  to  drag  myself  about,  vriting  the  last  ten  pages  of  ÖA^  between  Xmas  and  New 
Year's  hVe,  delivering  the  pages  to  Mary  Yost  on  Jano  2,  and  Gerd  with  her  second 
heart  attack  at  llarkness  Pavillon,  on  the  3rd,  less  than  24  hrs#  later;  I  had  with 
my  very  last  efforts  managed  to  get  copies  made  and  corrected  etc.  to  Mary,  Rainer 
and  John  Huston —  but  been  unable  to  pull  myself  together,  the  past  15  months  had 
been  too  much,  in  fact,  those  four  years  on  CAT,.«   This  as  background), 

The  next  day,  a  Thursday,  üitta  called  to  ask  whether  I  had  seen  the  very 
brief  notice  in  the  NY  Times  that  Jean  Babilee  was  Coming  to  NY  with  the  Bejart  Ballet 


and  would  dance  a  ^ewly  created  ballet — \  for  him»   I  had  not  seen  anything  and  went 
through  several  days  of  the  Times —  none  containing  that  item*   Sheer  luck  that 
Gitta's  edition  did# 

I  imnediately  started  phone  calls»   The  Box  Office  at  the  Minskoff-—  the 

/  ^0  ^-  / 

Bejart  opening  was  on  Tuesday,  March  6,  w*^  the  question  ^  which  date(s)  ^bilee 
would  dance?  Vho?  Never  heard  of  him#   I  asked  for  the  phone  at  the  Minskoff  office 

which  they  gave  me  without-c^M^-fuss«   There  a  very  amenable  young  woman.whü  ri*<^  ]i«r 

f\At^^^l  —^ 7/  / 

name  M  N1ft||£^| Iwithout  Kay   hedging*  explainecU/ yes ,  indeed,  Babilee  was  Coming,  but 

it  had  been  decided  only  two  days  ago,  so  she  had  no  schedule  yet  for  him —  but  they 

all  werft  staying  at  the  Mison  and  Babilee  was  expected  the  next  day,  Friday.   I  was 

to  call  her  back  for  the  schedule^  which  she  finally  had— several  phone  calls  later — 

on  i'Viday«   I  prepared  a  welcoraing  note  and  srt  ottUtor  the  Minskoff  first,  to  buy  a 


ticket  for  Jean's  world  premiere  set  for  the  14th.   He  was  to  dance  only  4  or  5  times# 

> 

As  he  had  once  said,  one  must  always  sit  in  the  first  row  to  see  chaque  goutte  de  Per- 


spiration—  (l  agree)  I  had  tried  for  the  Ist  row,  was  told,  the  first  two  wouldn't 


J^;aN  UALUU«  --.  MAIlCll  1979,  N«w  York, 


On  February  28,  1979,  Dr.  Wikler  had  told  me  that  I  had  no  adr^^nalin 
Iftft,  no  rtserves,  and  th©  best  he  could  recommend  was  som«  "motivation*'—  som«— 
thing  that  v/ould  interest  m«,  distract  m«,  amus»  me«««   I  could  think  of  nothing 
and  concluded  to  myself,  too  bad,  but  nox  vay..»   (l  had  finished  CAT  OF  MANI 
IJV>]S,  liv#d  too  long  only  on  •*nervous  en«r/ry»«  and  since  Xmas  1078  haci  barely  been 
abl«  to  drag  myself  about,  writin^  the  last  ten  pages  of  BAT  betveen  Xmas  and  New 
Y«ar's  KV«,  delivuring  the  pages  to  Mary  Yost  on  Jan*  2,  and  Gerd  with  her  second 


hMtrt  attack  at  Ilarkness  Pavillon,  on  the  3rd,  less  than  24  hrs«  laterj  I  had  with 
my  very  last  efforts  nana^ed  to  get  copies  made  and  corrected  etc.  to  iMary,  Rainer 
and  John  Huston—  hiit  been  unable  to  pull  myself  togeth^r,  the  past  15  months  had 
becn  too  much,  in  fact,  those  fonr  years  on  CAT«««  This  as  backgrotmd ) « 

The  next  day,  a  Thxirsday,  (iitta  called  to  ask  whether  I  had  seen  the  veiy 
brief  notice  in  the  NY  Times  that  Jean  Babilee  was  coroing  to  NY  with  the  Bejart  Ballet 
and  vould  dance  a  newly  created  ballet —  for  him«   I  had  not  seen  an^'^hing  and  went 
through  several  days  of  the  Times —  none  containing  that  item«  Sheer  luck  that 
Gitta*s  edition  did. 

I  imnediately  started  phone  calls«  The  Box  Office  at  the  Minskoff—  the 
Bejart  opening  was  on  Tuesday,  March  6,  with  the  question  of  which  date(8)  ^bilee 
would  dance?  oho?  Never  heard  of  hiin«  I  asked  for  the  phone  at  the  ftinskoff  office 
which  they  gave  me  without  any  fuss«  There  a  very  amenable  young  woman  who  gave  her 
name  as  Ma|fgie  without  any  hedging,  explain#d,  yes,  indeed,  Babilee  was  Coming,  btit 
it  heul   been  decided  only  two  days  ago,  so  she  had  no  schedule  yet  for  him—  but  they 
all  were  stnying  at  the  Edison  and  Babilee  was  expected  the  next  day,  IViday«   I  VES 
to  call  her  hack  for  the  schedule^  which  she  finally  had— several  phone  calls  later— 
on  Friday»  I  prepared  a  welcoming  note  and  set  out  for  the  Minskoff  first,  to  buy  a 
ticket  for  Jean's  world  premiere  set  for  the  14th«  He  was  to  dance  only  4  or  5  times« 
As  he  had  once  said,  one  must  always  sit  in  t)ie  first  row  to  see  chaque  goutte  de  Per- 
spiration—  (I  agree)  I  haxl  tried  for  the  Ist  row,  was  told,  the  first  two  wouldn't 


b«  sold —  too  close —  and  got  a  seat  row  CC  with  no  one  in  front  of  me,  to  the  side 
but  I  didn't  mind  that  and,  sine«  they  la|er  did  seil  thoae  first  rows,  was  kI«^» 

At  the  Edison,  refurbiahed  and  huge,  teeming  with  yo\mg  people,  I  was  told 
they  never  heard  of  a  Mr.  iiabilee  (on  the  phone  later  they  insisted  his  name  was  Mr« 
Lee!)  who  was  not  expected  that  Fridpiy  with  part  of  the  Hejart  group—  Biit  faM  himself 
VKSxtkaxBZ  had  already  arrived,  did  I  wish  to  speak  to  him?  Vhy  not,  1  thought  and 
tried  his  room —  no  answer« 

Was  there  anyone  with  whom  I  could  check  advance  reservation^  Yas,  2nd 
floor  (Mezzanine?)—  "Sales"  office«   i\nother  very  pleasant  yoiing  women,  named  ^o^sam* 
She  at  once  knew —  no,  Mr.  üabilee  was  not  Coming  i^Yiday  but  Satnrday  with  the  rest 
of  the  group«   What  should  I  do  with  my  note  to  him,  since  I  could  see  from  the  con- 
fusion  downstairs  at  the  desk  that  it  would  never  reach  him  if  I  left  it  there©   Leave 
it  with  ne,  she  said  amiably,  I'll  put  it  into  his  folder  and  if  you  wish,  check  with 
me  tomorrow,  srt^urday —  y«s,  l'll  work  Saturday,  she  answered  my  question—  if  there 
was  a  change  of  planso 

Saturday —  still  no  one  had  heard  of  Jean  and  so  I  asked  for  the  sales  Dept, 
'*They  aren't  in  on  Saturdays,"  the  desk  clerk  informed  me*   "Oh  yes,  Nojsm  is,  she 
told  me  so  herseif,"  I  said«   "Ueally?" —  well,  yes«  really»   Sfte  was  still  very 
ajniable,  he  VAS  expected,  she  had  givcn  his  file  to  the  desk  clerk  in  Charge  and  If 
I  wanted  to  I  could  call  her  once  more  on  Monday'to  make  sure.,»   Cooperation  all 
along  the  line,   I  wonder  whether  they  would  have  been  so  willing  to  help  if  it  haÄ 
been  Nureyev —  or  after  the  reviews  when  the^  must  liave  realized  WHO  he  was««» 

I  called  Monday  once  more  and  after  a  lot  of  checking  on  NgggB^  part  she 


,sno 


assured  me  that  the  letter  wasno  longer  in  his  frle —  he  must  have  gotten  it« 


Silence« 


Wednesday—  the  papers  are  füll  of  wonder«   The  previous  opening  night,  with 


I  I 


be  sold —  too  clos« —  and  got  a  seat  row  CC  with  no  on«  in  front  of  m«,  to  the  »ide 
but  I  didnH  mind  that  and,  »ine«  they  la;:«r  did  seil  thos«  first  rows,  was  kI^^^« 

At  th«  Edisoni  rÄfiirbiabed  and  huge,  teeming  with  yoiing  people,  I  was  told 
they  never  heard  of  a  Mr.  ßabilee  (on  the  phone  later  they  insisted  his  name  was  Mr. 
L«#!)  who  was  not  expected  that  Friday  with  part  of  the  Bejart  grou]>—  But  he  himself 
vxBxtkflXBz  hat!  already  arrived,  did  I  wish  to  speak  to  him?  Vhy  not,  I  thought  and 
tried  his  room —  no  ansvf?r« 

Was  there  anyone  with  whom  I  could  check  advance  rf'servation?  Yes,  2nd 
floor  (Mezzanine?)—  *'ISales*'  office«  i\nothor  very  pleasant  yoim^'j  women,  named  Norna« 
Siie   at  once  knew—  no,  Mr.  Babilee  was  not  Coming  Friday  b\it  Saturday  with  the  rest 
of  the  fjrotip#  What  should  I  do  with  ny  note  to  him,  »ince  I  could  see  from  the  con- 
fusion  downstairs  at  the  desk  that  it  would  never  reach  him  if  I  left  it  there«   Leave 
it  with  me,  slie  said  amiably,  I'll  ])ut  it  into  his  folder  and  if  you  wish,  check  with 
me  tomorrow,  Sturday —  y^s,  1*11  work  Satnrday,  she  ansvered  my  question—  if  there 
was  a  Chance  of  plana« 

Saturday —  still  no  one  !iad  heard  of  Jean  and  so  I  asked  for  the  sales  Dept» 
**They  aren't  in  on  Satiirdays ,  *'  the  desk  clerk  infonned  rae«   "Oh  yes,  Nonaa  is,  she 
told  me  so  herseif, ^  I  said«   "Really?" —  well,  yes.  really.  SJje  was  still  ver/ 
ajniable,  he  WAS  expeoted,  she  had  given  his  file  to  the  desk  clerk  in  Charge  and  If 
I  wanted  to  I  could  c.vll  her  once  more  on  Monday  to  mak<^  sure«.«   Cooperation  all 
along  the  line«   I  wonder  whether  they  would  have  been  so  willing  to  help  if  it  had 
been  Niireyev—  or  after  the  reviews  wh<*n  they  must  have  realized  WHO  he  was«.« 

I  called  Monday  once  more  and  after  a  lot  of  checklng  on  Norma's  part  she 
assure<l  me  that  the  letter  wasno  longer  in  his  file—  he  must  have  gotten  it« 

Silence« 


Wednesday —  the  pa])ers  are  füll  of  wonder«  The  previous  opening  night,  with 


all  th«  tickeis  bou^^ht  up  by  some  man  who  hatl  madc  millions  of  $   with  Yves  iSt.  LÄurJjit— 
Bejart  had  annonnced  "Un^  siirprise" —  and  Jean  had  danced  LIFK  for  the  first  tirne.   H# 
was  a  Sensation» 

Thursday,  March  8,  at  2:30  pm« ,  the  telephone.  A  man  asked  for  mei  ^t  the 
•nd  of  the  sentence,  I  realized  the  slight  -b'rench  accent  but  I  asked  nevertheless, 
as  I  always  do,  who  was  calling« 

••Jean  Babileeo^' 

"Oh,  Jean!^« 

He  was  charming»   No,  he  had  been  divorced  from  Nathalie  for  18  years,  was 
living"avcc  ime  Armenienne  merveilleuse—  je  suis  tres  heureuxo**  He  apsiogized  for 
calling  so  late—  bii^t  he  had  done  nothing  but  sleep  and  prepare  the  ballet  that  was 
choreographed  by  Bejart  and  himself  within  2  ifcours«..   I  told  him  |li|hat  1  had  a  ticket     ^ 
for  the  14th —  Iwnez  dans  ma  löge  and  nour  prenons  quelque  chose  apres —  dinons 


ensemble»«»**  ix^RBiizxsiiBxs^xekBKziczx^xdxsxzs  At  one  time  he  said  something  that 


he  remembered  my  voice..»   At  the  end  of  the  lengthy  conversation,  I  said,  "Mais     ^ 
vous  vous  rendez  compte  that  ^  am  an  old'lady!'^   "And  I  an-old  ge^^tleman!"  was  his 


imrnediate  answer  and  we  both  laughed. 


/ 


When  ♦e  hung  up  I  thought—  what  a  chaniing,  civilized  man—  I  AM  living 
parmi  les  sauvages  ici«««   II  n'avait  pas  flirte,  ce  que  nous  avo(i|.ns  jamais  fait  mais 
tout  de  meme,  il  etait  im  homrne  et  raoi  une  femme  et  cela  on  n'oublie  jamais««»  He  had 
•fided  by  saying,  ''Je  vous  embrasse,  Huth#" 

I  certiinly  had  some  "raof ivation"  l)r«  Wikler  had  recommended  but  he  had  failed 
%Q   prescribe  how  to  dcal  with  it—  I  feit  excited  and  constricted  at  the  sarae  time, 
had  palpitations  even  when  quietly  at  home,  ran  on  and  off  a  very  slight  tempreature 
that  I  treated  with  Vitamin  C,  as  though  a  flu  was  Coming  on,  I  really  was  in  a  state. 
And  I  counted  the  days  to  the  14th»   And  realized  I  was  no  longer  able  to  be  that 


rauch  thrown  off  my  recluse  life» 


all  th^  tick''*«  boii^ht  iip  by  sorne  man  who  had  made  millions  of  $  with  Yves  'ot.  Laur^t— 
Bejart  hacl  anno\mc«d  "Un»  siirprise^—  and  Jean  had  danced  LIPE  for  the  firat  tirne»  H« 
was  a  Sensation 

Thursday,  March  8,  at  2i30  pm»,  the  telephone.  A  man  asked  for  me,  at  the 
tnd  of  the  sentence,  I  realized  the  sllght  French  accent  but  I  asked  nevertheless, 
as  I  always  do,  who  waa  calling« 

"Jean  Babilee." 

•♦Oh,  Jean!»» 

He  was  charming«  No,  he  had  been  divorced  frorn  Nathalie  for  18  yeara,  was 
living^avec  ime  Armenienne  merveilleuse—  je  suis  tres  lieureux«"  He  apaiogized  for 
callin^^  so  late—  biit  he  had  done  nothing  but  sleep  and  Tepare  the  ballet  that  was 
choreographed  by  Bejart  and  hiraself  within  2  yours«..   I  told  him  ^liat  1  had  a  ticket 
for  the  14th—  venez  dans  ma  löge  and  nour  prenons  quelque  chose  apres—  dinons 
ensemblst««**  ixj^uictzxaiiiixs^ReHBiizxzx^xdiuixzK  At  one  time  he  said  something  that 
he  remembered  my  voice.,,  At  the  end  of  the  lengthy  conversation,  I  said,  "Mais 
vons  vons  rendez  compte  that  I  am  an  old  lady!"  "And  I  an  old  ge  tleman!"  was  bis 
immediate  answer  and  we  both  laughed» 

Vhen  ♦e  hung  up  I  thoxight—  what  a  chan  ing,  civilized  man —  I  AM  living 
parmi  les  sauvages  ici*»«   II  n'avait  pas  flirte,  ce  que  hous  avoins  jamais  fait  mais 

ff 

tout  de  raeme,  il  etait  iin  homne  et  moi  iine  fenne  et  cela  on  n^oublie  jamais«««  He  had 
ended  by  saying,  "Je  vous  embrasse,  Ruth." 

I  cert  inly  had  some  "rao^ivation"  Dr#  Wikler  had  recommended  but  he  had  failed 
j^o  prescribe  how  to  dcal  with  it—  I  feit  excited  and  constricted  at  the  sarne  time, 
had  palpitations  even  when  quietly  at  home,  ran  on  and  off  a  very  sligJit  temprrature 
that  I  treated  with  Vitamin  C,  as  though  a  flu  was  Coming  on,  I  really  was  in  a  state. 
And  I  counted  the  days  to  the  14th«  And  realized  I  was  no  longer  able  to  be  that 
much  thrown  off  my  recluse  life« 


•    .M'    .i 


Vhat  to  wear —  if  he  w«re  in  jeans  and  a  turtleneck,  for  instance??  He  was 
always  very  informal  and  prcferred  a  bistro  to  the  Algonquin  where  he  and  lliilppart 
stayed  at  the  time  and  where  we  had  dinner  on  occasion*   I  decided  on  the  narrow  black 
pants,  the  velvet  jacket  and  the  pink  "pivoines"  scarf  from  Hermes» 

I  asked  everybody  for  advice  on  restanrants  ,  made  countless  phone  calls 
to  ask  about  kitchen  cloaings,  etc.  and  had  a  list  ready—  just  in  case. 

A  red  carnation  bought  a  day  ahead  and  kept  in  the  icebox  so  that  I  could 

^et  a  taxi  to  f^o   directly  to  the  theatre,  and  having  trouble  getting  the  black  furlined 

raincoat  over  the  damn  velvet,  I  set  out—  arrived  half  an  hour  early  andJArJed  to 

I 

calm  down.   I  feit  worse  than  on  any  day  since  Xmas,*  once,  I  thought  I*d  faint  during 
the  first  Ballet—  üalt^  Farisienne, 

Next  to  me,  an  "older"  man  asked,  for  vhom  the  flower?  I  was  astonished  about 
such  indiscretion  and  told  him  it  was  none  of  his  business#   When  he  said  he  had  come 
because  of  iiabilee,  I  softened»   ile  had  seen  him  in  1950  and  ever  since  been  raad  about 


Ballet —  he  had  also  seen  him  in  Naples,  years  later#« 


A  dreadful  SirBimth:  DK  LA  liOSK  had  to  be  sat  through  andtfinally —  a  bare  stage, 
dimly  lit  at  first,  iean  in  the  back,  alone,  behind  a  metal  contraption,  the  outline 
of  a  reactangular  cube.   I  started  the  applause» 

He  began  to  dance.   In  jeans  and  a  light  beige  t-shirt  with  a  V  neck,  clinging, 
he  seemed  Kkx  total ly  unchanged  in  appearance  except  for  his  face  that  although  also 
still  the  same,  did  show  deep  lines,  not  the  skin  itself,  so-to-speak^but  the  lines 
of  a  man  of  56  who  had  had  a  LIFE.   His  hair  still  that  light  brown  color,  very  fine, 
quickly  falling  into  his  face  after  the  beginning  when  it  hod  been  combed  back  the 


way  he  used  to  wear  it  in  the  Fifties. 

I  cannot  describe  the  dance, 
measured  movements,  y^rUy   hanging  from  the  poles,  then  quick,  sudden  turn«  and 


his  mmf^f   extraordinary  walk,  his 


VhRt  to  w«ftr~  if  he  wure  in  j«ans  and  a  turtleneck,   for  instanc«??     He  waa 
alvays  very  infomal  and  preferr«d  a  bistro  to  the  AlRonquin  wher«  hf  and  ITiilppart 

> 

stay«<l  at  the  titne  and  where  v«  had  dinner  on  occasion.  I  d«cided  on  th«  narrov  black 
pants,  the  velvet  jack#t  and  th«  pink  "pivoines"  »carf  from  H« 


rmes. 


I  asked  »virybody  for  advlc«  on  restanrants  ,  made  cowntless  phone  calXs 

i 

to  ask  about  kitchwn  closings,  etc.  and  hwl  a  list  ready—  just  in  case, 

A  red  carnation  bought  a  day  aliead  and  kept  in  tlie  icebox  so  that  I  could 
get  a  taxi  to  go  directly  to  the  theatre,  and  having  trouble  gettin«  the  black  furlined 
raincoat  over  the  damn  velvet,  I  set  oiit—  arrived  half  an  hour  early  andtried  to 
calra  dovTi.   I  feit  worse  tJian  on  any  day  »ince  Xmas,  once,  I  thought  I'd  faint  during 
the  first  Ballet—  Gaite  Parisienn». 

Next  to  me,  an  "older"  man  asked,  for  vhora  the  flower?  I  was  astonished  about 
stich  indiscretion  and  told  him  it  wa.s  none  of  his  business.  Vhen  he  said  he  haii  cone 
becauae  of  Babilee,  I  softened.  Ue  had  seen  him  in  1950  and  ever  since  been  nad  about 
Ballet —  he  had  also  seen  him  in  Naples,  years  later... 

A  dreadful  Smrm:   1>K  LA  liOSK  had  to  be  sat  through  andfinally—  a  bare  stage, 
dimly  lit  at  first,  jean  in  the  back,  alone,  behind  a  «etal  contraption,  the  outline 
of  a  reactangular  cube,  I  »tarted  the  applause. 

He  began  to  dance.  In  jeans  and  a  light  beige  t-shirt  vith  a  V  neck,  clinj^ng, 
he  seemed  Khx  totally  unchanged  in  apoearanee  except  for  his  face  that  although  also 
still  the  sacie,  did  ahow  deep  lines,  not  the  skin  itself,  so-to-speak  but  the  lines 
of  a  Plan  of  56  who  had  had  a  LIJE.  His  hair  still  that  light  brown  color,  very  fine, 
quickly  falling  into  his  face  after  the  beginning  vhen  it  hfvd  been  corabed  back  the 
vay  he  used  to  wear  it  in  tlie  Fifties. 

I  cannot  deacribe  the  dance,  partly  his  simple,  extraordinary  walk,  his 
measured  movements,  partly  hanging  from  the  poles,  then  quick,  sudden  tum«  and 


twists«  B\it  as  invariably,  as  overwhelraing  as  ever —  his  Piil^^SKNCK,  the  man  behind 
the  dancer,  the  iridescent  personal ity# 

Catherine  Oethymliis  partner,  ve^ry  beautiful,  very  lovely,  very  touching — 
the  way  she  lifted  his  head  when,  at  a  moment  of  total  de^jection  he  sits  on  the  pole, 
ein  Ilaeuf eben  Un^lueck. • •  They  manipulate  the  poles  that  once  she  hangs  on  it  by 
her  hands,  once  he  dows».. 

The  audience  watched  in  absolute  silence.  As  if  holding  their  breath —  no 
applause  at  any  time  even  though  I'm  sure  some  of  his  feats  would  have  demanded  it» 
But  everybody  seemed  enthralled,  linder  a  spell» 

In  the  end,  he  takes  the  girl's  band  and  runs  off  with  her, 

Thunderous  applause,  over  and  over,  arranged  again  with  great  style  and  charmo 

iL 


I  imrnediately  grabbed  my  thin^»s —  I  had  made  snre  beforehand  how  to  get 
backstage,  fortimately  on  MY  side  of  the  theatre —  and  almost  ran,  asking  ray  way 
through  to  his  dressingroom#   It  was  the  last  of  the  three  stars  (Donn,  Jaraison)* 


I  knock 


ed.      '•Piiis-je  entrerr^     »^^ui  est-ce?"  ^'Riith/' /»Un  rooroent." 


^i 


He  opens  the  door,  dressed  in  Blacks  and  sportshirt»   I  kiss  him  on  the 
cheek  (l  don't  think  he  liked  it),  füll  of  enthiisiasm,  bubbling  with  admiration« 
He  looked  exhausted  and  drained»  Ve  were  iiv -=bh«  mdsir. jftf  discussing,  I  think  when  and 
how  we  had  last  seen  eacn  other —  at  Marion  Delbo's  at  a  grande  fete  sur  1 'herbe,  sur 
la  pelouse,  et  apres,  une  foisje  ;>ense  en  *58,  Jadiues  i^'rancois  rae  disait,  "Voila 


/ 


Jerin  ^abilee  qui  vous  donne  si 


{Wf— " 


he  was  at  the  wheel  of  h^-s  car,  bending  his  head 
out  the  Window  and  waving  with  his  left  hand»#.   I  was  very.  nervous,  had  said  some- 
thing  very  negative  about  Gälte,  i.e.  that  one  had  to  suffer  until  one  got  to  him  (j), 
he  was  furious,  motioned  with  his  head  to  an  open  door  I  had  not  noticed  and  where 
1   then  saw  the  half  dozen  younglmen  lounging  about«  ••   I  was  beside  myself  about 
my  lack  of  tact  and  Jean  kept  shaking  his  head—  it  had  started  on  a  wrong  note,«. 


ffitB'i;^".  '-.Li  .V'r^'.;---^-. 


tvists«  But  as  invariably,  as  overwhelmin^:  as  ev«r —  his  PKFiSKNCE,  the  man  behind 
the  danc«r|  th«  iridescent  j)ersonality# 

Catherine  Dethymhis  ])artn#r,  verry  beautiful,  very  lov#ly,  very  touching— 
the  way  she  liftftd  his  hea<!  vhen^  at  a  moment  of  total  desjection  he  sits  on  the  pole, 
ein  Ilaeufchen  Unglueck«»«  They  manipulate  the  poles  that  once  she  hangs  on  it  by 
her  hands,  once  he  dows#.» 

The  audience  watched  in  absolute  silence«  As  if  holding  their  breath-—  no 
applause  at  any  time  even  though  I'm  sure  some  of  his  feats  would  have  demanded  it» 
But  everybody  seemed  enthralled,  linder  a  spell« 

In  the  end|  he  takes  the  girl*s  band  and  nins  off  with  her» 

Thnnderous  applause,  over  and  over,  arranged  again  with  great  style  and  charm« 


I  imrnediately  grabbed  my  thin^^s —  I  had  piad^  sure  beforehand  how  to  get 
backstage,  fortimately  on  MY  side  of  the  theatre—  and  almost  ran,  asking  my  way 
through  to  his  dressingroom»  It  was  the  last  of  the  three  stars  (Donn,  Jaraison)« 
I  knocked.   "Puis-je  entrer?"   ♦'Jni  est-ce?"  Ruth."  '*Un  moment.'* 

He  opens  the  door,  dressed  in  slacks  and  sportshirt«   I  kiss  him  on  the 
cheek  (I  donH  think  he  liked  it),  füll  of  enthusiasm,  bubbling  with  admiration« 
He  looked  exhausted  and  drained«  Ve  vere  in  the  midst  of  discussing,  I  think  when  and 
how  we  had  last  seen  each  other—  at  Marion  Delbo's  at  a  grande  fete  sur  1 'herbe,  sur 
la  pelouse,  et  apres,  une  fois  je  ;ense  en  '58,  Jacques  Prancois  rae  disait,  "Voila 
Jejin  ^bilee  qiii  vous  donne  signal-— "  he  was  at  the  wheel  of  his  car,  bending  his  head 
out  the  windov  and  waving  with  his  left  hand*«*   I  was  very  nervous,  had  said  some- 
thing  very  negative  about  Gaite,  i.e.  that  one  had  to  suffer  imtil  one  got  to  him  (J), 
he  was  furious,  motloned  with  his  head  to  an  open  door  I  had  not  noticed  and  where 
I  then  saw  the  half  dozen  young  men  lounging  about«  ••   I  was  beside  myself  about 
my  lack  of  tact  and  Jean  kept  shaking  his  head—  it  had  started  on  a  wrong  note»»* 


A  knock  on  the  door  and  k  ^Venchman,  1  think  someone  from  ihe  Companyi 
brourht  in  a  st\mnin^ly  b«Autifiil  younf:  gir-l,  very  tall,  prohablv  actress,  model, 
or  dancer,  who  also  was  quite  ov^rwh^lmed  by  Jean's  Performance,  and  almost  in  a 
whisper  tried  to  express  herseif,  looking  at  him  adoringly»»«   The  yoixng  man  left, 
the  girl  sat  down,  I  was  still  standing,  Jean  turned  aroimd  to  mc,  'Vhy  don't  you 
Sit  down?"  knd  I  distinctly  feit,  three's  a  crowd  but  hov  do  I  get  out  and,  after 
all,  it  was  I  who  had  a  date  with  him««#   It  wasmost  awkward,  until  Jean  sxigfj:ested 

1 

that  I  see  HÜl>iKO,  very  much  worth  while,  and  then  come  back«   But  didn*t  he  want  to 

eat,  I  asked  stupidly«   Of  course,  he  said,  but  he  had  to  secher  d'abord  and  he  urged 

me  Aot  to  raiss  the  spectacle» 

I  not  only  got  the  hint  but  was  somehow  glad  to  leave» 

Missed  ray  seat  for  a  row  until  my  other  neigbor  turned  around  and  said, 

**This  is  your  row*' —  BOl^KRO  was  the  version  I  had  seen  with  the  Stuttgart  but  here 


Donn  was  the  man  and  30  women  leering  after  him«   ITie  original  version,  with  a  woman 
much  more  interesting  although  all  those  VKRY  beautiful  girls  w^re  a  joy  to  look  at« 


/ 


I  had  left  my  coat  in  the  dressingroora —  ah  yes,  when  I  gave  him  the  carna- 
tion,  he  looked  at  it  and  asked,   Pour  moi?" —  he  had  a  bouquet  of  wilted  informal 


floi.ers  standinf:  in  the  corner  but  had  taken  it  out  anti  when  the  girl  had  lefti  she 


was  there  when  I  came  inlt^  the  door  was  wide  open  then— iJean  came  back  with  a  green 


giass  vase  where  that  lone  red  carnation  looked  lovely.   It  pieased  mf.and  he  put 
it  on  his  dressing  table,  the  other  flowers  had  been  on  a  tablein  the  back. 

y 

Vhen  1  got  a  glimpse  of  rayseif  in  the  mirrored  "löge"  I  realized  that  I 
looked  ptar-shaped,  because  the  pants  were  tightest  around  the  ankles  and  the  velvet 


jacket  made  me  look  broftd ^hipped —  I  vri\^   miserable,  murmured  something  I  didn't  know 
what  to  wear  because  1  thought  he  might  be  in  col  roule,  he  didn't  get  what  I  was 
talking  about,  just  as  well« 


.mää .  1.».^.^^.  *  '^       A 


A  knock  on  th«  door  and  a  Frenchmani  I  think  somnone  from  Ihe  Company^ 

V 

brou  ht  in  a  stimninßly  beautifiil  youn^':  ßirl,  very  tall,  probably  actre«s,  model, 

i 
or  dancer,  who  also  was  quite  ov«rwhelmed  by  Jean's  pÄrformanc«!  and  almost  in  a 

f(  * 
wbi«p*^r  tried  to  «xpr«sa  herseif,  looKing  nt  hira  adorin^ly««.  The  yoimp:  man  left, 

the  Kirl  sat  down,  I  was  still  standing,  Jean  turned  around  to  me,  **vhy  don't  you 

Sit  down?"  hnd  I  distinctly  feit,  three's  a  crowd  but  how  do  I  ^ret  out  and,  after 

all,  it  was  I  who  had  a  date  with  him«««   It  wasmoat  awkward,  until  Jean  siiggested 

that  I  see  BOTJ^ÜO,  very  much  worth  while,  and  then  come  back«  But  didn't.  he  want  to 

eat,  I  asked  stupidly«  Of  course,  he  said,  but  he  had  to  secher  d'abord  and  he  ur^^ed 

me  Aot  to  miss  the  spectacle* 

I  not  only  got  the  hint  but  was  somehow  glacl  to  leave» 

Missed  my  seat  for  a  row  until  my  other  neigbor  turned  around  and  said, 
"This  is  your  row*'—  B01>Iliü  was  the  version  I  had  seen  with  the  Stuttgart  but  her« 
Donn  was  th**  man  and  30  women  leering  after  him«  The  original  version,  with  a  vornan 
much  more  interesting  althotigh  all  those  V>)RY  beautiful  girls  wr»re  a  joy  to  look  at« 

I  had  left  my  coat  in  the  dressingroom—  aJi  yes,  when  I  gave  him  the  cama- 
tion,  he  looked  at  it  and  asked,   Pour  moi?" —  he  had  a  bouquet  of  wiltec!  informal 
flo  ers  standing  in  the  corner  but  hnd  taken  it  out  and  when  the  girl  had  left,  she 
was  there  when  I  came  in—  the  door  was  wide  open  then—  Jean  came  back  vjth  a  green 
l^iass  vase  where  that  lone  red  carnation  lookeci  lovely.   It  pieased  mf  »and  he  pnit 
it  on  his  dressing  table,  the  other  flowers  had  been  on  a  tablein  the  back« 

Vhen  I  got  a  glimpse  of  myself  in  the  mirrored  **loge*'  I  realized  that  I 
looked  pear-shaped,  because  the  pants  were  tightest  around  the  ankles  and  the  velvet 
jacket  made  me  look  bro#:i -hipped —  I  wa  miserable,  murraured  something  I  didn't  loiow 
what  to  vsar  because  1  thought  he  might  be  in  col  roule,  he  didn't  get  what  I  was 
talking  about,  just  as  well. 


/ 


It  ha<l  been  an  unusnally  bot  Marcb  day  althou<^b  a  sudd^n  drop  in  temp«rature 
was  predicted;  tbe  auditoriiun  as  w^ll  as  Jftan's  lo^e  wer«  vmb«arably  bot,  he  was  so 
thirsty  and  de-hydrated  tbat  all  he  vanted  was  to  get  sometbing  to  drink—  he  wasn't 
hun^^ry,  he  said,  and  neither  was  I —  in  fact,  I  feit  so  nervous  and  miserable,  phys- 

ically  tbat  when  I  couldn't  /^et  tbat  coat  over  tbe  velvet,  missed  tbe  sleeve,  I 

I 
stamped  my  foot  like  a  child  and  curs^  Jean  smiled  ligbtly  and  said,  in  Knglish, 

"Take  it  easy!"  helped  with  tlie  coat  and  I  explained  it  bad  been  one  of  tbose  days 

when  everytbin^T  was  /:oing  wrong  and  apologized  for  my  bebavior. 


Obviously,  he  waited  for  tbe  end  of  tbe  Performance  becanse  not  everybody 
comes  backstage  as  I  difi,  after  HIS  ballet,  there  were  a  couple  of  people  with  pic- 
tureÄ  to  be  autographed,  also  some  waiting  at  the  stage  entrance,  among  them  my  neigh- 

•/still  there  and  would  autograpb  a  photo  from  JKUN^i  ^ 

row  ßlasses  and  sicrned 


bor  who  bad  asked  me  if 


iiOMK  for  bim...   I  explained,  in  ^'rench,  to  Jean,  who  piit  on  narrow  gli 


and  then  we  went  off,  i,   hanging  on  bis  arm» 

At  the  Corner  of  45th  and  Broadway,  Burger  ajid  Brew—  did  I  knov  my  way 
around —  would  tbat  be  all  right,  he  just  llAI)  to  have  something  to  drink#,»   I  told 
him  everytbing  was  fine  with  me  and  so  we  walked  in,  juke  box  music,  bist'otir  with  vooden 
niches,  one  empty,  fortunately,  we  sat  down,  Jean  motioned  me —  vis*e-vis —  which  I 
bäte  because  I  canH  hear  enough  in  tbe  din  and  Jean  miunbles  a  good  deal... 

We  looked  at  tbe  memi—  I  mumbled  a  question,  "Hamburger?"—  then  I  final ly 
found  iced  tomato  Juice  «jnd  said  tbat 's  what  I  wanted  and  he  aaid,  he,  too»   And 
how  about  a  spinach  salad?  Fine»   lle  ordered»   Tbe  girl  retiirns,  only  ONl'i  spinach 
salaj^«   ^kay,  for  bim —  I'll  have  a  green  salad*   But  first  the  tomate  juice«   Jean 
drank  bis  in  one  ^^Ip,  ordered  anotber  one,  drank  3  altogetber  and  a  glass  of  milko 


The  salads  arrived,  two  huge  bowls,  we  shared  both,  be  ate  some,  I  almost  nothing, 
I  just  couldn*to   Jean  apologized  tbat  it  was  so  bad  but  i  told  him  it  didn&t  matter» 


It  haii  been  an  uniisnally  bot  Marcb  flay  altboiinb  a  siidd^n  drop  in  temp^ratur« 
vas  predictedj  tbe  auditorium  as  w^ll  as  J«an's  lo/»«  wer«  unbearably  bot,  he  was  so 
thirsty  and  de-hydrated  tbat  all  he  wanted  was  to  <jet  somethin^  to  drink— •  he  wasn't 
hun/try,  he  said,  and  neither  was  I —  in  fact,  I  feit  so  nervous  and  miserable,  phys- 
ically  tbat  when  I  couldn't  ;^et  that  coat  over  tbe  velvet,  missed  the  sleeve,  I 
stamped  my  foot  like  a  child  and  curse«  Jean  sniled  lightly  and  said,  in  Knglisb, 
"Take  it  easy!"  helped  with  the  coat  and  I  explained  it  haci  been  one  of  those  days 
vhen  everythin(T  was  ^oin^j  wron^»  and  apologized  for  my  behavior# 

Obviously,  he  waited  for  the  end  of  the  Performance  because  not  everybody 
comes  backstage  as  I  did,  after  HIS  ballet,  there  wer©  a  couple  of  people  with  pic- 
tured  to  bc  autographed,  also  some  waiting  at  the  stage  entrance,  among  them  my  neigh- 
bor  who  haci  asked  me  if  he  were  still  there  and  wonld  autograph  a  photo  from  JIHJNE 
IlOMM  for  him««»   I  explained,  in  -^'rench,  to  Jean,  who  put  on  narrow  glasses  and  signed 
and  then  we  went  off,  i  hanging  on  bis  arm» 

At  the  corner  of  45th  and  Broadway,  Biirger  and  Brev —  did  I  \mow   my  way 
around —  voiild  that  be  all  right,  he  just  HAI)  to  have  something  to  drink« ••   I  told 
him  everything  was  fine  with  me  and  so  we  walked  in,  juke  box  music,  bistor  with  wooden 


niches,  one  empty,  Tortunately,  we  sat  down^  Jean  motioned  me—  viMt^vis —  which  I 


hate  because  I  can't  hear  enough  in  the  din  and  Jean  mumblea  a  good  deal«.« 

We  looked  at  the  menu—  I  raurabled  a  question,  "Hainburger?"-—  then  I  finally 
found  iced  tomato  juice  and  said  that 's  what  I  wanted  and  he  said,  he,  too»  And 
how  about  a  spinach  Milad?  fine«  He  ordered«  The  girl  retnrns,  only  ONF^  spinach 
sala«»«  Okay,  for  him —  I'll  have  a  green  salad«  But  first  the  tomate  juice.  Jean 
drank  bis  in  one  ^(ulp,  ordered  another  one,  drank  3  altogether  and  a  glass  of  milk« 


The  salads  arrived,  two  huge  bowls,  we  shared  both,  Jie  ate  some,  I  almost  nothing, 
I  just  couldnH«  Jean  apologized  that  it  was  so  bad  but  1  told  him  it  didn&t  matter« 


8 

W«  spoke.   He  wanted  to  knov  whfi/tJIIjiS^^_äoiJ^i^^^  ^i* —  ich  sagte, 

j'ecris,  avec  tres  peu  de  succesi  erklaerte,  dann  ueber  die  T^emoiren,  das  fand  er  gut. 
I  erklaerte,  wie  single-track  minded  ich^  seij  nur  so  koenne  man  etwas  erreichen, 
sagte  ert   The  I  asked  about  Nathalie —  yes,  the  divorce  haxi  been  amicable  and  they 

had  remftined  friendly  iintil  some  years  ago,  I  thinl^  5  or  6—  he  gave  a  precise  figure- 

V.  K 

when  eile  m'a  fait  un  truc  and  since  then  no  more  friendship  or  words  to  that  effect. 

24-yr,  cid  ^ 

Yes,  he  had  children,  by  her,  a/daughter,  also  with  ^ejart  but  not  dancing  because  of 

a  foot  injury  (also  not  listed  in  the  roster}  and  a  son,  tres  beau,  an  actor,  he  will 

make  it,  he  thought«   Pater  familias —  oui«.«   pendant  iin  temps. 


VHiat  did  he  do  when  not  dancing?  Traveling.   All  over  the  world,  3  x  in 


India* 


Then  someJiow  we  got  to  talk  about  Barjishnikov,  i.e,  I  brought  JEUNK  liOMMK 


up  an(1  Said,  what  Baryshnikov  had  not  had,  i«e.  what  Jean  had  had  aside  from  la  rage- 


,  etai 


d  *un  lion,  non  plutot  d*\m  tigre,  etait  la  souffrabce« .  •   an  moins  il  l*a  su  exprimer 


A 


meme  si  peut-etre  il  n*y  en  avait  pas  experienceü« 


u 


"Vous  croyez  il  yk  des  gens  qui  ne  connaissent  pas  la  souffrance?,  he  asked 
Incrednlously  (that  I  could  be  so  stupid)» 


\r(nAJ^  (ituY 


"No,   that  wasn't  what   I  liad  meant —  mais   i 
tk%  1* avait  pas  MNCOiiE  experienced.  • . '^ 


V 


jht  si  jeune  et  peut-etre 


He   looked   at  me  wide-eyed»     jöEhm  "II  y  avait  la  guerr«,    "  he  said  very 


simply. 


Of  course,  he  had  been  in  the  maquis,  I  had  momentarily  forgotten  this. 

Then  or  in  between,  he  suddenly  told  me  that  Nureyev  had  come  to  see  him 
dance  while  nursing  a  bad  foot,  and  had  "m'embrasse  sur  la  beuche!   Siir  la  bonche!" 
He  still  was  f labbergasted •   "lien,  as  an  afterthought,  "Tres  Russe."   It  was  very 
ctTiftiY  fiinny« 

I  told  him  about  the  conversation  I  had  with  him  about  Carmen —  the  very 
beautiful  woman  I  was  to  brinr^  to  him  backstage  (she  didn't  make  it)  and  that  I  had 


8 


W«  spoke«  Hl»  vantftd  to  know  what  I  was  doing  ave  votr«  vie —  ich  sa/^t«, 


j'ecris,  avec  trus  p«n  d©  succ^s,  erklaert«,  dann  ueb«r  die  emoir^n,  das  fand  er  gut. 

I  crklaertui  wie  single-track  minded  ich^  aei,  mir  so  koenne  man  etwas  erreichen, 

sagte  er«  Tbe  I  asked  aboiit  Nathalie —  y«»f  ^'^^^   divorc#  Jia^i  been  amicable  and  they 

had  renmined  friendly  iintil  some  years  ago,  I  thinli  5  or  6—  he  gave  a  precise  fi^^re- 

when  eile  ra'a  fait  un  truc  and  since  then  no  raore  friendship  or  words  to  that  eff>ct« 

24-yr.  old 
IStSy  he  had  children,  hy  her|  a/daughter,  also  with  ^ejart  but  not  dancing  because  of 

a  foot  injury  (al«o  not  listed  in  the  roster)  and  a  son,  tres  bea\i|  an  actor,  he  will 
make  it,  he  thought«   iViter  familias —  oui«««   pendant  im  temps« 


KJiat  did  he  do  when  not  dancing?  Traveling»  All  over  the  world.  3  x  in 


India* 


Then  »oneliov  we  got  to  talk  ahout  Barjrshnikov,  i.e.  I  hrought  JIIUNM  HOMMK 
up  and  Said,  what  Baryshnikov  had  not  had,  i.e.  what  Jean  had  had  aside  from  la  rage— 
d'un  lion,  non  plutot  d'iin  tigre,  etait  la  souffrabct...  an  moin»  il  l*a  sii  expriner 
■•tne  si  peut-etre  il  n'y  en  avait  pas  experience£« 


••Von«  croyez  il  ya  des  gens  qtil  ne  connaissent  pas  1a  souffrance?,  he  asked 
incredulously  (that  I  could  be  so  stupid)» 

"No,  that  wasnH  what  I  liad  meant —  mais  il  etait  si  jeiine  et  peut-etrt 
ne  1 'avait  pas  l'^CORE  experienced.. .** 

He  looked  at  me  wide-eyed.  JöbiN  "II  y  avait  la  guerre,  **  he  said  very 


siraply« 

Of  course,  he  had  been  in  the  macj^uis,  I  had  momentarily  forgotten  this. 

Then  or  in  hetween,  he  snddenly  told  me  that  Nureyev  had  come  to  see  him 
dance  while  nnrsing  a  b^vd  foot,  and  had  "m'embrasse  sur  la  bouche!   Sur  la  bov.che!" 
He  still  was  flabbergasted#  Then,  as  an  afterthought,  *'Tres  Russe."   It  was  very 
fltifiittx  fimiiy* 

I  told  him  about  the  conversation  I  had  with  him  abont  Carmen —  the  very 
beautiful  woman  I  was  to  brinfr  to  him  backstage  |(8he  didn't  make  it)  and  that  I  had 


asked,  "Vous  aimez  le»  jolies  f#^mnes?"  to  which  he  ha<i  anawered ,  *'J'aime  les  femnes!*' 
He  made  no  comnent  to  that  remark  but  looked  rather  peAsive» 

V«  spoke  also  aboiit  his  internst  in  knives,  and  in  bullfighting  and  that 
we  had  seen  two  films  together  ^IK   BULLS  and  the  BUIXI'KjIITKU  ANl)  TllE  loADY,  and  h« 
remembered  that» 

And  at  some  point  he  said  somethin;^^  about  himself  I  couldn't  hear  but  I 
did  understand  when  he  ended  his  aentence  with,  "Now  1  am  at  peace  with  rayself."   -^t 
vas  an  extraordinary  statement  to  make,  and  then  he  added,   'J'etais  fou»««"  and 


we  spoke  about  it  whether  les  follies  de  la  jeunesse 


add  to  the  experience  of 


life,  something  along  those  lines« 

I  had  an  immense  feeling  of  tenderness  for  him,  he  was  so  exhausted  and  I 
think  he  had  only  gone  out  vith  me  not  to  break  our  date  and  because  he  did  need 
something  to  drink,  perhaps  also  to  imwind,  but  at  about  midnight,  we  niust  have  sat 
there  for  about  an  hour,  he  said  he  simply  had  to  get  some  sleep  and  had  to  go  home, 
K        Ün  the  way  out  I  said  I  was  sorry  I  had  talked  so  much,  comme  un  ruisseau, 
non,  une  riviere,  —  '*C'est  bien  de  parier/*  he  said,  "j'aime  vous  ecouter».«" 
Then  he  got  a  taxi  took  my  head  into  his  hands  and  kissed  me  very  affectionately 
on  both  cheeks,  and  I  knew  this  was  no  conventional  gesture —  he  meant  it,  despite 
the  meeting  that  seemed  to  me  very  flawed  and  difficult,  even  considering  that  we 
had  not  even  been  in  touch  since  1952  (the  limcheon  at  Marion*s)  and  though  we  spent 
a  lot  of  time  together  1950/^1,  while  they  were  in  NY,  we  didn't  really  know  each 
other  at  all,   I  reminded  him  of  the  TV  show  with  Lilli  and  he  reraembered  that  Hex 


had  corae  to  the  plateau«   I  mentioned  that  Lilli  and  I  were  no  longfj'  friends. 


/  . 


I  had  Said  I'd  like  to  raeet  l"Armenienne'*,  Hermine,  and  if  he  would  like 


and  come  for  drinks  with  her  to  my  house,  which  he  obviously  wanted;  he  doesn't  drink 
at  all,  a  glass  of  wine  if  necessary  but  rather  not  if  he  mustn't«   I  said  1  couldn't 


\ 


asked,    **Vous  airaez   1ä»  jolins   f#^mn««?"   to  which  h#  hat!   answrr»d,    "J'aime  les   fummes!'* 
H«  madfi  no  comi^iont  to  that  r«mark  but  looked   rather  peisive« 

Vä  spoke  alao  abotit  his  interest  in  knives,   and   in  bullfi^htin^^  and   that 

i 

we  had  s««n  tvo  films  top:«ther  '  HK  lÄJI.LS  and  the  BULLl^ICrUTHU  ANl)  TID'.  IJIDY,  and  he 
remftmberad  that« 

And  at  some  point  he  sald  somethin;,'  about  himself  I  coiildn't  haar  but  I 
did  iindi»rstand  when  he  ended  his  sentence  with^  "Nov  I  am  at  peace  with  rnyself»"  it 
was  an  extraordinary  statement  to  make,  and  then  he  added,   'J'ötais  fou««.*'  and 
we  spoke  about  it  whether  les  follies  de  la  jeunesse  don't  add  to  the  experience  of 
life,  something  along  those  lines« 

I  ha^l  an  immense  feeling  of  tenclerness  for  him,  he  was  so  exhausted  and  I 
think  he  had  only  gone  out  vith  me  not  to  break  our  date  and  because  he  did  need 
something  to  drink,  perhaps  also  to  unwind|  but  at  about  midnight|  we  raust  have  sat 
there  for  aboiit  an  hotir,  he  said  he  simply  had  to  ^et  some  aleep  and  liad  to  go  hone* 
YL  On  the  way  out  I  said  I  was  sorry  I  had  talked  so  muoh,  comne  un  ruisseau, 

non,  une  riviere,  —  **C'est  bien  de  parier,"  he  said,  "j 'aime  vous  ecouter«#»" 
Then  he  got  a  taxi  took  my  head  into  his  hands  and  kissed  me  very  affectionately 
on  both  cheekS|  and  I  knew  this  was  no  conventional  gesture—  he  meant  it,  despite 
the  meeting  that  seemed  to  me  very  flawed  and  difficult,  even  considering  that  we 
had  not  ev«n  been  in  touch  since  1952  (the  luncheon  at  Marion* s)  and  though  we  spent 
a  lot  of  timff  togcther  1950/91 ,  while  they  were  in  NI|  we  didii't  really  linow  each 
other  at  all»   I  reminded  him  of  the  TV  show  vith  Lilli  and  he  remembered  that  Hex 

had  come  to  the  plateau«   I  mentionml  that  Lilli  and  I  wer^  no  long  i  friends» 

1 
I  had  said  I'd  iike  to  meet  l"Arraenienne**|  Uermine,  and  if  he  vould  like 

and  come  for  drinks  with  her  to  my  hous«,  which  he  obviotisly  wanted;  he  doesnH  drinlt 


at  all,  a  glass  of  vine  if  necessary  but  rather  not  if  he  raustnH*   I  said  1  couldn't 


l 


IV 


W 


/, 


ri 


/ 


10 


ask  thera  to  dinner  becnuae 


^ 


ne  sais  pas  faire  la  cuisinc,  "Mais  onm  ne  vient  pas 


pour  manf^er 


I»» 


H#  noticed  that  the  person  ahead  of  us  paid  the  cashicr  with  tvo  silver 
dollars  and  he  got  excited  about  them  and  the  cashicr  gave  hira  one  with  his  change, 
I  Said  I  thought  I  had  one —  his  had  a  picture  of  Glenn  on  it —  and  I  thought  mine 
could  he  a  Kennedy  dollar  but  I  wasn't  sure.   Vould  he  like  to  have  it?  He  just 
beamed,  apparently  it  meant  much  to  him  and  I  promised  I  would  give  him  the  one  I 
hadf  either  after  a  Performance—  I  didn't  knov  yet  when  I 'd  go*^  or  when  he  and 
llermine  came  up  to  the  house.   He  thought,  since  she  was  rehearsing  a  play,  she 
would  come  for  the  last  week  end» 

I  at  once  wrote  him  a  note,  thankin^^  hira  for  LIl^K  and  la  grajide  joie  de 

V 

le  retrouver  apres —  gave  hira  sorae  Information  about  Hoff ritz  and  their  knives, 

pointed  out  6th  Avenue  and  Paley  Park  to  him  and  sent  it  off, 

After  the  initilal  success  of  LIHC —  ALL  the  papers  were  incredibly  fav- 
orable  and  wrote  that  to  sit  through  ßejart  to  see  ^bilee  was  very  much  worth  while.'" 
there  was  a  change  in  schedule  and  Jean  danced  many  extra  x^^r^^rmances,  except  for 
that  second  last  week  fiXsA.      I  got  a  ticket  for  the  last  Matinee  on  March  24,  and 
wrote  him  a  note  about  that  which  I  took  to  the  theatre  during  the  Matinee  a  week 
before  ,  together  with  a  six-pack  of  toraato  Juice«   I  had  hoped  that  he  would  havt 
it  that  afternoon  but  the  stagedoor  man  was  very  uncooperative  and  my  hunch  is  that 
he  got  it  only  the  following  Wednesday,  his  next  Performance  e9t«#T^t=-i4fe«t  he 

found  it  at  class  or  for  a  rehearsal.   I  told  him  in  the  note  that  I  had  a 


ticket  for  the  24th,  Matinee, 


Ah  yes,  on  the  14th  he  had  taken  le  cours  pour  les  filles,  le  cours  pour 
les  kiuBKÄXjBgarconsÄ  AND  had  a  rehearsal,  another  reason  why  he  was  so  totally 
exhausted.   He  had  mentioned  to  the  young  -^'renchman  who  brought  in  the  beautiful  girl 


10 


ask  thf»m  to  dinner  because 


po\ir  manfftr!*' 


i 


n«  sais  pas  fairi»  la  cnisine,  '*Mai8  onn   n«  vient  pas 


Ht  noticmi  that  the  person  aheacl  of  us  paid  the  cashier  with  two  silver 
dollars  and  he  got  excited  about  them  and  the  cashier  gave  him  one  with  his  change« 

I  Said  I  thotißht  I  had  one —  his  hac!  a  pictiire  of  Glenn  on  It —  and  I  thou^^ht  mine 

t 

could  be  a  Kennedy  dollar  bnt  I  wasn't  sure«   Would  he  like  to  have  it?  He  just 
beamed ,  apparently  it  ineant  iimch  to  him  and  I  promised  I  would  ^ive  him  the  one  I 
had|  either  after  a  Performance —  I  didnH  knov  yet  when  IM  /jo—  or  when  he  and 
Hermine  came  up  to  the  house«   He  thoufijht,  since  she  was  rehearsin^:^  a  play,  she 
would  corae  for  the  last  week  end» 

I  at  once  wrote  him  a  note,  thankin^^  him  for  LIJK  and  la  grnjide  joie  de 
le  retroinrer  apres—  gave  him  some  Information  about  Hoff  ritz  and  their  knives, 
pointe(^  out  6th  Avenue  and  Paley  I^ark  to  him  and  sent  it  off« 

After  the  initilal  success  of  lÄW* —  AIjL  the  papers  were  incredibly  fav— 
orable  and  wrote  that  to  sit  through  Bejart  to  see  B^^bilee  was  very  much  vorth  while, 
there  was  a  change  in  schedule  and  Jean  danced  many  extra  Performances,  except  for 
that  second  last  week  end.   I  got  a  ticket  for  the  last  Matinee  on  March  24,  and 
wrote  him  a  note  about  that  which  I  took  to  the  theatre  during  the  Matinee  a  week 
before  ,  together  with  a  six-pack  of  tomato  juice«   I  had  hoped  that  he  would  have 
it  that  afternoon  b\it  the  stagedoor  man  was  very  uncooperative  and  my  hunch  is  that 
he  got  it  only  the  following  Wednesday,  his  next  Performance  except  that  he  might 
have  foiind  it  at  class  or  for  a  rehearsal«   I  told  him  in  the  note  that  I  had  a 
ticket  for  the  24th,  Matinee« 

All  yes,  on  the  14th  he  had  taken  le  cours  pour  les  filles,  le  cours  pour 
les  kwQKÄXJ^arconsJyt  AND  had  a  rehearsal,  another  reason  why  he  was  so  totally 
exhausted.  He  had  mentioned  to  the  young  -'^renchman  who  brought  in  the  beautiful  girl 


11 


that  he  was  varying  his  Performance  in  accordance  with  what  he  wanted  to  do  on  the 
S])\ir  of  the  moment,  he  did  not  use  the  word  improvising  I  think  but  that  was  what  it 
seemed  to  mean,   I  can't  plnpoint  anythin^  but  1  have  th«  feeling  that  there  wef^ 
slight  variations  hetween  the  ^rch  14  and  the  matinee  on  the  24th# 


Ve   did  speak  about  the  fact  that  he  had  told  me,  after  a  BLWiBlllD  pas  de 
deux  years  ago  when  the  conductor  had  been  too  slow  anr!  he  was  enra/^red  about  it, 
that  he  was  dancin^  for  HIMSELP  and  that  was  all  that  counted,  and  I  said  that  to  a 

cerlain  extent  I  also  feit  the  sarae  about  writing— -  I  couldn't  write  about  violence 

/ 
and  anythin^j  explicit —  I  grinned  when  I  said,  if  one  had  had  «ne  vie  tres  mouvenientee 

on  n*a  pas  besoin  de  le  decrire  et  il  etait  d*accord«.. 

Ah  yes,   I  Sf^id  IM  like  to  see  him  some  day  when  I'd  be  in  Paris  and  he 
found  that  quite  natural  and  i^   said  at  once  he  was  dans  l'annuaire  but  I  took  out 
rqy  notebook  and  he  agreed  the  annuaire  would  be  so  uinstaendlich  and  ^^ave  me  the 
address  (^5   nie  du  Bac.<  ]AUHi,<l  .^  ^ 

I  looked  at.  him.   Rue  du  Bac?  On  peut  y  vivre? 

Now  he  was  astonished —  why  not—  did  I  knov  where  it  was? 


Ycs,  approximately,  I  said,  but  that  wasn't  the  reasin —  I  had  had  an  adventure 
there —  and  I  explained  about  ta  maison,  the  reasonsy  that  it  was  comme  dans  un  film, 


impeccable,  femme  de  chambre,  miroir  au  pied  du  lit  etc.   And  that,  since  we  were 
driving,  I  had  asked,  **ou  sommes  nous?**  mon  ami  avait  dit,  r\ie  du  Bac. 


He  seemed  a  rnused  in  a  rather  shy  way^ -k^^apiö^  he  didn't  think  that  house 
still  existed,  kii  it  was  now  an  apartment  building.   And  then  he  asked  me  ^'  ~^^ 


Souvenir —  I  asked  back,  abou^the  house?  Non,  he  said,  about  the  experience. 


I  beaxned.   "C* etait  merveilleux- 


i   c'etait  quelqu'un  que  j'ai  beaucoup 


/ 


aime."  That  seemed  to  please  Jean. 


I  think  it  is  the  only  time  in  my  life  I  ever  spoke  of  tl;>at  experience 
with  üootz.   1  did  explain  to  Jean  that  it  was  a  very  wellknoWn  ac^or  so  that  we  could 


not  go  to  the  ^eor^^es  V  or  something  but  I  was  careful  not  to  say  VHO  it  was.  He  seemed 
n]ft  Gurions  about  it  either.   I  don*t  think  he*s  ßossipy. 


11 


that  he  was  varyin/»  his  Performance  in  accordanc*  with  what  he  wanted  to  do  on  the 
ö])iir  of  the  mom«nt,  he  did  not  use  the  word  improvising  I  think  but  that  was  what  it 
stemed  to  rnean»   I  canH  pinpoint  anythinfy  but  I  have  the  feelin^r  that  there  wer^e 
slight  variations  between  tlie  March  14  and  the  matinee  on  the  24th« 

Ve  did  speak  aboiit  the  fact  that  he  had  told  me,  after  a  DIWJBIIID  pas  de 
denx  years  agb  when  thf»  conductor  had  been  too  slow  anr!  he  was  enrar^ed  about  it, 
that  he  was  dancin^y  for  HIMSELP  and  that  was  all  that  counted,  and  I  said  that  to  a 
cert.ain  extent  I  also  feit  the  same  about  writing-»  1  couldn't  writ*^  about  violence 
and  anytliing  explicit—  I  {];rinned  when  I  said,  if  one  had  had  ane  vie  tres  mouveinent«# 
on  n*a  pas  besoin  de  le  decrire  et  il  etait  d'accord«,. 

Ah  yes.   I  s  ^id  IM  like  to  see  him  some  day  when  I*(1  be  in  Paris  and  he 
found  that  quite  natural  and  he  said  at  once  he  was  dans  l*annuaire  but  I  took  out 
my  notebook  and  he  agreed  the  anmiaire  would  be  so  umstaendlich  and  ^^ave  me  the 
address  (5  rue  du  Bac» 

I  looked  a^.  him«  Hue  du  Bac?  On  peut  y  vivre? 

Now  he  was  astonished—  vhy  not—  did  I  knov  where  it  was? 

Yes,  approxiraately,  I  said,  but  that  wasn*t  the  reasin —  I  had  haxl  an  adventure 
there —  and  I  explained  about  la  maison,  the  reasons,  that  it  was  comme  dans  \vn   film, 
impeccable,  ferame  de  chambre,  miroir  au  pied  du  lit  etc»  And  that,  since  we  were 
driving,  I  had  asked,  "ou  sommes  nous?"  mon  aini  avait  dit,  rue  du  Bac« 

He  seemed  a  mused  in  a  rather  shy  way,  he  said,  he  didn't  think  that  houst 
still  existed,  kii  it  was  now  an  apartment  building.  And  then  he  asked  me  de  men 
Souvenir—  I  asked  back,  abou  the  house?  Non,  he  said,  about  the  experience» 

I  beanied«   ••(^•etait  merveilleux —  jjbc±  c 'etait  quelqu'un  ({w   j'ai  beaucou]) 

i' 

aime«"  Tliat  seemed  to  please  Jean« 

\      ,      1   think  it  is  the  only  time  in  my  life  I  ever  spoke  of  that  experience 


with  Go' tz«   I  did  explain  to  Jean  that  it  was  a  very  wellknown  actor  so  that  we  could 


i  / 


not  gp  to  the  Georges  V  or  something  but  I  was  careful  not  to  say  VHO  it  was«  He  ser^med 
npt  cji^irious  about  it  either«   I  donH  think  he 's  gossipy« 


12 


Valien  I  ha(l  asked  Jean  if  he  still  was  Ifca  tollecting  knives —  he  had  about 
25 f   he  Said —  he  remarked  that  American  knives  were  the  best  and  a  friend  was  trying 
to  find  out  for  him  where  to  buy  them.  So  I  called  Hoffri#tz  and  asked  which  branch 
had  the  best  selection,  they  said  Madison  &  43rd  St.,  jn^t  wrote  a  quick  note  to 


Jean  about  that,  suggesting  if  he  had  a  little  time  to  ge*  a  look  at  6th  Ave  between 
50  &57th  Street  and  i'aley  Park.  I  sent  it  to  the  Minskoff  but  wonder  when  he  got  it 
—  probably  days  later«  fVerything  seemed  greatly  disorganized  with  the  tour« 


** 


Meanwhile  I  decided  to  get  a  ticket  for  the  last  Matinee —  I  di(J,n*t  ^want 

V 


to  take  a  chance  that  ei^qrthing  migbt  (^o  wrong  with  the  Derniere  and  I  nid  \mnt  to  see 
him  before  leaving  and,\ir]Ahps  have  him  and  Hermine  over.  Ah  yes,  1  also  mentioned 
in  my  note  that  I  did  have  a  silver  dollar  for  him  and,  I  thought,  perhaps  with  a  very 
special  date  for  him.   I  wasn't  sure  whether  he  was  born  1922  or  '23 —  the  $  was  from 


1922 —  by  Chance!   How  I  worked  on  cleaninf^  and  polishing  it!   It  was  a  very  handsome 
one,  with  the  bald  eagle  on  one  side  and  tkx  no  Glenn  or  anyone  eise  on  the  other» 

For  the  Matinee  a  week  before  the  last  one,  I  got  a  six-pack  of  the  small 
tomato  Juice  cans  and  added  a  note  that  I  should  have  liked  to  waitci^every  Performance 
but  couldn't  and  so  I'd  come  to  watch  the  last  6»#,  and  dropped  package  and  note  at 


tlie  stage  entrance,  beseec;  ing  the  very  disagreeable  sta^^e-doDr  man  to  get  it  to  Jean 
APTElt  bis  Performance  IN  bis  dressingroom  but  I'm  fairly  sure  that  he  got  it  much  later, 
perhaps  even  only  on  Vednesday,  bis  next  Performance,  t^ft  did  teil  me  though  it  was 
a  life-saver! 

For  the  Matinee  I  sat  chez  les  dieux,  again  second  last  row  from  the  back — 

^^    UM 

but  the  Minskoff  is  fabulouslv  well  built —  one  sees  perfectly  from  tnere  and  for  the 
opening  FhlTHOlK'llKA  it  did  give  a  different  perspective  and  dimension.   The  ballet,  hovy 
ever  had  nothing  to  do  with  Fokine's  and  hardly  anything  with  Stravinsky's  music.   It 
was  one  of  those  psychodelic  things —  colorful  and  vulgär. 


12 


Wien  I  haxi  asked  Jean  if  he  still  was  so  tollectirij^^  knives—  he  had  about 
25  >  he  Said —  he  remarked  that  Arrierican  knives  were  the  best  and  a  friend  was  trying 
to  find  out  for  him  vhere  to  buy  them»  So  I  c  vlled  Hoffrictz  and  asked  which  branch 
ha<l  the  best  selection,  they  said  Madison  &  43rd  St«,  so  I  wrote  a  quick  note  to 
Jean  about  that|  sußgesting  if  he  haA  a  little  time  to  ge4  a  look  at  6th  Ave  between 
50  6i57th  Street  and  l'aley  Park,  I  sent  it  to  the  Minskoff  but  wonder  when  he  got  it 
—  probably  days  later»  KVerythinfj  seemed  greatly  disor/[janized  with  the  tour« 


*  * 


Meanwhile  I  decided  to  ijet  a  ticket  for  the  last  Matinee—-  I  didn't  want 
to  take  a  chance  that  anyohing  might  /;o  wrong  ¥fith   the  Derniere  and  I  did  want  to  see 
him  before  leaving  and,  erphhps  have  him  and  Hemine  over»  Ah  yes,  I  also  mentioned 
in  my  note  that  I  did  have  a  silver  dollar  for  him  and,  I  thou^^ht,  perhaps  with  a  very 
special  date  for  him#   I  wasn't  sure  whether  he  was  born  1922  or  *23 —  tlie  $  was  from 
1022 —  by  Chance!  How  I  worked  on  cleaning  and  polishin^;  it!   It  was  a  very  handsome 
one,  with  the  bald  eapjle  on  one  side  and  ±kK  no  ülenn  or  anyone  eise  on  the  other« 

For  the  Matinee  a  week  before  the  last  one,  I  got  a  six-pack  of  the  small 
tomato  Juice  cans  and  added  a  note  that  I  should  have  liked  to  watch  every  Performance 
but  couldnH  and  so  I'd  come  to  watch  the  last  one,  and  dropped  packa^^e  and  note  at 
tl^e  sta|[^e  entrance,  beseec'  inft  the  very  dis/^greeable  sta-^e-doDr  man  to  /^et  it  to  Jean 
AFTIIil  bis  Performance  IN  bis  dressingroom  but  I'm  fairly  sure  that  he  got  it  much  later, 
perhaps  even  only  on  Veclnesday,  bis  next  Performance*  Je  did  teil  me  thou^^h  it  was 
a  life-saver! 

For  the  Matinee  I  sat  chez  les  dieux,  a^^ain  second  last  row  from  the  back— 
but  the  Minskoff  is  fabulously  well  built —  one  sees  perfectly  from  there  and  for  the 
opening  Pf^TTIiülK'liKA  it  did  give  a  different  perspective  and  dimension»   The  ballet,  hovy 
ever  had  nothing  to  do  with  Fokine's  and  hardly  anythin^^  with  Stravinsky's  music#   It 


was  one  of  those  psychodelic  things —  colorful  and  v\ilgar# 


13 


kku 


') 


Since  LIFH^,  as  most  dances  between  two,  isl  entirely,  danceA  center-stag«,  it 


) 


%s^   not  rmich  different  from  the  first  Performance.   A^^ain  the  same 


id  total 


silence,  the  audlence  as  thoiigh  in  thrall,  not  daring  to  breathe.   Part  of  it  is  based, 
T  realized,  on  Jean's  slov-motions,  bis  extraordinary  walk,  which  malles  you  fuLl  of 
Gurions  tension —  "wx!vß.t  will  he  do  next?"   I  think  he  did  dance  very  sli/^bt  variations, 
or  improvisations  aipiou^^h  I  couldn't  put  my  fin^er  on  any,  except  once,  the  bon^^o 
drum  did  not  coincide  with  a  certain  step  (as  in  previous  ones)  l^isti  the  drum  came  a  bit 
later  while  he  was  doing  soraethin^^  different  by  tien.   I  may,  of  course,  have  been 
mistaken  and  it  may  have  been  deliberate. 

After*crWs,  the  house  once  more  went  wild, 

After  his  last  curtain  call,  I  dashed  downstairs,  now  knowin^^  my  way  around, 
his  door  was  still  closed,  so  I  waited  a  little  before  knockin^; —  he  opened  the  door 

a  slit  and  I  saw  a  naked  Shoulder 'and  imriediately  closed  it  a^ain  and  said ,  un  moment. 

\ 

lle  was  af^ain  totally  dressed,  navy  blue  t-shirt  (the  same  as  in  bei<re  on  the  sta/^e), 
slacks,  gray  flannel  probably*   I  wanted  to  kiss  hin  on  the  cheek  but  he  obviously 
])referred  that  I  didn't  so  I  didn't,   ile  looked  a  thousand  times  better  and  less  exhausted, 
was  relaxed,  glad  about  my  enthiusiams,  I  said  somethin,^  about  quelle  poesie —  and  re- 
reraembered  that  also  in  L'araour  et  son  ainour  c'etait  sa  poesie  qui  etait  si  incroyable,  •• 
I  think  that  pleases  him#   Je  lui  disais  que  c 'est,  diffic  i  le  de  trouver  les  raots  mais 
il  disait —  "Ce  n'est  pas  necessaire"»   II  3«vait  que  j'etais  emue  et  sincere» 

()ui,  Hermine  etait  venue  et  viendra  abuui  bientot,  il  etait  really  enchanted 
with  tlie  silver  dollar —  c'est  si  beau —  and  the  year?  Mh  bien^l^je  suis  ne  en  23  mais 
^4t>^t^  deja  concu  en  1922 —  so  everythin|.j  was  okay  and  I  think  he  was  really  delighted#   ^le 

also  thanked  me  for  the  tomato  juice.  }!Mif,   Ile  told  me  about  dancing  at  the  Opera,  after 
10  years —  he  was  obviously  very  happy  about  that —  he  had  been  inundated  with  offers  for 
all  kinds  of  things  while  in  NY,  received  an  "award"  (Dance)  which  amused  and  j)leased 
him —  we  chatted  like  old  fricnds,  without  any  tension  in  total  harraonyo   Because  of  the 


^a»ag-va. 


13 


Sine«  LlWjf   as  most  danrea  h«tween  two,  is  entirely  dancad  centwr— sta^;«»  it 
was  not  mnch  diff#rent  from  the  first  Performance«  A^^ain  the  same  breathless  and  total 
silence,  the  aiidience  as  thouf^h  in  thrall,  not  daring  to  breathe«   Part  of  it  is  based, 
I  realized,  on  cfean's  slow-motions,  his  extraordinary  walk,  vhich  malles  you  fuLl  of 
Gurions  tension —  *V  at  will  he  do  next?"  T  think  he  did  dance  very  sli^ht  variations, 
or  improvisations  al<hoii;'^h  I  couldn't  put  ray  finf^er  on  any,  except  once,  the  bon^ro' 
drum  did  not  coincide  with  a  certain  atep  (as  in  previous  ones)  but  the  drum  cnme   a  bit 


/ 


later  while  he  was  doing  soraethin^^  different  by  th.en.   I  may,  of  course,  have  beep^^ 

/ 
mistaken  and  it  may  have  been  deliberate. 

Afterwrads,  thf*  house  once  more  went  wild» 

After  his  last  curtain  call,  I  dashed  dovnstairs,  nov  knowin/i;  my  way  around, 
his  door  was  still  closed,  so  I  waited  a  little  bafore  knocking —  he  opened  the  door 
a  slit  and  I  saw  a  naked  Shoulder  and  imriediately  closed  it  a,<^ain  and  said,  un  nonent« 
Ile  was  a^^ain  totally  dressed,  navy  blue  t-shirt  (the  same  as  in  beicr«  on  the  sta^^e), 
slacks,  f{ray  flannel  probably*   I  wajited  to  kiss  him  on  the  cheek  but  he  obvioualy 
preferred  that  I  didn't  so  I  didn'tt   He  looked  a  thousand  times  better  and  less  exluausted, 
was  relaxed,  ßlad  about  my  enthinsiams,  I  said  somethin;^  abotit  quelle  poesie—  and  re- 
remembered  that  also  in  L'amour  et  son  amour  c*etait  sa  poesie  qui  etait  si  incroyable««* 
I  think  that  pleases  him»  Je  lui  disais  que  c'est  difficile  Ae  trouver  las  mots  mais 
il  disait—  "Ce  n'est  pas  necessaire**»   II  savait  que  j'etais  emue  et  sincere# 

()ui,  Herraine  etait  venue  et  viendra  «fauuL  bientot,  il  etait  really  enchanted 
with  the  silver  dollar—  c'est  si  beau—  and  the  year?  Vh   bienOO  je?  suis  ne  en  23  mais 
deja  concu  en  1922-—  so  everythini^  was  okay  and  I  thiiil^  he  was  really  delighted«  He 
also  thanked  me  for  the  tomato  j\iice»  Jbcf,   He  told  me  about  dancing  at  the  üjpera,  after 
10  years—  he  was  obviously  very  hapjiy  about  that —  he  had  been  inundated  with  offera  for 
all  kinds  of  things  while  in  NY,  received  an  "award'*  (Dance)  which  amused  and  ])leased 
him —  we  chatted  like  old  fricnds,  without  any  tension  in  total  harraony»   Because  of  the 


■■  ■M.'*'!".^'  '.  u' — '   K\MJL.^...£La^A'/t*'aHK 


14 


Opftra  h«  had  to  leave  Monday  insteafl  of  Thursday,  as  planned—  so  I  asked  if  that 
meant  he  couldn't  come  to  my  hoiise —  y«l^s,  h'elas,   "Qa  m'aurait  fait  plaisir«»»" 
"Moi  ausKsi#"  This  was  ^«nuine,  since  he  do#»sn't  make  any  compliments,  is  so  incred- 
ibly  strai^ht  forvrard  as  only  very  secure,  within  theraselves,  people  are —  and  most 
iinusual  in  America..»  At  the  same  time,  he  is  so  truly  dear —  lieb..» 

V(>  vrere  sitting,  both  on  the  saine  low  Icvel,  he  on  a  Hocker,   I  in  a  stränge 
wicker  chair,  almost  a  child's—  his  band  was  on  bis  leg,  flat,  I  put  mine  on  it  for 


^A 


a  second  and  said,  "J'ai  vraiment  iine  grande  tendresse  pour  vous,"  to  which  he  did  not 


t\ 


answer  which  I  liked« 


On  his  raakeup  table —  ah  yes,  when  I  wanted  to  kiss  his  cheek  he  mumbled 
something  that  it  was  greasy  er  so —  was  s«  methin/:T  glittering —  a  cbain  with  a  pendant, 
which  he  showed  me —  a  Tree  of  Life  as  I  at  once  recognized,  in  silver.  The  chain 
however,  glistened  and  I  asked  whether  it  was  gold  (l  meant  white)  or  platine?  Non, 
platine—  c'est  joli,  non?  Tres.  Then  I  pointed  at  mine  and  said,  it  was  also  platine, 


de  ma  mere.^Ah« 


And  then  the  bete  a  bon  Dieu —  pour  apporter  bonheu^.  "^Vous  etes 


superstitieux?*^Non.  Mais  11  faut  prendre  ^arde  qu*ille  ne  s'envole  pas!  '  (Xii,  d^^l^a 

/  y  \       f     f 

deja  fait  c'est  pourquoi  illfa  et«^  mise  sur  ce  coeur —  et  j*en  ai  une  autre—  glance  from 
him,  approval.   I  mantioned  that  platine  was  so  rauch  better  als  gold  which  wairs  out 
so  easily,  yes,  he  agreed,  it  was  much  stronger« 
I  think  it  was  about  then  that  th«  rioor  had  oi)ened,  Jean  rose  and  said,  "C'est 


ii 


ermine —  c'est  Huth«"  A  very  interesting  woraan,  end  of  20  or  beginning  of  thirty. 


with  huge  very  transparent  eyes,  exotic  looking,  1  should  have  said,  Turkey  perhaps 
Black  woollen  top,  red  pants,  somewhat  wild  black  hair  to  her  Shoulders,   I  should 
think  she  will  make  a  career,  [)erhaps  with  Jean 's  guidance.  He  looked  at  her  with 


that  glance  men 


have  for  a  woman  they  love».# 


I  said  1  had  to  go  and  to  her  that  je  suis  c  mtente  de  vous  conna^re 


Mi  1. 

Ca  ce  dit  comme-ca,  Jean  disait,  mais  c*est  fau^f  car  vous  ne  la  connaissex  pas  du  tout,,.; 
vous  venez  de  la  rencontrer!   "C*est  vrai,  je  disais —  mais  vous?  Je  le  regardais. 


.-4*....  1  '   VitaW 


14 


Opftra  h«  had  to  leave  Monday  instead  of  Thiiraday,  as  planned—  so  I  askH  if  that 
tneant  he  couldn't  come  to  my  hoiise —  yeas,  helas*   "Ca  m'aurait  fait  plaisir«.,'* 
•'Moi  aussit"  This  was  g«nuine,  since  he  do^sn't  mak^  any  compliraents,  Is  so  incred- 
ibly  strai^ht  forvard  as  only  very  seciirei  within  theraselves,  peopl«  are —  and  most 
unusual  in  America« ••  At  the  sam^  timc,  he  is  so  truly  dear —  lieb«». 

Ve  were  sitting,  both  on  the  sawe  low  level,  he  on  a  Hocker,   I  in  a  stran^je 
vicker  chair,  almost  a  child's —  his  hand  was  on  his  leg,  flat,  I  pnt  mine  on  it  for 
a  second  and  said,  V*ai  vraiment  ime  i^rande  tendresae  ponr  vous,"  to  which  he  did  not 
answer  which  I  liked« 

On  his  raakeui)  table —  ah  yes,  when  I  wanted  to  kiss  his  cheek  he  miunblcd 
sornetbin^  that  it  was  ^reasy  or  so—  was  s  rnething  glittering—  a  chain  with  a  pendant, 
which  he  showed  me —  a  Tree  of  Life  as  I  at  once  recognized,  in  silver«  The  chain 
however,  ^listened  and  I  asked  whether  it  was  gold  (l  meant  white)  or  platine?  Non, 
I)latine—  c*est  joli,  non?  Tres»  Then  I  pointed  at  mine  and  said,  it  was  also  platine, 


de  ma  mere«  Ah« 


And  then  the  betf?  a  hon  J)ieu—  pour  apporter  bonhent«  Vous  etes 


stiperstitieux?  Non«  flais  il  faxit  prendre  (^arde  qu'ille  ne  s'envole  pas !   (Xii,  il  l'a 
deja  fait  cVst  pourquoi  illea  ete  mise  sur  ce  coeiir —  et  j*en  ai  iine  autre —  jtjlance  from 
him,  approval«   I  »witioned  that  platine  was  so  rauch  better  als  gold  which  waers  ont 
so  easily,  yes,  he  agreed,  it  was  mnch  strnnger« 

—  I  think  it  was  about  then  that  the  door  had  opened,  Jean  rose  and  said,  "C'est 
Termine —  c'est  Kuth."  A  very  interesting  woraan,  end  of  20  or  beginning  of  thirty, 
with  huge  very  transparent  eyes,  exotic  looking,  I  shoiild  have  said,  Turkey  perhaps» 
Black  woollen  top,  red  pants,  somewhat  wild  black  hair  to  her  Shoulders.   I  should 
think  she  will  make  a  career,  [)erhai)a  with  Jean 's  fi;uidance#  He  looked  at  her  with 
that  glance  men  can  have  for  a  woman  they  love««# 

I  Said  1  had  to  go  and  t'  her  that  je  suis  c  »ntente  de  vous  connaitre-—  c'est 
ca  ce  dit  comi^ie-ca,  Jean  disait,  mais  c'est  faut  car  vous  ne  la  connaissex  pas  du  tout,, 
vous  venez  de  la  rencontrer!   »'Ces^  vrai,  je  disais—  mais  vous?  Je  le  regardais. 


15 


Avec  \m  soiirire  charmant,  "Vons  me  connaissez—  un  peu#" 

Then  we  spoke  about  seeinfc  each  other  again —  here  or  th«re~  in  ten  years, 
Jean  remarked  and  I  let  it  go  at  that,  thinl^ing,  you  might  be  here  but  if  I'm  still 
aliire —  who  knows??  Kverything  will  be  a  lot  easier  thftji,  hft  said,  somewhat  enigraatic- 


ally.  Well,  I  said ,  you  certainly  got  me  at  the  bottom  of  the  pit  this  time,   Both 

looked  at  me,  yeux  grands  ouverts«   Pourquoi?  I  explained —  book  finished,  sister  in 

hfisixlital,  no  adrenalin,  dit  le  docteur.   "j4i  ca  c'est  v^aimentr'i^  • '*  dit  ^ean,  fils  d*un 

^  ^  i 

docteur,   I  think  he  understood  ever^iihing  a  lot  better  and  that's  what  I  vanted« 

I  took  the  girl's  face  betveen  my  hands  and  kissed  her  with  affection  on 

both  cheeks  and  she  smiled» 


Jean  said  sometbing  about  her  being  an  actress  and  I  said,  '*But  I  don't  know 
her  naune  except  Her^lBj!*'  He  said  a  very  Armenian  name,  ca  comiiience  avec  un  *'K" —  irgend 


k 


^ 


was  wie  Kara-something.   Then  I  asked,  hermine  avec  un  "H" —  oui,  comme  l*animal«   Ah, 
en  anglais  c  est  sans  h,  mais  en  allemand  oui««* 

Wliile  we  were  alone,  I  had  said  to  Jean  that  he  was  one  of  the  most  chatoyant 
men  I  have  laiown —  et  j'en  ai  connu!**   II  parart  frapy)e«   (^Hiatoyant?!   Wliat  is  this 
in  Knglish«   I  said  glittering,  correcting  myself,  no,  that  wasnH  cer^4ot  that  was 
like  tlie  stars —  oui,  scintillant,  il  disait —  but  what  I  M^t  was  colorful  and  he 


nodded  and  said,  yes,  that  was  chatoyant«   I  think  it  pleased  and  amused  hira,  the 
looking  for  words  and  playing  with  them,  explaining« 

I  wonder  whether  he  does  some  writing —  he  told  me  that  he  was  typing  on  bis 
knees  (the  way  I  do)  in  bed,-^oo  but  I  didn*t  ask  him  WllAT  he  was  typing —  that  had  been, 
this  conversation,  during  thflt  evening«   V/>ien  h^  ^ad  also  said  something  very  interesting, 
I  implored  him  not  to  walk  around  the  city  at  all  hours —  "je  nSai  pas  peur,"  which  was 
of  course,  obvious  and  I  said,  I  wasn*t  really  afraid  except  in  the  sub«ly  and  he 
said,  VEKY  seriously —  "Vous  savez,  qi  vous  avez  peur  il  ne  faut  pas  y  aller«««**  He 


15 


Avec  \m  sonrir«  charmant,  "Vous  me  connaissez—  un  peu«** 

Then  we  spoke  ahout  ae^irif:  each  other  a/rftin—  hftre  or  ther^— •  in  t<^n  years, 
Jean  reinarked  and  I  let  it  f^o  at  that,  thinking,  you  mi^rht  be  li«re  but  if  I'in  still 
ali^e —  who   knows??  Kverything  will  be  a  lot  ©asier  thaui  he  said,  somewhat  eni^traatic- 
ally«  Well,  I  said,  you  certainly  got  me  at  the  bottorn  of  the  pit  this  time«  Both 
looked  at  ne,  yeux  grands  ouverts«   Poiirquoi?  I  explained —  book  finished,  sister  in 
hisj'Oital,  no  adrenalin,  dit  le  docteur»   "Aca  c'est  vraiment..  •'*  dit  Jean,  fils  d*un 
docteur»   I  think  he  understood  ev^rything  a  lot  better  am!  that's  vhat  I  wanted# 

I  took  the  ßirl's  face  betveen  my  hands  and  kissed  her  vith  aftVction  on 
both  cheeks  and  she  amiled» 

Jean  said  sometbing  about  her  bein^^  an  aotress  and  I  said ,  **J3ut  I  don't  know 
ber  naine  except  Herime!"  He  said  a  very  Armenian  nrnne,  ca  comnence  avec  un  ''K" —  ir^cend 
was  wie  Kara-something«   Then  I  asked,  liermine  avec  im  "H" —  oui,  coniine  l'animal«   Ah, 
en  anf^lais  c  est  sans  h,  riais  en  allemand  oui«*« 

Vliile  we  were  alone,  I  had  said  to  Jean  tliat  he  was  one  of  the  most  chatoyant 


men 


I  have  laiown-—  et  j 'en  ai  connu!"  II  parait  frappe«   Chatoyant?!  VHiat  is  this 


in  Mnf^lish»   I  said  ßlitterinj^^,  correctin^  myself,  no,  that  wasn't  corr-1ct  that  was 
like  the  stars—  oui,  scintillant,  il  disait —  but  what  I  eaint  was  colorful  and  he 
nodded  and  said,  yes,  that  was  chatoyant«   I  think  it  pleased  and  axnused  him,  the 
looking  for  wordg  and  playing  with  them,  explaining« 

I  Wf-nder  whether  lie  does  some  writing-—  he  told  me  that  he  was  typin^  op  his 
knees  (the  wpy  I  do)  in  bed,"too  bat  I  didn't  ask  him  VlikT   he  was  typing —  that  had  been, 
this  conversation,  during  thet  evening«  When  Iiä  ad  also  said  something  very  interesting, 
I  implored  him  not  to  walk  around  the  city  at  all  hours—  '*je  nSai  pas  peur,**  which  was 
of  course,  obvious  and  I  said,  I  wasn't  really  afraid  except  in  the  subay  and  he 
said,  VKRY  seriously —  "Vous  savez,  <^i  vous  avez  peur  il  ne  faut  pas  y  aller« ••*'  He 


Said  it  with  much  emphasis,  repeatcd  I  think,  **I1  n«  faut  paa».«" 

K 

In  the  afternoon,  he  had  also  spoken  about  a  inarvrlous  reviev  in  (hesitant) 
Village  quelque  chose —  Village  Voica  I  was  siire,  important,  pour  les  jeunes  surtont. 
We  briefly  spoke  about  Clive  iiarnes  who  had  an  interview  in  the  Post  about  him  and, 
as  I  told  hiiDi  always  quoted  him  whenever  possible,   I  promised  to  send  him  the  clij)- 


pin^^  whenever  I'd  read  it— 
this  sort  of  thing. 


/ 
,  "ah,  if  you  haven't  seen  the  way  i^bilee  did  it," 


Jean  said  it  had  been  wonderful,  the  reception  he  had  received  in  NY... 
To  go   back  to  the  end  of  that  approx.  half  hour  in  his  dressingroora,  he  saw 
me  to  the  door  (he  suddenlv  CAN  have  manners  if  he  feels  like  it —  d*une  siii  bonne     ^ 


c^C* 


famille...  I  had  told  him  about  the  book  Jacques  had  showed  me  in  Jlollywood  with  his 


asked»   Cineraa.   I  think  h 


e's 


picture  as  Jeune  Homme  etc. —  what  did  he  do  there,  Jean 

kTiQw»>  rather  weliknown  hut  I  never  see  him  wlien  I*m  in  I^aris — TmV  he  was  recently  here 

and  called  me —  tres  desagreable  je  trouve-—  il  fait  beaucoup  de  television,  dit  Vean)  ^ 

^iXfi^ijQi<iÄ  U'^.t^-.  ^  \^  j^ac  (4/K^'  ^f^  ^'  ^  )f^^  ^iUt?<  ^^  4ic\A  f']eLOi>^  mv^mt^  ^üud 

Anyway,  he  saw  me  jto  the  (iöor  ar^d^  for  a  mOrnent  we  stood  there,  looking  at  each  other«  .ii//\ 
He  obviously  was  wei<T;hing  whether  or  not  to  kiss  me,  then  took  my  head  into  his  hands  J±. 
and  very  affectionately  kissed  me  on  both  clieeks.   As  on  that  evening,  it  was  NOT  an 
emptjr  gesture. 

He  had  asked  me  whether  I  wanted  to  see  üAITK  and  I  had  only  grinned  and  shaken 
my  head —  this  time  he  had  not  tried  tp  persuade  me  but  grinned  himself .   It  had  been 
in  füll  Swing  for  quite  a  while  and  among  some  of  the  dancers  waiting  in  the  wings, 
I  lost  my  way—  someone  asked  where  I  wanted  to  go  and  directed  me  to  the^  elevator. 

And  off  I  went,  A^iite  elated —  this  meeting  had  been  as  I  like  him  and  us 

and,  I  ho])e,  he  will  remember  me  and  us. 

THE  KNl). 


At  one  point,  when  we  spoke  about  LIFH)  and  the  silent  audience  etc,  hdfaid,  matterof- 
factly —  "On  a  du  presencc  ou  on  n*en  a  paso.." 


.....   T  r  tu  I  ■  MX  fJMMti  '— —  ^  ""■  T . 


16 


sai^l  it  with  much  emphasis,  repeated  I  think,  "II  n«  faiit  pas*.«" 


In  thft  aftwrnoon,  he  had  also  spoken  about  a  marvrlous  review  in  (hesitant) 
Village  quelque  chose —  Villag«*  Voice  I  was  sure,  iraportant,  j)Onr  les  jciines  surtout» 

Ve  briefly  spoke  abotit  Clive  iJarnes  who  had  an  intf?rvirv  in  the  Post  about  him  and, 

I 

as  I  told  him,  alway«  quoted  hin  whenever  possible.   I  promised  to  send  him  the  clip- 

i    • 

pin^^  whenever  I'd  read  it—  ßanre,  *'ah,  if  you  haven't  seen  the  way  ^bilee  did  it," 
this  sort  of  thing« 

Jean  said  it  had  been  vonderful,  the  reception  he  had  received  in  NY.«« 
To  ^o  back  to  the  end   of  tliat  approx.  half  hoiir  in  his  dressingroora,  he  saw 
me  to  the  door  (he  suddenly  CAN  have  manners  if  he  feels  like  it —  d*\me  siii  bonn« 
famille»*.  I  had  told  hin  about  the  book  Jacques  had  showed  nie  in  Hollywood  with  his 
picture  as  Jeune  Homme  etc»—  what  did  he  do  there,  Jean  asked«   Cinema.   I  think  he*s 
known  rather  vellknown  bub  I  never  see  hira  when  I'in  in  i^aris—  but  he  was  recently  here 
and  called  me —  tres  desagreable  je  trouve—-  il  fait  beaucoup  de  television,  dit  *^ean) 
Anyway,  he  sav  me  to  the  door  and  for  a  moment  we  stood  there,  looking  at  each  other» 
Ho  obviously  was  weighing  whether  er  not  to  kiss  me,  then  took  my  head  into  his  hands 
and  very  af  Tectionately  kiased  me  on  both  clieeks.  As  on  that  evening,  it  was  NOT  an 
emx)t3r  gesture« 

He  had  asked  me  whether  I  wanted  to  see  GAITO  and  I  had  only  grinned  and  shaken 
my  head —  this  time  he  had  not  tried  tp  persuaxie  me  but  ^>rinned  himself«   It  had  been 
in  füll  Swing  for  quite  a  while  and  aoong  some  of  the  dancers  waiting  in  the  wings, 


I  lost  my  way-—  someone  asked  where  I  wanted  to  go  and  directed  me  to  tlie  elt^vator« 

And  off  1  went«  Vuite  elated —  this  Meeting  had  been  as  I  like  him  and  us 


\ 


to  remember^  myself,  and^  I  hope,  he  will  remember  me  and  us. 


W 


j 


rat;  vm). 


V 

At  one  point,  when  we  spoke  about  \AW»   and  the  silent  audience  etc,  hb^aid,  matterof- 


factly—  ''ün  a  du  presencc  ou  on  n'en  a  pas«»«" 


^ 


\ 


17 


An^  dem  Abend  hatte  ich  ilun  gesagt,  apres  son  coup  de  telephone  je  me  suis 
dit,  "Vraiment,  on  vit  parmi  les  sauvA^res  ici,*'  et  il  avait  repondu,  "J*ai  aussi  cett« 
impressioni,"  et  je  Wfmse  que  c'etait  en  ce  moment  que  nous  avons  discute  le  danger  de 


NY  etc. 


Diirin/^  the  phone  conversation,  I  said  at  the  end  that  I  was  so  pleased  he 


had  called  'yon  nade  my  day!"  Did  he  imderstand  vhat  that  meant^  "Non,  mais  c^ 
sonne  txRX  joli!" 


'toii  i^Jr 


/ 


17 


And  dem  Abend  liatte  ich  i\un   gesafjt,  apres  son  conp  de  telephone  je  rae  suis 
dit,  "Vraiment,  on  vit  parmi  les  sauva/^es  ici,"  et  il  avait  repondu,  "J'ai  aussi  cette 
impressions,"  et  je  epnse  qne  c'etait  en  ce  nonent  qiie  nous  avons  discute  le  danger  de 


NY  etc. 


Diirin^^  the  phone  conversation^  I  said  at  th«9  encl  that  I  vas  so  pleased  he 


had  called  "yon  riade  my  day!**  Md  he  imderstand  vhat  that  meant7  *'Non,  mais  ca 
sonne  txxx  joli!** 


JEAN     B&bILtlE 


lo^' 


Kutii  t'lert-on 


Ruth  Marlon 


V/hen  American  Ballet  Theatre  revived  for  i^diOiaxl  baiy  sJbnikov 
LE;  JilfiÄ  IiüMKE  ET  LA  MüRT,  the  ballet  vritten  ty  Jean  Cocteau  and  chor0O- 
graphed  in  collaboration  with  Roland  Petit  with  music  ty  Johann  Sebastian 
Bach,  It  wa6  inevitable  that  thoee  in  the  aixdience  vho  hed  eeen  Jean  Babilie 
in  the  title  role  in  1951  at  the  Metropolitan  Opera  Houeei  remembered  him, 
and  thoee  too  yoxmg  asked,  ^Jean  Babil^?^ 

Baxyshnikov  ie  a  brilliant  classic  dancer  and  the  aiodiance  went 
vild  over  him  but  Uieir  reactlon  was  taine  by  coniparison  vith  the  storme  that 
empted  evezy  tiixie  I  sav  Babilie  dance  and,  I  am  told,  vere  repeated  vhenever 
and  vherever  he  appeared  throughout  his  career-~  all  over  the  worid« 

There  was  something  about  thls  French  dancer  that  elactrlf led 
audiencee  to  a  point  rareiy  natched  ly  performers  in  ax^  medimn«  AlthoLigh 
much  has  been  vritten  about  the  phaenomenon  of  Jean  Babilee>  it  is  difficult 
to  explain  soz&ething  a8  elusive  as  **innate  dance  geniua'*  (a&  Walter  Teny 
calleü  it}  or  the  ixupact  of  a  preaence^  the  aura  of  a  personalily  vithout 
using  up  the  clich^s  unique,  c^namic,  virtuoalc««« 

1  think  that  b^yond  his  isqpeccable  classic  technique,  seeiniugjy 
effortless  acrobatic  feats>  and  an  elavation  deiying  tiie  lavs  of  gravily,  it 
vas  Jean  Babil&e*s  incandescencei  his  inner  tenslon  even  in  rapose,  his 
intensity  and  artistic  obaessioni  that  broke  the  ballet *8  frama  and  leaped 
Wtfßik   over  the  footlights  to  make  his  perfonoance  a  dramatic  experience  of 
extraordinaxy  dlniensions« 

In  1962  in  i^icet  at  the  age  of  forty -one^  Jean  Babilee  danced  1^ 
jeune  hoicme  for  the  last  time«  An  cye-vitness  suxni&ed  it  up^^The  audience  was 
dissolved  in  tears«^ 


ün  a  Visit  to  JParis  in  the  suimner  of  1^2,   I  had  &een   CAWiEi>i  witb 
Jeansiaire  and  Fcoland  Petit  as  Jose«  To  üb,   the  generation  of  the  FortieSf  it 
waa  a  v^iy  exciting  ballet ^  different  from  ax^thing  we  knev,  liberated^  erotic^ 
of  our  tiioe«  Yet  the  continuous  refrain  from  uy  friende^  all  yoxmg  vriters^ 
actora^  artiatSf  invcuriabJy  vasj  '^That'a  uothingl  You  i&u&t  eee  Jean  Babileei 
LE  JtUUE  KOMME  ET  LA  MÜRT..." 

The  page&  of  a  coffee-table  picture-book  of  dancere  vere  flipped« 
"Tberei"  th^   vould  Bsy,   pointing  at  that  incredible  photograph  of  a /oung  xnan^ 
bis  back  to  the  viever^  hiß  face  in  profile^  hanging  by  the  chin  (not  the  back 
of  his  head^  as  Baiyshnikov)  from  the  rafter  in  WakhevitchU  aetting  of  a 
Parlsian  garret« 


He  had  danced  L'APRES-MIDI  D»UN  FAULTE  for  i^ijinaky,  becauae  it  was 
hoped  that  Babilee^  his  talent^  considered  dosest  to  that  of  l^ijinslyt  loight 
spark  a  luoznent  of  recognltion  in  Uijinsky's  night«  But  as  immobile  as  ever 
he  had  watched  the  yoimg  Faune —  unseeingiy« 

There  vere  the  stories  about  Babilie  and  the  contradictions  of  his 
life  and  sijflBp   about  his  vildness  and  his  lack  of  conventionalism^  his  back*- 
ground  of  wealth,  his  independence«  The  son  of  Dr«  Gutman,  a  prominent 
Parisian  e^fe   specialist  ^  he  had  been  a  ^petit  rat"  at  the  Opera  Ballet  at 
eleven;  his  mother^  vhose  loaiden  name  he  had  adopted^  vais  an  artist^  his  sister 
a  siirgeon«  Nathalie  Philippart,  called  Pixie,  his  vife  and  partner,  also  came 
from  an  \2pper«-class  f amlJy ,   vine  frovers  near  Bordeaux«  Jean  and  Pizie  vere 
inseparable  and,  if  thoy  represented  the  jeunesse  doree  in  mary  v^Si  thjey 
also  vere  in  open  rebellion,  as  artists  and  vith  their  striking  individuality « 
If  not  dancing,  th^  roamed  the  vorld« 


No  on«  ]D«ntlon«d  vhat  probably  was  Babil&^'s  trage^jr^  H«  was  short^ 
aliBost  too  Short  for  a  daxicer:  flve  feet  four«  In  a  ßenae  It  was  also  bla 
triuiDph« 


In  April  1951,  durlng  its  seaeon  at  tue  old  Met  on  59th  Street, 
American  Ballet  Theatre  mounted  l£   JEÜNE  HüMME  ET  LA  140RT  for  its  gueet  stars 
Jean  babil4e  and  Nathalie  Philippeirtr  With  Ruth  Ann  Koesun,  he  danced  the 
BLUEBIRD  FAS  DE  DEUX  and  TILL  EULEl^Si^IEGEL,  one  of  the  two  ballets  he  had 
choreographed  hlmaelfi  the  other,  L'AMOÜR  ET  iX>bi   AMOUR,  again  with  Philippart» 

Of  course,  I  was  not  the  oxüy   one  wäre  of  the  fame  that  preceded 
their  i'iew  York  debut«  Mai^'  people  were  weazy  of  such  reputations —  thigr  too 
often  lost  their  sheen  while  crossint;;  the  Atlantic«  Others,  like  xqy^self, 
vondered  about  what  to  expect,  vhether  eiy   artiet  could  live  up  to  the  exalted 
reactions  he  seeioed  to  elicit  evexyvhere« 

I  think  no  one  was  really  pr epared  for  Jean  Babileelin  hR  JEUNE  HOMME« 

It  began  with  his  first  move,  the  extraordinaiy  arc  he  described  with 
hie  arm  as  he  looked  at  his  watch««« 

This  yoxmg  man,   his  overcüLls  rolled  half  \xp  his  le^s  in  dif ferent 
lengths,  was  llteraUy  trembling  with  inner  fvuy,  tension,  despair««#  a  yoxing 
tiger  was  flying  over  chairs  and  tables.««  Kis  batterie  was  flawless,  ixis 
extension  beautifiü.,  and  despite  his  shortness  he  managed  to  give  the  Illusion 
of  length  of  line;  he  did  the  most  fantastic  acrobatics,  in  slow  motion  as  well 
as  with  feline  vehemonce —  yet  this  was  no  acrobat  but  a  dancer  whose  evexy  inove 
was  brilliant,  unconventional,  dif ferent« 

Fhilippart  as  the  yo\ing  girl  wbo  spums  him  and  drives  him  to  suicide 
ly  hanging  hiaself  f  retums  as  Death,  on  Greek  cothumi  ^mbolizing  traget  and 


I       t 


tJae  super-ioatural  (but  oinltted  in  the  current  revivai),  aaeee  the  uooae  aud 
ieads  the  young  loan  avegr^  across  tlae  rooftops  of  Paria« 

The  interpl87  betveen  them  vae  imiriediate  and  fiill  of  the  subtlest 
nuancesi  her  taixntB  inciting  hia  tonoent  to  the  lindt,  to  utmost  violence  but 
with  perfect  control  at  all  times« 

Ve  in  the  audience  sat  at  the  edge  of  our  seate^  spellbound  almoat 
b^ond  endiirance« 


I  had  let  the  Babllees  know  that  ve  had  mutual  acquaintances  in  Paris # 
Jean  telephoned  as  aoon  aa  he  received  the  oieaaagef  not  becaiise  of  aomeone  in 
Paria  but  because  he  was  iomienaely  curioua  and  eager  to  meet  New  Yorkers  other 
than  thoae  at  partiea  arranged  \jy   Ballet  ^lieatre«  I  beceoDe^  aa  Pixle  phraaed 
it>  their  "New  York  friend". 

Ve  spent  mex^   houra  together^  at  luzich  or  dinner^  at  the  Algonquin 
vhere  thc(y  atcyed  or  at  the  snioty,  unpretentious  restaurant  opposite  the  Met'a 
atage  entrance«  Jean  could  be  quite  the  rogue^  even  buffoon  he  danced  in  Till 
£ulenapiegel  and  there  vaa  a  lot  of  laughter  during  our  long  converaations  in 
their  dreaaingroom,  betveen  inatin^e  and  evening  perforiziancea«  Th^y  took  nie 
aJ.ong  to  the  box  reaerved  for  isembera  of  the  Compaxy^  to  vatch  vith  them  what 
their  coUeaguea  vere  doing«  Ualng  the  pet  name  üy  French  frienda  had  given 
meß   Jean  said^  "She'a  callad  Rousae^^  to  Colette  Harchand^  \jf   vg7  of  introduc* 

tlon«  Evezyboc^  laughed  but  the  banter  atopped  the  moment  he  aat  dovn«  Hia 

«> 
i' 

face  becaxne  taut  vith  concntration^  hia  ^ee  vere  aa  though  riveted  to  the  atage« 


/v 


He  reacted  vith  the  aanie  complete  abaorption  to  a  Broadvay  plagr  to  vhich  I 
invited  them  in  tum# 

Once,  after  a  Performance  of  the  BLUEBIKD  PAS  DE  DEUX,  I  found  Jean 


in  bis  dresslngroom,  raging  against  the  condiactor  vho  had  been  too  slow  for 
the  Variation« 

In  an  äff  ort  to  divert  hlB  I  asked  hov  ax^  human  beine  could  jusqp 
to  euch  helghts  and  remaln  floatlng  in  the  air  for  so  long  as  he  did« 

"Breath-control, "  he  said  »Ätter-of -^^ly «  •'You  hold  your  breath — 
until  you  vant  to  coioe  dovn  again«**  And  he  rei^umed  cursliig  the  conductor« 

I  tried  to  re-assure  him«  ''But  the  audience  adored  it  aiyvayl" 

'^The  audience  l  Vho  cares  about  the  sudiencel  I  dance  for  n&^&elf  ( 
It*s  I  vho  must  be  pleasedt*^ 

* 

He  was  crouching  on  the  dressingroom  floor^  dejected,  brooding, 
and  barely  civil  to  the  endlesa  stream  of  visitors —  congratulating  hixn» 


One  evening  after  dlxmer  ve  strolled  up  Broadway  ^  towards  Tiiues 
Square«  A  denae  crowd  was  coiled  aroioid  what  we  assiuned  to  be  a  fight«  Mithin 
a  aecond^  Jean  had  plunged  into  the  throng  and  disappeared^  to  Plxie^s  despair« 
It  V8.S  impossible  to  hold  him  back,  ehe  explained,  he  alweys  had  to  be  in  the 


participate 


thing« 


So  here  ve  stood,  vorried,  vaiting««« 

After  the  police  had  broken  up  the  crovd,  Jean  joined  us  again# 
Ue  vas  vexy  upaet«  ^Tnoy  hit  theml  In  the  stomachl  Thcy  just  knocked  them 
out —  tvo  young  blacks«««^  As  uiary  Parisians  he  hated  the  police,  aud  it  took 
a  long  tlne  for  him  to  accept  that  here  the  police  had  used  actual  force« 

Yet,  he  vas  fascinated  fcy  force,  ky  violence« 

He  collected  knives  and  svords,  he  vas  a  passionate  aficionado  of 
bullfights  arid  veiy  knovledgeable  about  them«  As  it  happened,  tvo  films  decil- 


Ing  with  biülfigbts  were  running  in  Kew  York  in  19S1,  Th£  BRAVÜ  BULLS  in  the 
spring,  and  1K£  BULLFIGHTER  MD  THE  LAU£   In  late  fall,  when  tue  Babileee  had 
retumed  from  their  ib^erican  tour  and  vere  spendin^  auother  fev  veeks  h&re«  We 
vent  to  860  both  films —  ih^   were  clnema  buf f s  in  geiieral  and  spoke  with  special 
adndration  of  John  Huaton  whose  ASPEALT  JONGLE  was  one  of  their  all-time  favorites« 

Both  read  prodigiousüy ,  partic\JkLar3y  poetxy,  and  Jean  could  qviote 
entire  plagra,  for  instance  such  classics  as  Racine«  Theßr  knev  art  and  music,  often 
to  the  point  of  erndition«  One  of  their  interests  centered  on  ancient  E^pt«  As 
cats  had  been  important  in  Egy-ptian  antiq^dtgr  thqy  feit  it  ^s  quite  con&isteat 
with  that  countiy*s  histoiy  vhen  a  cat  foUowed  them  to  their  hotel  and  insisted 
on  Staging  with  them;  thciy  adopted  It  and  Biade  it  their  hoiise  pet  in  l^rancel 

Both  Babilees,  not  onjj^  articulate  but  reasonabJ;^  fluent  in  Knglish 
4n  telavision  ^ 

were  invited  to  appear/as  guasts  on  a  flÄen-minute  talk  show  I  was  involved  with 

at  tha  tiiDe«  It  was  the  first  of  its  kind,  live,  ana  hosted  tgr  Lilli  Palmar,  the 


actross« 


Tnejr  wanted  to  chat  about  their  friend  Jean  Cocteau,  better  known  in 


America  for  his  avant-^arde  films  than  for  his  writings,  and  how  liE  JiSUWE  HOMIffi 


ET  LA  MORT  Mttf  had  first  been  stag^in  Paris. 

On  the  eve  of  the  show  I  dropped  by   at  the  Algonquin  with  our  Script 
and  tha  firm  admonition  under  no  circumstances  to  leam  it  ly  heart«  It  was  to 
serve  onl^  as  a  guideline,  an  approximate  sequance  of  the  various  points  the^r 
planned  to  discuss« 


The  inoment  thecf   entered  the  studio  the  next  dsy,   Jean  seemed  to  radiate 


fire||orks 


■  -  —'-I 


■.  TSSIj^Z.lUT'I^^T' 


I  I 


"Who's  he?''  eveiy  Single  raember  of  the  crew  deineuided  to  know* 

Th^  were  used  to  prominent  and  enter taining  guastsj  mag^y  of  tnem 
foreigners  they  had  never  heard  about,  and  paid  little  if  ai^  attention  to  them, 
concentratin^  on  their  work.  But  this  time  theßr  vere  hanging  aroiand  the  set, 
watching,  listening,  fascinated*  It  was  obvious  that  vrtaether  at  the  vast 
Metropolitan  Opera  Ilouae  or  in  the  small^  confined  space  of  this  television 
stage  without  an  audiencef  Jean  Babilee  was  like  the  Pied  Piper,  drawing  eveiy- 
bo(^  towards  hin  and  creating  an  atmosphere  of  instant  excltemtsat« 

But  the  run-through  was  a  disaster«  Despite  w   warüings,  Jean  and 
Fixie  had  spent  the  evening  leaming  their  lines —  thcßr  were  letter  perfect  but 
had  lost  all  spontaneity  and  sounded  wooden  and  awkward« 

Thegr^realized  quickly  that  soioething  was  wrong« 

"No  good?"  Jean  asked« 

Thero  was  no  time  to  be  tactful —  we  were  alaost  on  the  air#  We 
iirged  tnem  to  forget  that  damned  script  and  simpi;;^  repeat  to  Lilli,  and  the 
television  audience  somewhere  in  their  homes,  what  theQT  had  described  to  me  so 
vividly  and  full  of  sparkle« 

les —  but  we  had  spoken  in  ^rench,  not  in  English«,« 

Never  mind  that«  Lilli  would  help,  should  th6(jr  diy  up»** 


Th^  exchanged  a  few  quiet  words  between  them,  out  of  ear-shot  from 


eveiybo(^« 


And  then  something  happened«  As  if  Babilee  had  decided  to  risk  his 


all«»«  With  the  same  recklessness,  the  same  mixture  of  passion  and  utter  dis- 
cipline  he  showed  as  a  dancer,  he  threw  himeelf  into  the  adventure,  the  unknown 
elements  of  this  new  experience« 

Ue  introduced  Cocteau  V  retelling  the  anecdote  of  how  Diaghilev  had 


8 


bld  the  young  poet  to  "astonish  himi"  Then  followed  the  unusual  stoiy  of  how 
LE  Jmtih   KOMME  ET  LA  MÜRT  had  been  put  to^ether  aiid  wl^^  Bach 's  Passaca^lia 
had  coine  to  be  chosen  for  the  muslc« 

Cocteau  had  developed  the  ballet  with  eveiy  detail  written  for  their 
particular  gift8^  tallored  it  to  ihheir  bodies  and  emotlons«  As  uo  mualc  had 
been  cho&en  yet^  the  Babilees  rehearsed  ly  countingi  rlght  up  to  the  last  dress 
reheareal«  Meanwhile>  a  frantic  search  had  gone  on,  first  for  a  suitable 
compaeltlon^  then  for  ai^  klnd  of  muaic  that  would  fit  preciseOy  the  seventeen 
zolnutes  the  ballet  lastad«  Qnljr  the  Passacaglla  answered  that  requlrement« 

B  ut  it  vas  impossible  suddenly  to  relate  to  muslc  Maki9«t  the^r 


continued  their  counting 


openlng 


up  her  eare  so  as  not  to  b#  distracted«  On]jr  aftervards  th^  siynchronlsed 
their  dance  vith  the  Passacagllai  fusing  what  had  seened  incongruoxis  into 
"point  and  counterpoint" • 

There  vas  0^mmmli   axlence  in  the  studio  iintil^  the  inoinent  we  were 
off  the  air^  eveiybocfy  broke  into  vild  applause« 


In  an  article  years  later^  Jean  Cocteau  explained  that  he  regarded 
LE  JEUNE  KOMME  ET  LA  MÜRT  as  a  paraphrase  of  his  film  LE  SAi^iG  D»UN  PüETE  (BLOÜD 
OF  A  POET);  that  it  was  not  really  a  ballet  but  a'^mimodrame"  in  which  panto- 
mime  expanded  its  sVl^  to  that  of  a  dance«  It  waS|  he  vrote^  a  silent  play« 


During  that  1951  seascm^  in  Nev  York  and  on  the  road,  Jean  Babilee 

had  Interpreted  a  laooc^  and  tempestuDus  jeune  hoinme>  a  diametricalJy  differ 

U 
lyrical  and  poetic  Cupid  to  Philippart  »s  P^>rche>  a  hilarious  Till^and 

j 

fabulovis  Bluebird« 


'".■■BWfW'üfe 


k^'J^'>!Ag.^^.L 


I    I 


I    I 


Igor  ^ouakeyltchj  then  tha  leading  danseuf^  noble  of  American  Ballet 
Theatre,  had  shared  mary  programs  with  the  French  guests«  After  a  luatinSe 
vhere  Jean  had  danced  the  BLUKBIRD  PA^  DE  DEUI^  Youskevltch  took  hls  young 
daughtar^  aged  perhapa  flve  or  slx^  backe tage« 

Just  before  Walking  into  Jean's  dressingroom,  he  bent  dovn  and  I 
heard  him  vhisper  to  her^  ^I  vant  you  to  remember  for  the  rest  of  your  life 
that  you  have  se&ci   on  the  stage  and  loet  in  pereon  the  greatest  dancer  of  our 
time." 


¥hen  Aimrlchii  Bellet  *ih^atr^  r</vivtrd  für  ^.ikiiaii  i:)aiy:ihidiiOV 
LL  Jc.Uhti  HUl^.F.  [^T  Lii  MüKT,    tiie  bßiltrt  vrltt  n   uy   J<'Mi  CocttUxU  uno   cnortiO- 
^rayheo  in  coxitibür?ntion  vith  Koiaiid  Petit  vith  njuaic   cy  Juluam  owbtii;>tiaii 
BiiChi   it  v/^s;   inevitabxe  that  thotit   in  tue  txwil^nce  who  h^.cl   seeii  Jeuix  tLbiiee 
in   Uie  titi«'  roli^   in  1361  at  tht;  Mbtropolitan  0^..rft  House,   reui'Mnberaa  liim, 
and  thüöe:   too  young  asKed,    '^Jean  Bebiieo?'^ 

Bar:;>^*ihnikov  is  a  brilliant  cla&:-;ic  dancer  and  tiui  audience  vtrjat 
vild  üvcr  hiia  but  their  rv^ction  w^:s  tai^H'  hy   coif.parison  vith  tii^    titornti:'  thet 
erupted  every   tii':e  I  aav  Babilee  dance  anci  I  um  told^  wen-  r«  peated  vhenever 
ai4Q  viurtiv<r  h#  appeart^^d  throut^hout  hiü  careor —  a^i  Qv^r  ti*t   wr-^u. 

ITier.-:  vas  ::o^'.ethin^  ?^bout    Lhiti  Fr  tich  d;.ncer  that  eitxtrified 
auait  nct^b  to  a  point  rare-ly  natcbed  ly  perfojmnert:   in  iny  mediuf!..      Althout^n 
iiiuch  riai>  b<::»:in  vritUai  about  tne  phauiomtuon  ui  Jeaii  ■^hoLxetfp   it  it:  Gifficult 
to  bxplain  t-Oiaething  a&  elusive  a&  "inüatc-  danctj  ^.taioii"   ^a^  V^^lt^i^r  "^^  ny 
CfLÜeQ  it;   or  th.'  iiiipact  of  a  presencc,   th^-^  aura  of  a  peri:^Oiit.lit;/    vithout 
Ubing  up   Uit»  ciicheii  unique,   dynamic,  virtuo^ic.  •» 

I  thinit  tiiat  b«qj/ond  hie  ii.ipeccabXc:   clabiiic  techiiiquü,    btiwi..infe>ly 
affcrtle^s  acrobatic  fr:atB|   and  an  tlevation  defyiu^,  th«>  lavs  of  ^»^«^vity,   it 
was  Jfean  babilee'ti  incandescence,   hl;,  inner  teatiion  even  in  rapoea^  hijs 
inteuüiV   ana  artit;tic  obüeüi^ion,    thct  uroKc   tJba  b&llt-t'fc;  fra»l  and  ieaped 
MPK  ovtT  tli-    foütlit>htß   to  mak«  his  porforKicincc  £  dramatic  experience  of 
©xtraordir^aiy   dimensions« 

In  1965  in  Asice^   (jt  the  afe  üf  forty -onc,   Jean  b«bilet^  danced  ie 
jeuiic  hoinae  for  thc-:  lat^t  lict»     An  n-^c— vitnt:  s^ü   tiuriiDed  it  up/'The  auüicnc^^  vaü 


diöL^üived  in  tearb." 


Un  h  Visit  tu  raris  iii  tiir  eurmner  of  lj4dp    I  had  Sf^en  C/duxi>.  viüi 


JMUnirH  aiid  Koiand  Petit  «is  Joset     Tc  ue,   thtj  t;eniiratioa  üf  tiit;  lorties,   it 
w&ß  a  veiy    i.xcitiiit,  bt^iieti   ciifferent  froiu  ar^/ thiiit,  vt-  kneVi   xibcratcd,  erütic, 
üf  our  tiiie»     Ybt  the   cüntixiuou^  refi*ain  from  ny   friencis,   aii  youiii:;  vriter^j 
mctorb,  artititSi   invariabiy   vat^i    "Ihat'o  uotuiiit;!     lu\i  UiUi^jt  mm  Jimn  baüiltel 

The  pageci  of  a  coffee^tebie  picture-boük  of  dtncori.  wtrr.   fiip^.edr 
'^liiere l"   Uity   vuuld  b^y,   pointing  &t  tnnt  incrf^dibib  i>hotc;4^raph  of  a  yourig  iiian^ 
his   Lack  to  tht-  viewer,  hiti  face  in  ^.rüfiie,  hautiiii^  by   tht  chin   (üot   Lht;.  back 
of  hiö  heed|  £i>  Baiyt:ihiiikov)   fro:..  Ihr  raft»r  in  Wakiu^vitch'ii  se>ttin4,  of  a 
-Paritiian  ^HTTfrt^ 


He  had  danced  L«  APRlwS-MlDI  D'LTN  FAULE  for  iUjhusIy,   becaußt-    it  vas 
hoped  that  biibilee,  hit  taient/  considf-rt-d  ciOi>ost  to  that  of  i-djinsKy,  luit^ht 
spark  a  Liouu-nt  ox  rtco^iaiuion  in  i<ijiatiky*w  ui^üt,     üut  a^  iuiiuouixi.  at»  tver 
he  had  vatched    Lho  yoULig  Faune —  uiisefiiit-iy  • 

Ther«:?  wcjre  thu  storiee  about  babilCe  and  tht^  cuniradictions  ol  hia 
life  and  atyxe,  about  ni6  vildnt:{iö  anu  hlc:  itick  of  conv^^i.tionaiißia,  hi^  oack- 
t,rounu  of  vealth,  hib  iudtij^^cndencis«     Txit   aon  of  Dvm   CiuUruiüi   a  ^roiiiiient 


Parifc>ian  eye  öp^.cif.llßt,   be  hac  bet-n  a  ^petit  rat^'  at  th';^  Oycm  Ballet  fit 
eleTMi;  hii>  motber,  whobr.  u^aidui  nar:ie  he  had  acioptc-^d,  va.    an  artit^t,  bis   sieter 
a  ßUTt^con^     iiatiiaiie  x'biiippart,    caii<rd  Pixie,  bis  vift>  ana  partner,   alao  caise 
frorti  aji  upper-clßS:ß  fauljy,   wii:e  grovers  r.c  ar  Bor^'caux»^    Jean  anü  Fixie  wt*m 
intitr^parable  tnö,   if  tir^y   repreö-jnteü  Ui^*   jt^unesse  doreel  in  na^y   vjys,   th<^ 
aiöo  wert    in  optn  rebeliionn^  4»#-^,i  r<ijTjrBBa"Wirtp^^bv>i\r  L^riKin^  iiiüividu£^Lity» 
If  not  ciancing,   tii^y   roaixiea  the  world«         /  ^     \ 


I  I 


ho  üiu*  m©ritioned  vhat  prob^ibJ^   v^.ö  Böbilee'ß  trtib<^qjr»     üe  was  shorti 
ainiüßt   too   Short  for  a  danck  rt   fivi-.  feft  four«     In  h  öense  it  vae  aiüo  hiö 
triuuiph^ 


In  April  IJbl,   durint,   its  seation  <?-:t  tu(-  oiü  Met  on  äjtii  i:> tretet, 
Ajuierican  Bt:iict  Theatre  ir.oiUAttd  LF  JEUliE  HüMl-IE  ET  LA  üüKT  for  itt>  ^ueüt  bU..ri> 
J^iin  Biibiiee  aiid  i^t^tliaiie  Phiiippart*     'with  hutn  Aim  Koe^^uii,  he  daiiced  tbe 
BLULJbIKD  PAo  L^    DKUX  and  TILL  KULEl^iSjeii'üfcL,   onu  of   ihe   tvo  baiietb  he  had 
ciior^'O^rapht'd  liini^uifj    Üie  üth«cr,  L'AI'iüüR  LT  i:k)l'i  Ai^loüRi   a^aiii  vitii  PhiJLippartw 

üf  couri;c;,   I  vl\^  liot  üu    onljr^   one  «Ware  of   Un.   faii:e   that  pn-ceded 
their  i^ev  York  debut«     M^^y  peopi«-  wer^-  weaiy   oi*  &acn  nputatioriS —   Üa^y   too 
oft«;n  iOöt  tiieir  bheen  whiic    croö&int;  tat,  Atlantic«     Oti^^^rö^   liKe  u^ij..:xf, 
vondi;r<ijd  about  vhat  to  cxpcct^  vh^  th^  r  ?-iy   ^.rtist  couid  live  ap  io  the  •xalted 
reactioufc  hc   tn\  r: •  d   to  tnlicit  evt.iywner*:'« 

I   thlüK  no  one  iras  re^ljy   prt-^parc-tQ  for  Jt.an  Labilut^in  LE  Jiüi^iE  ÜOMME, 

It  be4ian  wiüi  his  firtit  iQOv<;^    thc  t:.xtraordinaiy  arc  h.    dt^acribtd  vith 
his  arm  a^  h€  looked  at  his  watch,», 

This  yovai^  irau,  hit>  overallß  rolled  half  up  hit  let^s^  in  different 
ien^ithe,   wae  literaUy  treiabiiiiß  viUi  ixintr  fury,   ^k^i.i>ion,  dc&i-air.t«  a  youijig 
ti^t>r  wa£   fiyint;  ov.-r  chräri;  aud  tables«.«     liii>  battc-irie  was  fl&vltiüö,   i.ia 
«xteiitiion   beautiful,   aud  deiipit^.  his   ahortnesö  he  niazu,t,<^o.  to  ij;ive  tiit   Illusion 
of  leu^ith  of  iintj   he  aiu   th#  »Ott  foitattic  acrobatici5^   in  tilov  iLvLion  ae  voll 
a#  viüi  f f,  i-int  vth  ::  nee —  /i.^t  thib  was  no  acrobat  bat  t  dancer  whostj  teVr.iy  L-iOve 
was  brillir.rit,   unconvf:'iitioiial|   differ^^nt. 

Fhilippart  as  the  young  giri  vho  {ipurns  hiu'i  and  arives;  him  to  euiciae 
ty  Laiit>iiiti  hinstdf,  reLurnü  ae  Leath,   on  Greek  cothurni  tyßiüoli2.irit,  tra^tc^  and 


thf^j  iäupt:r-raaturai   ^but  o:..itttci  in  tih;  current  r^vivalj,  ea^es  th     riuoee  and 
leauö  tht:  yoxmg  mau  av^y,  acrosö   tixe  rooltopti  üf  i^arit;. 

The  in.t>rpi£xy   Letwer^n   Uiem  vab  iix*i.ieüiatt   ana  luii  uf  tuij  liUDtlctit 
»Ui^nces^  hts^r  tauntc  incitiat,  iii;.;   tornient  to  Uk'  iii-<it,   to  utnobt  violrucf    bat 
vith  perfect  control  at  ijll  tiines» 

Mb  in  tlMI  aucii^ice  sat  at  tili:  ipo^fc  of  üui-  ;;.wi.töi   t>^t;xibuund  aJjLUfc,t 
b^ä/oiid  endurancet 


I  had  lv.t  ibe»  babii4«8  knov  ti^t  t  v<c  liad  n:utu£:i  acquaiiitaucet;  in  Pariür 
Jeen  telephont^d  as  soon  as  hy  recbiTid  th#  MM^^agCi  not  bt^caußt    of  öorx-ont,  in 
raris  but  b^caub-  ho  was  imrrienseiy   curiouß  ana  eager  to  ]Qiit-;t  ^i^  Yorkers  oU.er 
tiiaii  thüöfj   at  parties  arrfinged  ty   ballet  '«^hcatr**«     I  bt-caice,   as  r'ixif:  phra««id 
it^   tht^ir  ''Nev  York  friuid'\ 

Ve  öpent  mary  hours  tot>t=tht;r,   at  iuiich  er  dinntr,   at  tne  Algv^nquin 
\Aiere  tta:^   stayed  or  ^.it  tiir    .sraoky,   unprttvutiouß  restaurant  opposite   Che  Mr»t'ö 
atagt  t?iitraiiC^,     Jaan  coiuc  be  c^uiti.  the  rogut;,   cvai  buiToun  he  danc^d  in  'iiü 
Eulenspieijii.l  arid  ti:t;ro  Man  a  lot  of  lau^jhtcr  diu^ii.t,  cur  lont;  cüuv».::r£>ation^  in 
tiioir  ar«Sf)introüRi,   üt:tvecn  matinet;  ar^d  eveuiriii  ptrfuri^inccß«     Th^y  tooic  lue 
i^ong  tv>  tue  box  re&erved  für  iLoJaber..  of  tiie  Coi^paiy^    to  vatch  v/iüi  tn-tum  v,hat 
thuir  cülit>at;U'  .s  VcXt    doin^;,     U\sii^4^  the  ptt  uame  .y   french  fri  lud»-  liad  givoÄ 
Die^   Je^^n  seid,    "Shc'e  cailed  Honsse,*'   to  Coi^tte  Marcharidi   ly  v^y  of  introduc* 
tion*     Evt'iyborily  laughed  but  the   Dantor  ttopped  tlu    riomunt  he  vSat  ciovn.     Hie 
flMNI  becaise  taut  with  concntrationi   lAits  cyet  vure  at>  thou^jh  riv  -ted  tu  tht-  atafa# 
Ha  r^acted  vith  tht,  saiaa  compiet:    öbeorption  to  a  Droadvry  piay  to  vhich  I 
iiivited  theii:  in  turn* 

oncüi   ijf t^  r  a  p€<rf<;rLaaiico  of  tiiti  BLüZDIRD  PAi.»  U.  Ll.üX,   I  icuna  Jean 


in  hiw:   dri^ösingroorai  ratjing  egfjinet  the  couducicr  vho  h»d  be.  n  too  bIov  für 
the  Variation, 

In  tn  effort  to  divert  hirn  I  ai>ked  hüv  huy   hun;an  bt.iüo  couid  jurup 
to   such  iuuohtc  uud  reüjain  floating  In   thv    ?iir  fcr  yo  ior,g  ns  ]u    did# 

•Bwoith-con troll*'  he   3t.iö  irui lt6r-<^f--|€i'll;/ •     ^"Yc^u  nuxv.  your  brt:iitii- 
until  you  WRnt  to  coii;^:'  do^Ti  aötin."     /ufid  he  retouned  curciinii;  iht.  conductor« 

1  tried  to  n—asbure  rilm«     "bat  tiit  audii^nce  adort^d  it  fai^wayl" 

"The  ^iuaicncel      V^ho  car^s  about  th..   oudi^-jncel     I  Qc  nci-  foi-  iqy  belli 
I 
It'b  I  vho  Eiu^a  üK-^  ^leatiodP' 

He  wfs  crouchiuo  on  the  drt>DL;lnti;roüw  fioori   dejöcted,   broodin^i 

alle  bartJy   civil  to  the  eiidiefis  stretü.   of  visitorii —  coii^ratuiatiü^  him* 


üne  evcijiint»  aft<:r  dinner  ve  ctrolltjc  up  J^road\.:yi   tov.i.rdii   xliaes 


Square»     A  dense   crov/d  w<.  3  coilrd  iirouiid  vmat  ve  aii^wotid  to  be  a  f  i^it»     V^ithln 
a  ß^Cüxid,   Jfitn  haa  pxungcd  iüto   ihe  throa^  and  disappei.riidi    to  Plxit's  dir:i>pair# 
It  v^ü.   iii?pobt:ibl>^   to  hold  him  backi   che  expx6iru:d|  htr..  alvt.y^  hhd  io  be  in  the 
thick  üf  tiiings —  sef^   evf^iythinc,   participat«    in  cv.  17  Uiirig,   .Xj^tri  rice  evc:!iy- 
thiiig, . 

U)  here  we  Ji^tood^   vorriea,  waitinti«*« 

After  thf.^  police  hf.d  brokcn  up   tJht    crowO,   Jtüb.n  joinec  us  a^^ain« 
Ht:  vaö  vciy    ups^t.      ^^Tnty  hit  theiJ     In  the  Btori&dhl     Tney   jubt  Knocked  tiiam 
out —   tvo /ouTi^  bxaclcs#».'^     Aj;  man^'   Puriiiianj^  ht>  hatca  tht;  puiictj;^   ax*d  it  took 
a  lon^  tlioe  for  him  to  accept  tiiat  her^  lh..i  poiic*    had  used  actud  furce# 

Yet>  he  was  ff«ecinatöd  by  force,   hy  violenco# 

üt»   collected  iUiivt^i;  and  {:;Vord&,  Lt.  v«at>  iJ.  patisionate  aficionado  of 
buiifii^hljE  and  veiy   knowled^c.able  about  tii» jn»     Ay   j^t  iiappunudi   tvu  filiuS  üt^al- 


1  i 


6 


in^  viüi  buüiit^htö  wc-re  rurAiiiiit  in  ^^ev  iuric  in  Uli,  'iüi:^  br^AVj.  hüLLC  ia   Ihe 
h^rin^,   and  llü^  LULLPIÜiiT:.R  AND  TKL  LADX    in  lat..   fall,    whe.n  the  Uabileeb  had 
returnt/ö  from  their  Atjeric^ii  tour  and  vere  ßpending  anotrier  iev  veekö  here«     We 
went  tu  see  both  fiii:.s —  tziqy  vtiV  cixiMu^   bui'ib  in  ge.ii»:"rici  and  t^poxe  v;tu  öi^ecifüL 
GCiirdrtitioii  of  John  nubton  vhü^;^'.  A^ulULT  JJ^^GLi'  vas  ont   of  tiieir  ßll-tiine  favorites. 

i'OUi  re.'.cl  prodieioui^Iyi   pnrticuii.r3y   jt^oetiy ,   and  Jeun  couici  quott  IMBk 
entire  pii^ys,   Tor  intstanM  ^uch  ciabsict^  at  Hi%ciue#     fhty^  kutrw  f^rt  and  HiUüiCi   oft« 
to  tlur!  ^.oint  of  erudition»     üne  of  thtir  inttrt  t^tü  Cinter^d  on  {aici.ut  i^t^pt»     As 
c?.ti^  had  ber^n  importaut  in  ii^ptian  antiMUily   they  foit  it  %(as    mite  cont^ictent 
witii  tl^at  cüuntry'i:  histoiy  wnen  it  cat  füliv.VBd  them  to  their  hüt^l  and  insiöted 
on   sta^iiit*  with  thtim|   tiity  aaopted  it  and  liiadt  it  tiiexr  houee  p»et  in  i'raixcel 


both  nabilies^  not  onXy  ürticuiate   but  i-i^asomibl;)^   fiucnt  in  Ln^lish 
4n   tex' Vision  n 

wer»;  iiiViLt^Q  to  fjppear/^iö  gutüts  un  b   li||ctn--iiUiiUt^    "Ualk  L>hov  1  w^fc  invoivea  wxth 

■!.t  thi.,  tiiue»     It  was  the  firct  of  itb  kina,  live,  and  ho.steo  ty  Lilli  PL,ir.er|   th-. 

actress» 


Tn<.y  vfjited  to  chnt  about  t.i;'ir  fri^^nd  Je-tm  CoctmtU|  bötter  known  in 
Ai.i,/rica  für  his  hViüit^LTdc  filias  than  for  his  \%ritint::;ö,  and  hov  LE  J£Ux\J.  HuMIlE 
in  LA  MÜM  «^  had  firi,t  be^  n   stagaöt^n  Paris. 

v^n   tn     ^  v^    of   tiie  shov  I  dropped  b/   at  th^-  Al^;oiicuin  vitli  our  licript 
and  tht;  finu  adiaonition  uncu'.r  no  circuuiütijaceö  to  itarn  it  Ijr  htart*     It  Vc^a  to 
aerve  only  as  a  t>^ötlixn;|   an  approxiniatt;  st  cU4::nC'.;  of  th..    vfcriou:^  pointt>   Ui^ 
planned  to  dißcuss» 


Tiiö  moißt^nt  they   t^ntert^u  the  eiudio   tnc   m^t  ci£iy,   Je^m  i. .   ua.a  to  raaiato 


ftr--  yurk^. 


7 


3 


«• 


Th*;;^  werc  u&eö  to  ^.Tomiricnt  and  entertainini^  »^Ut:tittii  i.^^ajnj/'  of  tnem 
fort.>igntj>rf5  tii^y  had  ncver  h^ara  about,  ana  pöic  little  if  ai:\y^  atteiition  to  tlieiü, 
conc  tili  trat  int.  on  liieir  work.     But  this  tinie  tn.^  ver^    haii4;iii(j  arouiiü  üie  sot^ 
vatchiut.f   li:>t' niut,    fHi^cinhtvd,     It  Wfis  obvious   tii«»t  vhethrr  at   tho  vast 
Metropolitan  Op^rf.  iiouö'    or  tn  the  6ir.ail,  confincKj  t=.pöcc  of  this  telv  viüion 
ötage  viüiuut  an  audi«nct;|   Jv  mi  i^abilee  vlö  iik"   thi-  ried  Piptri   ii.ruv,inii  t^v^^iy- 
boqy    tovardt^  hiia  and  crv-^^-tintj  an  i^'tmospherf:  of  instant  excit       iit. 

But  tiu>  run-throut;h  v..  e  e  alöaster»     Dci^pit^^  ny  v^.^iiinbS|  Jtan  ana 
Pixie  bftd  spent   tii0  •veniug  i^arniüg  tiif:'ir  iinetj —  tiity  vcrt.  i»:^ttt"T  ^t?rfitct  but 
had  lobt  all  spcntancit^  and  j^ounded  voodc^n  and  avkvard. 

Thi-y  realized  quickly    tiiat  sonetnint,  v/lis  vron^i« 

"x^o  f^ood2''  Jiv;.n  askod« 

Thf:re  was  no  tii^:  to  be  tactf ul —  ve  w^iru  aimoL^t  ou  tnt;  air»     W# 
uri;cd  tn:::ir:  to  forget  thi:t  d^lIanüd   Script  and  iiiir.pl;)''  rrp^jat  to  Lilli^   and   tha 
teievißion  audit^ici?-  fciomevherc  in  th<F'ir  hoifjesi  vhat  thty  hhd  de.scrxbed  to  ;;e  so 
vividiy  anci  füll  of  3parkia# 

Yei> —  but  wt'.  had  cpo.cen  in  ^rench,  not  in  Eni,iish«,» 

Never  mind  that«     Lilli  vould  heip,    should   th:y  ciy  up... 

Th^BT  exchnnged  f;  fkV  quiel  vorda  bi^tviÄtn  them^   out  of  .ar-shot  froin 


And   then  soinethin^^  happened»     Aü  if  Bebilee  had  decidec  to  ritik  his 
feil...      if^ith  title  saSNI  r»cklesi^ne88,    \h<-   same  mixtur-    of  pasü^ion  ano  uttu^r  dis- 
cipiine  hm  ahoved  as  a  uanc.^ri  ne  tiir^^jv  hi..i:;ulf  iuto  tiitt  adVivntUTc.^   thö   uiiknova 
eieiacnts  of  thit  nev  exptrit^nce« 

IIa  introciucüd  Cocteau  ly   rt^teilint>  thr  anecdott)  of  hov  Llaiihilev  had 


^»    .  >>  .  [_^_  A.r^^  _       M<fciii*>  t^Mhiai    II       iiT'   'iJ' 


8 


bld   the  yoxiiii^  poet  to   "astoiviah  hiial"     Thon  foilowed  the  unueJiil  story   of  hov 
Lt.  J'ibüi^i.  iiUlMF  K'l  lA  i'iUiiT  htXi  bey^n  put   to^ether  aiici  wiy  i^ach'y  Paeaacatilia 
had  colc  to  bc  chotion  for  thifc  L.ut>ic* 

Cocteau  had  clt*velopeci  th<v  ualif.»t  vith  .-Vf^fiy  detail  writU-ii  for  thtdr 
particular  t^iftt^j   tj?ilorect  it  to  Ibiieir  bociies  and  einotious.     An  uo  mucic  had 
brfijii  chü;:^.-n  yet|   tli#  Bftbilee/S  ref.hf;;aröed  by  counticij,   ri^;ht  up  to  the  lÄ«t  drt**i 
reh'r'rsc'tl,     Mcanvhilc;,   a  frnntic  öfarch  hfio  gonc  on,   firtit  for  a  sultable 
coinpOßition,    thon  for  ary   klri'.    of  mußic  that  v;ouia  fit  preciseiy    tae   seveuteun 
niiiiut#«  the  beriet  lr<stred*     ünlj-    the  Passacaglia  ^nav-rcd  that  re<iUiri;;mtt>nt« 

B  ut  it  vai-;  liT^postdble  sudd»t^nly  to  r-:late  to  music  jBi'gjjp    U^cy 
continued  tht.  ir  coutiting  «Ifllit  tlijrout^ii  opcning  night,   vith  Pixiu  cven  atopping 
up  her  earb  &o  as  nox  to  bb  uit-tracted»     Uiiy   aftt^rvards  tnt.y   cyiichronizfi^d 
their  dii^iCt  vith  tht^  Pa£>biucat,lia|    futsia^  viiat  had  sei  ßccl  incoiigruü-LU3  i..to 


^*point  and  countvrpoint". 

lh<«re  vai:> 


silenc-:  in  th^;  studio  uiitiii   the  ino/nent  ve  were 


off  thte  air,  •fWiybu«;^'   bro/u.  iutg  wiid  appiauöt-^ 


In  iit\  articlo  yearb  lat^r,  Jemi  Coctt;f<u  explaiurd  iiiat  h     regarded 
LE  Ji:.Ui.j.  hUMl'ü;  KT  hi\  .-^ulil^  aß  a  par^.piirase  of  iat.  film  LL  oAi.G  D^ül.  i^UiiTi:  ^BLÜoD 
ÜF  A  POET)i    that  ii  wa^  üot  really  a  ballet  but  a''ißinoora3ae"  ir:  vnich  panto- 
mima  expanded  itt   i:1yle  to  that  of  a  dance»     It  vm^,  he  vrote,   a  allen t  play. 


Durlnh/    that  iJ^^l  ae^^son,    in  ^ev  l^rk  anu  on    Ui^.  ruao.,    o<    n  Jj<iüiii;e 
had  iiit.  rprvtcü  a  inood^   euul  U'iipt:.u;tuout.-.  j-.uj...  uoi      ,  h  dit        ric.-.j.ly  .lifl'vtrc.nt 


V-riCi^l  ei'd  i-^etic  Cupid   to  rhilippirt ' 0  Füy ch«,  a  hUnriOus  Tili  and 
fubuious  t-lut^bird. 


R 


Theatre,  hat!  sharod  nary  jjroi^raas  vith  tltie  Irencii  guc-cts«  Aft.v.r  a  luatin^ 
vh^)rc  Jwcii  xmci  caucad  tiic  BLU;k;XhL  Pi^o  DE  DIUX,  Yout.iCcvitch  tuOiC  hiL>  youiig 
duu^hUr,  aged  perlmpti  fivii  or  eix,  backötfit^r . 

Just  btifor^r  Wi'.lkiiiC  itito  Je«a*s  are 8 slngroori|  he  b:;nt  dovr;  cmd  I 
heard  hiii:  vhifcjper  to  ht.ri  ''I  vani  you  tu  r<::ii]e2iibv..-r  for  tiu.  rr:;  t  of  your  life 
that  you  have  ötrn  on   the  üta^e  and  iKet  in  ^ertoii  tho  ^r^:nU^t  danccr  cf  our 


t  XVflB  m 


f) 


.  t7\^^^^^3n^^^^C^a.- 


JZAN     BÄBILEE 


ty 


KuUi  iuirton 


Ruth  Morton 


ia^.  J  Ui«.    i^Uu*..  iT  iiii  KOKT,   tiie  bßlltrt  vritt  n  uy  Je-^i  Cocttuu  and  chon-o- 

fe;ra^h«ru  iii  coiifabon.it Ion  v.iih  i^olunix  ?Ltit  vilh  :.ia,::ic  ;y  JuxAt.iai  ^tob6.•^lfc.a 


BLch|   iL  vr.i;   in-  vitvniut^   tiU:t   thu^...    in  üa^  aur,i*,,nC'.    v.ho  h?'.d  st.tu  J  mi  lic.oiii-e 
in  th^   titi^    roi  :  u,  Ijbi  iX  U\k  Mi-tro;x)iiitjn  ^,.   r^^  Housr,   rn  r  mberod  hiiu, 
and   ti.oßi    too  young  asked,    ^^J^vn  Brbiiuc?" 

Biii;>'fc>liniKO\    is  a  briilirint  cL':L.-ie  c::  nci.r  i^va^  Lhe  e;u(      .k.;      .ciit 
vll("I  OV' r  hiii]  out  üuir  r. -ction  y-  i>  tcj..v   ty  cou.pcTjLi>ün  uitu   üi- :  t>tur-it  t:».  t 
ci'upted  trVtiy  time  I  SfiW  B^bllre  dr.nci    t.iiCf   I  am  toid,  vor»    r- peatt^d  v.iiencvisr 

Thtre  vac  so  i  thluö  fiboul   Lhie  Fr;  ach  d.-.nctr  taf«t  cxt-Ctrificd 
tiUüi«:ucik   to  t  point  rc.r*  iy  neitch^  d  Ijr  pc- rf onr^ert-.  ia  c^iy  mediufi.»     Althoot^n 
ÄUcii  iiii;;.  bii<».j:i  writUa  tboul  tiuc  i^ht-v^noiüLaüa  ui   Jcuu  hLLixiijf   it  ib  cdXiicujLt 
to  <  :^.plfjin  ;:0.i;cX>hiiig  as  ibiubiv«    £.&   "iaij.tt    duiCv    t,^;uiu.ü"   v^ü*   »*»t.li  r  -    ny 
Cf.lltd  it}  or  th.'  impact  ul  a  fresenci,   thr?  aar*,  of  ii  perLOüflitor   viUiout 
Utiintr  up   th*    ciiciieij  uaicmi:,   c^aaüiic,   virtuOiic... 

I  üiiaic  Uu^t  bt^üau  hiö  ii.ptrCCi-bjLt.  cxaL^ic  tcciruii  lu..  ,   .      .^ia^^ 


cffov\Xii}Z  acrobiitic  fettig,  ixi. 


1  Vf.tioa  d<.ii,'iiii;  th     Ir.wb  ^i'  ^ti.\1^ ,   it 


Vtx\^  Jeaa  bijbiltje'ß  iiiCftndtbceacei  hit^  ianur  teat^ion  oVi-n  ia  r«:p08i^^  hisi 


iateaüity    aad  artii>tic  obtieiibiou,   XJlhX  uruKt    the  bcal^t*;.  in. 


i  iei»ped 


ovtr   tli     foütlir.hte   to     ?ik«-   hi:         rfor:    nee   t   c\t^  .     Lic 


r 


extraordia.My  dimt^nbions. 

In  Idij'ä  ia  *^icf-,  at  thr  ^f/-  of  fürty-üa.  ,   J».    a  i>i  bii^t    a^ac  f'^  ie 
jtui:^    hc  .      für  th«    lat-t  tiiut  •     in    y  -vixa<  :;t:   r.u.       i  it  u^;,"Tiu  i  ac-    vim 

disc.olvt)d  ia  tviirt>»" 


.1       ■  Irt.--.!.   ■ 


a.  jiiHiLan.^»i-Mi' -ü^ 


üf  OUT  tir,e«     Yet  Ui     cüntinucu..  rt.frdn  froia  ny   frit^ncis^  «lil  youi:^^  vriterij, 

Thv    i/ii^ei>  of  a  coffee-tebii:  pictare--book  of  auiCK.Ti.  vttr.    fiip|;cdr 
"lhtrt;t"  thv.y  wuulci  ti^y^   poüitint;  tt  tn^t  iricr<.ciibi<.  ^^hotOt^raph  of  a  yc-uig  i;iau^ 
hiii   Uxk  to  thv    Vit  vt-r^  hits  face  in  j^r^fiie,  lu-ji^ii^b  by   txiu  chia  U^ol  th     bi.ck 
of  hiö  htu.(J^   /[•&  B;.iiyi;hiiikov)    troiu  la»    rcift.,:r  ia  Vaktu^viich^ü  ßt-ttliu,  of  a 


He  han  dancr.d  L^APRlJiWIIDI  D»Uü  F/Ui.K  for  Nijin.sly,  bec^Uß.    it  vhs 
hop^.d  thcit  ii?>bilt  f  ,  hii^  tf.l^  n-l|^  considi  rtd  cioLJi  st  to  tiuit  of  i*ijinr.i<yi   mi^t 
ß^ark  a  i..o:i.c  at  of  r., co^i«itioa  ia  xdjiüt^ky'L  nißiat«     bu-.  tu,  irjii.OLixc  aö  ever 
he  iUid  vatclivd   tliv  youii^  Ft-uat —  uii^j»  i  in^iy . 


Th*.r<3  vcTo  thr:    stori   ;    /ibout  i::.- bil'      r.ad  Ihc  coairauictiüiitj  oi   aie 
lif.    miti   fcityit^,   c.üout  hit;  vilda^i^t^t  aat;  hi;;   luck  of  conVf,iitioaaiir>i;.,  hit.  oack- 
trouau  of  vtaxtii^  iiib  ixi.dt.j^jcac..ac<^«     Tnc  ^oa  of  br#   uuUxMa^   a  ^^r^^idauat 
Pari^lAH  ^fe  ßpecirllßt,   ht-  hac  b^en  a  ^peitit  rat''  ht  th.    üp^rti  Ballt. t  ^t 
k;levexij  hii    Eiota  r^  vhobr»  ii^iüi;a  aai:.e  hi.  had  acopted,  Vc».    hn  artit>t,  hiß  sittcr 
a  tiUTu^on^     i«atiir;xie  x'hiiippart,   caiied  r'ixiw.,  ai^  wift.  aaa  p&rtiiv  r,   ..xtso  caas 


froB  aa  up^  .  r-cli^st;  f^.  iiy,  wiae  frovcrs  naar  borcicaux«     Jtra  aaa  r'ixir  wtrre 
aitjo  vciV;  ia  op«  a  r  ;biilxion|   ni    nf'»LLii  Mi  ii.      n  IHII   ths 


iatiipantbif;  and,   if  thjy   r^p^^»fc';•nted  tii*    JcV3n<iDö»    dor^i    ia  laa.y   V  yci   tat;^  ^ 

iv  ir  LtriKin^^  iüciiviui^iiti/ . 


/A 


if  aoi  c/.aciiiiii   tii  y   ro 


tlu   vorldf 


BJLmoi^t   loo  r^hort  for  l.  dauctr:   fiv     i*     t  foui%      In  :    .    ..^     it  vll*  ixlu  hie 


In  Ajt^ril  iJbi,   durlnt.  itt-  seabon  it  l  -    olu  i^it  t  on  ÄJth  i>tri>t.t^ 


lÄ^ricun  i-i  ilct  Tht.i  trt;   ..uUiiti,d 


▲^^      c 


.^  -.     iiUKl  für  it^>  t»ae^-. t  t^U^rt» 

/v 
BLUlüIKD  PA!^  L     DKUX  and  TILL     UU'.i...x^IiXiH,   oia.  of   ih     Ivo  bail:  tt.  he  iiad 

Cf  coui'l::  ß    I   vcü  iiüt   lli^    onil^'    Oll.    irv;;  r-     of    ihj    f^^.       tUcit  iJr<rC(^d^,d 
ti:«lr  Kr  V  York  dt  but«     Mriy  ptopl^    ve>r>   vrMy  of  such  r^  putatioiisj —   Ui  /    too 
of  t. n  ioßt  Uu  ir  t:>ht  on  viiii<    cro{;i:iiii;  the  Atituitic»     UUi  rti^  like  ii|/ü^  if, 
vondcr<iid  about  v^iiht  to  ax^x^clp  vh  Ih^  r  :  i\y   .vrtiüt  couiu  Üv?    ujp  tu  the  t:x:.itcd 


r.  tctione  hn   r 


d  to  tiicit 


lyvii  r  • 


I    üilnK  iio  on<    V  w    r^?liy  pr^.pivrv.a  for  Jm  bfibii»  ;  dn  LE  JJEUi^E  HÜMHE. 


It  t' 


v^itii  hi;^   fir^t  louvi  , 


t.-A 


xtrciwraiiit-iy  erc  :*.    o    ixriijv  u  wixii 


hl0  ana  as  he  iookcd  at  hlü  watch..* 

Thie  yovuir;     ftup  hiL  ov^^  rfxile  ro3JLed  haxf  up  hit^  i^b^  i^^  diflt-rint 


1»  11^^ ihü,  vuö  ^iiurtUly 


iiuij  v-ith  iiüitr  fui>^,    u;uiiüu,   t,   .^.ir...   a  yuui^t; 


ti^^r  V.' V    fjyiii^j  ov.r  chidru  aud  tabicß.,«     hii>  batU^rie  w:  .    finvx  ..;i,   .*iü 
extdiiwion  beautiful,   and  d*,:plt.    hit:   iihorUu  .      h-  itniULt^cd  to  t^ivt/  tii-     iiiutiion 
of  itvnb'tli  of  xintj   ht    aiu    Ui .    :x)i>t  ftinUtt^tic  acrobi^^ic:3,   in   lxuv  xl  tiou  8.8  v« .xl 
a&  villi  fri-ii..    vüi  1;  nct — j.l   thi;^  v/.:^  no  acrobt/i  but  t  dancer  who£-.    cVuxy   u.ove 
V£S  brillirnt,  uiiconv<  ntionai^   diff,  r  .»!• 

i^hilippart  aß  the  yuunj  glrl  vho  spume  him  an«-  orivr  ^    hi)::   to  üuiciat 
ty  h.    _ii*i;;,  hl   .-   xf^  i'v  tumü  a&  Ij^lUi,  on  iii*     ..  coUiurni  tyiduolx'^in^  tri,,    y   and 


lt;ade  thk.  youii^i  inuxi  tivuyt   across  the  rooftopt>  of  i^arib. 

nw/nc6fi^  her   tautitsj  ixicitiiu,  iii^   tümciit  tu    th.    ii.it,   to  utiuLt  viui<  xu;     bat 
vlUi  i^^rfect  control  at  fill   tiiaee» 

Vti  in  th«  auai  liCd  stit  ut  tiu    üü^e  of  our  .    ctOf   ti^t^jLjLbv^uiid  AlBiUi>t 


i  hfid  l^.t   tiif.  Ü^bilceß  knuv  tiit  t  vv^  had  lautu&i  iicqiuiiat&nci. i.  in  Pari:;» 


J  ui  Uxi^hüii  d  tiö  üooti  a&  h'    r  et  lv<  d  ti*e  tt' 

Parle  but  bv  ctob     ht   vr;    iiiuT.cn;^  j^'^   curiout  rnc 


VJ 


^..   not  L 


üf    üO£a  uu      iu 


r   t.o  m«^^  i  *«ijv  Yorkere  othcr 


thau  thüü*?  at  partlfi£>  irruti^tid  ly   ballet  -^htjatr«»     I  bicair:«  ,     .    x'ixi^    pxxn^.d 
it,    tii.:ir  ^'Nov  York  rriaid% 

We  .^    at  ir^M^'  hour^  to^v  tix<,  r,   i.t  xiLich  ur  üinricr,  tx   uv.   Alb^i^^lJ^i 
vh^jr^LJ  tJ*«y  ötti/cid  or  at  tlip   Lvmoky,   uiipretentiou;>  r  w>Uiur?.nt  op^^oölU;  tht    ..  t^u 
^ta^i^e  liitrM.cc«     J^  axi  000x0  be:»  quit^.   th'.  ro^Ui.  1   «  v^^xi  buifooxx  ha  dc^nct^d  in  'ÜjlI 
Exil,  .iii^i.  >^  1  mxd  tl.erv.  wu;;  c    lot  of  Itu^^iiUr  aui'ii*^  our  lont:  coiivv.ruvtioriü  in 
their  drbßtilxitjröüiQ,  betw^-m  lufiliner.  uiid  ev^xiiiiti  pf:rfwn::r.ncc;b«     lla^-y  took  r.e 
a^Oiili   tv>   th^    box  x^wirved  Tor  iLuJübtx.;  of  thv    Co*.^vtx^,    to  vt.tch  viiix  txx^.iu  <  iiut 
Ui.  ir  coxiv^it^ju . ;    Vi.r.    (ioiii^j,     Üi-iiiit,  xhv  ^jct  ut;.  •      /   lr'...ch  fri  ua..  iUkC  t^ivan 
a^i   Je^n  öaid|    "Shc'e  c^^lliid  Koußsej**  to  Colt;ttc  iUirchandi   ly  w^y  of  ii^trociuc- 
tion»     IvvxyhotJiy  laughed  but  the  bantc»r  stoppeu  tiit    morm  lit  h<.   t>iät  dovxi,     hie 


face  b.    .        taut  with  concxitretioxii  hi       j    u  v  r  Uxoc^h  rivt-ted  to  i.. 

Ik)  r«6Cted  with  the  saioe  coaplitc  i.btjorption  to  a  bror di;:y  pifi^^   to  vhich  I 


t  '  r 


Invittjci  tixeic  in  tuni# 


üncv|  ;tft  r  &  pcrforsMOiee  of  tht  l..  ^  .^ 


UA|     i     1\.U»,Ü    Jf'Mi 


in  hi:.  dre^esingroomi   n  ^^In 


Ihr   Variation, 


iiiCt  tiie  (jonductcT  vho  Iv      bean  U>o  bIov  for 


lii  .. u  effort  to  cliv.rt  hiifi  I  c  ..k«  d  hov  m^;/   hUiUJLi  b^^iu^  cuulcl  Juiip 
to  buch  htii^iitß  ßnvl  r  l^^>i^  floaiixig  in  the  air  für  t.o  long  at  lu    dld# 

*'BrtfiUi-cor;troi|*'  h»    tihld  iiiatt6r~of-<5atly  •     ^'You  hole  youi-  br*.:.'iUA — 
Uiitii  you  \...iit   lü  cü:..</  ao\>ii  ot,.  in,*'     a\iiu  iu.  i%    ai;-.v;  ciAr;.aii;j   ui.    couuuctor« 

I   tricd   lo  r  --2r.a;iUrt  hira*     "i>ut  tiu..  uudicnct  tidortd  it  i-a^v^iyl'' 

**Th     ?  udi.,nciil     V.ho  c^r-      •  boul  th<    fiuditncel     I  d^xic.    fwr  iryyclfl 

and  b^r.iy    civil  tA>  tii       iidleös  i^trctJ»  of  viiidtorü —  confjiratulr-tiiit  hijiu 


Ot*t:   tjVtiiiiii^,  aflv.r  ciuiier  v^e  i. tropica   ujj  j^rK)i.id\i'y,    tovi.rdt»  x1l-cö 
ßqiiare#     A  densr   crci-d  v  :i  coiln  d  arouiid  vhit  we  iusütti  td   to  bt        flbht»     Viüiln 
...   ^.coxid,   J^ftiii  had  pluiittd  i^to    Lhf   tiiroiifc;  and  diöiippt-*  r^  d,    to  Pljcit';;»  aeöpair» 

It  V:  .    ijjpo^i.ibxv    to  hoid  Idm  b;.,ck,   iU^k    ^  Xj^xcv.iiicdi  L      .Lviyi^  hiAi  io  üe  iji  i-. 


iMck  üf  li.ini:t> 


tliiug( 


evexythliii^,  pr.rtici^i  i     ia  evciyÜainü^  ry.^    vi  nv       Miy- 


Ijq  iicr^  We  i>tooa|  vorri»    ,  vt^ixlt:.^^*^ 

After  tiit5  polic<    Jim]  broK.  ü  up   Ui     crowti|  Jn  ;«  joLu      ul^     _   Li« 
He  VJ.S  vuiy  upüt  tip     "Thiy  hit   Uu^i.l     In   the  t;tori/^chl     Thty   juüt  KJiocked  them 
out —  tvo  yourui  bltcics.««"     Atj  v\r,\^'   tixriuUixw  in»    iuitt^o  Un-   poxicu^  aiid  it  took 
a  loii,^  tLfiic  für  hiia  to  ticcii^t  tuiit  h^^r..    lii     ^oüci    ulm  vujtd  actuil  iurc^m 

Iet|  h     Vi.t>  fiieciia-lt^c  by  forct-i   ^y  viol^ricc« 

H#  collected  laiiVv  ^   unü  avordß^  in.  vt.b  ti  paüüiorißtu  eflcionauo  üf 
buiifli^ht^ü  iuiG  Vk;iy  iuiovl   ._     ble  Ckbout  tii^m^     A:.«  i^L  iuppci*.    j    two  filxiü  ücM- 


P    4       VLfft..  .  «1. 


hM^.wj*   .t*     !.«*«&  >t<.'.    ^«  M'iaaa^^iMft^'rtMVt^iiii ■  f-^i 


ii*^  vitJb  buüfj.J[itö  Wer,,  ruin..  ._  in  -tv  l^urjn:  iu  IjII,   'üi     i 


*-  u 


uuLj  .iii    Ih^ 


&i.riiiti,   MIO.  Tli..  bJLLFIGHTlR  AKD  THL  üiu.i    in  xatc   ftiil,    ^ii.  n  tii.    i-^bilecb  iiacl 
retumt^d  from  their  Ar:eric^Ji  tour  and  v/^rr^f   j^pendlrit»  aiiotiier  fev  wet  kö  hfire#     U# 
wtiiit  tx;  ..      both  fiii.ö —  "Ui'-y  v<.r     ciii  .      buff.    ixi  i^vuertl  aiiu   i^üico  vitii  yi;eclfil 
irMtiüji  of  John  Hu;,ton  vhot:^    Uji^UAUi'  JJ.XL'/  wt.i>  oji     of  ui   ir  r:li«-t.i.  ,    i:  voriui^« 
üoUi  re:.c\  i^rodi^^iourly,  porticuiarJy  püctiy,  ond  Jf  -n  couiu  .;uote  xxaxx 
iwntir-    pliiyü,  Tor  in^twict)  i^uch  claaslc;;  i  ^  h^xi;...  •      lut^^  kncv  hrt  iuid  i^utiic,  oft^ai 
tQ  \he  i-oiiit  of  f^rudition»     üiu^.   ol   Uir.ir  int  r  i^Xij  c^xiUjt  d  on  aiici   i;t  -^^pt*     Aö 
catb  hftd  b;    n   iiaportai-t  in    '  typti^n  ^inti^uity   tiv.y   frii  it  was  <:-iiilv    coni:  ictent 
with  tiMt  cü\ii*tiy*L  hititoiy  wn^n  u   cr.t  f oll.  vem  thei.'i  to   their  hutt  i  and  insißted 
on  t:^i.:.yin^  vitii  tht:iin|    tiu./  aüOpLi.u  iL  tnid  Liuu.    it  tiieix*  iiümi.;-  p..  i  iii  i'ruuc(öl 


both  hiihiX0eü$  not  on.ly  articuiatt-  but  n.ii'Miihhl;/'  fiucru   in  rangliah 
Ali    tt-X' Vi;:ion  ^ 

Wer.    inviLfc:a  to  ^)ppt:t^r/?'B  gut-^stc  on  .    im    n-i.dnut,    taik  ^..nov  1  w-  ^   iavuivea  wxth 

tvt  thi:.  lIiuc' •     It  Wi*u   tli .   fir:.t  of  itb  kincij   liv  ,   ana  hoi-.Uo  Ly  Lilli  PöJL  v  r^   thn 

actroößt 


^n-y  vanttKi  to  eh.*  t  tbout  tiieir  frl«  nd  J<Ln  CoclvaU|   nc  tt^r  knovn  i« 


A.    ricL  for  his  hviuit^-t^c  rd     füiiö  th^in  für  hit  \>ritin<jß^ 


ho\.  Li.^  Jj.üo.-    i 


ET  LA  MÜKT  iüHe  hf..d  fir^t  be.n   :' 


ill   irariß» 


On   Üi-   ev*.^  of   ÜAc  shov  I  droppt^d  by  t;i   ihk    Ali^onruln  villi  oiir  t^cript 
and  \h.    firm  ac^oaition  untu  r  no  circuü.u  nc^^  to  if:ij.rn  it  ly   h- ;  rt»     It  v.  b  tu 


BtrVi    onJy  GL.  a  guid<  linci  öü  approxir-  1 


u  iic     of  ^i.     v/riou.    puiutß  tluy 


planned  t<>  diöcus^ö. 


'iL.    ;,Oiu.iit  U*^y  t;nt^.^tu  ihv  SL-udio  tht^  nt.ixt  dii^',  Jt' .  n 


d  to  r  ciat«» 


fir  v>rkß. 


HJk^/>.l 


Tli<y  von    Uöti^d  to  ^.romincnt  ai*d  tiXi. .  rtuiiiii.o  o^^  i^t^i   -cJV'  '^^   tuuE 
fort^lgnortj  tii-y  hati  ncv-.r  iivt^ru  ubouti   anci  paic  littiv:  if  ai^'   atteiition  to  thom, 
concantrutin^  on  tiuär  work.     but  thii>  tiint    th^y  wert>  hani^^liit^,  aruiüKi  tiit-   ßet^ 
vatcidiat;i  iii>t  i.iaoi   faßcizü  li  d«     It  v-.b  obviou«  Uu;t  vhtth  r  at   liu   vaöt 
Metropolitan  üp^tr^  Itoui.t    or  in  Uuj  üimiII,   confin^n    /pficu  of  thit  t  1  Vision 
stage  vitiiüut  an  ^lUdienoei  Jf-^m  br.bilu»    wtiS  lik«.t  tiu    ried  Piper,   dravini^  ov  ry- 
bo<^  tovuru;:  hia  and  c^a^tillg  an  »tmosphtr     of  iiiLtaiil  cxciL      ut« 

J3ut  txi     run-UiröUi.:Ji  w^  6  n  disasttr»     Dc^i»*.;    ..y  v- riiini;&,  J.ma  and 
Pixie  had  &i>ent  tlie  oveniug  iffimiug  their  lintß-—  tiicy  vi.rt.  Ittttcr  perlV:Ct  but 
hau  loöt  «11  öponti.;*  ity  aiACi   ^üurAd^d  vuod..:u  taid  tiVkvard« 

Iht-y  rv7  iizfcfd  «/aickJy    uuxi  eort-tiiint.  v/tit^  wroao« 

"No  ^ood?**  Ji^rn  aektd« 

Therc  wits  no  ti-  .    i.o  be  tactful —  ve  ver:  .:•  jjaOi.;t  oa  ta.  ^.ir«     Wa 


ur. 


tu  fort^^.t  tiiiit  dMUA*        cri^t  miü  biiLpiy  r«.pi.%t  to  Li-^ii,  VAid  th( 


teievicion  hudit-nca  eomevhwF'    in  ti;*  ir  homrs,  vhat  txi^'  iuM  d^   cribed  to  irm  60 
viviüiy  anci  fiili  of  sparkxt,, 

Yh'i. —  Lut  Mv.  had  tipo.cxi  ii*  i'ri^..ch,  not  in  Ii4it^lii:.h,,. 

Nev  r  nind  thtt«     Lilxi  votild  help,   shoulrl  thy  diy  up,,. 


Thcy  exchcnged  fx  fov  quiet  vordö  btitvt -  n  thtr,   oai.  ol   .  ur-ühot  from 


». "   ry  buciy 


And  ili%:ii  l..       Uiint  li   _    tud,     A;    if  Bt^biiet  had  utciuf  c  to  ritik  his 


all»««     V^ltli  tht..  aasie  rf^cklesuiesö,   thr   saine   rrAxturv    of  pasüion  ano  utt^r  dla- 
cipline  ht)  ahoinad  aa  a  Q^ncw:rf  nt   tiircw  hi  l   if  ix* tu   Uie  auvcüturc,  tli.    Uiknovii 
ex      Uta  of  tiiiL  nev  aKpcritnco« 

Ue  Introauc^^d  Cocteau  ty  rtätexlint;  tiir  anrcdott    of  hov  biaeihilev  had 


bid  the  youiit  i^ovi  to  •astonisih  hiini'*     Tluin  foilowud  thu  unusmii  atcry   ol  how 


L. 


iiu —    Sli  iJL  MüilT  had  been  ^jut    tOi^v.Uiw.r  u*v    y^iy  jL>acli't  Ptieüaciiülia 


hr  i  CO  ».  to  be  chob»  n  for  the  K.iu;ic« 

Cocteeu  had  cl<*veiopea    tiie  Lallet  vitii  »TVi^iy   detail  vritt<»ii  for  tiicir 
pi-riviculhr  tiiftSf  tfjllored  11  to  Hu-eir  büUieö  and  mmoiiontsm     At>  uo  rnui^ic  Lud 
be«ai  chOiSi-a  y  tt^   tli#  Babileeü  r>  i:^t;rööG  Ly  Comitiii^;!   rit^ht  u^j  tu   üi     lubt  tirtiaa 
rtih«  areiil.     Moanvhilc^  ß  frfüitic   ticößrch  iuiO  gonv   on,    fir^t  for  m  aultabla 
coaip0«itioii,   th  n  for  aiy  kinc.  of  lomiic  liint  v;oula  fit  pr^^clsely   tu©  aeventeen 
i:inut#a  tha  ballet  li.:^tt;d«     UaJy  i'u daacui^lia*  im.  .    rv.d  that  rcquirv       .t. 

B  ut  it  vru    i  pos;;:ibit:  cu''      riy  to  r-  lata  to  inut^ic  v i  i' rimSv    u^y 


continii^id   U*cir  coui)tia{$ 


tiirougti  opcainti  night^   vith  i^ixl<    v.VMi  ötopi.li;g 


up 


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August  7,  1996 


Ms.  Ruth  Marton 

433  E.  5l8t  Street,  #11F 

New  York,  NY  10022 

Dear  Ruth, 

It  took  almost  all  of  another  summer,  but  I 'm  finished  at  last! 
I  got  a  very  positive  reader's  report  Just  in  time  for  my  return 
to  Michigan  a^d  spent  ten  weeks  on  making  the  further  10%  cut  he 
recommended  (I  managed  a  46  out  of  542  pages  reduction)  and 
preparing  the  mss.   I  still  have  to  do  the  acknowledgments, 
author  page,  and  author  questionnaire. 

Since  I  shipped  the  mss.  on  July  15,  I  have  also  tried  to  catch 
up  on  the  rest  of  my  life,  including  reading  your  wonderful  book. 
Didn't  want  to  call  you  before  I  did.   I  know  you  must  have 
mentioned  many  of  these  details  about  your  life  at  some  time 
during  our  many  conversations,  but  it  seems  I  learned  a  great 
deal  more  about  you  as  well  as  Remarque.   For  one,  I  didn't  know 
that  you  wrote  as  many  novels  as  you  mention.   And  to  have  had 
Remarque  advise  you  and  cheer  you  on!   Must  have  been  both 
helpful/encouraging  and  intimidating,  despite  his  comforting  line 
about  not  killing  yourself,  if  you're  not  a  genius.   The  advice 
you  pass  on   is  wonderful.   In  many  respects,  your  "Lebenslauf"  is 
indeed  enviable.   But  I'm  most  impressed  by  your  evident  insights 
into  Personalities  and  events.   That — my  long  silences  and  lapses 
in  manners  notwithstanding — I  count  among  your  friends  after  so 
many  years  makes  me  happy  indeed. 

The  Ophuls  Symposium  book  I  promised  is  attached.   I  decided 
against  signing  it.   That  will  be  more  meaningful  on  a  book  I 
authored  by  myself .   Also  attached  is  the  Standard  letter  I  am 
using  for  permissions  letters  (the  publisher  wants  copies).   In 
the  push  for  cuts,  I  had  to  drop  several  other  quotations  and  not 
add  the  material  about  you  having  your  own  trailer.   I  will  add 
that  in  my  final  review  along  with  a  quote  from  p.  97  in  your 
book  on  the  nature  of  your  with  Ophuls. 

On  24  August  I'll  be  heading  back  to  Pittsburgh — the  same  place 
and  phone.   I  will  call  you  before  then. 


Best 


-  1  - 


Robert  Morris 


August  8,  1995 


Ms.  Ruth  Marton 

433  E-  ölst  Street,  <»11F 

New  York,  NY  10022 

Dear  Ruth  Marton, 


At  long  last  I  have  completed  the  manuscript  on  Max  Ophuls' 
Hollywood  career,  for  which  I  interviewed  you  in  1979.   It  took 
several  revisions  to  reduce  it  to  a  length  acceptable  to  my 
publisher.   The  title  is  now  simply  MftX  Qphuls  in  the 
Hollywood  Studios,  which  aptly  suggests  its  focus.   If  all  goes 
as  scheduled,  the  book  will  be  published  next  June. 

While  the  manuscript  is  with  the  copy  editor,  I  must  now  obtain 
permission  to  use  quotations  from  interviewees.   To  that  end, 
I  am  enclosing  all  pages  on  which  your  remarks  appear  along  with 
Rutgers  University  Press'  "Standard  interview  release."   Please 
read  the  copy,  making  any  changes  you  consider  desirable,  and 
return  the  signed  release  and  any  changed  pages  to  me. 

If  you  have  any  questions,  please  feel  free  to  call  me  at  (313) 
861-8054.   I  would  greatly  appreciate  a  response  by  August  28. 


Best 


,  Ph.D 


Ena. 


Narrows  Run  Road  D  Coraopolis,  Pennsylvania  15108-1189  D  (412)262-8200 
600  Fifth  Avenue  D  Pittsburgh,  Pennsylvania  15219-3099  G  (412)227-6800 


«=/?ufÄ  Karton 
433  £uil  51  it  Stxttt    ^\\    - 

JVtw^ox^,JVtuc^o4.  10022 


V^Cl\ 


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RU  1  (.IRS 
LNIMKSnV 

p  R  >■:  s  s 

New    Brunswick 
NJ  08S>01 


Standard.  Tntervietv  Release 


1.  Confirmation  of  Understanding  of  Consent 

I  hereby  confirm  that  I  have  had  extensive  conversations  with 

lAitz    Bacher (hereafter  referred  to  as  the  INTERVIEWER) 

with  respea  to  a  book  for  general  publication  which  he/she  is  writing  on 
Max   Qphuls    in    Hollywood and  that  the  INTERVIEWER  explained 

to  me  at  the  outset  that  some  or  all  of  what  I  said  during  the  Interviews  might 
appear  in  the  book  bat  that  in  no  event  would  my  words  be  taken  out  of 
context.  I  understand  that  my  Statements  may  form  the  basis  for  conclusions 
and  discussions  issues  relating  to  the  book's  general  subject.  1  also  reaUze  that 
the  INTERVIEWER  may  transfer  ownership  of  his/her  work  or  may  authorize 
others  to  pubiish  ihe  material  and  that  it  may  appear  In  magazines,  other 
articles,  treatises,  collections,  subsequent  editions,  and  other  wriiten  forms  as 
well  as  in  electronic,  audio,  or  audiovisual  presentations  including  educational 
and  commercial  television  programs  and  movies. 

2.  Confirmation  of  Voluntariness 

I  confirm  that  I  have  voluntarily  disclosed  to  the  INTERVIEWER  personal  and 
intimate  Information  and  opinions  about  myself  and  other  individuals. 

3.  Confirmation  of  Right  to  Disclose 

I  confirm  that  none  of  the  Information  disclosed  by  me  during  these 
discussions  was  acquired  as  a  result  of  a  confidential  relationship,  is  treated  as 
a  trade  secret  or  as  confldeniial  by  its  owner  or  by  the  person  (or  their 
employer)  from  whom  I  leamed  it,  or  was  obtained  in  any  way  contrary  to  law. 
I  further  Warrant  that  the  Information  disclosed  by  me  is  true  and  factual,  to 
the  best  of  my  knowledge,  and  does  not  libel  or  invade  the  privacy  of  any  third 
party. 

4.  Confirmation  of  Competency 

I  confirm  that  I  am  not  a  minor  for  legal  consent  purposes. 

5.  Confirmation  of  Reliance 

I  understand  that  the  INTERVIEWER  will  expend  extensive  and  valuable  time 
and  effort  in  preparing  a  manuscript  based  on  his/her  Interviews  with  me 
and  has  relied  on  my  consent  to  use  this  interview  material. 


'•  ^TncoS?de°a.ion  of  *e  aforementloned  intewiews,     _^copies  of  *c  booR 
will  be  sent  to  me  upon  pubhcation. 

material  and  in  any  promotion  or  advertising  ot  it. 

8.  Extension  of  Consent  ^^  ^^^^^^  J^^,'^ J^^VlS  and  his/her  assigns  and 
1  hereby  release  and  discharge  the  ^NjrRWWLK  ana  ^^^ 

licensei  and  alHunh-^^^^^^^  ,,,  ,f  the 

^alävimeX^ntd  u^^^^^^^  of  any  material  from  the  Interviews. 

S^nfa^S^s^rn^Ä 

S^?"Jm  ^pSt^n  o?fh\"  b^ofafoÄd  under  this  Agreement. 

IN  WITNESS  WllEREOF,  I  have  signed  this  consent  ancl  release  as  a  sealed 
instrumenVthis    .    ||  ^-^      dayof   f\HV^^/rV^ ^1944- 


Ruth   M^cton 


axVH"^- 


FuU  Name  (please  print) 

Street 

City,  State  Zip 


Signature  . 

Date  |/ 


/ 


A^reed: 


Lutz   Bacher 


Füll  Name  of  Interviewer  (please  print) 
17616    V^isconsin    Avenue 
Street 

_DetrQit.    MI    48221 
City,  State  Zip 


/ 


^11^ 


X 


Signature 
7    August    1995 


Date 


I 


Wishing  you  all  things 
rare  and  heautijul^ 


j^ 


^ 


/ 


r 


\ 


This  oird  Is  printed  on  100%  recycled  paper, 
made  entirely  from  reclaimed  waste  paper. 
No  trees  were  destroyed  to  make  thif  card. 

75XM-5e9-T 

OMCMtKKv.  RECYCLED  PAPER  PRODUCTS.  INC. 
Box  1 1384,  Chicago,  Illinois 
Design  by  Audrey  Christle 


January  8,  198? 


Dear  Ruth, 

The  fall  Semester  just  whizzed  by  for  me ,  teaching  my  usual  heavy 
1  oad  and  ha^^ing  little  time  for  anything  bu  t  my  trips  to  Detroit. 
But  I  am  free  at  last!   For  eight  months  I  am  on  sabbatical  to 
write  my  "Ophuls  in  Hollywood"  book .   Of  course,  there  are  demons 
of  another  kind  hiding  there.   At  least  they  are  of  my  ouin 
mak  i  ng . 

The  Scarecrow  catalogue  I  promised  you  is  attached.   On  second 
1  ook  ,  I  am  less  en  thus  i  ast  i  ac  about  their  potential  -for  Publishing 
your  book.   They  do  publish  quite  a  variety  of  film-related  work, 
but  except  for  "The  Memoirs  of  Alice  Guy  Blanche,"  there  are  no 
au tobi ograph i es  on  their  list.   Still,  you  might  wan t  to  give  it 
a  try . 

I  my  second  search  of  the  Walter  Wanger  papers  at  Wisconsin  last 
summen,  I  found  quite  a  number  of  i tems  I  missed  when  I  went 
through  the  unprocessed  files  in  1978.   The  "Guide  Rose"  you  and 
Max  produced  for  Wanger's  trip  to  Euprope  was  a  delightful  find 
that  suggests  much  about  Max'^s  relationship  with  Wanger.   I 
thought  you^d  be  amused  seeing  it  again. 

Have  you  heard  from  Rony  Loewy?   I  thought  he  would  be  done  with 
my  exhibit  i tems  by  now.   In  late  Getoben,  I  had  an  overseas  call 
from  Martina  Mueller,  an  Ophuls  scholar  at  the  Univ^ersity  of 
Cologne,  whom  Rony  had  referred  to  me  for  information  on  possible 
interviewees  for  an  Ophuls  documentary  to  be  aired  by  the  ZDF  in 
Manch.   She  read  off  a  list  of  American  col 1 aborators ,  ask i ng  me 
where  to  contact  them.   She  hoped  to  get  funding  to  come  here  for 
inter^^iews.   We  agreed  that  she  would  write  to  me  for  further 
information.   As  she  hasn't  yet,  I  wonder  whether  the  project 
feil  through  on  whether  she^s  as  slow  to  follow  up  as  I  am. 
Perhaps  I  should  write  to  her. 


I  hope  that  you  are  well  and  that  on  my  next  trip  East — probabl y 
in  March — we  can  get  together.   Let^s  talk  by  phone  sometime. 

Best  regards, 


-  1  - 


1 1  .  Cu 


De  T^SE 


It    €b 


QJc(xe^' 


\sXuo 


QMjt^kMSbuü 


■^^  »^{i  pi^ 


4;(1 


VVlÄA^t^.öiSutidk' 


Dear  Praesident  von  Walter: 

ThlB  memoranduffi  ahould  b« 
the  gulde  for  your  axplo^at- 
lon  trlp  to  old  Europe.  You 
travel  best,  if  you  never 
read  It* 


1« 


LOCATIONS* 


After  today^s  (May  20)  azhauatlng  talk  wlth  Miss  Van  Cube 
and  Hr.   Allen  Vincent  (who  had  no  ohance  to  open  hls  mouth), 
the  two  authors  agreed  on  the  followlng  (approxlmate)  lay- 
out: 

EXTERIOR  LOCATION  IN  MGIAND 

The  Prlory  on  the  Hill 

The  9arden  wlth  the  Lake 

The  Vlllage  where  Rebecca  llves  wlth  Uhcle  and  Aiint  and  Jlll 

and  hls  Father 
The  Countary  Drive 
A  llttle  Rallway  Station  there 
All  thlB  grouped  together« 

The  whole  England  sequence  (beglnnlng^  occaslonally  frame^ 
and  the  entire  thlrd  act  wlthout  flash-back)  will  represent 
about  40^  of  the  picture,  70%  of  those  40^  will  take  place 
on  locatlon—  so  I  thlnk  It  will  be  about  3  weekü  work* 

London  Streets 

(3  days  mazlmuin,  Included  in  the  aboye  mentloned  3  weeka« 
I  auppose«-*  in  case  we  will  not  xise  real  streets—  you  will 
find  ezoellent  back  lot  materlal  in  the  Rank  studios#) 


FRANCE 

Paris: 


Streets 

Parks 

Ezterior  of  Muslc  Hall 

Theatres 

Race  Track  St«  Germaln  (3,  4  days) 

Riviera: 

Hyeres  or  Vlllefranche  for  Paulis  artistlc  life  (I  wlah  I  could 

have  hls) 

Vlllage  in  the  Alpes  Maritimes  (2  hours  bus  drlve  from  the 

Riviera  spot«   If  Wanger  Productlons  r\in  out  of  money. 
sone  Bembbrscof  the  staff  will  have  to  walk  '^upstairs^) 
This  Vlllage  will  be  for  the  blrth  of  lanthe's  chlld« 

In  all,  France  should  not  requlre  more  than  10«*12  days« 


2* 


ITALT 


Plorenc.  only  3  day.  (but  I  Ulf  it  ao  much  there  that  I  will 

■uaAx  roT  *t  least  anothar  5  op  6  days) 

Whlch  will  bring  all  tha  axtariop«  to  about  5-6  weeks. 


.•) 


*\      I' 


.V.-  f  / 


•4 


3« 


PEOPLE  YOÜ  OÜQHT  TP  MEET 


In  Paris: 

RALPH  BAIM.  I  dld  not  take  ©nough  care  to  reoommend  thl« 

rellow  as  he  deaerves  lt.  The  fact  that  he  was 
mj   assistant  over  a  perlod  of  nlne  years.  »ould 
probably  scare  you  away.  Beoause  hls  methods  of 
work  are  Tery  auch  Influenced  by  mlne.  In  Berlin, 

f^!i,  SV^*^^''  hls  wlldest  dreama  he  dld  not 
thlnk  of  beooffllng  a  Prenchinan,  he  was  one  of  the 
outstandlng  "Aufnahmeleiter".  Entlrely  formed  by 
Prusslan  regime.  The  maln  thlng:  He  has  a  great 
•ense  of  humor  and  you  will  have  a  tough  tlme  to 

4Ü?4.  K  'u-^*.?^*^  ^P  *°  becomlng  ehef  de  productlon 
just  by  hls  dlTlne,  crooked  talent  to  get  along  wlth 


PASSAGES  FROM  MR>  RALPH  BAUM» 3  LETTER  OF  MAY  12^  1949 
(Translated  from  the  French) 


•  ••••  You  can't  Ixnaglne  how  happy  your  cable«-  a  genuine 
Oppenhelmer—  made  me«  At  long  last—  I  hare  been  wiahlng 
for  80  long  to  aee  you  agaln  and  to  work  wlth  you  agaln 
Just  llke  In  old  tlmes«««  You  got  along  and  I  got  along^ 
but  what  was  It  conqpared  with  the  atioosphere  In  whleb  we 
Uved  and  worked  together  and  whlch  we  shall  find  again  over 
a  glass  of  wine«  And  believe  met  the  atmosphere  in  Paris 
and  Rome  has  not  changed#  I  was  in  Roine  three  timee  eines 
1945^  and  I  found  the  same  noise  there^  the  aame  atmosphere ^ 
the  same  gaiety^  and  everything  and  ewerything^  and  let^s 
not  forget  the  pieoes  of  ohange  encrueted  in  the  tilee  of 
the  Pantheon  (this  for  Hilde)  and  the  giiitarre  player  with 
the  Toiee  of  Tino  Rossi— »  of  the  black  noustache  and  the 
quick  eye  (also  this  for  Hilde) #  I  stayed  at  the  Hotel  de 
la  yiUet  ▼i^  SistinSf  and  the  Pincio  was  always  in  front 
of  me*  I  Tislted  all  the  Studios  down  there  and  xmist  say 
they  are  better  equipped  than  those  in  Paris^  I  advise  you^ 
howeTer^  to  bring  a  camera  alon«,  if  possiblOf  as  almost  all 
the  camera  equipment  here  as  well  as  in  Italy  won*t  hold  a 
frame  steadily  (because  of  old  age)^  aside  from  that^  you 
should  bring  film  negatiTe»  the  negatives  awailable  here  are 
much  less  good  than  the  ones  from  America« 

And  now,  my  dear  Uax^  the  little  yet  so  important  question 
of  my  contract«   I  know  that  a  productlon  manager  Starts  at 
flCXX)  a  week  in  Hollywood«   ObTiously^  I  would  like  to  make 
the  same  money^  but  I  said  in  my  cablet  ''föOO  a  week  or  more**^ 
knowing  that  I  can  depend  upon  you  to  get  the  best  deal  pos« 
sible  for  me  and  because  of  that  I  say:  okay  in  advance  for 
whatever  you  will  do«   Obviously^  one  should  also  not  forget 
to  agree  upon  expenses  in  Italy^  for  whlch  other  productions 
pay  10^000  lires  a  day  as  the  hoteis  and  lifo  in  Italy  are 
rather  expensivSf  though  you  can  find  everything  just  as 
before  the  war« 

What  eise  today  than  to  say  once  more  that  I  am  very  happy 
and  waiting  impatiantly  to  see  you  ageiinj  to  introduce  you 
to  my  wife  and  daughter  to  whom  I  have  spoken  so  often  about 
you^  and  alemost  every  day  of  Max  Opuls» Oppenheimer  of  Frank- 
furt am  Main,  and  beliebe  me,  the  reason  you  have  received  no 
letters  from  me  is  that  I  loathe  writing  letters« ••   But  now 
let's  startj   Please,  Max,  answer  gtiicklVf  teil  me  what  I  can 
begin  to  prepare  and  send  me  a  script  and  the  contract« 


4« 


(Paris  cont») 


BETTT  STERN«  Gross  batwean  agad  Jawlsh  taan-agar»  linprasarlOf 

and  ''Madam*'  (Ruth  doas  not  want  to  wrlta  tha  raal  word)« 
Sha«*«»  I  am  afrald  sha  bacama  Franoh  in  tha  maantimet 
toov  onoa  ran  a  litarary  salon  in  Bariin«  It  was  quita 
wondarf ul:  in  a  littla  apartmant^  rathar  intidy^  you 
oonld  maat  all  calabritias  crowdad  togathar  arary  Friday 
aftamoon«  From  Conrad  Vaidt  and  Gaorga  Gross  and  Wilhalm 
Purtwaanglar  down  to  Erich  Pommar«  Batty's  husband,  un«* 
known  to  anybody^  was  hiddan  in  a  box  of  coal*  Don't  ba 
afraid,  ha  maanwhila  passad  away«  Ha  was  Tary  naar-sightad* 
Shortly  bafora  his  daath  ha  was  arrastad  bacausa^  by  ac- 
oidant,  ha  had  ••••  into  tha  Guardhousa  of  tha  Prasidant 
of  tha  Rapublie  in  tha  Rua  St«  Fauboxirg  St«  Honor^»»« 
Today,  Batty  is  tha  agant  of  the  most  intarasting  and 
oolorful  actors,  dlractors,  writars«  I  think  har  spacial- 
ty  ia  tha  axchanga  of  talant  batwaan  London  and  Paris« 

FRANCOISE  ROSAY«   (No  nawcomar  to  you)«  If  you  want  to  hava  an 

outlook  OTar  tha  Franch  industry  and  its  spiritual  motorSf 
a  dignifiad  outlook,  trua  and  colorad  slightly  anti« 
samitie  (as  it  should  ba)«-«  than  saa  har  and  transmit 
to  har  Hilda's  and  my  bast« 

HER  SON  (YOUNG  FEYDER)  is,  I  haar,  now  ona  of  tha  bast  assistants 

in  tha  businass«   I  would  ba  happy  to  work  with  him« 

ANDRE  PAUL  ANTOINE 

JEAN  ANOUILH 

JACQUES  PREVERS 

BERNARD  ZINNER 

HENRI  SPAAK 

CO  LETTE 

JOSEPH  KESSEL 

thasa  ara  tha  good  movia  writars  over  thera« 
thasa  ara  tha  onas  I  still  ramambar  and  who. 


(At  laast 
I  hopa,  will 


still  talk  wall  of  ma).  Thay  may  hava  idaas  to  ba  stolan« 


FOR  PUBLIC  RELATIONS 

IfAURICE  BESSY.   Editatir  at  r^dactaur  an  chef  of  Cin^monda  and  La 

Cin^matographia  Francaisa,  tha  two  most  important  h^b- 
domodairas«   Ha  is  ona  of  tha  most  dalightful  and  intaL 
ligant  by-standars  of  tha  businass  and  has,  as  is  eus- 
tomary  in  Franea,  mora  inf luance  and  knowladga  than  tha 
gantlaman  in  command«   Ha  will  guida  you  through  intar- 
Tiaws  and  broadcasts  and  crookad  agants  and  azacuti vas, 
with  a  witty  and  sura  hand« 


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••••••••••••••• 

CINEMA  /  TV  /  RADIO 

TITLES 
from  Scarecrow  Press 


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SCARECROW  PRESS 

52  Liberty  St./P.O.  Box  4167 
Metuchen,  N.J.  08840 

201-548-8600  •  1-800-537-7107 


CINEMA  /  TV  /  RADIO  TITLES 

from  SCARECROW  PRESS,  Summer  1988 


Cinema 


JOHN  WAYNE:  Prophet  of  the  American  Way  of  Life 
Emanuel  Levy 

399  pp.     photos     1988     87-28410     ISBN  0-8108-2054-4     $39.50 

John  Wayne  was  the  most  populär  and  the  most  durable  star  In  film  history.  He  was  also  a 
national  legend,  a  folk  hero,  and  a  powerfui  symbol  of  the  American  Dream.  This  critical 
examination  describes  Wayne's  film  work  in  terms  of  his  life,  and  his  life  in  terms  of  his 
movies.  Wayne's  lengthy  career  spanned  fifty  years;  his  death  in  1979  marked  the  end  of 
an  era  in  the  American  cinema.  Levy  evaluates  Wayne's  film  oeuvre  by  comparing  him 
with  other  major  stars  of  his  generation  and  demonstrates  that  of  all  American  actors,  he 
came  dosest  to  the  notion  of  "actor-as-auteur." 


THE  GREAT  WESTERN  PICTURES II 

James  Robert  Parish  &  Michael  R.  Pitts 

438  pp.     photos     1988     88-6528     ISBN  0-8108-2106-0     $45.00 

Available  in  July 

The  second  volume  in  The  Great  Western  Pictures  series  Covers  some  400  Western s,  from 
the  classics  to  the  bottom  of  the  barrel.  The  new  book  includes  titles  reteased  since  1976 
and  adds  many  films  from  earlier  decades  not  inciuded  in  the  base  volume.  In  addition  to 
feature  films.  the  book  includes  the  Western  as  presented  in  serials,  TV  movies,  and 
foreign  films;  unlike  the  first  book,  this  one  takes  an  in-depth  look  at  many  features  from  the 
"B"  Western  genre.  Extensive  cast  and  credits  (including  character  names)  are  provided 
for  each  film,  along  with  plot  Synopsis  and  reviews.  An  excellent  sourcebook  for  Western 
fans,  covering  many  films  now  available  on  home  video  cassettes  and  cable  TV. 

Also  available-the  original  volume  by  Parish  &  Pitts 

THE  GREAT  WESTERN  PICTURES 

477  pp.   illus.   1976  76-28224   ISBN  0-81 08-0980-X   $32.50 

"...  Ttie  writers  tiave  given  fans  of  the  genre  a  lively  treal...  This  one  will  go  on  your 
serious  reference  shelf."  -AMERICAN CLASSIC SCREEN.  3-4/77 

Now  in  paperback 

PLANKS  OF  REASON:  Essays  on  the  Horror  Film 
Barry  Keitti  Grant,  ed. 

442  pp.      1984     84-10592 
Also  available  in  cloth 


ISBN  0-8108-2156-7 
ISBN  0-8108-1713-6 


$17.50 
$31.00 


Contributors:  Noel  Carroll,  Morris  Dickstein,  Bruce  Kawin,  J.P.  Teiotte,  Robin  Wood, 

and  others. 

"...  A  pretty  accurate  reflection  of  the  state-of-thought  on  the  horror  film  today."    -DON 
WILLIS,  FILM  QUARTERLY 


BEASTS  AND  BEHEMOTHS:  Prehistoric  Creatures  in  the  Movies 
Roy  Kinnard 

193  pp.     photos     1988     87-23424     ISBN  0-8108-2062-5     $22.50 

Films  about  prehistoric  animals  ränge  in  quality  from  classics  such  as  The  Lost  World 
(1925),  King  Kong  (1933).  and  One  Million  B.C.  (1940).  to  pathetic  duds  like  Reptilicus 
(1962).  At  their  best,  such  pictures  have  engaged  the  public's  Imagination  with  their  subject 
matter  and  have  achieved  technical  advances  in  film  production  through  the  complicated 
special  effects  required  in  their  making.  This  book  offers  critiques  and  background 
Information  on  the  best  (and  worst)  films  in  this  fascinating  sub-genre,  füll  cast  and 
production  credits  for  each,  and  a  checklist  of  lesser  films.  Profusely  illustrated  with  photos. 


THE  DANISH  CINEMA  BEFORE  DREYER 

Ron  Mottram 

315  pp.      1988     87-16125     ISBN  0-8108-2035-8     $29.50 

In  the  early  years  of  the  cinema  Danish  films  rivaied  those  of  the  larger  American  and 
French  film  Industries.  This  is  the  first  comprehensive  study  in  English  of  this  important 
national  cinema,  analyzing  and  documenting  the  major  films,  filmmakers,  production 
companies,  and  trends  in  Danish  filmmaking  from  1896  through  1917.  Mottram  gives 
special  attention  to  Nordisk  Films  Kompagni,  the  most  influential  producer  of  the  period, 
and  to  its  major  directors.  Film  list  with  credit  and  production  Information,  English 
translations  of  all  Danish  titles,  American  titles  of  films  distributed  in  the  U.S.,  and  plot 
summaries  of  all  major  and  many  minor  films. 


THE  BLACK  VALENTINO:  The  Stage  and  Screen  Career  of  Lorenzo  Tucker 
Richard  Grupenhoff 

202  pp.     photos     1988     87-28425     ISBN  0-8108-2078-1     $22.50 

This  study  of  the  career  of  Lorenzo  Tucker  (1907-1986),  known  in  the  late  1920s  as  "The 
Colored  Valentine."  assesses  the  significance  of  Tucker's  contribution  to  black  theatre  and 
film  history.  Tucker's  career  has  been  reconstructed  by  Consulting  a  variety  of  sources. 
including  Interviews  with  Tucker  himself.  Grupenhoff  also  examines  the  rise  of  black 
minstrel  shows,  black  vaudeville,  and  black  filmmaking;  the  career  of  black  film  pioneer 
Oscar  Micheaux;  and  the  adverse  conditions  under  which  black  film  and  theatre  production 
took  place  between  1910  and  1950.  With  photos  from  the  Lorenzo  Tucker  Collection. 


A  WHO'S  WHO  OF  AUSTRALIAN  AND  NEW  ZEALAND  FILM  ACTORS: 

The  Sound  Era 
Scott  Palmer 

179  pp.      1988     87-32215     ISBN  0-8108-2090-0     $20.00 

The  film  industry  today  in  Australia  is  at  the  highest  level  of  both  Output  and  quality  in  its 
ninety  years.  This  book  provides  a  clear.  complete  list  of  film  credits  for  every  Australian 
and  New  Zealand  motion  picture  player,  both  major  and  minor.  Palmer  includes  many 
performers  not  covered  in  other  reference  works  and  attempts  complete  filmographies  on 
every  player.  The  performers  are  listed  alphabetically,  with  year  of  birth  and  death,  a  brief 
character  description,  and  a  virtually  complete  list  of  films  in  chronological  order. 


BLACKFACE  TO  BLACKLIST:  AI  Jolson,  Larry  Parks,  and  "The  Jolson  Story" 
Doug  McClelland 

298  pp.     photos     1987     86-29797     ISBN  0-8108-1965-1     $29.50 

The  Jolson  Story,  a  landmark  Hollywood  musical  blography,  brought  has-been  blackface 
Singer  AI  Jolson  one  of  show  business'  great  Comebacks,  made  a  star  of  Larry  Parks,  the 
young  "B"  movie  actor  who  played  him,  and  spawned  a  sequel.  For  the  first  time, 
McClelland  teils  the  story  of  how  these  films  were  made.  Subsequently,  in  the  anti- 
Communist  climate  of  1951  America,  Larry  Parks's  career  was  destroyed  when  he  admitted 
he  had  been  a  Communist.  The  story  of  Parks's  downfall  is  a  major  section  of  the  book,  as 
Is  the  graphic  portrayal  of  that  dark  period  In  American  history.  With  biographical  profiles  of 
all  significant  contributors  to  the  Jolson  sagas  and  many  rare  photos. 

"...  WonderfuL.  a  first  rate  piece  of  work."  -LEONARD  MALTIN 


HEROES  OF  THE  RANGE:  Yesterday's  Saturday  Matinee  Movie  Cowboys 
Bück  Rainey 

366  pp.      8  1/2"  X  11"     lllus.     1987    85-2071     ISBN  0-8108-1804-3     $37.50 

This  book  concerns  fifteen  movie  cowboys,  seven  of  whom  began  their  western  careers  In 
the  silent  era  and  eight  in  the  sound  era:  Buddy  Roosevelt,  Tom  Tyler,  Bob  Steele,  Tim 
McCoy,  Kermit  Maynard,  George  O'Brien,  Tim  Holt,  Buster  Crabbe,  William  Boyd, 
Randolph  Scott,  Roy  Rogers,  Johnny  Mack  Brown,  Charles  Starrett,  Rod  Cameron, 
and  Jack  Hoxie.  The  book  presents  as  complete  a  record  as  has  ever  been  assembied  of 
each  cowboy's  film  aedits,  both  western  and  non-western,  silent  and  sound  films. 

"...  An  in-depth  compilation  of  ttie  film  appearances  of  fifteen  famous  movie  cowboys, 
coupied  with  a  touching  insight  into  their  public  and  private  lives."  -LEON  SMITH,  MOVIE 
COLLECTOR'S  WORLD,  6/26/87 


ONCE  UPON  A  TIME:  The  Rlms  of  Sergio  Leone 
Robert  C.  Cumbow 

278  pp.     illus.     1987    86-22065     ISBN  0-8108-1947-3     $27.50 

In  this  first  book-length  analysis  of  Leone's  work  and  Vision,  Cumbow  discusses  the 
director's  unique  contribution  and  his  debt  to  the  American  western,  the  epic  film  tradition, 
and  such  masters  as  John  Ford  and  Akira  Kurosawa.  Chapters  are  devoted  to  each  of 
Leone's  films  as  director.  With  a  chronology  of  Leone's  career,  bibliography,  and  detaiied 
filmography,  including  plot  synopses. 

"A  book-length  study  on  the  films  of  Sergio  Leone  has  been  long  overdue.  Robert  C. 
Cumbow's  new  book,  nicely  produced  by  Scarecrow  Press,  effectively  fills  the  gap." 
-RAND  ALL  LARSON.  SOUNDTRACK!  3/88 

"...  A  well  informed  overview  to  the  career  of  one  of  Italy's  more  influential  and  American- 
influenced  directors....  I  was  amazed  by  the  obsessive  love  and  dedication  that  went  into  a 
book  like  this. "  -JOHN  N ANGLE,  FILMS  IN  REVIEW,  1/88 


COURTROOM'S  FINEST  HOUR  IN  AMERICAN  CINEMA 

Thomas  J.  Harris 

191  pp.  lllus.  1987  86-26073  ISBN  0-8108-1956-2  $17.50 
In  this  first  exploration  of  an  Inaeasingly  populär  genre,  the  author  critiques  eight 
American-made  motion  pictures  he  believes  represent  the  best  of  courtroom  cinema.  Titles 
include  Witness  for  the  Prosecution,  Twelve  Angry  Men,  I  Want  to  Live!,  Anatomy  of  a 
Murder,  Compulsion,  Inherit  the  Wind,  Judgment  at  Nuremberg,  and  The  Verdiel 

"...  Astute  criticism....   A  unique  little  book  for  large  film  collections. "  -BOOKLIST,  4/1/87 

"He  discusses  all  of  them,..  cogently  and  vividly...     well  documented,  illustrated  and 
indexed. "  --IVAN  BUTLER,  FILM  REVIEW  ANNUAL.  1 988  (UK) 


THE  FILMS  OF  THE  SEVENTIES:  A  Social  History 
William  J.  Palmer 

279  pp.     lllus.     1987     86-21051     ISBN  0-8108-1955-4     $25.00 

Most  film  historians  express  a  cynical  view  of  Hollywood  and  the  worldwide  film  industry 
from  approximately  1966  to  the  early  1980s,  when  corporations  took  over  the  Studios,  the 
blockbuster  mentality  reigned,  and  special  effects  superseded  characterization.  This  social 
history  examines  how  the  movies  of  that  period  exhibit  a  social  consciousness  that 
contradicts  the  stereotypes  of  seventies  Hollywood.  The  author  considers  more  than  220 
films  in  some  detail,  particularly  Apocalypse  Now,  Blow-Up,  and  Chinatown. 

"A  usefui  study  both  for  the  serious  film  buff,  and  the  social  historian."  -IVAN  BLTTLER,  FILM 
REVIEW  ANNUAL,  1988  (UK) 


WEST  GERMAN  CINEMA  SINCE 1945:  A  Reference  Handbook 
Richard  C.  Hell  &  Marie  E.  Hell 

758  pp.     lllus.     1987     87-16429     ISBN  0-8108-2053-6    $52.50 

This  book  lists  more  than  3,300  films  made  in  West  Germany  between  the  end  of  World 
War  II  and  early  1986,  with  information  on  directors,  actors,  actresses,  and  producers  for  all 
films  listed.  and  camerapersons  and  score  composers  for  most.  Indexes;  appendixes. 

* ..  777e  first  comprehensive  filmography  of  West  German  postwar  cinema  in  English  and  an 
important  reference  work....  A  basic  work  recommended  for  all  library  collections  on 
European  dnema."  -E.J.  CARPENTER,  CHOICE,  3/88 

"A  veryhelpfui  volume."  -COMMUNICATION  BOOKNOTES,  11-12/87 


CELEBRITY  ARTICLES  FROM  THE  SCREEN  GUILD  MAGAZINE 

Anna  Kate  Sterling,  ed. 

172  pp.     illus.     1987     86-31389     ISBN  0-8108-1962-7    $17.50 

Between  1934  and  1938,  The  Screen  Guild  Magazine  published  an  extraordinarily  varied 
group  of  articies  by  celebrities  from  both  sides  of  the  camera.  Pieces  by  Boris  Karloff, 
George  Arllss,  Mary  Astor,  Leslle  Howard,  Edward  Arnold,  Bette  Davis,  and  others  are 
collected  in  this  anthology.  The  magazine  is  known  to  exist  in  only  a  handfui  of  libraries. 

"Here  is  a  rare  jewel  among  film  books... '  -JOHN  NANGLE.  FILMS  IN  REVIEW.  1/88 


THE  FIRST  TYCOONS 

Richard  Dyer  MacCann 

269  pp.     illus.     1987     86-22064     ISBN  0-8 108-1 949-X     $22.50 

paper    ISBN  0-8108-1950-3     $12.50 

MacCann  has  shaped  from  28  different  memoirs  and  histories  a  cumulative  story  of  the 
conflicts  and  achlevements  of  the  founders  of  the  great  movie  Studios.  Carl  Laemmle, 
Marcus  Lowe,  William  Fox,  Samuel  Goldwyn,  Jesse  Lasky.  and  Adolph  Zukor  are  the 
Stars  of  this  history,  some  of  them  speaking  in  their  own  voices,  others  assessed  by  film 
historians.  Zukor  (described  by  Ramsaye  as  "inwardly  driven  by  Napoleonic  ambition") 
becomes  the  central  figure  of  the  era. 

"...  Valuable  Information  on  silent  film  companies...  well-documented  bibllography.  Upper- 
divlsion  andgraduate  students  andgeneral  readers."  --S.M.  KAMINSKY,  CHOICE,  9/87 

"...  Skillfully  put  together  to  form  a  coherent  picture...  sufficient  human  Interest  to  hold  the 
attention  of  any  keen  Student  of  cinematic  history. '  -IVAN  BUTLER,  FILM  REVIEW  ANNUAL,  1 988 
(UK) 


THE  GREAT  GANGSTER  PICTURES II 

James  Robert  Parish  &  Michael  R.  Pitts 

407  pp.     illus.     1987     86-28002     ISBN  0-8108-1961-9     $37.50 

This  is  a  followup  to  the  enormously  successfui  and  critically  praised  Great  Gangster 
Pictures  (Scarecrow,  1976).  The  authors  pick  up  where  the  previous  volume  left  off  and 
discuss  some  400  genre  features,  from  the  very  best  to  the  absolute  worst,  incorporating 
titles  released  since  1976  and  picking  up  many  titles  from  earlier  decades. 

"...  No  previous  coverage  of  exciusively  gangster  movies  has  been  as  complete  as  these 
two  volumes....  Libraries  with  a  history-of-the-movies  clientele  will  need  to  add  this  present 
volume  to  its  predecessor..."  --REFERENCE  BOOKS  BULLETIN,  10/1/87 

"...  Very  definitely  recommended  for  fans  of  crime  dramas  and  movies  in  general."  ~TV 
COLLECTOR,  11-12/87 


THE  BIG  V:  A  Hist0i7  of  the  Vitagraph  Company,  a  new  &  revised  edition 
Anthony  Slide,  with  Alan  Gevinson 

356  pp.     illus.     1987     87-12731     ISBN  0-8108-2030-7     $29.50 

This  is  a  completely  new,  revised,  and  expanded  version  of  the  book  first  published  by 
Scarecrow  in  1976.  It  documents  the  work  of  America's  first  major  film  Company, 
Vitagraph,  from  its  beginnings  in  the  1890s  through  its  sale  to  Warner  Bros,  in  1925. 

From  reviews  of  the  original  edition 

"...  An  entertaining  yet  solid  reference  book,  an  invaluable  addition  to  film  literature." 
-LIBRARY  JOURNAL 

"As  big  a  book  on  the  history  of  a  Single  film  Company  as  you  are  likely  to  find...  not  only 
informative  but  engrossing. "  -FILMS  IN  REVIEW 

"777/s  is  not  only  one  of  Scarecrow's  best  contributions  to  the  film  library,  ifs  their  best 
bargain. "  -WEST  COAST  REVIEW  OF  BOOKS 


THE  BEST  OF  SHADOWLAND 

Anna  Kate  Sterling,  ed.,  comp. 

224  pp.      1987     87-4747     ISBN  0-8108-1990-2     $22.50 

Published  from  1919  to  1923,  Shadowland  presented  a  curious  blend  of  "art  poses"  of 
scantily-clad  Hollywood  stars  and  New  York  showgirls  together  with  some  of  the  most 
literate  articies  of  the  day  by  some  of  the  country's  finest  critics  and  essayists.  It  may  well 
be  regarded  as  a  Warren  G.  Harding  era  version  of  Playboy,  attracting  writers  of  unique 
distinction  and  ability.  Shadowland  \s  now  little  known  outside  of  the  half-dozen  libraries 
that  still  retain  copies.  This  anthology  collects  articies  by  George  Bernard  Shaw, 
Theodore  Dreiser,  Frank  Harris,  Heywood  Broun,  Janet  Flanner,  Anna  Paviova.  and 
Victor  Herbert. 


Forthcoming 

OUTCASTS:  The  Image  of  Journalists  in  Contemporary  Film,  Howard Good 

SOUL  IN  SUSPENSE:  Catholic/Jesult  Influences  on  Hitchcock,  Neil  Hurley 

THE  CINEMA  IN  IRAN  FROM  1900.  M.  Ali  Issari 

THE  HOLLYWOOD  HISSABLES.  Gregory  William  Mank 

GREAT  WESTERN  PICTURES  II.  James  Robert  Parish  &  Michael  R.  Pitts 

CELLULOID  POWER.  David  Platt 

SHOOT-EM-UPS II.  Bück  Rainey 

THOSE  FABULOUS  SERIAL  HEROINES:  Their  Lives  and  Films,  Bück  Rainey 


♦  ♦♦♦♦<f 


Adams,  Les  &  Rainey,  Bück.  SHOOT-EM-UPS:  The  Complete  Reference  Guide  to 
Westerns  of  the  Sound  Era,  (reprint;  orig.  1978).  633  pp.  8  1/2"  x  11"  illus.  1985  85- 
19595   ISBN  0-8108-1848-5   $49.50 

Alvarez,  Max  Joseph.  INDEX  TO  MOTION  PICTURES  REVIEWED  BY  VARIETY,  1907- 
1980.  520  pp.   1982   81-23236    ISBN  0-81 08-1 51 5-X   $39.00 

Aros,  Andrew  A.   AN  ACTOR  GUIDE  TO  THE  TALKIES,  1965  THROUGH  1974.    781  pp. 

1977   77-21589   ISBN  0-8108-1052-2  $49.50 

.    A  TITLE  GUIDE  TO  THE  TALKIES,  1964  THROUGH  1974.  344  pp.   1977  76- 


40451    ISBN  0-8108-0976-1    $2750 

.    A  TITLE  GUIDE  TO  THE  TALKIES,  1975  THROUGH  1984.  355  pp.   1986  85- 


27682   ISBN  0-81 08-1 868-X   $27.50 

Ash.ReneL  MOTION  PICTURE  FILM  EDITOR.  193  pp.  illus.  1974  744072  ISBN  0-8108- 
0718-1    $18.50 

Austin,  Bruce  A.  THE  FILM  AUDIENCE:  An  International  Bibllography  of  Research  With 
Annotatlons  and  an  Essay.  224  pp.   1983  83-3316  ISBN  0-8108-1622-9  $18.50 

Buteau,  June  D.  NONPRINT  MATERIALS  ON  COMMUNICATION:  An  Annotated 
Directory  of  Select  Films,  Videotapes,  Videocassettes,  Simulations  and  Games. 
454  pp.    1976  76-211857  ISBN  0-8108-0973-7  $27.50 

Campbell,  Richard  H.  S  Pitts.  Michael  R.  THE  BIBLE  ON  FILM:  A  Checklist.  1897-1980. 
224  pp.    1981    81-13560  ISBN  0-8108-1473-0  $18.50 


8 


Cyr,  Helen  IV.  A  FILMOGRAPHY  OF  THE  THIRD  WORLD,  1976-1983:  An  Annotated 
Listof  16mm  Films.  285  pp.    1985  84-23564   ISBN  0-8108-1 768-3  $20.00 

Dale,  R  C.  THE  FILMS  OF  RENE  CLAIR:  Vol.  I:  Exposition  and  Analysis;  Vol.  II: 
Documentation.  1,074  pp.  2vols.   illus.   1986  85-22235  ISBN  0-8108-1 858-2  $79.50 

Dickos,  Andrew.  INTREPID  LAUGHTER:  Preston  Sturges  and  the  Movies.  186  pp.  illus. 
1985  85-2512   ISBN  0-8108-1815-9   $15.00 

Dimmitt,  Richard  B.  A  TITLE  GUIDE  TO  THE  TALKIES:  A  Comprehensive  Listing  of 
16,000  Feature-Length  Films  From  October,  1927  Until  December,  1963.  2,133  pp. 
2vols.   1965  65-13556   ISBN  0-81 08-01 71 -X   $82.50 

Dixon,  Wheeler  W.  THE  "B"  DIRECTORS:  A  Biographical  Directory.  613  pp.  illus.  1985 
85-14321    ISBN  0-81 08-1 835-3   $47.50 

Eben/vein,  Robert  T.    A  VIEWER'S  GUIDE  TO  FILM  THEORY  AND  CRITICISM.    243  pp. 

1979   79-9380   ISBN  0-8108-1237-1    $19.50 

Blis,  Jack  C,  Derry,  Charles,  &  Kern,  Sharon.  THE  FILM  BOOK  BIBLIOGRAPHY  1940- 
1975.  764  pp.   1979  78-4055  ISBN  0-8108-1127-8  $42.50 

Emmens,  Carol  A.  FAMOUS  PEOPLE  ON  FILM.  365  pp.  1977  77-3449  ISBN  0-8108-10514 
$25.00 

Friedwald,  Will  &  Beck,  Jerry.  THE  WARNER  BROS.  CARTOONS.  287  pp.  1981  80-27839 
ISBN  0-8108-1396-3   $18.50 

Garbicz,  Adam  &  Klinowski,  Jacek  CINEMA,  THE  MAGIC  VEHICLE:  A  GUIDE  TO  ITS 
ACHIEVEMENT:  Joumey  One:  The  Cinema  Through  1949.  551  pp.  illus.  1975  75- 
2183   ISBN  0-8108-0801-3  $29.50 

.      CINEMA,  THE  MAGIC  VEHICLE:    A  GUIDE  TO  ITS  ACHIEVEMENT: 

JourneyTwo:  The  Cinema  in  the  Fifties.  551  pp.   illus.   1979   79-2183   ISBN  0-81 08-1 241 -X 
$35.00 


Glut,  Donald  F.  CLASSIC  MOVIE  MONSTERS.  442  pp    illus.    1978    77-16014    ISBN  0-81 08- 
1049-2  $27.50 

.    THE  DRACULA  BOOK.  410  pp.    illus.   1975  75-4917   ISBN  0-8108-0804-8  $2750 


.      THE  FRANKENSTEIN  LEGEND:     A  Tribute  to  Mary  Shelley  and  Boris 

Karloff.  398  pp   illus.   1973   73-944   ISBN  0-81 08-0589-8  $2750 

Goldstein,  Ruth  M.  &  Zornow,  Edith.    THE  SCREEN  IMAGE  OF  YOUTH:    Movies  About 
Children  and  Adolescents.  384  pp.  illus.   1980  80-14053   ISBN  0-8108-1316-5  $27.00 

Grant,  Barry  K.   FILM  GENRE:   Theory  and  Criticism.   257  pp    1977    77-8908    ISBN  0-8108- 
1059-X  $1850 

Hanke,  Ken.    KEN  RUSSELL'S  FILMS.    470  pp.     illus.     1984     84-5483     ISBN  0-8108-17004 
$34.00 

Heck-Rabi,  Louise.  WOMEN  FILMMAKERS:  A  Critical  Reception.  408  pp.    1984    83-20070 
ISBN  0-8108-1660-1    $31.50 

Hilger,  Michael.   THE  AMERICAN  INDIAN  IN  FILM.   206  pp.    illus.    1986    86-10061     ISBN  0- 
8108-1905-8  $18.50 

Hurst,  Richard  M.   REPUBLIC  STUDIOS:  Between  Poverty  Row  and  the  Majors.   270  pp. 
1979   79-19844   ISBN  0-8108-1254-1    $15.50 


Issari,  M.  Ali  a  Paul,  Doris  A.  WHAT  IS  CINEMA  VERITE?  216  pp.    1979   79-20110  ISBNO- 
8108-1253-3  $18.50 

Jackson,  Kathy  Merlock  IMAGES  OF  CHILDREN  IN  AMERICAN  FILM:  A  Sodocultural 
Analysis.  245  pp.   1986  86-6751    ISBN  0-8108-1901-5  $22.50 

Jarvie,  I.C.  MOVIES  AS  SOCIAL  CRITICISM:  Aspects  of  Thelr  Social  Psychology   225  pp 
1978  77-26778  ISBN  0-8108-1106-5  $1850 

Kamin,  Dan.  CHARLIE  CHAPLIN'S  ONE-MAN  SHOW.  196 pp.    81/2"xir   illus    1984  83- 
20396   ISBN  0-81 08-1 675-X  $29.50 

Karp,Alan.  THE  FILMS  OF  ROBERT  ALTM AN.  178  pp   1981    80-29501    ISBN  0-8108-1408-0 
$18.50 

Kinnard,  Roy  &  Vitone,  R.J.  THE  AMERICAN  FILMS  OF  MICHAEL  CURTIZ.  165  pp.   illus. 
1986  86-969   ISBN  0-81 08-1 883-3  $15.00 

FIFTY  YEARS  OF  SERIAL  THRILLS.   215  pp.    illus.    1983    83-13950    ISBN  0- 


8108-1644-X  $17.50 

Kowalski,  Rosemary  R.  WOMEN  AND  FILM:  A  BIbliography.   287  pp  1976  76-25051    ISBN 
0-8108-0974-5  $20.00 

Lamster,  Frederick    SOULS  MADE  GREAT  THROUGH  LOVE  AND  ADVERSITY:    The 
Film  Work  of  Frank  Borzage.  242  pp.   1981   80-28441    ISBN  0-8108-1404-8  $18.50 

Langman,  Larry.    A  GUIDE  TO  AMERICAN  FILM  DIRECTORS:  The  Sound  Era:   1929- 
1979.  718pp.   2vols.   1981    81-14536   ISBN  0-8108-1467-6  $37.50 

Larson,  Randall  D.    MUSIQUE  FANTASTIQUE:   A  Survey  of  Film  Music  in  the  Fantastic 
Cinema.  602  pp.   1985  84-13954   ISBN  0-8108-17284  $39.50 

Leach,  Jim  A  POSSIBLE  CINEMA:   The  Films  of  Alain  Tanner.    220  pp.    1984    84-10610 
ISBN  0-8108-1 7144  $17.50 

Limbacher,  James  L.  FILM  MUSIC:  From  Violin s  to  Video.  835  pp    1974   73-16153  ISBNO- 
8108-0651-7  $4750 

.     KEEPING  SCORE:   Film  Musicl  972-1 979.    519  pp.    1981     80-26474    ISBN  0- 


8108-13904  $3750 

.    SEXUAUTY  IN  WORLD  CINEMA.  1.535  pp.   2vols.   1983  83-3019  ISBNO-8108- 

1609-1    $7750 

MacKinnon,  Kenneth.   HOLLYWOOD'S  SMALL  TOWNS.    218  pp.    1984    83-27113    ISBN  0- 
8108-16784  $18.50 

Maltby,   Richard.      HARMLESS   ENTERTAINMENT:     Hollywood  and  the  Ideology  of 
Consensus.  425  pp   1983  82-10244   ISBN  0-8108-1548-6  $29.50 

Miller,  Robert  M.   STAR  MYTHS:  Show-Business  Biographies  on  Film.  416  pp    illus.    1983 
83-14292   ISBN  0-81 08-1 643-1    $29.50 

Ottoson,  Robert.    A  REFERENCE  GUIDE  TO  THE  AMERICAN  FILM  NOIR:    1940-1958. 
290  pp.    1981    80-23176   ISBN  0-8108-1363-7  $20.00 

Parish,  James  R.  FILM  ACTORS  GUIDE:  Western  Europe.   621  pp.    illus.    1977    77-22485 
ISBN  0-81 08-1 044-1    $42.50 

.     FILM  DIRECTORS  GUIDE:   Western  Europe.   300  pp.    illus.    1976    76-1891 

ISBN  0-8108-0908-7  $24.00 

Parish,  James  R.  &  Pitts,  Michael  R.    FILM  DIRECTORS:    A  Guide  to  Their  American 
Films.  433  pp.  illus.   1974  74-17398  ISBN  0-8108-0752-1   $25.00 


10 


Parish,  James  R.  &  Pitts,  Michael  R.  THE  GREAT  GANGSTER  PICTURES.   439  pp.    illus. 
1976  75-32402  ISBN  0-8108-0881-1    $29.50 

.     THE  GREAT  SCIENCE  FICTION  PICTURES.   390  pp.    illus.     1977    77-5426 

ISBN  0-81 08-1 029-8  $29.50 

.    THE  GREAT  SPY  PICTURES.  585  pp.  illus.  1974  73-19509  ISBN  0-81 08-0655-X 


$32.50 

.     THE  GREAT  SPY  PICTURES  II.  444  pp.    illus.    1986    86-11900    ISBN  0-8108- 

1913-9  $39.50 

.    HOLLYWOOD  ON  HOLLYWOOD.  440  pp.   1978    78-15513   ISBN  0-81 08-1 1 64-2 


$32.50 

Parlato,  Salvatore  J.,  Jr.     SUPERFILMS:     An   International   Guide  to  Award-Winning 
Educational  Films.  365  pp.   1976  76-10801    ISBN  0-8108-0953-2   $24.00 

Pendo,  Stephen.    AVIATION  IN  THE  CINEMA.  414  pp.    1985    84-14169    ISBN  0-8108-1746-2 
$29.50 

RAYMOND  CHANDLER  ON  SCREEN:    His  Novels  Into  Films.    255  pp. 


1976  76-0855   ISBN  0-8108-0931-1    $20.00 

Pohle,  Robert  W.,  Jr.  &  Hart,  Douglas  C.   THE  FILMS  OF  CHRISTOPHER  LEE.   305  pp. 

81/2"xir  illus.   1983  82-10424   ISBN 0-8108-1573-7  $34.00 

Powers,  Anne.  BLACKS  IN  AMERICAN  MOVIES:  A  Selected  Bibliography.  167  pp.  1974 
74-19125   ISBN  0-81 08-0753-X  $18.50 

Price,  Barbara  A.  &  Price,  Theodore.  FEDERICO  FELLINI:  An  Annotated  International 
Bibliography.  290  pp.    1978   77-26310   ISBN  0-8108-1 104-9   $22.50 

Prichard,  Susan  P.  FILM  COSTUME:  An  Annotated  Bibliography.  577  pp.  1981  81-5274 
ISBN  0-81 08-1 4374  $42.50 

Rothel,  David.  THOSE  GREAT  COWBOY  SIDEKICKS.  338  pp.  8 1/2"  x  11"  illus.  1984  84- 
10513  ISBN  0-8108-1707-1    $29.50 

Sandburg,  Carl:  Fetherling,  Dale,  &  Fetherling,  Doug,  eds.  CARL  SANDBURG  AT  THE 
MOVIES:  A  Poet  in  the  Silent  Era.  1920-1927.  207  pp.  1985  84-14068  ISBN  0-8108- 
1738-1    $16.50 

Schuster,  Mel.  MOTION  PICTURE  DIRECTORS:  A  Bibliography  of  Magazine  and 
PerlodicalArticIes.  1900-1972.  418pp.  1973   73-780  ISBN  0-81 08-0590-1    $27.50 

.       MOTION  PICTURE  PERFORMERS:     A  Bibliography  of  Magazine  and 

PeriodicalArticIes-Supplement  No.  1,  1970-1974.    793  pp.     1976    70-154300     ISBN  0- 
8108-0879-X   $47.50 

Schwartz,  Ronald  SPANISH  FILM  DIRECTORS  (1950-1985):  21  Profiles.  267  pp.  illus. 
1986  85-8287   ISBN  0-8108-1818-3   $20.00 

Slide,  Anthony.  ASPECTS  OF  AMERICAN  FILM  HISTORY  PRIOR  TO  1920.  173  pp.  illus. 
1978  78-2912   ISBN  0-8108-1 130-8   $18.50 

.    THE  BEST OFROBWAGNER'S  SCRIPT.  183 pp.    1985   85  2315   ISBN0  81G8- 


1810-8  $15.00 

.     FILMFRONT,  a  reprint  edition.    156  pp.     1986    85-19587     ISBN  0-8108-1849-3 


$16.50 


11 


Slide,  Anthony.    FILMS  ON  FILM  HISTORY.    242  pp.     1979     79-17662     ISBN  0-8108-1238-X 
$19.50 

THE  KINDERGARTEN  OF  THE  MOVIES:    A  History  of  the  Fine  Arts 


Company.  246  pp.   1980  80-20391    ISBN  0-8108-1358-0  $19.50 

SELECTED  FILM  CRITICISM  1896-1911.  134pp.    1982  82-10623  ISBN08108- 


1575-3  $16.50 


1525-7  $22.00 


SELECTED  FILM  CRITICISM  1912-1920.  325  pp.    1982  81-23344   ISBN  0-8108- 


1551-6  $22.00 


SELECTED  FILM  CRITICISM  1921-1930.  335  pp.    1982  81-23344   ISBN  0  8108- 


.    SELECTED  FILM  CRITICISM  1931-1940.  292  pp.    1982  82-10642   ISBN  0-8108- 


1570-2  $20.00 


1593-1    $20.00 


SELECTED  FILM  CRITICISM  1941-1950.  280  pp.    1983  81-23344  ISBN  0  8108- 


SELECTED  FILM  CRITICISM  1951-1960.   198pp.    1985  81-2334   ISBNO-8108- 


1763-2  $16.50 

.     SELECTED  FILM  CRITICISM:  FOREIGN  FILMS  1930-1950.   219  pp.    1984 

81-23344    ISBN  0-8108-1673-3  $18.50 

Sullivan,  Kaye.  FILMS  FOR,  BY  AND  ABOUTWOMEN,  SERIES II.  790  pp    1985  84  23522 
ISBN  0-8108-1766-7  $52.50 

Thomas,  Sari.    FILM/CULTURE:    Explorations  of  Cinema  in  its  Social  Context.    281  pp. 
1982   81-23254   ISBN  0-8108-1519-2  cloth  $18.50 

Thomas,  Sari.    FILM/CULTURE:    Explorations  of  Cinema  in  its  Soda!  Context.    281  pp. 
1982  81-23254   ISBN  0-8108-1520-6  paper  $9.50 

Thompson,  Frank.   BETWEEN  ACTION  AND  CUT:  Fi ve  American  Directors.  320  pp.   1985 
84-23540    ISBN  0-8108-1744-6  $22.50 

Trojan,  Judith.  AMERICAN  FAMILY  LIFE  FILMS.  508  pp.    Illus.    1981    80-14748  ISBN  0-8108- 
1313-0  $32.50 

Tuska,Jon.  CLOSE-UP:  The  Contemporary  DIrector.  437  pp.    illus.    1981   80-23551    ISBNO- 
8108-1366-1   $35.00 

Waugh,  Thomas.   "SHOW  US  LIFE'-Toward  a  History  and  Aesthetics  of  the  Committed 
Documentary.  536  pp.   1984  84-5603  ISBN  0-81 08-1 706-3   $39.50 

Weaver,  John  T    FORTY  YEARS  OF  SCREEN  CREDITS  1929-1969.    1,458  pp.     2  vols. 
1970   76-12592  ISBN  0-8108-0299-6  $65.00 

Willis,  Donald  C.    HORROR  AND  SCIENCE  FICTION  FILMS:   A  Checklist.   612  pp.    1972 
72-3682   ISBN  0-8108-0508-1    $4250 

HORROR  AND  SCIENCE  FICTION  FILMS  II.  488  pp.   1982  81232295   ISBNO- 


8108-1517-6  $3250 


HORROR  AND  SCIENCE  FICTION  FILMS  III.  349  pp.    1984   8413885   ISBNO- 


8108-1723-3  $29.00 


12 


13 


The  Scarecrozv  Filmmäkers  Series 

Series  Editor:  Anthony  Slide 

This  series  features  specific  filmmäkers  (directors,  producers.  screenwriters,  art  directors, 
cinematographers,  and  performers)  whose  work  has  contributed  substantially  to  the  history 
of  the  cinema  but  who  have  not  yet  been  the  subject  of  an  in-depth,  book-length  study. 
Each  volume  will  include  a  detaiied  biographical  essay.  a  study  of  the  filmmaker's  work, 
and  a  detaiied  filmography,  with  technical  and  player  credits  and  a  Synopsis  of  each  film. 
The  author  will  analyze  the  films  and  provide  historical  background  and  a  sampling  of 
contemporary  critical  commentary.  The  series  also  serves  as  a  publication  outlet  for  major 
research  volumes,  devoted  to  a  particular  aspect  of  a  filmmaker's  career,  which  might  not 
othenvise  see  the  light  of  day. 

"...  The  excellent  Filmmäkers  series...  what  might  be  describedas  the  'Scarecrow  Uniform 
Edition'  of  cinema  books."  --IVAN  BUTLER,  FILM  REVIEW  ANNUAL.  1988  (UK) 


1.   JAMES  WH  ALE 

James  Curtis 

267  pp.      1982     82-5965     ISBN  0-8108-1561-3     $19.00 

-...  Admirably  researched,  authoritative  and  well-balanced...  The  plentiful  stil/s  and 
photographs  are  excellent,  many  of  them  rarely,  if  ever,  published  before.  Without  question 
one  of  the  major  biographies  of  the  year '  -FILM  REVIEW  ANNUAL,  1983-84 


2.   CINEMA  STYLISTS 

John  Beiton 

384  pp.      1983     82-10793     ISBN  0-8108-1585-0     $25.00 

"...  An  interesting  overview  of  present-day  auteurism  faced  with  the  challenge  of  the  new 
film  theory."  -COMMUNICATION  BOOKNOTES,  9/83 


5.   STANLEY  DONEN 

Joseph  Andrew  Casper 

300  pp.      1983     83-2913     ISBN  0-8108-1615-6     $22.50 

"...  The most complete portrait ofDonen  in  English."  -COMMUNICATION  BOOKNOTES,  12/83 

"...  Analyzed  with  clarity,  a  minimum  of  Jargon  and  mach  insight...    A  solid,  pioneering 
work. '  -LOS  ANGELES  TIMES,  1 1/20/83 


6.   BRIAN  DE  PALMA 

Michael  Bliss 

176  pp.     illus.     1983     83-3306     ISBN  0-8108-1621-0     $17.50 

"...  A  well-written  book....  Should  be  usefui  to  other  levels  of  readers  as  well  as  to  the 
graduate  Student,  thanks  to  Bliss's  lively  style  and  absence  of  arcane  criticism."  -CHOICE, 
3/84 

"...  An  excellent  analysis..."  -FILM  REVIEW  ANNUAL.  1988 


One  of  the  ten  best  ßlm  books  ofWSS-Film  Review  Annual 

7.  J.  STUART  BLACKTON:  A  Personal  Biography  by  His  Daughter 
Marian  Blackton  Trimble 

222  pp.      1985     84-23504     ISBN  0-8108-1765-9     $16.00 

"...  The  quintessential  Hollywood  Story....  Polished and  witty....  The  bookis  somethingofa 
pioneer  in  the  recent  growing  up  in  Hollywood  genre..."  -NORMAN  STEWART,  MOVIE 
COLLECTOR'S  WORLD,  11/15/85 

'A  wholly  delightfui  biography....  This  comparatively  brief  book,  embellished  with  a  number 
ofrare  photographs,  will  be  treasured  by  all  who  love  the  cinema."  -FILM  REVIEW  ANNUAL, 
1987 


3.  HARRY  LANGDON 

William  Schelly 

249  pp.     illus.     1982     82-6035     ISBN  0-8108-1567-2     $19.50 

"Harry  Langdon  is,  in  my  opinion,  the  last  great  Pierrot  who  played  in  silent  movies." 
-MARCEL  MARCEAU 

"...  A  compelling  nanative....  a  'musV  for  comedy  film  fans. "  -CHOICE,  2/83 

4.  WILLIAM  A.  WELLMAN 

frank  T.  Thompson 

Foreword  by  Barbara  Stanwyck 

339  pp.     Illus.     1983    82-16931     ISBN  0-8108-1 594-X     $24.50 
"...  A  good,  straightfon/i/ard  reference  tool. "  -COMMUNICATION  BOOKNOTES,  9/83 
"...  Highly  entertaining,  enjoyable reading..."  -FILMQUARTERLY,  FALL  1983 


8.   MARTIN  SCORSESE  AND  MICHAEL  CIMINO 

Michael  Bliss 

313  pp.     illus.     1985     85-2276     ISBN  0-8108-1783-7     $25.00 

"777©  first  book-length  study  of  directors  who  were  recognized  early  in  their  careers  as 
influential  young  artists.  Well  researched  and  thorough....  An  intelligent  analysis  of 
Heaven's  Gate  (1960)  helps  to  correct  an  unbalanced  negative  response  that  the  film 
encountered  on  its  original  release....  Bliss  demonstrates  a  solid  knowledge  of  the  film 
business  as  well  as  of  the  individual  films  of  Scorsese  and  Cimino.  Usefui  and  intelligent, 
this  book  is  appropriate  for  undergraduates  and  graduate  students..."-yi.  BASINGER,  CHOICE, 
7-8/86 

"Your  book  contains  the  only  criticism  that  draws  attention  to  all  of  the  details  in  my  films 
that  I  worked  so  hard  to  include. "  -MARTIN  SCORSESE 


14 


9.   FRANKUN  J.  SCHAFFNER 

Erwin  Kim 

514  pp.     illus.     1985     85-1993     ISBN  0-8108-1799-3     $36.50 

"...  Of  interest  not  only  as  the  study  ofa  major  film  director  but  also  as  a  study  of  one  of  the 
major  forces  shaping  American  television  production.  For  graduate,  undergraduate,  and 
Community  College  libraries."  -R.  BLACKWOOD.  CHOICE,  7-8/86 

•...  An  impressively  researched  500-page  book....  The  very  qualities  that  have  earned 
Schaffners  major  credits  make  fascinating  reading..."  -JOHN  FELL,  FILM  QUARTERLY,  8/86 

10.   D.W.  GRIFFITH  AND  THE  BIOGRAPH  COMPANY 

Cooper  C.  Graham,  Steven  Higgins,  Elaine  Mancini,  &  Joao  Luiz  Vieira 

343  pp.      1985     85-2170     ISBN  0-8 108-1 806-X     $27.50 

"...  A  masterfui  filmography....  Cast  analysis  ahne  is  a  major  achievement...  Scholars  now 
have  much  to  explore  and  cheer  about,  and  Scarecrow  Press  has  a  new  reason  to  crow. " 
-P.  WIENER.  CHOICE.  3/86 

"A  süperb  addition  to  early  film  history... "  -FILM  REVIEW  ANNUAL.  1988 


One  of  the  ten  best  ßlm  books  ofl986~Film  Review  Annual 

11.  SOME  DAY  WEIL  LAUGH:  An  Autobiography 
Esther  Ralston 

244  pp.     illus.     1985     85-2482     ISBN  0-8108-1814-0     $17.50 

"...   Fascinating....   Provides  startling  insights  into   'the  Age  of  Innocence.'"     -KEVIN 
BROWNLOW,  SILENT  FILM  HISTORIAN 

"This  is  a  book  of  charm  and  humour,  and  a  vivid  portrait  of  the  Hollywood  of  the  period, 
embellished  with  a  generous  selection  of  rare  photographs. '  -FILM  REVIEW  ANNUAL,  1 987 


12.  THE  MEMOIRSOF  ALICE  GUY  BLACHE 

Roberta  and  Simone  Blachö,  Irans.;  Anthony  Slide,  ed. 

208  pp.     illus.     1986     86-10099     ISBN  0-8108-1902-3     $17.50 

"777/s  is  a  find  for  early  film  historians  and  espedally  feminist  film  scholars  searching  for 
early  female  directors.  None  of  Blache's  American  feature  films  survive;  only  a  dozen 
Shorts  remain.  This  memoir,  enhanced  by  appendixes  and  12  pages  of  photos,  suggests 
what  we  have  missed.  For  undergraduate  and  graduate  students."  -S.  BRD  WER,  CHOICE, 
12/86 

"...  An  important  biographical  work. "  -COMMUNICATION  BOOKNOTES,  1 1  -1 2/86 


15 


13.  LENI  RIEFENSTAHL  AND  OLYMPIA 
Cooper  C.  Graham 

347  pp.     illus.     1986     86-6715     ISBN  0-8108-1896-5     $32.50 

"Few  films,  even  great  ones,  are  rieh  enough  to  sustain  an  entire  book  devoted  to  their 
planning,  filming,  editing,  and  distribution,  but  Riefenstahl's  Olympia  clearly  deserves  the 
comprehensive  attention,  exhaustive  research,  and  thorough  documentation  Graham  has 
lavished  an  it....  The  specialist  will  find  it  fascinating. "  --R.  MARKGRAF,  CHOICE.  3/87 

"...  A  fascinating  account  which  can  be  read,  studied  and  enjoyed  on  several  levels....  The 
author  brilliantly  succeeds  in  keeping  his  story  lucid  and  gripping,  totally  involving  the 
reader  throughout. "  -IVAN  BUTLER.  FILM  REVIEW  ANNUAL,  1988  (UK) 

14.  ROBERT  FLOREY,  THE  FRENCH  EXPRESSIONIST 

Brian  Taves 

Foreworä  by  Lloyd  Noian 

438  pp.     illus.     1987     86-17919     ISBN  0-8108-1929-5     $39.50 

"A  book  on  Florey  is  long  overdue....  Now  the  job  has  been  done,  and  done  magnificently, 
including  a  definitive  TV  chronology....  I've  already  used  the  book  in  one  of  my  film  history 
courses  and  I  hope  it'll  find  its  way  on  to  a  tot  of  university  shelves.  And  for  the  film  history 
enthusiast,  it's  a  musl...  Worth  every  penny..."  -WILLIAM  K.  EVERSON.  FILMS  IN  REVIEW.  9/87 
"Important  to  film  students...  for  its  realistic  perspective  on  the  conditions  under  which  B 
films  were  made."  -C.C.  HARBOUR.  CHOICE,  12/87 


15.   HENRY  KING'S  AMERICA 

Walter  Coppedge 

Foreword  by  Gregory  Peak 

182  pp.     illus.     1986     86-22066     ISBN  0-8108-1957-0     $17.50 

"Tony  Slide's  Filmmakers  Series  has  been  consistently  good,  but  I  think  that  Henry  King's 
America  is  the  best  entry  since  James  Whale  inaugurated  it.  I  hope  it  Signals  a  King 
revival. "  -NORMAN  STEWART.  MOVIE  COLLECTOR'S  WORLD.  9/87 

"...  A  warm  and  welcome  tribute  to  this  fine  director..."  -IVAN  BUTLER,  FILM  REVIEW  ANNUAL, 
1988  (UK) 


16.   ALDOUS  HUXLEY  AND  FILM 

Virginia  M.  Clark 

185  pp.     illus.     1987     87-12308     ISBN  0-8108-2002-1     $19.50 

The  first  In-depth  study  of  the  screen  career  of  Aldous  Huxley  in  Los  Angeles,  where  he 
lived  from  1938  until  his  death  in  1963.  There,  he  was  part  of  a  lively  circle  of  friends.  such 
as  Greta  Garbo.  Anita  Loos,  and  Charlie  Chaplin.  Besides  producing  a  number  of 
important  books.  he  wrote  for  films,  including  screenplays  for  four  major  features:  Pride 
and  Prejudice,  hAadame  Curie,  Jane  Eyre,  and  A  Woman's  Vengeance.  Set  in  a 
biographical/cultural  context,  the  book  explores  the  symbiotic  relationship  between  film  and 
literature  in  Huxley's  career,  including  the  influence  of  his  involvement  with  film,  and  his 
confrontation  with  California  life,  on  his  other  writings. 


16 


17.  FIVE  AMERICAN  CINEMATOGRAPHERS:  Interviews  with  Karl  Struss,  Joseph 
Ruttenberg,  James  Wong  Howe,  Linwood  Dünn,  and  William  H.  Clothier 
Scott  Eyman 

201  pp.     jllus.     1987    86-33840     ISBN  0-8108-1974-0     $25.00 

Film  scholarship  has  traditionally  focused  on  actors  and  directors.  excluding  craftsmen 
whose  contributions  have  often  been  of  equal  importance.  This  book  attempts  to  redress 
the  balance.  The  author  presents  his  own  Substantive  Interviews  with  five  master 
cameramen:  James  Wong  Howe,  Karl  Struss,  William  H.  Clothier,  Joe  Ruttenberg.  and 
ace  special  effects  and  optical  cameraman  Linwood  Dünn.  Their  careers  and 
accompllshments  span  the  period  from  the  greatest  silent  films  to  the  greatest  films  of  the 
60s.  With  individual  introductions,  complete  filmographles,  and  a  profusion  of  rare 
production  and  scene  still s. 

"We  see  movies  through  the  cinematographers'  eyes....  These  Interviews  give  us  new 
insight  into  their  special  field  of  filmmaking....  Excellent  period  photos  of  the  craftsmen  at 
work  are  important  additions  to  the  comments.  The  selection  of  cinematographers  could 
hardly  have  been  better. "  -PAUL  HOLBROOK,  THE  BIG  REEL,  4/88 


18.  CINEMATOGRAPHERS  ON  THE  ART  AND  GRAFT  OF  CINEMATOGRAPHY 

Anna  Kate  Sterling,  comp. 

145  pp.  illus.  1987  86-31662  ISBN  0-8108-1972-4  $17.50 
In  this  group  of  articies.  originally  published  in  7770  International  Photographer  between 
1929  and  1937,  cinematographers  discuss  the  art  and  craft  of  cinematography  in  their  own 
words.  Gathered  together  here  for  the  first  time  is  a  unique  collection  of  articies  by 
cameramen  as  varied  as  Joseph  Valentine,  G.W.  BItzer,  Hai  Mohr,  Ray  Rennahan,  Karl 
Struss,  Clyde  De  Vinna,  Harry  Perry,  Phil  Tannura,  Willis  O'Brien,  G.W.  Bitzer,  H. 
Lyman  Broening,  Tony  Gaudio,  Donald  J.  Bell,  and  Cur!  Courant.  This  collection  offers 
unique  documentation  on  the  work  of  American  cameramen  from  earliest  times  through  the 
mid-thirties.  Essays  ränge  from  the  technical  through  the  academic. 

19.  STARS  OF  THE  SILENTS 

Edward  Wagenknectit 

180  pp.  illus.  1987  87-4508  ISBN  0-8108-1992-9  $20.00 
This  is  a  collection  of  pieces  Edward  Wagenknecht  has  written  over  many  years  in  The 
Movies  in  the  Age  of  Innocence  anö  other  publications  concerning  various  film  personalities 
of  the  silent  era:  Mary  Pickford,  Lilllan  Gish,  Clarine  Seymour.  Geraldine  Farrar,  May 
McAvoy,  the  Duncan  Sisters,  Clara  Bow,  and  Charles  Chaplin.  Some  of  these  papers 
report  on  particular  occasions  and  are  accompanied  by  newiy  written  retrospective 
commentary.  Others,  notably  the  Pickford,  the  Farrar.  and  the  Chaplin,  are  considered 
systematic  surveys  of  the  entire  film  career  of  their  subjects.  The  Chaplin,  which  is  largely 
new,  IS  probably  the  most  comprehensive  survey  and  critical  evaluation  of  his  oeuvre  within 
brief  compass. 


17 


The  Directors  Guild  of  America  Oral  History  Series 

Series  Editor:  David  Shepard 

A  series  of  edited  transcripts  of  oral  autobiographies,  commissioned  by  the  Directors  Guild 
of  America,  with  representative  directors  of  theatrical  motion  pictures.  television,  and  radio. 
Also  represented  are  producers.  cinematographers.  and  editors.  Each  subject  is 
interviewed  by  a  professional  colleague  or  a  historian  of  the  media.  Auteur  and  contract 
directors.  expatriate  directors,  directors  who  rose  from  the  ranks  of  various  crafts,  career 
production  managers  and  assistants,  and  broadcast  pioneers  are  represented. 

1.  BYRON  HASKIN 

Interviewed  by  Joe  Adamson 

334  pp.     illus.     1984     84-14080     ISBN  0-8108-1740-3     $26.00 

"...  Haskin  teils  wonderfui  stories....  An  important  source  document  for  American  film 
historians  and  students. "  -CHOICE,  4/85 

"...  The  breeziest  interview  book  in  years....  Really  rare  production  stills....  Sets  a  high 
Standard  for  the  rest  to  reach. "  -NORK^AN  STEWART,  MOVIE  COLLECTOR'S  WORLD,  8/9/85 

"...  Gracedby  Haskin's  candor and intelligence." -F\[M  QUARTERLY,  SUMMER  1985 

2.  WORTHINGTON  MINER 

Inten/iewed  by  Franklin  J.  Schaffner 

323  pp.     illus.     1985     84-22184     ISBN  0-8108-1757-8     $24.00 

"...  Belongs  in  graduate  and  upper-division  theater  and  broadcast  collections."  -CHOICE, 
5/85 

"feiner...  turns  out  tobea  wonderfully  literate  and  witty  chap,  and  Schaffner  is  an  attentive, 
informed,  self-effacing  and  perspicacious  Interviewer....  The  atmosphere  of  a  real 
conversation."  -FILM QUARTERLY. SUMMER  1985 


3.  CURTIS  BERNHARDT 

Interviewed  by  Mary  Kiersch 

200  pp.     illus.     1986     85-27523     ISBN  0-8108-1870-1     $19.50 

"777er0  is  a  freshness  to  his  remarks  rarely  found  in  Interviews  with  more  seasoned  and 
jaded  journalistic  subjects....  A  personal  history  as  fascinating  as  the  films  he  directed.... 
Invaluable  to  the  cultural  historian. "  -REFERENCE  &  RESEARCH  BOOK  NEWS,  FALL  1 986 

"Oral  history  at  a  high  level....  Kiersch  is  well  informed,  and  good  conversation  results." 
-ERNEST  CALLENBACH,  FILM  QUARTERLY  40:4  (1987) 


18 


7.   HENRY  KOSTER 

Interviewed  by  Irene  Kahn  Atkins 

190  pp.     illus.     1987    86-31487     ISBN  0-8 108-1 983-X     $20.00 

Of  the  many  film  artists  displaced  by  Hitler,  Henry  Koster  was  among  the  few  who 
successfully  adapted  to  the  American  studio  System.  Although  Koster  directed  45 
successfui  motion  pictures  in  a  wide  variety  of  genres,  he  Is  best  known  for  Three  Smart 
Girls,  Harvey,  such  musicals  as  Stars  and  Stripes  Forever,  and  films  with  religious 
backgrounds,  including  the  first  CinemaScope  film,  The  Robe.  All  of  these  share  the 
Interplay  of  warm  human  feelings  that  is  a  trademark  of  Koster's  motion  pictures. 

"...  Provides  a  fine  case  study  of  the  working  life  of  the  average  Hollywood  director  of  the 
Golden  Age."  -COMMUNICATION BCMDKNOTES,  11-12/87 

Forthcoming 

KING  VIDOR,  interviewed  by  Nancy  Dowd 


TV  I  Radio 


A  HISTORY  OF  CHILDREN'STELEVISION  IN  ENGLISH  CANADA,  1952-1986 

F.ß.  Rain  Sherry 

320  pp.     Photos     1988     87-28773     ISBN  0-81 08-2079-X     $32.50 

This  book  describes  the  development  of  children's  television  programmIng  In  Canada  from 
its  beginning  in  1952.  The  author  Covers  programs  produced  in  both  the  public  and  the 
private  sector  of  broadcasting  in  Canada  in  füll  detail  and  reviews  the  development  of 
program  pollcy  in  the  Canadian  Broadcasting  Corporation.  The  history  Covers  primarily 
English  Canada,  with  attention  to  cooperative  efforts  in  production  between  Quebec  and 
the  rest  of  Canada.  The  book  ralses  questions  about  the  impact  of  mass  media  on 
children;  Rainsberry's  experience  with  program  policy,  planning,  and  production  will  be  of 
value  to  any  broadcasting  Organization  that  intends  to  take  children's  television 
Programming  seriously. 


TELEVISION  DRAMA  SERIES  PROGRAMMING: 

A  Comprehensive  Chronicie,  1982-1984 
Larry  James  Gianakos 

838  pp.  1987  85-30428  ISBN  0-8108-1876-0  $62.50 
The  most  comprehensive  chronicie  of  American  television  dramatic  programmIng  has  been 
further  improved  with  this  fifth  in  the  series.  Following  a  descriptive  and  critical  review  for 
the  new  period,  an  exhaustive  Days  and  Times  section  again  includes  detaiied  listings  for 
all  dramatic  Specials.  The  program  section  for  seasons  1982-84  provides  writer  and 
director  credits  for  almost  every  teleplay.  A  comprehensive  series  titles  index  concludes 
the  work. 

"...  Very  usefui  cumulative  index...,    Libraries  finding  earlier  volumes  usefui  will  want  to 
update  their holdings."  -REFERENCE  BCX)KS  BULLETIN,  1988 


19 


SPECIAL  EDITION:  A  Guide  to  Network  Television  Documentary  Series  and  Special 
News  Reports,  1955-1979 
Daniel  Einstein 

1069  pp.      1987     86-6599     ISBN  0-8108-1898-1     $87.50 

This  is  a  comprehensive  overview  of  network  television  news  documentary  and  special 
news  Programming  broadcast  over  ABC,  CBS  and  NBC  between  1955  and  1979,  the  so- 
called  "golden  age"  of  television  journalism.  With  Indexes. 

"As  a  source  for  identifying  these  shows,  especially  the  Specials,  this  will  be  a  boon  to 
students  of  populär  culture,  journalism,  recent  history,  sociology,  and  other  disciplines. " 
-JAMES  REHIG,  WILSON  LIBRARY  BULLETIN,  1/88 

"Einstein  has  developed  a  source  to  facilitate  interpretive  studies,  filling  a  gap  in  the 
growing  field  of  television  studies....  Recommended  for  collections  supporting  research  in 
television,  contemporary  American  history,  and  populär  culture. "  ~D.A.  SCHMITT,  CHOICE, 
2/88 


SELECTED  RADIO  AND  TELEVISION  CRITICISM 

Anthony  Slide,  ed. 

213  pp.      1987     86-27891     ISBN  0-8108-1942-2     $19.50 

Slide  gathers  together  reviews  and  critical  commentary,  reprinted  in  their  entlrety,  from  the 
golden  age  of  radio  and  television.  Included  here  are  critical  comments  on  radio  programs 
and  Personalities  from  the  late  1920s  through  the  late  40s  and  television  shows  and 
celebrities  from  the  late  40s  through  the  late  50s.  This  is  a  unique  sourcebook  for 
documentation  on  Fred  Allen,  Jack  Benny,  Milton  Berle,  Father  Coughlln,  Edward  R. 
Murrow,  Arturo  Toscaninl.  and  many  others. 

"Manyof  the  original  articies  from  Life,  Saturday  Review  ancf  Time  are  hard  to  find,  hence 

the  importance  of  this  work An  excellent  reference..."    -CHRIS  LEMBESIS.  SPERDVAC 

RADIOGRAM,  10/87 


THE  HOUR  OF  TELEVISION:  Critical  Approaches 
N.D.  Batra 

301  pp.     Illus.     1987     87-4315     ISBN  0-8108-1989-9     $29.50 

This  book  explores  both  the  fictional  world  heir  to  Aristotle  and  Shakespeare  and  the 
mundane,  empirical,  and  technologically  accessible  world  of  the  marketplace,  Nielsens, 
Ropers,  and  Magids.  It  looks  at  television  phenomena  humanistically  and  empirically.  The 
author  discusses  various  critical  approaches  to  television;  television  technologies  and  the 
cultural  lag;  primetime  and  daytime  serials;  sitcoms;  television  news;  documentaries  and 
docudramas;  mini-series  and  the  problem  of  adaptation;  the  television  audience  and  the 
relevance  of  rating  methodology;  and  the  role  of  the  television  critic  as  a  social  prophet.  He 
considers  American  television  a  product  of  the  free  marketplace  of  goods  and  ideas  that  is 
the  Controlling  center  of  American  civilization. 


20 


THE  MYSTERY  OF  THE  MASKED  MAN'S  MUSIC:  A  Search  for  the  Music  Used  on 
"The  Lone  Ranger  Radio  Program,  1933-1954 
Reginald  M.  Jones,  Jr. 

233  pp.     illus.     1987    86-33872     ISBN  0-8108-1982-1     $20.00 

Jones  has  combined  the  official  files  of  WXYZ,  NBC,  RCA  Victor,  and  Republic  Pictures 
with  Interviews,  newspaper  and  trade  Journal  articies,  and  data  gathered  from  hundreds  of 
broadcasts,  Soundtracks,  and  records. 

"...  Remarkable....  A  revelation  of  the  delights  of  the  Golden  Age  of  Radio,  especially  one 
Show  in  particular  and  why  it  wove  its  way  unto  the  subconscious  of  a  Western  culture. " 
--ALAN  PETERS.  WAGNER  NEWS,  12/87 

Gianakos,  Larry  J.    TELEVISION  DRAMA  SERIES  PROGRAMMING:  A  Comprehensive 
Chronicie,  1947-1959.  581  pp.   1980  83-17023   ISBN  0-8108-1330-0  $37.50 

TELEVISION   DRAMA  SERIES  PROGRAMMING:     A  Comprehensive 


Chronicie.  1959-1975.  806  pp.   1978  78-650   ISBN  0-81 08-1 11 6-2  $39.50 

TELEVISION   DRAMA  SERIES  PROGRAMMING:     A  Comprehensive 


Chronicie,  1975-1980.  471  pp.   1981    81-5319   ISBN  0-8108-1438-2   $29.50 

TELEVISION   DRAMA  SERIES  PROGRAMMING:     A  Comprehensive 


Chronicie.  1980-1982.  686  pp.   1983  83-3388   ISBN  0-8108-1626-1    $47.50 

Hill,  George  H.  &  Hill,  Sylvia  Saverson.     BLACKS  ON  TELEVISION:     A  Selectively 
Annotated  Bibliography.  237  pp.   1985  84-23639   ISBN  0-8108-1 774-8  $19.00 

Jones,  Maxine  Holmes.    SEE,  HEAR,  INTERACT:   Beginning  Developments  In  Two-way 
Television.  165  pp.   1985  84-10715   ISBN  0-8108-1 720-9  $16.50 

McCavitt,  William  E.    RADIO  AND  TELEVISION,  SUPPLEMENT  ONE:    1977-1981:    A 

Selected.  Annotated  Bibliography.  167  pp   1982  82-5743   ISBN  0-8108-1556-7  $17.50 

f^eehan,  Diana  M     LADIES  OF  THE  EVENING:     Women  Characters  of  Prime-Time 
Television.  202  pp.   illus.   1983   83-8702  ISBN  0-8108-1634-2  $18.50 

Parish,  James  R.     ACTORS'  TELEVISION  CREDITS,  SUPPLEMENT  I:     1973-1976 
433  pp.   1978   77-10741    ISBN  0-81 08-1 053-0  $32.50 

ACTORS' TELEVISION  CREDITS,  SUPPLEMENT  II:    1977-1981.    337  pp. 


1982  82-5961    ISBN  0-8108-1559-1    $2750 

Parish,  James  Robert  &  Terrace.  Vincent.  ACTORS'  TELEVISION  CREDITS.  SUPPL.  III: 
1982-1985.  463  pp.   1986  86-17691    ISBN  0-8108-1928-7  $3750 

^^'"^d^^  ^     UNIVERSAL  TELEVISION:    The  Studio  and  Its  Programs.  1950-1980. 
499  pp.   Illus.   1983  83-4269    ISBN  0-8108-1628-8   $3750 

^'^^' o^'^!^.^r!!  flr^J^^^^^  ^^^  A  Reference  Guide.  2nd  ed.    349  pp.     1986 

85-30409   ISBN  0-8108-1875-2  $27.50 

^""""'fS^'^^oo'^^n^    CHILDREN'S  TELEVISION:    THE  FIRST  THIRTY-FIVE  YEARS, 

T946-1981-Partl:  An imated  Cartoon  Series.  404  pp.   1983   82-5841    ISBN 0-8108-1557-5 

CHILDREN'S  TELEVISION:  THE  FIRST  THIRTY-FIVE  YEARS.  1946-1981 


-Part  II:  Live.  Film,  and  Tape  Series.  820  pp.   1985  82-5841    ISBN  0-8108-1651-2  $49.50 


23 


OF  RELATED  INTEREST 


THE  GHOST  WALKS:  A  Chronological  History  of  Blacks  in  Show  Business,  1865-1910 
Henry  T.  Sampson 

580  pp.     photos     1988     87-27973     ISBN  0-8108-2070-6     $47.50 

This  is  the  first  and  most  complete  book  to  deal  exciusively  with  all  aspects  of  the  origin  and 
development  of  black  American  entertainment.  Sampson  chronicies  black  participation  in 
show  business  from  1865,  when  blacks  first  stepped  off  the  slave  plantatlons  on  to  the 
minstrel  stage,  until  the  end  of  the  first  decade  of  the  20th  Century,  when  blacks  were 
involved  in  all  aspects  of  the  entertainment  industry.  The  book  provides  the  important 
historical  link  between  the  little-known  achievements  of  the  first  black  minstrel,  burlesque, 
circus,  and  vaudeville  performers  and  the  more  widely  known  black  stars  of  the  1920s  and 
30s.  With  original  source  material  and  many  rare  photographs. 


Fleshman,  Bob.    THEATRICAL  MOVEMENT:  A  Bibllographical  Anthology.    756  pp     1986 
85-1795    ISBN  0-81 08-1 789-6    $5750 

Georgi,  Charlotte.   THE  ARTS  AND  THE  WORLD  OF  BUSINESS.  2nd  ed.   188  pp.    1979 
78-12103   ISBN  0-81 08-1 174-X  $18.50 

Leonard,  William  T.  THEATRE:  Stage  to  Screen  to  Television.  1,812  pp.    2vols.    1981    80- 
22987  ISBN  0-8108-1374-2  $7750 

Mapp,  Edward    DIRECTORY  OF  BLACKS  IN  THE  PERFORMING  ARTS.    444  pp.    1978 
78-2436   ISBN  0-81 08-1 126-X   $35.00 

Perry,  Jeb  H.    VARIETY  OBITS:    An  Index  to  Obituaries  in  Variety,  1905-1978.    322  pp. 
1980  80-10424   ISBN  0-8108-12894  $24.50 

Salem,  James  M.    A  GUIDE  TO  CRITICAL  REVIEWS,  PART  IV:   The  Screenplay,  from 
The  Jazz  Singer  \o  Dr.  Strangelove.    2vo!s.   1971    66-13733   ISBN  0-81 08-03674   $59.50 

.     A  GUIDE  TO  CRITICAL  REVIEWS,  PART  IV,  SUPPLEMENT  ONE:    The 


Screenplay:  1963-1980.  708pp.   1982  82-5933   ISBN 0-81 08-1 553-2  $47.50 

Samples,  Gordon.  THE  DRAMA  SCHOLARS*  INDEX  TO  PLAYS  AND  FILMSCRIPTS, 
VOL.  2:  A  Guide  to  Plays  and  Filmscripts  in  Selected  Anthologies,  Series  and 
Periodicals.  750  pp.   1980  73-22165  ISBN  0-81 08-1 249-5  $39.50 

.    THE  DRAMA  SCHOLARS*  INDEX  TO  PLAYS  AND  FILMSCRIPTS,  VOL  3: 


A  Guide  to  Plays  and  Filmscripts  in  Selected  Anthologies,  Series  and  Periodicals. 
426  pp.    1986   73-22165   ISBN  0-8108-1869-8  $35.00 

Sampson,  Henry  T.    BLACKS  IN  BLACKFACE:   A  Source  Book  on  Early  Black  Musical 
Shows.  562  pp.   illus.   1980   80-15048  ISBN  0-81 08-1 31 8-1    $3750 

Williams,  Ora.  AMERICAN  BLACK  WOMEN  IN  THE  ARTS  AND  SOCIAL  SCIENCES:  A 

Bibllographical  Survey,  Revised  and  expanded  ed.  219  pp.   illus.    1978   77-171055  ISBN 
0-8108-10964   $20.00 


11 


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433  liaat  51  Street,  New'Yor?^',  N.Y.   1(X)22 
May  5,  1979      j   .  ^^         " 


rr* 


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ii-L  tOtoi 


Dear  Lutz  Bacher — 


flfTl 


Tliajüi  you  very  much  for  yoiir  intcrea Mng  letter  and  also  for  sending  me  a  copy 
of  Norman  llale's  startling  coraments.   I'm  always  faacinated  by  the  analyses  of 
a  crf^ative  vork  by  those  vho  study  it  'ndj.  thiis  discover  elemehts  that  vere  neitVior 
planned  nor  anticipated  nor  perhaps  even  iinderstood  by  the  creator,.»   (Don't  think 
I  haven't/'tiiscovered"  such  elements  in  the  works  of  some  of  my  author  and  director 


il 


friendsi   astonishtnßAith  my  "revelat'ions"! ) 


^. 


I  liaven't  done  anyt!iinf^  yet  with  the  notes  I  mado  while  vatching  MOMIJNT — ■  they  were 
not  many--  but  I  want  to  res])ond  to  your  letter  at  once  because  otherwiae  it  may  too 
easily  get  buried  umler  all  the  things  I  MUST  do  and  donH  yet—-  although  I  continue 
to  improve,  as  docs  my  sister —  thank  you  for  inquiring  about  her» 


i^- 


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1  JL  •> 


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Oi 


IV  1' 


V  *  i ... «». 


vil- 


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ii 

hi 

jfM^ 

«noo 

«)n'IOV 

J.-, 

-  w  A.4}    1 

u\:t  r^ 

Vhat  1  raost  vant  to  mention  to  you  is  one  reaction  I  had  to  MOMIiNT|  particularly  at 
the  heginning  before  I  got  wrapped  \ip  in  tho  j)roceedings-—  I  thou'ght:  too  fuasy«   I 
used  this  word  in  my  thoughts  although,  at  the  sanie  timo  anafyzing  it,  I  thoight  of 
"trop  mauveraente"  in  -^'gfiJlch^  vhich,  in  a  way,  gives  a  better  idea  of  my  reaction  al- 
tho^igh,  to  be  honest  in  my   criticisra,  it  was  the  word  **f\issy'*  tliat  did  corne  to  mind 
first«   I  believe,  part  of  it  is  tho  fact  that  Joan  Bennett  is  constantly  on  tho  move.^ 
inhorent  in  tlie  story,  of  course,  a.nd  the  pressure  under  which  she  operatesmakes  for 
hast}»"  gestures,  very  fast  Walking,  etc»   I  would  have  to  see  tho  film  again  to  re- 
asscss  this  main  criticism  I  have  of  the  work#  And  it  reccded  as  the  film  went  along^ 
eitlier  because  it,  the  film,  developed  its  o\m   momentum  or  because  one  besame  so  involved 
.jtljia^  rush  and  haste  seemod  more  natural —  I  don't  know, 

Vhile  I  vondored  what  gave  me  the  feeling  of  trop  mouvemente,  I  thonght  that  in  his 
later  films,  the  * raouvementk  was  different —  and  since  I  have  nev<^r  ])efore  thought  in 
terms  of  circular  or  linear  movements,  I  would  say  today  that  in  his  later  films  Ophuls 
was  indeed  more  circular,  i«e,  f Inessed  his  style  to  a  more  sweeping  movement  as  though 
smoothing  out  what  might,  in  M()MI*^'  havo  beon  a  bit  more  staccato  or  "linear"» 

^ince  MOM^OT  was  not  shot  in  seqTience  (did  I  mention  to  you  that  I  discoverod  I  do  have 
a  final  shooting  Script  in  my  papers,  i.e.  archive  which  I  recently  had  to  take  out  of 
stora.<^^e?),  as  you  surely  Imow,  my  "too  fussy"  reaction  in  the  be^naning  was  not  some- 


?  £ 


u.o 


thing  that  became  unfussy  later —  though,  if  it  was  a  technical  matter,  I  don^tkno'i  the 
roason#   I  might  mention  that  ()ph\xls  'N^'VKR  discussed  purely  technical  matters  with  me 
although  thero  would  have  been  plonty  of  occasions  for  hin  to  do  so  IP  it  had  interested 
him, 

Thero  is  an  interei^ting  footnote  in  the  Haie  article  about  women  being  "trapped"»   I 
think  Ophuls  feit  very  trapped  himself  although  I  donH  feel  at  liborty  to  say  why — 
it  is  a  personal  matter  (concerning  him)  and  I'm  not  using  it  in  my  Ophuls  chapter  eithor, 
out  of  discretion»  (0])huls  and  I  had  discxissions  on  it  and  n  romak  in  one  of  his  letters 
boars  me  out —  although  he  is  ref erring  to  an  event  in  n^  own  lifft)»     ^ 

\ 

I'm  so  glad  that  you  got  your  Interviews  with  Mason  and  that  he  cooperated*   I  didn't 
know  he  was  writing  his  autobiography  but  then,  who  doesn't?  And  a  lot  of  people  do 
have  intoresting  things  to  say  or  experienced  or  both«   I  jiist  read  iJinone  Signoret's 
NOSTAUrlA  I3N»T  \^1AT  It|1|.  USKD  TO  HK  and  found  it  first-rato.   In  a  way  enviable—  and 
she  did  the  very  best  with  her  excellent  raaterial,   It's  nice  of  you  toreport  that 
Mason  remembered  me —  it  would  have  beon  a  bit  difficult  not  to,  I  think  but  I  can 


rf*. 


;xc' 


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C-iXi/tli .  .J 


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eaaily  iniaßine  peoplo  who  would  have  pretended  not  to!   I  alv,ays  tlioiight  Mason  was  a 
ho  11  of  a  nice  ^ruy  and  only  clian^ed  my  mind  vhen,  on  a  rec(>nt  TV  interview,  he  spoko 
scatliinfjly  about  one  of  my  dosest  frionds  with  whom  he  has,  I  believo,  never  even 
worked;  it  brouf^ht  to  mind,  however,  a  acone  Mason  played  on  the  set  of  MOMItlOT,  for 
Ophuls*  and  everybody  eise 's  enlightnient,  in  whioh  he  mimicked  that  same  director  in 
a  very  amusing  way—  they  had  attended  the  same  party  the  previons  evoninp«  It  was 
accurate,  that  day  on  the  set,  and  not  necessarily  hostile  althongh  I  did  make  a  mental 
note  of  it  wliereas  the  other  ni^rht,  on  the  TV  screon  for  a  nationvide  audience,  it  was 
simply  bitchy«  ^Since  my  friend  lives  in  far  away  lands,  I  havenH  had  a  chance  to  check 
on  what  might  be  ailin^  Jlason  and,  on  second  thoii^rht,  it  isn*t  voiy  important  eithor« 
Une  files  also  tliat  away!  But  all  throuf^li  MOMENT  Mason  was  always  most  polite  and  friendly 
with  me—  no  conplaints  tliere  whatever»   (I  mi/^ht  have  montioned  some  of  this  when  you 
caine  to  see  me  since  that  TV  interview  took  place  somowhat  recently,  perhaps  last  fall, 
»impe  it  was  about  the  time  I  wrote  the  Ophuls  chapter—  that  much  I  roniember») 

Unfortunatoly,  the  second  American  imblisher  is  still  sitting  on  \v^  ms.  for  reasons  of 
internal  reshuffling—  It's  an  "imprint"  editor  who  will  bn  moving  to  another  house  and 
I  cnme  jnst  at  the  time  of  this,  raost  unexpected,  move«  If  he  does  turn  down  the  book 
it  would  be  a  dreadfui  waste  of  time  for  me  but  these  are  tlio  things  one  has  no  control 
over,  alas»  A% -thiF^fmm«^  tfanf^  I  just  learned,  yesterday,  that  the  first  öerman  publisher 
turaed  do\MTi  th»  book—  again  for  reasons  quite  unrelated  to  me;  at  the  same  tirne  a 
Dicml>or  of  that  publisJiing  houae  who  is  a  great  fan  of  ny  work  wrote  me  a  lonf^  personal 
lotter  füll  of  a/trairation  and  eni^isiasm  arid  dejectod  about  the  firm's  decision;  one 
of  tho  episodes  she  singlos  out  is  the  Ophuls  chapter,  to  my  groat  astonishment  since  I'm 
not  i^yon  sure  whother  she  really  knows  who  he  is  or  his  importance—  srtie  isn't  what  you'd 
call  a  film  buff  and  Ophuls  certainly  wasn't  as  appreciated  in  Gormany  as  in  France« 
Sbc  rony*.  l^mNW^cr^,  have  seen  IjA  HONDE  "since  slie  previously  worked  for  the  publishor  who 
publishc^d  i^chnitzler«  llowover,  it  was  very  intereating  for  me  tliat  slto  wa-s  so  t^üien 
vith  my  "nj-ractorization"  of  Ophuls,  as  she  cnlled  it —  except  that  I  myjseif  think  his 
chaptor  is  perhaps  the  best  teoB  because  it  is  about  a  man  w^ith  whon  I  was  not  erotically 
involved  and,  therefore,  was  much  at  ease  writing  about  him  whereas  in  other  cases  I 
was  all  the  time  conscious  of  "it  mustn't  be  a  kisp-and-tell''! 

V^ell,  by  the  time  you  are  approaching  tho  end  of  your  0])huls  rosearch  I  HOffi  that  you '11 
read  my  chapter !  ^.^ 


'k 


I.     ff: 


<: 


One  more  thing.   I  ^-cff  ."^^  CAlIGIfT  in  1^)56  in  a  late  lato  TV  r\m   and  Jf  f o^uid  it  :ii^fft^  ' 
tp  v^ery  well;  I  nevor  saw  liOTlTK  for  a  second  time  since  Hollywood,  Jnnuarv'  1949;  and 
I  haven't  seen  TlC:  T^IXILI.  AI  all*  But  I  doiibt  that  MOMr^NT  is  the  beat  of  the  American 
films  except  that  it  wa^  admirable  what  he  did  do  with  his  material,  undor  adverae  con- 
ditions,  etc»  etc —  as  you,  too,  agree.  Kor  ono  of  the  minor  films  of  a  major  artiat 
I  I  think  he  did  ol^y  and  he  himself  would  be  the  last  mt^  to  think  to4  highly  of  it! 


1  • 


f9 


I  look  forward  to  seeing  you  later  this  summer  in  New  York!   Artd  \i6ipQ   that  your  work  is 
going  well—  on  all  levels.  ^       ... 

/*w!l  i-'i^r^.  I  ^  '   .....  .    >      lo'!  .       ^' .cfit 


ri  V 

Best  wisbes, 

»*f    ^   br^^    f.l   ,!v 

'■'i-y'r 

•-t.    ^ 

'   '        1 

fri  i     • 

'f^rt  \  > 


l^/^  r  *■  i  . 


>^f\ 


tfi6    t*;ii 


.  .  ■.1>.'t 


I     .        .  V.  .     I 


Ij 


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>t    ->>  •»"•rri 


1 


May  27,  1979 

17616  Wisconsin  Avenue 
Detroit,  Michigan  48221 


Dear  Miss  Marton, 

the  Thalia  notes  on  THE  RECKLESS  MOMENT  by  James  Harvey  are  indeed  of 
interest  to  me.   I  appreciate  the  thoughtfulness  evident  in  your  send- 
ing  them  to  me .   Thanks . 

Harvey ' s  comments  are  perceptive,  offering  some  new  insights  (to  me) 
on  the  film.   But  there  is  much  one  could  quarrel  with.   I  have  doubts 
about  labeling  the  film  a  "variant"  of  film  noir>   Its  Visual  style 
does  not  quite  fit  the  mould  of  the  genre  m  any  case.   The  film  is 
not  as  ^'linear"  as  Harvey  proposes.   There  are  many  "circular,  Serpen- 
tine Camera  motions,"  many  executed,  as  you  mentioned,  with  a  crane, 
though  they  are  not  as  dancing  and  twirling  in  quality  as  the  French 
films.   I  have  yet  to  do  the  bulk  of  my  Visual  analyses  and  thus  have 
not  yet  formulated  definite  ideas  on  the  evolution — if  any — of  Ophuls * 
style  during  his  American  period.   There  are  clear  differences  in 
Camera  style  between  the  films,  but  whether  these  are  concomitant  to 
subject  matter,  the  result  of  collaboration  with  different  cameramen, 
or  due  to  yet  other  factors,  I  have  yet  to  try  to  establish.   I  tend 
to  agree  with  you,  however,  that  stylistic  differences  between  the 
American  and  Prench  films — other  than  those  directly  related  to  the 
difference  in  content — are  more  apparent  than  real.   When  I  recently 
forced  myself  to  look  at  MADAME  DE  ...  with  a  very  analytic  eye,  even 
counting  the  shots  with  a  punch  counter,  I  found,  quite  contrary  to 
my  expectations  from  past  viewings,  that  it  does  not  average  longer 
takes  than  the  American  films. 


Robin  Wood  in  Personal  Views  Champions  MOMENT  as  Ophuls  *  best  American 
film  and  Norman  Haie  writes  about  it  admiringly  in  his  interesting 
analysis  (attached).   On  the  other  hand ,  Nigel  Andrews  in  a  review  of 
the  Edinburgh  Film  Festival  in  the  January  American  Film  writes  "But 
nothing  could  persuade  me  that  THE  RECKLESS  MOMENT,  that  dim  Hollywood 
thriller  in  which  Joan  Bennett  and  James  Mason  go  through  the  motionvS 
of  a  murder-and-blackmail  plot,  is  a  m.asterpiece  or  even  a  watchable 
movie . "  Again,  1  tend  to  agree  ^vith  you  on  a  more  moderate  assessment: 
the  film  is  an  accompllshment ,  a  triumph  over  a5..verse  coiiditions  in 
budget,  shooting  schedule,  and  other  produotlon.  exigencieR.   It'a  a. 
good  movie,  that  goes  far  beyond  wh-^t  an  "ordinary"  director  aould  have 
done  with  the  same  material. 

During  Jarnos  Mason' s  stay  in  NYC  with  THE  FAITH  HEALER,  I  interviewed 
him  in  three  sessions  on   ths  phone  for  a  total  of  about  .100  rainutes.  Of 
course,  your  name  came  up  and  he  had  no  trouble  remembering  you.  He  had 
some  very  interesting  things  to  say,  despite  his  oautioning  me  in  his 
acceptance  letter  that  he  might  want  to  keep  his  most  trenchant  obser- 
vations  for  the  autobiography  he  is  currently  writing. 

I  am  glad  to  hear  that  you  are  making  progress  with  placing  your  bock 
and  are  regaining  your  strength,  albeit  slowly.   I  hope  your  sister  is 


over — 


getting  bettor  as  well.   T  expect  to  get  tc  NYC  some  tlme  this  sujimer 
and  shall  get  in  touch  when  I  do. 


<'Jt 


u 


433  Käst  "il  Streut,  N«w  York,  N.Y.  10022 
Airil  29,  1979 


'I. 

V. 


Dear  Lutz  Bacher— 


\ 


The  enclosed  might  internst  you—  these   j)ro/^ram  not«s  by  James  Harvey  are 
in  the  "lobby'*  of  the  theatre  for  th«  taking» 


w 


Bv  »heer  chance  did  I  see  the  briefest  of  annoimcements  in  the  New  York  Times 
about  TIü:  W^CKLHSS  MOMt.*NT,  so  la4e  that  I  coxildjonly  make  it  in  time  with  a  taxi 
for  five  bticka —  b\it  since  fhe  film  is  shown  1^  very  rarely  I  f«lt  impelled  to 
go.and  I'm  so  glad  I  did.   It  was  enjoyable  as  w#»ll  as  useful—  the  film  does  have 
flwws,  as  Mr.  Harvey  calls  it  but  it  is  quite  an  accomplislunent  and  much  the  fore- 
nmner  for  Opimls'  later  work  in  i^rancej  ray  hiinch  is,  by  the  vay,  that  what  Har!<ey 
calls  track  shots  are  really  boom-shots,  vouldnH  you  think  so?? 

(I'm  not  on  the  theatre's  mailinff  list  and,  therefore,  was  imaware  of  the  film's 
showing  on  April  25th,  t?ie  Times'  note  was  published  on  the  26th)« 

llow  is  your  work  going? 

I'ra  still  not  well  although  a  lot  better  than  when  I  saw  you;  but  I  still  rnust  keep 
all  my  activities  to  the  barest  minirnum  (my  excursion  to  the  Thalia  and  tlie  ridex 
back  in  two  buses —  almost  1  l/2  hours —  exliausted  me),  putting  off  everything  that 
is  not  of  imrnediate  uri^ency«   Vell,  the  doctor  had  warned  me  that  it  would  take  a 
long  time  so  I  try  not  to  be  impatient. 

I  did  t^ank  you  for  Howard  Koch's  article,  didn't  I?  I'm  terribly  forgetful  at  the 
moinent—  or  perhaps  permanently—  who  knows?  And  I'm  too  lazy  to  look  up  my  file 
or  go  throiigh  the  enorraous  )\eap  of  UNf  iled  carbons ! 

Best  wishes, 


Itutli  Marton 


^^  V^OZ\      MU£HSAM    ff\HlC?   COuecTzON 


/ 


\oiiz    Gts£LA  e.     BAHä 


m2>  -  nn 


\ 


wm 


mmmmm 


^JTSCT 


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Vol.  6  No.  30 
March  12,  1987 


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Meine  Lieben, 


Heihnrchten  ipP^ 


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hoffentlich  hebt  Ihr  aJle  frrihljche  oder  besinnliche  V^eihnrchtstapr  f^ehfbt. 
Mein  Jahresbericht  k?nn  diesmal  frOhertens  7um  Neuer  Jahr  r^nkon^men,  bei  Fuch 
puf  der  anderen  S^ite  des  Ozeans  nicht  einmal  das.  Aber  ich  hoffe,  Thr 
werdet  diese  Verspätung  verzeihen,  wenn  Thr  erfahrt,  warum:  Ich  hin  erst  am 
18.  Dezember  von  einer  fast  zweiwöchigen  Peise  nach  Hcnpkonp  und  China 
zurf^ckpekehrt .  Vor  der  Abreise  hatte  ich  alle  Hrnde  voll  zu  tun,  meine 
Studenten  Ht  die  letzten  anderthalb  Unterrichtswcchen  mit  Material  zu 
versorgen,  die  Schlurprnfurp;en  vorzubereiten  und  Vertretunper  ffT  mjoh  zu 
organisieren.  Mach  meiner  Rnckkehr  nu'^te  ich  dann  alle  Materialien  und 
Schlufpriifungen  durchsehen  und  die  Semesterzensuren  bestimmen  -  eine  Arbeit, 
die  ich  hasse,  aber  leider  auf  niemanden  abschieben  kanr. 

Frst  heute,  am  ??.  Dezrmber,  bin  ich  frei  und  kanr  diesen  Ff  rieht  schreiben, 
wobei  ich  nun,  wie  bei  a]Jen  schriftlichen  Arbeiten,  der  ^^Vort   Procrrror" 
benutze.  Ja,  meine  Reise  in  den  Orient.  Fin  ganz  neues  Abenteuer  fiir  rieh, 
26  Stunden  Reisezeit  und  eine  Zeitverschiebung  von  1?  Stunden.  So  weit  fort 
war  ich  noch  nie.  Der  ArlaP  war  ein  Precht-Symposium,  t^^   eine  V'oche  lang 
Erechtforscher  und  Theaterleute  aus  Ost  und  Vest,  \^ort   und  Srd  zusammen- 
brachte, diesmal  mJt  einem  starken  Kcrtinpent  von  Asiaten  (aus  China,  Japan, 
Indien,  Kuweit,  Yor^v)^   was  hochinteressant  war.  Dazu  kamen  irdrn  Abend 
Vorstellungen  von  Prechtstf'^cken,  zum  Peisplel  chinesische  und  philippinische 
Produktionen  vom  "Kaukasischen  Kreidekreis",  eine  Honpkonger  Produktion  von 
"Arturo  Ui",  eine  japanische  vom  "Guten  Menschen  von  Sezuan"  und  von  zv^ei 
Lehrsti^cken.  Daf  wir  die  jev^eilige  Sprache  nicht  verstanden,  war  nicht 
schlimm,  da  wir  diese  Sti'cke  natf^rlich  sehr  gut  kennen.  Die  verschiedene 
Auffassung  und  Darstellungstechnik  war,  was  uns  Westler  interessierte.  Vir 
hatten  auch  einen  Abend  mit  Precht-Songs  und  Gedichten  (auf  Fnglisch), 
dargeboten  von  einer  aurtralischen  Sängerin  und,  am  Klavier,  einem 
australischen  Prechtforscher.  Fs  war  eine  so  ungewöhnliche  und  anregende 
Tagung,  tz^?'   ich  nur  ungern  etwas  vers?^'umte,  etwa  um  bei  einer  Peiseapentur 
meine  Papiere  fiT  meine  Chinareise  abzuholen,  ot^r   mal  ein  blTchen  von 
Hongkong  zu  filmen,  wenn  die  Sonne  schien.  Und  sie  schien  vom  zweiten  Tar  an 
tc'^glich. 

Am  Fnde  (S^r   Tagung  bin  ich  darr  ff^r  zweieinhalb  Tage  nach  China  (Guangzhou/ 
Kanton)  gefahren,  und  zwer  mit  einer  Gruppe  von  Kanadiern  und  Fnplr'ndern. 
Vfir  waren  insgesam»t  zehn,  kamen  bestens  miteinander  aus  und  hatten  auch 
einen  ganz  reizerden  Reise ffihrer.  Vir  brauchten  mit  einem  kleinen,  schnellen 
Schiff  nur  zwei  Stunden  von  Hongkong  zu  unserem  Landungsort  in  China,  in  t^r 
Nähe  t^t   Lotusberpes,  den  wir,  per  Pus,  zuerst  besichtigten.  Dort  war  eine 
Pagode,  riesige  Felsenansammlungen  und  eine  Pefestigung,  die  ich  f^'r  mich 
"Mini-Mauer"  taufte,  al5  ich  erfuhr,  daP  die  richtige  Mauer  ebenso  gebaut 
Ist,  nur  zwei  bis  dreimal  so  breit  und  natfTllch  viel  L^^'ngen.  Dann  fuhren 
wir  durch  landwirtschaftliche  Gebiete,  vorwiegend  Peis-  und  Zuckerrohr- 
felder, dazwischen  groFe  Gemf^seanpflanzungen  in  sauberer,  gerade  Reihen, 
dazu  meist  alte,  schr'bipe  Pehausungen.  Mach  ''bencuerurg  ^i?   Perlflusrer  in 
einer  Autofähre  kamen  wir  nach  Guangzhou  und  in  ein  unvorstellbares 
Verkehrsschlamassel.  Unser  Ftotel  war  ^^'v   berühmte  "VelTe  Schwan",  aber  zum 
Abendessen  fuhren  wir  in  die  Stadt.  \^c^   Fssen  war  immer  erstklassig  und  sehr 
vielfältig.  Ich  habe  auch  einigermafen  mit  Stäbchen  essen  gelernt,  fast  alle 


in  unr^f rer  Gruppe  muften  es  lernen,  ?o  brcuclite  rieh  riemr^nd  zu  p^ricrer.  Pm 
nf'chsten  Trp  h?ber  wir  ejne  lardwlrtschrftliche  ^''omriune  berichtipt,  cirrn 
eine  Seidenfphrik  und  ein  Kurrth^rdwerkrzertruni  in  Forhrn,  5^ch]3e.'']ich  in 
Gurnpzhou  reiber  eine  Pcrzellanmclerei,  Pc r:cdr,  verrchiedene  neder.krtrttm 
und  einen  freien  Markt.  Ves   rrlch  be5cnder5  beeindruckte,  wrr  die 
Freundlichkeit  der  I.eute.  NatHrllch  v;aron  \nr   durch  Hrfr-  und  Hfutfrrhr 
gleich  al5  Auslc^^'nder  kenntlich  und  alle  Menrchen  drehten  rieh  nrch  vvr   un^. 
Junn;e  Leute  aber  karren  auf  uns  zu,  um  ihr  Fnplirch  auszuprcblrrf n,  und 
ö^öurch   haben  wir  die  schcnrten  Gerprf'che  peff'hrt.  Ich  erlebte  es  scpcr,   da^ 
ein  junper  Student,  als  er  hörte,  daf  ich  aus  V?P.   kr'me,  mich  rr.it  bescndrrer 
V/arme  willkormien  hleT.  Das  bin  ich  p^r   nicht  p!;rwchnt.  Prscnders  lanre  wurde 
ich  von  vier  Studentinnen  mit  Feschlap  belept,  alle  kfTftipe  FnpJirch- 
lehrerlnnen,  die  viele  Frapen  hatten.  Fs  war  dann  par  rieht  sc  einfach,  sich 
wieder  zu  trennen.  Vf^   mich  auch  beeindruckte,  waren  die  Menschrnmasrer 
allercrts,  sei  es  auf  Fahrrr^'dern,  f'ctorr^'dern,  allen  mrplichen  komiischen 
Vehikeln  oder  zu  FuP,  und  überhaupt  das  parze  vjuselipe  Leben,  6rr^   rie 
aufzuhören  schien.  V/ir  besichtigten  Fabriken  an  Scnrtap,  c}?o   viele  arbeiten 
sieben  Tage  in  der  Vfeche,  alle  L^'den  waren  abends  um  neun  ncch  perffret, 
alles  in  Pewepunp,  st^'ndip.  IJnd  so  kinderfreundlich,  d^e   ist  fi'V  rrich  auch 
ein  Kriterium,  wie  sorglich  und  liebevoll  sie  mit  ihren  Kirderr  urpinpen. 
Auf  dem  Lotusberp,  am  ersten  Tag,  verhedderten  wir  uns  sofort  mit  einer 
riesigen  Schar  Schulkinder,  vielleicht  acht,  neun  Jahre  alt.  Das  ergab  drnn 
folgenden  Dialog:  wir:  hello,  sie:  hello,  v/ir:  how  ftc   you?  sie:  how  rre 
you?  wir:  good  bye,  sie:  good  bye.  Als  vjir  uns  spr^ter  wieder  trafen,  kr.^'htrr 
uns  die  Kleinen  sofort  diese  Redensarten  entgegen,  sie  hatten  alles 
behalten.  Also  Ihr  merkt,  ich  bin  ganz  erff'llt  und  mit  vielen  schrrrr 
Frinnerungen  heimgekehrt. 

Das  war  abrr  keinerv/rps  cp^   einzige  IV.pewö'hnl jche,  was  ^^PC   mir  zu  bieten 
hatte.  Im  Frf^hjahr  war  meine  OstberJir-r  Freundin,  nie  fchauspielerir 
V'alfriede  Schmitt,  einen  Monat  lang  Gast  an  meiner  I^niversitr't.  ?ie   hat  an 
unserem  Universitrtstheater  die  Hauptrolle  in  Prechts  St'*ck  "Der  gute  f^ensch 
von  Sezuar"  gespielt,  auf  Fngllsch.  Damit  hatte  sie  gno^en  Frfclg  und  ebenso 
mit  ihren  Fegegrungen  mit  Studenten  und  ''Erv/achseren".  Sie  hat  verschiedene 
Lyriklesungen  gemacht,  kleine  f'bungskurse  ff'r  Schruspieler  und  ist  auch  in 
unsene  Deutschklassen  gekommen.  Alle  waner  von  ihr  begeistert,  weil  sie  ein 
so  kluger  und  warmherziger  Mersch  ist,  nicht  nun  eine  gute  Schauspielerir . 
Sie  hat  natürlich  bei  mir  gewohnt,  und  es  vjcT   fi"r  uns  beide  eine  herrliche 
Zelt.  Ich  bin  richtig  stolz,  dar  mir  c^ps   pelunpen  ist. 

Am  1.  Juni  tnat  meine  Pensionierung  in  Kraft,  nur  habe  ich  davon  noch  nicht 
viel  gemerkt,  denn  ich  habe  nun  einen  Vcr\rcp   fi'V  jeweils  6pc   erste  Semester 
fmlt  halbem  Jahrespehalt  plus  Pension^.  Als  wir  öpt  vc   abmachten,  sapte  mein 
Chef,  er  wrrde  mich  ausni'^tzen,  so  gut  er  könnte.  Tatsfchlich  wan  das  gerade 
beendete  Herbstsemester  öfs   arbeitsreichste  seit  meiner  Abtrilungsleiter- 
zeit.  Viel  mehr  Studenten  als  enwartet  •  6^^   bedeutet  mehr  Kcrrekturer  von 
Arbeiten,  Aufs^'tzen,  Prüfungen  -  und  dazu  Fxtraprojekte  mit  einzelnen 
Studentinnen.  Also  es  war  eine  ständige  Hetze.  Aben  nun  bin  ich  FPF^  bis 
Fnde  August,  ich  kann  es  noch  ppr   nicht  f?srev.   In  den  n^'chsten  Tagen  werde 
ich  mich  erst  mal  ausschlafen,  V^elhnachter  f-llt  einfach  aus  dieses  Jahr. 
Pis  zum  Jahreswechsel  bin  ich  sieben  wieder  fit  und  zu  neuen  Schandtaten 
bereit . 


Nun  hoffe  ich,  daf  dieser  Gru^  Fuch  alle  in  bester  Verfc^^vrp   antrifft. 
Viele  gute  V/i'nsche  fi'T  ein  gesundes,  interessantes  und  friedliches  Heues 
Jahr  und  herzliche  Gr^'^Fe 


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102  E  CENTRAL  AVE 

OXFORD  OH  45056 


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•  Tulips  •  by  Evelyn  Scolney ,  United  States  of  America.  Design  contributed 
tp  benefit  the  United  Nations  Children's  Fund  (UNICEF).  •  Tulipes  •  par 
Evelyn  Scolney,  Etats-Unis  d'Amerique.  Composition  Offerte  au  profit  du 
Fonds  des  Nations  Unies  pour  l'enfance  (UNICEF).  *  Tulipanes  •  por 
Evelyn  Scolney,  Estados  Unidos  de  America.  Contribucion  al  Fondo  de  las 
Naciones  Unidas  para  la  Infancia  (UNICEF).  *  TKwibnaHbi  •  dsejiHH 
Ckojihh,  CoeAHHCHHue  UlTarbi  AMepHKH.  Paöcxa  nepeAana  ^excKOMy 
4)OHAy  0praHH3auHH  06i>eAHHeHHbix  HauHH  (K)HHCE<I>)  b 
6jiaroTBopHTejibHbix  uejiHX.  •  fiß^if  •  if^M  '  Älil4  fg(||@)f^o        ffl^ 


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ir  Detail  from  XVI-century  Chinese  Garden  Vase,  Ming  Dynasty.  Courtesy 
of  the  Museo  Nacional  de  Bellas  Artes,  Buenos  Aires  (Argentina),  to  benefit 
the  United  Nations  Children's  Fund  (UNICEF).  •  Detail  d'une  potiche 
chinoise  du  XVI'"  siecle,  Dynastie  Ming.  Reproduction  autorisee  par  le 
Museo  Nacional  de  Bellas  Artes,  Buenos  Aires  (Argentine)  au  profit  du 
Fonds  des  Nations  Unies  pour  l'enfance  (UNICEF).  *  Detalle  de  un  florero 
chino  del  siglo  XVI  (Dinastia  Ming);  cortesia  del  Museo  Nacional  de  Bellas 
Artes,  Buenos  Aires  (Argentina).  Contribuciön  al  Fondo  de  las  Naciones 
Unidas  para  la  Infancia  (UNICEF).  *  Jlerajib  pocnHCH  na  KHTaHCKOH  Baae 
fljiH  UBexoB  XVI  BeKa,  AHHacTH«  MHHr.  Paöcxa  ;iio6e3Ho  npcAocxaBJieHa 
HauHOHajibHbiM  MyaeeM  HanuiHbix  HCKyccTB  By3Hoc-AHpeca  J^excKOMy 
4)0HAy  OpraHH3auHH  Oö-beAHHeHHwx  HauHH  (K)HHCE4>)  b 
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•  Pink  Chrysanthemum  •  by  Fernando  Torm,  Chile.  Design  contributed  to 
benefit  the  United  Nations  Children's  Fund  (UNICEF).  •  Chrysantheme 
rose  •  par  Fernando  Torm,  Chili.  Composition  Offerte  au  Fonds  des  Nations 
Unies  pour  l'enfance  (UNICEF).  •  Crisantemo  rosa  •  por  Fernando  Torm, 
Chile.  Contribuciön  al  Fondo  de  las  Naciones  Unidas  para  la  Infancia 
(UNICEF).  •  Po30BaH  xpwaaHTeMa  •  <I)epHaHAo  TopM,  Hhjih.  Pa6oTa 
nepeflana  ^^excKOMy  cDoHfly  OpraHHaauHH  OöieAHHeHHbix  HauHH 
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TiojLru 


NATIONAL  ORGANIZATION  FOR  WOMEN  (NOW) 

NOW  is  the  largest  women's  rights  Organization  in  the  country. 
Founded  in  1966  to  "bring  women  into  füll  participation  in  the 
nnainstream  of  American  society/'  NOW  is  actively  involved  in 
every   issue   relating  to  füll  equality  for  women. 


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*  Joy  •  by  Cecy,  Peru.  Design  contributed  to  benefit  UNICEF,  the  United 
Nations  Children's  Fund.  *  Joie  •  par  Cecy,  P^rou.  Composition  Offerte  ä 
rUNICEF,  le  Fonds  des  Nations  Unies  pour  l'enfance.  *  Jübilo  •  por  Cecy, 
Peru.  Contribuciön  al  UNICEF,  el  Fondo  de  las  Naciones  Unidas  para  la 
Infancia.  *  PaAOCXb.  CecH,  Flepy.  Paöora  nepeAana  IOHHCE<t>,  XlercKOMy 
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102  E.  CENTRAL  AVE 
OXFORD,  OHIO 
45056 

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rx^ina!^  hri-f'tt"'   ich  liich   •v'^i^tern    '.!>fMui   an;^r»r';ff»n,   l:)Oschlo:>s  dann  a])cr,   tt^   ;?ni  prapKlsß'nor, 
Dir  erat  ^»rl  ?i'lic?i  allwa   zu    •Jrklaer^^ri  un^l  dio  bei(/«?rn(*jttf^n  Papiere  zu  Fjr»ndun—  dann  kann 
rnn  nnclior  am  Telc^^ron  danieb«r  .^f)r<*chr^n,  vA^nn  Ihi  di^»  Untf^rlaiP^vn  bfT^it'^  /j^t^.^f'flK^n  ha^'t  usv, 

4  .  ■  . 

Bf^i  dt->r  (jf)l  :^^':«nhftit  virst  \hi  mir  dann  auch  ^a.(j;f?n,  wir»*s  J)ir  ,^ftht —  ich  HOPW,  da???^   f?s  doch 
viüor  i'invarbof»   ?*twaM   l<!?xchtftr   Tii^r  Dich  ^'<!5worii.f»n  ist  urtd  di<»  ])r«3siirc  fjrri  !:/>'■  J"»  •  •      ^^-^<^^  auch 
sorust  ilris   [v>])on   rreundlich  odf>r    f re»un<llichKH. . .      Ich  ho{T,m^    lu.nfrß.'^n  vf^iter,  mit  d^m  ilolly- 
wcccl   Teil,   sfthr  lanf^sam,  vir*l   zu  Tf>n:>;«?Mm,   aber   inii^rhin.  ••      rnvrwi  sch-^n  scbri<'^b  mir  auch 
Hair^^rs'   As -jifttntir. ,   VI^<  «5f^hr  ihr  df»T    fturr?f>.   T<»»i.l  dM»  Mr?moir'^'n  /i^f»faf*llt  xjvd  dass  man  doch 
damit  .uich  onrllicb  mal  was  fn<rr  Dich  tun  kocnnen,  d.h»   also,  da.s«   sif?  ütn   fuor  vorkaf»u;flich 
ha<=^lt,  -ifa:^  Piich  all<'^i?   .sehr  freute,   vor  al.leir.,  w<^il   si«  doch  «»in^   ffan?:  nndrc*  Cr<^n<=^ration   ist 
(si^^   jst  An'*an/;  Dr<»i.ssifiji ) ,  und,  w^-Min  auc>i  mir  frf'und1i<jh   f^e^unnt   (ai«     ar  <*inrnal   einon 
Monat  in  OT  und  vir  freundeten  uns  damals  an),  docli  nicht  involvi<^rt  also  ob,]>ktiv— -  es 
war  sich^^rlinh  ;?uch    fvf)r  }!\ir)fn   wichtig,   «'*in  -j.^n^^s   (>Vtf^il  b<^^ta<»t1.fTt  /'^i  bf*UoniTen   und  in 
P'rVr  Vei3e>   »pßj^tnr  dann  f^«r.tuet?:t   zu  w^^rdftn,   «i<»   ist  ^in  wichbij^or  Tf*il  d<*r  Arjwtur  Vieutc© 
Also,    OS    sieht  vi<*lvcrsprechftnd   aus,   abf^r  d'^r  Holly^/focd   Teil  mviss  halt  ondüicli  auf  i^.pier 
ü^in,    ohnft  fla.s   ^j;«htr.   f.d)^n  nicht«       .     ^v,       -". 


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Nim  KU  ^fn>^  andorn»      A,r^nos  Bf?rnolle   ist  die  Tochter  von  Rudolf  l^ornauer,  (^er  mit  Melnhar''  — 
N'^inhard    *'    iWirnauer—  neben  Reinhardt  das  wichtigst*  Clement  de«    berliner  Theat(*rlebens 
bod<^:itet;   ni'^in   Vaher  war  ih'H<naturfj  hei   ihn<i^n,    im  ilobh«^!  Tho'^tt'r,  das   sie  j^o^s^runndet  hattf?n 
Mud  wo  die   imrvcrhin  se>>r  ^rhebliclie  Mitgift  meiner  Mutter  entschwand...      Dtifi  Jlc^b^^el   Thcatc^r 
war  dat>  Haus,  wo  Strindber^  vrj\   Vedekind   ati.Vcrnehrt  wurrl'»p  usw.,    spaeter  hiess   os   'JT-aater 
in  dnr  liofm^if^T'xatznr  Strasse,  v/o    ich,  mit   12  Jahr'^n,   mit  meinem  Vater  in  .der    l^remiere  von 
einen   S;;^^i!':!1?TAlHrsT:'\1'M   rns:^.enierunr:  war,    in  df-r  dif^  Dietrich  die   liyppolita  «piclto... 
"Vi^nos   i>ernau^:^r'*,  wir  nio  wirklich  getauft  ist,   ist  meine  Freundin  Arri  und   /rrale    in  NY   (sie 
lebt  in   Irland,  war  in  orster  l'Hif^  verheiratet  nit  einen   Fieslie,   dfir  der  Knkc'l   von  einer  der 
<lroi  dmam:  oi-stors  uV^*,  die*  andr<»  hiess  Jennie  und  he irate^^ Churchill  pVr#^  und   war  die 
fhitte     von   A'itJ'^iton) —  Du  ersiehst  .aus  dem  allen  den  ßack^round» 

Af^i  wirf!    hi€?r  in   einen  of f-iJroad'./fiy  i^^yue^ic   spielen,   und   die   zweite  Kaelfte  der  Woche   ihre 
OYie-Vor.an-shov  machen,  mit  1-iiedern  von   i^roclit,  Uin<jelnatz  usw.  hautpsaechlich  woM  Brcc'it, 
vovi  dem  sie  auch,   wie  Du  aus  dem  i^rogramm  ersi'?hst,   Thi'!  iMOTiT/R,  ir\  J^ublin  'gespielt  hat.      Sie 
ho,t   i]ir»>   oite-wonan   show  mit  vielen  V'rfolftf   wi'>  ^-^^  aus  den  i^ritiV.'»n   ersiehst,   in  «>uhlin  nnd 
Mnfvland  pespiolt  und  der  Haupt «i:3:*und   i))r0s  moinentanen  Hierseins  i^t  die  Hoffnung,    eine  tour 
von    ijaerik.   Univorsitart^n  dafuer   (damit?)   zustande   zu  briuj^en. 

... 

M'^.tu<>rlich  h-il»   ich   sofort  an  !dch  mit  dr^p.i  all-^n  gedacht,   an  Dein  Department    (sie   sir<jt  und 
liest   rjir^r   "vu^  eut'ilisch —  ich  woiss  nic^it,   o'>  si#^  es  auf  deutsch  macht,   odf»r  r^'chen  -  uc»rde, 
wenn  .sich  di'?  (  olerT-nheit  bietet)  und  dass   Di\  womoej^lich  sehr  interessiert  war>r^vst,    sie 
nach   'bcford    zu  brini^on?     (}f>ld  hn.t  sie  uebj^r)>aii;rb  Keines,   also  nur  so  znm  'ST>a3S  koennte   sie 
nicht  kom.'fMrn,  ab'-r  vl"lleicht  ko'^fitei^st  Du  od-^r  «/u<»rdest  J)u  etwas  arranf^ier^v»  wollen??? 

An  ^\    ^'  V»   i>:"^  di.    Prrmi.'ire  i  r.^  .'tu^cl^ef?    (i«"h  ft'^h*  zur  '^rstnn  7)r"viow  an  7.)  und   an  13.  Nov. 
dio    ih.rr  5    r!i,(ni?n    «bonds    (wo  ich  auch   :'•^}h♦?)•      i^-V^  M'^?ibt  his   etwa  Mitte  jJezenh->r  in   DJew  Yorlc, 
\ir\d    i'^?'{  .'l'iuho,  wird   sich  allen  erst  w.ichnen  Icoennen,  wenn  di^*  beiden  JVomi:>ron  hint^ir  ihr 
lio./t'n  r\nd<li'>  x^^nb^n,   die  an  d<'m  verschiedensten   '']cken  von  ^J^""  sich  abspielen    (T':eater  und 
Pianist  ur.v^  ) —  vielleicht  waore   es  das   «jeste,  wenn   ich  Dich  anriefe,   !iAC'li)'vl  ich  den  Abend 
selbrt  ;'e:^.:>>an   habe    (ich  hab  sic^  noch  nie  auf  der  Buehn'-^   iri^sehen,   aber  ^ii^,   ist   eine   sehr 
ir.tfroe3s?rntj^^  J/rau  an  5'ic]\,   tuid  sowa.s  kom  ^t  Ja   imner  durch).      \\\f  jcd-^n  '*'all   schicke   ich  Uir 
liiornit  da.^  y;ublicity  Material,  das  sie  hier  hat,nN(5l  damit  .Du  sc^ion  :»al  sie'ist,   ob  os  vor; 
Ir.tor«-)S;^e   furr  j)ioh  ist.     Ihinn  wi:rvl  man  './eit(?rse}h^n.  .  .  ,^    . 

rieino  (fistüa,   hoffv^ntlich  laeuTt  dc^.r  Hase  boi   Dir  KtRkix%>i  statt   etwi    %n  '^^i.ineji)— -  rr^aclis  .     /., 
(znt  m.^  «ni  umarmt  von  itei.n^r  •  ta^tox^J^'-.'-  jv   >      l''-'^-:^'   X^U-^C^Uili 


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^IZ       ZT     T'""  vT"".   '"''"  ^"^"  vorzubereiten,  waohron.l  ich  auf  Nachricht  au«  Hollyvoca 
warte.  ooU  auch  ins  Klostor,  y.,:>   or.ton  Mal  soit  fast  2  Jahron,  ahor  alle«  nongt  vonXhn 

and  bei  Dir?  Hom>ntl,ch  aJlo«  etwa,  leichter...  Va.  ich  üir  von  Uor^.en  vuenscho-  allos  Lieh 

H*w  Yor)>,  ']im   20.  November  lO'''?   I  Deine 


\. 


T.ieT>.ste  Gl  sola — 


dass  jrii?iri   orster  Hriel*  an  DicH,  voc^en  Ürccltt  iinH   A^^no?}  Berric^llo  vom  20.   03^t.  var,    ist 
ar^,  ithev  ir-nr)chvxil   ist  oa   jra  sp,  dasH  man  oin''acb  nicht  .ichroibon  kann,  aus  dim  v«r- 
sohicnleh^tcn  Grrionden,   so  ancrh  Miior—- «  ])itt^^  ver/ieih, 

Teil   ijchioi't  Dir   nier  das   Pr()»cro4iUT^,  bis   ziirn  Abond    selbst  vniaste  ich  nicht,    rosy).   hatte   (fo-- 
fflixuVtf  ni>  3oi  Mi'ilN  Irrtvim,   da^üs  vVri   in  der  anunrik.    lYemi^Jro  Oginos  l-irocht  otueckes   .ipiolt... 
Ich  hatto  clio  ^'.n)ize  Zeit  /r<*K^^^<b't,   es  hancU*^  sich  um  don  H/ick,  <!•'  •   den  (Tharl^^tto  von  Stein 
Monolog, ••      Da  nir>n>nds   in  MY  pübJi<;it3''  qemacht  v/crdon  var,  vnrdo  moin  Irrtuiii  anch   nicht 
wirklich  korrj.i^ic?rt«      Ich  fxhn:  clann  nic)vh  7a\v  provlov,  da  wir    (d.h.   NX)  hurricano  warnings 
mit  donnasunn  Unwottern  hatlyon,   da.s.s   irh  nicht  zum  andern  Kndo  von  MY  rcis^^n  konnte,   auch 
meine  A/i^entin  nicht,  mit  clor  ich  /^in/^—  stati/dossen  zur  Premiere*     Das  Theatorchen  winzig, 
vielleicht  100  -  120  Plaetze,  die  Buehne   entsprechend,  was  bei   oinom  Soldaten:3tueck  mit 
4  Maoimorn  in  boots  und  droehnenden  Brettern  cl«itrophnbi3ch  war...     A^i  als  Chorus  mussto 
von  der  ersten  iieihe,  vo  sie  aass,   zusammen  mit  der  iMusik,   im  ihinlceln  auf  eine  Art  Vor- 
buojiiie  klettern —  in/^entous,   ja,   aber  doch  alles  sehr  sehr   primitiv»      Ich  hoere,  dass  Brecht 
zu  seinen  Lobzeiten  das  3bueck  nie  aufp:ofuehrt  hatte,   resp.  dass  der  jun/^e  üe^issenr  Mk 
McDovell,   der  es  uebersetzt  hat   (er  war  auf  einem  l^'Nilbrifrht  in  l^eutschland ,  um  dort  zu  sm 
dieren),   es  au:^   50()  vorli(»/ronden  Saiten  auf  1[)0  Konzentriert  hat...      Ich  Ijabo  oa  nicht 
wirklich  vorstanden,  d.h.  die  Symbolil^  war  /^enau  um/rekehrt  von  dem,  was  ich  erwartete— 
Widerstand  ^e^cm  Militarismus  lind   P'ahnenflticht—  sehr  n^it.     Aber  warum  komrnen  dann  alle  zum 
Schluss  ,^;ewalttaei  bif^  uia?     Nun,  wahrscheinlicli  fehlt  mir  das  Wissen,  um  Brecht  wirklich  zu 
verstehen,  Du  vorstehst  es  sicherlich  besser.     Vielleicht  haette  man  das  Stueck  ruhen 
lassen  ^lollen  oder  vielleicht  brauchte  es  eine  weni^ijor  conflned  Darstellung...     Agi  sagte 
mir,   sir)  hatte  das  Gefuehl,   ctxBxtoeke  sie   stiesse  mit  dem  Kopf  an  die  Decke —  ich  auch. 
Sie  ist  jfiindestnns   t^o  gross  wie  Du  imd   eher  etwas  berolina— haft,   sie  S7>rengte  den  UaV^men  in 
jeder    \'eisß,   figuerlich  und  als  Persoenlichkeit.     >fary  fandes   alles  sehr  intore.ssant  aber 
auch,   dass  Agi  viel  zu  stark  fuer  ihre  Umgebung  war —  nus  den  obigen  (Irnenden. 


Ihr  eijr^n-fr  Abend —  ich  gind  da  nicht   zur  Premiere,   denn  die  war  wiederum  so  spaet  am  Abend, 
dass    <ch   nicht  haette   nach  Jlaua  kommen  koennen  ausser  v<ir  sehr  teuren  Taxi  usw. —  also,    ich 
ging  zur  ersten  Vorstellung  danach.      Infolge  mangeldnder  Publicity  waren  wir  nur  eine  Hfuidvoll 
Zuschauer,* v/as,  wie  ich  sclbet  weiss,   katastrophal  ist,  wenn  ran  auf  der  Buelme   steht  imd 
sozusagen  ins  li(^oi?  singt»     Sie  sing-    voellig  im  Stil  der  Zeit,   sparsam  in  den  Gesten,   sehr 
ausdrncks-voll  in  den  Augen   (die  sehr  gross  und   schwarz  sind) —  selir   ^e^^solnd.     Di\s  Material 
sehr  gut,   eine  Auswahl  von  ich  glaube  80,   in  ihrem  Repertoire.      Ich  glaube  allertlings,  dass 
diese  Art  von  Cliansonniere  hier  nicht  unbekannt  ist   (Mn,rthe  Sohlamine  liab  icn  selbst  gebeert ) 
—  kann  also  nicht  beurteilen,   wie  viel    Interesse   in  Univers »taeten  dafuer  bostohen  wuorde. 
Sie  sirigi',    im  iHd)j'igen,  >^iniges  au*""  deutsch,   Zugabe  war  franzoesisch.     Sie   IST  eine  sehr 
interessante  x'*raii,   eine  eindrucksvolle  FA/nir  auf  der  Buehne—  auch  hier  sprengte  sie  wieder 
(\(yi^  lin/imeu.      3it»  hatte,    e^e  sie?  !ierkan,   Isoine  Ahnung,  dass   alles  rlemas.^en  arnntourisch  vor— 
bereit^rl  w(?nien  uii'd —  schmiss  beinah  alles  hin,  haelt  ahor  aus,   DM  eben  eine  Tournee  vor- 
zubereiten imd   ^mdre  Moeglichkeiten,  was  von  !)ubl.in  au'^   nnmoe/rlich   ist. 

Nach  T]uui!'.sgiving    flie.r'    sie  nach  Hollywood  fuer  3  Vorstellungen,  dif?  ))or^»ibs  ausverkauft     •. 
sind,  war,  mic]i  sr^lir  sehr   freut,   es  riuss  sonst  arg  deprimierend  gewesen  sein.      I<?h  habe  sie 
diese    /oc!vj  nicht  gesproc  en,  vielleicht  war  diese  Voche  besser,  was   ich  sehr  hoffe. 

Hier  r;in/t  b^rl  mir  allos   run*',or  und  dx'ueber —  ich   soll  violleiclit   schon  sf.'hr  balil,   viell. 
erst  Anfraig  J;imiar  eucotHJc  oder  so,  nach  Hollwood    fliegen  um  John  zu  seh(^n,  der  2  Monate  auf 
Iie])eri  U7vd  *o(il   ii-  hospital  lag,   ge.ijtern  r.viskr.j-ri,   a!>''?r  irh  weiss  noch  T^icht,   vre  er  sich  erholfin 
wird  Uii\;,  usv.     Kr  ist  befreit,  ue])or  meine  Monoir<m  mit  mir  zu  sprechen,   sobald   er  dazu  im- 
stamle  ist,    ibrr  das  Ganze   ist  mir  sehr  sehr  Iti  die  (iliod^»r  -c^^'^ihren  und  ich  es  gin^t  nir 
gar  nic!->t  gut   in  den  letzten  7ochen,   exliaus^-ed,   in  jeder  Pdchtung.      Ich  versuche,   mich  zu 


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W.  Atlee  Burpee  Co. 

Warminster,  PA  18974 


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*  Peace  •  by  Gian  Calvi,  Brazil.  Design  contributed  to  benefit  UNICEF, 
the  United  Nations  Children's  Fund.  *  Paix  •  par  Gian  Calvi,  Bresil.  Com- 
position  Offerte  ä  l'UNICEF,  le  Fonds  des  Nations  Unies  pour  l'enfance.  * 
Paz  •  por  Gian  Calvi,  Brasil.  Contribuciön  al  UNICEF,  el  Fondo  de  las 
Nacioncs  Unidas  para  la  Infancia.  *  Mwp.  )KiiaH  KajiBH,  Bpaaiinnji.  Pa- 
6oTa  nepeaaiia  K)HHCE<1>,  XlercKOMy  <J)OHAy  OprauHsauHH  06T>eflHHeHHbix 
HauHH.  BönaroTBopHTejibHbixuejiHX.  ^    I0¥o  15! S  •  ~^^>*ft   (Cffi)  f'^oS^ 


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Books 


Toward  a  Surreai  Destiny 

FIN-DE-SIECLE  VIENNA:  POLITICS  AND  CULTURE  by  Carl  E.  Schorske 
Knopf:  378  pages;  illustrated:  $15.95 

When  Vienna  was  good  it  glittered, 
and  when  it  turned  bad  it  phospho- 
resced.  This  shimmer  of  decay,  80  years 
later,  still  lights  up  the  contemporary  ter- 
rain  so  pervasively  that  the  city  seems  less 
a  historical  place  than  a  State  of  mind. 
Psychoanalysis  was  born  there,  as  well  as 
atonal  music,  several  schools  of  urban 
planning  and  modern  Zionism.  Vienna 
also  spawned  the  brand  of  hooligan  anti- 
Semitism  that  was  admired,  studied  and 
perfected  by  an  Austrian  named  Adolf 
Hitler.  The  powerful  impulses  sent  out 
from  turn-of-the-century  Vienna  have 
made  it  difficult  to  imagine  the  place  as 
it  actually  was,  to  sense  how  and  why  peo- 
ple  converged  there  in  ways  that  would 
alter  the  world.  In  Fin-de-Siecle  Vienna, 
Historian  Carl  E.  Schorske  gives  the  city 
back  to  itself.  The  bock 's  seven  related  es- 
says  carefuUy  reconstruct  a  Vienna  of 
bricks  and  beliefs,  a  real  place  building  to- 
ward a  surreal  destiny. 

Politics  and  culture  intersect  some- 
where  in  all  societies,  but  in  19th  Cen- 
tury Vienna  they  positively  embraced. 
That  alone  made  the  city  unusual.  The 
middle-class  liberals  who  gained  parlia- 
mentary  control  in  the  1860s  were  in- 
genuously     industrious     and     earnest. 


Excerpt 

MK  Beginiiing  roughly  in  the 
■!■  1860s,  two  generations  of 
well-to-do  children  were  reared  in 
the  museums,  theaters  and  concert 
halls  of  the  new  Ringstrasse.  They 
acquired  aesthetic  culture  not,  as 
their  fathers  did,  as  an  omament 
to  life  or  as  a  badge  of  Status,  but 
as  the  air  they  breathed . . .  The  two 
children  of  the  Wertheimsteins,  one 
of  Vienna's  wealthiest  intellectual 
Society  £eunilies,  were  privately  tu- 
tored  to  be  artists,  and  the  'artistic 
natures*  of  these  melancholy  neu- 
rotics  were  the  subject  of  general 
appreciation.  The  great  psychiatrist 
Theodor  Meynert  encouraged  his 
son  to  a  career  in  painting,  his 
daughter  teils  us,  *as  if  all  those  tal- 
ents  and  inclinations  which,  passed 
on  for  generations,  germinated  in 
[the]  father  . . .  now  broke  through 
energetically  in  the  son.*  The  great 
pathologist  Carl  von  Rokitansky 
had  his  patemal  dreams  of  glory 
fulfilled  when  he  could  boast  of  his 
four  sons  that  they  were  divided  in 
their  careers  between  singing  and 
medicine:  Two  howl  and  ■■ 
twoheaL*  mm 


Gustav  Klimt's  Judith  andHolofemes 

Schorske  describes  their  self-assigned 
mission:  'The  principles  and  programs 
which  made  up  the  hberal  creed  were  de- 
signed  to  supersede  systematically  those 
of  'the  feudals,'  as  the  aristocrats  were 
pejoratively  called.  Constitutional  mon- 
archy  would  replace  aristocratic  abso- 
lutism  . . .  Science  would  replace  reli- 
gion.  Those  of  German  nationality  would 
serve  as  tutor  and  teacher  to  bring  up 
the  subject  peoples,  rather  than  keep  them 
ignorant  bondsmen  as  the  feudals  had 
done."  Unlike  their  counterparts  in  Vic- 
torian  England,  though,  these  reformers 
were  not  grim.  They  were  as  bewitched 
as  the  rest  of  the  world  by  Viennese 
high  culture,  the  sheer  sensuous  pleasures 
of  concert  hall  and  opera  house.  They  be- 
came  crusading  dilettantes,  promising 
themselves  a  secular  paradise,  "Strong 
Through  Law  and  Peace"  and  "Embel- 
üshed  Through  Art." 

They  transformed  the  band  of  unde- 
veloped  land  that  had  once  fortified  the 
medieval  city  into  the  Ringstrasse,  a 
sweeping  monument  to  reason  and  pros- 
perity.  Museums  and  apartment  houses 


Oskar  Kokoschka's  Self-Portrait 


Painting  of  Sigmund  Freud  from  the  1920s 

Launchingan  epic  Journey  into  the  seif. 

went  up  in  profusion,  stony  rebukes  to  the 
older  aristocratic  arrogance  of  church  and 
palace.  Lacking  a  past  of  their  own,  the 
bourgeois  builders  raided  history  for  ar- 
chitectural  fa9ades.  Critics  arose  to  de- 
ride  this  use  of  art  to  disguise  true  func- 
tions.  Something  eise  about  this  vast 
project  seems  to  have  escaped  notice:  in 
its  broad  circularity,  the  Ringstrasse  led 
nowhere. 

The  rational  ideal  had  scarcely  been 
erected  before  dismantling  began. 
Schorske  describes  this  process  as  both 
a  siege  and  a  mutiny.  Disaffected  peas- 
ants,  artisans  and  Slavs,  among  others, 
began  massing  pohtically,  demanding 
certainties  and  absolutes.  Taking  to  the 
streets,  they  cared  nothing  for  the  hal- 
lowed  liberal  creed:  "Wissen  macht  frei" 
(Knowledge  makes  us  free).  Poet  Hugo 


TIME.  JANUARY  28.  1980 


85 


Books 


Carl  E.  Schorske 


Giving  a  city  back  to  itself. 

von  Hofmannsthal  saw  what  was  hap- 
pening:  "Politics  is  magic.  He  who 
knows  how  to  summon  the  forces  from 
the  deep,  him  will  they  follow."  All  too 
soon  Wissen  macht  frei  was  degraded 
into  the  cruelly  deceptive  slogan  of  Nazi 
death  camps:  Arbeit  [work]  macht  frei. 
Threats  from  without  the  Uberal  camp 
prompted  a  collective  breakdown  within. 
Reason  was  not  working,  the  center  could 
not  hold.  Art  now  seemed  a  temple  of  ref- 
uge,  an  increasingly  rarefied  place  to  es- 
cape  ugly  reality.  But  the  best  young  art- 
ists  worked  not  to  comfort  or  distract  but 
to  disturb.  Gustav  Klimt  appalled  older 
liberals  with  painting  that  celebrated  na- 
ked  Eros.  Oskar  Kokoschka,  a  bit  later, 
produced  portraits  with  the  Visual  impact 
of  grenades.  Sigmund  Freud  watched  this 
symbolic  annihilation  of  fathers  by  sons, 
and  was  reminded  of  Oedipus. 

Freud  could  conceivably  have  launched 
his  epic  journey  into  the  seif  from  any- 
where,  but  Schorske  demonstrates  what 
a  perfect  laboratory  Vienna  was  for  his  re- 
searches.  The  society's  rapid  disintegra- 
tion  forced  Freud  and  other  intellectuals 
to  search  for  explanations  of  chaos.  "Was 
it,"  Schorske  writes,  "because  the  individ- 
uals  . . .  contained  in  their  own  psyches 
some  characteristics  fundamentally  in- 
compatible  with  the  social  whole?  Or  was 
it  the  whole  as  such  that  distorted,  par- 
alyzed  and  destroyed  the  individuals  who 
composed  it?  Or  again,  was  there  perhaps 
never  a  rhythmic  social  whole  at  all,  only 
an  Illusion  of  unified  movement  resulting 
from  an  accidental  articulation  of  funda- 


mentally incohesive,  individuated  parts?" 
Increasingly,  Freud  came  to  suspect  that 
the  demons  tearing  Vienna  apart  resided 
deep  within  her  defenders  as  well  as  her 
enemies. 

The  father  of  psychoanalysis  did  more 
than  observe  Vienna;  he  suffered  it  too. 
Schorske  argues  that  The  Interpretation 
of  Dreams,  written  during  the  1890s,  was 
in  part  Freud's  apologia  to  himself  for 
having  failed  in  the  public  sphere;  the 
book  was  also  his  subtle,  perhaps  uncon- 
scious  revenge  on  a  city  that  continued 
to  deny  him  the  professorship  he  deserved. 
In  his  dreams  Freud  first  reduced  all  po- 
litical  activity  to  a  struggle  with  the  fa- 
ther and  then  conjured  up  a  triumph  over 
his  own.  He  gave,  Schorske  writes,  "his 
fellow  liberals  an  a-historical  theory  of 
man  and  society  that  could  make  bear- 
able  a  political  world  spun  out  of  orbit 
and  beyond  control." 

Schorske's  choreography  for  the  de- 
scent  from  Vienna  waltz  to  danse  maca- 
bre  is  masterly.  To  capture  the  city's  di- 
versity  and  fragmentation,  he  has  drawn 
on  art  history,  urban  theory,  literary  crit- 
icism,  psychoanalysis  and  political  sci- 
ence.  Given  the  specialization  that  reigns 
in  academe  (Schorske  teaches  history  at 
Princeton),  such  breadth  of  leaming  is 
doubly  impressive.  Better  still,  the  author 
never  strains  after  the  easy  relevance  or 
trite  generalization  that  so  often  spices  up 
populär  histories.  His  Vienna  retains  its 
integrity  as  a  unique  place  in  a  special 
time.  In  the  end,  though,  his  book  is  ad- 
monitory.  Vienna's  ideal  of  a  peaceful  and 
just  society  is  no  less  valuable  for  having 
failed.  Even  in  its  fragility,  the  vision 
yielded  up  genius.  —  Paul  Gray 

Laid-Back 
Camaraderie 

A  COUPLE  OF  COMEDIANS 

by  Don  Carpenter 

Simon  &  Schuster;  220 pages: 

$9.95 

In  A  Couple  ofComedians,  Narrator  Da- 
vid Ogilvie — gagman  of  the  title  team 
— makes  a  hst,  in  descending  order  of  Sta- 
tus, of  the  Los  Angeles  hoteis  favored  by 
showfolk.  He  does  it  perfectly,  beginning 
with  the  Bel-Air,  ending  with  the  Mon- 
tecito.  This  may  seem  a  small  felicity,  but 
it  is  precisely  the  sort  of  thing  that  writ- 
ers  of  parboiled  Hollywood  romans  a  clef 
usually  get  wrong  or  skip  altogether  in 
their  haste  to  get  to  the  casting  couch  and 
the  boudoir. 

Verisimilitude  is  only  one  of  several 
virtues  of  Don  Carpenter's  shrewd  and 
tightly  written  novel.  Comedians  contains 
just  one  Star  other  than  its  central  Com- 
ics, and  she  is  only  a  walk-on.  It  needs 
no  more.  The  cast  is  perfect,  and  the  com- 
edy  unfailingly  original.  There  are  no 
libidinous  or  abusive  producers,  no  hys- 
terically  egomaniac  directors,  not  even 


a  failed  novelist  making  a  rieh,  bitter 
livelihood  by  writing  for  the  screen.  The 
author  has  been  a  novelist  (Hard  Rain 
Falling,  The  True  Life  Story  of  Jody  Mc- 
Keegan);  he  has  also  been  a  movie  and 
TV  working  stiff,  and  what  he  is  of- 
fering  here  is  an  accurate,  lightly  ironic 
record  of  the  laid-back  camaraderie  an- 
imating  the  movie  business. 

This  does  not  mean  that  Ogilvie's 
account  of  how  his  straight  man,  Jim 
Larson,  goes  slightly  bananas  in  the 
course  of  finishing  a  movie  is  a  mere 
fever  chart.  The  journey  of  another  kind 
of  odd  couple  dramatizes,  poignantly  and 
wittily,  Elizabeth  Hardwick's  Observation 
that  performers  tend  to  lead  their  lives 
"gregariously  and  without  affections." 
There  are  lots  of  gorgeous  scenes,  in- 
cluding  an  incident  of  Status  panic  in 
Schwab's  drugstore  with  a  lunchtime 
crowd  of  actors  desperately  vying  with 
one  another  for  the  attention  of  a  pow- 
erful  producer,  and  a  party  where  a  White 
House  staffer  learns  how  power  politics 
works  when  it  leaves  D.C.  for  L.A.  Car- 
penter does  these  set  pieces  so  well  that 
he  sometimes  forgets  to  nail  down  Lar- 
son's  character  firmly  enough. 

But  there  may  be  art  in  these  ellipses. 
Performers  of  Larson 's  type  are  of- 
ten only  shadows  of  the  carefully  tai- 
lored  selves  they  project  to  the  public. 
In  private,  filling  the  empty  days  be- 
tween  engagements,  they  try  to  find  an 
intensity  to  match  that  of  their  onstage 
moments.  There  is  a  sweet  emptiness 
about  them,  a  vacancy  that  leaves  by- 


Don  Carpenter 


'This  is  love . . .  the  hell  with  the  rest. " 


I 


TIME,  JANUARY  28.  1980 


87 


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Books 


Standers  fecklessly  trying  to  connect  the 
dots  of  their  Personalities. 

Ogilvie  speaks  for  such  Stars  when, 
finally,  the  team  Steps  onstage  in  Vegas 
to  a  mölange  of  light  and  laughter:  "This 
is  love,  my  friends,  and  the  hell  with  the 
rest."  Novelist  Carpenter  knows  better; 
the  comedians'  implicit  longing  for  nor- 
mality  and  humanity  proves  that.  But 
Carpenter  also  knows  that  the  simula- 
crum  of  love  with  which  his  Comics  are  re- 
warded  is  more  than  most  people,  lead- 
ing  their  ad  hoc,  late  20th  Century  lives, 
ever  get.  There  is  bite  here,  but  no  bit- 
terness.  The  overall,  and  lasting,  effect 
makes  A  Couple  of  Comedians  an  unusu- 
ally  literate  and  oddly  touching  novel 
about  performers  going  through  the  sound 
stagesoflife.  — Richard  Schickel 


Editors'  Choice 

FICTION:  A  Married  Man,  Piers  Paul 
Read  •  Old  Love,  Isaac  Bashevis 
Singer  •  On  the  Edge  of  the  Cliff, 
V.S.  Pritchett  •  Shikasta,  Doris 
Lessing  •  Smiley's  People,  John  le 
Carrd  •  The  Executioner's  Song, 
Norman  Mailer  •  The  Ghost  Writer, 
Philip  Roth 

NONFICTION:  Charmed  Lives,  Michael 
Korda  •  Show  People,  Kenneth 
Tynan  •  The  Duke  of  Deception, 
Geoffrey  Wolff^  The  Falcon  and  the 
Snowman,  Robert  Lindsey  •  The 
Right  Stuff,  Tom  Wolfe  •  The 
Russian  Empire,  Chloe  Obolensky 
White  House  Years,  Henry  Kissinger 

Best  Seilers 

FICTION 

1 .  Smiley's  People,  Le  Carri 
Q  last  week) 

2.  Jailbird,  Vonnegut  (l) 

3.  Triple,  Follett  (4) 

4.  The  Last  Enchantment, 
Stewart  (7) 

5.  Memoriesof  AnotherDay, 
Robbins  (3) 

6.  The  Executioner's  Song,  Mailer  (6) 

7.  The  Establishment,  Fast  (5) 

8.  Portraits,  Freeman  HO) 
9.TopoftheHill,5'/iaw(9) 

10.  The  Dead  Zone,  King 

NONFICTION 

1.  TheBrethren,  Woodward  & 
Armstrong  (1 ) 

2.  Aunt  Erma'sCope  Book, 
Bombeck  (2) 

3.  White  House  Years,  Kissinger  (3) 

4.  James  Herriot's  Yorkshire, 
Herriot  (4) 

5.  Cruel  Shoes,  Martin  (5) 

6.  Serpentine,  Thompson  (6) 

7.  The  Right  Stuff,  Wolfe  (7) 

8.  The  Americans,  Cooke  (10) 

9.  On  a  Clear  Day  You  Can  See 
General  Motors,  Wright  (8) 

10.  Anatomy  of  an  lUness  as  Perceived 
by  the  Patient,  Cousins 


TIME,  JANUARY  28,  1980 


Maria  Barnett 
Wittenberg  Road 
Mt,  Tremper^  NY 


12457 


t  1  «otraM 


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Chf-r  ulnare — 

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lintlemeiit  TüUT  eyfc   öut  uri  ^.leu  un  ^  ru  iif-buleux  prubcbieiutut  ceri   en  ^ffe-t, 
fjvec  tcutfc.,  ^ez  recnercliec  cut-  j'^i  ftit|   iii  HiOi  iii  ^x-rsomie  ne  ^ourrait  o/VüiR 
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idaiib  i!J   diviL>iün  ^our  t-mprunt^rj    dont  j'^tait  ravie-  car  j'^i  t  liürmciaerit  ae 
diff'Icu-^ter  ov   tui'rr'    tout  C€*  cui  tßt  piiixo^o^;hit-   ut  J^t  n^   u.'tur<vife  jaj  i.it  cüxü- 
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f-novoj^fr —  VThiiL^^it,   vous    ?tt^  un  J\l-'l  t-t  jt-   vous   ^--li  reiii»:rcii-  Bl/iüCoU?, 

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uul,   j'''i  iu  it    of^rriier  roniai  de.   Kt-i.ifcr::u«r ,   en  Klxtinir.d,   f:-ii  'i^hiic-n*'    k^c^^w, 
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oe   cürri^'r^r  1-^  errearts  let  plue  flfi^ruitirS  coiane   *'lif  iico^tcr^^*  ptjiddt  c^  tte 
tjUtrrt:|  t^ir  condiliünliit,  gliI::  uii  p^rtit  £:j;pM-t»  iritnt  1    *iY  iu  iJ^T,   Iv   iioi:.  de 
i.F.    Uobif    rui    tout  ü'uü   cüup  fcpj^^bn.^lt  comiiie  I'Jiirif  i   Cri  ^^kut*^    c^.    chüc.trt*     ^-.-ß 
gn;.d«-^ti  -  rreuTö  liii>toriciuefc.  turr-iti^L  peut  ttr»,    trop   cü;;pxi('Ut^tb  ü-^^r  rfectilirr 
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•   t     i.uT'-J.t.it    exlt;     Crolt    qUtr     cV:ot    VX-..C.,     Ctttc    A«l^tofc>CXli. ;;,fii^.        XXt;     i*c     x'»-bt 

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the  Federal  Republic  of  Germany  to  benefit  ünicef,  the  United  Nations 
Children's  Fund.  ^  La  fillette  et  l'agneau  .  .  .  cumposition  offene  au 
Fonds  des  Nations  Unies  pour  Tenfance  par  l'artiste  Friedel  Schulz-Dehn- 
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brazos  .  .  .  obra  de  Friedel  Schulz-Dehnhardt  de  la  Repüblica  Federal  de 
Alemania.  Gontribucion  al  unicef,  ei  Fondo  de  las  Naciones  Unidas  para 
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BY  AIR  MAIL 
.  PAR  AVION    . 


J  L  •  !  t  1  /  •  \  I 


'REPUPllOuC- 


51 


23.  9.71 


FA/AF 
i-25 


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Voici  untj  öt^i^Lie  ^oi  mt:  ffiit  piaisir  nvec  de&  Ir-ttres:  d^  toule  xr*   f.«"«!  11x6^ 
Maman^  Maric-^iorreif  ivadrel     Merci  ^  tout  le  nonde   U'öcrirei  t   la  il^mcn 
en  qüt^lqaei^  jours  ^our  rv-^^oi.dre.  '^i  ^anc  qu€:stion)l     C'etßit  ui^  gjrr.iio  pinie>ir 
pOcLT  r.oi  de   colinaltrc»  uiie  i^man  si  charmante  av#c  qui  je  perta^'o  l'interet 
pour  iTgyptö  snci«nne  et  d^nt  xe  rf-nde^-vous  fu  -  uset  n.*a  perrais  de-  voir 
lUie  fxpo^sition  WRIiii^G  li^  HIwTTjRY  q"Ui=   j'fiurai  narAquee  autreiäent«     J'ebpere 
qut'/'liti  rt-vi^ndra  eu  Janvior  ^t  que  nou&  pourrunß  rt^rcndre  notre  coiüiCis- 
sance  trop  breve, 

J'ovbifc  vu  ie£  demilres  photos  du  ^tunt   i*öpüi4on  et  mi  etai^  fnchHi.tf«ei 
tt  c'rtt  r..erv^iiie.ux  qu^on  ''Jone  ^ntrr  hominee^lli     J'i^-iinerais   bien  voir  $f 
i-aiC),  heläs  ,  puurri:i5^-je  Jt*.'xis  v^^nir  exicor^   ont;  roit  t  ir'arißiil?     Pt^rfois 
je  r'tii  düute   bi*.Ti|   r.&reru?iit   poux  Ic-  ,  or^nt  11  n'y  pf-s  la  rnoixidre  chfiücis« 
li  faut  que  VüüS  veuiez  icl  1 

Ce  quö  j'aiÄerais  beaucuup  de  voir  c'est  ie  iivre   sur  xes  eECfcrfe;otsll     Cui 
fc^en  occupe  ici2     Toslyn^     J^f^Fport«  quc4  cela  sortira  vite  vltel 

Quant  a  TiL".  LALT  liOUSE  c'cist  elorü   Mai>^  ifor^t  nui  s'en  occupe  et  hier  c'efct 
Eiliee  a  liarcourt —  pr^r^mier  choix  d»^.  no'^t:  döuxj  €*n  principe  c'e^^t  Jovan^vich 
xui-rji&ar^  qoi  rtit,ardu  ch  qu*-.  jt  r^^briqu«  r.öis  Mary   ö   bürgere  Dtn  Wiciiendrri 
que  je  coniiais  peu  rair  nuij  il  pf^rett^  fait  deü  anaiyses  fort  p^rspicaces 
das  livr>'.&  &ouiT.iü.».     J'ai  aseitte  ^  una  nception  pour  Anals  iMn  pour  la 
nouveau  voluae  de  eon  journpl    (c*e;:t  vout-  cui  ie  fait  <»n  ^Tance,  Anaref  nonV) 
—  bien  quo  je  nn?  lii   connriis  du  tout. —  ou  J^i  rencontre  idroin  ivvd^^  apres 
tüutfei:   cotJ  aiinacc  —  iui  aurti  seml  retired —     rais:  il  m*©  dit  egaltir^^nt  que 
Wicr.enden  a   un  don   special  '^to  put  hir    gtnger  on  vhfit*t;  t»^cd  or  wron^,  with 
a  book,,,"     Puißqu«  personnr*  aßuf  M^-iy   ut  F.a  iaeixxeure  öLiie  en     C&lifornia 
h  vu  quoiqut^  ce  boit  de  HOUiSE,   je  sulp  tres  cureiube  de  ia  preinlere  reaction» 
l'ourquoi  ii*?teti  voul  paß  ici  pour  le  llreH? 

Cette  hietoire  6i\  fiiii  h  LoridreLi  est  entovrce  df-  siirnce  mais  je  me  diü^ 

no  nevfc  ib  good  nevs —  vu  ircine  pa?  f»ncoi*f^  un  "non'^l     I^lorb  tcujovxL  de  l'ebpoir. 

Je  j  '    trouvto  «JOjwirtLle  d*ecrir^  un  tr^Ste  en  tr-r        tt-nps  que  d'editer  lee 

* 

livreö  de^  fcutres —  taudii::  que  nsoi  Je  euis  si  «ingle-tracK  r.dnded  quie  je  ne 
sais  jaafris  faire  |.luc  qu'UHK  chosf»   ,    JLr.ftic?  d*^uy  en  iri^rae  tpr.psl      Axors  je 
:.ouiiaite  qua  ce  n'cr>t  pac  dana  un  futur  trop  iotn  nue  vour.,  Aiidre^  poui*ribz 
ecrire  €*t  peindre  a  votre  gre*.»     Mßis  rappelez  vous  cue  je  paie  un  prijc  tres 
haut   vet  pat>  vraimeut  mon  cholx)«««     trop  haut  peut-etrel        Tti  tout  coä — 
on  verrn  et  touchons  du  bois  pour  nouc  tousl 

Je  vüut    eicbratice  tous  ies  trois —  et  i^reetint^t^  pour  la  Kan^n — 


i 


P.or  1 -nrie-Fierre—  ecrivez  voae  une  sor  e  de  joumal  sur  i^icolas'^     Je  suis 
Sure  qu  U  dira  df-s  choees  nfgnifiques  et  merrtntes  et  il  fsut  absoiunwit 
c.llectionner  yel     Ki,  nere  l'eveit  falt  de  nous  trois  et  c'etrit  ±i<  joi«^  d« 
mou  enience  et  jeunesee  de  iirt  ce  qu«  je  disais  comme  enfent.     En  pff^t. 


Uiiue  au  ^,uin^  n^  vuf  Psychologie  c*©^t  tret  interetiSLnt,««     Andre —  vous 
ecrivez  que  je  n'oublie  rittn  ni  i/ersonne,  c'est  vr^il     Eiiiri£.  It?  joumai 
üö  Tiia  i/.ere  ijL  y   avöit  l'anecdote  que  c'etais  .::oi  qui  h   instruit  uiie 
nouvelle  nuree  chaz  nous;  cpreö  ie  goClter  d^s  eufaxita  il  ^arait  Qu'eJjLö 
Be  ßavait  paß  qu'elie  etaient  les  ßerviettes^   donc  je  iul  expliquait  que 
nous  avons  des  eerviettcs  seuleir.cnt  pour  la  vaisbf*xle  du  gojLer  pour  noua, 
*'je  m'excusfc^  rjeQtrT;Oi seile,  J'avßis  oublie  d*?  vous  expliquer  celft —  c'oat 
ma  Taute. ••"     Jt^  n^^^vt^ir^  pa^^  encoi-e-  troi:^  Misill     Mfi  r*t::rt  avalt  ecrit  nuei- 
qufe  psrt  egeiement  cue   "Ruth  n'oubii?  jai-aic  RIEN»«,**     C'eet  dröl^i   ncn? 
Aiort»,  I'Vtri^'-Pi^frrt'j,   .si  vous  ne  1«^  faitbi^  pas  encoroi   j'espere  de  vou3  ovuir 
convaincual 


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iUi   euere  iitirio-i:^irtrre — 

Je   viei*t>  c'tLCciX)ciier  upres;  avoir  b^verde  ^\Vhc  votre  ll;.rr/juil     T^lXe  et^it  p^tdne 
Qfe   Ciii>.rj(Jt  et  u'ei.UiüUöiebL'ie  et  0«  utbrouilip,,   ij.  i.&rf  tt^fjrt  bi«::  e»  I-f>v/  Tork 

ou^e-Lie   Si^rt   libref    ^t-ut-Stre   c/.  ir^i  ir?:::r  i^üur  i^j   Cioi steril«     Iti  tout  er 5 
nouL   tüirü^öL  fcU  coaLfccU    et  Je  uh  rtrjOBiirt'i  ü»?  xh  cünu..llrr  ex  iui  w.Oiitr*^r 

i\öW   -OrK    Uli    i^-eU« 

Vu.is  jw   &uis  Uli  peu  coafuti^r,   lii?:.'.»:   tribtt,   c£r  c'^tait  t^vidfnl   (;U*Flle  n'av^it 
oucuiie  iclets  qui  je  euiß  bt  si  j€»  u't'V£.is  paa  deranot:  l  Kobv«  ^i  ^"^^^^  i'./.Zi\RI) 
exü.fe   i^öv^it  c;ucTiu  votrt-  i.fimfin  tcatiit  ici,   ou  si  f;ij.if  veutis  du  tout,    jAturais 
mcj:K|Ufj  at   xi-.  coUi.tltr^-  ou  xt  rt:ccvoir«««     J»r   vour.  tv^'iii-.  pcrit  p^r  retour  courri^r 
txe  J  juilletjf     iv^rlst»  fcivoir  rtcu  votru  -.^  t,tre  j.'am.oixpjn   l*i   •/Islt'*-   d«^-  votre 
M&i«£.ii,   cii   voui^  G-Lw.tiit  fcvec   w^JiUiiJ'   Jüir  jv  a.i.   recc-VTLie —  t.i    j*hv^  ii.  E^tt^MCU 
ciiüquuib:  jv^ur  eiA  et^i^eroxit  c'tiULrtL  nouvt j.-*.te —  /   Jiv^it  ii  uu   '  ffl»=-ritoi.du  quüxoue 
p^rteii     ti'hi  huiTttur  cl-  ca   vnjHjai^  üfcx.t  le^  rorLRiiüI)   üonc  je  vo\x&  ecrit    tout  de 
builci  ' 

J^ethis  hf-ureuöf   u'tp.^rfucire  qu(r  vou^,  /ndre  tit  *'»ichoiR.    fiil^?  ll<rn  fit  j^attends 
iiVcC  i:..i^i  tKence  iewS  jjhoLo^  acut  vctrc  ilferfii  eprrlees  pour  fv  ir-    ]^    rontitfcUice 
de   Mchoxf.ö  €t;.fcii;>neutl     ou  (;;tifcz  vouf.  tn  vaui-iiCes^V     Lt  (iu£.i.c   vic.r.drer  vcus  iciV'i 
ii't  e£t-ce  .':ue   i.iicric  travcixic   Wi  ^.eu  r.üiii^;'*     J'f.Tpf-r*^  nu^   votre  IVinrn  re  dv^nr.e 
ct*L  nciiV -a.ieß  Uli  peu  piut3  en  ct'twix  outind   j^:   u.f-  Vb-rrf^i» 

Quant  k  inon  buoc^uin,   riifin,   c'etJt  ii;ji  ].our  j.*-  i.-ioiixjit  et  je  l*^i  r^^ortt  a 
i.riiy  iüüL  pour  ou*t5j.x*^;  xi^t-   xe  ruart  v^u'«-x.4.tr  i;t-  coiuii-tt  prr:  tricor»  «     J>    suis 
coirpj.etfenifent  cif^quee^   c^^'U.Xf^nt  IL  L,ois  bfcins  ur*   jour  ot-  coiig#*  ^.our  riuF.i   dire^ 
seLt    joi^i;  par  ßei.£ii]>- —  c'ttt  tropi     icur  xt?  .  ci'ie:/^  je   ;.uit>  inc^ptbit:   de  le 
rr-.i.ire  ^our  voir  s'ii  y  fc   ce^  xoose  f^nnt>>   ^tc,   j»5:  üoi'.  c'rrorc  trcuv<fr  un  peu 
de  ai&taucei   bit?ii  tÜr«     J't^p'er«  •  ue  c;    *  ^rchti  ;  vj^^c  Ixry  l^Ovt —  siuoiii   j'fJi 
ei.ltn  uix  oUtre  b^^itiit  ^our  tui  j'i.ur5jii>  ur*  r*.(oni)eml'-tior«  tri*t    v(  l^fclr. —  la 
'vrti**   Ituü^y'   Q-^  i::Oii  prtr%uit:.'r  rOi^^i*  ^(iu'ia^üri-  c^i.-.xlt,   1-  tvlxu,   pac  T*.    «yl)   cjul 
ebt  tret   invoivea  fcvec  i*s  cin^iiA  I-  ^loiiywooc,   i'ä   rug<i^rr,*«     In  «rfi- t,   Lizarre- 
weii^^  ii  >    e.   üe  i.*ii/C/c;ret  k  ..jOi.urt'u  t^t-xi^i^nt  i^uur  c^b  ru'^'iifc  ^p^eilt    'ri-c s 
mxiiifetcATec;  bUD;.iJ.e&" —  ce  öereit  cirOxti  bx  le  ciuei;.a  montrtreit  plui;  ci'r.p^re- 
cx^tion  pour  nüt»  boucmint^  qub  xej    c^aiteurtJ     llf.is  cc-v.  IXVL  bTüKf   iL  n*y  f.   pas 
(;U«£itioiit;   qub  Ikö   cntinct»i.«  ^>üur  ir.oi   :;ü:il  rid*r.ü:x,    öf»uf  i.u«::  i /.xritcii'.  ut   La     Ciiffi- 
ciUtbö  cüut  econoidqut>s  ^u  xieu  üe  t^Cit^Kenrc^   ctc^i     -n  tout   CbZf   ii  y  b   un 
peu  o'J'DiUlH   Lour  it  pr^.nier'    foi.^  ut-pi^^  xorg.* ;  pi« 

Je  vouL   frcris  c«iCi  sur  nxi  petit^j   UrniCft  cui  ..^g   turf^j^nt  ^/luvi^?  Ir  vi     c-t  8t4 


—  xc,  r.iu  i.'t. 


cu.       '    a.i    vie.     -fUoii$,p€.ut-^-Lrti;  x'il  hi^dur     f  ft»^r  clll      I-  ya 


Uli  i;,ou  eii  aji xöiiiar»f J  qui  uxi  c  ^e-u  pre.s:   "/«tfi^ai-  oon't  peri^nP'     Voiif. i 
>xorcj|   ^.a  petxt/tr  i'-arit..-rir;rr?.^^   jt  vous  HTibr^ibte  tous  lt*s  trois 


I  I 


i>iev  York,   ce  9  juill^t  lüTl 


Ch>:rii  i -arie-i^ierr^ 


rlerci  de  votre  lettre»  nvd  viert  d'f^rrivf^r —  je  re   -reciiitf/  d^  vous 
voui3  eiiVcj^^tr  rou  nunrro:    (ixr)-  6öb-A.^^c4«     C'^üt  a  cire>  L  iev  Yorlc 
inSiue  c'cbt  eeuleJiiHiit  GS8^2dMp  ie  Tl?  c*p?t  ie  nuiroro  ^*<^  if   vlJ.i-«;   de 
h^y  iorx —  rn  cf>ti  ou'eilr  voudra*fri.'t   ttlf;-.hci:cr  d«»  qutrxqu,  ^vt^rt  d'/Amtro 

—  oii  i:e  stiil  j'traißl 

Je  c>en:.a  ravie  si   je   «»ouvrlr  r^cr.volr  Mtdr;mp  votre  mere      (cu  pulL-jn 
dire  votr»:  liaDMi^;   cht:/,  lüoi —  i^-our  uii  '.liru —  ou  ua  ^oulet  iroxa  corj- 
mende  daus  un  meg^ein  speciei  p   cfttfii   o^r  j»;  ne  &ftib  i^öt";  f^ire  la 
cuiLiri»^    (vrA^ii:r.er.t  ^  at^ —  ii  y    ^  xuw   rvico:.  tr^urfitiq^Off/    ce  que  jf  fois 
quaiiQ  aiie  arae  dliiw  chf*z  froi*^.^'i     O-j  pfnit-ftrp  jo  ^jourrr  ir    ll^tinntiner 
au  i-eelcima  iovf^rö—  bref|   j '^iDera-L^  q^^  ^llc  ut    tf-lc^hone^  !-pre5i  11  hrs» 
1<5  lüatii^  ßi  po^>yible —  ou  ßutrenent  1^;  i.oir   (iitr.t-  tre;:  tfrn —  je  ne 
oorjii  JÄi.ai;>  t^vant  Ihr^  xf^  '  ^tin>    üi  exie.  e  le  tei-v&«     Si  :jon  bouquia 
eöt  fini  je  pourrais  i'^^mmeriPr  tu  Cloistcrr^^   vi  eile  ►-.•iiitere:  re  ^^out 
ift  &iChti>Gctiu(j|   ou  ^Lxer  d^rl^^  ui;  i'iutii^t;  uvec  (AjLh —  or  v./ia^evt-r«     J'üi 
DH&ucuup  l'haüitud»^  a^  rn'occuj^er  dr>s  inai^^iis  de  r-es  .•^mos  ^n  c-i*  t^'^J^^^ral 
Ca  :.arciir'  TT^t   D-^wn!       ufaif  curiuö  le  livro  n'er.t  i>aö  paccrr^  fini  ou 
jü  sujLb  daiib  uxi  fiutre   t.rtiVfcil  cfi   d^-f.f.*nrj  ^joiir  le   jcurnr-el     i'ourrits 
vüUß  ice  aire  uii  jjeu  ]>lus  preciserür;ei:t  xec  d£ites  de   üOiiii  eejouri*^ 
Cela  a  un«"  raisoii —  avec   if-  n^iie  coiirrier  je  r^rois  uj*»^  l#-ttr^  v>   Jjiii\ 
nuüton  —  c'^^t  a  aire  dia  sa   "  üiü  uroite   ^Lvec  ijui  il  ecr^t  a'-;.fei 
ceb  fiii:&  e ;.  qui  ejit  unr  {jrande.  crie  ft  r.oi)    ^'We   xive   13:  hc.^e..,    i..:-t 
this  tiM*->  Jona  vill  v^^end  n   fev  dav  r  Ix  i^ev  ior^v  t>o  tLat  ve  v^x-.  t-^i 
to  ötrte  yüu  on  the  Vf^y   back  in  iete  /u^iuct  or  »-crly  i-'eptHriber.«*'^     *^e 
coru.aic^  il-p^s  tr«iitf»   un^  1er   folicL  qui  St'   ^»asseiit  qw^nd  Johu  r-ut  a 
i^ev  iori:  '^our  qui^lcuet   jours —  or  falt  unt  douzr^iii^  d*-  r^nde^vous 
qui  LOiit  toujourt  decommanc^t?  et  finaitment  on  pasee  trüir>  üeurefc  on^f^müle 

—  \\  l(i]nijrovi8tRl       M«is  je  m^mnuif'  terriblfiuf-nt  de  lui  fjt  nous  ne 
iiouy  yoini«.ei^   i>es  vut>  depuit:  plua  quc  truib  h.nc —  alort*.  j'eiüfeie  tou- 
jourt:  peunaiit  ceti  ouexciieM   Jouri'  d'?'tre  co;:;jl^tKneiit  libre  ce  quc, 
ßOreinf^nt,  vous  compr^rnez» 


Je  öuiii  deuül^e  d**  ne  pap  voir  l^icolcs  avuut  quii-.  öoit  lai  vtjil^^  rd 
car  j'^i  ]>f3aucouu  le  K^üt  d♦^'3  boGUX  ^^rroonn —  au  ::oii:t'  je  l*?tvaijj  avM^t 
e'etrp  uno  vltili^  d;'r.e  r.cili      C^u'il  tiit  üi  b^;au  at  n^'e^annc  pa;^  au  tout 
—  ca  dei^end  un     p<^u  des  partuiVö  il  :.:e  ser.blell     Je  suiii  ravie  div  savoir 
qu'il  grandit  si  bie/i   ftj   ^>vid'^>]        .r,  voub  d-ime  tar.t  ur   joiti 

ici,   coirunr  dBhebitudri^   rier:  df-  nouvceu  Cf:   que  coriiaenc*3  a  oevtnir  bien 
idiotÄ,      Jtr  iie  fais  oue   trflvnilirr  ?    lliE   ../ST  HülJ^E  rraih  fiU  koIkl    je 
voiü  uiie   im,.,     ila  nov.Vf-iie  ogt^'Dt  vit'ut  Ct-  lirc    ce  que  j*ai   CiVt  i>eb^*> — 
ca  Sera  courte  cowruH  d'h^dxitude)   ^>t  f\lie  «=^n  eüt   enchf-ntel  I   Vrairn^.ntl     "dr;e 
joift  ft  lire"  <^.lie  a  dit —     »rt  hi.r^^'.  l^vV^  wiUhi   au  liiOia:;»  il  v  a  ^eutStre 
en  peu  piut>  uae  cliaace  pour  ^non  grnre  d^fcriro*«»     Je  jL^erper^«     Car  je 
6  is  tf^rritafinent  fauche*^  >t  je  ue  -jauTciic  p/jb    fdo.l   feire  al  bi»-atöt  il 
ci^y  aura  ^>a»j  ua  peu  dt^  frictl     M^iü  j'üi  curvecue  tant  daas  ina  vie  bizarre 
I  — '^^/'f!  peu|t^Stre  ipi A^  svuwivra^^icOr^  une  foitll 

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PREOAREZ  VOyAotS 

ET  VftCANCES  en  aLheiam 

LES  BEAUX  PAYS 

EN  VENTE  chez 

tous  les  LIBRAIRES 


PC-C^Owxyy^  (l^^jjr9\^  iLO^^rJHry}^ 


r  REP'JPLIOUE 
\    FRANCAISE 


t^3  3        Eoi^x;^'     S^-^      Str^suiJ: 


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Nev  iork,     c«  17  avril  1971 


ther  Andre- 


Netci  cid  vütrt!  j.'fctite  x'-^ttr^ —  c'cLiiit  cr6ie  crr  je  veunit  ü«.  ^tri«;r 
de  vüus  irt  liarlt^-ßitrrr«»  avec  luDßiyni     J'ai  off**rt  1«  vSh.j»  ''cud<- "  ft 


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Jh  tjuir.  TtiVin  d»  eavoir  oue  voul  n«f  faitc-b     qui-  vout  üccu^*r;-r  d^     .JcholGS 
car  Cr^xfe.  ßi*t  JUidique  que  vout   ttet   Hr'UREUX —  et  quiüi   d::.-  piu»  iiij^crti'i*^» 
Je  litr   ^oxxiiC.ite  Ort  plus  ijOur  vout^  et  'letrie-Pi**rrf —  ie   ^^tit  h  df   ju* 
chciuce   QiTp    buivu.t  rjrorii:::    v^R'i'  ot   i^^VIiÜ;   ii  /   i:    ö^- ult i  4i*i.t  UM  i^5>Cigr 
daiiü  If.  Vit:  qui  fcfct  grfrtuit —  ct^ui  co  i^   mtimein,   deji^  c«j-iui  cii4ppre  il 
ffcut   G/G*.}  Fl —  itlt^   11   i'e   aM-bxf   qUi.    i'icx.olf  s  u'ra  t  pas  bf;>oi:;l 

Kvid'-riintiit  ii  ffrlltiit  ^uLxier  ifc-  xlvre  de;  i-iiltt  :.aii    e<^w.on  que  i*or.uL.n 
iu.iier  dit   (sca  r^rticlt   OhXx'^  Uhrp^rt  ly^h^zii^u   ciu     i'.rr'J  1J71  THE  r'K-^i-Uirr'R 
ur  t^y/.j   tilt-  a  jifraipuit-  xt  verlt4 1    S€^  citLtior^s   f,oat  ßüu\fat  le  cor*- 
tx-f:irci  a*-  ce  oue  l^^uteur  orxt,iatx  e  tcrit,   etc. —  j'on  l^t^i::   roudroyc« 
J<^  i'ei  vue  ui:e  foib  tiur  xin  VV  c-:t  -.•(    trouxf.it   ^T-^xtLlqu —  Cf   qu'on 
ae  peut  i^a^:  ciire  dkt  la  plu^^tx't  de  ccii  dt:::eö  de   >*-o;n£a't»  i.ib,  riaie  je 
suis,   t*  il«j..erit  CüNTKü'  tout  iec»  crib  ^    xi.  voxx  tiit^re     v^ut:   j^.   1.      tr^^uvc 


■j'^  v^. 


TüJVLio  r:?^üuvaaof'oi6«*,     -u.    fia  du   tcutcL*   c«.^^  iclwcieti  df-   'sta  objecto" 
(nui   *'force"  uie  ftLai-e  dt?  ciire  oui  ru  iieu  dt?  noa#"ii  Lou;    ne  L;on:.ies 
j^vluti  au  .  ü^rea^^ic^foll)  ne  sert*  püü  trt-i>  Wen  ^.our  i<?fc  fenries  oui   coat 
1«.  L   ft     ..c   au  lieu  des  aalf-voiüta  or  q.iE,rtt.r-vo;Len  or  iu/o-vorue:^»»» 
Petit  eyftcv^e»     i*€!Utr«  jour  jhi  reacontre  un  copein  ^^ide  dans  1* 
au.tobu£«     Il  a'y   avt.it  ^tt   av;  ^-i^cc —  :.>bi^  ii  tteit  bion  PSi>lc«     ii 
a  fa-kL  -.fi  coaverüationß  i-cnuiuit  l^ü  irdautt.e   £aac  rJoffrir  &•  i:iace 
et  mtne  qi-iaad  j'i-i  faxt  uurt  r*v.n/irqi-^>   ix  ne  x's   ^^a;.  fi.it —  voici   ce 
quc'  i^oiiL  aevoafc  de  ja  V    ''libeiration",.«     r'ciiit-uro  je  auic*  piue  qua 
lü  aai>  x-^ius  fgie  qut.  c*r    •  iioasicur' —  xkx^  c*i  quMx  ölIl  vX   5i  vüoö 
^eaße25  out-  c't»üt  ua  t^ujat  r^Oi  je  trouve  que  voul-  ftvez  raison  et  je 
suiD   d'^  ccorc—  ißaiL  ^as  ifci>  dt;i..€L  de    k'O.  t^ii'ü  aik.*..     Vcuü  6:av6z> 
Ce  :i•fefc^  ^^at   ''&h^irt.  evc^iytiiii^  ''equai^"  qui  i'ait  ^üur  i'i.iacur  äiitre 
un  ncnir.6  et  \a*e  iEoai.ie —  :-4ai£  i'JxJ^KL'^i —       tiUtreat-.*iL  ce  öcaL  clj 
aOj.SH>:uixt,   des  looiLija teu,   ai; —  vrai.!-^a^j      va  ^ölTHt,   j«  vient:  cl'':crire 
10  pfet,*?ö  bur  ce  bujet  daiit;  zi^oa  aouvcau  bouquia —  car  cc*.   que  c^c  daries 
ont  oubiie  c'eta  i'aijour,   c'e^t  xt  cv/i^ur,   c'eö^  toat  ce  que  est  iiUiiAII^« 
Jt:f  pourrfciL  vout.  f;crirti   eux*  cc  t^ujet  ^.tauaat  dt..,  at-ur:..ül 

Alorcj—  quaia  vieadre^s  voue*'     J*ai  r.  i.arqu^  quu  ct.  a'c>uait  ^.a..   ci.  ^rxi 
t«^r.|.-t»,  hexfct:..»     Möis   j^f^i  ^raad  eavie  d*sj  vou6  j->arxer^   d'uafe  sciree 
fjvec   voub  rt  *-f*rie— «'■ierri>  cOiiiia©  1  ^M^i^w.  >w.u  ici —  ^.iorr.,  viui  viT.cli 

Vuut>  $tei>  K><3titijL  d^  dtsxnaadc^r  co  que  1.»-   uAJi  iiuuw>l  ccviei.t#»»      "^a  biea^ 
c^.  i/OUfcsejD   toujours   Leaucou^  tro^.  xM*lfrX:eat,   je   ^^i*r  trouvf    tout  -f»  tfznpa 
dfiiib  i^ö  i^iauvbisüs  directiuas  cjul  ai-  läUieat  L  ri^.^-  et  (.oib  rfcw       act-r*.» 
Ce  ii'esi.  pat  x'hii.toxrtr  u'ui*^  i.»ai&oii  a  i-i.ahatt-aa  :.aic  plut&t  x'histoire 
d'u..»^'  ij.xxe  aibpiaced  a  IJ  aaö|   u'«%-.bor(j  ^  ^ao^j^^  v.u'w»a  lt*  iJlu,  1^»  w.  etc» 
€rt  tn»:uite  Oaa^s  cotte   j  aii;oa —  ^-ary  J^oLt  ert  en  traii;  oc^  iiri^  en  ^ecuf^nci» 
c«  qu6  j'ai  —  je  i'ai  lu  x:iOi-mSü.t.  ^i.  c'a^^t  ;^üreLit^i.t  mieux  de  toat  ce  qua 
j  *ai  ecrit  juaou'a  pr€JSt;nt«     *^i:-.,  ht.la^b  ce  a'fj;-t  pac  eacorc:  fini|  donc 
oa  aei  öaurait  paü  eacor^«*»     Je    cioxw;  iniü  Ge^aiL^   certaiacii..  sccatL*  bux.t 
toujouTö  b'jperieurs  V   x'oÄUvre  eatier«*« 

Je  suis  affollee  des  aöuvie  flnaiiciers  ce  qut^  nt»  m*anuae  pas  du  tout^ 
et  tout  eßt  plutftt  soiabre  pour  ne  pa^s  dire  lugubre*     be  priataiUj^s  eet    ^ 
vcnuÄ  et  a  diaparu  de  aouveau—  nai^  le  nid  est  toujoura  une  joie..* 
Kiaifc»  et>t-ce  assez  pour  se  contenter?     Eat  un  nid  qui  me  reate  d'uat  vie?? 

Eh  biea—  on  verra»     D'abord   ii  faut  finir  ie  xivre.     En  ßuiteVi 


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tj,  ^JLii.r-     :  i.   souvent  s.  vous  ces  jours^cl —  si   le  grend  evßneinent  «  de  ja 
pris  pxex^j   ei  Cf*xft   eivroch«?  y.  pat;  de  j.oupb —  coirjufnit  vouj  vout.  toi-ntoz, 
santt,,  T^oTf-X^r^nt  nt  toutV 

Rot.i/n  i.i'«vr:it  pfrle  de  vous?  et  Andre*  tv*>c  graridr.  t#»ndrf:sse —  j'^t^is 
cont^jnttT  a*r>voir  de  vos  uouvr^iieb —  nais  jfj  ri«  rt;iiüö  cül.^  W  quc  coxi* 
e  ete   il  ^    a  a  ^^eu  i^roc  ui.  r.ois  d'-ja —  cvidf^nmeiit,   le   ti^fm^s  voxa, 

J^asper*-  tcujour^  nur   vous  vi^^ndrez  en  Mars  —  n^  me  decevez  pasli 

Mais  ii  iKo   faut  pKS  fttre  ißp^tic-ntt; —  i'iri..t   thiiij^ü  i'irüt,  d'tiüür.J  bt-L.'«,« 

Rieii  df>  neiif  ici,  helas^  mais  je  jj^mh^k^  que  Meiy  -o^t  «;;it  vni  tr^^ii-i  de 
''bei  ii^voxved*    fcVvc  non  trtvr:ii —  ce  auc    serait  tr^t  bieü —  eii  toat  cas 
die  a  lU^ii"  fi^^  s'intfT^ssor  vrcfiinent«     lilc  a  biexi  lu  iiion  :.^jar  orerhaui 
de  xri    structure  «jt  en  ^.  tait  d'rccord  avf»c,   il  r«*  senbie,   essez  d'ariraira- 
tion#.»     Ca  niarche  douceraent  icaiü  ca  ruarchtj.»«     xie,3  doux  erticiet?  i:6 
sont  toujOiO"::  p<-»r  V€.udu[:  c«^   ^;-"  ^  ^  dfiprime  «t  i»^*  ff.it  peui'  pour  lo 
futur,  jnais  j'essaie  de  ne  pas  ^enser  f.   ca  et  lihir  xe  xivr^:-  a'ii-ora« 
iais  je  n'ai  tcvijo.x:;  >>as  ercor^-   ).n  jroitio  r^ne« 

^e  out  je  voui^.i:::  vouü  dire  ^tait  qutf  y\  pensf*  '^vif-c  ß^AUCüUl^  d'^Affection 
a  vous —  toujouTö  #*t  ßiirtout  ce^  jOur^-ci  et  qu».  r.et  pca^^ee;^;  .  voeioc, 
inuii  tuiitir   £or.l    Avrc  vüur« 

Je-  vovib     i..brfer.S€'  tr\:    '    ncr^rAiit —  cc?^:^«'  et^r^lf-Ti'^^nt  Andret^»  en  attendaiit 
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Transläted  From  the  American 


By  HERBERT  R.  LOTTMAN 

The  most  provocative  book 
of  the  French  literary  season  is 
philosopher  Jean-Francois  Re- 
vel's  "Ni  Marx  ni  Jösus"  (Wei- 
ther Marx  nor  Jesus),  a  product 
of  its  author's  reoent  travels  in 
the  United  States.  Revel  pro- 
cilaims  that  world  revolution  if 
it  occurs  can  come  only  from 
the  United  States,  where  estab- 
lished  Society  is  contested  from 
within  as  it  is  nowhere  eise. 
America  the  conservative  thus 
offers  the  world  a  revolution- 
ary  model  different  from  all  the 
previous  ones»  more  valid  now 
than  Christianity  or  Commu- 
nism. 

This  thesis  is  bound  to  turn 
the  eyes  of  Frenchmen,  one 
more  time,  toward  their  hope 
artd  their  despair,  that  unpre- 
diotable  land  of  Spiro  Agnew 
and  Jane  Fonda.  Actually, 
Frenchmen  and  other  Euro- 
peans  never  stop  examining 
America.  I  bedieve  that  weather 
originates  in  the  west  and 
crosses  the  Atlantic  toward 
Europe  (or  so  the  succession 
of  meteorological  maps  pub- 
lished  in  the  daily  press  leads 
this  inexperienced  reader  to 
conclude).  Ideas  and  trends 
have  been  moving  that  way  for 
the  greater  part  of  this  Century. 

In  consequence  the  American 
empire  is  cultural  before  it  is 
an3rthing  eise,  and  no  small  ele- 
ment  of  our  blanketing  of  the 
farthest  reaches  of  the  planet 
has  been  our  writing,  in  the 
original  form  of  books  or  in 
byproducts,  film,  television 
shows,  populär  culture.  Ameri- 
ca is  present  to  everyone  who 
reads  these  books  or  consumes 
these  derivatives,  and  this  ap- 
plies  to  the  Zürich  or  Hamburg 
housewife  who  reads  Irving 
Stone,  the  bank-clerk  husbands 
reading  James  Purdy,  as  well  as 
to  the  French  intellectuals  and 
British  television  broadcasters 
who  can't  get  enough  of  Dash- 
iell  Hanunett  and  James  Bald- 
win. 

To  keep  track  of  the  Ameri- 
can revolution,  for  example, 
Europeans  have  only  to  read — 
conveniently  transläted  into 
their  own  languages,  our  young- 
er  rad-libs,  hippies,  yippies, 
blacks  (Stokely  and  Rap  in 
their  times,  now  Eidridge 
Cleaver  and  soon,  George  Jack- 
son of  Soledad),  the  guerrillas 
of  women's  lib.  They  know  all 
about  Galbraith  and  C.  Wright 
Mills  and  "The  Greening  of 
America'*;  "Sexual  Politics"  is 
being  transläted  into  their 
tongues  even  as  I  wri-te  and 
you  read. 

I  don't  expeot  that  every- 
body  will  feel  personally  con- 
cerned    that    American    power 


Mr.  Lottman  is  an  American 
editor  and  critic  based  in  Paris. 


moves  through  Its  Hterature 
(sometimes  through  comic 
books  too),  as  well  as  via  Boe- 
ing 747  jumbo  jets.  But  those 
of  US  who  venture  abroad,  or 
who  have  the  slightest  com- 
merce with  other  peoples,  soon 
realize  to  what  extent  the  lat- 
ter have  their  own  image  of 
America  and  Americans  firmly 
implanted. 

In  the  worid,  40,000  different 
translations  appear  every  year, 
36  per  cent  of  them  in  English. 
a  language  now  dominated  by 
American  dynamism  even  if 
demographic  considerations  are 
put  aside.  Consider  that  one 
book  in  ten  in  Germany.  a 
reading  nation,  is  transläted 
from  another  language,  that 
English  is  the  first  among  them, 
with  more  books  by  American 
authors  (864  of  them  in  1968) 
than  by  any  other  group,  that 
Italy  also  looks  to  English  for 
most  of  its  translations,  and 
Italians  read  a  lot  of  foreign 
books.  France,  which  in  1968 
was  number  six  among  trans- 
lating  countries  (after  the 
U.S.S.R.,  Germany,  Spain.  the 
United  States,  and  Japan),  also 
publishes  one  translation  for 
every  ten  titles  released.  Nearly 
500  books  are  transläted  "from 
the  American"  each  year.  A 
Single  Swedish  publisher,  Bon- 
niers,  can  make  money  not  only 
with  Pearl  Bück  and  Ernest 
Hemingway,  but  with  Saul  Bel- 
low,  Bemard  Malamud  and 
Philip  Roth,  and  no  foreign  pub- 
lisher, whether  he  be  Danish  or 
Polish,  can  afford  to  overlook 
the  most  discreet  or  experimen- 
tal  new  work  by  our  very 
newest  writers;  they  are  all  ex- 
amined  thoroughly,  even  before 
publication,  to  see  whether 
translation  would  be  advisable. 

American  Hterature  abroad 
has  a  life  of  its  own,  and  indi- 
vidual  American  authors  have 
international  careers  independ- 
ent  of  their  reputation  at 
home.  William  Faulkner,  as  we 
shall  see»  once  seemed  to  be  a 
figment  of  the  Imagination  of 
Andr6  Malraux.  I  recall  seeing 
an  Italian  anthology  of  young 
American  writers  (issued  first 
under  Mussolini  and  recentiy 
reprinted  by  Valentino  Bompi- 
ani,  the  original  publisher)  con- 
taining  names  that  mean  noth- 
to  US  now,  although  at  least 
once  they  represented  Ameri- 
can writing  abroad.  A  major 
Milanese  publisher  of  American 
Hterature  is  Longanesi  &  Co., 
which  boasts  an  American  writ- 
er  (once  a  New  York  Times 
reporter)  among  its  founders. 
Longanesi  has  continued  to  be 
faithful  to  the  best  contempor- 
ary  writing  from  America,  even 
though  a  cooling-off  period  oft- 
en  suggests  it  may  not  have 
been  quite  the  best. 

The  carriers  of  the  American 
seed,  in  any  case,  are  foreign- 
ers,    benign    and    unassuming 


translators  who  make  it  possi- 
ble  for  millions  of  persons  who 
have  never  traveled  bevond 
their  own  frontiers  to  be  at 
home  with  works  signed  with 
American  names.  On  the  trans- 
lator  falls  the  bürden  of  com- 
municating  or  failing  to  com- 
municate  the  original  message; 
all  authors  are  reborn  in  his 
typewriter  and  many  never  sur- 
vive  to  move  far  beyond  it. 

One  of  the  major  bridge 
builders  between  Europe  and 
America  was  a  Princeton  Pro- 
fessor, Maurice-Edgar  Coin- 
dreau,  who  transläted  Faulk- 
ner, Hemingway,  Steinbeck  and 
Caldwell  into  French,  reading 
Proust  before  attacking  Faulk- 
ner to  prepare  himself  for  the 
latter's  long  periods.  Faulkner 
was  published  abroad  eorly: 
"Sanctuary"  appeared  iif 
French  in  1933,  only  two  years 
after  original  American  publi- 
cation, with  a  preface  by  Andr^ 
Malraux,  whose  best  novel, 
"Man's  Fate,"  was  published 
the  same  year.  "As  I  Lay  Dy- 
ing"  was  pubHshed  in  Paris  in 
1934  (only  four  years  after  the 
original  American  edition),  with 
a  preface  by  Valery  Larbaud. 

Speedy  translation  did  not 
necessarily  bring  instantaneous 
success.  Hemingway's  "A  Fare- 
weW  to  Arms"  hadn't  sold  1,000 
copies  six  years  after  publica- 
tion. But  there  was  a  strong 
lobby  for  the  new  American 
writing  (in  Gide  and  Sartre  as 
well  as  Malraux,  and  the  young 
editors  of  a  pubHshing  house 
which  was  the  glory  of  France 
between  the  wars,  the  Librairie 
Gallimard,  also  known  as  the 
Nouvelle  Revue  Fran^aise). 
And  American  books  required 
a  lot  of  lobbying,  as  trans- 
lator  -  critic  -  novelist  Andr6 
Bay  explains  it  to  me.  The 
French  were  suspicious  of  for- 
eign tongues.  (See  Voitaire's 
reaction  to  Shakespeare,  who 
sounds  like  Racine  in  French 
anyway.)  Barrys  went  so  far 
as  to  attack  translations  as 
such,  and  the  poor  examples  of 
it  available  in  French  in  the 
works  of  KipHhg,  et  al.  didn*t 
help.  Andr6  Bay's  contribution 
was  to  promote  our  classics. 
(He  himself  transläted  "Huckle- 
berry  Finn.")  Franco-American 
literary  agent  Jennie  Bradley 
was  a  one-woman  pressure 
group  on  behalf  of  America's 
new  Hterature. 

But  American  life  was  re- 
mote  from  Continental  Euro- 
peans, and  hard  to  comprehend. 
It  took  a  worid  war  in  which 
Americans  were  instrumental  in 
Hberating  French  territory  a 
second  time  for  the  liberated 
to  become  sufficiently  curious 
about  their  benefactors.  In 
those  postwar  years  almost 
anything  American  would  be 
read,  Reader's  Digest  or  Mickey 
Mouse  Comic  books,  but  also 
Carson  McCuUers  and  Thomas 


Wolfe  (lost  to  translators  dur- 
ing  the  wartime  hiatus).  Sev- 
eral  explanatory  volumes  intro- 
duced  American  Hterature  to 
the  French,  one  by  a  United 
States  cultural  officer,  John 
Brown,  others  by  critic-noveiist 
Michel  Mohrt  (now  Gallimard's 
Americanist),  Pierre  Dommer- 
gues  of  the  University  of  Paris, 
and  a  recent  "Histoire  du  Ro- 
man Am6ricain"  by  Marc  Sa- 
porta.  With  Cartesian  logic 
they  classified  our  schools  (the 
New  Yorker  writers,  the  Chi- 
cago group,  the  Jews,  the  Ne- 
groes). 

In  practice  the  French  avoid 
our  historical  fiction,  particu- 
larly  of  the  Civil  War  period, 
but,  as  Michel  Mohrt  has  noted, 
Hollywood  films  helped  "edu- 
cate*'  Frenchmen  on  such  pe- 
culiarities  of  American  life  as 
the  university  campus.  By  the 
end  of  the  1960's  the  French 
had  their  own  Playboy,  local 
equivalents  of  Bob  Dylan  and 
Barbra  Streisand,  and  televi- 
sion advertising  which  assimi- 
lated  the  most  irritating  char- 
acteristics  of  our  own  com- 
mercials. 

Today  in  France  the  leading 
fiction  best  sellers  are  "Love 
Story"  by  Erich  Segal  (150,000 
copies  sold  in  the  first  two 
months)  and  "The  Godfather" 
by  Mario  Puzo  (185,000  copies 
sold  between  July  and  Novem- 
ber). Even  the  advertising  is 
American.  Where  once  the 
French  used  prestige  to  seil 
books  —  "Honored  by  the 
French  Academy"  was  a  typi- 
cal  eyecatcher  —  today's  book 
jackets  headline:  "A  love  story 
for  millions  of  readers"  ("Love 
Story")  or  "Four  million  copies 
in  the  entire  world"  ("Portnoy*s 
Complex,"  /as  the  French  title 
of  the  Philip  Roth  novel  would 
translate).  Erich  Segal  himself 
spent  a  week  in  Paris  to  pro- 
mote his  book  on  television  and 
radio.  Among  other  recent 
publications  in  French  I  note 
at  random  works  by  William 
Manchester  and  '  James  Bald- 
win,  Gore  Vidal,  Reynolds 
Price  and  LeRoi  Jones — all  re- 
leased just  as  fast  as  the  trans- 
lating  industry  can  produce 
them. 

These  books  don't  all  become 
best  sellers.  As  a  rule  they 
break  even  despite  the  added 
cost  of  translation.  The  Jewish 
novel ists,  for  example,  do  bet- 
ter in  countries  where  there  is 
a  basis  for  understanding  Jew- 
ish culture,  Britain  and  (yes) 
Germany.  Saul  Bellow's  "Her- 
zog" was  not  a  best  seller  in 
France. 

A  friend  of  mine,  Jean  Ro- 
senthal, transläted  "Herzog" 
into  French.  In  fact  he  is  also 
responsible  for  French  trans- 
lations of  Bellow's  "The  Adven- 
tures  of  Augie  March,"  "The 
Victim,"  "Henderson  the  Rain 
King,"  and  "Mosby's  Memoirs," 


<t 


as  well  as  for  works  by 
Philip  Roth,  Bemard  Malamud. 
John  Updike,  Henry  Miller  and 
Patricia  Highsmith.  Working  in 
collaboration  with  his  wife  Re- 
n6e  he  has  transläted  150  to 
200  books  in  all  •—  he*s  lost 
count  of  them,  and  since  he's 
only  45  we  both  think  he'll  do 
a  lot  more.  (His  wife  recentiy 
transläted,  simuHaneously,  one 
of  the  season's  shortest  books, 
"Love  Story,"  and  one  of  the 
longest,  William  Manchester's 
The  Arms  of  Krupp.") 

Jean  Rosenthal's  own  career 
began  after  his  return  from 
mHitary  service  as  an  interpre- 
ter  faciHtating  liaison  of  the 
French  and  American  armies  in 
1945.  He  tried  his  band  trans- 
lating  for  the  S6rie  Noire,  a 
library  of  crime  and  suspense 
stories,  which  was  not  only  a 
marvdous  school  for  transla- 
tors but  one  of  the  most  im- 
portant  bridgeheads  of  populär 
American  culture  in  the  old 
world.  S6rie  Noire  titles  in  the 
traditonal  black  Covers  are  still 
being  released  at  the  rate  of 
half  a  dozen  a  month  and  in 
View  of  the  speed  with  which 
they  are  purchased  (as  a  habit 
and  blindly,  by  fans  faithful 
unto  death)  there  should  never 
be  an  end  to  them. 

Marcel  Duhamel,  that  inven- 
tive  linguist  who  produces  the 
series  and  transläted  so  many 
of  them,  insisted  on  natural 
language.  doing  away  with  the 
pretentious  artifices  of  prewar 
translating.  Rosenthal  himself 
has  transläted  so  many  S^rie 
Noire  titles  he's  lost  count  of 
them  and  can't  remember  their 
titles.  He  still  translates  some, 
right  on  to  recording  tape,  more 
or  less  as  relaxation  between 
big  Jobs  (current  big  Job:  Nor- 
man Mailer's  "A  Fire  on  the 
Moon,"  which  he  is  translating 
from  the  galley  proofs). 

He  finds  that  English  is  a 
richer  language  (you  can't  in- 
vent  words  very  easily  in 
French),  but  French  takes  long- 
er to  say,  and  a  French  version 
of  an  English-language  work 
will  run  a  fifth  longer  than  the 
original.  He  thinks  that  the 
better  the  writer  the  easier  he 
is  to  translate;  "Julian"  by 
Gore  Vidal  is  an  example  of 
vivid  writing  for  which  French 
correspondences  can  be  found, 
while  some  S6rie  Noire  Origi- 
nals are  on  the  level  of  pulp 
fiction,  in  whidi  the  same  flat 
words  appear  again  and  aeain. 
He's  had  to  find  French  equiva- 
lents for  "in,"  "camp,"  and 
contemporary  use  of  "like"  to 
begin  a  sentence.  (He  solved 
this  by  ending  the  French  sen- 
tence with  quoi.)  The  impor- 
tant  thing,  he  feels,  is  to  find 
the  rhythm  of  a  work,  and  then 
the  words  fall  into  place. 

Rosine  Fitzgerald  —  a  very 
Parisian  young  woman  despite 
her  married  name  —  came  to 
American  Hterature  through  as- 
sociation  with  living  examples 
of  our  expatriate  writers.  She 
used  to  hang  out  at  Left  Bank 


16     ^ 


The  New  York  Times  Book  Review 


--^ 


cafes  wlth  Richard  Wright, 
Gregory  Corso  and  some  of  the 
younger  black  Americans  of 
Paris.  She  began  translating  for 
the  S^rie  Noire  six  or  seven 
years  ago  and  has  done  about 
15  titles,  plus  an  Eliery  Queen 
and  James  Mills's  '*The  Panic  in 
Needle  Park." 

For  the  latter,  a  documen- 
tary  account  of  the  New  York 
dnig  scene  (nöw  being  filmed 
on  location  at  the  original 
"Needle  Park"  on  72d  Street 
and  Broadway)»  she  found  that 
French  equivalents  didn't  exist 
for  much  of  the  new  slang. 
except  to  the  extent  that  Mar- 
cel Duhamel  and  his  associates  f 
had  invented  it  for  the  S^rie 
Noire.  She  read  a  library  shelf 
of  books  on  narcotics  before  be- 
ginning  the  translation,  talked 
to  a  night-club  Impresario  of 
ill  repute  and  a  police  inspec- 
tor,  was  advised  by  the  latter 
not  to  bother  looking  for  French 
equivalents  of  certain  expres- 
sions  —  *The  proWems  aren't 
the  same  and  so  the  slang  isn't 
the  same.'* 

She  refers  to  the  Harrap  dic- 
tionaries  for  English-French 
correspondences,  uses  a  large 
Webster  and  a  two-volume  Ox- 
ford dictionary,  but  still  she 
has  to  buy  half  a  dozen  techni- 
cal  books  for  any  new  assign- 
ment,  in  addition  to  which  she 
possesses  the  catalogue  of  an 
arms  manufacturer,  which  she 
utilizes  for  S6rie  Noire  crime 
stories.  Most  of  all  she  depends 
on  telephone  calls  to  American 
f  riends  likely  to  be  in  tune  with 
current  vocabulary. 

As  Jean  Rosenthal  does,  Ro- 
sine Fitzgerald  strives  to  find 
the  proper  rhythm  in  the  new 
work.  Once  she  has  that,  the 
rest  falls  into  place.  The  first 
couple   or  three   chapters   are 
always     difficult;     when     the 
rhythm  comes   she  goes  back 
to  rewrite  them  to  unify  the 
style.  She  recalls  the  bad  Im- 
pression she  had  of  Harpo  Marx 
after  reading  his  autobiography 
in  French.  And  then  she  looked 
at   the   original    and    found    it 
wasn*t  at  all  the  same.  A  literal 
translation   of   terms   such   as 
"son  of  a  bitch"  had  made  the 
writing  harsh.   when   (because 
of  literal  translations  of  terms 
such  as  "soap  opera")  it  wasn't 
simply  unintelligible. 
-  She  reminds  me  that  a  trans- 
lator  can  always  take  the  easy 
way    by    using    footnotes    (to 
explain  what  a  university  Cam- 
pus d  Vam^ricaine  is,  for  ex- 
ample),  but  they  are  sure  to 
break  up  the  rhythm.  She  feit 
that  "Portnoy's  Complaint"  in 
French  was  "perfection  itself ' 
because  the  translator  feit  the 
book    before     deciphering     its 
language.     Other     books     are 
ruined     by     translators,     e.g., 
"Games    People    Play."    which 
was  taken  apart  by  an  angry 
critic    for    its    absurdities,    or 
"Catcher   in    the   Rye,"    which 
led    to    Salinger's    indifferent 
reception  in  France  until  a  bet- 


ter  translation    of   his   stories 
appeared. 

Once  the  translator  was  an 
amateur.  a  marginal  producer 
in  that  occupation  for  gentle- 
men,  book  Publishing.  But  in- 
ternational understanding  re- 
quired  better  than  that,  Now 
translating,  in  France  anyway, 
is  a  profession,  and  the  well- 
meaning  little  ladies  who  con- 
trolled  it  in  its  cottage-industry 
days  have  disappeared.  Profes- 
sionals such  as  Jean  and  Ren6e 
Rosenthal  and  Rosine  Fitzger- 
ald are  the  rule  now.  Transla- 
tions are  not  well  paid— at  least 
translators  don't  think  they  are 


—but  the  $1,000  or  $2,000  ad- 
vance  (against  a  royalty  of  1  or 
2  per  Cent  which  French  law 
since  1957  requires  in  new  con- 
tracts)  is  an  Improvement  over 
the  past.  These  material  advan- 
tages  are  due  in  part  to  the 
work  of  the  French  Society  of 
Translators,  affiliated  (with  a 
couple  of  dozen  other  national 
associations)  to  the  Internation- 
al Federation  of  Translators, 
which  produces  a  magazine 
called  Babel. 

On  occasion,  a  contract  with 
the  original  publisher  of  a  work 
requires  that  the  translation  be 


submitted  to  the  author  for 
final  approval.  Eisenhower's 
memoirs  were  sold  abroad  with 
t*ie  proviso  that  not  only  the 
translation  but  the  translator 
be  approved  in  advance.  Jean 
Rosenthal  complains  that  critics 
don't  speak  of  a  translation  un- 
less  »t's  bad,  but  I  teil  him  the 
probdem  is  the  same  in  our 
country.  If  not  for  translators, 
he  insists,  An>erican  literature 
would  be  known  by  few  people 
outside  the  United  States. 

And  last  year  the  French 
Version  of  Svetlana  Stalin's 
second  book   blew   up  in   the 


face  of  its  French  publisher 
when  it  was  discovered  that 
the  translators  (a  French  in- 
tellectual  and  his  Russian-bom 
wife)  systematically  slanted  the 
text  in  a  pro-Soviet,  anti-Amer- 
ican  direction.  The  publisher 
was  prevented  from  reprinting 
the  book,  and  another  firm  was 
authorized  to  do  a  new  trans- 
lation. It  was  one  more  demon- 
stration,  if  a  particularly  dra- 
matic  one,  of  the  extent  to 
which  the  original  text  is  an 
innocent  abroad,  a  creature  of 
the  foreign  band  chosen  to  pro- 
vide  a  local  version  of  it.  ■ 


Decemher  27,  1970 


\ 


435  ERßt  51  Street,  i-ev  iTorK,  N.Y.  luüfS 
17  d6c6inbrt>  IJ70 


Mes  chfjrs  Ainlß—  Mcri^-rltrre    et  Ancre — 

D'itDorti  ix.  faut  n^nercier  I^^drif  ci»  pn  Iri^ttrt  &i  e^entlllf  et  e(i  mime  tenps 
feiiciter  IVrie-iierre  pcur  sn  l'Äte  en  qutiicueö  ^outlI     J'e^pere  <:ur  j^  ne 
B%Tt±  iMS  eti  Ttrithrö —  iiVec  ie  courrit;r  cei;  jourt-ci,   b4xßP,   pfirtout  c  u  noude 
ij.  ne  riierciit    plusl     Mftiö  ices  voeioc  bien  aifectueioc  voyegeht  au  ociiit;  dont  ra 
pensee   0   toute  vit«?<ßße—    '  '     o»p«r«   (ma  machin«  est  aller  on  pnnn«  en  ce  moment, 

maintenant  J'ecrla  mir  la  ^'reaery«**  que  j^e  ne  connais  pas  Traiment—  quel 
barbef )— •  Toll»,  j'eapere  qne  les  dernierea  aemainea  arani  le  grand  eTenaaie 
ment  ne  aeront  paa  trop  dlfficile«««     Je  penae  beaucoup  a  roua  devuc^   »n 
regrottant,  coBiroe  d'habitnde,   tontea  cea  distances  entre  nona».« 
^dre   (11  n'y  a  paa  d'accont  ici)  —  je  n'ai  pa«  telenhone  a  Hobby  U\nt% 
{  paa  "Hob**—  c'eat  trea  iwportant  ce  *^Ilobby*')  car  je  n©  aais  paa  ai  je 
derraia  le  faire ,  en  plua  puiaqu'il  rae  parlera  de  kemarque  ce  <]ue  je  ne 
vetix  et  ne  peiix  paa —  voudriez  vouk  attendre  Jusqu'a  ce  que  ronsviondrex 
ici?     J*aTaia  un  pen  le  terapa  difficilo  ponr  dechiffrer  ce  qti<»  rous  ditea 
a  propoa  de  cette  af faire,     en  general  je  aaia  voua  lire  maia  parfoia  je 
n'y  arrive  paa  probablement  car  je  ne  auis  pas  au  courant  de  Marixorite 
Smith  (qui  oat-ce,   la  soeur?     Anie?  4-  «i  Tona  vonle«  c[ne  je  telephone   a 
liobby  je  lo  ferai  arec  moina  dAheaitation  plua  tard  ce  qiie  voiis  com^rene« 
aurerrent.     Madame  Reroar<ine  ne  m*a  paa  repondn  a  ma  lettre  ce  ane  me   fait 
de  la  peine  et  Hobby  eat  trea  ami  erec  eile —  alora  tont  ca  eat  trop  r>enibl 

Le  lirre  de  Shirley  MacLainei  tous  avea  raiacnp   ce  n'eat  paa  extraordinaire 
maia  renaarquable,  ai  on  ae  rend  coropte  de  ce  bigot  Babtiat  Southern  back|pai 
ground   et  j'on  etais   probablement  influence  en  reconnaiaaant  l'imraenae  pa« 
qu*elle  a  fait,   le  pron^rea  humain,   etc«     Je  auia  contente  que  voua  l*avei 
aohete« 

^^galement,  bien  (jue  c'eat  terrible  ai  one  ne  fait  que  travailler,  que  ca 
marche  mieux  pour  roua  chea  Stock  et  que  voua  roua  entendez  avec   le  nouveau 
boaa,  Anat  c*eat  trea  important  pour  lea  nerfa« 

J*airoerai  bien  ecrire  un  livre  important  maia  je  croia  qun  je  n'y  arraive 
paa,   j*ecrirai  toujoura  au-Kleasoua  de  non  nireau  par  mannue  de  coiwnunicatio 
humaine  depuia  ai  lonfftempa»     Si  on  ne  parle  jamaia  et  je  die  JAMAIS  arec 
dea  peraonnes  au-deaaua  de  aon  niveau   (et  je  ne  le  faia  plus  a  WSr  York 
d^uia  dea  anneea),  on  perd  la  facilite  de  penaer  au-deaaua  et  reat  audea- 
aoua,  c'eat  bien  aim]>le.     Mary  Toat  eat  trea  gentille  mala  je  croia  qu*elle 
n^a  paa  asa^i  de  tem  a,  arec  aon  marl  et  trola  enfanta  et  tine  agence  de 
donner  beaucoup  de  tempa  pour  n^aider  a  accoucherp  bien  qu*elle  ma  aurement 
aide  de  me  aortir  du  dead  end  ou  je  me  trouraia«     ICh  ce  moment  the  I^AST 


paralt  Butrch^r  dans  une  dirnotion  autre  d%  cell«  de  l*9eologl«t  c*#8t  plu- 
tot  l«s   probleaea  des  deraclnes  -—  qnl  «•accroch«nt  a  la  protaction  la  nid 
roprasenta—  Ja  nm  aaia  pan«     C*«8t  toujoiT»  tras  confiia,  ce  livra«     Jo  ma 
trotnra  beaiicoup  a  Hollyvood  an  c«     aoroent,   ce  qui  n*ast  pa»  mal—  c'aat  int 
eresaanti   1* Hollywood  daa   lat©  Thirtias  and  aarly  Fortlas  ou  j 'y  rivais — 
toutas  8orto8  de  chosas  ma  rariennant—  c'aflt  T*o^ir  tmit  cala  oua  j'anraia 
basoin  d^  la  rajioiuia  au  liau  da  toiijoura  ma  balladar  dans  las  monologuaa« 
Mais  ja  m'y  habitna,  an  äffet,   aeuletn«nt,  pour  la  travail  ce  n'ast  pas  bian 
Vons  SAvaa—  John  Huston  m'a  dit  iine  fols  **Thera  i«  happiness  in  lonclinesa 
too**— .  ja  m'an  rappalla  tra«  sonyant-—  11  a  raison«     Je  crois  qua,  au  fond, 
ja  n*ai  pas  anrla  d*acrira  an  ca  moment,  j*almerais  na  faire  rien,  rae  pro- 
mener  dans  las  alantours  dfi  la  inaißon,   ou  c'est  joli,  regfardar  la  East  Hire 

—  oui,   na  faire  rlan.     Ja  suis  sura  comna  Hf»marriua  na  l'a  acrit  snr  aa 
Aerniera  carta,   *'na  forca  rlan,  cela  viandra** —  mala  J'ai  trop  baaoin  de 
l'argent  pour  cela,  alors,  11  faut  la  forcar  chaque  jour  —  on  la  peut — 
mais  1*  äff  ort  est  enorme  et  at  ce  n'ast  pas  mal  ce  qu*on  fabrique—  rania 
vhat  doos  it  say  in  tha  and—  enongh?*'     Jn  sarai  tras  heureuse  si  TOiia 
▼cnie»  Tralment  en  Mars —  vanoE,   je  von«  pria,   et  on  pourrait  parier  un 
peu  peut-atra,,,     Frobablement,  d^ailleursi  je  suis  trop  inpatiente,   ai 
j'attendais  un  peu  it  laight  shapa  up  after  all! 

J'esriera  oue  Poslvn  ma  donnara  de  vos  notnrelles,   surtout  dfi  Maria-l'ierra 

—  et  qua  tout  aille  plus  facilement  qu'on  jxb  la  crolt   (aubjonctlf???) 
Et  >K)N  N01':l  at  WIUVI'IIUJCUX  1971—  et  au  ravoir  qu'on  puisse  s'ambra&ser 


Kst  ce  qua  je  lis  correctetaant  touh   pansas  que  cette  histoira  avec    tobby 
a  a  faire  avec  votre  CAiiTK  DU  TWlÄtK''??    UacldeÄment  je  na  comprend  rien, 
Oui,  le  NID  est  toujoura  una  grande  granda  joia« 


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(f,  rne  Casimir  Dehwigne,  Pari)\^^  ^'^       0  O    / 

T<fl(fphoi^L  :    326-74-46    (Henes    groupecs)  ^^  ^  ^   (  ' 

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BY  AIR  MAIL 


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Ket  cntrfci  i-farit-Pi»r.rre  et  Ai.drc — 


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bable:i<nit>   .jiut.  cu  ^ouf'^etite" —  j 'es^^-^r«.-  («ut-  vüuj:>  vou^j   i:*oit,nez  biMi  et 
qutrj  ie  (jT^^^-^  evem.-rieat  se  i^rep^re  bta^ii  trop  ae  ciiff  icvutes« ••     J^*  ..^-nüe 
qutr  liüölyii  vüus  tc-ie^iiOiiera  qufina  eile  sero  de  pasbai,fcj  a  Parii>  ^►:iiciiint 
pfiU  de  jour  ei.  Dec<^2Dbrtr|    tjui-  tioii  ch^fiiiij  6.u  liaroc   (cur^-ii^  ciwacel)   ir-t  ..;u'€-ile 
lüü  rjüniu-  ä«=-  vof.  nouvexxt:^  a^^rtys  ;30h  rc-tour»     i^«oui>  noui.  voyons  ^Jtu,  h^la^^ 
exa.e  e:-jt  tre;i>  burnienee  et  l«£  df:j<-:Luiert>  ne  cont  p^a  inon  ^irr.rt   c.i  c'f^t  du 
touo  iOt^i^iülT'  ci^^  Itifc  *:Yii.  Tf  «-n  pxu£,  ^*i.ndii*L  que  je  tuis  ''vxtn  book"  ceia 
me  detruit  0.0  jourri<i»e —  1.^1^  nouLi  ^truit,*  oüt;  tuut  dt>  iii^i,e  aUvai^t  ouc  pos- 
cible  Cb  '^u'ix  y  Jj  partü.:^er« 

Je  vieiit.  de  iir^.  lu.  xivrf^  &^t»:;z  exLrLorcüiUiire,   c'ebL  i>oiJT  I/ujL  uIl*   lilK 
MüÜKl/iiii  par  bhirltry  htcL^ine^l^  vea^^ittt-:   de-  cineDf —  c*f:i:t  urie  gorte  d' 
eutobiOt,r:-.phie^  ecrite   vlort  bierij  par  f:lle^:8nie,   €;t  ej.x»^   rtcontf  dee 
ni^toiiv  i,  a>'  sfb  vo/£i4,e£  ei*  /fricjU:.  et  suj  iout  f    thutaii  dr-iifc'  ifc  iiiir.tlfyti6# 
J'i.i  tüujowü  ete  lüßcirie  des  livrc-ti  m^  ce  gtnr^ —  fJvf^n  hedin  dena  ine 
jtoiirs;-. —  dcnc  j^>  &ait   peut-etr^  ui.  ptu  preju^f^e,    .  r-ii>  jt  vous  eii  i^erie 
Cfcr  j'.'imertds  aus  vou^:.  xe  reb^rdies: —  a'^boru  jt;  croyaitj  qut  c'i^ttit 
üiutöt  dröi^j,   r^ls  fixi^ienent  c'ei^t  iiri  livr«    trb.::^  üirieux  —  Lurtoul  ^our 
ui.«  /:ii^riC£i.iuo  du  iiija^ot  w-outh  cn;i  est  o.;  xJlab  e?^.^ref>  iaik'.tbelJ:i   la/ior  xa 
^lUo  t^ritiiCie   veoett^^.   at*  ciniij:u£.  ijnericfcia.»»     C*«?ct  nre  que  quexque  chote 

•    •       pj.fclt     Ci  f5     jÜwTb-C,     j'-^'l     Cümi.rilC^     Cir     xirr     a.e     iiVTr     drr     ViVft     bUrKRS  i  i\K 

et  cej-ct  re  de^joutt^^   c'.rL-t  bic.a  biiu^xc,     >'ri^',    four  airt   Xf    vtrit:,   xr. 
poriiOt:rr'^hit   m*t   eiaiLye  a  cr^ver   toutr-  rm  vit ,   j'jI  toujourö  prv^fere  de 
i*j'ij;ui;€.2*  iijüi-rr*fiLie  eu  iitu  dt-  iire   ce   Ciiu-   xer.  fiutri^s  c'Ut   ^»=   r>    coni.ßis 
pai^,   Iwiitll     J'i-i  pasö^;  t;xacteriiiit  «j  flüuutcS  dftiib   uiu-  rt  c^rption  i^our  Vivii 
(exxr:   i  L>L  i^raiide  acde  f*   lUjsIyn;  —  j'ai  cru  ::.*%  trouv  r  oaiit   uü*    ücar^e  cu 
che;:  Fexlinx,    i>rwb;n:ioiiie;it  tiULI.'-'i   ÜJ'  Tii:"   L^i  IPITi^l      *'l£<ib  puitcru^  je  u'r'i-ic 
^•xcts  Ct^  quc  I'e^xixii  jlUI  iThuriqui^,  iiUi;  plus,    je  voic  cjui    jt.   *.ALi;j  tout  a 
föit  "sqarrt^"  et  *-nüt  vith  If  en  fivoumt.  en  i.^mo  t^r.ps —  TnA.  K  CKjDI 

V^lc,  hfX£io|  puuT  ::eL   ^'üc;uvrt^ß"  ce  st^rait  riie.ux  si   j«^  u'etoitj  pat  coijjie 
je  buiöll     lout  d^  memt,    je  pens^  d'tvoir  trouvt  uii  nouvel  fi^ent  —  toute 
peti^tj  r:eis   .er:3onnfclj.ci'^-i.t  bt^>a  rtspten   ^^t  IKIä.   birlv —  C'eat  Haiy  i^ott 
(üarj'    io;3t  Asöociates)   (jue  je  conuai.^  depuib  ^üii^t..3'..s  iiuia  j'etai:.  trop 
snob,    j'tvi,.it,  f^jpcrt^r  quc  t:Uv.i.qa*un   '*pldr  ^maü^^   s'int^re-ssereiit.,.     Ce; 
üui  Ciit  ifiot  de  r.^  >^trt,   ch  ai  exxc   ciolt  ViiiiI.;i!LT  5i  i:oi —  i.j.or&  c'.,st 
Ir.  pr*.:irixur  j,5'Li  vc->rs  un  ccntrat«.«     Klle  a  lu  Tii,:  Fl'.llALE  c;'ai  lux  fi   beeucoup 
plu  r/iaiti  i:xi*r  voudrait  cu.   je  l'arrondibSr   uri  pr;U  (^u.j.t;  t.  ^robib^Kii :uiit 
rai:ioii;i   i:;j.le  a  lu  ieö  70  pa^es  qut-   j'öi  du  LAc>T  liol/cjü  fiui  xui  pxalt  «vi-cjre 
pluEi    ei.lc'   croit  qur   j  U;i   "queicvue  chost    ia'^j   fiu  inoirs  exiw  a  pai-t:e  ^dus 
qii'ui*  .  li-  urt    dt    li    üit^cuter  c.Vf:C  i^oi —  l  nif   tiX*'^^^^^*'  joicf —  et  dir»,    üf.s 
choeer   inteilit^eiiteö  et  eiicuurtt^^^^^'^^s»»»     ^"i*  <*i"f^-t,   •  uisicii*.    j^iif*i^  drru 
uiit    sortt-  de  dt'iM  eud  aa:*fci  Ir   cor.strucr.ion«   tlle  n^a  pt*ut-^i.rf;  aide  L»:au- 
cüup  avec  uj.^-   t,ut':t;ertion  a  e^le   nui,   J'^-Lperr-,   va  ^:inplif  i<  r  rca  ^:  iyriiitli 
thfc  fifibhback  daiia  le  l.i.aeLback  dont  j€>  ut   pouvaLs  plu^s  m'tn  burtirll 
?xi  tOwit  cfiL"  exlt;  a  bür*i.iei.t  ü^l  donb  d'edlttrur  ou  d'eaitrJcc'  ft  eli<    est 
juort   tnaii  vil^int'  d€*  rp'ecout:.r>  ulscutM-,    c-yi.c«     FJLi«r:  a  ec,aa.e.'ii.«sut  xu  un 
articit^    bur  lairjL  benedtctineß  ciutr  j'fjvai^  rtcrlt  ix  y   a  rufiau*    ncis   (je 
l'avai.s  t'Crit  il  y  ;:.  aec  A-niK-ee  f-t  Kos.lj'-u  u^    pouvaib  pa^:.  1^   \t  xlre),   cxxa 
avait  de-ina/.de  'sJX\  caane^f-nti.t  cut   j'ai  l'ait  vc^ontj.*  re  tt  l'rrlicx.:  t.it  c^ja 
Jk.   ^^jusf-  cne£  >icCtll's«     Je   suia  pltine  d^f-ej^oir  car  j'ti  i'im^  rtöLiori  que 
iji]«,  Yost  VIvALüvsT  s *  intern  r  i>e ••  •     Fllfe  ebt  TllEö  americaiiie  —  fa&cinee 
par  Uiip  europeexuitr   corj.i^i  i.iüi,.«     Axort,   uue  raii;  da:ib  le  noir* 


Ce  noir  a  ete  trer.  noir  a  i.ropü.s  l.v   y.ort  de  Kcioarc^ue  avec  nui,  voui:,  1(.  bc-vt^z, 
j'^i  pf^rcu  mon  neilleur  ani,  d^/puib  i'l  anti...     xli  iup   lai£>ait  thi.t  de  con- 


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be£;oiii  c  .Jii  j  eu  ae  aucc«s,   surtout  iii-.&rtcilrctrifnt,   curtout  si  lul  n'tet  ^lus 
.c;  qui  iii»^   büujouTL  ggtce... 

J^  seuie  chose  qui  est  Ufie  joii;  Bans  ceece  et  le  nouvfr^u  "r.id".   Je  r'tn 
rejouit;  chtque  joui—  c'sat  coau.o  un  iiiir£.cxb,  epr<*s  ?44I     Fjoüc  j'e^jpere 


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hf^w  York,  Ib  beptt^iübre  iä7u 


Me^  chers  Marie-i^ierre  et  Andre — 

Voici  l^timiverßhire  d'Andre  ein  quelques  jour^i  et  je  m«^  prf'ci'lilte  d'^tre 
^n  bon  tenps  pour  voat  offrir  tou?r  mec   voe^us —  qur  9  e  soit  une  BuhNE 
arai^o  de  touts  xet?  ^oints  de?  vue  et^  oacore,  voa3  ^ajnene  ^  New  Yo  x.l 

C'eti;!^  bjLni  ^^atij.lC|  r.a  ^)i;;ti"cp  ilsrie-i'if^rre^  de  la'fecrire  u:i  ^e^tit  aot 
de  vot  ve:cv:icee~  j'itai:.   bici;  coiitti.tt    de  voul^  £fcAOlr   -i:  bonn^  ssrite 
et  jf/  c:\ut;  ^^eine   d ' adJnira tiüii  qu«^  iiitcci  perid^nt  vüi>  v^iCciicmg  vca:ü  aveü 
trevailie —  ^h  üif-:i,   irii^t^f.r  c'c^w^.t  nuuirti^   chOF>€    spf'Ciflf ,   birii  bür,   .:fiiß 
tout  de  iiiCme'l     Et  jn  i<r   trüuv«:  riiervt^iixtux  qtu^   c**:.;^t  vous  qia  ic*  trc- 
duibtiil     '•iKili'  honuc'Ur  et  qutlle  cho»s     ixi-ttGur  ^-our  vousl       *vuir.  vous 
bieii  nerite7.|  ii&turellt^r.entl 

Je  ptiice   befiucoui.  l  vcas,   toujourü  dnia  i'e^;:^oir  quf«  vou&  vouc:  f;oit^nie.z 
bleu  et  qur   If-t?  chosec*  inarcL.-nt  C  jöi^viitrit  pour  Pndve  w     'i'uf-^e:;  Lont  iec 
Hüuv/^-lles  0  ^ropos  du  livrc*  dt-  Caraon  McC« —  avez  vous  ei;i'iii  re^u  xe 
contriitV     Je  n'oro  prx  telephor^or  Robby  Liar^z  ooui   n-   ^^p.s  iVniiiiy'-f r  -:aiß 
£,'il  y  a  tuujours  it^  sixonce  de  c»::   coto,  iV^ites  luOi  ti^voir  c^t  j'esi^airrai 
dr-  nouve.Tu« 


A  prüpoi;  i^s  fitj-^nts —  jp  ri^fd  ri^^n  c^it  fi  Rceiyii  d<*r.     rtn'f-n  xiüuvexxee 
chez  voußi  par  üiscr^tion,  ncis  faitcö  inci  spvcir  -*.!   it'&  e.^  ri^'lit  to 


Le  ^iioncr   •rücor«^  d^ac  ?iH)t^  Crovth^r,   if^  iivTfc  f  st  chez  Covard  Mc^^ann 
depuic-  doux  Eois   (iis  loiit  terribieb —  er.  prfna  df^ti  trinefß  chf^z  eiut) 
dVs:-  qicf^  c'i^üt  rtUviTii^  je  veib  cssa^^er  (iuiTiqu*ui:  d'futre...     t^tMclant 
la  br^vt.  aeb  liftierB,  qui  avait  eure  1(3  jours,   j'avaie  itALhe  ie  iivrn 
ii  [lUiC  Crcvtüfr  c^r  jf  nc    pouvais  bci^ge  pae  en  tout  cas,     ^i^  rnainttiieriti 

£££fTn    frJ  t    aSSCZl  1 

Au  muiiiö  Till   ijA^T  huüSF  l'ait  di^  i^ro^rVs — toujoiir^  bleii  ^.t n 1 1^ :.:•-£ nt  :  aia 
tout  d     r;f:ne,   li  y  v  Cfsi  pp.e?::ai,e6  cui  sor.t  r^*i>ut^öie  jf  lens*?»     J'ei 
ecrit  xe  i:(-.  skii}»  chai^ltr*-  c'^iboru  dahs  1l  ^T^ilLVf  i.'tjrr>onrk-;  c(>  rue  r:'a 
fcicc —  eri&ijte  chfij^e  fr  trcied^ir-f-*     r^p.i^i  une  ^trtif.  ve  ^.rotabi^  .  ti.t 
rt-.stee  dan^  xt  prri-dtrt  perboiiii^ —  cei;  jcurs-ci  cu  ^eut  bim  ti^^:  ^e^rhiettre 
c^    i,oj\r'^   c/    libf  rte  l 

!it  Pri.fin  uiic-  bonrip  nouvellr   auand-Lif mr,   j'ai  ^.crit  '^on  aß^sitnrf.uf   {?vr 
corjnandt^ri)    uii  aroicie  coKpictemeiit  iaiüt  sur  aeö  iiieabieb  i^ui-  «01:1  na;.,a- 
ziii*^   qui  ^.'.v.jptile  AlTHICJ^K  HOl-X —  ßür»-i..ent  inccnnu  l-  vcufc»  car  c'eet  tre-s 
Kiddl-.i  A^icrica,  ^as  du  tout  "uotre"  t^t-aroi   i.aiö  TRF5;  bißr;  if.it  ii  faut 
lo  dirp —  ft  lan':   circuie  tion  d^   i  1/?  MILl.ICN —  thii>  itriH  peanutsl     Hji 
tüut  cafc,  oxic  vieut  de  l'accfrpter  et  j'en  cuia  TREL  TIÜ'Ü  content^,     C'^et 


•  •   • 


^f/zii;*^.  jTeii^^ufl  «t  ij  7  fi  xs   clHice  d'^utr*-  ?^£t:ignroeIit3  c«--  tor^pii  ru 

fc>uii.  si  Liiii;,a.e-track 


tenpis«     C*t^t  trVb  difl'iciif!  poui"  moi,  puibquf-  je 
:,.iiided  (tout  xc  coiitrc.ir<   ce  vouc  qui  feit  toujoitri:  t^iw  it  chot..  ..  (.w 
m&Qe  ti-npBl)f  d •  iutr rronpre  it    iivr->  iicie  on  otitit  tr^s  Luid'riita.itJiiib 
f?n  ne  ccrinRr.t  p^r  dt*  öradilne  du  tüut,  conc  paa  d<»  prt*:^foiü:i,^  f-t  ^->ar  coüse- 
qufcXit  j'ai  reusßi*     J^etai^  etoraif^«»  b  ia  faci-Litt  av«c  xft[Ue'ii^    j'ii  fcrit 
c?  t  artlnlf:    eürer:«^at  X  cf*use  du  r^^-vTltlng  obEeb;iv^  dr   n^i.  bouqminE  •    inoi, 
car  Cr    ^^ikTi,   de  iion-ixctioxi  wrxting  etai^  cpxiipx^t^iiieut  n&uveau  ^uur  lüOi, 
In  tout  Qhb^  uri  tout  petit  üuccl-s  et  j'e*n  auifi  con^f-.nte. 


e4;  ch4^^' 


et  encorfe  toys  Lief/Arocuxi 


Cfeiil^s 


2  pfi^  trop —  soigiiez  vou^.  bieu — 


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\^^jM\   U^t  ('  Je 


vous  tnbras6e« 


PAR  AVION  Zll^il 


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Alpen-Flora:  Dunkle  Ak( 
Alpine  Flowers:  Alpine  i 
Fleurs  des  Alpes:  Ancol 

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Printed 

fn  Swltzerland 


CM 


45S  East  61  bt.,  ^evXoni,  iJ.I-  10022 
Ju]y  15,  iJ7o 


Me::  chfirß  Mari^-Pierre  et  Andre — 

Qaielles  (irp.ndes  nouvellesl     Felicitatlous  et  tüus  ne^  voeux  eiTecturux — 
j'e*b^t^re  c;Ut  voui-?,  i^L  ptetiir  Ih-rl'  -^'iK.ri\    ue  üouffrez  piis  peiiaant  ce 
teinps  qui  est  parf'ois  difficile...     lenez  nioi  au  coiirant  ci^-  touti 

Allere —  i:crci  df  votre  it^ttre —  j*ai  parxe  toute  de  euite  avec  >uDbty 
LanLz  qui,  le  niecnaiit,  r;*?  dit  qu^il  ii';.lriif^  pas  nu'oxi  le  pousce^   (lun>  vrai- 
mei'itl)  lüais  ou'il  y  a  "beaucoup  de  coir^^iicatious"    (je  ne  lui  croi;b  paü 
Uii  L]ut)i   qui*  c^fj.'at  x'et(    ^.*t   Ib.s  geiiü  sunt  ^;irtout  nais   -ifit;  e  l.ev  ^crk, 
bref,    *^qu'll  s'tvii  occupe^»*     J^  lui  ai  dit,   "öi  tu  t'eii  occupe  je  öuIg 
contantfe —  c'trbt  tout  ce   qutj  j<r  vouJ-^i£   t>^.voir —  i..(.-rci*"     /Ion:  ii  faut 
attexidrf^»     'ivimz  noi  au  courant,   eurtout  laiWü  üjoi  savoir,  je  voui;  ^rie, 
quaiiu  ±e  contrat  est  ^.rruvell     Je  vais  voir  ai  je  ne  po\::vait>  pan  avoir 
un  vt-rre  avec  lui  en  tout  cas  uri  do  cet3  jours,   ^our  le  ra^x^eii^re  ^^ar  ..a 
pr^ßtnctj,  tixTion  avuc  dtiü  mo-lvS,   voua  coj.^xuiez?     i<oa..  ton;:]^^.:,   f*n  principe, 
ausßi  en  contacte  a  propos  df^  la  crise  ae  coeur  terrible  db  *.:€:  arque,   dont 
^our  le  iiiOiiieiii/  j'cii  det  poi/.ts  dr    conmi^jiicAtion  f^vec  i-.ant2  *:t  oi  je  i':is 
chorciuj,   j'en  trouve  töujours,   c'eftt  tres  facile —  lüeme  bi  nouci  n'etiüiis 
pas  eil  contactti  actu^il  pendaut  d*'^j  e.iii;i-3o»s«     On  se  retrouve  toujüurs* 


i'ovx  Ic-.  ifiOinöXit  nous  soioi^es  ^:n  pl'^in»?  ci^eve  dtes  llfti^rt;  et,   B^^rej:  10 
jours  orinc  boue;r»r  du  "nid"   (a  ia  He  eta>;e)   ca  coinr.ence  a  dev^iiir  ai^ScZ 
difiicile«     Lxi  «fiel,   Cc  n'3?tt  p?s  vrai.n^r*.t  viiie  »^revt  nait:   uii  icc]:-K)at 
de  la  part  des  proprio taires,  de  la  i'acou  la  plus  badiqub  et  crcu^ilc 
posGiDlt —  cuutrT,  io^  lüChtair^s,   pour  forc^r  ^ir.dtöy  de  permettrc  ©ux 
proprleta.iree   Vtres  riches  pour  coinrjencer»  surtout  let»  ^raud&y   to  Liticd 
US  to  aeati;.*«      Uiiri  feeulf:  de  mf  l  omi^.s —  a  nui   cp   i^^  feisait  ricn  de 
Liontt-r  11  tntat;eü  ET  d^apportf^r  des  ^rocerios,  ebt  veiiUBp  coirjne  dUiabitude« 
Je  6ui;-    dtiüCtuaut:  hit^r  pour  vcxr  ^M^(^i-t4^  {^^^^\m^\)   l'oculiste  co  qui 
etait  tree  iruportant,   je  me  suis  reposee  tous  leg  deiox  etat^es  naib  c'^^tait 
uae  corv^e  neaniaoiö  et  t^ixouitt    j«  a^iio  corr.pi^u  2:^*11 1  ccllapsiid,  bitn  sftrl 
Daus  ce  üi;>nre  a'iinneuble,   les  ebcaxierb  sont  compXüteiüeiit  uiffertats  de 
ct.ux  en  £ui-ope   ij'ai  des  ai:»ifc  ^.u  5e  e  i^erl;/,   ^ar  e:>:Fiiple,   saut'  ascenseiir, 
ir:ais  je  vous  assure,   ce  n^est  pas  comme  chez  nous  icll)»     in  "^^vA^^Qßs, 
on  attend  et  t.spl:r-  qua  ca  finissf  •     ''mlh  nuandVH     Lc  coiirri<:;r  ^a  av.ssi 
s?:^ulf^Ment  £  für  et  a  iiiesure,  parfoitj  pas  pendent  des  joui^nets,   c'est  tres 
eimplf?,  la  vie,  vout  voyciz« 


Mne.  trovtiu.r,  na  "uouv^aie  av,r,iit"  nV;  ri'^n  feit  puidant  TRüIS  MOIS  avpc 
Tül'  FT{i  JLE  Dftcause  ehe  didn*t  iaiow  vii^re  to  öend  it,   c't5öt  ce  qu'rllt:.  Ki'a 
dit  aujourd'hui«     J'ai  prr-yquf-  pl«-ur^  de.  ce  gaopillage  de  tei:ips  si  pre- 
cieux  pOc*r  raoi«     RoeJiyn  etait  hoprifiee   (c'^tait  cntz  k^i^j^k:  qo^i  j'ai  Cs>ii- 
nu  VVs:,m  ^•)m%%     Voufe  vo/r.  z  coivjt'  la  v^dne  wo  s*aitl  1 

Evlder.rueut,   ce  n^o^t  pas  tr^-:^  blen  pour  L/.  DHH^IrlRE  1:AI80N  et  eile  iif^  rarche 
cu'au  pa&  d*escargot#»«     Ce  que  K6  deseepere  fc^saltoiijeiit*     Je  iue  ücmai-de 
coianent  tout  ct-.xc.  coiitinai^n.*     •.ai..  i^  ffiuv.  air»    qu*?.  noris  evons  df.  la  Chance 
daiis  Cfrtte  naison  car  il  y  a  au  laoiiis,  pour  le  ßiorieiit,  ae  l'wau  ch&ude — 
il  y  a  des  iioineubl^ti  qui  u'tn  ont  pa::>  ^-u  dhp^iis  ie  cuiivz-ncu üt  de  la  i^revell 
Et  j'«i  une  Urrocc^,  et  le  nid  e^st  a^^reable,   ♦-t  l*acclinatisation  Züarche... 
Ca  pourraiL  etr^    birxi  piru^     Co  que,   par  ex»i:.:plt:,  la  politiqae  e:Litll 

Mes  chers  Anis —  encore  une  foii^  tous  laes  voeux —  je  vous  t-mbrasse 


EDITIONS  STOCK 

Soriete    Anonyme    au    Capital   de    ^.joo.ooo    F 

Tiflephonc    :   ^26-74-46   (lign«  groupf«*) 
033-93-16 


Paris,  le     7  juillet  1970. 

(f,  rue  Casimir  Delavigne 


»^ 

OQ 

I 

ü 
I 

l 

NO 

• 

00 


Miss  Ruth  Marion 
433  East  51  Street 
Nev  York,  N.Y.  10022 
U.S.A. 


Chfere  Ruth, 

Merci  de  tout  coeur  de  votre  longue  lettre, 
comme  toujours  pleine  d'amiti^«  Merci  surtout  pour  ce 
que  vous  avez  fait  auprfes  de  Robert  Lantz.  Je  suis 
heureux  de  savoir  qu'il  se  trouve  8tre  un  de  vos  anciens 
amis.  Malheureusement,  je  n*ai  toujours  pas  le  contrat 

Bien  amicalement, 


Si-^   ^-^  ^^  "^  ^"^  >--^/^' 


Wws 


'a^r 


•/  .    ^  ^^^ 


>v  . 


^^- 


V* 


£ZO'7  3 

S3iS0d 


Miss  Ruth  Marion 
433  East  51  Street 

SNVS  313  Nn 

uiAns  ueH 


PAR     AVION 


45Ü  East  61  Street,  ^^ev  York,  N.Y.  iOü?r,  ce  15  juin  197ü 


eher  Andre — 


Votre  lettre  est  arrivee  ce  iiiatin  et  j'ai  telei^hone  tout.  d^  suitt.  a  Hobti/  Lantz 
qid   vi^nt  de  me  roppeler — a7:15  le  boirl     Mais  il  m'a  reuercie  q^  ce  coup  de 
telephone  h  votre  e^ard  et  ni'a  char&e  d-  vous  dirt^  qu'il  S'üCCUP^M  de  ce  contrat 
—  il  vif^nt  de  rentrer  d^   l^Furopr,   il  y  a  seuleirit-nt  3  joupö,  inais  il  ie  fera^ 
C^est  vrai  qu'ii.  y  avait  que^que  chose  avec  Riu*  birath  "but  1*11  take  cart  of 
it  ßiid  it'il  be  eil  ri^ht  and  Jboodo^MÄ  I^m  glad  you  caxied"  etc —  je  lui  ai 
dir  que  vous  vouiez  faire   oes  xivrf:5  de  pocrif-  et  puisque  x<=r  cli^r  Robty  adore 
i'art^ent  et  sa  feu/ie  i'ador»:^  encor^  plus,   je  suis  süre  que  vous  avez  biea  fait 
de  me  le  direl     31  vout  ne  reicevtz  pf.L  ce  cc^iitriit  tree  bini.töt,  in'ecrive2>  ii)0i 
de  nouver.u  et  je  sc-rai  RAVIE  "to  pester  Robby  Lantz'^ —  surtout  ^i  c'est,   ^our 
aiii&i  dire,  i'art  pour  x'artl 

Pourque  vou?::  coinpreniex. —  i#exitz  est   (^ncor*.,    c'est  extreordiiiaire  coc^bien  de 
Kts  copaiii  dp  me   jeunesse  ou  exifaüce  inemH  out  fait  des   *'carri<jr^'ß",..)   uii  copain 
de  lia  jeuiiesse,   eii  elfüt,    son  p^re  f'tait  tres  bien  evec  le  mievi  et  ei^core  un 
'^grand  adiüireteur"   (est-ce  le  mot'^'O   de  aoi  quaiiu  j'avais  2j  aiisll       Quaiid  j'ai 
dit  a  Rocly  quo  j'ai  xruuve  r»*ceicrrieiit  dr?::.  l^ttres  ce  scn  pcre  a  inoi  d^ii  y  a 
50  ans  il  est  fondu,   etant  donne  qu'il  a  enownement  aline  cet>  ^arents«     Bon« 

Je  vous  ecris  Pue  Ktadarae  car  je  pense  que  c'est  mieux  de  cire  trei.  franche- 
meut  ce  que  je  pense  ae  übcker,   surtuut  puisaue  je^  ni  l'aj,  connu  sf;ulejj.ent  une 
s-^al^  foir:^  pendant  une  heure  quand  j'ai  eu  un  verre  avec  lui  ^^our  discuter  une 
af faire  pour  un  aiai —  dt;  filia —  conc  js  ne  peux  que  vous  r3^>ondro  ce  que  xnoxi 
int^iition  dit,   e   c6te  du  fait  que  je  PP'KSE  que  sa  reputtion  n'ebt  pas  brillante« 
Da^^s  cetto  nistoirt:  de  iil.;i  —  il  s'ticissait  d'un  livro-  allexnand —  cet  eard  m* 
avait  der:ande  de  irje  mettre  en  contacte  avec  becker  car  il  ue  reponoa  it  plus 
a  inon  ai.i  qui  faisait  xes  filins  ue  Ilsnqr  tn  Europa ,   donc  ue  pouvait  pas  forcer 
t-ecker  de  repondre.     ^lors,   ce  n'etait  de  ja  pas  tres  bit-ii  coimae  ixitroduction — 
je  VöU>:  dire,  j.es  gonu  qui  nt  repondvnv  pas  ruant  il  est  question  de^  affaires, 
aiors  cp  ne  me  plalt  pas#     Il  etait  tres  ^'poiite"  uais  je  ne  x^ai  pat*  du  tout 
aiine,   franchenient«     Vous  saves  quelle  idec  in 'est  v»f-nue  danr.  la  t^te  qioand  j*ai 
reflechis  ce  oue  je  pense  de  lui    (je  n'en  avais  janais  reflechii.  auparavant, 
bien  sClrl):     je  ne  salb  ^ai  x^ourouoi  i^iir.  il  ne  s^nbi^^i  c*est  le  yeure  '^agent" 
qui   fait  toutes  sortes  de  choses —  qui  dirait,   par  exewple,   quand  ochoeller 
venait  ici,    "v^oujlq  you  xiice  va-   zo   ii^^t  up  soinclhin^^  for  you —  i:,Uire  daisy   chain, 
perhcos  5  white  and  one  black  girlsV"      (Il  paralt  que  cexa  eaait  ce  (lUc.  plaisait 
a  Zenuck  dans  un  inoinent  aoniiAl)      CH^icpren^^z  vouf::   Ctr  oufr   je  veux  dire*^     brievejiient 
je  ne  lui  ferais  JA?IAIS  confience  meine   si  j'apprenait  aujourd'hui  qu'il  est  le 
plus  iioiuietex  des  hoxüiaesll     Si   voub  rn*-  ö^nwndez  s'il  dc^vrait  repres^nter  ütock 
je  vous  repondrai  careinent  NON«     Je  ne  crois  pas  qu'il  a  jlcs  untres  qu'il  vous 
feut,  ni  xe  respect  aet  eoiteurt   ici  et  ce  sera  mieux  ae  n'avoir  personxie  que 
riuelou'un  coicine  lui«     Encortr  une  fois,   je  ne  sais  hlEN  DJ   GuwuIu^TE— 
Beyque  fort   rareLient  qut    je:   r-    troirjpe  dan::;  l^-t   etres« 


1x^X3  ce  n 


De  recevoir  une  lettre  de  vous  ou  Maxie-Pierrh ,    c'-ist  toujours  une  fetel     Je 
suis  heureus«=*  df»   sevoir  que  tout  va  bien  et  j'espere  de  vout^  civoir  bien  compris 
que  Ca  va  avec  xa  sante  d«  ^^rir-Pierre..«     Je   ruis  dcnolee  de   savoir  cu'une 
Visite  etait  si  proche  avant  qu'il  fallait  la  rencuacer«.«     Que  cela  Hi'aurait 
fait  plaisir  ce  vous  voirl     Jr    >jenst.   ti  souv;ünt  a  vous  deux,   toujours  pvec  ie 
r^isr-^t  nue  vous  etes  a  Paris  et  moi,  helas,   ici«««     bien  que,  pour  la  ^vreiLiere 
fois  depuis  ma  jeuntsse,   jf^  cuis  ht.ureaße  dans  laon  apparteineut,  dans  ma 
nouvblle  ai'.biance«     Je  passe  ines  jours  sur  la  mini-terrace,   je  peux  y  travailler 
et  si  ce  n 'etait  pas  pour  les  courset:  les  plus  necessaires,   je  ne  sortirais 
Jamals«     C'est  incrqyable  comme  cette  terrace  a  change  ma  vie —  pas  qu'elle 


2 


C^ 


(nie  vio,  paö  ia  terrace)  n'est  rnoins  soiitaire,  non^  Lnais  l^eir  ^lulÄt  fralche 
de  la  riviere  ,  ft  qiielques  pientes  l  re^arder  et  tout  est  bien  liioins  binistre« 
Ce  qiu^  c'ett  terribie  est  ia  politique  ainericeine  —  je  nr  peux  abfc:olmueiit  pas 
envisa^ör  un  homi.e  comii'tf  Nixon    yd  tbt  tcxlwr.exit  obsccii'-  du  POJVOIK  uo  ie  ceaerait 
J8x^*ais —  par  coasequent  je  crains  tr€S  serieuseiüeiit  une  dicteturt  miitaire  ici 
—  th  ix  y  a  cii- jl.  deL  runotirfc;  rue  jlh  PJiKD  (.oiYoration  er.  Caiifonii-    a  rf^cu  uri 
assignuient  d'etuüier  ce  qut-  se  passerait  daiiö  leö  Etats  Unies  en  1'j7?  s'ii  n'y 
aiu^t^it  ^aj  cl'extctiüiia»»«     he  tui*L-jJLr.ii>  iit>   ia  nai^oii  biaaciie  et  fena  iiieiit  ces 
rumeurs  laais  ü  me  st=-jabi^  d'une  fa^on  teiiement  peu  serieuse  que  je  crains  le  pire« 
Par  c;onüCqut,^x*t,   t-t  aai^ü  ua  situat-^üu  finencl»:r'    si  p^i-.u  briiiante,   je  ut  voiß  pas 
que  ce  paradib  ici  a  ia  t'lat  street,  va  durer  tret  iongteupsl 


\ 


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^ 

^ 


5^      K 


^ 


s:> 


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■^ 


f>^ 


Voui:  etes  bien  ^entii  d*-  deinaiider  ies  ncuveiles  de  nion  xivre»     /dors  absoiument 
ziro  juüqu'fcL  prc.iieaL,      iurij'.;a  dovn  cht-s  uood  lioun^jkeejiii^g   cücmo  ^"ihis  ^U>iy   of 
a  wouia-be  affair'^ —  VEiiLl     Kior  page  58  c^est  bien  evident  que  ce  n'est  pius  du 
tüut  Ulli,  aiiitcir*.   u'uuio  'W/uold-bw'  uffair*'   Tai:i,  evidennie^nt,   on  ü'a  i^a:-  i\x  jusque 
cette  piLge.mm     t^ej^t  iceinttumnt  ßomewher^-  else^  iiiais,   fraüCieireiit,   je  ne  fais 
pa3  Loaucoup  ccnf ience  ea  i-^daise  Crovtixer —     ^our  dec  autrea  raisons  (jue  Beckkerl  1 
Le  Probleme  avec  [Lf^t^  agents  devient  de  rnal  au  pire,  ii  n'y  a  pab  quettion« 


En 


T;. 


urope,  TilK  Yu'lAUE  est  chez  fjoidnn  en  ce  moraent,  apres  que  Marion  v,  bchroeder 
avait  oä-PUii  i,   livr?  ^^ndi^nt  plus  oue  Cli'Q  jrois^   m  a.e   rfi-jette^^t  a  caus-  du 
mei^que  de  sex  ia-dedans  ce  que^  i'editeui^  a  ecrit  a  Rainer  neumann,  est  un  avantage 


qaant  a  iui  :/Äit>  pa;5  pour 


tc 


achr;t«^:urs*     AiopH^  croisf?.  tout  i-our  Molden,  vouiez 


vous??     iLt  riarie-i:^44rre  egaiementi  piease??     Linder  n'ecrit  pas  du  tout,   donc  je 

uf*  suiii  paL  b'ijL  jffre  xe  J.ivre  et  attrnd  6.t-r>     honn(*»s  nouv^ü*^c;  <;  f\H  coiuier,   ou 

s'il  ne  i'offrt  pas  e»t  na  voudrait  pas  ne  le  dire  pour  no  pas  me  faire  ae  ia  peinel 

ij.  h^t  TIwLc>  i.aavaiv;  currtiii^'unceiit,  hü,sj[;>'r-  iD'afcrrarc-  toujoarr   bion  que,   de   teiups  en 

tsrnpti  ii  i.i'isscrit  tout  ae  m&me«     Donc —  j^at^end* 

"^ 

Mais  avGc  ö«rpeu  d 'encoura^ einen t  est-ce  etonnant  que  j'ai  un  fuii-fieaged  vriting 
bxock  ^our  Tl^  LAi^T  IIÜ'üGi;':';^     Ii  m'est  ab:.oiu.n]ent  IrTüS.SIBLF.  d^  i'ecri«?e.*t     Avec 
deis  efi'orts  törribiv,    je  suis  arrive  a  mettre  i  pages  sur  papier,  i^iais  bien  que 
j'aj.  üöiiucou^/  c'id^ejj  ^-.r-^n^^raleü  et  de  uonri»:8  jt<  ponse,   J€   no  pctux  pas»««     Cela 
^^  desespere  surtout  du  point  de  vu  argent —  si  je  pouvais  ne  pennettre  ae  ne  rien 
fairt:;  penc^uiit  Uli  tc*.ipS|    ttnL  pit3,     :ai;i3  ii  faat   Taut  faut  qub  j;r  trt,'?:^üie  et  vite 
encore —  i^ais,  c'est  iiupossibie*     Et  puisque  je  suis  vraiment  tres  discipiinee 
coin:.:e  vouj  savt^n,   jt^  n^    t>ais  pas  ouoi  felr^  . ••     T^n  c^.  laonent  j'ai  recrit  et  edite 
un  articie  que  j'^vais  ecrit  sur  res  Benfdictines  ii  y  a  piusieurs  annees  sans  que 
i'jOi^'X/ii  ava-it  pu  ic^   vciidrc —  ^..id.i<  ii  :-:it;  se:ubxt-  q'v<^>  ;jaiat<;nant  c'^ot  ^.t;ut-^tre  un 
Fieiilour  inoLient  pour  ce  genre  de   sujet,   donc  je  f«is  rcon  iniexix  de  le  rnettrt  a 
point«     Ijü^^^h  eöo  rx.iix.riit  dr  i'J:aroLv  iii»^r,   Jt   n^.-  iui  ai  pru:  uicore  parle  i-^ais 
je  ie  discuttorai  avec  ^ile —  je  prefere,   s'ii  veut,  qu'eixe  i'essaye  encore  une 
ioljp   ainon.   Je  ie  Itirai  i.iOi-raf^r.t*,   j»-  j^jpUEem     Pour  im  articlf-  c'est  ü'autre  chose 
qu6  ^oui'  un  livr».- —  c'est  pius  iaciie» 


Voiia  tout  ie  potinl  Aiors —  faites  moi  savoir  si  oui  ou  non  xh  contrat  pour 
Car-on  LcCojL^trt-  tJ^t  v«::nu  ut  venes:  vitt.  vite  a  i-ev  ior^yli  Quaac  irt;2  vous  en 
vecances'*?     üu2 

Je  \ous  euibrasse  tous  ies  deux — 


i\S.     A  propos  de  cet  articie —  je  suis  vrainient  contente 
a  quei  point  mon  angiais  c'est  anieliore  pendent  ies  demieres 
annees*     Ilais  si  je  devrais  a'enfuir  encore  une  fois  je  ne  pourrais 
que  redevnir  autrichienne  et  eiisuite  ii  faudrait  ecrire  en  aixpmandlll 


Hl 


EDITIONS  STOCK 

Sociit't    Anonymt    au    Capital   dt    ^.joo.ooo    F 

Telephone    :   ;26-74-46   (lignes   groupces) 
033-93-16 


mrls,  ic     11  juin  1970 

ö',  rue  Casimir  Delavigne 


NO 
^«^ 

QQ 

*^ 

U 
I 

06 

v> 


Miss  Ruth  Mar  ton 
433  East  51  Street 
New  York,  N.T.  10022 
U.S.A. 


eher  Ruth, 

J'esp^re  que  vous  avez  maintenant  pris  racine 
dans  votre  nouvel  appartement  et  que  je  vous  y  verrai 
bientdt*  Mais  ce  n*est  pas  pour  des  raisons  personnelles 
que  je  vous  ^cris  aujourd'hui» 

Puis-je  vous  charger  d*une  petite  enquSte  ? 
Comme  vous  le  savez,  nous  sommes  les  ^diteurs  de  Carson 
McCullers.  Nous  avons  pratiquement  publik  tous  ses  livreS| 
et  depuis  deux  ans,  au  moins,  j^essaie,  sans  y  parvenir, 
d'obtenir  un  contrat  pour  "THE  BALLAD  OF  THE  SAD  CAFE  AND 
OTHER  STORIES'^,  L'agent,  Robert  Lantz,  qui  est  aussi  »'literary 
executor**  de  Carson^  se  d^clare  k  chaque  fois  favorable« 
Je  lui  demande  le  contrat,  les  conditions  ^tant  accept^es 
de  part  et  d*autre,  et  ensuite,  je  ne  vois  rien  venir« 
II  me  faut  donc  supposer  qu'il  y  a  une  Opposition  du  cfit^ 
de  Rita  Smith,  soeur  de  Carson,  et  de  Floria  Lasky,  qui 
est  aussi  "literary  executor".  Quelles  peuvent  8tre  les 
causes  de  cette  Opposition  ?  J*ai  pens^  que  cela  pouvait 
Stre  un  probl^me  de  traduction»  Aussi  ai-je  offert,  ou 
des  sp^cimens  de  traduction,  ou  de  d^signer  un  arbitre 
satisfaisant  pour  les  deux  parties»  De  toute  fagon,  le 
Probleme  de  traduction,  toujours  d^licat,  n'est  jamais 
insoluble*  Peut-8tre  y-a-t— il  un  autre  motif  que  j'ignore. 
J'avais  rencontr^  Rita  Smith  k  New  York  lors  de  mon  premier 
▼oyage  et  j*avais  eu  beaucoup  de  Sympathie  pour  elle#  Stock 
veut  faire  beaucoup  pour  Carson  McCullers,  et  pour  une  fois, 
je  ne  rencontre  pas  d* Opposition,  bien  au  contraire« 
Bernard  de  Falloi^d^sire  m*appuyer  et  publier  les  romans 
dans  le  Livre  de  Poche. 

Dites-moi  si  vous  pouvez  m'aider  k  d^brouiller 
cet  ^cheveau  ?  Candida  Donadio  connatt  peut-@tre  la  r^ponse 
eile  aussi,  et  Robert  Lantz  doit  tout  de  mSme  savoir 


®  D^vr^cXi^ji/ ^  luVcj/  Aj^    ^trif^}-^ 


•••/••• 


pourquoi  il  ne  fait  pas  le  contrat*  S«agit-il  seulement 
d'un  oubli  ?  Bien  entendu,  le  r^sultat  de  cette  enquÄte 
doit  rester  entre  nous. 


Je  ne  veux  pas  mgler  Max  Becker  a  cette  affaire 
Pouvez-vous  me  dire  ce  que  vous  pensez  de  Becker  ? 


Bien  fidfelement  k  vous, 


; 


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HanSuyin 


•        0 


UN  ETE  SANS 

OISEAUX 

11.6.70    75    -    PARIS  25 


Miss  Ruth  Marion 
433  East  51  Street 
New  York,   N.I.    10022 
U.S.A. 


REPUBLIQUE 
FRANCAlSE 

*230 

^cstes 

G    A023    , 


PAR     AVION 


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435    itet  51  t>tretit,  Hev  York,  bijf.  10022 
S  fevrier  1970 


Met  bi-*n  cht-rs  '  arie--Pif;rre  et  Andre—- 

ji  i*i  öt^uu  Je  rf^coic:  Ih  carLv  üi  i-r^uß^mt«  et  2.e;.  vot^iix  pour  -.j7ü 
--  d;..i&  clu  5  ji.nvirriU     Je   t,\ii'^  dt;aolc:^    :     vous  nhvoir  eacorc  i^aiaut  ^ 
aa  pcjiivr^/  petita     firie--Fi^]rr^-~  vrai:.f.*:.t,   c^^  n;-  fiiiil  prc  r^vcc  tou5 
CO»  rjjinuis  p>oiir  voue;--*  et  urf  illoniL>  n't  i>t  pet  dröxe  pour  lei-  enfaiitti 
et  encor  '  pir-^    pour  j.^:,v  gr.'u-cinr.-    p^-i'^^^^^i^--^- *     J*t'i;.pfr<'-^  'iU..  i.ftiutoiujut 
vou.   ^  -l:    coi  ;pic  t<:»i  .i;iat  gu*-jrirv  <;{>  qut;  voub  n'pyoz  p«;£   bouilert  trup 
Pendant  Cw?l  ^'onieel^*  •••       L-  portr^lt  sur  1"^  crirte  *:^'.^.lt  tre.*^  iliiudaantl 
Povtrliiai 


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jourb  .i.fius  i*»  pJ*.a^j  .-^^:3l^d  desordrs  (11  y  3vnit  ?8  bc^tterj  rie  livr.^  doi;t 
If'  ♦^'icor*'  £  d''*balI^-^)  *'i  av^f.c  l.\  ti^:^'T\tf>  -i.sn£  rrir-ö  deux  bras,  b.irXi  i^Lvri 
Jn?  ii<*  M-vr^i^  pr.  s  tapp^-^  ^?Hiis  J  •  1*  f'te  tOMt  ch.  r*:  .  —  c'  i.^  pr»:^qu^. 
ii:  -  foy/*<.l(  qu.jj  j 'hl  15j:r?i  ,r'^rjt  pu  '^ut^t'ssr  ie  '*trou'*  ?i  bi^ta  :vtrv:c,t.,  i-bs 
c^iTTil*:rs  jo^ai*:5  €.til«?nt  ao&  c^uch-.r^fjTS  c?.r  n^-s  \c1oln^,  av^l*?n  dt:..vri.!'6ji 
dc-jfi  fit    yy  i-^{.i\b  bVhX  ir,   roli*^  du  F«^  2;w'e-0h6\i,*?r:e*^   (qul  »   feit  ^ntmn 

pj.t.ielT(:.  j^f  ucfüit  la  nuit!|   ^^onc  pr^-^^'^u^:    seul-:   ^-tj   en  pXu'J>   ti^riß  tfle^- 
piiOi>^  ]  'I.d^.l. t    preß'-Uf.   iiri(^  öt^uv.RitUvl     R^iXT  U'^rf^'rri   i'r'rtjLrt^.   ^>.aö  loon 
Febicl;   qui  fait  btiauc.up  de  o'-^ccrr.  pour  l'b  tfirv     >t  qi:l  f^et  ccr»  plxi«, 
vieiu  copain  ci'entancv':|  ve.i^ut  ur-   jovsr  pieiü  dt   soucla  f^  iron  egard 
\  C!xust    GU  lua/iovip   dti   tei Option»- ^   dorr  c'frtriit  lui  cui  ^   ^ncor:    '»^u  In 
;:aif;Oii  t=t  i»appnrto] '?nt  qut^aque}^  jo"».ir&  rtViiit  \*j  d^r^enÄ^ierr-entj   11  eu 
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qul   h  coiiiiu  lo6  Qeux  cn#^  z  üüulz  a  ii.uri*ujsrbi>^ndaiüm  u  b^rxiiil)»     iie 
jour  uu  '^'T^'^nr-.f'.r'   '.:•>!   f.  ?   nr^-    f 't  iM^tl'»  j»    r?  (  «rdf    diuis  ir-.  btm  '4rt^*Tt-— 
p^•^scxln^r  oims  la  ru..>  pe-a  dt-  voitia-'^  rit-n  f[a»Tüve   i:>i^^.ii^;€rtt^  de  n-ig^^j 
i.-^AK;0J'ilU     L 'evr.it  1-  plus  frolr    jcur  ^f.  i^^rnfcll     Jicif  i»a  d- • 
crlt  i^i^  >  tarn:      "Aiore.,  ie   af-) .^nn^p-'^Mini.   i^  Kurh— -  Bohf^*!?  an  acte 
i.cut   a   i>iit —  t^^vvff:  ie  boq'i'*t  d*^-   '/!olf>t  «t   It?  brlri  ci».  y^ino^r.  r.ana  la 
a€ilge*  #  ♦ '      CöXF  vouji  '-lonm:  1 '  iamg^  pof- 1  ivtue  (i-^  i  ^ evSnjent  l !  I 

J^ei  hien  ütsoiiA  a^i   vo?  voi  ux  pour  11     F    'AL1^  cnv  Vi  ijcixison,   coTa.ti 
cftd'jfu  de  NoS-L  iMr  i'ii  r^iHVf.yiS  cnr  H  vt.  (ro  cui    of  busiries^i. !  1  i     ifc^ 
J'ri  dpprii.  i^lut.  xard  que  j'rvale  de  1«  Vfdu^  <-jU*il  n«  i'a  rc-n\cyft 
au  touL    »rif-  wf.    ctuii'x-er.  p^.s  d^r.t:   qu»-l   f.jr^<» —  ir.oul*'!)    r^r  l*.  bo J t 
o.tf  n»res  avclr  t^te  urx  a^;;^nt  fort  bien^  tut  d#rveim  conpieteinent  Ir- 
rvTbpoi:srbl«>n  1      li  avai*t    npvr.f:   l«  n?  •   i:Midf:*t  8  r-ol?-   et  ,l*avnlt  ...oui;ir. 
stwide  or.t  ÜW-  lois^chta  Doubx^/dt'yillU       alru',:naiit,  i*^  mvi'in^üt  ou  je 
v'ulr»  MTX  p»tu  or[>*^iil r>Cft  j©  dol.-s  rrMCv),t?:':<:;ji^    r  i.'^*:    rf^cherclv  y  pour  uix 
nou^i^l  t^i^'i A.y   cufi   ba.rbt!^^*,,     i'>tvjr  l»^b  vtrux  ^lul'i    diri«riT,|  ao>i\tixe 
raison,   nouv*  Ii*~-  v-^int? —  dvvi.c  J^^Kptrrlll 

^*^P  Vü'J.'^?     loiunf^'s  r.oi  r.    vor.  nou'-'^  U.fss^   s.r*out  d-^  la   santi  dr^  -^rlc^ 
Pit^rrt'  et  e^urtout-—  venez  vitf  a  i^Y,  ni^lnVl 

Militj  voi-.ux  pour  voul  arrux—  jr;  vour>  eiibraiia*-— 


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iNlew  York,  ie  7  döceinbre  1963 


Me»s  chers  ßmitf  I'iarie-Pierre  et  Andre — 


♦Jri*  it*mim 


\i 


Eaut-il  vous  dire  combien  de  foib  j^ai  voiilu  voub  ecrire  des  qut?  je  buiö 
rtintree?     En  efiet,   ie  i'ei  feit  iine  foic  saiiö  mivqyer  la  lettre I     Kiale 
je  peuRb  tii  ßouvent  a  vous~  je»  me  rai^peil«^  ßvec  tent  de  piaieir  des 
de\ix  soirees  ei  syBpathiqueß,   si  anicales  qu^  vüuö  in^avei;  accordeeö-~  \ 

surtout  ce  dlner  ßplendide  "daiis  ih  cuisiiie"  —  jö  ne  peux  pas  dXape  (^\iy^Ul.<J^ 
G  quel  point  je  rogrette  d^etre  sl  j.oin  de  vous.«»     Gerdez  moi  votre      [j  * 

affection  et  votre  amitief  ineü  chers  Antis —  je  les  apprccie  eiiümerreüt 
et  les  retoume  ecjalerneiitl 


Comniont  allez  vous^  avez  vous  bien  vendu  toutes  lea  moules  "a\ix  petites 
dames"    (et  dore  encorel) —  je  vous  vois  toujoursi  Merie-Pierrt^  dans 
son  pulxover  turquoise   (vous  devriez  toujoui't  porter  cettf^  couleurl) 
aliongee  sur  le  couch  et  Andre  avec  sa  plpe —  le  saion  avec  ies  toilee 
luerveilleuses,  ies  pif^rres  et  coquliles,  et  surtout  cette  graude  clmieur 
hUL^iiie  i^our  se  rien  dire  de  i*intellit,encel  l     tax  que  c'est  bien  d^avoir 
des  amis  comme  vousl 

II  y  a  de  ja  un  mois  de^^uis  mon  depart''     C'est  plutOt  un  anl     C^etait 
un  depart  araicctique  qui  avait  comiuence  a  l'aube,   e  7hrsl     Mais  les 
machines  etaient   contre  moi.««     Iinpossible  de  joindre  A8r  Lingus^  ^^as 
de  place  cuez  BEA|  pas  de  connection  avec  la  maison  de  Jvhu  Hueton, 
douc  je  iao  suis  precipitec —  en  taxi,  ^rftce  a  vous —  le  seul  monient 
de  calme —  tres  peu  eher  pour  <-6  francell —  a  Orjy  ou  j'ai  essaye  de 
luttor  contre  ie  Computer  en  panne  chez  EEA^   le  Telex  de  L/ub3Jji  pas 
arrive^  l^indolence  <^t  l'idiotie  des  gens,  jusqu'a  ce  que  j'ai  renconce 
pour  ne  ^^3  etre  stuck  a  Londres  avec  aes  trois  nanteaux  et  tous  les 
bagßftgas  Sans  pouvoir  continuer  en  Irelandell     Alors,  bien  decu,   je 
suis  rfjntree  a  üev  York,.« 

Ici,  le  drame  a  contiiiue  dot:  le  i^remit^r  joui-,  a   cause  de  tzou  apiv^rtement 
dont  on  a  essaye^  iUegaäeießtn  bien  sürl   üf-  me  chasser  poui*  le  IX 
docerübrell     Encore  des  luttec  et  au  miiieu  d^   tout  cela,  offre  du 
gerant  d'un  apparterent  divin  daiis  vui  liriL:eubie  ue  ^remier  ordre^  lle 
etage,   "attended*^  eievatorc  TA  brs,      (rare  et  tre.;  importfint  a  WL  ces 
jours-ci),  petite  terrace^  enfin  DEÜX  chainbresUl     Et  ou  cette  werveille 
—  vous  no  le  croirez  jcm^iis,   2  blocks  du  DeekiDan  Toverlli     La  So 
nialson  du  Käst  River,   51  ctretrtlll       J'attendo  roaintemint  le  baille 
et  j^espere  que  tout  marchera  sans  difficultes  inattenduel II     Fn  ce 
cae  je  deroenagerais  en  janvierlll     Keep  EVHQftliing  crobsedlll 

Je  n'envois  pas  de  Christnas  cards  cette  annee  niais  je  vous  ferai 
savoir  la  nouvoxle  aarcsse  etc«  des  que  tout  est  signed  and  seaied, 

5  est  mini  et  je  ne  sais  pai.  faire  la  cuisinei  iielas,  nais 
^teiifc'  cfce>ria&n^,de  pouvoir  vous  recevoir  pendant  votr« 


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J'ai  i 
je  n'a 


»cevoir  pendant  votr^  prochaine 

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'         ^^^  iaut  lee 


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«JjoLl  '""^'  •"  ^"'  "«"^  ^^-t  ,^,  j  .e.per.,  .„iv.ra  .,  d. 


^1 


EDITIONS  STOCK 

6,  rue  Casimir  Delavigne,  Paris  6^ 

T^ldphone    :    326-74-46    (lign«    group<fes) 
033-93-16 


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tDlTIONS  STOCK 

Sti  Anonym,  ou  Copitol  d.  5  500.000  Nf 

6,  Rue  Cosimii  Delovigne    .    PARIS- 6' 


• 


yJ><- 


K  V.    •. 


Andre  Bay, 

Literary 

Matchmaker 


By  HERBERT  R.  LOTTMAN 


Andr^  Bay  walks  softly  through 
the  World  of  letters;  in  contrast,  his 
colleagues  in  French  Publishing  often 
seem  to  be  on  adrenalin.  The  pipe 
that  is  always  within  reach  (usually 
in  his  mouth)  fits  the  character.  He 
is  taller  than  your  average  Parisian; 
his  blue  eyes  and  woodsman's  fea- 
tures  are  decidedly  un-Latin.  They 
probably  belong  to  his  mother's  Nor- 
man family,  and  they  go  with  the 
Norman  village  in  which  he  was  born 
53  years  ago;  perhaps  they  are  the 
secret  key  to  his  preiülection  for  the 
Anglo-Saxon  world,  and  Anglo-Amer- 
ican  letters  in  particular.  By  any  ac- 
count,  Bay  has  been  the  most  dedi- 
cated  matchmaker  in  the  trans-Chan- 
nel  literary  alliance,  and  came  to  in- 
carnate  France's  post-Liberation  turn 
toward  American  writing. 

For  25  years  Bay  has  been  editor- 
in-ohief  of  Editions  Stock  in  Paris,  90 
per  Cent  of  whose  production  con- 
sists  of  translations,  most  of  them 
from  the  English.  The  Publishing 
house  of  Stock  is  nearly  two  centu- 
ries  old.  Its  19th-century  proprietor 
founded  a  so-called  Cosmopolite  Li- 
brary, pioneering  with  Swinburne, 
Browning,  Wilde,  Kipling  and  A. 
Conan  Doyle,  as  well  as  the  out- 
landers  Ibsen,  Arthur  Schnitzler  and 
Tolstoy.  Oscar  Wilde  and  Leo  Tolstoy 
were  both  alive  and  parties  to  their 
contracts  when  Stock  first  translated 
their  work.  In  all,  the  house  has  pub- 
lished  15  non- French  Nobel  Prize 
winners.  Old  P.  V.  Stock  was  consid- 
ered  something  of  a  subversive;  more 
tradition  -  minded  Frenchmen  were 
convinced  that  it  was  dangerous  for 
French  culture,  contaminating  to  the 
language,  to  read  all  those  foreigners. 

Stepson  of  one  of  the  prewar  own- 
ers  of  the  firm,  Bay  never  lost  sight 
of  this  "cosmopolitan"  mission.  For- 
eign literature  in  France  remains  a 
poor  relation  as  far  as  the  critics  are 

Mr.  Lottman  is  an  editor,  critic 
and  author  who  also  serves  as  Paris 
correspondent  for  Publishers'  Weekly. 


Artdrä  Bay  in  his  apartment,  in  the  Luxembourg  Gardens  en  route  to  work,  and  in  his  Office  at  Editions  Stock. 


concerned.  It  is  given  little  attention 
in  the  press,  on  radio  and  television, 
considering  the  number  of  foreign 
books  actually  published  each  year 
in  France.  Bay  and  a  group  of  friends 
founded  a  prize  for  foreign  works; 
for  20  years  now  the  jury  has  been 
citing  the  best  translated  book  each 
month,  and  each  year  the  best  Single 
fiction  and  nonfiction  titles  from 
abroad.  As  it  happens,  a  number  of 
outstanding  authors  won  the  award 
before  receiving  the  Nobel  Prize:  Par 
Lagerkvist,  Miguel  Angel  Asturias, 
Yasunari  Kawabata.  Among  Amer- 
rcan  winners  are  Robert  Penn  War- 
ren, Norman  Brown,  Oscar  Lewis, 
Isaac  Bashevis  Singer  and  John  Up- 
dike;  last  year's  fiction  laureate  was 
Alexander  Solzhenitsyn. 

As  a  young  man  Bay  acquired  the 
equivalent  of  a  master's  degree  in 
English,  dutifully  spent  a  formative 
12  months  in  England.  At  the  Libera- 
tion the  thoughts  of  Frenchmen  nat- 
urally  turned  toward  the  peoples 
from  whom  they  had  been  cut  off 
for  so  long,  and  it  is  a  commonplace 
that  it  was  as  easy  to  seil  American 
novels  in  France  then  as  American 
cigarettes.  Bay  himself  had  translated 
the  first  complete  French  version  of 
"Huckleberry  Finn"  and  went  on  to 
encourage  translations  by  others  of 
the  American  classics  then  unknown 
in  France:  Melville,  Hawthorne,  James 
Fenimore  Cooper,  Mark  Twain  and 
eventually  the  writers  who  had  been 
"lost"  to  France  because  they  were 
published  just  before  the  war 
(Thomas  Wolfe)  or  during  hostilities 
(Carson  McCullers). 

Nowadays  the  French  translate 
three  times  as  many  American  books 
as  they  did  before  the  war.  "French 
Publishing  reflects  the  American  lit- 
erary season,"  Bay  told  me.  "It  hap- 
pens a  year  later,  of  course,  and  the 
sequence  in  which  the  books  are  pub- 
lished often  seems  bizzare  because 
of  technical  problems  or  public  de- 
mand,  but  it's  all  there."  Norman 
Mailer,  Saul  Bellow,  Philip  Roth  at 
least  get  packaged  in  a  form  acces- 
sible  to  French  readers  who  can  read 
only  in  French. 


Bay's  Office,  and  his  living  room, 
resemble  the  quarters  of  many  an 
eager  Amencaniste  in  France:  Pub- 
lishers'  Weekly  and  the  latest  book 
catalogues  in  the  one,  The  New  York- 
er and  The  New  York  Times  Book 
Review  in  the  other,  and  piles  of 
the  same  new  books  one  expects 
to  find  in  the  home  of  a  literate 
American  (often  before  they  are 
officially  published  in  the  United 
States) .  Each  day  Bay  walks  from  his 
apartment  at  one  edge  of  the  Luxem- 
bourg gardens  (Paris's  most  attrac- 
tive  public  park)  to  his  office  at  an- 
other  edge,  between  Saint  Germain 
des  Pres  and  Montpamasse,  putting 
him  in  the  proper  reflective  mood; 
and  then  back  again  in  the  evening, 
reposing  him.  Most  days,  like  most 
Frenchmen,  he  takes  another  round 
trip  for  lunch  at  home.  He  thinks  a 
lot  while  he  walks.  about  the  Publish- 
ing business  most  of  the  time. 

He  has  written  some  striking 
novels  about  the  tuming  points  in  his 
Ufe.  "L'Ecole  des  Vacances"  (publish- 
ed in  England  as  "Holiday  School")  is 
an  almost-too-personal  book.  "La 
Carte  du  Tendre"  ("The  Map  of 
Love")  dramatizes  the  solitude  of  a 
man  "confronted  by  American 
Space."  (It  is  füll  of  real  American 
authors  and  publishers  more  or  less 
disguised.)  To  Bay,  nature  is  more 
than  a  hobby;  he  is  almost  a  profes- 
sional of  animal  psychology,  for  ex- 
ample.  This  is  seen  in  what  he  calls 
his  object-paintings,  in  which  a  real 
sea  Shell  or  a  butterfly  appears  stuck 
on  the  canvas,  mimetically,  evoking 
the  Imagination  of  Max  Ernst — a 
friend,  as  it  happens,  of  Bay.  Bay 
studies  Shells  and  odd-shaped  stones, 
cares  about  birds,  and  has  a  variety 
of  all  three  in  his  apartment.  The 
nonfiction  he  selects  for  translation 
often  betrays  his  preoccupation  with, 
say,  the  territorial  imperative  of  a 
Robert  Ardrey,  the  sea  around  us  of 
a  Rachel  Carson,  or  Immanuel  Veli- 
kovsky's  catastrophes. 

An  American  specialist  must  travel 
to  New  York  every  year  or  two. 
Bay  virtually  blazed  this  trail,  visit- 


ing  the  United  States  soon  after 
the  war,  and  not  only  New  York  but 
also  Boston,  St.  Louis,  Santa  Fe  and 
San  Francisco,  caliing  on  author- 
friends  in  each  place.  (It  is  this  ex- 
perience  which  inspired  his  roman  a 
clef  "The  Map  of  Love.")  John  L. 
Brown,  formerly  American  cultural 
attach^  in  France  and  author  of  a 
1954  survey  of  American  literature 
published  in  Paris,  persuaded  Bay  to 
translate  Robert  Penn  Warren  and 
Carson  McCullers.  Bay  also  contrib- 
uted  tb  the  revival  of  F.  Scott  Fitz- 
gerald with  a  prefac«  to  the  French 
edition  of  "Tender  Is  the  Night," 
threatening:  "Anyone  who  doesn't 
like  this  book  can't  be  my  friend," 
and  he  meant  it.  His  prefaces,  if 
collected,  would  make  a  useful  intro- 
duction  to  American  literature  for 
the  foreign  reader. 

An  American  specialist  must  leave 
no  stone  untumed.  He  fights  his  way 
through  the  crowds  at  the  autumn 
Frankfurt  Book  Fair,  keeps  up  with 
the  tips  and  the  gossip  of  literary 
friends.  He  knew  Louis  Bromfield, 
and  is  a  friend  of  Pearl  Bück,  Robert 
Penn  Warren,  William  Shirer,  Anais 
Nin  and  Jessamyn  West.  Paris  friends 
who  are  also  Stock  authors  include 
Mary  McCarthy,  James  Jones  and 
Frederic  Prokosch.  It  was  a  tip,  after 
all,  that  led  him  to  Isaac  Bashevis 
Singer,  whom  Bay  expects  one  day 
will  receive  the  Nobel  Prize.  He  will 
soon  release  Singer's  "The  Family 
Moskat";  and  "The  Manor,"  already 
out,  is  selling  well  in  the  French  edi- 
tion. Other  new  translations  include 
Joyce  Carol  Oates's  "Expensive 
People,**  and  Elia  Kazan's  "The  Ar- 
rangement," now  decorating  the 
Windows  of  bookshops  all  over 
France.  So  is  *The  Tum  of  the 
Screw,"  part  of  a  Henry  James  re- 
vival which  Bay  has  been  working 
toward  for  years. 

But  the  boom  in  American  litenT- 
ture  does  not  guarantee  a  perpetual 
bull  market.  Americaniste  Marc  Sa- 
porta  has  cited  a  number  of  works 
which  never  got  off  the  ground  in 
France,    (Continued    on    Page    20) 


8 


The  New  York  Times  Book  Review 


Andre  Bay 

Continued  from  Page  8 
among  them  Joseph  Heller's 
*'Catch-22"  and  Thomas  Pyn- 
chon's  **V/'  not  to  speak  of 
flash  best  sellers  such  as 
Harper  Lee's  'To  Kill  a  Mock- 
ingbird."  Aiong  with  the  other 
Creative  arts,  French  writing 
has  been  in  mild  recession  for 
what  seems  Hke  decades  now; 
America's  fresher  approach  and 
uninhibited  talents  provide  an 
attractive  contrast,  but  this 
doesn't  mean  that  anything 
goes.  Indeed,  publishers  have 
lost  bundles  of  francs  by  pay- 
ing  unrealistic  prices  for  the 
right  to  translate  American  best 
sellers  which  tumed  out  not 
to  have  the  same  appeal  to 
French  readers;  a  little  of  our 
Civil  War,  for  example,  goes 
a  long  way  in  Paris. 

The  sentiment  that  the  fall- 
out  from  the  American  best- 
seller  lists  is  slight  has  brought 
on  an  unwillingness  among 
French  publishers  to  pay  high 
advances  for  them,  and  Bay 
admits  to  having  been  among 
the  most  tight-fisted.  Saul  Bel- 
low's  "Herzog"  is  admired  in 
France,  but  it  didn't  make  the 
same  impression  on  the  book- 
buying   public   there   that   the 


original  did  at  home.  The  French 
do  not  have  simultaneous  book- 
club  editions,  for  one  thing, 
or  the  Stimulus  of  fast  paper- 
back  sales  to  help  a  book  along. 
The  man  on  the  street  is  prov- 
ing  uhresponsive  to  the  large 
group  of  competent  writers  of 
the  New  York  (and  The  New 
Yorker)  schools,  more  so  than 
he  was  to  our  awkward  giants 
of  the  twenties  and  thirties. 

Nor  can  books  follow  daily 
headlines;  literature  suffers  be- 
cause  of  it,  and  writers  are 
sacrificed  on  that  altar.  Yet 
the  competition  to  publish  what 
is  significant  leads  to  the  pub- 
lication  of  almost  everything 
though  there  still  are  holes  in 
the  canvas.  Bay  himself  would 
Hke  to  bring  back  Walter  Van 
Tilburg  Clark,  only  one  of 
whose  books  has  been  translat- 
ed  into  French,  and  that  not  his 
best.  To  encourage  new  foreign 
talent,  Bay  has  often  thought 
of  editing  a  trans-Atlantic  mag- 
azine,  and  once  even  pre- 
pared  a  dummy  for  it;  for  two 
years  he  provided  shelter  to 
the  staff  of  Paris  Review. 

"A  publisher  needs  an  arti- 
choke  heart,*'  he  says  wist- 
fully,  **with  a  Cluster  of  leaves 
reaching  out,  allowing  him  to 
love  in  varying  degrees."  An- 
dr§  Bay  is  also  a  poet.  ■ 


/ 


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Wa  chVre  ^'Wit*-^iörre 


Vous  tteb  blen  gimtille  d*f  ?nc!>  reponc^TQ  pul^qiu*^  coirnie  vous  rütes,  vous 
Stir>6  tiauvuiöe  cürrtibyondfeuWl     ii4Siiis  Andre  eßt  probablöir-exit  eucorr-  pire^ 
alors  Je  suio  heur^^^^iise  que  vour  nvez  falt  l'effort—  riftrcil     Mals  je 
suis  dtifciolii*^  de  llr^  de  votre  phl^bitt^^—    ce  n'#ö^  pas  dr&xe,  bieii  8Ör^ 
mais  je  BUlu  conl^^eaitc.  de  voir  qu«  vous  rwieis  l^iiitcsiition  d•^ccoTQpa^)ier 
Andx^  a  Nicfe-^  j^t^üperti  auu  c*etait  lUi  voyege  at^reablö  pour  vous  deux 
edt  pa^  trcü  f.'itiguajite  jx^ur  vous* 

Que  voub  tiVHÄ  tout  Ift  te>ii)ps  <'nvik:»  de  vt>uß6.11ongt*r^   alorß  er;.  r;rrlve  a 
cl*u.aort?ij  ptjröcmmö  e^ialenent,  moi,  par  exeiple»     tn  effet,   j'ai  un 
tel  bööoin  d'^tre  ^tendua  que  J'ai  organisi  ma  vi©  de  la  facon  qoi  loe 
pennet  dt   Itr  faire I     S^vez  vout3  quf^   je  tapp«  sur  nion  Üt,  etijndue,  la 
machiiie  ßur  laes  cuisses??     J'al  cOÄTMönca  a  tapper  aii^ei  il  y  a  50  ans^ 
a  cauö^   dta  cetti;?  envie  de  ii'ellDiiger~  et^   ii  paralt,  a  caus«^    d'uiie 
hibtoire  de  aon  vertebra    (que  j'lenoralE  jucqu'e  il  y  a  a  ptrU  preb  dlx 
aiifi^  bifci-  qut:  Je  suif;  ne<^  avtc)^   ct^ttu  lacon  ine  sauv©  xa  vi^  cax  Je  ne 
serai:5  pas  capable  d'ttrf   asr>i8fi  pfäidant  d^s  hcure&IU     Comiae-^a  Jt  ii# 
u^t  failgue  pa&  an  Uippant  ctr  ^^>  jsxsuxmf,  u^  ^lua^   etil  mieux  pour  1* 
©epritl     AiOTSf   vous  vcyez,  vous  n'ttec  pau.   L<;ulel     Vour.  se-r<>z  sur- 
prise  ce  qu'on  peut  ffär(3  etenduel     ^^ol  jÄei  l'habitude.   Je  monte.  nee 
jambec  autoiiuitiqut:ment|  VAcme  jmx  eher:  des  äJHis,    car  j?.-  di?.tt.st«  tellc^- 


nit.üt  d'tttrt  aßbit.*-,    (dit-^^n  "woatcr"n     Peut-SlPT    »'tirtr  eii  iaaut"?? 
Maib  vous  coinprT:.nez  üftrement  ce  qut  je  veux  direl)   eiori.:,  pourquoi  pas? 

Vouö  Stee  fe.eiitille  de  parier  dt:  r^s  vle   "rerrpliö" —  «lit  ne  l'ebt  tout 
JuöUment  pas,   seof  par  d^ß  choses  idiotes  coriiMe  rmi^^er  des  paplerß 
ou  riilever  la  pousi^^icr*.'  des  livptrr  av<^c  le  respirsteurs   ce  que   j*^    n*tii 
jaji^iö  iait  aupaxavaxit — alors,  pens«2  vous  qutl  boulotll      (J'c.i  rc^ 
arryng^Ä  m©t>  llvr»  y.p  et  11  y    -n  al  iei,cler*iit}      Jr  ^i>rir:.t.   q^ot,  vous 
ete^  trop  üurt-.   avec  vuub-iaeme,   öi  voutj  üit    pc^rnettez  clt:  dirt^  ;&•     C^^bt 
tre^  difficile  de  vivrf.  avec  un  homiRf  co?rplique  et  j^.   1'^  trouve 
toujourt  tr^b  epuibant —  j^.   vtux  dire^  l'foi^our  etit  a  full-tine  jobl 
Aujourd'hui  il  ißt»   t^taibie  que  p^ut-^tre  J•^i  eu  la  ciuuicc-  d'Strti  la 
Fiaitrejjbe  au  li«^u  de  l'epouec  de  cet.  hojMiea  brillante  et  iiiteressants 
et  PORT  coiipliquaa  qu-:  j'al  connus»     J-    n'.*Jurt!iB  jai.iaiö  pu  ecrire 
dc'i>  iivrt^;^  pexidaiit  ct?8  ^^ilianceöl      (J^  l*"<i  fait  uiie  ou  deux  ioiö  >Jiaiö 
Ca  n'a  pas  du  tout  lüarche)»     Jf:  l-uIl  tr^t  derjpder   c^r  je  trou\'e  que 
c*e  t  ia  rtJJOQti  qui  doit  ceder  a  un  hommci  et  quaiit  il  est  bien,   donc 
aussi  complique   (tous  let  Ätre;:  blrn   soiit  aucrd  coj.pliques),   11  faut 
ceasr  t.uLcorf  plubll     D^uim  autrc    c6tt<^  je  trouvf.^  aus&i  que   c'e&t  mieux 
d'avoir  10%  d'uii  honunt-  t:\xtraordiriaire  qw    lüü>'   d*uiic>  nuli»it<4     Alorc, 
voua  cüiüprenez  qu*a  mon  avis  voua  avtz  tout  It:  droit  d'ttre  fatiguee 
ü&T  t^xt^plö  öi  vous  ftt^s-—  et  j*;    cais  que  vous  l'fti^s —  une  boiuu-  t-pouse 
a  Uli  hoimue  tru^  coia^liqui  i!:ait>  au^bi  extremwiiifcat  "vorth  while"*.* 

Uiit    aiiiit  lü'a  anvoye  l'invitation  pour  l'#»xpöbition  de  r.on  ami  Fabio  Kleti 
—  Jt?  l'ai  trouvi.  plutftt  mochi-   et  ^i  c'^toient  touc  de.s   "intariteurß*'   je 
craiiis  quf*  ce  n^etalt  pub  exceptionnel  car  ce  t^ont  tjurtout  s«s  portraits 
qui  sont  öl  rjtirvf  ilioUDc»     I^ais  je    öu3::  conti  nt<*  dfr  eavoir  per  vous  que 
c*t,bt  au  moiriö  uut^  bonne  t^alerif^l—  — 

Axorr>  pour  mmh  proJets  il  y  a  tuut  d*r  iJÄioe  encore  de  l*ec>poirI     Bien  que 
jVi  p^rdu  cet  all  si  vioux  t^t  ei  fragile  (lui  et  sft  fenioe  etaitoit  a  MT 
quand  vout^  y   etiez  auasi).   Je  crois  qut;  J'irai  daiiö  cettc  naison  au  bord 


\ 


2)     dö  recevoir  unt  iettrt:  de  mon  aiaie  la-baß  qixl  me  supplle  de  vij^^lr — 
aloTbp  vraimeatf   fauchee  ßvec  ou  saiit»  vqyagei   je  i«;   feralbif::n  prubableintüt, 
Reiaarqut^i  ausöi  (qui  un  grneralo  est  tr€ü  severe  avec  moi  et  öe  fait  des 
eouclG  quant  a  mes  finances,   il  a  bien  raisonl)—  cette  foiö  11  mo  coxisaille 
viveineJAt  de  ffiire  Ic-^  vcyage^   donc  j«:   vais  üuivro  ßon  conüelll     Jö  sals  qut^ 
Fraiicfort  eßt  le  8  octobre  ce  que  m'f:.xrrangp  mal  pour  Milan  et  ^uerich,  uiais 
pulsque  jues  datts  ne  sont  pae  du  tout  ßftre  je  m'en  souviens  et  bttrement  vous 
sericz  a  Parib  aveiit  ou  aprl?b  P'rpncfort^  non?     Auboitftt  qu«  Je   saiö  Vüi  peu 
D>ieux  mon  itineraire  jf»  vous  ecrirai  naturellemeiit* 

Au  licyU  de  rn'occuper  de  laeö  boucilÜJiö  j'etaiü  oLligoe  de  ri^occupar  de  laon 
apparteif^ant  avint  qu»r  ca  m^euDUff^il     Kaintenant  j*ai  ddl  iaiaaer  la  ci^iobre 
(tout  eu  dtsordTi^f  c'eßt  e.  ple^urtep)   pour  recüitiiiiencer  travailler  avec 
TRAPFED  avKut  d^approcnor  un  iiouv^i  agtsxit     dont  je  ii'avai3  par.  lu  coura^e 
aprer:  le  desastr«»  avec  Joan  Fulton  de  chez  Matßon—  tout  so«  barrat  in  n* 
^i:.ait  qua  ^y^  f±:vi ifrixmnt  eile  u«  veut  qu^^r  dee   ''big  tu^^   bt^v;.Ui  i.L'.ri," — 
eile  m^a  conseilli*,  pour  ainsi  .  dire,  de  peindrti  des  murols 


i' ' 


,     •.  1   lvvaJl.    11T1     hon  Stolour  en  bretagne-—  j  ai 

.Mors  je  vou.  .cot^haite.  vou.  et  ^^«^»  ^  ,oLu^f  ^us,  crXr..  H.,ri^ 

Pitrrel tjt  je  vcu-^  imbresse  tous  J-e&  devix —  au  i-rvuxx   j       i- 


/ 


«' 


y  ;■ 


,   / 


!n  3.pt.mbJ«  et  «u..uite  passerai  p^r  "fl«"»  ^uerich,  P  AR  I^  ^J^-^^^* 
rentrerlll     Je  siiis  vraiisent  si  "coiac*"   (stuck)   Ici  qu'il  faut  faire 

.('■■■ 


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9 


riev  York,  17  irjel  1969 


Me&  bien  cher£  auiilöf  Iferie-^luxrt  %t  Andre — 

II  y  a  biiiU  longtemps  que  Je  suis  sai:is  vot  ncuvelies  c-t  J'er>pere  que  tout 
va  bien  che  z  vous,  qut    c'et^t  l^encoubr^mt'-nt  dt  la  vie  quotiaitoine^   coirjna 
cht^z  nout  xoxis^  qui  coupe.  l«i  corret;poncii^nc€t  sans  qut«  vraimttiit  inUix- 
roDipre  la  cciimiunicÄtioiiÄl     Moi  ausüi  je  n'ai  pas  ecrit  depxiiü  longt^r.)ps, 
je  m*en  r^ndts  coiupte^  j^^ittendaLs  toutei^^   tiortqü;  de  choses  qui  ne  ee  ßont 
pas  realisatss,  comvie  d'habituxi^l 

Mais  aujord'hui  ii  7  a  uiie  raiöon  apecialf^  youv  vouö  adreeötr  an  patit 
i!>ot»     Nion  aiii  PV.bio  Rif^tl-—  Andrej  voujs  söve«  quUl  m'«ist  TKES  chari  et 
voui^  VQUtj  r6.ppra«^a  peut-etre  vögueJJ6iit  de  eee  deesiiis  chez  müi-—  a  un^ 
expoöitioi)  cee  joiarö--ci  dajis  la  ^alleri«*  Iris  Cl^art-^  j'ainmraiß  teili^ 
meut  qui^:  vüuü  y  pfiaöiüüj   si  cüIü  nc  vou^j^^nuiex  pab  tropl     bien  qua  c'est 
tont  le  contraire  dc^  vob  toilee—  Fhbiü/l'ait  des  chüt-,es  i.erveilleUbes 
ßurtout  öu  uoir--e"c-bluic^  c'ii^t  a  dire  Icü  d'^üsins^  et  j^niiTitrais  parta- 
ger  non  adniration  pour  iui  avec  ues  amist     Vt^^v^xl  \ 

CoiTjiioat  allez  voue^  qu^^üt  c^  qu'ily  a  chez  Ctock  ec  dies  Arthaudi 
j'avais   t;i  «^spern  de  vou;^  vüir  ou  ici  a  :iY^  ou  piuc.  tard  ä   jr^arii^  i.iaiS| 
hhXBiJp  it  prinueixqpö  a  peißbe  baab  voua,  bI  l'ete?  a  x'air  de  iAit>ßtir  aaiis 
vou:5  öLCii^-iinvnit».*     J^avHis  fait  deß  prüjet;^,  coiuine  cxi&que  annee*  de  v*üiir 
#u  :urop-. —  une  chainbre  au  boru  ae  ia  war  rn^a*ot,eiiUö  i»n  Icalie  au  bud 
—  raai^  J^^  cnüns  df.  d^>voir  r<»ßtccr  coiiic^e  e  lil  ou  au  noias  le  air  coa- 
ditiouur  inarchei     liaiii  c'oet  ausiü  ia  yt^uic*  chostt!     H  y  avait  nSmtji  le 
^Tüjet  d^^vlx'wi'  a  Hüöcou  pour  ua  coügrti.  in^ttjrüationaie   d'acrivaiiis  de 
filiTi  et  U^ievitiiou   (it:.  dm-nit-r  coaJLu  a  IC  il  y  a  i;!  ou  ä  aue)^  i^rtis  il 
n*y  avail  pas  16  pertionnes,  necötisoire  pour  fori::er  une  groupe^  qui  en 
etaient  iiit^'-^reubuesU     i^x^^dx  qu'ou  wui-ait  parta^a  daas  le:^  rectptions 
(ciu  iü'cii-j^iii  je  p-^nsej^   dt;^  coii:."er^^xice^  etc*     J'cXi  izMiis  trcjü  decu,   j^ 
auraiü  autitii  vuulu  coii\iiiu<sr  ou  ^•.1prolidl^.  qcx;  Tlüt  avt^c  /vlekst:!  Kapier 
(cexui  dv  Svetliixia!)   q^oe  j  ^>i  couxiu  pondaat  it   cüii^raü  icill 


>":,* 


Mon  nouvttuU  bouqoin  cüt  fini,  pour  11.  moiwui   (je  rucoimr:t=uc<arai  avu^c  döö 
riävibioris  de  style),  et  la  coi^vie  de  trouver  mi  agent  recoKüicnce  tägale- 
BjtrJit«     C^es'o  prtLquLH  pire=^  qut:  de  trouver  un  editeur^  bien  que  je  le 
trouve  impübsible  poui"  moi,  aer  in*occupt>r  df  trouvt-r  un  i.:arche  pour  mes 
llvr^ö  et  ccrtr«  <i\  rnZnit   tt>mpc»     Per  conseque^nt,   je  u'ai  presquo  rien 
fait  avt^c  oi'ilUA  (ailA'.^rKEü  llAßK)   et  jt;  -voudraia  le  laiöScr  mamtenant 
et  ui^^B^x^r  L.\kC  TRAPPED  qui  a  de  uouvt^au  un  tjuji.t  niodemf»   (Lisa  et  un 
horifiL-  Li€crtü  quj   Ut-  pcsui  pai3  civcrctr  cor  i>^,  fta.uiu    C'.t;t  la  uareer— v.oiiiaii 
typiaw   futiricf^ina  qui  nt   t,'occi:q?e  ni  de  se?  tnfantö  ni  de  Iui)«*»  .lais 
c*et>t-  trcL.  aecour*ai;3aiit  avec  leo  ronans  c;ui  ne  t30nt  pas  ticnre  PuRTi^üY 
(affreuxi  t't  puerile)   ou  LÜVÜ  MACKIi.EU     A  crui  le  dit>-je2'^ 

ernnagasin« 
Let  demiereß  yerjalnes  onu  ete  rMiipli  avec  uli  boulot  spacialti,  J'^^i    / 
XDbc  4ne  gruide  partim;  df:  j:eö  papiert    (inse*^  correLpondfeiiCeii,  nott^c  de 
Journal  etc»)  pour  avoir  un  peu  plus  dle^pace   ici,  :raii>  pour  fairt:  tout 
cel^r  il  lae  lt:üait  arrangcr  et  c&talOt;uibt  r  tout  ccla   (c*t;tiiit  a  quatra 
coint)  dan«  ciö  aeule  chaLibre  1 1 )  j  na  tur tlXament  j'ai  fouille  a  für  et  a 
mesure  d^ii^«  lec;  notesi  f^t  it>6  corrt  spond-^nccsl     Ce  qua  jt.  n'al  pa^^   oublle 
de  Ceti  50  ans  dt   laa  vio  qui  ctaient  contt:n\is  dhxis  des  nonlagneß  de  papiers 
sur  le  plancher  11     Los  gene  qut^  jlt':i  connuö,  les  trav^aux  que  j'ai  faitsi 
Apre;^.  Cte^s  aept  ans  de  miseres,  cela  w'a  rjonte  iia  niorale  d^une  facon  tout 
a  fait  inatutmduel     Peul-^trt    Delamain  et  -fixier  l^tumann   (et  quirlqut;s 
d'autret^  personnfts  egaleincfnt)  ont  raison —  je  de^vrais  ecrire  une  autobio- 
graphie.%»     üu  peut-4tre  coronK-ncer  par  des  Mfeiüoirii  det>     ^rsonneö  qUt:  j'a 
connueG  ou  avec  qui  j^al  travaillees**.     Jt»  ne  gai^   pati.     Mais  au  looins  je 
me  suis  rappele©  qui  j'etais  et  qui,   toujoursi,   je  sulsllt     C'etait  bien 


lt. 


'/ 


/\ 


t   j 

neceUsair«  et  peul>-St^^  rc'aiaera  un  ^eu  de  supporter  le  present. 

Oh  que  je  voudrals  que  vous  ^cye»  k  I^ev  lorkll  Quand  vi.ndrez  vous??V? 
Je  vouts  attendö  et  Je  vous  enbraöse^  Ecrivez  moll 


// 


New  Yoric,  17  r«rs  1Q69 


X 


Met  cheris  A  'Isf     Mari^^-Pierre  et  Andr 

Oh  que  je  m'amuie  d«^'  vousl  Est-c*  posLible  qu'il  y  a  presqu'un  an  deja 
dt  votrt;  ß^.jour  a  Nev  i^ork^  d^-  notre  soiree  merveilleuse?  Au  nolns  J'ai 
eufin  eu  de  voö  nouvelles—  votre  jolio  carte  avec  vos  voeux  (dont  j 'ai 
si  besüiii)  vient  d'arrlverll  II  y  avait  ici  la  greve  deb  loiigshorejnen~ 
qu'tt^tc-»e  que  Ca  peut  ctrt  t.^n  fraiicais —  ounrter  de;>  cocks^  dtbardcurs?? 
Ell  tout  cas,  tous  les  t>reeting8  pas  envoyes  ptr  avion  sont  arrivee  de 
l'Kuropü,  en  efitt,   uru.  i^^ttrt-  de  i-K^ndres  d«  la  fin  de  ^K)VEMBRE1U 

j'avaib    tan  espere  de  vous  revoir  ici  cette  tamee  jais  je  crnlns  uainteiiant 
que  voul.  ne  ji//ijL^/  viendrez  pas»%»     Quel  dor.rnage»«*     Je  voudraiii  teHenant 
vous  voir,  parier^  bavarder,  me  ballader,  discutt^r  avec  vous  deuxl     C't  st 
effreuz  d'^tre   toujours   separ4s  des  $tres  avoc  qui  on  sc  comprend,   il  y  en 
a  fcii  pt,u  en  plus%«»     J'ebsaie  d^-  mettre  un  ptu  d)ordre  danö  ii^  chaiibre  ce 
que  c'est  presque  iiLpossibie  par  nanque  de  place»   alorb   je   jette  le^   corrt^s- 
ptnd^MCeSp  au  noins  ±tx  plu^jart»   d^  mon  travail  cotoitic   scoutj   j'y  ti  trouve 
une  lettre  d •Andre  ou  il  ecrit  qu'ij.  pens*.  a\xt  nout;  nous  coiaprr?nons  Lres 
bien —  cela  mVi  fait  un  grand  plaieir  car  c'Älait  avant  que  nous  nous  con- 
naisbons  mfenel     Mfiis  tn  rt;gardant  ctt    c-nttinea  d^.  It  ttreti.  t\ec  les  edi- 
ttours  que  j*ai  reprööenteB  autröfois  jlai  bitn  coniprls  pourquoi  ca  e  fini 
evec  un  collapsti  tptalell     Et  c't-ot  bizarre  que^  finalemtrnt»  aucune  des 
personnet;  avec  qui  j^etais  t-n  contact  ici  tout  If    iMnpt:  m'ei^t  ret^t©  comiDe 
ioni  (at  bost  as  "acqiiaintancel)-— -  SAUF  4  I  uropeens^  vous,  Paola  Dalal» 
Heiimann  et  i»lnder*     C^est  for  typique»»«     Ettristt^  qu'il  faut  vivre  dans 
un  VI  peys«     Et,  helati,   je  sais  iiJointt>nant  qu'il  mti  FAUT  vivre   ici  si  je 
veux  conLinuer  a  ecrirc —  il  faut  avoir  au  moins  i'ambiance  a^ericaine 
pour  pouvoir  ecrire  dant  cette  langue»   ^ncore  necessairt^  pour  I0  cojyright 
maudit  americain*%»     Qu^ll*r  b*a*bö%     Il  y  a  4  ani:i  aujourd'hui  dt    la  pre- 
initre  publica tion  de  mon  pr  .miejr  bouquiiu*» 

Vouö  deioandez  deb  nouvtljLcs  du  di.rnier«     111  bien,  jt?  l*ai  fini  en  sachant 
qu'il  faudra  encore  des  nouvtlles  revisions,    surtout  au  point  df-  vue  s1yle# 
J'^i  retrouv^  une  aiaie  xx  d'autrefois,   treö  brillante  t-t  avec  beaucoup 
du    conprtdu .ision  pour  ce  qut.  j'ecris  et  veux  dire,   qui  est  Liaintenant  con- 
siiltdni  editor  de  la  K^aturdcy  R-  viev;   ellt^  vient  de  suggerer  un  change- 
Äsnt  de  btyle^t,  plus  au  moins,   je  suit?  d^accord  !  aiü  c^    str^ra  encore        . 
un  bouiot*«*     Mais  vlle  a  probablement  raiison  que  ca  pourrait  faciiiter  <>-c 
^!^^LliJ»r . m .     he  livrt'   est  encort-  differ^nt  deti  d*rux  autres  et  sfirement  laille 
foiö  mieux  que  la  pr^Ini^:rt-J  Vcreion^     Di    ca  je   suis   conteiite  au  moins l 
Sauf  pour  Ct  Lte  einiti^,   qui  <jn  t  tait  tres  emue   (il  le  faut»   autreiaent  c'est 
/W^/iy^/^/  j^  l'ai  rate)   et  un  a^^trjit»  Jo«n  Fuiton   (Matscn),  personno  nia 
vu  Uli  inot»     A^^aturi  llu^irjv.nt^   car  ^ncorc    untn  foii^  jv   n'f.vaifc  PERSÜNi^iE  avec 
qui   je  pouvaib  parier  de  nion  travail  au  moins  ü:    temps  txi  tf:aps»*%     Joan 
Fuiton  qufe    j'ai  connut  par  quelc.u'un  coinpietemeüt  en  d^hort>  du  monde  des 
editions   (cid)   a  lu  d^.bord  SKATTERED  iiASK  (SABLiA)»   dont  eilt    itait 
tre;:i  iia^resbionne  quaiit  a  raou   talrnt/ —  mais  sanr^  que  jt-  le  rtcrive  ca  ne 
se  vendra  pas  ici»   elitr  pent^t  •     J^rit  VfjDent^  eaj.e  voudrais  que  je  le  forti- 
fie  au  point  de  vue   "action"»   le   caractlr©  de   S&bina»jfcrnoins   subtile —  en 
effet»   tout  plus  dirpctq>   vul^arise  je  penee*%*     Elle  est  convaincue  qu<* 
—  avec  ^Voß  dons*^!   coiiime  eile  r  repete  rnille   fois»   je  pourrais  le  faire» 
avec  un  pou  d     guidance»     Evidt  laineiit  -u-lltj   übt  1^   genre  agent  qui  a  uii  c6te 
editorlelle.*%     Apre;    avoir  lu  TRAPPED,  h    nouveau  bouquin,   eile  voudralt 
decid^x  ce  qu'  11h  jrit-  cons.  illeJ^  Vouü  sevez»  les  agents  ici  ce^  jours^-ci» 
ce  sont  les  deml-^odsll     C'est  encort    plus  dlfficile  d'tn  trouver  que  mlnui 
en  cditeur»  sauf  quc    j'ai  vu  quUl  m'^st  IMPOSSIBLE  df^  m'occuper  dt;  i;ies 
livrtiS  encort    coiime  agtnt —  ou  je.  les  ecris  ou  je  le^:  represantel     En  efföt, 
je  n'avaiß  RIEN  falt  av«jC  KASK%»*     Cc  qut^  c'est  une^p^rt^  df-  temps  qut>  je  ne 
peux  absoluntjnt  pas  m^*  permettre^»*  Surtout  financit^x^^^inent« 


2)     Vous  deiaaudez  si  Je  veuais—  oh  conmie  je  le  voudraiöU     Ifels  d'abord 
il  faut  avoir  le  livre  tout  a  fait  ''a  i^oint'^i    je  veux  eure  au  r/ioins  un 
des  cieuxi   i^referafaxement  TPJIPPED^     üi  pluss^   il  y  a  ia  qu^etion  ü^agerit^ 
evideißiuent»     F«  plus,  le  c6t4  fiiiancier  -~  je  voub  ai  ecrit  peut-$tr« 
que   j^aurais  dö.  joiudre  dee  aiaiö  tres  ages,   tres  frasilebi    treö  riches  en 
Autriche  ce  que  aurait  arraage  le  choüc;.:  tres  bieii^   .als  j'ai  de   trev^  cau- 
vaifc,eö  nouvelles  d'eiax—  il  n^y  aiira  ^ürti^ieut  pas  !•  Autriche  an  prlnteiüps 
conime  projote  et  pour  i'ete —  jt^  Li^iOi  s>ais  aböolxLiit^ut  ritui»     w^inon  a  1' 
iiaprovibte  je  st^rai  probabltioeiit  coinc^  a  New  lork^  toujourü  ebbtörant  de 
mottre   la  inaiöün  eii  ordre   (II)   comin^  egalöment  meü  deux  livres  seion  lee 
öiJttieötions  deti  gens  qui  ö*intwrt;3g»tiit  ou  s'iiitereböeqyy^ni  pcut-^trelU 

Mais  j^aliijerais  bleu  savoir  votre  Itineraire  pour  Ci?t  ete,    si  vous  en  ave» 
Uli,   car  Ghez  laoi,  on  n«  salt  vraliuent  jaiiaisl     J'ai  tre..  graude  envie  de 
passer  qualqui^^  seiialne^  chez  une  amie  au  boro  de  la  nier  preö  de  Roine  r<aia 
tout  cela  dept^nd  vraii.)ei-it  de  trop  du  choseß,   douc«.»     l^laib   bi  je  venais 


5y   il  feudra  absüluinent  au  voirt 

Aprl^  que   je  vous  ai  dorme  toutes  hms  nouvellar>,   cor^nent  u2^z^omm     Ca 
va-?     Aijore^-.  vous  peitjne,??     Et  ^tock?     Et  Arthaud?2     Et  ia  vi.Tpari^V? 
Ici  ca  devi^t  de  plus  en  plus  imposGlble--  de.  vloiencu.  incrq^able^^  c'Lt 
completement  une  queotion  de  v.ine  si  on  vous  attaqu.,  voiu  volre  aac     vous 
Jett,  par  terre  et  vous  brise  le  crtne,   ou  non...     L'autre  jour,   uit  Ipl 

pei.dant  que  50  pas  en  arrier-.  daiis  In  magasin  U  y  avait  vendeura  de  livr^sT 
acacuiurs^  coiamerce  come  d»habitude~  tout  ca  k  9  ou  10  hr^.  du  coirll^! 

rt^itrer  aiez  looi*»^     'v.uelic.  joie,   ce  Nev  lorkU 

Ecrivez  moi  bltotÖt,   je  vous  prie^  domiez  moi  de  vo^  nouvellcs  et  ne 

Je  vous  enbrasse —  fidelement 


(J'ai  h'rite 
qqui^s  peu  dollarü  de  ma  lot^re —  grtce  a  Dieu,  n^ali^  ilt.  ne  dureront  pas 
pour  toujours,  helas...)     Si  .Miss  Fulton  fiiialbiueüt  ne  veut  pab  d«?  moi, 
j'oüsalerai  Max  Wlikinöon,  vaie  idee  de  Linder«     Pwdöque  c^est  im  ujonaieur 
un  peu  age  je  pense  qu^il  pourrait  ö^interesser*     (lllöo  Fulton  est 
aiiglaisei   jolie,   *our  at;e  t>ro^"  as  she  called  it*     Ptrut-Stre  voua  la 
comiaissezJVV     Elle  est  d'apreb  "raon  temps**  dans  ie  Publishing. 


244  Eaöt  55  i-'treet 

iiew  York,  li.I .  iüü22,  16  bept«iabre  li^68 


Cherß  Aii.,|b|  ilarit^-Pierre  et  And 

0 

'^ettt.  lettre  apporte  üieß  iJieiiJLeur:.^  vofeux  a  Andre  poior  ee  fite  ©t  voiis 
eiiibrasbe  touö  leb  deuxl     C'est  «.^myoeioc  qut  cette  lettre  voub  truuvera 
probablei):f)Ut  .':  prefc>  votrt  rctoiir  de  Fraiicfort —  jU^norais  ia  date  ßi 
t&t  Gttte  aniibe —  qtu^lit^   bitrbe  d'avoir  loii   "hap^y  birthday"  la-basU 
Mais  peut-4trcr  le  veine  vous  sourit  1 1  vous  y  trouverez  uii  beau  iivre 
ce  que  je  vous  ;^ouhaite  de  tout  coturi     i^e   toutti:'  ft.cons —  laes  peiisiee.s 
les  pluö  ajüicaleti  ßont  avec  Vüusl 

J'tJüpt-^rt-  qut  vout;  avez  passe  \m  bon  ttt^? —  <:;n  'Ipuraine   ou  ouV?     Etiez 
VüUb  a  Vieime??     Cori/aent  vs'i     Vous  pei^ntzWif     Et  chez  Ötoci:??     Ce  va 
iTiieux??     Et  chez  Artaud??     En  tout  cas,   j^ei^j^^ert:  pour  le  xnieuxl 

VüUö/avez  probableirient  jairiais  recu  la  carte  que   je  vou£.  avsis  envqv^ 
de  1©  Califoniie  ou  j^et^is  tout  ju^te  pendant  vos  turbulences,  greveG, 
etc*— -  ^.xors  jt    tvuppoiie  que  ±t:   courrifT  n'a  pa:;.   '.larctie  noi    plu:;,    üClre- 
Djent  pai:  poi;r  i.ei;  carttäL.  postalesl     iiaia  (J'avais  bien  envqye  la.r   pour 
VOU6  inontrer  que,  bien   si  ioin,    jr  pe  vous  oubiie  pat>»     Lb.  Californie 
etait  Uiitr    Irlii:  bonnt-  idea  cettc-   foij:-— ci^  je  n*e  suis  ©nfiü  rf-poee,   j 'ai 
ob&crve  baaucoup  d»-  vies —  dt-  iiieiii  aiiii(e)s  la— bab>  et:   qu^  c'etait  bien 
^our  mii  Kielancolie  a  ißoil     Mid^  il  nic^  faisalt  aus^i  beaucoup  de  bien 
Q^^trt^  so  entoureti  par  tant  d'aii3i(e>s  doiit  deux  ou  troi:-  pariid  ü^eü  plus 
iiitiif:er»«     -^roi:;  joura  a  ban  Fraiiciüco  avaxit  le  retour  etaient  Uiie  i-er- 
vellle   (je  nV  e^Mizy  plus  depuis  1941  peDdaiit  urie  grWell)»     C'ttait 
difficile  de     e  retrouver  dans  ce    trou  a  le  5Lth  l. tre^  t,   Lais  ou  se 
re-habitue —  coinine  on  ö'hr^bitue  a  tant  datis  la  viel     Et  heureuöei-eiit 
je  travaille—  je  i^cri:::  le  3e  roL:ai.   "fron  scritch"  a^  qui?  c'e^t  trcß 
nect^üs*  Ire —  jt:  It   trouvaia   trf:;:^  Lai  apreb  dr  tw  pas  i'i.vclr  lu  depuis 
3  ans,  üiais  aaiiü  Iti-s  angoisses  nor>  ales  d^un  NüUVFAU  Iivre,   je  iii'airiuß© 
mSme  evec  ctlui-ci,   et  jt    suis  conLUitt.   dt    ce  que  j'ai  appriö  autre- 
tei.ps,     J'ai  £^  peu  pret^  uii  ti-.re   (il  ßcra  la  liifmv  loügutur  des  i.utroö, 
donc  court)  et  j'tst^pere  de  l'avoir  fiiii  en  fevrier-inars  proctiaiiu     II 
s'apptl^t    ijiainteimnt  TRAPPED  (ii^uparavant  THI    WU^FTKAJ?)»     /ilors  ce^wte 
foib-ci  c*ei-t  vraiireut  l'hii?toirt:  dt,  iiotre  amie   "Lise"  av^u;  vd\L  honu^e 
inarie,  uii  Ainericain    (helasU)— -  briWemeiit,  vau    hiatoire  d'iitiour» 

J«  nUi  ri.n  fait  avec  TIiF  SKA17ERED  imSK   (üALIx^A)    dtpulb  que  je.  vcufl 
ai  vuö  r>ait:  un  de  ces  jours  j'esptrt;  du  rt.prencire  courage  «rt  lk;ffrir 
de  iiouveau  ici,  probabl<sinent  a   Tom  Wtiiiace    (Holt).     i»t   bouciuin  est 
chttz  -ioldfn  ]]<aintenant,  ..aib  il  y  a  la  teVidtanii.eüt  QÜELQUE  ciioöe  qui 
frotu   It  s  lectf-.urs  r-ial —  TOUS  les  ^jersonnes  dout  It    ju^ement  n'est 
iü.portaiit  la'oiit  felicite —  Ir   demi.r  etait  Joe   Banus  dt   S  &  £  qui 
parle    de  i^on  skill  it     qut:    je   <i.i^adreiit>e  a  unx  public  aux  goüts  cpeci- 
aliüeß  et  cultiveß" —  t-h  bi^iJl     hiidti  per^-oime  n     vcut  acheier  ce  Iivre 


Autreiüent —  que  peut  4n  dire  avec  itt,  folies  partout?     bl  on  peut  etre 
Pi't:^init.r  dtf  Freuice,  fe^agiic  la  bataillt^  pour  ^on  patron  et  le  It-ndeiüain 
est  miß  a  la  porte —  enfir.IU     Tout  li  mondt.  est  d^sespi^re  ici  et  craiiit 
qiJie  Nixon  gagnera  ce  que  ßera  la  cataiitrophe  pour  nous  et  le  monde  ©ntier» 
ISoi  j'avaife  l^iinpreetiion  d'uii  dicteteur,  d*uiu»  fcininenct  griöe  Texas  btyie, 
qui  ruiute  nou  touü  et  le  niondt  par  sa  megoloiLanifc* ..     On  etait  d'uiie 
impotence  fatale» ••     Et  on  aurait  tant  espere  que  la  Russie  aurait 
evolue  un  peu..»     malß  non,  partout  la  regrtsßiout 

L'autrt  jour  j'ai  lu  f'^ra  Breckirirldge —  s4  un  homnitf  erudit  tt  brilliant 
fait  son  ar{;,ent  da  cette.  facon,  je  veux  dirp,  avac  Ct  genre  de  Iivre  (c* 
est  peut-Stro  pour  rire?)-—  alortJ  cela  m'a  donne  du  confort  que  perßonne 
veut  de  laoil     Par  contratti   le  8e  JOUR  n)'a  f: nchantm-» . •  • 


2)  i'avala  ecTit  ux^e  lettre  l  l'edi.ev<r  du  New  York  Tlineß,  ^^  ^^^^^ 
nibiildLl.  le  Su,.d^  Ti..s-  et  je  u.  voudrai.  yln.  a.als  entendre 
S^lqL  ce  ^oit  de  la  "Rus.ian  piracy"  of  A..«rlcan  autaors--  que 

qu«  sait-cm^     Kalb  ni  laixer,  ux  »ttaauer  ia  piracy  ttiüCricaiiie, 

qui  a  6tfe  i^rpar«e  ^^talen^ut  ea  lurope   U<-^  ^^^^^^ 
1«  laaison  ailcmana.  ,  mais  qui  etuit  ia  frai.yaisetO... 

jt  v^naLril  pa^a^ais  aalur;;iier.ent  par  Paris  üaru  x'e.i^ir  de  vous 


Kais  ia  criiaute 
de;^  eüi^fciUTß  moiidiaieß^  qui  pixbiieiit  öolahexiittyhi   eix  depit  de  seö  eup-- 
plications  de  n«  paß  le  fairt*,  et  aiiisi  riöquf^iit   cart-ment  sa  vie   (va 
Caas  Caiifielü  aller  en  RiJiögitf  s^il  y  aiira  ie  proces  pour  ooiziu  nitbyaj 
et  ira-t-il  au  prison  ou  fera-t-ii.  ac  fuaiixer  a  ßa  place'iV?)  m^a  jöte 
daiib  le  deseöpoir— •  uri  oeuvre  appartieiit  a  eon  creatt-UTi   paß  a  qui  veut 
faire  de  ijargexit^   l'hiötoiro^  quui  avec«,     C'«»st  honteux*..     £ii  <.ff<;it, 


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Chi?r  ^nr  re — 

NiitUTi^tlleiaent,   c'et.'uit  mun  Intention  de  vou^>  ecrirt^  avnnt  letJ   feteöpüur  bOuhsiter 
8  vous  et  Marie-Pierre  le  MIEUX  pour  1Ü68  pt>   denü  r.es  pensees,    j«^  l'ai  bien  ffcit. 
Mais  en  m^rn  tn^mps  j'attendfiis  un  nioment  un  peu  ^lui^  ^ei  pour  vou5  ecrire  cer 
je  Ire  leshf^  de  je  beaucoup  de  mes  inelancoj.ie3  f:  moi —  ceia  dure  trop  longtemps  et 
je  n^einit:-  pfts  flnir  en  lase^er  rnes  funis  e^^aieHientl 

J'attendais  fiussi  la  d^cision  cli©z  Farrar,   Straus  pour  SABINA,   apret;  qu»*  j*ai  flna- 
leir-enl  pu  1^  coiJirag«  de   öoix'nettrcr:  1^  ms»  chez  l^editrur  quf  j*avais  coiinu  par  la 
vral'r,  Sabxna   (Mariannt-O*     Mais  qu^-tt  o,^  qu' il  y   a  dans  ce  roiaan  q\ii  fait  reagir 
les  iecteurs  si  fort  pro  ou  contre?     L*edi<^ur  l^^  lu"411  at  once"  et  ie   troiwait 
"e  moving  experienci^";  mair>  ne  faisaiit  pa^  confiance  a  sOü  ju^ement,   sachant  tant 
des  ev&n**n)ents  t=^t  connaissant  p^usieurt  personnes,   le  livre  e   eu  uii  second  r^radiug — 
et  par  cons^qut*nt  r<»fusf».     So  far  so  good»     Fn  mftme  temps  j'nvais  recu«^'  une  lettre 
et  encor«^  niemf^  un  coupd   de  tei^phone  de  la  Celifornie^   d'une  aißie  ecrivain   (et 
editeur  chez  RAl^D),   fescinee  du  xivre,   nais  fort  decue  de^  triis  dernier^  para- 
graphes  du  iivrel     Donc —  je  demande  le  conseil  de  l'editeiir  de  FrcHrs  de  la  fin» 
II  in'explique  dan.s  une   lon^iiut-  xettre  que  la  fin  est  BIF1m>  la  lettre  de   Sebina  tout 
a  fait  une^liS'ttre  M!»ri«nni>" —  lae  raconte  tous  xe^:;  riemarches  qu'il  fait  apres  sa 
xiiort  pour  en  savoir  tout  ce  qu'il  pouvait   (b«-aucoup  plus  qur:  moi  je   savaisl) —  donc, 
la  fin  est  la  bonne  fin»      (La   fin  et  la  lettre  de  S.sbina,   sviggeres  par  vous  a  Paris) 
Mais,   il  continue:   *'There  is  noboc^    to  love  in  the  book*%*  Marianne,  dreadful  and 
shjy,  honest  and  aishonest,  was  in  the  last  anRjysis  a  veiy  lovabl<«  vomen..»     As 
you  have  vritten  it,    the   boük  is  Lise't.  book«     And  I  bv.\  obsessed  vith  iiarimme*" 
Que  dites  vous  d'une  tf=iie  i»rttrt   d'un  edlieur  serieux  depuis   ?0  ou  30  ans???     Je 
n*avais  dit  RIEN  fc.ur  lt~  livrr^  que  '^it  vould  heve  a   special  internst  für  hiir  and 
F&rrar-^  rien  de  plus II     J-  iui  avait  dit  plus  tard  que  la  squelette  ouijf  mais  la 
chair  non  —  nu'il  n'jr  ^  Pös  ^i^'   sc»ne  des  «veneinents  et  des  caracteres 

daiib  iti  rori.tii  que  je  n'avai^  pas  inventa  moi..»  Marianne  e:r.t  morte  depuis  lü  ans, 
en  piub  c^-t  editeur  ^st  100  pe*de —  cornment  peut  il  confuser  realite  et  roiran  d'une 
teile  facon??ll     Que  dites  vous  ae  cette  histoire?? 


O-^ 


Cette  histoire  se  pessait  tout  jUvStt  entre  les  fetes,  eiors  vou;.  pouvez  vous  iiiitfc^i- 
ner  cjue  cexa  n'ajoutait  pa::  a  la  ^^Ritel  Fn  plus,  rien  ne  bou^,e  chez  moi,  nix  les 
efforts  dt;  Heuiiiann  en  Ct-  moinent,  ni  chez  Rizzoll  (ont-iis  peut.-etre  perdu  le  ins? 
Tout  Sf^rait  possibl^^  dans  ina  viel  Mais  c'ei:it  A^indt^r  qui  s'occupe  de  ce)«*.  Ma 
laVre  va  trevS  irjiil,  exir  a  passe  son  78«^»  anniversair-  le  ?J?  decei:bre —  eLle  souffre 
beaucoup  i;ais  «»at  soignee  e  iiervejlle  per  une  infirj'iere  que  j'ai  eu  la  veine  de 
trouver%%*  File  ebt  toujours  a  la  campagne  dans  la  üiaison  d*^  son  ami —  encore 
une  veine  incrqyable,  au  lieu  d'etn-  dans  un  hftpital  ainericain**»  MEib  que  cela 
£  ma  vie,  a  mes  finances  (bien  qu'lle  peut  payer  son  infiniderr  etc.,  et  on  eiipVre 
que  ses  economies  suffiroAt  pour  sa  vie  a  eile) —  xes  coups  de  telephones  quoti- 
dieiis  (iont>  distance),  les  visitt^s  hf'bdomadaires  (l^'  trajet  en  taxi  et  autobus 
tres  chv-rs) —  c'e;.t  desastreux»  J^essale  de  travailler,  mais  je  trnvaille  tres 
nal,  si  du  tout»  Ou  tout  cela  va  mener  pour  moi,  je  ne  le  sais  pas«  II  nie  semble 
que  seule;niant  un  miracle  peut  m'nrranf:;er«   II  y  x  en  a  parfois  dans  la  vie,  je  le 
sais,  je  les  b\   connus  inejnej  mais  l'age  n'aid^:  pas  et  je  suis  tout  a  fait  de  votre 
avis  en  plus —  a  50  ans  on  devrait  pcuvoir  faire  ce  qu'on  veut  faire« ••  Moi  j*ai 
eu  ?5  ans  d<»  traveaxDc  hal  a  caus*^-  d 'Hitler —  si  je  dois  vivre  seule  (car  l'ti.iour 
ne  peut  pa^j  etre  commande,  tout  de  üeme^l),  au  moins  j>*  voudraivS  puuvoir  it.e   eon^oler 
en  ecrivant —  mais  si  on  ne  veut  pes  ni  de  moi  ni  df  ices  livres?  Que  reste??  xt 
en  plub,  je  ne  peux  absoiuinent  pas  continuer  indefintiveroent  comnje  Cf*,  financiere- 
ment.«*  Yh   bien*  On  verra* 

Viendrez  vous  en  fevrier?  Que  puis-je  faire  pour  vous?  J'f wpere  que  vous  viendrez 
avant  moitie  mars  pourqur  jepuisse  m'occuper  dt  vous  et  Mari6-i:'ierre —  j'attends 
des  airiis  i^itimes  et  ages  le  16  mars  et  serais  trtu  ^rise  pendant  2  ou  3  semaines  b 
Faites  moi  savoir  vos  dates  i^  pO^^J^l^O-Cf       ^^  <^     QyO'i^Jl^^'^U^ <^^ 


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■..«;-«-0»RE  DE  GEORGES 

GUERSANT 

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^'^'^'^^Uiuc  Casimir  Delavignc  Paris  6' 


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244  E&st  55  St,  New  York,  N.Y.  10022 
15  Septenbre  1967 


-.\ 


/ 


Cher  Aiidre— ' 

Voici  deja  l'iutoimie  et  votrt    ftte  s'npproche  c  grands  pasi     Boniie  fete^  Andre, 
bomie  amiiversair« —  et  BOIME  v^umeel 

Je  ptnse  si  souvent  a  vouij  rt  «  Möri^^i^^rrts —  qiu>  j'ftiinorais  vous  avoir  a  M\ 
J*et:perei  tviltKa:ieat  qut.;   tout  va  bit^n  et  mit^ux  chez  btock —  qu-s*  Itx  vicn  ne  voua 
tralte  pas  trop  ivnl  bir^n  auf-   jf:  nir.    r^ppelle  f raqui:/inineu  1  de  ce  qiUv  vous  Jiie  diaiez 
a  Parivi  l^iini^v   derniere:   "Nout^  nous  defendons  treti  bieii,  ii^ri^^-Pierr^  ^t  rüoil" 
C'etait  un  mot  jnervcCLjLeiDc  et  couragt^iDC*»*     Est-^-ce  qur   quclqiicr  choöe  exciUmte 
c'ebt  passe  "d'ici  la"  comrAe  voub  m'aviez  iiidique  e^i  printenpsV??     De;:-  changeinants 
chez  Stock  peut-??tre —  des  eutres  eveJi^ ments?     Et  la  peiüturo??  Et  ia  vieii  i.n 
general?? 

D'ici  la  chez  uioi  r  #t4  torr ibleiiii^n t  difficilft.     Paj  uiie  ;ieiiie  chose  BÄrchöi   eii 
effet,   Celles  qui  rai»rchalr;nt  de  Ja  ont  «te  reculefi^s —  je  me  sexis  tout  le  tenps  que 
les   creviöSt-nt  qui,  vous  Xe  stvi^z,  nagent  tai  arrif-re*»*     Vouü  ete.-  probaltlent^it 
au  courant  de  la  reorganisatiou  coJlipi^t^^  chez  Ullstein   (plu^^de  roiaans,   seulemeiit 
le  non— fiction  et  de  tf'inps  en  tt^inps  un  sur»i>-firt    bt^stsnller  a  Lfi  VALIjTI   OF  THE 
DOLLS,  les  be lies— lettre l-  chez  Pro|yla^^)j  prt^mer  rei^ultat  pour  moi  qu'ou  lUi  vout 
plus  de  moi,  la  traduction  aliemandf  de  ^HATTERED  MASK,  deja  coLiriiiJice  et  proiais 
pour  Juin,  a  ete  interrompu  sans  dirr  un  mot  de  er.  ni  a  Raiü^r  HfiUinann  ni  a  moil 
Donc  j'ftttendais  cettt^  trnduction  d-^  jour  en  jour  pendant  Ctrt  ete  epouvan table  a 
New  York,   travaillant  ^ntrift.  laps  comiai   une  folle  a  cette  Idiotie  de  Copyright 
americain —  donc,  trois  riois  de  traveil  gabpilles^  me^  nerfs  gaspilles,  mon  peu 
d'prgeJit  gatipilltii  pas  de  vacances —  (et  je  ne   supporte  pas  le  clin^at  a  tK   pcmdant 
l'ete)—  TOUT  pour  RIEN*     Au  moins  pour  le  moneat^^^     SHATTERED  I^ASK  attend  la 
decision  chez  Rizzoli  >!:ais  entrrtenps  il  y  avait  la  jolie  histoire  qu'uii  interview 
qut:    j'ai  üonne  a  OGGI   (le   "Match" d'Italiel)  a  et»i^  publie  :30Uü  le  nom  de  Iliaabeth 
Marton,   c«rtte  affreixs-    agent  qui  m'a  deja  fait   taut  dv   mal  ici«*.  Incrcyable,  nonV 

Fjicore  urie  fois,  HASK  a  ete  r«|€«t€Kä  par  H|}.rco*ürt —  apre;,  troi^^  :OIS  qu'ils  avaicnt 
garcie  le  ms^l,  iiais  gentij'je«t  Jovanovich  rh>  fait  reppeler  que  lea   ^'opnioii»  editori^il 
des  roIQ^ins   sont  veiy  personal  et  qur   "miotiier  Aj.ierican  publich.:-r  ii^jr   h^xsIlI^  coatra- 
dict  Üb".     Hm»     Mala  apre,   dt^iax  mois  clicz  Coward  McC^oin  ca  fait  5  MOIS  pour  deux 
lueison-—  a   cette  vitt^sse  cela  me  prendra  5  ANS  pour  faire  le8  ronds  a  NI.     Cela 
se  fait  st-uleanent  puisque  je  n'iii  pa.    d^ag-s^ait,   ei,  il  paralt,  jr.   n'trn  trouve  pas 
non  plus»     Tout  juste  John  Schaffner  m^ecrit  qu'ii  coiisidertr.  IIA^K  ":.-lick"  et 
plutöt  "trivial",  sams  assez  de  profondeurlU     Que  puis-je  faire? 


Encore  ma  inere  SJ-t  graveJGient  inajjßde  sans  qu'eile  sache  la.  verite  de  son  etat*     Ce 
que  cela  ajoute  comrne  coiiiplicf  tions  a  na  vle  je  lu    peux  raoKtr  pas  comnenceir  a  vous 
dire*     J^^1i  toujoiors,  d.piiis  ma  jciuiu'sse,  eu  des  r^letionG  fort  destructives   (pour 
iiioi)  avec  rja  üiare,  nais  j^ai  tout  de  mexne  uiit-  conscience  ^-t  nc  pt^iox  pas  la  Itiisser 
san;i>  m'occuper  d'elle^  c<?  quf  ,    -n  m?.inf'   t^;Inps  fait  IIIPOSSIBUi!  pour  moi  de  recrire 
iiioa  troisilmr    boqquin —  poui*  uti3J.öer  le  ptrU  d'argent  qui  lm  restti«     Je   suis 
desesperee  de    toutos  cc?s  dif ficultes  et  encor*^^ —  toujours  cette  solitude  insup- 
portable* ••     Otl  m^rn^-ra  tout  celf??? 

Mohrbooks  a  Zuerich  a  un  ms^  de.  SHATTERED  IIASK  pour  vous  tiais  je  pense  qur  vous 
prikferez  jusqu'a  ce  quv.  jl   trouve  un  (kliteur  americain,  non?     Qufinci  j'ai  rvtrouve 
un  peu  üt,  couragc:  j^essait^rai  d«i   nouve&u,  peut-?trt^  Farrar,  *^tr£us  ou  on  a  tres 
bien  cormu  la  vrai  Sabina|  laciiß  je  ne  suiii  par^  trjricore  sftre —  lei:=  pederastes  sont 
peut-^tre  irial  poiir  ce  livre*»»     D'rdlleurü,  deux  axiias  tres  littf-raires  vieiinent 
de  lir.    le  bouquin  et  en  etaient  cnthousismetvs»     M^ii;^  tous  les  deux  d'ori^ine 
europeen»     I^  bienl      DU  COURAGE  I     HAUT  LE-b  COEURS  l 

f^'im  ^%^J^  t^'^zf  ^^^'^^^p^^  teifc  t^'m'h'^M^^ 


244  East  55  Street,  New  York,  HJ.   10022^  7  Juln  1967 


tk 


eher  Aiicire~* 

Je  ytiitis  de  dejeuner  avoc  KotiJyn^  tout  juttf  rer.tröe  de  St«  Thonae^ 
q'ui  etait  vralßent  furieutif  &  cettc  f^ine%  Quwt  pour  ne  pas  evoir  decoü)-* 
mande  ßon  rendeivoub  av^c  voua,     J*e.tAit>  chtiJfi  Itoalyn  a  l*h6i)ital  qu&nd 
noiuä  arionb  dlscute  la  mallleure  faoon  de  dacossBandar  toU£f  ces  rendez^oaa 
k  Pariöf  le  telisgraLaie  qu'ellc  a  euvogre  e  Mmo  Quat*-^  c*est  vralinent 
Incrcgrable  qixa  cette  dama  a  eta  tallemant  pau  correcta  et  Ja  ne  öuia 
paa  traa  Bixrprlao  qu^elle  a  falt  ai  mal  avac  mas  DIVOECE£S  au&iiil     J* 
eb>/are  q\ia  yoxl&  me  crcgrlas  qße  Roalyn  a  VRABiENT  fait  tout  ce  qu^ella 
pQUYaltf  falaant  confianca  a  )t&e*  ^4u«»t  qu'elXc  s'occiqpa  de  aet»  affalrea« 
Puisqua  j'etaiß  presente  pendant  tout  etait  orgaiiise  du  lit  de  Roaljrn  a 
l*h6pital^  ja  voudraia  vous  dire  de  ma  part  la  veritel     RotiJyn  va  micux 
maiiitexuüit  bian  qu'elle  n'aat  par  encort;  completament  ret»blla~  inais 
qualle  difference  depuis  cas  Jours-la»     J^elais  treii:  inquiei»^  a  öon  t»bard, 

Coime  toujoxirsf  eher  Andra^  voa  lettrab  m'enchantant  et  ne  fönt  telleinent 
de  bieia  mor&ler^ent»     Vta  graiid  MERCI  poiir  1©  demier  du  coinriencei  ent  d'avril, 
J^atteixdais  dhs  nouv6Ü^3  de  Covard  F.cCaim  a  propcg  dt  SHATTERED  MASK— 
helas|  apre:^  dexxx  MOIS  de  gards^r  le  bouquinf  c'etalt  re Jette«     Je  l'ap<* 
porterai  cea  jours-ci  a  la  "prochaina*'  maison^  je  ne  suis  pae  encore 
stire,  laquelle»     Je  dois  toujours  d'abord  rcacueulllr  raon  couragel 

Eil  plu&i  j^eials  bien  occi^^iis  avec  le^  arrangeiinazits,  encore  tma  foi8| 
pour  aublr  axax  condltions  pour  le  coiyright  £uuericalnt  helaai  ce  qua  me 
cotttera  encore  une  fois,  plu^^iexir^  Ciintalnes  de  doUars  que  Je  pourraJLa 
utiliaer  pour  la  nourriture  et  le  IcyertI     En  tout  ca^i  dan3  uuc  ^c^ialne 
cu  deux  J'auraiö  d*:ß  copics  "miaeographed     donc  je  pourraib  voua  envqyer 
mie  peut-4tre  on  automne,  apres  vos  vactaices—  SI  Je  n'&.i  paß  trou/er 
xxii  edlteur  a;:'6ricaiii  eatretc^mpti»     Aprris  les  reactione  des  ageJitö,  et 
de  Coward  McCann  je  ne  partagü  pa^  votre^  optlndaizu;  qul,  eii  nt^-ä  teiapb, 
Btö  chauffe  ie  coeurl     Je  aula,  ei.  plus,  nuturolleinent  TRES  curleuae  dea 
devülopmenta  chez  Stock-*«  Je  voua  souhalte  tallöment  tout  le  boiüieur  uu 
moudu  (Jis  aala  que  vous  l^evea  chez  vous)  aiui&l  aveo  votre  travall  inala 
je  ne  suis  na l\ir elleiaent  paa  aftr«  coioEiiint  ^e  devrais  conprendre  voe  iiidl- 
catioub  njTßterlt^u&^e  "d'ici  la"  et  enauita  quulques  mota  pas  tout  a 
fa^t  llaiblealt  J*ai  na tur ell<^ant  inaia  ^aoupfons **•««*  on  tout  cas,  J'eapere 
pour  It:  ffiieux  füleux  »ieiy  pour  vouU^I     En   U>ut  cas,  y   gardo  ua  ma»  pour 
vouö  icl  ou,  je  l^enverrai  entreteuip.   ou  a  laon  copain  Fabio  Rieti  a  Paria 
ou  k  Rainer  Hexsoann  a  Zuerich---*  hxi  tout  caa,  ce  aora  reaerre  pour  voua, 
pour  le  teinpa  que  voue  aere«  pret  a  le  recevoir» 

Ce  que  voue  me  dites  sur  la  aolitude  qui  aera  plub  facile  daiia  la  naturo, 
oul,   jtj  ßuls  tout  R  fait  d'accord—  an  principe  et  si  J'etais  ma  hommel 
Mais  ]e  ne  le  suis  paa  et,  en  plua,  de  vivre  a  la  campagne  en  Aiaeriqua  eat 
tout  a  fait  impossible  pour  ixne  femme  aoule,  en  plus,  J^ai  peur  aeule  dana 
une  maiöon  (je  hn»  rappeiic^  trop  bien  d^ua  ete  deuv^  larie  luaifjon  seule  11 
y  a  quelques  anneea,  a  Connecticut«^  quand  Xes  airda  qui  auraient  du  la 
partager  ne  le  pouvaient  pas  a  la  derniere  mlnuta»»«)!     Si  Je  savais  ce 
qu«)  Je  deviendrali,  ou  ma  vie  me  mtmera  encore,  je  prefererai  stürement  la 
eampagne~*  ai  J^avaia  UD  choixl     tour  le  moment,  pendant  qu4  eett^^^iüHbedki 
modeete  est  toujoura  debout,  il  faut  resUr  a  NI  Je  crain8|   Je  me  ren^s 
comptv),  qua  Je  auia  un  peu  moins  melanooliqiie  recemzuiat,  et  c^est  deja 
beaucoup«     Les  amia  comroe  vuua  et  Mario-^lerre,  Ro&ljn  et  Bill|  qxielquf^a 
pem  d'autres  aussi,  m^aident  toujoura —  doiit  Je  voua  rr^mercif^  de  tout 
cüeio:« 


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244  Eaat  56  Street 
Nev  York,  N,y,  10022 
5  avra  1367 


»« 


Cher  Aiiüre— -» 

Puiöque  je  ne  üaiü  pas  si  vouö  lisez  le  New  York  Times  Book  Revlev  du  dimaiiche, 
j«  vous  envoie  cet  articlö —  pas  pour  venu  iiistmlm  siir  les  paperbackb  en 
Fraiicel  inaiö  en  cas  qu^il  vous  fait  plaisir  de  voir  Editions  Stock  citee8### 

C^etait  xoon  Intention  dAattendre    dos   (bonnest)  nouvellas  avant  de  vous  ecrire 
de  nouveau^  m  iü  pourquoi  ne  pas  vous  mcttre  au  coui*ant  axijourd^hui? 

SABINA  est  enfln  FINIl     Nouvelle  fin|   selon  VOS  sugg#stionö~  lettre  de  Sabina 
a  Liße>  autour  le  ceiitre  de  "tu  n'as  jaiials  couipria"—    et  "C'est  pour  toi  quö 
j*al  fait  tout"»     En  tout  cas^  Je  p<anse  qUö  c'est  r^ussl —  au  moins  c'etit  milla 
foito  lüieux  qu'auparavant^  car  o'est  bikaucoup  plus  "poignant"  inain tenant  parce-* 
que  c'est  direct—  au  lieu  de  indirect^  par  un^    1«  ttro  dt   Marco^  racontaiit  qua«»» 
Denver  Lindlt^  a  lu  cea  qualqueb  pages  et  m^en  a  fellcltee»     J*ai  au^öi  tromre 
un  titre,  THE  SHAITERED  iMASK»     La  demil-re  ligne  du  livre  dit,  ^n  effet,  que.*. 
the  golden  mask^   ßhatierlng  inlo  a  thousand  pieces.     Je  crois  auasi  quö  c'est 
bien  que  l'accent  est  enleve  de  Sabina  dans  le  titre—  sfbreir;ent  c**eßt  mieux  pour 
le  livre  entier» 

C'est  en  ce  looment  chez  Coward  McCann«»    Voua  Snrez  probablerent  surpris  du  cholx 
de  la  loaisonl     Mais>  bizarreiniifnt^  il^  a  jy.  un  Jeune  editeiir  qui  s^e^st  epris  de 
DIVORCEES  bien  qioe  son  Editor ial  Board  voted  him  down«».    Mais  voic  le  se\iL  edlteur 
a  New  York  qui  paralt  avoir  une  anteiine  pour  Bioi  et  pour  ce  quapt  Je  fabriquel  Je 
ne  le  connaissais  pas  du  tout^  11  ne  me  connaissait  non  plU8~-  sauf  par  lee 
DIVORCEES —  et  inaintenant  il  f  aut  ESPERER  pour  SHATTEEED  MASKl 

Tout  cela  s^est  passe  tres  vlte  et  tou  Juste  que  j'avais  finaleimönt  recrit  cette 
fin  mauditel     Mais  qubl  boulot  c'etaitl     C^etait  vraiment  plui.  aifficile  pour  moi 
que  leb  troit>  livres  ensemble*     Je  n^al  pas  encore  eu  le  courage  de  copior  le 
ms«  Ce  que  Je  devrais  probabl^:JS)ent  fairo^  au  lieu  de  xerox^  en  ce  looxnent  Je  fais 
"vacances'' —  J'elais  meine  au  clneioa  pour  la  pr»3«Liere  foic;  Je  crois  depuis  \an  anl 
J^ai  vu  UI<  HO^ME  ET  IDffi  FEMME  de  Lelouch—  quel  beau  film! 

Si  Coward  HcCann  ne  veut  pas  de  MASK^  Je  ne  sais  pas  €^core  ce  que  Je  vais  faire 
avec^  mais  Je  vous  tiendral  au  courant  et  vous  ^iwoi^^  un  ma«  aussitöt  que  possible» 
Si  Je  doia  le  copli^r  c^^la  n^  preaidrait  au  iDoins  un  xoois   (Jo  tape  tres  inal)« 

J^espere  que  tout  va  •'ne  pas  trop  mal"  ches«  vous—  einbrassez  Marie  Pierre  pour 
icoi—  ^Q\i3  mes  voeux  tendros  poxjr  vous  de\nc  ^t  mille  «eltieß-^ 

Bien  a  vous 


t 


244  Eaüt  55  Street 
New  York,  n.Y.   10022 
20  fevrler  1967 


Cher  Andre-— 

i^-erci  de  vos  voeux  qui  ßont  arriv«8>  pensez  vous,  la  semaine  demierei     %is 
j*en  öuls  toujours  heureuse—  n'iinporte  le  dätel 


.  Je  regreite  qixc  vous  t^v^z  toujour^f  trop  ae  travail  pour  Stock  car^  cela  iudiqiie 
sftrement  qu*il  voxxt  luaLqiU:   le  tempfe  poui*  peindre  ou  raSmo  peut-^tre  ec^ir^   un 
nouveau  ro!3^n,*»     ^  eic  je  lae  rappellt    c<e  ce  que  vous  m'evez  dit  quand  je  vous 
ai  apporte  SABINA —  vous  disieasf   "Nous —  Marie  Pierre  et  vous —  savone   (saurons?) 
trej:   bien  rious  defendrf  contre  l6  vi«»»**"     Per  cousequent,   j'espere  que  vous  xie 
pennet trez  pa.s  a  Stock  de  vous  avalco:  coinpletemeut*«»     Et  puleque  voui?  ?tes 
tourjoua  la^  jMinagin^  qui^  c^est  la  xnellleure  Solution  pour  vous—  au  moiiib  pour 
le  iDOüient» 

Merci  de  demander  les  nouvelles  de  SA6INA%     Elle  a  ete  achetee^  1&  cherie^  par 
Ullstein^  et  apres  uik   luttr-  Ilain»jr  a  inSme  pu  lef?  forcer  d^am^^liorer  le  contrat^ 
xt  l'avf^nce  et  les  eutres  conditions—  et  tout  celft  avant  que  Bertelsmann  Lese- 
ring  a  tratte  eafiu   (cel©  a  pria  plus  que  C  MOISl)  poxir  les  DIVORCEESI     20  000 
coples  de  minlimixm —  elors^   cela  eöt  vrain:ent  queique  chose^  non?     Ullstein^ 
c*eet-Ji-dire  Elwenspoek,  mon  editr^iur^  veut  conantjncer  la  traduction  en  mars—  11 
va  la  fein:   luinnifee»   en  broulUon  et  laisser  lee  corrections  a  rnoi,     Alors 
j'espere  quv  ca  sera  iroins  un  deaaetre  que  la  traduction  dee  DIVORCEFS«       Je  fais 
des  petites  revisions  dans  iCanglais  en  ce  nioraenti  ißais  je  n'ai  toujours  pae 
reussi  d'ecrire  une  nouvtlle  fin%**     Cela  mki^  fait  enormement  de  difficultes* 

Eil  plus,  j^^  ne  reussi  pcis  a  nie  trouver  un  noxavel  agent  ainericaln  pour  ce  llvrel 
Rainer  a  fait  son  mieux^  icale  m^nu'  Heath  nUx  pto.ü  eu  de  succes-—  il  ©vait  essfijre 
Mcintüsh  fv  Otis»*^(Put  Cchartla)»     Vioi  j'ai  esb^jre  Ivan  von  Aixw  qui  trcuve  que 
c^est  bien  ecrit  malii  nanqut   "r<-»al  substance''^   (?21)  et,  il  pense^  ne  trouvera 
pas  d'editeur  "in  the  veiy  tight  fiction  market" *••     Toutea  ce  s  lüttes  ne  sont 
pati  tres  encourageantee  et  ne  r.'ippt-ilent   toujours  que  cUtait  vous  qui  ni*avez 
ecrit,  apres  ö  avoJtr  lu  THF  DIVORCEES,  vous  vous=  demandez  pi  jairais  je  saurais 
ecrir«:  un  *'vrai  roie^n  saBericain^IIl     Oh  que  vous  connaiEsez  votre  metier**» 
Mon  vieil  aini  Lindli^  a  suggere  Bart  H.es,  un  tout  petit  age-nt  mais  tres  dlligent 
et  au  xnoin?  hoUendaib   (jt  le  coniiais)^  fraiichemvnt,  je  n'ai  pas  encore  eu  le 
courage  de  lae  inettre  en  contacte  avec  Ixii^  jftavais  espere  de  "fall  üPstaire,  not 
downfcjtairs,  with  a  nev  agent,.»#"     HeatJa  n^-  me  pr^rndr/..  pac   sanr  agent  americain, 
alori   vraiment,  tout  cela  est  affreitx»     Mels  en  tout  cas,  des  que  j'ai  fini  le 
travail  pour  UlJstein,   je  vais  ou  copier  le  ms*   (it  trevail  1^^  plu^    afficux  pour 
moi  qui  seit-«-  nais  iinpossible  a  pajrer  ici)  ou  faire  une  copie  xerox  pour  vous» 

En  ce  -wirent,   a  propos  des  quelques  lignes  que  je  voug  envoie  pour  vou6  ajnuöer, 
Random    House   (apres  que  Ersklne  had  turnet,  dovn  the  book)  yeconsidere  THE  DIVOR- 
CEES,  \m  editeur  que  je  n:-  counaiö  pab  qui  s'&pptlle  ^omls*     En  plue  11  y  a 
2  autrei^  malsone  qui  ont  dtinande  le  llvre-—  alor?,  il  y  a  de  noirvcl  espoir*     En 
ce  cas  11  me  seroblt  inieux  de  nr^  rien  faire  ici  av^c  SABINA—  quant  a  un  agent-«— 
avant  qu^on  sache^*«     Car^  sürement,   ei  Roslyn  reu^sirait  «nfin  de  trouver  un 
editeur  emericain  pour  'IHE  DKÜKCEES,  la  Situation  poin:  SABINA  sera  bien  change« 
Linder  xn^a  ecrit,  d^ailleurs,  si  l'edition  italienne  des  DIVORZIATE  sera  mÄme 


i   i 


du 


un  8UCC6b  modere  Rizzoli  achatera  SABINA«»»     Cela  sc  verit  blen  Ici  oans  la 
libralrie  de  Rizzoli  a  Fifth  Avenue—    on  avait  It  bo\xquin  dans  la  vitrine  pour 
NoSl^  et  ensult«  de  nouveau  plußieurs  fola^  Je  vous  envole  lant  photo  que  J*ai 
falt  quand  c'^atalt^  en  quatre  exenplalres^  au  deßsus  des  livres  das  autetara 
du  Prix  Nobel,  Goncourt  ot  Ferdnalll   (Et  en-dasöous  de  Zuckmayer—  qua  Je  connais 
depuis  que  J'ai  16  ans—  c*«=»Bt  aixiu^antl)»     Evid^nun#iit  Je  ne  euis  pa:^  photographe 

—  Je  l'ai  falt  avec  une  c&mera  -^mpruate* 

Tout  ceia  oat  t^ncour»gtfant>  bit*n  s(!lr,  aais^  au  fond,  pas  asaes«     Je  trouve  que 
rtoi  Je  me  dofends  tr^s  mal  et  Je  suis  tres  fatiguee  de  ces  lüttes  sans  cesse« 
(En  effet^  Je  viis^na  d'apprendre  qiie  la  traduction  italienne  est  terrible*«» 
J'ave'vi  orsperc^  qu^.  ca   ^^oit  hu  lüoins  acceptßble»»»)  J<*   fsui^  a-^^laricoliquö,  öt 
tristaf  et  je  me  deioando  pourquoi  J^al  '^Invested"  tout  ce  que  J'ai—  et  encorel 

—  danß  trois  livreß  dont  le  cheirdn  e^it  tf.3JLteiut3nt  difficiie**»     ^±  J'avais  pria 
ce  peu  d'argent  que  J'avais  recu  de  l^Allemagne  et  l^aurait  gaspilla  en  m^aiDUsant 
en  Europe,  J*aurals  probablement  loieuik  falt  et  beraia  peut-^lre  plu^j  heureuee 

—  et  inciiis  seule  qu'ici*     L'^  fait  que  Ja  suis  coincee  en  Amerique^  a  cause 
Copyright  americain  (sl  Je  ne   change  pas  de  pays—  et  coiniuent  feie  ca???     Je 
veux  dire  pxolsque  Jt  suis  ajnericaine».%)  povir  pouvoir  ecrire  en  anglals,  et  en 
tout  i*9LV>,   je  nv  8©i3  pög  ecrire  dcrjfi  un??  autr«  längu«,  vraimeati»  cel^  ne  facillte 
paß  exacteinent  la  vie—  au  iBoln^  pas  le  miennet     C^et  une  plage  dont  Je  ne  sala 
pas  coirmiejst  ic'tn  sortlr*     E^^idi^mxr^ntp  sl  Rosjyn  ue  trouve  flnalement  d'edlteur 
araerlcaln,   ceia  changerait  PEUT-KTRE  beaucoup—  laais  ir^me  de  cela  Je  ne  euls  pae 
tret  stSbre»     Mol  J«  ne  suis  paß  falte  pour  une  vie  ßeule  et  1' Isolation  et  la 
öolttude  ou  Je  me  trouve  depuis  c'evS  cnnees  nie  fönt  peur»     On  a  besoin  de  quel- 
qu'un  pour  vous  tenlr  la  uialn— -  te  Je  n'ai  personne  -—  personne  a  qui  je  tlöns« 
Jtai  perdu  SO  (V  I  N  G  T)  ainl(e}a  p&ndant  ces  dernle»;  annaes,  parml  e\Dc  les  plua 
prer»-^  et  la  plupart  a  lU^v  lorkl     Mei,  zioeilleurs  arai4%6ont  en  Califonile   (ou  Je 

ne  peux  pas  vivre,   Je  ne   suppori..:  pf»3  le  cllnat  et  in  plur—  c'est  liSOO  plue  loln 
de  l*Europ^U)|  lues  nelLleuri;  ajnls  hoiiiDft  ßont  '^n  Suropö»     Quelle  vie  Idlote« 

Eh  bienl     Tont  pisl     Du  couragel 

Quelle  longus  lettrel     J'eiüpert  que  cela  no  vous  ennule  paa  tropt     ^is  voua 
voici  au  cour.'xnt  d^  toutl 

Effibrt  tJße»  Marl?;  Plexn?^^  pi>ui-  iioi —  toui  ff«:i  voeux  öffectuaux  pour  vous  deux — 
et  MERCI  de  votre  omitie  et  votrt*  Interlt  do  mon  travall* 

hlic^i  amlcalement  a  voxu  deux^- 


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244  East  55  St 

Ä>lev  York,  Njr*  lü022 

17  Septeabre  1966 


KoD  cb^  r  Andre- 


Stlroniexit  j©  r>erai  en  retard  pour  votre  ftte  luiidi,  itaib  id«ö  voeujc  ^eront 
frn  t€»rpi:  daruj  eü.  Cüncet:!     J<fc  vcacral».   telltinent  qv    Ic.  tcnttfeiar  vous: 
ßourle  4&'ifin.t»  inlxi»  m^i  p^uul   Fi:  tout  casi  EOKNF  FET&—  BOKNj:  AI^'KEEI 

J'riji^r*?  quft  \oa    vt  i%ri^--Pifrre  ayez  pessfe  de  vxal^s  vriCftiic^^a —  qfca 
V03  hiw  lOxrwö  dr   dtisnl:-  öoat  iout  u  lait  d&iio  1«  p^;:.i>c  ot  qui-,     ;    doioiiöi 
I«^&  choLta&  n«»  voiit  pa&  trop  mal«     J^al  v^]iö4  b#aucoup  V  voua  dexix:  pbndant 

deux—  ri'i:!!  Dö  Ji'eaeut  autmnt  que  l'tuLOur-^  ausöi  ceJLl«.-  (ct-lui*)  des 
autreß/   si  c^'i^l  ''Uis:  real  tiili,g**.«* 

V0U2J  all€2  prijb©  Jl^i*«iit  a  Francfurt  pour  iu  iclie  ujrüiUell<t#  dcvA     Tone 
J€  voiidr^iö  vout  racontor  ia  convarc'ation  que  j'ai  eVÄ  a  propos  dt  vous 
avtjc  Raiutr  Kouiiiajuii-^  qaaiu»  uoub  avorij;  ai;icuto  Ifc.  reactioü  d«ü  qik.iqucö 
peraounes  qui  ora  lu  SABINA  Juaqu^a  prt&ent,  je  lul  disait  le  plaialr 
qufj  voa  Jüota  encourt'^.aiitß  L'out  f«j,lt  c^r^  je  dlBßit  t,  R.:lTut;r,   ''jo  con- 
elrtftre  Aridre  Bey  le  nieil-Lrrur  iditr^ur  t^n  F.urop« —  peut-l^tre  Tafor>  pf  rtout^ 
ßiiTtotU  pour  j.^  ficlion*^»"     "I^  u  cetLi.  r<^putat.lvin^"  ?Uii;^^r  a  /»'.-^cudu 
—  OU/   '^j^ai  toujourL  cmteiu'U  dire  ^a.^.^l     Ji    st.! 3  cur.  je.  ne  rul;?  paß 
cc.i]pJL^U-iai.na  xinbecüetl  U.   v^uu  i;hi>^  j.j  tr:>uvu  qu'il  ftut   ^oi^rjo..a^to  -ira 
aux  anlß  ei  on  l€»ä  trouve  appreci^b  ^i^v  litf  cutro;:.,  «t  surtout  ti  let 

;iii«ini  t   ßAEL\A  j'i.i  fila  :>uu  cu.r.tiii  daiib  it*;:^  Ci^niDs  de  F^lüvr   (vciii^  öav«« 
GViT'  1\\1  et  ca  fc::aße  sont  des  vral^  "chULs'*   a  incl)   qul  aiii>  !;••  llvrc 
b<i4.u<o'jp  t't  «ri-:.t  dtjcido  dfc  lux   t.i:\:'av..r  ui.  a^cx^t  i*LiirlCf,i^: —  il  t   coraBi^ü- 
Ci  p^r  ezimenarit  le  au*  av«c  lul  a  Iicndre&  ou  Keatii  ß*a  accepte  cczizne 
cii'irta  tjt  ceiui  dovid^u  /jitiJOiwtiiaL*.,  LXXs,x.gU    Xärloy^  choüv   «  KT —  J13 
pt-iiSf  q^Jüe    L^ut  celtt  cüiLiüeiiCc;rif.  a  roulur  apres  irancfort.*.»     Ul-^i^tain 
est  ''tj  e--  iül^rteoe^  üiala  rien  d«:  prcci^»  jucqu'a  presont,  R/iiner  tri 
eti   H»r;t  tres  t^ni^nre  et  il  y    aura  uji  ;^hc\;dovn  prttciöc.xmne^nt  pMttduit  la 

•    jt-    p^i^iS    qU^il   If^iic^K:    iu£i;a.3    L    vi*..i;   i.  utreS    1i4il^0J,.k>i^*%       II  y    f    Ui4 


tre-  t^riuid  bookclub  qui  ii*iii-fer«*yfie-*-  raif>  egfl^Mjeiii  par.  ti.rort:  d' 
cffrA.  prccxtj  nDOQJtEJu;:!!  ceci  pci^  xm^  LIVORCEES  (linsCLTILUJ'G^IK  KEV; 
lORK)  qui  ii*€Lt  pe.ö  i^äI  veiicu^  povir  uii  prejider  roiran  aaüH  aucoi^ba  eii 
ceiiors  dt  l^Alli.cia^r.a —  25CÜ  ext i/;pit  Ir e t   en  ciüq   «».     jf   viuu*  d»?  itr«* 
ce^air  tk  c  pri^xicrü  taiititte»  —  vlOü  au  d#;;£;u^  d*.  l'ac  vanca»««!!    I 
Pi.fc<  itbitz  pcur  {.Uu  attrouJiiti'  dmi;:>  Il  vSe  t^^iu  Icu^  dt    lI^^i«     L* 
edition  italienrii:  aevrait  üortlr  tti.  Wcv^übri ,   icut   le  titr%  LT  CIVOR- 
ZI/TF^  cht»  Ri;2zcli^     —  Lv  ncir^env  ou  Jtj  eait>  cul  6at  »00  a^;c.iit,   ^e 
vou^  ie  f£jral  Bavoir#  naturell(rrL<^:nt^  q  -ant  a  SAEINAl     Jf*  coßincuiCGrai 
it£,iriterii>jit  xxu  nom' >au  aernitr  cti^^pltTi   ßtlcr»  vob  ccnseila«., 

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ßhort  j^hortL^**  qut*  j*aveiw'=  ecritt*  ii  y  t   treu  longt^^mps  et  dont  PufdLiitr 
pi;iiö<ii  qu*il  y  auru  Uli  inarciii  €X.  t>uit.cti  tt  <.u  Alir^n^r.gne  äau^  1::.3  l.^t>^-*^ii^*"*^# 
eL  elft^tj  io  wUl;.&e  AIWAI^^LLF  a^eu  inteTtafcfc  b^aucoupj  j'al  auBsi  ^crit 
mon  prend  ,^r  "coluian''  pour  ANNABELLZ  —  IIa  eji  veulent  de  moi  d«   Uaps  eü 
t«mp6»*.     c>?  pale  cial  maii^  c^t^^t  trd&  bitu  comu^  jpubllcit« # •  •     J*«I  tra*-^ 
vaillJ   coniiTt:  uat  dbeiUe  dt;pUiu  quü  je:  Buih  rcoatriUf  ♦iprtt^  im  Vijya6# 
vr€iiii.€i.t  ALatißiflqutt   (burtcut  i^Irlanäa  «v  la  Suiößt—  ZuericifA  i..'ai.portü 
toujouii  benutz ür»%»)|  Iv;  re^x^ur  atait  l  pleur^r*«»  0«  p^ä  ^t^rribXei  o«tte 
ville  terrlbla,  cette  inalßont  cet  apperteiwwBt—-  il  FAW   trouva^i*  un  eutra 
iLali^.  j*ai  nl  l^argent^  ni  la  force  de  Xä^^^  occuperl     Mai.>  od  verral 


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qu«U  7  Ä  ♦j.cor«  uu*.  VH:  en  dohora  de  £44  E  £6,  qu'U  7  a  au.s.i  a<,  1» 
esi^ir  pour  idi  f.v««iii^-  peu^tre...  Et  J'tSäaia  ae  ae  p«b  perora  c«t 
elan  retrouvt---  d«  it,  garder  aussi  XongtsEpa  qu#  poeöible.. 

Alora,  encore  \n«  fois  bonne  ftte  pour  voue 
peraonn«»  qul  m'ont  donni  du  eotirage*»  J«  t 
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Mon  eher  Andre--* 

Merci  d©  votre  gentille  lettre —  ^e  suis  de&olee  poiir  vo\is  de  vos 
emiuis  avec  votre  patron~  j^espere  que^  peut^Stre  entretempe  lee 
choses  se  öoat  arrange  et  vouß  poizviez  toujourb  faire  ie  vq^a^e  a 
New  York—  a  SES  frais l 

Si  vous  veniez  ici  nous  nous  manquerons  inais  si  vous  etiez^  coimoe 
VOU8  le  dites^  de  retoxir  vers  le  2Q  jxiin^  neue  pourrons  sdrement 
nous  voir  a  Paris«  Mon  vqjrage  n'est  toujours  pas  encore  tout  a  fait 
"^a  point"  quant  aioc  dates  etc«^  omis  plus  au  molns  et  Je  pense  Stre 
a  Paris  a  peu  pres  le  15  Juni  pour  8-10  Joiars»  J'hablteral  chez  mon 
amie^  I^daioe  Bergeret^  95  rue  de  Selne^  tel»  Odeon  75»34« 

par  avion 
Je  pars  d*icl/le  U  mal  (J'esp^iret)  pour  paaeer  deux  seine  Ines  ches 
mes  oousins  a  I'Iadrid  (helas-*-*  quant  a  Fraiico^  mais  J*adore  inee  cousins 
q\ii  Bont  ages  et  11  faut  le  faire)  t  c/o  Foertsch^  Covarnibias  52^ 
tel«  22«SS«797  (vous  n'aurez  sCbrement  pas  besoin^^  niimero  de  tele-» 
phone~  iäIü  qui  8aitl)|  je  pensc?  de  prendre  l' avion  pour  Home  le 
26  mal—*  adreaset  Hot)el  Cesari^  Via  di  Pietra  89/a|  une  secaine  a 
Eoiiie*  Ensuite  pour  deux  ou  trois  joiitü  a  Milan  (pas  encore  confiriLe) 
ou  on  pounrais  me   Joindre^  en  cas  d^urgence^  chez  -^ric  -^indor^  c*est 
a  dire  son  burel^»  Ensuite^  probableiDent  le  6  Juin  chez  Ullstein^ 
(Vilm  V«  Elvenspoek  est  xoon  editeur)^  Schoefferstrasse  Z,   Darnstadt« 
Je  ne  sais  pas  encore  si  Je  serai  ou  a  Darmstadt  ou  a  Fraiicfort««« 
Avent  Parit>  Je  passerai  a  peu  pres  une  semaine  chez  une  autre  cousine 
a  Braunschveig  (vous  devrait  entendre  le  soupire««*)^  l*adressel 
c/o  le  Profesaeur  Edgar  Rosen^  Spitzveg Strasse  20^  tel«  0551-^4489« 

Voici  l'itineraire  approxirrjttive-«»  evidensnent^  les  adresseb  lea 
plus  reliables  sont  Celles  chez  mes  cousine  a  ^^drici  aussi  bien  vu^a 
Braunschveig.  Je  ferai  tous  les  trajects  en  avion —  c'est  le  moins 
eher  sur  mon  billet  al^ernretourl 

Encore  une  nouvelle  qui  fait  tout  un  peu  diff icile—  Ros3yn  et  moi 
nous  aüone  nous  separer —  eile  va  toujours  me  representer  pour  lee 
DIVORCEESi  mais  stirement  pas  pour  SABINA  et  quant  au  MOUSETRAP  (mon 
deuxieme  bouquin)  Je  n*en  suii>  pas  encore  stire—  probableroent  qua 
non«  Qa  tout  casi  J^enverrai  IHK  MOUSETRAP  aujourd^hui  a  Rainer 
Heumann  ^oxar  que  j*aie  une  copie  en  Eupope  au  besoin*  SABINA  J* 
apportera  moi-m^me*  Ne  dites  rien  aux  Quets  sit  par  hazard^  vous 
leiara  pariere» —  Jt  vous  explique  tout  quand  Je  voub  verral«  C'eot 
dans  la  plus  grande  axnitie  personnelle^  cette  ^Separation**«  Pour 
le  moment  je  n'aurai  pas  de  nouvel  agent«  J'espere  de  tout  coeur 
que  vous  pourrez  lire  SABIUA  pendant  cette  seroalne  que  Je  serai 
a  Paris—  JV  TIENS  enormeraent^  eurtout  d'avoir  votre  opinlon 
PERSONNELLE—  Sans  penser  a  Stock« 

Tenez  moi  au  courant  de  vous  nouvelle s—  entretemps  ma  fidele  amitie 
—  et  J'espere  telleinent  de  connaltre  Marie-^ierre l 


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Nev  York,  le  15  fevrier  1966 


Cher  Andrt 


Quelle  vie  Incensee  qul  vous  f orce  de  travailler  au  point  ou  ni  temps 
nl  energle   vous  reatent  poxir  quoique  oe  soit  d'autre  que  le  travail«»« 
Oh  que  j  Vn  ai  marre —  que  je  conpte  le^  Jours  que  SABINA  soll  fint... 
pour  respiror  un  peu  et  devenir^  rtcd^^vvenir^  une  fevriirhöl     Je  üaia  pour- 
quoi  J*ai  #crlt  dane  THE  DIVORCEES  que  trop  de  travall  est  mauvais  pour 
le  oiancctWfi  föiainiiill 

Tout  Cola  conrae  excuee  de  ao  paj  voui^  avoir  r^poiidu  tout  de  öuite  ce  qua 
c'etait  mon  Intention  an  recevant  voti^  lettre  emouvante  de  NoSl^.«     II 
m'etaii  eijalenjent  liipossibl«  dtt  voud  cxiivqyer  quelques  üjoIö  pour  le  i^ouvel 
An  car  tout  juate  avant  NoSl  j^avals  une  eorte  de  collapae  de  fatlgue 
et^  pur  coneequent^  axicua  db  hk^  wüIs  a  r<bcu  un  mot  dt?  loa  peo^t  pour  lea 
fitea  surtout  pa8  ceux  a  qul  Je  voulais  ecrlre  plua  que  Juatement  ly 
motl 

Andr^ —  Je  voulals  esroriiner  mee  voeux  leti  plus  chaMureux  pour  que 
Marie^Pierre  succede  a  vous  "rendre  la  vie  douce">  comme  vous  le  ditea— 
j'elai&  ET']ü?wEUS!L  de  aavoir  que  voua  avta  conjüience  a  p«inare*«»     ^t  Je 
voiadrais  tellement  pour  voue  que  le  nouvel  appartement  vous  offre  la 
tranquilite  •  •  •     Je  vouaraist  tellbinent  auaai  connajtre  Marie^it^rr«^ 
et  Je  suis  desolee  que  vous  vi^adrez  ea  Juin  ou  stirement  Je  serai  en 
^uropel     II  faut  que  voua  me  dielea  auesl  tdt  que  pobbible  vot  projeta^ 
surtout  la  date  de  votre  retour  en  France  et  vos  projete  d^ete  car  Je 
ne  crols  pas  que  ie  pourrai  6tre  a  Paris  aavif  la  aerniere  sc^iaine  (ou 
10  Jours  au  naximiOD)  en  Juint     Comme  toujours»  Je  dols  me  ballader  par 
ei  par  la  et  puisque  J'eesaie  dt^  mt^ttre  la  voya^e  entier  sur  un  seul 
blUet  aller-^retour  N7--IlpiBe>  tout  est  blcäi  compUque  Je  vous  assurei 
Cela  'v^att^jllre  qiuj  Je  döiö  vcyager  daas  un  certain  ordre  geographique 
et  doja/po8«*  des  problemasl     J'envisage  vaguement  de^ passer  la  px*e- 
Biiert  ttlillli  ^u  Julllat  ou  en  Sulos»   ou  en  i.utrich«  a  Ll  caiiapagnei 
la  deuxleme  iDOitie  a  Ibl  caiopagne  en  Angleterre  (vous  irez  peutj-fttre 
a  Londres^t)  et  la  fin  du  vqjrafee  en  Irelande  a^/aiit  de  reiitrur  a  ivf^ 
peut-«ltre  en  aotlt*       Mais  tout  cela  est  toujours  treb  peu  decldet  bien 
que  J^espero  que.  lus  choscis  e'arrcmgeront  a  peu  pres  de  cettj  ld9Qn« 
Je  vous  le  dis  pour  q\ie  vous  vcgries  au  moins  dans  quelle  direction 
Je  penae  aller I  ^ 

Si  vous  passes  daiis  ui^e  librairle  qul  venci  les  livre.  aHoioand^i  Jetea 
un  coup  d^teil  a  mon  boioquin  qui  yient  de  paraltret  nikn^  Je  viene  de 
rec*aVoir  1^  prMLier  exea^^laire  du  llvrc —  la  uat^  d^  publioation  est 
le  18  fevrier  1     J'en  suis  TRES  contente>  ils  ont  feit  un  beau  travaili 
finaleinent»     Svideoui.ant^  la  traduction  pourrait  to\iJours  itre  oieuXf 
mais  c'est  plutdt  un  petit  miracle  qu'elle  est  au  moins  acceptable« 

Le  nouveau  livre  est  toujours  difficllet  la  fin  a'approche  et  Je 
srrai  soulagee  d*  avoir  tout  t^yj^,  papicr%     Je  suiii  curiouaa  iül  cela  tien- 
dra  le  coup  (c'est  correcte?     if  it  viU  hold  19««%)     Eh  bine^  on  verra» 

Alors-^  il  faut  absolument  qu^on  se  voit  en  Exarope  cet  ote—  J  Mattende 


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av«c  tous  mes  voeux  pour  voue  duex  et  votra  bonh»uri«»     ^^-^       \^ 

Toujours  treu  amlcalement«— 


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laUxtol  17  Noveiribre  1965 


ViOn  eher  Andre—* 

Roü}yn  m'a  apporte  vos  greetings  et  m'a  dit  qiie  vouß  vous  fttes  ei  axdcttlement 
rexiseignee  dn  jnet.  uouvclles-—  rn^^rcil 

Ne  persez  pps  quf-  J^Rvalü  oublie  votre  fSte  cette  anneef  iiiais  jtj  siiie 
telleiaent  debordee  de  travail  qu'il  m^etait  IMPOS.SIBLF.  dr.  vous  ecrire 
8  l'epoque—  r>air  J'ai  bien  pense  tt  vous  en  vouö  envqyant  mes  vcx^iuc  par 
telepathiel     J'espere  qu'lls  soient  bien  arrlveslt 

Ca  ne  va  paa  trop  iaal~  sauf  au  point  de  vu  finaiicier-^  bien  qu^^  Je  finia 
a  jn^arr^iiger  pour  le  iDOnent  au  moixißl     Je  auie  au  milieu  d^  a.  nouveau 
bouquini  le  tx\)iöitme—  J*ai  a  peu  preö  la  moitle— •  qui  s'appelle  d^abord 
SABINA.     C**sst  uiit>  hiot^ir©  entre  troiö  couples  pendant  \m  ete  dans  un 
petit  village  au  bord  dt-,  la  mer  prets  de  Boetonj  ce  sont  d«s  Americain  et 
dtjb  Europti<snj>^   trt,  Sf^bina  est  unu  femm^  qui  no  peut  paö^egardeT  daüs  un 
xniroir  (et  pour  cau&el)*     Je  pense  que  ce  sera  moirib  controveröial  qua  iceö 
'^Imux  r\atrt5S  livres  et  j*ai  1' Intention  d^  le  fairti  offrir  avant  ie  deuxieine 
roioan  (THl:  MOUSETRAP).,^     bl  je  le  fiiilrai  eu  prlnttiaps  ce  que  j^espere^ 
j'eapere  egalei-ent  de  venir  en  lurope  en  mai  pour  passer  deux  ou  trois  moia 
avec  meß  aruis  partout—  j'en  ai  bien  inarre  de  New    ^ork,  du  travail,  de 
Äon  appartement  (la  rnaison  tozsbe  en  miettes  et  ce  sera  sftrement  le  d^rnier 
hiver  ici~  un  trei.  grand  probleine  ixi  ftnacier  encorel) —  de  TOUTI     J^ai 
travaill^»  trop  pendant  trop  longtexnpsl     (Trois  livree  en  3  X/i  ansl) 

THl'  DrVORCEFS~  que  j'^.ppelle  iriainteiiant  pour  la  France  (on  xae  dit  que 
MauaiDe  de  Cxaulle  ne  donne  pas  ia  raln  a  une  feinin«  divorcetJi   c'eüt  a  dire 
c'etait  dans  tous  iet>  jouniir^aux  icill)  DECXSIOi^  IN  h.EV  YORK,  le  tit^^que 
Ullstfin  a  cboiai  pour  l'edition  allemandtr ,  publiee  en  Fevrler   (J^e^pt-re 
qu'il  n^y  a  plus  d»-  rt  culertieat)|   j'ai  eu  enormeinuiit  d'ennuiö  avec  cecte 
edition  car  je  n'avais  pas  fait  la  traduction  qui  fetait  la  pirc  que  j'ai 
janiaic:  viie  de  MA  VIS-^  dens  aucune  laxx^ue  de  Celles  que  je  contiai^Ul 
Jaiüaiö  de  ma  vie  je  n*ai  ugalesient  idbqDQCXKiaai  vu  de;:^  epreuvei^  d^uii  tel 
"mess^—  c^etait  iricrqjrable,     II  me  fallait  cor^i^it-r/et  mime  recrire   (en 
ailemand)  un  quartl     C^ctait  un  CINQif  fois  la  traduction 

cauchiftKierf   une  perti»*  de  ce  boulot  pendant  que.  j'avais  deja  comi:.ence 
SABINA*^  ce  melange  de  l'anglais  et  l^allemand  me  rendais  foUet     ^^is 
enfin  je  pense  qut*  c*est  au  moins  acc^pt,able  et  iJlisteiXi  aust  i  bien  qiie 
moi  aus^i  nouä  esperons  des  critlques  interes8antes*<i*     11/  avait  un 
firot  öor-lal  horrible   (avoe  TOUS  le&  erreurs)   dans  Annabelle,  tres  beau 
■agasine  suisse  allemand«     L(edition  iialieime  sera  probabltiüv.nt  &Ub;:ii 
publj.ee  mi  prlnt^^nps,  avec  la  couverture  d'uxA  de  mes  meilleurb  aiijisi 
Fabio  Rieti,  qui  hablte  Paris  et  dont  les  de8sin;i  de  feinme  sont  exquis« 
II  y  avait  austl  des  first  derialsi  dan^:  un  magazine  norvegien  et  danois» 
Au  fond  je  devrais  8tre  contente%#*     C'est  au  lüoina  du  progrt^el 

Voila  le:^  nouvelle;>  in  a  nutshelll     J^eapere  qu'un  de  ces  jour^  vous  trouvei 
Uli  peu  de  temps  d*^  ne  faire  savoir  comromit  vous  ttea  et  si  la  vi<^  vous 
tralte  un  peu  mieux  maintenant**«     Jt-  Ir  souhaitt-  de  tout  co  ur# 


j4,'%(*rf  ,jg,    *t 


A  cet  ete  donci     Au  molns  l'esperon&I     Toxis  mes  voeiac 


ausLii  pour  1966 


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(yPl^-^VU^-^  (^  (J,^ 


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2    ,     [  i/^C^      -     'l>f^^ 


244  East  55  üt 

Hev  York,  K.Y.  100?? 

1er  fevrier  ld65 


Mon  eher  Andre-^ 

ün  petit  mot  pour  vouf  dlre —  bi^n  que  je  ßuis  decue^  evideaiDentf 
qu* apres  tout  ce  tempe  FJULiE,  et  par  conseuqnet  i:>tock^  ont  re- 
Jete  Kes  DIVÜRCPES~-  Je  tiens  ft  voua  rrrercier  de  toue  vos  ef forte 
dont  Je  ©e  rends  bien  coiLpte* 

Voue  vous  8tes  montre  l*airl  que  Je  voup  esperalß  d*ltre  et  c^eet 
ceia  qui  conpte*     Les  reaultote  eont^  trop  souvent^  helas^  pas 
dans  les  pouvolrs  de  J^aml^»^ 

J'eepere  qioe  vous  z^trütnhMi  mSice  sl  lenteicent,  de  voue  rettraper» 
De  mes  depresslons  et  deßorpolrs  a  rool   (pai:   du  tout  finis)   Je  sais 
qu'll  faut  ttre  content  ei  eu  moins  de  teinps  en  teicps  11  y  a  des 
TiiOij-itntß  Eolns  dlfficileö.*»     Voue  alle^  t.rouver  cos  momeiite  de 
plus  en  plus  gtBxrim  et  de  plus  en  plus  longa  egaloirent»#» 

Du  courage^  eher  Amil 

ZDCore  xi:erci  de  tout  et  mille  anities  affectueusea--« 


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ä  la  chute 

51VIII62    =:PARIS-206  = 


FRANCAISC 

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York,  le  9  jxüUet  ItSfl 


Cher  Aiidbre— - 

Votre  lettre^  ■§>'»  votre  retcwr  "a  Pr^ri«^  »•evnit  foit  iBi  trie 
pXaiair —  j^avaia  v<Äilu  raoa  rcpoKK^jre  t<mt   de  aniite  imlsp  coaitratre  a 
nmB  latent iona^  je  v^Hoala  de  cOEKientsr  i?»n  bouqxiinl     Depuis  le  loilleu 
de  t^vrier  je  ue  fais  que  trav»Hlep —  je  ne  Tois  perscnne,  3urtout 
POLS  »••  ajols  dans  le  pubUahiK^  car  je  madB  decidee  de  gurdc^r  ce  projet 
dans  le  plus  grand  secret —  for  obvioxis  r^aacarisl     Poxzr  qu'on  ne  ine 
deinandt:  pas  de  quol  je  m^occupe  je  neglige  toui-  1^    njonde.     ^in  pluü, 
c'eöt  wa  tel  total  ixwolveuitnt  qiKj  taut  m'irrite^  tout  me  deraxiget  je 
ne  veiDC  que  qu'on  ine  lalaee  «d  paixl 

En  depit  de  tout  cela  j^al  peaa^^  souv^ent  a  vou0  et  a  nos  conversations--' 
et  je  lad^deoftode  conaoent  tout  va  pour  vous«.«»  iloi  atjuisl  j  *ai  deaeentl-- 
»entB  tres  amlcaUK  pour  vous  —  faites  laoi  ©avoir  de  vos  nouvtlleöl 

Quant  a  roon  bouquln  j'espere  de  finlr  un  flrßt  draXt  «da  Septembrej 
em  ßera  xzn  llvre  court^  grftce  k  Dieui  et —  plut&t  serieux —  sur  lee 
aiaerlcaineatl     Je  n'ai  aucune  Idee  ai  cela  8e  v^mdm  ladtm  icl 


?* 

,#^^^ 


i!:als  je  crois  que  ca  pourr&lt  IntertMMer  en  Europa«  »*     i3L2araxccraii:-pKB 
Ce  ganre  de  iroman  n*a  pa©  encorf^  ete  ecrit»     Pxiisqut^  j^ecrls  saiia  re— 
BUUie  et  je  sala  de  ja  que  je  dola  coBpietement  chaogerlfe  prnxx^  chapltre 
j'al  decide  de  ne  pas  üBBogrer  d^    traiter  de  ja — hä^ä  clianc«/s  sont  beau- 
coiip  z:ii:-\rA:  st  je  pownala  Riotiti^r  -u  rcioins;  um  c!rrrt  enti^rr.     H  öertdt 
tres  dtfficile  de  cholalr  ii»  rjeiH^uri    rÄrison  car  Celle  qu^r  je  voudrais 
n^eßt  pas  g6iit^T^«^isi8e  €ft  j^fti  b  soSn  d»-  l'^^rtitDt — pour  coaitjour  rl     J'ri 
ide«'  pour  W)  ros/ n  hlstorlcTue«.« 


Je  pftMMnmi  tout  l^ete  a  Hev  York   (inal^  cron  rppp.rteüisejcxt  est  cULxaatia^ 
ett  blen  «^Ul-^  j^-  ania  fat.lguee^  j^.   £?%dis  h:  ur-<  luse  et  coateiite  et  na  saate 
ne  m'eunuie  pnel     Sl  c»  im?  lalsaalt  ecrire  pom*  1f  reittte  de  ma  Tian 
Jjen  aeraiß  rnvit: — hclüs^  trop  d.p*;iKlra  dt    c>^    bou  uiii«*.     C^eat  po\ir 
cela-querje  vous^^^p^yiMhUiß  de  grrci*  r  sstoa  grtmd  st  crctl     H  nV  a  per^ 
s<Hme  satif  voiis  et  moci  aißi  edlteur  Icl  qul  en  aont  au  cotxpaiit —  sxn^- 
tout  quß  les  Flschecr  ne  «achent  rSen^  nl  les  auctrea  editeurs  icl^  eat 
de  1ä  plus  gMüade  iiij^Ärtaiicti^  pour  Esoi^  je  auie  ßÖTfc  voue  It^  coi  'prtixcz 
trks  bl€ä:i»     J^ecrls  Icmtement  et  avec  beaucoup  de  pelne^  donc^  11  ne 
faut  paü  let  Uv,^  cäi  out  of  th«s^  bag  ptmmtVTely. 

Vo\xB  alles  an  Toureoine?     L«g  malsona  pouasent  la-4)aen    Et  la  peln**- 
ture?????    Et  tout  et  tout? 

Je  m'ecrcuae  d'ecrlpe  si  j^nl  (ü  eat  triu»  tard  et  je  suis  inortet  donc 
le  fVancalSf  aprea  ecrivcmt  exi  anglziis  et  tine  lor^ue  coiiver£>atioß  a\adi 
telephone  en  alle!:mnd  1:;^  e&t  difflcUel)  et  mt  aprea  un  al  long  allmice. 
Lets  effortö  seixmt  probablüaent  pas  e«i  proportton  avec  le  resultat^ 
mala  au  moixis  on  eaisaie  de  fnire  son  laieux*»« 

Tous  rea  voeux  bour  un  boo  ete-~  et  ecrlvea  »oll 

Trea  ffirlCf?JLßiii8nt — 


EDITIONS    STOCK 


6,  rue  Casimir  Delavigne,  Paris  (f  * 

TO^ph.  :  DANton  74-46  (ügncs  groupccs) 


PARIS,  le  20  FEVRIER  1962. 


VO 
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Miss  Ruth  MARION 
244  East  55th  Street 

NEW-YORK  22 


Chere  Ruth, 


Decidemment,  j'ai  dO  partir  sans 
pouvoir  vous  faire  mes  adieux.  Je  vous  ai 
appelee  deux  fois  mais  vous  n'etiez  pas  Ic 
et,  naturellement,  au  für  et  ä  mesure  que 
se  rapprochait  l'heure  de  mon  depart,  j'a- 
vais  de  plus  en  plus  de  choses  ä  faire. 


\ 


Croyez  bien  pourtant  que  le  peu    i 
de  temps  que  nous  nous  sommes  vus  n'a  fall 
que  renforcer  en  moi  notre  amitie. 

Bien  vötre. 


YrLew^  /OJ  )&  (C4,C^0tLMy    IMJ"  i- CA       ^^ 


La  Soci^c  dcclinc  toutc  rcsponsabillt^  pour  la  pertc  des  livres  ou  des  manuscrits  qui  lui  sont  confi^s. 


rroisierne  Reich 

Des  origines 

a  la  chüte 

?!I162    -PARIS-206  = 


FRAfMCAISE       I 


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Miss  Ruth  MARIDON 
244  Hast  55th  Street 


NEW-YORK  22 

TÜ.S.A.) 


PAR     AVION 


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CDITIONS    STOCK 

6,  rue  Casimir  Ddavigne,  Paris  6^ 
Tcleph.  :  DANton  74-46  (lignes  groupces) 


PARIS,  le  30  JANVIER  1962. 


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Miss  Ruth  MARION 
244  Hast  55th  Street 

NEW-YORK  22 


Chere  Ruth, 


Je  crois  que  je  serai  seul  au 
Beekman  Tower,  puisque  j'aime  cet  hötel 
et  qu*il  est  bien  situ^,  ä  partir  du  7 
au  soir. 

Je  vous  telephonerai  en  arrivant, 
bien  que  vous  ne  representiez  plus  la 
Maison,  mais  en  tant  qu'amie.  A  ce  titre 
peut-ötre  pourriez-vous  m'acheter  le  nou- 
veau  Directory:  LITERARY  MARKETPLACE, 
dont  je  peux  avoir  besoin  immediatement. 

J'espfere  que  vous  serez  libre  a 
diner  le  soir  de  mon  arriv^e  ou  a  dejeu- 


•  •  •  /  •  •  • 


La  Soci^c  d^clinc  toutc  rcsponsabilit^  pour  la  pertc  des  livrcs  ou  des  manuscrits  qui  lui  sont  confi^s. 


V* 


ner  le  lendemain. 

Je  n*en  dis  pas  plus,  puisque  je 
peux  dire  h   bientöt. 

Bien  sincferement  vötre. 


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Miss  Ruth  MARION 
244  Hast  55th  Street 


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LIBRAIIKIE  STOCK 

üelomoiA  et  Couldlöou.  mRU/. 


SOCI£t£     anonyme     au     CAPITAL     DE     48.725.000     FRANCS 

ADMINISTRATION    :    6,    Rue    Casimir-Delavigne,    PARIS-(>^ 

R.  C  Seine  //  B  147^/       Chique  postal  :  Paris  2^.^60 
TfiL.   :  DANTON  74-46  &  74-47 


S 


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>; 


\ 


MISS  RUTH  MARTON 
244  East  55th  Street 

NEW  YORK  22 

Paris,  le  25  Avril  196l* 


•--t 


Chere  Ruth  Marton, 


\f 


Je  vous  dois  une  lettre  depuis  plusieurs  semaines,  mais  k  vrai 
dire  j'attendais  que  differents  problöraes  en  suspens  soient  clarifies  pour 
pouvoir  vous  dire  quelque  chose  de  positif«  La  maison  Stock  est  nassöe 
par  une  phase  de  transfonnation,  surtout  sur  le  plan  du  capital^qui  sans 
doute  modifiera  peu  ses  directives  habituelles«  Lä-dessus  je  ne  peux  pas 
encore  dire  beaucoup  de  choses,  mais  il  est  vraisemblable  que  si  je  ne 
vaig  pas  k   New  York  d*ici  la  fin  de  l'anno^,  j*irai,en  tout  cas,tout  au 
debut  de  l'autre»  Nos  moyens  ne  seront  pas  -  que  je  sache  -  diminu^s,  mais 
plut8t  augmentes,  la  concurrence  sera  plus  grande,  donc  le  combat  sera 
plus  dur«  Nous  reparlerons  de  tout  cela  bientöt» 

^       Je  ne  voulais  pas  vous  repondre,  non  plus,  avant  de  savoir 
si  Hoffman  finirait,  tout  de  m&me,  par  nous  donner  le  "Wallace  Stegner", 
mais  il  m'a  infonne  final ement  que  c'etait  vendu.  La  legon  de  tout  Ä^l^i 
c'est  que  devant  un  cas  semblable  il  nous  faudra  user  de  telegrairmie^et 
voir  si  l'on  ne  peut  pas  vous  donner  des  moyens  pour  tr-^iter  sur  place... 

J'aurais  aimö  pouvoir  vous  dire  que  THE  DOUBLE  AXE,  livre 
que  nous  avions  exatnin^  sur  votre  recommandation,  nous  plait.  Ce  n*est  pas 
le  cas.  Bien  sür  l'auteur  a  du  talent,  mais  il  tire  un  neu  h   la  ligne  et 
les  Frangais  qui  ignorent  pratiqu ement  l'experience  de  Thoreau  sont  tres 
refractaires  ä  ce  genre  de  retour  h  la  nature.  Les  rapports  sont  malheureu- 
sement  concordants  et  nögatifs. 

Je  compte  aller  faire  un  tour  h  Londres  le  mois  prochain  et 
nous  aurons  un  stand  k   Francfort  en  octobre. 


}1cclt^ 


.  •  ./  ... 


IS 


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Je  sais  que  vous  avez  vu  Clairette  et  qu'elle  a  ^te  enchantöe 
du  temps  que  vous  avez  passe  ensemble*  Klle  semble  toujours  tres 
heureuse  d'Stre  en  Arne ri que,  mais  je  me  demande  vralment  si  eile 
doit  y  rester  une  annee  de  plus,  si  eile  en  tire  les  avantages 
qu'elle  devrait  en  tirer.,  Sa  chevelure  teile  quelle  me  l*a  decrite 
m'a  paru  plutöt  bizarre*  ^ 

Bien  sincdrement  votre 


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Hey  York|   10  novembre  1960 


Chere  Odette —  eher  -Aiidr«: 

After  receiving  ycur  ißttcr  yeztorABy  I  telf phonf::d  Itrs»  Z»   in 
Vhlte  Plains  and  lenmed  from  hr^r  tJhat,    ülnca  Suiuiry,   Cl^j rotte 
hjif:'  bern  stnjrin^  vith  c.  ffinüy  ";7ith  ?)  childreii>    a  f^v  blückb  from 
Krs«  Z's  hOL^iej   she  contlnuea  her  ntudlfiö  at  the  high  ochool  and 
in  thß  rr.iaalning  tiinr  looks  aftor  thosf^   chllc'r^^ri«      I  r.iso  bpuke 
to  Ciaire tte  ovor  the  phonci  who  aßid  she  wss  veiy  ha:>jy   there 
and  thfit  eveiytJiin^:  wip.s  fine.     Hör  scldrriBft  ißt  c/o  Edviri  Roer^ 
lü  Rosewood  Road,  Vfhite  Plainß,  phonei  9-1081» 

I  know  you  will  be  very  pleased  with  tiiis  turn  of  evcnt.s,   and 
I  hope   it  will  vorK;  out  weil  for  CJalr^flte' :i  rtim^lnint;,  noTiths« 
Howeveri  yoiar  letter  ae  well  as  ny  conversrition  vlth  MrB%  Z* 
havp  brought  up  a  nur.bt  r  cf  tj-xingr.  on  vhich  I   a>;0\U.('  lil'.>   to 
corancrnt. 

MrSt  Z^,  eo  Clalrrtte's  sporpior,   iß  soiejy  end  corpl^^t-3y  rt  bponö« 
ible  for  cvrriythiiii;  Clrirrtte  doee  vkllf^^-  fitayliii:''  in  thie   rountry. 
Ai:  her  visa  apparentiy  vae  grantcd  öpacifical2y  for  a  year^e 
stuc^r  in  a  high  ßchool  for  vhich  ehe  alec  recrived  b  LCholar^hip, 
it  could  result  in  vexy   serious  troubl^i^s  for  Clfirette  if  she 
verc  to  movf;  to  Kev*  Ifcrk  or  aryvhere  eise  except  vith  th.t  p^^r- 
rißsion  and  under  the  imprrvißion  of  her  i:ponrior#     No  rctter  v.hat 
Clairette  hcrocjf  or  you  er  e^ry  cn^   k-lhe  might  vit.hi  tu.  lon^  08 
ehe  remairx  in  thir>  country,   hör  spon^ior  iv^  her  legal  guprdian 
anri  thf  only  one  vho  can  r^akr  df-c:i3ioni'^ 

As  to  rjrself  I  rogret  vrry  znucL  thiit  üy   oue-rooüi  f«part:trit  vherf^'i 
as  you  knov^   I  also  work,   iri^kes  it  quite  iiipossible  for  me^  to 
recoive  her«     But  asidr   fron  this  I  mue t  say  in  all  honrhty  that 
ry  health  and  xiy  other  obligntions  simply  do  not  permlt  me  to 
take  oiy  respon?ibllity  vbatr^o^ver  for  t  youTi^;  £irl  2".icne  in 
this  countxy«     Pleas^   understenc;  thisl 

En  toute  amitie 

Vitre 


P^U  Good  luck  on  the  Portugueae  edition  of  LA  CAETE  DU  Ti'KDREl 


V* 


. .  \ 


LIBRAmm  STOCK 

t       ^Delomcun.  et  ßouIeUeau.  PARic/: 


Aft 


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SIEGE  SOCIAL  .    <f,  Ru(  Casimir-Dilavi^n(,  Paris  (e) 


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ChBT  Andre  B^ — 

Mercide  votre  lettre  du  18  qui  vient  d'arriverl  Etant  donne  que  le  25 
ef3t  Va  >hlagton •  c  birthdry,   donc  grand  holiday  et  tout  fiDenuej   je  xie 
peut  quo  i  *occup»^r  de  voa  rendez-vouß  inardi  procliain«     Je  ferai  i.'on 

If6  Beeiden  eöt  TREC  bleu  de  tou3  I08  poiiitö  de  vua —  location^  reputrtion, 
etc»     Je  ao  cvvxij  pas  que  voiuj  poixriez  vous  arrauger  au-desaoua  de  $10*12 
(pour  dexix) —  le  Ix  rkijon  e^^t  pcut-^trt;  uii  tjuupcon  pluü  eher  que  le  ifiinAxnur. 
en  midtown«     Sl  vous  n^  descendiez  pasji  peut^-ötre  le  Per  Chairbere  (f^Bth 
&  6th  Avenue)  serait  intermuöSiait—  ilö  ont  de  chaj.bres   (ou  tout  petita 
apparteLi^ntö'O  ^vec  leii  pull ::Ain  ki.cheuö^  c'est  a  dire  frigidaire#  s:  all 
raiige  and  sink-—  tröi>  agreable  pour  le  petit  de  jeuner  etc*  si  voue  (ou 
votre  fei>;v^©I)  pr6fer«^*a  cela  sx  daiiö  vo  re  cha.  bro  sans  d^voir  a  toiidro 
parfois  tres  longte::pü  a.vec  une  öurchar^e  en  plußi     Jt:  ntr  öuIö  pas  r^tr^s- 
coBiment  ci>  ce  fait  1: -br^e  nvec  lee  chajübaros  avec  une  ru*^»      (Ils  ont  pcUt^ 
Stre  seulcment  14   et/u^es  rais  2)»     I'<erveilli^ux  est  le  br.rbi?on  Plazo 
(58th  St  &  6  Avenue —  l'&utre  c&te  que  la  P^^rk  Chamborti)  au  point  de  vue 
de  panorama.  car  c'eöt  au  Park   (coinmc  1ü  St,  Korltz)   et  touB  les  deioc  ne 
sont  pt\s  •rROP  choTijp   11  me  ßcible  nu'c.  peu  pres  coiaEie  le  BeekrpArj   ul  V\zi 
ni  l•^:.u^re  bi'sn  rpoodbc  qu'ils  sont  außöi  Central  Parle  oouth  n'ont  pas  les 
prlx  deü  hfttels  ue  luxe  conaw  Essea  noui>t;  &  liampshirt-  Kouse»     I.^^  Barbizou 
Plaza   (it  goeti  titro^jgh  to  CPS^  bätli  3t,  fruij  dOth)  a  des  chai.bre  >  niiiue- 
culeß  xjäiis  tre.    Tüoderneö^  peut-4;trt   vounb  n'aiffle»  pa;:i  ca« 


Je  nm  vie^di*ai  ^ai.   vouj:;  ciKtrcher  car  Je  connais  toutes  le^:  hi«toireö  avec 
cei>  arr^veeö  de  l^lurope,  ca  peut-4tre  ausbi  €  6  hrs  du  :  atin,  ou  r  10hrc# 
et  en  tout  cti;^  une  nuit  blanche  i)Our  woil     iüiib  je  vovs  conseille  dr    prenc're 
un  texi  au  llaUK  da  Xr.  "liiv:Oui>ine'    (aucobus  au  tenninal  v.  IT),   car  pour 
deux  ca  vaut  le  pelne^  pour  une  differenco  de  peut-4^tre  2  ou  SCj  f altes 
savoir  au  chraiffeui*  dA 'Her  par  le  "tuxuiel''  et  PAS  piir  la  ^TiYiQT^s^ 
Triboroui^li  Bridge  c^  qu'il  etjßiyera  prubablei.:ent#     Lt    taxi  ne  doit  pns 
cofllor  plUL5  q\in   .69 

Entenau  pou}"  votre   courrier  c/o  Mll 

' Quant  a  Peter  Schv/ed  et  Kart  (llaciiil  an)  11  faut  Stre  dipl  or^- tique  eis 
il  faut  voir  auü:^i  let'  drj::o5i  de  fore-ign  rights,  i'x&m  fiermur  (EKES  active) 
qui  a  re)rplace  Nori-an  Monath,ct  Mieü  Clalck.     Toutea  le;.  doux  anies  h  roi 


et  j'arrantcrsd  ct;l<i  ccr  f ii^iilei  ent 


ce  sont  KUX  c  \al  VRABri^T  d» 


occupent  des  droits  etrangers-—  qucuit  aux  li\Teß  americains.     J'fi  rendez- 
vou;.  poi:r  cejcuner  rvcc  Juik   Dovc  vondredi  procliain  t-n  tout  cas,  et  un 
rendc 7.-vo\i.3  telephoaique  atrtiC  Br^  gUi>' —  vout;  vcjjreZ|  tout  cela   seriJ.  tre3 
bien«     Mais  je  crains  que  proba,bleiiexit  avec  Bruguc^  il  faudrr  y  aller 
ensemble  -*-  je  verrai  conanent  cola  t^e  fera  avec  1\A  car  en  prliicipo  je 
devraiü  dejcuner  avec  lui  et  je  ne  öuio  pa;3  tiöre  s'il  voudrait  faire 
deux  rondez-voua  separes*     (II  n^ebt  pas  tres  aimablel) 

Je  suiu  ravio  quo  vous  v-.nioz  vralinent  et  de  garder  lundi  öoir  iibre  poixr 
dejevuier  avec  vovu:J»     C*eL>t  inpcrtant  de  parier  en  avance  de  vos  rendez-*vous« 
Si  je  ne  vouü  ecri;^  i'luß  avai.t  votre  ueparc— ►  bun  vcyate  pour  voue  et 
votre  fcuane  et  a  tres  bientfttl 


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Meanwhile,  Annie  Laurie  Williams.  Her- 
sey's  agent,  has  had  the  pleasant  news  that 
a  forthcoming  novel  by  another  of  her 
Clients,  Carol  Brink,  has  been  picked  up  by 
Readefs  Digest  C  ipndt^rispd  Rooks,  probably 


for   mid-summer.   Title   is   ''Strangers    in    the 

commercial  interests 
encroaching  on  the  last  stand  of  white  pine 
on  the  Idaho  panhandle  in  1908,  this  is 
scheduled  for  regulär  publication  by  Mac- 
millan.  , 


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W/ V,  ii. 


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DOUANE 

Peut  etre  ouvert  d'office 

(Partie  d  detacher  si    l'cnvoi   est 

accompagne    de    declarations    en 

douane.  Sinon,  ä  rem:ylir) 


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(Prcci^r  la  monnaie) 

Poids  net  : 


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Now  W)rk,  5  <'pt.>Tbr<'  1986 
Cher  Andre — 


Bien  ([ue  votre  anni  vei^saire  est  seulpment  en  2  semaines,  je  vous  ecris  aujourd'hui 
car,  vous  alle/  lire,  il   faut  oiieux  etrf»  cn  avance  qu'en  retard. 


e 


Je   sui^l   Sans  vos   noiiVe'les  depuis    iongtf*'v\j)s,    er  rff^t,   je   n'nvais   pas   recu,    si   j 
Tfie   rapp^ü^   correctemeq(t,   une  confirmation  de  ma  derniere   lettre,   e^^alement   pour 
votrt*   fete.      MalheDreu^ernent  be»aucour>  de  Courier  se    perd    iei,    partirulierenrnt 
0    la  poste   1<X)22    <on  dlt  K.V^j   et  dans  mon  irarmible,    rece.'icnent   uno   Jettr<^  de   Faris 
et  une  autre  de   BA<.ien-Badrn.  •• 


/ 


C  rnment   allez  vous —  que  devenez  voub —  vous  ecrivez  ou   peignez??      Ju   vous  f altes 
de  Jüerveileux  'royapefi?? 

Je   n'ai   que   tres   oe^a  a  vous    raconter  de  inoi —    l'niver  etaxt   peu  agreable  a  cause 
d*un  vinis  ruk   est   parti  et   rev^nu   pendant  6  MOIS  et  quand   j'ai   finfjeinent  c/ominence 
ä  me   ronrondre  »pendant   I'etf?,   ce  n'etait  pas  un  bou  monent,   c'f»tait   ou  eto    HhivS 
dr>    1  •h\irniditeinsi;r)portah/e^   et  c4l^'avait  dejä  comr.^nce   fin  de  nai...      hji  plus, 
io\t  ß.e  '.T\oJs  d^acut  un  nouveau   projvrietaire —  jrenre   entrer;reneur  de   **grande  classe'* 
(un  biilioniire)    9.  d^raire  des  traveaux  necrssaires  aiL\  murs  de  r.ion  imiieuble   et 
o\iT  oo^Oi   il   s 'est  servi  de  MA  terrace — ftro^i   ^trotte,    3   feet  nexs    longuf )    !>our 
es  echafsA^ds  ci'ont  des  choses  »ont  cras'ied  dov/n  pendant   le  week  end ,   bt«iireusera^»nt 
pas   sur  Mh  tete?,    il  y  avait    i^a   poussiere  de  cement,   qui,    une   fois  cians   ies   livres^ 
ne    sort   plu«  jamais,    il   rne   fallait  me  defendre  chaque  jour,   comce^dans  mon   SLud<.o 
tü\h  CviAMBfiK  donnant  sur  la    terracej,   rideaux  feruies  a   partii?  de   l)  hrs  du  iTiatm — 
conmo   vous   spvez,    je  ne   suis   pas  aiatxnae(l|    i«^   oruit,    la  boue,    lis  üuvriors  courjixt 
a  >^a\icbe   et   a  droite,   hurlant,    bavardant  —    tout  devant  raoi,    presqui^  dans   ;ia  cluuibre. 
i^l:?sie!rrs   fois   je   crai.'t'^ais   un  nervous   '^reakdovn  riais   il   n'y  avait  abjiolar.ent  rien 
J   f*air*?   n'iisquf»  ^io  ne  vivrais   pas   si    Long  qn'un  nrocer,  durerait  av^c  ce  genre  de 
personne, . ,      Co  ranchernar  continue,   helas,   enclijoe,   bien  que  cela  auralt  d^  djH»«T 


i 


iJjil'  Ä)^ 


"quelouei   iours",    on  aj^ecomnence   ies  traveaux  hier   pour   i'inir  ipim-j??? 

Tandis  que  moi   j'i*spEHi*  de   partir   pour  2  semaines  trop  Cvurtes  en  .Suisse,    oour 
parier  un   i>'>u  avec  Heunann  et  me  rejoui^  au   iatde  "^erich  et   prenire  6  jo.^r*;  de 
va<iances   a  iiaden   pour  faire   tout  aussi   facile  qu*»   posaible.    ^n^aris,    .Syresnes,   bien 
d'autres    invitations  nf*   soiit   plus   possible,   trop  compliquif,   emballer,   deballer, 
airf^orts,   carousels,    etc.    i      (Une  aniie  rn 
prert  de   Z. —  douc   coiumode. . .  j 


^enomenera  a  ^-^dt^u   en  vüiture —  c   est   si 


.V    . 

3e  ces   jours-ciä  moi 
iin  Jivre  sur  Jonn  mi; 


On   s'adresse  ces   jours-ci£  moi    ,)our  des  renseignements   sur  certaines   p/ersonnea, 
donc    j)our  nn  Jivre  sur  Jonn  miston,    son  pere   el  ses  enx»int3,    on  lu'a  tle.iiaride  de   la 
discretion  extreme —  donc,   car   i'auteur  evia«;iurient  ne  savaii   pas   Ies  vrAies  ccr- 
constances  de  mes   relations   aveo   pere  et  fiis,   je  n'en  ai   rien  iil,    j  lutot  a  »ncn 
chagrin!  !      Ola  sera  un  livre  serieux,    pas  de  gossip,   heureusement«      II   para'^'t  qj'un 
d*    film  en  Allemagne   s' Interesse   surtout  des  iiistoires  des  refugees  a  iiclly- 


musee 


wo  00 


en 


'  —  ils  ont  entendu  de  moi  et  voulaient  se  mettre  en  rapport  pendant  mon  sejour 
.Suisne...  Je  n'ai  plus  rien  entendu  sur  J^ernet-tlolenia  et  ses  Ipttres  (ecrites 


a  :no 


i)  de   Tollak,    aussi  a  discuter  avec   ^^u^Tiann —  je   ne  devieiib    pas   plus   jeune   tout 


de   H'erne !  ! 


Amlr^ —  je  serai  tres  occupee  a  Li   donc   je  vpiiiais  voms   ecrire  d'ici|   avaut  de 
pp^rtir!      Alors,   toi:s  mes  vceux —     milie  arnities 


New  York,  ce  21  Novembr«  1985 
eher  Andre— 

8i  je  ne  vous  reponds  pas  tout  de  suite,  qui  sait  quand  ou  SI  je  le  ferai  car  le 
currier  s'est  accumule  d'une  facon  affreuse  depuis  que  je  suis  devenuc  si  mauvaise 
ccrrespondente  apres  tous  les  evenments  des  dernieres  annees  quand  tout  est  devenu 
tou j ours  "trop" • • • 

Mais  je  suis  contente  d'avoir  de  vos  nouvelles  et  je  vous  remercie  d'avoir  pris 
tant  de  peine  pour  vous  informer  ä  propos  d* Henri  Jeanson —  je  ne  sais  pas  ce  que 
c*est  "häbleur"  'je  vais  essayer  de  le  trouver  dans  ie  dictionnaire!  mais  ce  n'est 
pas  toujours  sür!  D'ailleurs,  je  suis  tres  contente  de  savoir  qu'il  etait  "okay" 
—  je  l*ai  rencontre  seulement  une  fois,  comme  je  vous  l'avais  probablement  eifpli- 
que,  pendant  un  de jeuner  des  heures  et  des  heures  chez  Marion  Delbo  (sa  premiere 
femmej  au  Chateau  de  la  Tour  Nezan  dont  je  vous  ai  deji^a  parle  et  pendant  une  con- 
versation  qui  avait  dure  egalement  pendant  des  heures  et  des  heures,  je  81'avais 
trouve  extraordinairement  facinant —  d*ailleurs,  il  etait  egalement  facine  d'une 
histoire  pour  un  film  que  j'avais  ecrit  d'une  idee  de  John  Huston  et  qu'il  exigeait 
de  vouloir  faire  avec  Majc  Ophuls,  Michel  Simon  et  (ierard  Philipe  et  quand  tout 
a\Qait  coimnence  a  s'aligner,  üphuls  est  mort,««   Kntretemps  Marion,  et  tous  les 
autres  ne  sont  plus  la  non  plus  et  la  vie  de  John  Aluston  pend  du  fil  de  soie  de  plus 
fin  imaginable  dont  je  me  suis  convaincue  il  y  a  deux  semaines  quand  il  etait  de 
passa^e  ici  pour  deux  jours  et  je  l'ai  vu  brievement...   Oui,  c'est  terrible  comme 
nos  amis  nous  quittent  partout  et  puisque  j 'etait  toujours  la  plus  jeune  cela  me 
frappe  specialement« 


Je  voudrais  vous  mettre  un  peu  a  l'aise  a  propos  de  Polak!  Je  ne  sais  pas  si  je  vous 
avais  dejä  ecrit  que  le  ms.  de  mes  Mb^MOIRS  s' etait  "installe"  a  la  poste  ä  Vienne 
pendant  plusieurs  semaines  sans  que  personne  ne  s'en  rendait  compte  et  ce  n* etait 
que  para  hazard  qu'on  1 'apprenait! ! !  Mais  apres  ca—  aussi  pas  un  piot;  ni  pour 
les  lettres  de  Lernet —  alors,  vraiment,  je  trouv^^  tout  «ela  un  peu  liizarre  mais 
j'ai  Heuraann  (MOiiHBOOKSJ  la  dedans  dont  j'attends  avec  patience«   Si  j 'etais  vous 
je  demandrais  la  confirmation  que  le  livre  etait  recu  et,  helas,  je  connais  ces 
editeurs  europeens —  ils  prennent  des  MOIS  parfois  meme  des  annees  a  repondre... 
Je  pense  il  fa  it  "pousser"  un  peu —  ne  pas  le  laisser  aller  par  elegance!   Car,  tout 
de  meme,  c'est  une  proposition  comraerciale  dont  il  s'agit,  pas  d'un  rendez-vous 
sociale! ! 

Votre  ete  sonne  perveilleux —  l'antiquite  grecque  d'abord  et  ensuite  celle  de  1' 
Kgypte  ancien  etaient  les  passions  de  mon  enfence  et  faisaient  parti  de  nos  jeux 
d'enfance...   Kt  mes  felicitations  a  iieatrice  pour  son  premier  roman! 

J'ai  travaille  beaucoup  avec  deux  "barbus"  d'Osnabrueck,  de  l'archive  de  Kemarque — 
des  garcons  heureusement  bien  (des  "Verts")  Le  professeur-directeur  s'interesse  a 
»»-emarque  surtout  a  cause  de  son  pacifisme  ce  que  m'a  beaucoup  interesse»   Ils  n* 
ont  pas  encore  trouvea  mes  lettres  mais  il  y  a  toujours  deux  caisses  fermees  ici 
et  je  pense  tres  possible  qu'il  n'a  pas  garde  mes  lettres  car  ils  les  a  repondues 
en  generali   Vous  etes  gentil  de  vous  rappeler  de  mon  appartement-^  on  a  un  noveau 
proprietaire —  entrepreneur  de  grande  c lasse ,  he las »  mais  il  y  aura  beaucoup  de 
lutte  et  legalement  il  ne  peut  pas  me  chasser —  ce  qu'il  pourrait  faire  au  point 
de  vu  "harrassment" —  on  ne  le  sait  pas«  Mais  nous  avons  un  association  de  loca%aire& 
tres  fortes  (ce  seront  5  raaisons  en  sorame  avec  plus  que  450  appartements ) —  donc 
on  espere  |)our  le  mieux,  en  tout  cas,  la  conversion  prendra  probablement  plusieurs 
annees»   i'our  le  moment  je  suis  oncore  une  fois  plus  au  moins  allittree  avec  une 
tendenite  du  pied,  tres  tres  embetant  car  ca  prendra  des  semaines  peut-etre  meme 
des  mois  ä  guirir  et  pour  une  personne  seule  c'est  vraiment  tres  difficile  mais 
au  moins  cela  ne  me  fait  pas  mal.  Et  tapper  sur  mes  genoux  avec  la  jambe  sur  deux 
cussins  n'est  PAS  commode  donc  il  fa\it  vous  <  nvoyer  toutes  mes  amities  et  finir 


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Nev  fork,   12-9-1985 


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Cher  Andre — 


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Kst-ce  posaiblp  que  ^ritre  anniversaire  est  devant  la  por^e  tandis  que  ce  n'etait 
qu'hier  que  vous  m'avez  ramenee  cL  Suresnea???  C^est  difficile  a  croire  ma^s, 
evidf>mment,  il  le  faut! 


■'  i. 


n'i  -  ff« 


'iJi 


•  ( 


Donc,  voici  tous  mes  voeux  annuels  ;>our  ce  jour  poiir  tout  er  que  vous  desirez  *"  * 
vous  ou  au  moins  une  partie  de  9a! 

Comment  allez-vousy  vous  etes  en  voyage  peut-etre  ou  venez  de  rentrer,  y-a-tidl 
des  nouvelles  pour  le  Pascin  et  que  faites  vous  a  cote  de  vous  occuper  de  votre 
jardin  toujours  tres  beau?  ,,     c  ,,  \ 

Le  mien  (la  terrace)  etait  raieux  cette  annee  car  je  ponvais  tfT^u  ulrfTUf^eT  un  peu 

mieux  que  pendant  les  dernieres  annees  bien  que  c*est  vraiment  tres  modeste  au 

point  de  vue  varietes  de  fleurs  et  d*e8pa<re  mais  c*est  joli  d'avoir  des  fleurs 
ä  regarder... 

A  cote  de  cela,  j'avais  beaucoup  ^ravailler  pour  l'archive  sur  Heniarque  dont  je 
vous  avais  parle —  les  ''misconceptions"  de  ce  jeune  professeur  barbu  et  naif  sur 
la  vie  d'un  homme  '*du  monde*'  cofnme  Remarque  e  aient  invraisemblable  et  j'ai 
essaye  de  corriger  beaucoup  d'erreurs  dans  une  sor  e  de  biographie  qu'ils  avaient 
faite,   Maintenant  lui  et  un  assistent  viendroat  a  -^ew  York  pour  des  recherches  et 
faire  ma  connaissance  et,  surement,  pour  des  Interviews  etc.  fin  du  mois  pour  deux 
semaines  apres  avoir  lu  d'abord  mes  memoirs  sur  ^^emarque  (MY  FiilKNii  BONI)  et  peut- 
etre  egalement  mes  memoirs  en  general« 

Bntretemps,  Zsolnay  de  Vienne  (M.  Polai^j  m'a  demande  des  photocopies  de  mes  lettres 
de  Lernet-Holenia  pour  une  edition  ' aussi  complete  que  possible"  ne  sachant  pas 
que  j  *ai  plus  que  250  dont  parmi  eux  des  lettres  fort  interessantes  et  importantes 
de  lui  comme  personne  et  comrae  ecrivain —  ca  serait  un  livre  a  soi  probableraent ! 
J*attends  une  reponse  apres  que  Polak  sera  rentre  de  ses  vacances  et,  naturellement, 
il  faudra  savoir  s'il  a  carte  blanche  de  *'*me,  kernet  (si  eile  est  toujours  vivante) 
ä  qui  appartient  1©  Copyright  des  lettres,  naturellement  et  je  ne  voudrait  pas 
qu*elle  dise  '*en  dehors  avec  cette  phraxle— ci'*  ou  co  ^enrn  de  choses!   Mais  c'est 
vraiment  extraordinaire  comrae  mon  "passe"  tout  d'un  coup  se  leve  sans  que  moi  je 
n'en  ai  fait  rien  du  tout...  Eviderament,  meine  de  lire  ces  250  sera  un  boulot  et 
tres  upsetting  pour  moi  car  notre  liaison  etait  une  des  tragedies  de  ma  vie  faite 
p-ar  tlitler  (autrement  j'aurais  ete  Mme.  LernetJ*.#   Eli  bien,  on  verra  comment  tout 
cela  se  developpe.   Mais  ce  sera  surement  un  automne  agite. 

En  plus,  433  est  en  train  d'etre  change  dans  une  roaison  de  ce-ops  (appartements 
achete) —  on  demande  il50,^3^X).—  pour  mon  studio  de  moi  (insider),  et  2'X),  J^X)  d'un 
"Outsider"!!!  Kt  le  double  de  mon  loger  de  maintenant;  heureusement  on  ne  peut  pas 
me  chasser  a  cause  mon  age  mais  sureiLont  cela  va  apport^r  beaucoup  d'ennuis,  frais 
pour  des  avocats  pour  se  defendre  etc.   On  n'est  pas  seul  dans  ca  mais  je  n*ai 
pas  besoin  de  ce  genre  de  complications  car,  bien  q\ie  la  loi  me  protege,  il  y  a 
toujours  des  possibilites  que  le  (nouveau)  proprietaire  tres  raff ine  et  un  i± 
milliardaire  en  plus  (naturellement)  puisse  trouver  s'il  veut  et  j •ai  un  apparte- 
ment  extremement  desirable  et  tres  singulier*  Mais  j'espere  que  le  futur  n'aura 
pas  trop  de  difficultes  de  ee  cote —  la  vie  est  difficile  assez  sans  cela! 

Alors  encore  tous  mes  voeux  et  raille  amitiea! 


I  I 


P.S.     J.  «»dr.i.  t.mj.ur.  ..«.  d.m«.d«  une  <!»""»■"  .<'"""*  "^,»Jn 

j.   r.i  trouT«  t„cln«t,   .urtoat  P««'  f^"  '^•i*  !i,"at!".Lao»,  ln.isUit 
5„.  V.v.i.  «crlt.  apr»,  -•    «^ J«  '^"  "^C^-t  d„rüt  d.,  heir..-  tri.' 

flatteur  pour  moill     Tout  de  meme—   in  verivc 


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Andre  Bays 


ADIIOJ  liJCT 

Le  roman  de  Pasc in 
419  pages  and  some  illuatrations 
Albin  Michel,  ftiris,  1984 


Report  by 
Ruth  Mar ton 
June  19,  1985 


The  life  of  the  painter  Pasc in  (pronounced  Passkinne,  as  the  author  explains 
in  his  foreword)  is  quite  off-beat  and  has  all  the  ingredients  of  «n  Wli*^;^i<^/iovel. 
At  age  six,  the  boy's  first,  overw!  elming  experience  was  to  discover  the  body  of^a  faith- 
ful  servant  who  had  lianged  himself  after  the  father  had  violated  the  family's  chamber- 
maid,  the  servant 's  young  vife...   At  an  early  age,  the  boy  began  to  express  his  frust- 
rations  and  fantasies  in  dravings,  encouraged  by  his  mother  and,  when  a  teenager,  by 
the  Madam  of  the  tovn*8  most  luxurious  brothel,  \^o  became  his  mistress  although  she 
was  tvice  his  aße#   Throughout  his  life,  Fascin  was  «uiored  by  women  and  knew  how  to  please 
them* 

At  15,  the  young  artist  sent  socne  of  his  work  to  the  famous  satirical  magazine 
Simplicissimus  in  Munich  and  at  16  jumped  from  a  vindow  in  his  father 's  house  and  escaped 
to  Munich«  At  20,  precociously  erudite,  fluent  in  several  languages,  elegcmt,  charming, 
and  vorldly,  he  goes  to  Paris  for  further  art  studies,  with  a  retainer  from  Simplicissimus 
providing  him  with  the  freedom  to  pursue  not  only  his  studies  but  also  young  women  and 
young  roen,  drinking  and  drugs  as  weU  as  helping  generously  his  less  affluent  companions* 
While  living  with  a  young  man  he  meets,  falls  in  love  with,  ajid  marries  Hermine,  a  young 
fellow  artist,  which,  however,  does  not  keep  him  from  continuing  his  carousing  ways  even 
though  Hermine,  for  many  years,  becomes  the  most  steadying  influence  in  his  lif e^  and  he 
remains  raarried  to  her  until  hiß  death«   S^ie  cannot  stem  his  restlessness,  his  wanderings, 
his  being  constantly  on  the  go,  ^raveling:  he  is  the  incarnate  Errant  Jew» 

A  young  model,  Lucy,  attracts  him  p-ofoundly;  although  in  love  with  him,  too, 
she  marries  one  of  their  mutual  friends,  the  Norwegian  painter  Per  Krohg  and  has  a  son 
by  him,  üuy»   The  affair  between  Pascin  and  Lucy —  quite  in  the  open  and  accepted  by 
everyone —  grows  into  a  never-ending  struggle  with  Olympian  ups  and  downs,  later  epanning 
two  continents;  Lucy  is  unable  to  cut  her  ties  to  Per  and  Guy  just  as  Pascin  is  not 
giving  up  Hermine» 

To  escape  World  War  I,  Pascin  and  Hermine  flee  to  America,  settle  in  New  york 
where  he  is  lionized,  but  soon  set  off  again,  traveling  all  over  the  country,  especially 
the  South,  always  working,  always  successful,  always  on  the  move«  Eventually,  he  becomes 
an  American  Citizen«   In  1923,  he  returns  to  Paris,  equally  successful  cuid  admired  there 
as  in  New  York,  an  enorraously  gifted  man  who  cannot  deal  with  his  attachment  to  Lucy, 
with  drinking,  drugs,  a  harem  of  young  modeis —  a  free  spirit  in  the  best  sense  of  the 
Word  yet  doomed,  slowly  destroying  himself  emotionally  euid  physically.  In  1930,  at  age 
45,  he  kills  himself  (ostensibly  "to  free  Lucy**)>  first  cutting  his  wrists  and  with  his 
own  blood  writing  "Adieu  Lucy"  at  one  of  the  doors  of  his  studio  and  then  hanging  himself 
just  as  his  father 's  servant  had  done,  almost  40  years  ago» 


As  the  author  explains  in  his  foreword,  he  was  fascinated  by  Pascin' s  person- 
ality  and,  realizing  that  a  straight  biography  would  not  do  justice  to  him,  attempts 
to  put  characters  and  events  in  a  noveiistic  form«   His  research  must  have  been  pro- 
digious  and  meticulous  but  the  hoped-for  fusion  does  not  work«  The  book  is  neither  a 
novel  nor  a  biography«   I  think  an  old-fashioned  "historical  novel"  might  have  been  a 
Solution,  which  allows  imagined  material  to  be  added  to  piain  facta  as  long  as  they 
could  have  happened«   But  no  novel  can  sustain  the  appearance  of  the  woman  in  the  title 
on  page  7^ — 50  pages  too  late;  nor  the  many  precise  dates  which,  in  a  novel  are  irrelevant; 
nor  the  accumulation  of  Pascin 's  contemporaries  and  other  minor  figures  in  boring  suc- 
cession  and  without  any  real  meaning  to  eitlu^Lucy  or  Pascin.    i 

Lucy  herseif  or  Pascin 's  fatal  absorption  with  her  are  clear  to  me«  Was  it 
the  fact  that  she  couid  not  truly  break  away  from  Per  and  üuy.^  *We  are  told  only 


Andre  Bayj  ADILU  LUCI 


(cont. ) 


that  Pascin  vanted  her  totally  for  himself  but  his  compulsion  and  motivation  is  not 
explored  sufficiently.   Although  we  know  that  the  Twenties  were  as  free  and  liberal 
as  our  own  time,  the  author  seema  amazed,  alrnost  puxzled  by  the  ovents  and  attitudes 
he  describesy  peppered  with  gratuitous  slang  and  long  strings  of  four-letter  words 
as  if  i)andering  to  current  taste  while,  at  the  same  time,  explicit  sex  scenes  are 
tactfully  avoided.   (Guy  Krohg  is  still  alive  and  cooperated  fully. ) 

The  prose  is  eHölessly  repetitious;  1(X)  pagespould  easily  be  cut  and  dis- 
tilled —  a  good  editor  with  a  r^d  pencil  was  sorely  neeaed  and  a  generaJ  polishing 
of  vhat  often  reads  like  a  first  draft,  would  have  been  helpful.  Andre  hay  has  written 
several  original  and  charming  books  but  this  novel-biography  faiis  on  most  counts. 


Aü^k 


If,  however,  a  director,  actor,  or  producerwould  be  taiien  by  this  glittering 
Errant  Jew  and  renowned  artist  of  the  first  third  of  this  Century  who  did  not  suffer 
dSrlh  the  customary  problems  of  the  artist  with  neither  money  nor  recognition,  and 
whose  personal  life  was  colorful  enough  to  fill  any  screen,  I  think  this  book  could 
make  a  rather  extraordinary  film. 


Andre  Bay: 


M)UD   LUCY 

The  Novpl  of  Pacin 

419  pages  and  some  illustrations 

Albin  Michel   (1984) 


Report  by 
Ruth  Marion 
June  19,  1985 


The  life  of  the  peinter  i^ascin  (pronounced  Passkinne,  as  the  author  explains 
arHf^Miy  in  his  forevord)  is  quite  off-beat  and  has  all  the  ingredients  of  an  inter- 
esting  novelo   He  was  born  in  1885  in  ßulgaria,  into  a  wealthy  Jewish  family  with  an 
overly  strict  and  authoritarian  father  whprrv  he  hated«   Cfijg^^^rr'the  boy's  first,  over- 
whelming  ex[>erience4  was,  at  age  six,  t^mäji^   the  body  of  a  faithful  servant  who  had 
hanged  himself  after  the  father  had  violated  a  Chamber  maid,  the  servant 'syoun&jjrife. 
At  a^vety  early  age^Mfc- t>«gan  putting  his  fru«trations  into  il  i  iiii  i  ii j  i  ,  \i\iv  '^^ijifliW  "|*i 
t^uiii  "füs^tii  yd  by  his  mother  as  well  as,  h^SCÜ^   a  teenager,  by  the  Madam  of  the^mqs 
luxurious  cat  liouse  4tt...^flQai  who  became  his  mistress  although  she  was  twice  his  age. 
At  15,  he  sm^iBU^tod  some  of  his  work  to  the  famous  satirical  magazine  Simplicissimus 
in  Munich  andat  16  j\mped'^i(^^\   window  of  his  father 's  house  jui^escaped  tp^Munich» 


o  o 


^ 


J 


.«^ 


Vi 


At  20,   by  nTJiPerudite,  «ad  ! 
/^to  Par 


ti^-\ 


several  languat^es 


»Pi'"P^? 


icvssimus 


^ 


is  for  further^  studies  ^dbüi  a  retainerijtti«*  4M?o^id»i^läi^^ 
pursue  not  only  his  studies  but  J,Ts)Jf  women^  wn,  drinking  jand  drugs^  aiÖ^geneÄusly 
helping  his  less  affluent  companions«   While  hiTJfca  living  with  a  ^oung  m^m  he  meets 
Üermin^' a  sivifiiei  1^  fellow  artist^  falls  in  lö'^e^and  marries  jÄ>t  which,  however,  difchi 

although  for  many  years  ;she  b^€€ööElhi« 
IS  iife«,  .\i5-i^t^^=ism(^9^:XSfS^   »  cannot  stay 


r  y  not^Tteep^  hijn,  frora  continuing  his  carönsing  wja 
aaQkör^iM^^One  most  steadying  influence  ^^^^' 


h^uJ^s^^^ia^ernal lg;_  res  iTkgip^  the  Prrant  Jew^^9*nnrferlLng,  traveling,  on  the  go« 
mar  ft^d^^iiLJlSxmine^  untilhr§L_ä^th-» 

A  young  mpdel,  Lucy,  attracts  him  profoundly  and  although  »h«^-«t»o^"ftll%  in 
love  with  )\v(S7lOs^^m.TTie9   one  of  their  mutual  friends,  the  Norwegian  painter  Per  Kro^, 
and  has  a  son  by  him,  üuy<»   The  affair  between  Pasc,j^.n  and  Lucy —  in  the  open  and  accepted 


spanning  '^^w^_,^cjontdTien[t^ 


-—^  ■> 


'»-.5-'-*^. 


/) 


CK. 


by  everyone.  grows  into  a  never-e^ndin 

Ot^gjTCTTlrps^  and  dovns7  wöÄ  Lucy^^unaBle  ;^o  cut  her  ties  to  Per  and  Cluy  yaesr^   as  Pas^in 

is  not  giving  up  Herminer^H^l  f^/TiM^   Mt  \il^U^C<JL^  ^  .UylA/%t  i<U^^\yUH<>'   ^^<.^^^^' 

To  escape  World  War  I,  Pascin  and  Hermine  go  to  America,  settlü^  in  New  York 
where  he  is  lionized  but  soon  setiAg^  off  again,  traveling  all  over  the  country,  always 
>^rking  tmt  unable  to  remain  anywhere  for  long»   hhrehtually,  ne  becomes  an  Americem 
-  '^'     ;^<;L  i^citizen»   In  1923,  he  returns  to  Paris,  equally  successful  and  admired  there  as  in  New 
QAjt''^     \  /  ^ork,  an  enormously  gifted  man  who  is  unable  to  deal  with  his  attachment  to  Lucy,  with 
/  ,  Y^3i^\^  ^  ^rinking,  drugs,  a  harem  of  young  modeis,  —  a  free  spirit  in  the  best  sense  of  the  word 
['^^ ^     .   )   ]  yet  slowly  destroying  himself,  emotionally  and  physically.   In  1930,  at  age  45,  he  kills 

himself,  first  cutting  his  wrists  and  then,  after  writing  with  his  own  blood  ''Adieu  Lucy" 
on  a  door  at  his  studio,  hanging  himself  in  the  same  way  as  his  father's  servant  had, 
almost  40  years  ago©  ^^ 

As  the  author  explains  in  his  foreword,  he  was  f^,scinated  by  Pascin*  person- 
ality  and,  realizing  that  a  straight  biography  would  not  oo^justice  i^Q   hiji,  W  attenpted 
to  put  characters  and  events  into  a  noveliJSa  form»   His  refeearch  has^3aöiariaSi^iy^  been 
prodigious  but  the  hoped*-for  fusion  «^Si>not  really  work^it»   The  book  is  neither  a  novel 


nor  a  biography.   I  think  an  old-fashioned  "historical  novel"  might  have  been  a  Solution 
which  allows  imagined  material  to  be  added  to  piain  facts,  as  long  as  they  could  have 
happenedo   ßut  in  a  novel  one  cannot  have  the  woman  of  the  tit^^  appear  on  page  70-^ 

äates  ^^duieh*«  irrelevant.,^-  V^^^ 


^: 


T  i,  ^^^    \  V   "^®*  ^^^   ^^  ^^^  ^^^^   ^^^^  '^^  could  i^otr<ig^aec^  Per  W>  üuy?  We  are  not  toldo   Altho 
1^   i"'\Ä'\Jt}]    ^®  know  that  the  Twenties  were  as  free  as/our  own  time,  the  author  seems  amazed,  almost 


2C 


Pascin 's  fata|  absorption  with  her  are  clear 

Per^P  üuy?  We  are  not  toldo   Although 


i't^< 


Andre   üay:      ADIhJl    LUCY 


(cont* ) 


puzzled  by  the  events  and  attitudes  he  describes,  peppered  with  p^ratuitous  slanA  and 
long  strings  of  four-letter  words  as  if  pandering  to  current  taste  while,  at  tne  ^Qx-uL^ 
time,  explicit  sex  scenes  have  been  tactfully  avoided, 

Theu.«^  I3  endlessly  repetitious;  10()  pages  could  easily  be  cut  and  distilled 
—  a  good  editor  vith  a  red  pencil  was  sürely  needed  and  a  general  polishing  of  what 
often  reads  like  a  first  draft,  would  have  been  helpful»  Ihe  author  has  written  several 
original  and  charming  books  but  this  novel-biography  fails  on  most  counts. 


If I  however,  a  director,  actor,  or  producer  would  be  taken  by  the  character 
of  the  trrant  Jew  in  the  first  third  of  this  Century,  who  was  not  only  enormously  gifted 
but  also  unusually  successful,  whose  problems  were  not  the  customary  ones  of  the  artist 
who  has  neither  money  nor  recognition,  and  vhose  persopal  life  was  colorfnl  enough  for 
any  one,  1  think  this  book  could  make  a  rntttfr fahiHm/n  ^ilm« 


*** 


P 


i  i 


433  East  51  Street,  New  York,  N.Y*  10022 
5  juin  1985 


Cher  Andre— 

Ce  que  s*acciimule  pendant  une  absence  seulement  de  trois  semaines!   II  y  avait  trop 
dont  it  me  fallait  m'occuper  d*urgence  apres  mon  retour,  et,  en  plus,  je  lis  ai  lenteme- 
ment  dana  toutes  les  langues,  surtout  en  francaia  ce  que  je  ne  lis  presque  jamais 
et  dont  mon  vocabulaire  est  vraiment  plutot  limite»  Donc,  je  m*excuse  de  vous  w^ 
si  en  retard  sur  le  Pasc in» 


i^hu 


ik 


Quel  personage  etonnant  et  fascinant!  Vos  recherches  sont  prodigieuses  et  je  peux 
bien  comprendre  votre  probleme  entre  biographie  et  roman,  dont  vous  m*aviez  parle  a 
la  Kotonde.   Lion  Feuchtwanger,  qui  en  savait  quelque  chose,  m'a  toujours  "enseignee" 
(nous  nous  en  sommes  aussi  disputes! )que  le  roman  historique,  c*est  ä  dire:  histoire 
ET  roman,  doit  etre  correct  MASS  peut  aussi  contenir  des  seines  qui  n'ont  las  pris  place 
en  verite  mais  qui  AUliklVNI   pu  se  passer,  comme,  par  exemple,  Celles  entre  Marie 
Antoinette  et  Benjamin  Franklin  dcuis  son  roman  sur  Franklin. Eviderament,  votre  imagi- 
nation  avait  bien  le  "drit"  de  s'exprimer. 

Ce  que  je  ne  vois  pas  tres  clair  est  Lucy —  je  veux  dire  pourquoi  Fascin  etait  si 
obsede  d'elie*  Peut-etre  parce  qu'il  ne  pouvait  pas  vraiment  briser  son  attachement  a 
Per  et  surtout  a  Guy?  Mais  cela  n'explique  pas  tout^bien  que  ce  genre  d'obsession  est 
sovivenmmpossible  a  comprendre  aux  autres  et  et  meme  aux  participants  eux-memes. 

II  roe  semble,  si  vous  trouviez  un  cineaste  qui  s'emballait  du  sujet  Juif  errant  enferme 
dans  un  homme  si  scintillant  comme  Pascin,  le  livre  ferait  un  film  extraordinaire— 
mais  ou  trouver  un  tel  metteur  en  scSne,  acteur,  producteur? 

Merci  encore,  cher  Andre,  de  m*avoir  offert  le  livre  avec  ce  dedicace  si  beau  et  original/ 
de  la  soiree  charmante,  de  vos  efforts  de  venir  a  la  Rötende  et  de  me  ramener  a  Syresnes — 
vous  etiez  bien  gentil  et  je  ne  rgrette  que  votre  "ticket*'  de  150  frs.! 

^uel  est  votre  [jrochai|\  projet?  Vous  passerez  l'ete  a  La  Frette  en  vous  occupant 
de  votre  jardin?  Je  ferai  le  meme —  soigner  mes  fleurs  sur  ma  terrace  et  take  it 
very  very  easy —  paresseuse  comme  tout! 

Mille  amities!  Vous  vous  rendez  compte  que  nous  sommes  axnis  depuis  plus  que  25  atts? 
Invraisemblable  du  point  de  vue  du  temps  passe! 


433  r^ast  51  .treet,  New  York,  NM,  10022 

21  mars  1985 


Chere  Marie-Pi^rre — 

11  m'attrrstr  bfraaaoup  d'Strf;  cor!»;Actoi;ient   sa.na  vos  nouveljes  dowls  mon  <1f?rnier 
depert  ae   i'ari^   il  y  a  i   l/2  ans.      j'espure  qua  vous  ©llez  bien —  nue  N'icoln!^ 
va  bien,  n\\i>   votre   vie  est  vn  pe\i  ;>lu»  giie  qu'auparavent*.  • 

Apres  un  bref  sejour  en  Suisse  en  aut  nirf^  derni^r,    «^euleuent  pour  laa   «ante,   et 
s.ina  aller  ea  rrar.ce  ou  quelqae    part  a'eutr*^  en  r>nrope,  j'esi^rf-.  de  partir   pour 
Zuriet)   le   14  tt>rril   pour  a  peu  pres   2  seraines   la-ba?  ^t  a  Badon  aiii^ro;?  de  Z.; 
ensuit^,   a   peu  pres   ^cr  ie    1er  mai   j'cspere  de   passor  8-10  joura  chcz  mes  jeunea 
pjni  s  qui  etaient  aiiparavant  rue  d'*   Kcniies  mala  mainteiiant  hebilent  Suresriös«     de 
nr-   sai«   pas  encorv   comment  venir  de   cha^  ^^»ix  aux  6**  et  7e  arrond.    ou  '.n'U^  mes   Rutres 
aipiv^'^is  vivejit  ou  xravailient,   if.ais   ils  m'as'^urek.t  que  co  sera    facile  en  d^pit 
de  mes    lüaitatio^'8   Dhv^^G'.ies  ce»   lourswci  t^uand   jo  n?  dois  oa^   rn*^   fatigucr  du 
tout...      fAi  bier»,   on  vcrra,    pejt-e^re  je  (!»^vrai5  pacBer  iine   miit  au  t'as   de  Calai«^ 
HU   liei2  do   rent^tr  Ie   soir  ou  partir  *'a  I*aube"  d«  Suresnes. 

Je  vous  (lonnrrai   «if^ntj  do  vi^  apres  raor*  arrivee —  en  tont  cas,   mon  axlrosse  sero: 
chez  Ixonsfiean,   2  rue  des    w^ne»,   911^5'J  :  uresnes,   tel.      2(^-07-89  (9a   faxt  part 
de  Jc^arisJ. 

J'espfTe  r-uo  voua  serez  a  iaris   et  j  ^ainiernis  beaucoup  vous  voiri 

EatreteQip3 —  affeotuöuseinent 


433  :':«-t  51  i>^r(^ot,   iNcv  York,   K,Y.    ir)0:!2 
21   mars   19:^5 


Un  »oiiveau   pro j et  de  voya^e  en  Lurope  ost  en  train  d'etre  prepare —  j*espere 
d#  partir   pour  '/*urich   le   14  avrii,   a   p^u  pr^a  2  seiLaii.c^.  a  Z.«  irii^me   et  aussi 
a   beiden  prea  da     Z«    pour   juelques  jours  dt-;  r«pos-—  et  önöuite  i'aris,   prcbab- 
lenidivt  vers  1«   1er  indi. 

li 'habit*»r».i  chez  >;»**d  j^U'ies  ?iiQis  «^ui    eliAi^.it  auparava/it   ma  de  iioaat^n  iLai*  aont 
maintenant   a  onresnes,    sans  savoir  conurier.t  je   pourrai  circjler  a  Paris,   aar- 
tout  au  6*^   et  Te  ^rronii,   oii  tout   le  r^iorKU   linbite    (sauf  votis),  nais   on  "ii*as^uro 
qiiü  cn   st>ra  /'acile   ce  ^iu'il   tcju'^ra  voir  <J*aJ>orJ!     Je   ^uis   toujours  as.-sez   liruitc 
avec  mos   forces   phyaiques  ex  rso  ioit,   oas  mi»  Tati^^ucr —  eh  bien,   on  vcrra»      ^u 
iioi^^s  vo>is  av-ez   ane  voitrire  ce    lixi^  faciiitera  las   choscs,   3ax*e!nent« 

Mes   vriiri   sont:  ilousscan,   2  rue  de%  Vi^^nes,   92150  Suresnes,   tel.    20^-07-89   Ica  fait 
j.art  rj:^   lari.s). 

Je  voiis   ionnerai   5i>^n^-  de   vie  apjrSf-  .TiOfi  arrireo  —  je»  resterai   a  pevi  pres  8-10  jours 
ce  q  i  est   poii^   mais  j'espere  qu^.   vous  ?5»  roz  a  i^aris,   ou  a  la  'rotte  tt  qu'on 
pourra  s^  vois.  i 

Entreter-os   ou  niieux   ä  bientot!     Millr   emiti^R 


Je   n'di   pas  recu  le  ?asfin! 


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LE  MONDE   -  Vendredi  20  juillet  1984  ••• 


«Mi 


les  grands  noms 

dela 

litterature 

etrangere 


T 


M^ialiiiliuUMUiiiMiiiiUiUkiuUl^ 


Isaac  Bashevis  Singer 

Pcrdu 

en 

Amerique 


iraAm  4r  FmicIm* 


'■X*.*,-.*  •  3 


?S::x$5 


UUiÜjlu^lii^kHiaikiiipUll^^ 


Breyten  BreytealMdi 

Confession 

viridique 

d'un  terroriste 

albinos 


4t  r 


fe":-:S:S, 


'S::;::;?! 


t^^i^kdh^^UlääUUMMMUMMkÄMMAMUM 


^1^  joueur 
decbecs 


Uli 


Les  Cosmopolites 

y — —J^ 


de  H  Stock 


V« 


PAR    AVION 


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433  Käst  51  Street  #11P 
New  York,  IStiA       N.Y.  10022 
27  juin  1986 

Chere  Marie-Pierre-- 

L'article  ci-enclu  sur  Singer  vous  fera  peut-atre  plaisir..» 

Comment  allez-vous??  Je  suis  sans  vos  nouvelles  depuis  si  longtemps—  en  elfet, 
depuis  notre  conversation  1 *annee  derniere  avant  votre  depart  pour  Jerusalem  quand 
j 'avais  passe  quelques  jours  ä  Suresnes...   Comn.ent  est  votre  sante  et,  parfois 
meme  plus  important,  votre  morale?  J'espere  que  votre  vie  est  plus  heureuse,  moins 
pressee  et  que  les  choses  avec  Andre  se  sont  au  noins  moins  penibles  (si  cela  est 
le  mot  juste),.»   Je  pense  souvent  ä  vous  et  regrette  qu*on  vit  si  lointain  de  l*autre 
—  comme  d(habitude  dans  notre  temps  de  diaspora  generelle. 


Kt  comment  va  Nicolas? 

Ici  ca  va  parfois  mieux^  parfois  moins  mieux,  surtout  quant  a  la  sante  et,  oui,  l*age,,« 
Les  difficultes  quotidiennes  de  la  vie  a  New  York  sont  tout  justes  tout  ce  que  je  peux 
"faire"  pendant  la  journee —  et  pendant  que  je  nr  me  fatigue  pas,  alors  je  suis  bien« 
J'essaio  d'arranger  mes  papiers —  trop  fatig\iant! —  je  suis  en  contacte  avec  un  nouvel 
archive  a  l'Universite  d'üanabrueck,  vie  natale  de  Remarque  avec  des  gens  TRbiS  bien 
(autrement  j 'aurais  refuse  toute  Cooperation...   il  y  a  qurlque  jours  que  j'ai  donne 
un  interview,  3  hrs.  s  r  tape,  et  c'etait  seulemont  le  commencement,  pour  un  livre  sur 
John  Huston,  son  pere  et  ses  enfants —  un  livre  serioux. ••  C'est  bizarre  comme  raon 
"passe"  revient  sans  que  je  bouge  du  tout —  ce  sont  des  autres  qui  ont  suggere  mon  nom«.. 
Mais  c'est  important  de  cooperer,  pour  ne  pas  perpetuer  des  erreurs.»« 

II  y  a  beauconp  de  difficultes  dans  la  maison,  etant  donne  qu'on  le  changera  dans  un 
imiT.euble  de  "co-op"  (apts.  achete  au  lieu  de  loues);  bien  qu'on  ne  peutpas  me  chasser 
legalement,  on  peut  faire  ma  vie  insupportable  surtout  puisqur  j'ai  le  seul  studio  qui 
a  une  terrasse...   (11  veulent  $280  000!) —  rocemment,  sous  pretexte,  le  proprietaire 
a  force  l'entree  dans  1 *appartement  a  cote  pendant  que  les  locataire  etaient  au  ravail, 
surement  seulement  pour  1 'inspecter. ..  Cela  afait  peur,  evidemment.   Donc  on  ne  s'absonte 
pas  trop  bien  que  je  ne  voudrais  pas  vivre  comme  une  prisonniere! ! 

l)onc  j'espere  pour  uii  voyage  bref  el  Kurope  en  Septcmbre,  mais  probablement  seulement 
Zürich  et  quelques  jours  a  Baden  (pros  de  Z. ) —  Siresnes  etait  trop  difficile  surtout 
pnisque  j'ai  perdun  la  jeune  femrae,  l'epouse  de  mon  jeune  ami  lä-bas...   Mais  tout  est 
encore  tres  peu  certain.  A  propos,  je  n'ai  jamais  recu  la  lettre  que  vous  m'aviez 
ecrite  l'annpee  derniere  pour  me  dire  de  votre  voyage  en  Israel!    11  y  a  toujours 
beaucoup  de  courrier  qui  se  perd  ici« 

Ma  chere  Marie-Pierre-^  quand  venez  vous  a  NY??  J*aimerais  beaucoup  vous  voir... 
Kntretemps  je  vous  embrasse  fort—  tous  mes  voeux— • 


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PAR  AVION 


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433  Käst  51  Stre*  t  ,  New  York,  N.Y.  1(X)22 
14  ^eptembre  i<^)84 


Cher  Andr?- 


Invraisemblable  quec'est  deja  une  annee  depuis  que  je  vous  ai  envoye  tous  mes 
voeux  pour  votre  anniversaii-e  et  me  voiia  pour  vous  le  dire  en  1984,  un  peu  en 
retard  dont  je  m^excuse  et  dont  vous  me  pardonnerez  j'espere! 


Donc 

cop.inie  d'habitude:   Tout  ce  que  vous  desirez  vous-meme! 

Comment  allez-vous —  le  Paacin  a  ete  pvibiie —  vous  en  etes  content —  vous  avez 
fait  de  bcaux  voyages  et  les  fleurs  dans  votrc  jardin  poussent? 

J^   n*ai  pas  beaucoup  a  vous  raconter  de  aoi —  j'avais  esperer  de  vous  ]mrler 
en  Octobre  mais  encoro  une  fois  lo  voyagc  en  Kurope  etait  recule,  cette  foi3 
pas  par  moif  mais  par  des  personnes  quo  je  dois  voir  pour  certaines  8.ffnires 
et  qui  ne  sont  pas  protes.   J*on  etais  tres  decue  mais  onl  ne  peut  que  courir 
JTisqu'au  muri  pas  le  traveraer   (le  mot  justc?  You  can't  go  with  your  head 
throu^h  the  wall —  wliich  alrr>ady  is  a  translation  from  the  Germanj...   iün  riri- 
temps  il  mo  fallait  decoinnander  un  voyage  en  Mei-ciiiue  pour  voir  mon  vieil  ami 
John  iiu3ton,  le  jour  avant  tnon  depart,  encorv^.  un  virus —  j*ai  passe  8  aiois  avec 
des  viru^  ou  inconnus  oux  localise  et  egalement  tri^s  cmbetant  et  ce  n'est  que 
de  Miis  nuelques  sernaines,  depuis  Octobre  dernier,  que  je  coimnence  3^  me  vraiment 
sentir  bion —  tanai.<^ue  je  ne  fais  absoluinent  RIEN!!   C*est  vraiment  plutot 
enuyant  r.tiis   il  Taut  se  r-^ndre  compte  aus^ii  4.1^/X/   ^^0,  a  un  "certain  age"  on 
cominence  de  souffrir  de  ceci  ou  cela  ou,  comaie  »v.on  docteur  me  dit,  je  gaspille 
mon  energie  dont  je  n'ai  pas  beaucoup  ponr  cümmencer! 


s 
au 


Donc  je  vie  tres  calru'ATient  ei  öa  ;ue  platt  beaucoup!   üauf  pour  le  ma/ique  d'mni 
a  qui  je  tiens  vraiment  et  qui  sont,  de  plu3  en  plus  dans  la  diaspora  partout 
mondo —  a  l'est  et  l'ouest,  et  pas  ä  New  York.«.  Oi\   voit  ä  quol  point  on  n*a  pas 
de  ponvoir  de  son  destin.   Si  on  poavait  vivrc?  a  i^aris!   Mai?.  c*est  devenu  impossible 
~  plus  que  Jamals —  a  cause  des  assurancos  de  sante —  quelle  idiocie!   Mais  c'est 
la  reajite  qu*il  faut  acoepter. 

Bien  quo,  avec  encoro  4  ans  de  iteagan  je  ne  sais  pas  ce  que  re^tera  de  notre 
assurance  ici!   Pour  ne  rien  dire  des   autres  catastrophes  dont  on  est  menace... 
Les  Ai^icricains  sont  coiome  les  "lemmings" —  ils  sont  d'accord  avec  Mondale  sur 
Ips  ])roblSmes  actuels  et  disent,  ''Meanmoins,  je  vote  ;  our  Reagan !"  Ce  n'est  pas 
sur  le  memo,   niveau,  ni   l'un  ni  l'autre,  jiais  je  pense  toujours  a  la  i'rance  qui 
avait  un  >iendj^ Franc e  et  a  choisi  de  Gaulle.  ••   Ou  l'amerique  avec  otevenson  et 


»  •-: 


La  betise  d'ur^  peuple  est  ^ncroyable.   Je  nie  rapi>ell€  que  Max  Ophu.ls 
fois  (de  Chevreuse  cü  il  habitait 
inl^feitnbles,  ma  chcre...'*  How  true  how  truel! 


rMseyincver. 

m'a  egrit  vine  fois  [de   Chevreuse  cü  il  habitait  a  l*epoquej:  "Tous  les  pays  sont 


Avec  ces  reflexions  assez  melancoliques —  MAPITT  BIRTHDAY,  eher  Andre  et,  tout  de 
roeme —  ?,  bientot  j'espere! 

Encore  tous  mes  voeux  et  mille  amities 


/v-O^M-  -'OT>t^  -^u,^    \üM^ 


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New  York,  14  üctobre  1983 


Cher  Andre — 

Merci  beaucoup  de  votre  lettre  du  1  Octobre  qui  vient  d'arriver  AUJOüHD(HUI, 
2  SKViAlNKS  en  *'avion''.,. 

Je  vous  reponds  ä  toute  vitessp—  j 'avais  du  chan^or  tont  raon  voyage,  le  renverser 
pour  ainsi  dire,  donc  je  partirai  pour  Zuerich  le  25  Octobre,  y  reste  quelques 
joura,  ensuite  une  semaine  a  Berlin  (la  raison  \x>ut  If^   projet —  pour  voir  non  amic 
qui  a  88  ans  et  m'invite  pour  le  voya^»e,»,)  et  j 'espore  d^atre  a  Paris  |L8  -  16 
Novembre  en  rentraj>t  a  NY  le  16  Nov.  Je  serei  chez  ra^s  jrunes  amis  Rousseau, 
69  nie  de  Rennes,  75006  Paria,  tel,  222-3425«  Je  puii«  toujours  assez  limitee 
dans  ce  que  je  peux  faire  chaque  jour  et  ne  sors  jsuriais  avant  ü.idi,  et  ne  vcux 
pas  rcgarder  1 'apparteraent  de  mes  amis  comme  hotel--  donc  je  veux  passer  assez 
de  tenips  ave»  eux  (ils  travaillent  tous  ,os  deux)  —  nais  siirement  on  pourrait 
se  voir  -—  peut-etre  vous  serez  un  apres-midi  a  Paris  pendant  cette  semaine? 
J'attends  pour  fair*^  mon  pr  »grarnrae  definitif  jusqu'a  ce  que  je  serai  S  Paris, 
pour  balancer  tous  ies  amis  £T  ma  sante! 


Alürs  a  tres  bientot  j'espere! 


Mille  amities — 


Merci  pour  Ies  renseignements  sur  i'iscon  etc —  c'e^t  a  peu  pras  ce  nue  je 
voulais  savoir  surtout  que  cela  existe  toujours» 


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Now  York,   1er  t-)ctobre-  1983 


Ch«re  i%rie-Herre~ 

iin   petit   ir.ot  pour  von?  ff.ire   snvoir  quo  j  *esperc^  d'atre  a  >'nris  du  S-16  NoveiTibre, 
chez  ffies   Jeunes  amis  Kousseau,  69  rur  de  Hennen,  75vi06  Paris,   tel.   222-3425; 
j 'espere  beaucoup  d«^  vous  voir  nende^nt  cettc   senainea«.» 

Je   partirai   d'ici    i(*   ?S}   Uctcbrc;   poui   /.urich  c/o  MohrtooVs  car  mon  hotel  n^est 
pas  encore  confinne —  jf»  penso  quc   ce   sera  1 'huroj:<e*'  .ri&is  je  n   en   suis   ^ai^   sure, 
et  :!o  irboors —  tout    l*>  rrionde  dans  I^j  bu^rau —  est  THhS  rriiable  avec    niessages 
ou  courrier.        ü«   serai   a  Zürich  jusqu'au  ler  \ovembre  et  une   semaine  ä   Beriiru 

J*esDere  que  vous   aliez  bien  et  qut?   hrancfort   De  scra  pas  trop  Ipuisant! 

A  r^s  bifntot! 


Je  voxis   orabrasse — 


New  iork,  9-9.29^3 


Cher  Andre — 
voyages  exotiquea?  "^^  dasein—  ra  marche?  Voys   avoz  fait  de 

« 

SUIS  on  train  o'ornaniser  un  autrHiW  •  *"  T^^lques  se„.aine3  car  ie 

1   i.....n:ble-  Pendant  c.tte'anrt  s^   ^^nt  13  T^'"  °"  ""  ""'^  """^  '^°""-r  dana 
elles  quelques  unes  vraxment  in;ort^ru"s   ''  f"'*^*?  <^°"*  ^'"   J«-  ^^ais  et  .^armi 

de   "stonovalling"  faxen  q  -e     la   facon  io\;  ^t     '  ^'  ^"^^"*  ^"^  ^«^  «^^  '"aJtre 

co.plete..nt  contr.   la  Joi.   c.  q^^e  14:^1:  Lrp"ö; J.^^t .^""^^^^^  ^'^^ 

••^leux  que   l'nnnc'e  derniere  5  i^nril.  '^       ^^  '"'^"   ^'''^'    '^'  '^^-^  oeaucoup 

Wn  roviUctant  daas  Ie  g-uide  des  botei..  n.  ,...^1^   .tu, 

tonhee   n»r  tont  l.a^ard  aur  nn  o^droi^  rvi'r'^l  u''  ''l^ntours,   je  suis 

n>o.-o  codo   portale    (au  morns  le«   pmüej'  chxf  f '  '^«^^u-np.      i'u.sq.e  ü  a  le 

<io.ardrr  ai   per  hazard  vons  K  cornaiss  >^  o.  '     "''"  "■''"  •  '''^"'''  ^'  ^'^^'^^'  -ous 

Lo  guido  dit:    HSCOP  Q'S-iso  ^^      «   • 

sais  tres  bion  ci.-  quo  c'est  8t     ßrirp   !„.*      u-     -     *"'-  '^''^  *='"'*  <=*>   PISCOP??/     j« 

en  1952  d.ns  le  Chateau  de   la  Cr  ve'^^^^^^^^^  "f  "°"-  ^-^  J '-   Passe  3  rrois 

Che.  Hnrion  .elbo,    l 'actrice-^cr  v/l -!  J  Jl )   If'     ?'  "'  '^'^^^  ^^  •^^-    '*"-> 
Jeanson  qui  i.abitait  avec  s^  -naxtr^  -^p    ,     '""'^^   ^*  »  l'epoque   s^parpe  de  licnri 
bi^n  qu'ii   ota.t  touJo„rs  .n  ^ontLto    .u'r/*"  ^"'"   ''^'^^''  "'^^^'^  a'i.onfleur 
*>n-      (-iarrault  etalt  cacho'  n::.:       irtl^r'^T^'^""'^  '''  ''^   ^'^^   —  «^-' 
chateau  au  viUa^e  qui  appartenaxt  ^  ^,wt!nl       t  !°"''*-^   ^^  "^  ^^^^^'  "«  =^"t-^ 
caxne  nillxonaire,  cetaxl  tre.   hai/tam  i      'J  '^"'"';      T"   '"   '^'^^^'^  ^^^^^  '">«  ar,eri- 
aver  un  roiier  plante  p^r  J-..    ^o«  ssoan       C' v  L  *"!'     I  ""  """'^^^  ^"    ^^"^  «^^^1« 
or<Unaire3  que  j 'ai    passe   la-ba.,?  c'e'taU  u.  p  .        T   *''°"  ^^^   l''-   l'^^«  «xtra- 
chat.au  en  l.,67  environ  et  eile  es^  .^,ort  c     P  oTl     "'''"*''    "'""""  ^  ^«-'"  ^^ 
fc'airnorais  aavoir  c'est  si  cet  ^rtfl'..L  °     *"      ''^"'®*      -Viclerament,    ce  nue 

Ou  y  avait-il  un  troisio"  Z.itl<:^tSf7:^:^   ''  '''^'''^"  ^^   ^'^  ^•°-  ^«-n- 

Comme  j  »ai  dit  en  haut—  rcute-t  r^   v^   = 


433  HAst  51  Street,  New  York,  N.I.  10022 
21  aout  1983 


Chere  Marie-Fierre — 

Ne  3achant  pas  si  vous  avez  quelqu'un  a  New  York  qui  vous  envoie  les  coupar^es  sur 
Singer,  voici  im  du  New  York  Times  d'hier  qui  va  vous  interesser» 

Commont  allez-vous?  Comment  se  sont'les  choses/arrangees  chez  vous?  Ca  va  mieux  que 
l*annee  derniere?  Je  pense  souvent  ävöus«  toujours  en  regrettant  quÄon  est  separe 
par  un  ocean,  la  tragedie  de  notre  teq;ips,  d*etre  si  souvent  ioin  de  ceux  qu'on  aime. 
Et  la  vie  devient  de  plus  en  plus  compliquee  pour  tout  le  morde,  ici  aussi  bien  qu'en 
Europe  Selon  ce  que  tous  les  amis  ecrivent.«» 

Vous  etos  probaV)lement  en  vacances  ces  .lours-ci  mais  je  pense  qu*(bn  garde  votre  courrier 
pour  vous  chez  Stock  ou  j'adresse  cette  lettre, 

D*ailleus —  ä  propos  Courier:   le  raien  est  souvent  vole  ici  dans  1 'irmieuble^  i3  y  a 

onze  depuis  le  commencement  de  l'annee  et  tous  mes  efforts  n*ont  aniene  a  rien  jusqu'ä  present 

—  c'e^t  tres  inquietant  car  je  ne  sais  jamais  si  une  kettre  me  trouvera  ou  non  et 

de  certaines  je  ne  saurai  jaraais  si  elles  etaient  ecrites  du  tout.  Je  donne  cette  infor- 

mation  ä  tous  mes  amis  car  on  ne  peux^apiais  etre  sur  au  moins  pour  le  moraent.   On  sait 

qui  les  vole —  3e  memo  homnie  qui  me  telfepho  le  ä  toutes  lesheures  <le  la  nuit,  mais  il  est 

un  maitre  a  cacher  ce  qu'il  fait  et  c'est  impossibie  d'avoir  l'epreuve,  sauf  pour 

circumij(^ntial  evidence,  ge  ne  sais  pas  ce  que  c'est  en  francais.   II  echappf?  meme  au 

telephoae  car  il  ne  sonne  plus  qu'un  demi  ton,  trop  peu  pour  le  tracer...   Tout  cela  me 

gäche  la  vie  qui  autrement  pourrait  etre  agreable  meme  que  tres  seule.  Je  n'ai  pas  la  ruoitie 

d'amis  ici  qu'ä  Paris!! 

Üonc  je  fais  (^  npuveau  des  projets  pour  un  voyage  en  Europe,  d'abord  pour  voir  mon  amie 
ma^ernelle  a  tnmi&psi  souffrante  et  agee  (87  ans)  ce  que  complique  tout  enormement, 
je  voudrais  passer /^ar  Faris  si  je  pouvais  etro  chez  mes   jeunes  amis  rue  de  itennes —  mon 
Premier  effort  n'a  pas  marche,  maintenant  je  pense  vers  la  fin  d'Octobre,  comme  l'annee 
derniere,  en  tout  cas  apres  la  messe  de  Francfort  pour  etre  sure  de  vous  tro^iver  a  Paris! 
Si  cela  marche,  je  vous  donnerai  les  dates  exactes  en  avance,  bien  sur. 


)h  bien,  ma  chere  Marie-Pierre,  ae  m'ennuie  de  vous  et  esper e  de  vous  voir  bientot —  au 
loins  il  faut  esperer,  non???  Et  j*e 


mo 


espere  de  tout  coeur  que  ca  va  bien  chez  vous... 


Je  vous  embrasse 


V 


Je  vais  ecrire  un  petit  mot  a  Andrte  our  son  anniversaire  comme  d'habitude,  en  lui 
deraandant  un  renseignement  d'un  hotek-chateau  qui  devrait  se  trouver  pas  loin  de  la  Frette 
Selon  ce  que  j'ai  vu  dans  le  Guide  des  Hotels«,  (^jv  .^l^i 


>Vw 


/ 


/,/tij-  'Mf  \\  i^iacci  u^i 


I 

I! 


433  East  51  Street,  New  York,  N.Y.  10022 
2  Mars  1983 


Chere  Marie-Pierre —  t 

Cet  article  du  New  York  Times  Magazine  (dimanche)  sera  peut-etre  interessant  i>our 
vous  et  Nicolas,  donc  le  voici! 

Comment  allez-vous?  Comraent  marchent  "les  choses'*?  Vos  probleraes?  Je  vous  avaia 
envoye,  chez  Stock,  un  mot  pour  votre  anniversaire  que,  j'espere,  est  arrivee  ce  que, 
ces  jour-^-ci  est  loin  de  sur —  nous  venons  d'apprendre  que  dans  raon  bureau  de  poste 
10022,  20%  du  courrier  est  PBRDU! ! !   ou  arrivant  ou  partant»   C'est  enorme  est  surtout 
inquietant  pour  quelqu'un  comme  moi  dont  la  pluspart  des  ami(e;8  n'habitent  pas  Ne  York, 
donc  le  courrier  pour  moi  est  fort  important»#»   Pour  mon  anniversaire  la  semaine  der- 
niere,  une  lettre  de  ma  niece  a  ^liica^jo  et  une  d'une  amie  intime  de  Los  Angeles  ne  m'ont 
pas  j einte,  et  de  ces  deux  je  le  6AIS! 

Mrae  de  i^aris  j'entends  des  histoires  invraisemblables  du  courrier! 

Mais  a  part  de  cela  je  continue  de  me  sentir  mieux,  un  exaraen  recent  a  montre  que  je  suis 
toujours  "clean"  comme  les  medecins  l'appellent,  tres  encourageant»   I-ä  fatigue  me  pursuit 
tojours  mais  le  Chirurgien  etait  tres  optimiste  et  je  vois  moi-^neme  que  c'est  tout  de 
meme  mieux  que  c 'etait  ä  i^aris«   A  raon  "age"  cela  prend,  naturellement  tres  longtemps, 
surtout  si  on  etait  jamais  un  "geant"  de  sante!  Mais  il  me  faut  toujours  ne  rien  forcer 
Selon  les  ordres  du  chirurgiens  donc  je  ne  fais  absoluinent  rien  sauf  le  rainimum  que  la  vie 
quotidienne  marche  a  peu  pres  et  cela  me  va  tres  bien—  je  trouve  cette  paraesse  delicieuse! 
Lt  tout  le  monde  me  dit  que  j 'ai  meulleure  mine  que  depuis  des  annees»   Tant  mieux! 

Je  m*amause  en  faisant  des  projets  de  voyage  peut-etre  en  automne  avec  le  cboix  si  Äifficile 
de  voir  les  ami(e)s  ou  aller  quelque  part  dans  ce  monde  que  je  ne  connais  pas,  il  parait  que 
je  ne  peux  pas  joindre  ces  deux  possibilites  surtout  pendant  que  Berlin  est  de  rigueupx— 
mes  jeunes  amie  rue  de  Hennes  me  demandent  y  retourner  aussitot  que  possible  ce  que  me 
touche  autant  que  cela  me  plai^  et  c'est  tres  seduisant  car  c'est  toujours  a  Paris  que  j 'ai 
les  mi(e)s  a  qui  je  tiens  le  plus»*»   dont  il  me  faut  me  rappeler  dans  le  desert  de  New 
York. 

Donc  quand  viendrez  vous  ici???   Ne  devriez  vous  pas  venir  voir  votre  eher  Monsieur  Singer?? 
Je  regrette  toujours  autant  que  vous  vivez  si  loin. 


>•  •  • 


D6nc  venez  vite !   Kntretemps  tous  mes  voeux,  ne  travaillez  pas  trop,  soignez  vous  et 

je  vous  embrasse  affectueusement 


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433  tiast  51  Street,  New  York,  N.Y.  10022 
25  novembi>;  1982 

Cher  Andre — 

Sien  que  notre  rencontre  etait  trop  bref,  je  voudrais  vous  en  rcmercier  encore, 
j'etftis  contente  de  vous  revoir  et  il  rae  somble  que  votre  liberte  de  :^tock  vous 
va  tres  bieri!   Alors  jo  suis  curieuse  de  vous  lire  un  de  ces  jours,  sur  Pascin 
de  qui  je  ne  sais  si  peu  pour  ne  pas  direz  rien!   Mais,  s*il  vous  ii^iteresse  il 
doit  etre  un  hormne  fascinant— -  donc,  enseignez  moi! 

VoDS  savez  probablement  deja  que  j 'ai  laisse  le  livre  que  j 'avais  apporte  jour 
Nicolas  chez  Stock  en  y  nassant  avant  raon  depart —  jo  l'avais  oublie  pour  notre 
soiree« 


J'ai  tais  un  voyage  tres  agreable,  en  somme,  bien  qu'il  fallait  renoncer  plusi-^^ura 
choses  ä  qui  je  tenais  (une  repetition  de  Jean  ^abilee,  par  exomple)  inais  il  faut 
se  rappeler  *'one  can*t  have  evorything"  et  que  c'otait  niieux  de  faire  un  voyage 
limite  que  pas  de  voyage  du  tout,  j'en  suis  tres  contente.   Mais  jeunes  amis 
m'ont  deja  invitee  pour  i'annee  prochaine,  alors,  qui  sait?  Peut-etre  ca  marche 
encoro  uno  tois  dans  un  futur  pas  trop  lointain*  "" 

Oui,  vous  avez  raiison,  je  suis  tres  europeenne  et  c'est  tres  difficile  de  vÄvre 
a  Nev  i^ork,  au  moins  pour  HiOi.   Mais  parfois,  ou  souvent,  d*ailJeurs,  on  n*a  pas 
vraiment  le  choix  •••  Qne   vous  m'avez  appele^,  **en  effet,  'parisienne '**  etait 
un  des  plus  jolis  com(i)liments  qu*on  m*a  jamais  fait  et  je  vous  en  remercie  encore 
specialement!  J'ai  une  petite  coilection  de  compliments  inattendus  et  originales, 
et  le  votre  en  fait  parti  maintenant! 


Donc—  tous  mcs  voeux,  cher  Andre,  encore  pour  1933—  et  iMhlHCI! 


"la  parisienne** 


433  t;ast  51  Street,  New  York,  N.Y.  10022 
ce  19  novembre  1982 


Ma  chere  i*larie-Pierre— - 

lln   feuilletant  brievement  par  les  New  York  imes  de  quatre  semaines,  g  rdes  penc^ant  mon 
absence,  je  tornbe  sur  cet  article  sur  votre  ami|  qui  vous  fera  peut-etre  piaisir«  Je  ne 
vous  avais  pas  raconte  une  petitc^  anecdote  d'un  rencontre  avec  Madame  Singer  il  ^i^a  tres 
longtempsi  peut-etre  25  ans...   1  Lord  &  Taylor,  j 'avais  achete  une  jupe  de  soir  avec  qui 
il  y  avait  beaucoup  d'ennuis,  je  ne  me  rappelle  plus  exactement  pourquoi,  mais  je  pense  que 
la  ceinture  a  ete  [erdu  ou  des  autres  choses,  la  mauvaise  taille  ou  je  ne  <^p  qnoi,  en  tout 
cas,  la  vendeuse,  avec  un  accent  Viennois,  etait  si  gentille  et  patiente  (ce  n'etait  pas 
8a  faute  ni  la  mienne  mais  du  magasin)  que  je  me  rappelais  son  nom,  Alma —  aussi  tres 
Viennois...   C'est  la  soule  fois  de  ma  vie  que  je  savais  le  nom  d'une  vendeuse  dans  un 
grand  magasin  et  que  je  m'en  souvenais— -  et  des  annees  apres  j 'apprenais  que  c*etait  Madame 
Singer!   (Tout  cela  bien  avant  qu*il  etait  devenu  meme  connu —  mais  j*avais  naturellement 
connu  son  nom  ä  cause  de  mon  travail  comrae  scout»\   Blle  etait  charmante. 

Marie-Pierre—  c 'etait  une  joie  de  vous  revoir  et  passer  un  peu  de  temps  avec  vous,  bien 
que  je  suis  desolee  [our  vous  de  tout  co  que  vous  avez  souffert  et  encore,  j'en  suis 
sure,  souffrez  toujours.   Ce  genre  de  chagrin  prend  tres  longtemps  pour  applaner  et  encore 
plus  pour  en  guerir...  J'etais  touchee  de  votre  hounettete  et  de  votre  elegance  de  m' 
epargner  un  choix  entre  vous  et  Andre  mais  je  tiens  a  vous  repeter  que  ce  n'est  pas 
question  d'un  choix  et  SI  ce  sera  necessaire  un  jour,  ce  scra  VOUS  que  je  prefereraii. 
Pas  par  solidarite  entre  femmes —  bien  que  j 'y  crois  profondement —  mais  parce  que  je 
prefere  vous  comme  personne  et  comme  AMIE»  Je  crois  ä  vous  et  ä  votre  integritl... 

Le  rencontre  avec  Andre  etait  superficiel  et,  pour  moi,  difficile —  evidemment.   C'etait 
difficile  pour  moi  d(etre  dans  la  presence  de  cette  personne  cpBsafiihii#i  sans  goüt,  sans 
style,  insolente  et  sans  le  moindre  charme  humain  ou  feminin,  quant  a  moivmais,  heureuse- 
ment,  ce  n'est  pas  moi  qui  s'entoure  avec  eile»   Mon  jugement  est  objective,  je  veux  dire, 
honnete,  pas  par  Sympathie  avec  vous  car  l'un  n'a  rien  ä  faire  avec  l'autre.  En  effet, 
il  me  fait  de  la  peine  de  savoir  Andre  dans  la  compagnie  d'une  tWfrr  personne  tellement 
zero—  mais,  helas,  je  sais  que  pour  certains  homines  ä  un  certain  age,  ce  manque  de 
gout  et  de  tacte  arrive,  malheureuseraent  pour  leurs  ami(e)s  d'autrefois. 

Je  lui  ecrirai,  comme  convenu  avec  vous,  en  lui  remerciant  pour  me  sortir  et  en  disant 
que  j 'avais  oublitf  le  livre  que  j 'avais  apporte  pour  Mcolas  et,  par  consequent,  je  Kai 
laisse  en  passant  chez  Stock.   Je  n'envisage  pas  beaucoup  de  communication  avec  lui, 
franchement. 

J'espere  de  vous  revoir —  ou  ici  ou  ä  Paris  et  profondir  une  amitie  qui  m'est  chere! 
Peut-etre  vous  viendrez  ä  NY  poui:, ^Stock  dans  un  futur  pas  trop  loin?  ^uant  a  moi —  je  ne 
sais  pas  ce  que  je  feraila  cot^'  m^s  efforts  d'ameliorer  ma  sante.   Le  voyage,  avec  toutea 
^es  limitations  etait  bien  et  ä  la  fin  (J  Zürich  j''tait  capable  de  faire  t^ut  de  meme 
un  peu  plus  qu'gt>  Paris,  pas  beauco^,  mais  un  i)eu —  c'est  dejä  beaucoup!   Mes  jeunes  amis 
nie  de  Hennes  ont  dejä  repete/^  une  invitation  pour  l'finnee  prochaine  et  ma  pauvre  araie 
souffrante  a  Berlin  ne  desire  que  ca —  en  effet,  aussitot  que  possible...   Eh  bien,  on 
verra.  De  tous  les  points  de  vue.  Mais  je  me  vois  avec  plus  de  courage  et  au  moins 
un  modicum  de  joie  de  vivre —  aussi  beaucoup  pour  en  etre  reconnaissant.  Je  le  suis. 

SI  vous  n'etes  pas  troj)  debordee  pour  me  donner  signe  de  vie  de  temps  en  temps  dont  je 

serai  heureuse,  je  comprendrai  et  espere  po\ir  un  rencontre  ''somewhere  sometime"— 

entretemps —  tous  mea   voeux  pour  vous  et  Nicolas —  raerci  de  votre  amitiS— * 

je  vous  embrasse  fidelement 


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PARAVION 

BY  AIR  MAIL 


New  ^<  rk,  ce  5  octobre  1982 


Chers  Mpirie-Pierre  et  Andre- 


merci,  eher  Andre,  de  me  faire  savoir  que  vous  serez  ä  Paris  pendant  mon  sejour, 
je  suis  ravie  — -  je  ne  peux  pas  faire  de  prograinrne  avant  mon  arrivee  car  je  ne 
veux  pas  me  servir  comme  d'un  hbtel  de  ma  charobre  d'amis  Hje  ne  sais  rien  encore 
des  manieres  (c'est  le  mot?j  de  mes  jeiines  amis««* 

J'arrive  dans  la  metinee  du  18  et  vous  telephone  ou  itue  Madame  ou  chez  .Stock  apres 
que  je  me  suis  roprise  du  prernier  jet  lag  dont  je  souffre  terriblement!  Mais  en 
'out  cas  je  vous  donne  ici  le  noins  de  mes  amis  etc.:  Wanda  et  Francois  Rousseau, 
69  rue  de  Keanes;  tel.  222-3425»  Comnie-Kia  vous  savez  au  moins  ou  je  suis« 

Aujourd'hui  seulement  ce  petit  mot--  je  suis  claquee  des  preparations  pour  ce 
voyage  d'ainis —  pour  organiser  la  trentaine  de  personnes  dont  il  s^agit  a  qutre 
endroits —  c'est  efrrayant!!!   (Dans  ma  vie  de  "recluse"  a  Nev  York!) 

(Andre-—  il  faut  m'expliquer  pourquoi  vous  etiez  en  3uede  pour  votre  biographie 
de  Pascin??  Je  ne  sais  rien  de  lui —  il  a  beaucoup  voyage  lui?) 

Je  vous  embrasse  tous  les  trois—  ä  tres  bientot  j  'espere— 


ifst/ 

STOCK 


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433  l'^ast  51  Street,  New  York,  N.I.  1<X)22 
3  Septembre  1982 


Mes  chers  Amis,  Marie-Pierre  et  Andre — 

Bien  ifue  je  suis  sans  vos  nouvelles  depuis  tres  longtemps  (beaxicoup  de  Courier 
s'egare  icij  j'esi)ere  que  vous  allez  bien  et  que  vous  serez  ä  i^aris  entre  le 
18  et  27  octobre  car  j'espere  y  etre  et  de  vous  voir  pendant  ce  sejour! 

Je  suis  invitee  chez  le  fils  de  tres  vieux  amis  ä  raoi,  un  jeune  menage  qui 
vient  de  s' installer  rue  de  Hennes,  donc  tout  prSs  de  tous  mes  amis  et  les 
adresses  oü  j'ai  toujo  rs  habite  ä  Paris  (95  rue  de  Seine  et  plus  tard  au  Pas 
de  ^alaisj—  je  suis  ravie  de  retourner  ä  Paris  pour  ces  quelques  jours  apres 
cinq  ans  d'absence» 


•  • 


La  seule  difficulte  sera  que  je  ne  peux  que  faire  tres  peu  car  )}e  me   fatigue 

excrssivement  vite  et  mon  Chirurgien  m'a  conseille  diluno  facon  tres  serieuse 

de  ne  rien  forcer —  alors  il  me  faudra  de  limiter  tous  raes  activites  ä  un  miniraum«  \^ 

Ce  que  ne  veut  pas  dire  que  je  ne  peux  pas  voir  mes  amis  mais  seulement  de  me 

reposer  beaucoup  (mes  jeunes  amis  travaillent  tous  les  deux,  donc  surtout  les 

matinees  seront  tout  ä  fait  ä  moiit  dans  mon  lit).««  Ce  n'est  pas  beaucoup  de 

temps  our  presqu'une  douzaine  d'amis  parisiens  mais  j'espere  que  vous  y  serez 

et  me  ^arde^j^un  peu  de  temps  pour  vous  voir!   l>t  naturellement  Nicolas!   ^^  <ioit 

etre  un  jeune  monsieur  deja!   A  propos,  j(aimerais  bien  lui  apporter  quelque 

chose  de  New  York  m^is  je  ne  p»ux  pas  circuler  dans  les  magasins  ces  jours-ci — r' 

peut-etre  vous  savez  un  petit  cadeau  qui  lui  fera  plaisir?? 

Andre--  cette  annee  je  suis  un  peu  en  avance  pour  votre  anniversaire—  tous  mes 
voeux  fideles  comme  toujours!  ^ 

Je  vous  embrasse  tous  les  deux—  et  ä  bientot  j'espere! 


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Chor  Andro — 

alors  Ir   19  s'nf>proche  ot  me  voici  avec  tous  mos  v.  oiix  conmo  dMiabitiule —  qiK   les 
votros  Sf^   rcraüisent! 

Commont   al  loj'.-voiis —  Ntarie-liorro —  Nicolas?     jyw  dovonoz  vous— •  votro  y>rojot  de 
Tascin,   vous   ot<*s  oontont  cio  votro   lihorto  da  chez  Stock?  Mario-J^iorro  v  ost  restee 
ou  p-t-ollf   'juitte  e^;al<>mont?     Jf?  suis   sans  vos  nonvelles  deptiis   lo  comrnoncenont  de 
l'annee  nais  ;j*espore  que  votis  tous  all^^bion! 

J'avais  eijj>ore  de  pouvoir  vous  annoncer  ou  iino  visite  a  Paris,  ou  la  vonto  de  rnon 
bonquirA  ru-.is  ni   l'un  ni   l'autre  s'est   passe,   en  effet,    j»    n'ai  mc^no   pas  parlo   avoc 
Mnry  Yost  il<»|i<  is  6  MOIS  ot  ne  aais  raepie   plus  si  ello  mo  roprf  sento   toujoürs! !  !   Jo 
r)ens(^  <|Uf   vous  :savez  que  je   suis  complet^^mont   "sin,r;lr-track  ninded" —  jo  no   sais  que 
faire  ITNK  c]i(  so   a  la  fois —  et  dopuis   la  mort  d^^  ma  soeur   il  y  a  aujoiird  *lmi  9  mois 
je   suis  avnloe  de  sa  succession —  c'est  uno  des  corvees  pires  do  tou^_jua^iir —  ^^^ 
cftuchorriar  qui   cormaencn   seulement  ces  jours-ci  de.   s'abbattre  lonterr^ontT'    T3a   Intto 
contrt-  les  menaces  et  lo  cJianta(^(?  de  rnon  frcro,   lo  cbaos  total  eTeT'appfirtorient  de 
ma  soour  avec  dos  rnilier^;  et  des  miliors  de   papiers,  de  pages  de  riss« ,  de  tonferonces, 
d'artic?.es,   etc.   (ju'il  ne  fall«nit  etiidirr  soignoiisoirrnt  pour  no   pus  jeter  des   choses 
importantes  et  on  y  trouvant  des   Irttres  d  •imprrt{;nce  ou  d'autres  doctiments —  un 
avocat  tropvieux  et  deja  ga^T*^   (l*avocat  a  rna  soeur)     qui  m8a   oblige  do   fnire  toutos 
sc  rtes  (]*:   clioses     moi-mom^-  pourqu'elles  xhkxiuc  soieut  t'aitos   du    tout —  raa  sante  (\nL 
n*a   i>as   pu  rosistr*r  a  toutes  ces   pressions  joiimalieres —  vrainonl ,   c'est  plutot 
romariuablo  ipie  j'ai  survecno,   j\isqu*a   f^resent  au  r^.cinSf  ^^f^SB^Bi^  inoi-mrnio,     Tout 
justo  apres    jue   j'^tais  malade  toulo  l*annee  derniere  KT  les   A  ans  deviT)uos   au  Momoirst 
€»vant  de  touo  cela» 
(' 

I^.i'i;..,    i 'a^'^iartemont  de  ma  soeur  n'oxisto  plus  raais   le  mion  est  devrnu  un  >:arohc'ise 
car  jo  nVai  ni  le  morale  ni  la  forco  physique  de  m'en  occiiper —  tant   pis,  bien  que 
j'ai  certaines  belies  cboses  maintenant,    surtout  do   chez  nous,   de  mon  ent'anro,   de  ma 
jeimesse,   <pii  etaient  chf>z  nui  soeur  car  eile  avait  au  noins  \m   peu  plus  do    plac<» 
que  moi.     Tout  col:^  va  encor«*  trp.iner  pendant   lon^^tomps  mais   j'espero  dn   j^rendre  des 
vacances  c!ir?z  dos  ajnds  a  Facific  J*^«isades    (au  nord  de  :Santa  Mu»*ica  r-  CnliAV)inio) 
fin  d^Octobre  jusqu'au  milieu     de  *'ovembre  et   retro^iver  mon   equil:lbre  et  n:a  i  ante 
autant  qu^^   possiblf*  a  mon  a^^e.      llt,    si   les   impots  me  laissent  f[\ielquo  chos<*  co  (|ue 
n'est  pa.«-   surR,    helas,   mn  vif?   sera  un  peu  plus  aisee  financiercrent  ^|U*'1T'    j 't'tf»it« 
Bien  quc,    au  #ond,   tout   l*nr/^ent  du  monde  ne  vaut  pas   le  cauchomar  de  cos   ^  nois#.« 

Un   jour  j*er.pero  de   rc  ;  rendre  mes   activites  a  moi,   ma  vie  a  moi ,   retrouvor  Moi-cirine» 
Kt  voir  .]Uoi    '^airo  avec   les  MomoitsK   J'ai   le   soupcon  qu'il  y  a  quelqm?  chose   avec 
le   livre  r^j  c^*  «»e  ^^arche   pas —  je  ne  sais  pas  quoi  ruais  les   ])eu  (<e  personf.^s  qui 
1 'avait  lu   (ceux  dont  je   le  sais)   ont  reagi  d'uno  facon  inattenfiue —  paiini  eux  vous> 

Vh  bien  on  verra«      Kncore  tous  me»  vomuc—  donnoz  moi   de  vos  nouvi^lles   si    pos.^il^lo — 
qu'ellos   soi^nt  honnes !   mes  horuna^es  a  Madame  votre  More —  ot  je  vom->  enbrasse  tous 
les  trois — 


r  v 


j^idelemont 


1! 


Nevr  York,  7  janvier  1080 


Cher  And 


Merci  beaucoup  do  votro  lettro  qui  m*a  mise  au  courant  des  projets  de  la  fanille 
bien  que  vous  ne  dites  rien  si  Nicolas  a  recu  son  petit  cadeau  de  Noel??  J'ai 
essaye  trois  fois  de  liii  envoyer  une  baf:atolle  annisante  d'ici  (pa?  facile  ponr 
moi  car  je  ne  suis  pas  tres  au  courant  ce  que  plaimmn  jeune  f^a^rconj  mais  je 
n*ni  jamais  appris  si  oui  ou  non  cela  a  ete  recu#.» 

En  tout  ca$t  je  ne  sais  pas  sitnsous  feliciter  a  i>ropos  du  ^epart  de  tocL  ce  que, 
je  le  sais,  vous  desirez  depuisij^i  longtemps»   Alors  j  *espere  que  vous  en  etes 
content,  Kn   tout  cas,  je  le  trouve  nerveilleux  que  vous  vous  precipitez  dans 
un  grand  pro j et  et  je  vous  en  sonhaite  QOOD  IjUCK  pour  ne  pas  dire  lo  mot  juste  en 
francais...   ^uant  a  Pascin  je  ne  suis  pas  sure  comi  ent  trouver  ici  des  /^ens  qui 
l(ont  connu  s'ii  etait  a  KY  en  1*)20???  lifl<  plupart  des  «^ens  litteraires  ou  les 
peintres  etaitnt  t  ujours  enfantrly  Tout  de  neme-,  il  y  ^  aura  oroblablement.  Je 
ne  connais  iu'une  seule  personne  ^e  je  potirrais  des  rennei^piements  mais  il  est 
en  voya^e  et,  en  plus,  n'habite  pas  Nev  York-—  tout  de  meme,  plus  tard  dans  le 
mois  je  f/essaierai  de  ne  nettre  en  contacte  aveo  lui# 


f 


i 


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M 


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<. 


D'ailleurs,  je  suis  assez  sure  que  Marion  Delbo  avait  plusieurs  tableaux —  tous 
tres  ^fjrands,  si  je  me  rapT)elle  correotement,  au  chateau  de  la  tour  Nezan  a  St. 
f^rice-sous-forets  ou  je  passais  3  mois  en  ete  1952«   Marion  iJelbo,  l'actrice- 
ecrivain  y  etait  la  chatelaine  bien  que  le  chateau  etait  ])lutot  a  Henri  Jeanson 
qui  lui  habitait  dans  son  chateau  pres  d'Honfleur  avec  sa  naitresse,  ;)lus  tard  sa 
femme.   iiamt  j*ai  passe  cet  ete  remarquable  et  inoubliable  chez  Marion  (je  me 
suis  servi  de  l'ambiance  dans  un  de  mes  romans)  Jeanson  etait  torijours  marie  Pvvec 
Mnrion,  lui  telephonait  trois  fois  par  jour,  venait  dejeuner,  etc. —  un  h  rnne  tres 
fascinant,  il  faut  dire  et  je  n*ai  jarnais  tres  bien  con[>ris  si  oui  ou  non  il  s*est 
compor^e  bien  pendant  la  resistence,  bien  que  Jean-l^uis  Barrault  etait  cache  dans 
la  tour  (tout  rond,  constniit  en  800  a.D.  selon  une  inscription)  pendant  la  «^uerre. 
Ce  que  jo  voulais  dire  c'est  que  le  cercle  de  Marion/jeanson/Sauguet/ iHipont/Coc- 
teau  ete,  aurait  du  —  qui  en  existe  toujours —  des  choses  interessantes  siir  Pascin 
ce  q  e,  ])robablement,  vous  savez  en  tout  cas,  sauf  qu'on  ne  sait  jariais  et  il 
faut  toujours  tout  dire#  Je  sais  qu*a])res  la  mort  de  M  rion  en  1969,  Jeanson 
etait  son  ]k^A  tier,  il  a  du  reprencire  les  tableaux  si  eile  les  avait  toujours  car 
eile  avait  passe  par  des  annees  fort  dures  et  difficiles» 

Mais  puisque  cette  epoque  n^  revenu —  puls-je  poser  une  question  a  mon  tour?  Un 
des  cojjains  etait  le  poete  Francois  13aron  qui,  dans.  un  nonent  donne,  a  ete 
Gouverneur  des  indes**  (vraimentj  et  avait  e^^alement  fait  un  tour  conine  je  ne  sais 
quoi  (President?  Ciouvemeiu:?)  de  Madagascar.   II  avait  a  ]>eu  pres  50  an,  en  1952| 
donc  il  est  de  notre  siecle.  J*ai  essaye  ici  au  Centre  ('ul|(MJ«lle  de  l'ambassade 
(singulierenent  mal  infome,  bibliotheque  aussi  bitn  que  dept.  de  presse  ;ui  est 
un  PKU  mieux —  nais  c'est  sans  espoir.^  Ce  que  j*airnerais  savoir  c'est  i^UAXD 
Francois  JJaron  etait  ce  (iouTwrneur  des  indes,  a  adresser  kxÄ  son  >^xcellonce  dans 
la  troisieme  personne  ce  que  m'a  fait  hurler  de  rire  (lui  aussi)—  en  tout  cas, 
a  NY  cela  serait  un  co\ip  de  teloi)hone  chez  "Ir^forrmtion'*  de  la  i'ublic  *^ibrary, 
nais  a  Paris''??  II  devrait  etre  dans  un  V^o's  Wio,  rais???  Si  c'est  deuE  coups 
de  telophones  cela  me  ferait  plaisir,  plus  ([ue  trois  c'est  de  trop«  Merci  en 
tout  cas.  iii  je  ne  vous  ecri^  rien  sur  Pascin  c'est  que  non  co[)ain  n^an   savait 
rion,  d'accord? 


} 


En  somne  jo  suis  tres  tres  triste,  j'ai  perdu  na  soeur—  souffrant  depuis  le  3^ 
Jmvier  197^,  iiais  retonrneeOO  a  son  insis  ence —  au  travail  ete —  c*  etait  sudnine- 


r.>  ^  ♦- 


le  doorman  en   larmos,..     Je  nr   peux  i>as  von«  decrire  ces  dernipres   8err;aine8  c«.r  je 
ne   suis    )as  seulement     "next   of  kin'*  riais  egalement  executrice  de  son  testamenti 
avec  un   fröre  cochon  (pardon)  c\\\i  doit  si^^ner     ertain  papier  et'i^n  trajot  entre 
Cr^nborra  et  ^enisalGin   (par  liombay  et  Nairobi  quanH   il  ne  doit  y)as  toucher  des   i^ys 
arabes  et  il  n*y  a  qu'UN  /ol   par  semaine  stir  ces   r'^utes—  vraiment   le.s  folies  de 
notro  temps#..     Ca  sera  des  nois  fort  difficile«     —  ellr»  a  imhlie  un   livr^»  3ur 
Idetz  Wizard,   deiix  autres  qui  sont  la  base  des  etudes  dAhistoire  de   l'art  dont  ihe 
dernier  est  en  train  d*avoir  sa   2e  edition  en  fevrior«««     J)onc,   encore:  m8s^«|    livres 
jusiu'mi  plafond   dana   son   stiidio,    peintures  de  choz  noiis—  un   cauchemar  a  cote  de 
la   perte  actuelle.,.        i 

Alors    ,   entre  dewx  conplB  do  telophones   (il  y  en  avait  certaines  jours  de  12  IIKUIÖCS 
au  teleph^ne —  son  ohit  etaIJ||t   pordu  dans   le  Courier  entre  IM'niversite  et  Ic  Nj^ 
Tirneg-—  c  etait  la  folle) —  ,fS^  vous  ecriis  vite  et  mal  mais,   comine  toujours   pleine 
d'aiaitie  et  d'affection  pour  voiis,   Mario-Pierre,   Nicolas,     NfOlLLJUR  1980? 


.  ae.Ti 


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U5  GUID£S  PßATlO,;:c 
STOCK 

26.12.^9     75-PARIS25: 


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"^AAAAJCr-« 


PAR  AVION 
BY  AIR  MAIL 


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Clay  oil  lamp         3rd-4th  Century  C.E. 
Decorated  with  menora,  shofar  and  shovel 

E.  Reifenberg  Collection 

Exhibited  at  Israel  Museum,  Jerusalem 

n')>oot7  'i"^7)  niNan    ünn  >iwv  i)3vy  13 

o>i7\j;)')>  ,t7N-)\y>  ^iN>nöa  )^io 


\i 


433  Käst  51  Stroet,  Nov  York,  N.Y.  1(X)22 
19  Octobre  1979 


Chere  Marie-Piorre — 

Voici  un  coupa/^o  du  New  York  Times  (! 'hier  (lui,  je  pense,  vous  interessera.   Sin^-rer  doit 
otre  \m  homrio  fascinant—-  et  qtiant  a  sa  fenune— -  eile  est  charmante  et  tres  ^jentille. 
Je  n'avais  aticnno  idee  qui  eile  otait  il  y  a  pe\it-etre  15  ans  pendant  le  temps  qu'olle 
etait  vendeiise  chez  Lord  &   Taylor  ou  j 'avais  achete  tine  jii|)e  de  soir  d'olle;   je  ne  l*ai 
jamais  oublie  car  la  vendeuse  avait  iin  accent  Viennois  et  son  nom  otait  *'Alma**|  e/^alenont 
tres  Viennois  (\lna  Mahler  Werf el ! )  et  il  y  avait  des  histoires  avec  la  jupe  et  sa  coin- 
ture  et  la  vendeuse  etait  si  f^entille  et  patiente—  et,  enfin,  des  annees  plus  tare^  j'ai 
appris  qim'elle  a  du  etre  Madarie  Singer—  en  efl'et  je  sais  que  c'etait  eile!!   Drole 
petite  anecdote. 

Avez  voThs  fini  votre  travail  aver  l'oeuvro  de  Sin/rer  et  assistez  voua  toujoiirs  Andro,  je 
veux  diro,  tj(^f(//jff(}i^//ifi}i//Xli0   continuez  vous  de  lire  pour  lui?  Coninient  allez  vous, 
lui ,  et  Nicolas?  La  vic  vous  eourit  un  pou? 

II  nVy  a  vrainent  ri^^n  de  bien  de  racon^er  d'ici —  me  memoirs  viennent  d'etre  rejettes 
chez  Norton  dont  Mary  Yost  etait  encore  f)lus  decu  que  moi  il  me  sernble  niais,  natur<?llc- 
ment|  je  le  tvrouvo  deprimant  et  triste«  Je  suis  toujours  excessivement  fatiguee  bion 
quo  je  mo  suis  rej^rise  dopuis  [)rintemps  ot  au  moins  fonctionne  au  ninimuiii  Hans  la  vie 
quotidienne  ce  qui  est  deja  prof;res»  Un  ennemie  dans  l'imrieuble  me  tracasse  avec  des 
coups  de  teleplione  a  toutes  les  heures  de  In  nuit  et  de  la  matinee  sans  que  on  a  reussi 
jusqu'a  present  de  le  confronter  le^ralement—  il  est  tres  "clever"  et  sait  exactement 
qijoi  faire  pour  ne  pas  etre  decouvert»  C'est  un  desastre  pour  mes  nerfs  aussi  bien  que 
mon  ^laiicoma,  c'est  a  diro  raes  yeiix  (ce  nancpie  de  somneil) —  je  ne  veux  pas  avoir  \m 
mimero  secret  et  a  cause  de  ma  soeur  soul'frante,  je  suis  tros  inquiete  si  je  couvro  tm 
l'appareil  pendant  la  nuit  pourque  je  nAentends  pas  la  sonnette.   Vraiment,  on  n'a  pas 
besoin  de  ce  ^enre  de  choses—  la  vie  est  difficile  assez,  tel  qu'elle  est! 

Par  consequent  je  n'ai  pas  beaucoup  rcus.si  de  travailler  avec  mon  archive  et  toutes  los 
autres  choses  sacrifiees  pendant  les  4  ans  devoue  aux  Memoires—  donc  je  me  sens  "frust- 
rated"  et  sans  initiative«  Eh  bien,  on  a  des  periodes  de  ce  [^enre,  parfois  lonffues—  ia 
inienne  a  coranence  le  jour  de  Noel  l'annee  derniere!  Oli  que  j 'aimerais  etre  a  i'aris  et 
venir  bavarrler  avec  vous!   Peut-etre  un  jour».. 

FCntretcmps —  tous  mes  voeux  pour  vous,  Ahdre,  Nicolas —  je  vous  embrasse  toMS  les  trois — 


li  y  a  beauco  p  de  Courier  qui  se  perd  ici —  donc  je  dis  que  j'ai  acris  a  Andre  potir 
sa  fote» 


\ 


433  Käst  51  Street,  Now  lork,  N.Y.   tamst  lfX)22 
11  -  g  -  1979 


eher  Andre— 

Votre  anniv  rsaire  s'Rp])roche  et  avec  le  courrier  si  desorffrinise  partout  au  nonde 
je  vous  ecris  assez  en  avance  pour  essayer —  car  on  n^en   est  plus  jainais  sur!  — 
que  mos  neilleiirs  vocux  vous  joignent  en  hon  temi>s«   A  cote  des  choses  conrinie  sante 
et  un  peu  do  bonheur  et  dejoie,  je  vous  sou^aite  encore  snrtout  un  peu  de  temy)8 
extra—  libre —  pour  reprendre  1 'haieine,  au  moins  de  tein[)S  en  teraps! 

J'espere  que  votre  ete  e'est  bien  passe  et  que  vous,  -larie-Pierre  et  Nicolas  sont 
tout  de  meme  contents  d'etre  de  retour  a  Paris«   Mt  qu'il  n'y  avait  pas  trop  de 
dranie  pour  Nicol  s  en  rentrant  a  l'ecole!   II  y  est  moins  malheureux? 

Ici,  c>iose  assez  invraisemblable,  JilllN  n'a  chanfre  dejniis  ma  derniere  lettre,  je 
pense  en  Juin«   Madame  Seaver  ([ui  avait  son  im^rint  a  eile  chez  Vikin.q  rnais  qui  a 
quitte  c<*tto  maison,  a  disparu  avec  mon  ms«,  parait-il,  car  en  depitis  dcä  plusieurs 
efforts  de  Mary  Yost  eile  ne  reTioürno  ptis   tnon  bouquin»   J*aurais  pense  qu'unt^^ 
Pr^caise  connaitrait  mieux  ses  res[)onsabilites  comne  editmir—  envera  un  auteur 
KT  im  a:ent  qui  est  encore  ainie!  Je  suis  affolleo  de  cette  perte  de  tenps,  de  ces 
CINy  mois  quo  je  no  poux  jaiuais  retrouver  et  qui,  en  plus,  sont  une  i)erte  financiere 
tres  difficilefc  pour  inoi  ( entreternps ,  5  editeurs  auraient  pu  lire  le  me»);  en  plus, 
on  attend  natureller?ient  en  lAiroi)e  ce  que  devient  avec  le  livre  ici,   (Vest  a  ]>leiirer« 
Malheurousenent,  Mary  Yost  a  ete  tres  malade  pendant  tout  ce  temps  et  n'a  pas  pu 
poursuivTP  l'af faire  avec  touto  l'ener^ie  necessaire;  eile  ira  a  l'hopital  deuain 
et  j'espere  autant  aniie  comnie  diente,  qu'elle  sera  enfin  [juerio  en  (pirlqi  es  somaines. 
Cela  a  ete  un  temps  fort  difficile  |>our  tout  le  monde, 

Kn  meme  temps,  ina  vie  est  remi)lie  sur  tous  les  autres  plans  avec  des  memes  retard s 
incroyables —  les  choses  les  f)lus  simples  sont  des  Mount  Mverest^qu'on  ne  ])eut  pas 
surmonter  poirr  no  rion  dire  de  conquerir —  je  rlois  dire,  l')99  ne  m*a  apporte  ([ue  des 
diffi-cultes  partout»   Naturellement,  j'essaie  d*avoir  la  patience  et  de  rea^ir  avec 
phileepphie  nais  je  n'y  arrive  pas  souvent.  Je  dois  dire,  je  suis  tres  fati^iee  de 
ces  liittes  et  de  tous  ces  monta^nes  autour  de  moi«  J^d^ .jIu A^tj ■  Ai e^^^ — %1  a  25  ans  que 
j'4ts.comi  lence  a  lim  pour  ^>imon  &  Schuster  ce  qui  etait  le  commenceinent  de  mes  liaisons 
avec  les  mondes  des   editions,  mais  jainais  je  n*ai  entendu  une  histoire  comiie  la  nienne 
ou  T)lutot  i\o   mon  livro,  avec  >tne.  Seaver».») 

n\   bien,  tant  pis.  J'aurais  du  apprendre  qu'il  y  a  ce  -jenre  de  periodes  dans  la  vie 
et  que,  on  l'espere,  d'un  jour  a  l'autre  tout  puisse  chan^ijcr  i>our  lo  mieux!  l>onc, 
assez  de  plaintes!   ^ue  j 'aimerais  etre  a  j  aSis  pour  vous  dire  Happy  ßirthday  en 
])ersonne  et  embrasser  vous  trois  en  chair  et  os  (c'est  cit  qu'on  dit?)« 

Cette  lettre-ci  dott  femj)lacer  la  personne  vivante  mais  les  voe'ix  ne  sont  pas  moins 
clialeurcux.  Comiient  vont  les  choses  avec  Marie-Pierre  e*  ses  traductions  de  sin^^or? 
(^a  a  du  etrc  rtn  travail  extraordinaire  et  tres  ej^t:itant! 

Fidelement  a  vous  tous« 


I  i 


433  East  51  Street 

Nev  York,  N.Y.  1W22 
23  0-tobre  1978 


CTior  Andre— 


/ 


w^i^ 


cette  moiiche  tout  ^  faxt  splendid*  vous  dit  merci  de  votre  lettre  si  tjentille 
et  de  bien  vouloir"  mon  livre —  et  surtout  voiis  apporte  loes  voeiix,  üOOD  UJCK  et 
!&•••  pour  le  votre  sur  les  mouches  que  j'attends  avec  impatience«  'jjuelle  idee 
charmante ! 


Et  qua  je  suis  jalouse  de  voiis  de  savoir  faire  plusieurs  choses  a  la  fois—-  comnie 
Napoleon  je  pense!  Tonte  ma  vie  j 'ai  ete  totalement  single-track  minded,  sauf 
pour  les  relations  huniaines  (copime  vous  allez  voir  dans  raon  bouquin)  ou  peut-etre 
a  cause  des  etr^s  qui  me  laissent  trop  peu  de  temps  pour  les  activites  de  la  vie 
quotidienne?  Je  ne  sais  jäs» 

Je  suis  tres  content©  que  ca  marche  bien  avec  votre  collaboration  avec  Marie-Pierre 
et  ce  que  vous  ecrivez  de  Niclolas  m'a  e<»alement  tres  interesse»  Co  n'est  pas 
difficile  a  comprondre  qu'il  est  *'un  independent  total"  conime  vous  dites —  bien 
sur  difficile  et  ca  ne  facilite  pas  la  vie»  S'il  sera  ef^alenent  doue  pour  ou  les 
arts  ou  les  sciences,  cela  aidera«   Peut-etre,  ou  probablementfaü  corunenceinent 
mais  plus  tard«  Ivn  effet,  surtout  dans  les  arts,  c'est  presque  de  rigueur«»»  Ca 
ne  m'etonne  pas  qu'il  est  si  beau  et  p^rand—  avec  les  parents  qu'il  a  choisis!!! 

II  ne  semble  qu'on  reve  toujours  des  choses,  des  etres  "faciles"  mais  quo,  en  effetrji 
seulement  ce  que  c'est  difficile  nous  ebloui  pour  plus  que  le  monent».« 

Tout  de  neme —  ne  travaillez  jäs  trop,  eher  Andre —  j'espere  que  ifVancfor  dont  voits 
etes  probablement  tout  juste  de  retour,  n'etait  pas  trop  de  corvee  et  j>roducti#e! 


J'ai  du  ralentir  raon  travail  apres  une  crise  de  fatigi.^e  totale  et  rnaintenar.t  j'ai 
renonce  a  me  fix<r  sur  une  date  pour  finir —  ca  sera  fini  un  jour,  c'est  taut«  Bien 
que  je  n'ai  pas  de  doute  que  cette  fin  a'approche  de  plus  en  plus«  I^es  Heumann 
vonaient  de  telephone  tout  juste  au  bon  moment  et  Hainer  m'a  rappele  que  "}.e  ciel 
ne  tombera  pas"  si  je  finis  plus  tard  que  je  l'avais  envisage»  Bien  surÄ-—  je  vous 
dinnerai  signe—  meme  quand  fini,  avec  tant  de  re-writing  de  ma  part,  ca  recommencera 
encore  pour  couper  les  repetitions  etc»  II  faut  sur<»nont  beaucoup  de  "editing"  de 
ma  part  avont  que  personne  ne  devrait  le  lire«  Mais  encore  une  fois  MtlRCI,  un  grand 
MKHCI,  que  vous  etes  'Villing" —  en  depit  de  tout  votre  travail  a  vous. 

Mes  homiüages  yjour  Mada  e  votre  mere  et  je  vous  embrasse  tous  les  trois— 


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433  ;:ast  51  Stroot,  New  York,  N.Y.  1(^)22 
11  Septombre  1978 

eher  ;\ndre— 


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l 


Voici  le  19  qui  s'apj)roche  et  avec  le  courrier  qui  ne  marche  plus  nul  ])art  an 
nondo,  il  paratt,  je  -^oiis  ecris  deja  poiir  vous  envoyare  toiis  nies  wishos  los 
plus  omicaiix —  sante,  plaisiri  succea—  tout   ce  qiie  vous  desirez  vous-woine! 

Ici  chez  moi  tout  est  dans  un  tel  dosordre  que  je  ne  sais  pliias  quand  j'aiou 
de  vos  nouvelles,  de  vous  et  Marie-i*ierre  (et  du  l'rince,  naturellement)  ni  quand 
je  vous  ecris  moi  la  demiere  fois«  Je  sais  que  Marie-Pierre,  pn«r  qui  cette 
lettre  est  aussi,  hion  sur,  travaille  avec  vous  maintenant  et  j'espere  que  eela 
fait  boaucoup  de  plaisir  a  v»us  deux»  Moi,  j 'avais  toujours  reve  de  travailler 
avec  IMioinme  dans  ma  vie  mais  cela  ne  c'est  janais  roalise.   Kn  tout  cas —  comrnent 
allez  vous  tous  ies  trois—  l'ete  c'est  bien  passee—  tout  rnarche  a^^reablemont? 
Kt  los  Mamans  respec^ive—  tout  va  bien?  Kt  la  jardin  a  la  i'Vette—  a  merv^illc? 
Cette  annee  j 'ai  fait  le  mien,  minuscule,  toute  soule  est  j'etais  etonnee  com- 
MMnts9  *o^«;t(bo£4c;ii^»«-  et  tant  de  jolios  plantes  et  fleiirs  ont  poussees  \>nr   eux- 
c'etait  facile       memos,  semees  par  Ies  voiseuz  ou  le  vent  d'axitres  terraces 
bien  loins#  Je  suis  curie  se  pour  l'  nnee  prccbaine» 

Autre  ,ent  je  no  fais  que  travailler«  Je  n'ai  ^s  eu  luie  seule  joumee  de  c.oT\pe 
de-nis  Fevrier,  mon  rentree  de  ouoi  ma  visite  chez  John  ^^uston  au  Mexique  et  je 
creve  de  fatiguo.  Mais  au  moins  je  vois  "la  lumiere  au  beut  du  tuni^el —  va^r^e- 
inent  mais  visible«.»  J*aimerais  en  finir  on  2—3  nois  nais  je  serais  aussi  trea 
contente  si  ce  sera  la  fin  de  l'an«.«  C'est  vraiment  un  boulot  jnvraisomblable 
et  j'en  ai  marre  jusqu'au  cou  (iemes  histoires  a  moi  que,  tout  do  mene,  je  connais 
deja  assez!!!   Mais  au  moins  ?^.ry  Yost  en  est  toujours  enthousiasme  et  uno  amie 
tres  litteraire  on  (^alifornie,  qui  suit  le  bouquin,  ra'a  telephone  1 'autre  jour 
apres  que  je  lui  availi  enfin  envoye  la  partie  dMlollyvood  teile  quAelle  est 
deja  ecrite,  alors,  eile  me  (jrondait  ca  il  i^lle  no  po>ivait  j>as  laisse  le  ms«, 
lisant  jusqu'a  3  hr»  du  matin,  ensuito,  impossiblo  de  dormir,  ensuite  1p  natin 
*^lle  a  recommence  de  lire  tout  ce  qu'il  y  avait  de  ns»  du  auparavant —  alors 
2  jours  fichus  et  sa  vien  en  desordre!!!   J*en  etais  contente  (eile  aussi !j 

Si  on  travaille  comne  noi  et  n*a  presque  janais  de  "reaction"  des  lecteurs  n  me 
s^il  sont  a;^ent,  copain,  quoi,  cola  fait  du  bien«   Comme  toujours  avec  mes  bou— 
quins,  si  cela  8'api)roacbe  vers  la  fin,  je  deviens  encoro  plus  obsedee,  je  ne 
sors  jaiaais,  .^e  ne  vois  jariais  i>er.sonne,  je  suis  odiouse  et  i>erd  mes  ariis  a 
droit  et  ,a  ^:aiiche—  des  peu  qui  me  restent  a  NY—  mais,  enfin,  j'esperp,  ca  ne 
diure  pl  s  t  op  lonf^or.ps«  Je  reve  toujours  de  venir  j^asser  une  semaine  a  Paris 
pour  que  vous  le  lisiez,  eher  Andre—  tandis  que  j'ai  naintenant  de  nouveau  uno 
chrunbre  d'arii  a  Paris  qui  n'evitcra  l'hotel.,»  Mais  on  va  voir,  d'abor«i  det 
*'oeuvre"  doive'^tre  FINIBÜ   Ce  sont  naintenant  3  l/2  dcnie  que  j'on  travaille, 
ot  oncoro  i;ioi  cjui  a  horreur  des  livres  lon^pios  (ce  soront  probablymont  a  pen  pres 
450  pai^jes  de  ns»j.». 

Mais  as-ez  do  ca»  Une  autre  choso  qui  ra'ainuse  beaucoui)«   Le  voek  end  passe  je 
n'on  pouvais  plus —  de  fatigiio,  ({'ennui,  je  n'ai  In  doj^iiis  des  annees  ri.en  que 
des  Memoires,  de  liio^rrapbies,  des   Autobiographies —  je  ne  sais  rneme  pas  pour- 
quoi  'car  j'evite  Ies  livres  pas  ecrit  en  f..nf:3ais  comrne  la  plaie)  mon  ro/rard 
tombe  sur  un  bouquin  qu'mio  amie  francaise  m 'avait  donnee  surement  il  y  30  ans 
rmis—  tro])  longue!  !- —  je  nÄ  l'avais  jnxnais  lu»   xi  effet,  je  n'aime  pas  beau- 
coup  Ies  romans  des  autres—  je  prefere  los  miens  (!) —  alors  c'etait  le  Cil'VAL 
BLäANC«  Je  sais  que  c'est  un  livre  celebre—  nais  a  propos  de  quoi?  Uoman  a  cle 


y^ 


»n  melant  des  vraiea   p«r>ionnag*s  liv-cledans,   ou     arco  que  Nfae«  Trloli^"fr  #«t 
la  femme  d*arf^on?     Aucmio  Idee«     :sii  tout  caa  Je  l*ai  lu  avec  unvtel  plaiair 
que  j*ai    [>AAse  mon  veok  9mA  avec  ce  r^Hnoiii  me  donnant  encore  llhllX  joui^a  de 
con/^o  de  MON  bouquin—  petit-etre  von»  me  trouverez  ir/vnonde  que  cela  rn'a  piu 
•—  je  ne  sais  pas  si  c*est  un  rofoan  bien  ou  mal^   on  tout  casy  a  n^i  cela  m'a 
intereasee  du  coMnencernent  jusqu'au  bout  — -  evidenvnent  ces  choses  mondaine« 
ne  sont   pas  raon  gout  d'habitudo^  mais,   enf in,   on  ne  peut  pa«  i^Toir  t^  f^rand 
drame  ou  le  potit  tout  le  tem])s,  alors,   pourquou  ims  les  maisöns  de  couture  etc. 
Je  suis  toujourR  etonnec  de  moi-^neme  d'avoir  ete   si  contente  de   lilrc  un  ronan 
lonß;   (et   le  llvre  torabe  on  miettes  en  plus—-  publie  en  1943,   papier  do  ^pierre 
encore!!     Mais  que  dites  voua  de  c4tie  histoire??? 


\ 


f 


.\ 


V» 


Aiors  vous  save---  toutes  me  aventiu-es  (en  pltis,   le  livre  etait   rfl.cile  li  lire 
il  me  rnanquait  tres  peii  de  mots)— •  et  en  attendant  d*apprendre  l,es  votires, 
je  vous  enbrasse  tous   les  troia,  oncore  avec  tous  mea  voeiui— •  1L\P/Y  ßlivTilDAY 


Vv 


V.. 


'\ 


4^^   fest   ni  Streot,    Nov/   Yor^f ,    v.Y.    10022 
1  niai    I07M 


"^ 

y 


Mes   cliors   Arnis,   Mario-J*iorro  ot  Andre — 

Voici   un  articlo  du  NY  '»'imos  de  ce  inatin  qiii   va  voiis  intorosser —  sur  \in  de  vos   livosl 

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Corrimont  allez-voiis?      Ktos  vons   cont^nts  do  votro   colln.boration   ^onvelle —  (*a  [fiarclm 
bion?     Coinrient  va  Nicolas —  adorablo  v^onno   iorijours?     J'ai  essayo  dp   liii   trouvor   le 
Snoo]Ty  '*pa.iama  ba/r"  qnf^    'a  posto  avait   chi  pe   a  ?Cool —   sans  succes,    comme  d 'hnbitiide 
on  Aiiorique,    puisquVil   faut  toujoiirs  tronvor  do   nouvollos   clioses —  unc    ToisS  voiidu, 
c*est  /'ini,,»     Mais   peut-etre  Snoopy  n'a  pl\is  d '  intfvret  j)Oiir    lui   ce.s   jo!irs-ci —  ca 
va  vito  chez    los   on^nnts«      Uno  dos  vonfieusos   quo   j'avais    consulto  rri'avait  confio, 
"Snoopy  isn't  very  bi^  ibis  year!"     an  rioins   a  KKw   York,    para>i.t-il, 

Cliez  'loi —  ca  va,   df^ncornont«      bes  Mpf  toi  ros   no    pro<^rPssont   pas  antant  quo   jo    le  vo\iiiis 
a  causo  (lo  toutes   sortos  de  cboses  dont   il    ^aut   s'occuT'fT   si   on  a  j^as  d'aidos—  c'est 
a  dire   lefl   doma.ndes  do   la  vi(^   (piotidienno   ;Ti'etonf f'eni    f)nrroi55 —  'als   a  (\ni    lo  dis^i'o?? 
D'afeord,   on   rovrior,    j'ai    Tait  nn  voyapo  assoz  incro  able —   chey.  Jobn  iiijston  dans   sa 
"bay"   (cove)   pittorraquo  une  bourp  de   lliorto  Vallarta —  sans   telopbono    (sonloment   la 
radi.»  eloctronicpu^  aveo    son  bnroan  a     ncrto  V'-llarta —  on   nr»   poiit  y  aller  qu'en  batoaii 
nai«  apros  (^brs.    lo   i'acifiquo   et  trop  dan<':eroux   pour  los   batoaux...      11    a  oonstniit  six 
tont  potits  bimf'-alows  dar\s   sa  bay  dont   celiii    [)onr  aniis   au   soin'  et  d 'une  collir.e   et  tont 
de  snitedonrioro   il  y  a   lo   jun^rl^^  noxicain  et  VltAIVKMT   le   jun/jlo,..      qno   le?   Indiens 
qiii  travaillent  cbez    lui    (los   constructions  n'otaient    pas   oncoro   Tinies)    traversent  co 
jun^fTlo  ctiaquo  jonr  df»   lour  voisin  v111a;^e»,,      liicbard    ßnrton  et  sa    Pomno,   tros   joiino   ot 
ravissante   ot  rnorir    i  nt»^llij[ronte,    ont   passes  iino   joiirnoo  la-bas,    j'etai.s   tros   opris  de 
lui,    liomne   fasoinant,    ires   scrioux,    pa.^  du  tout    ^onre   coinodien   idiot —  Ics  Willian  N'ylers 
Bont  vonues    [)our  trois   JoTirs —  .jo  ne   les  avai  1,   f)as   vus  depui.^  30  ans  bien  quo   c*et.ait 
c*'ez  eux  quo  j 'ai  d*?)bord   conn\i  Romarqno  et  nion  apiiiie  avec  Jobn  a  cominonce«,.      Avec 
un  bfiby  ocolot,  deux  boa  constriotors  pas  toujours    roules  dans   lours   car^es   et  d'autros 
animaux  exotiques   ot  toutos  sortos  de  conversabions   intoresaantes,   c'otaii  vrainent  xm 
sejour  assez  special»     Malbourousornent,    il    (Jobn)   a  refiise  de  parier  avec  moi   ou  siir 
lui-neme   ou  sur  son  pere,   ce  qui   ei-ait  au   foml   la  raison   pour  lo  voya<:o  niais   les    leux 
senaines  m'ont  un   pou  secouee  do  rr.a  vio   recluso  a  MT,   donc  jene  1  *ai    f)as  du  tout  rofrrotte 
—  et  7)eTit— etre  c'est  un  blessin/*  ir  dis^cuiso   tliat    Ibn   "on  my  own"  quant   a   lui   et   son 
pore.      Ce  qu'il  a   lu  des  Menoj.res  l'a  onormoment   intoresso«     '^"^^^Hr      *^t^r^    ^  '  Ca^^^y^^i^ 

J'etais   rontree  a   f)eine   quand  un    feu  a  cote  de  la  banquo   ou   j'^^ii  deux   cof*frcs-forts  avec 
mais  mss»,    bijonx,  autorfraphesberitos  de  na  n;ero ,   etc,    etait   la  cause   jxuir  un  dolu/Tfo 
qui   a  inonde  un  de  ces  coffrcs-forts-^  le  y)lus   |  otitx,   boureusi  ir.ont  riais  tout  de  meme: 
110^)   (onzo   conti)    pa^es   de  ms»    surtout   jourr.oanx  da/t^ant  jusq^i'a   la  «nierre    (l04d/4'3) 
etaient   tolalenent  trempes   et  dans  nn  etat   inpossihlo   a  docrire —  je   les   ai    satives,   pa/t^ 
par  ym^ßf   rnais   les  an5^oisses  quo   ces   parros    (la  base  de  nies  memoires,   on   partie;,   certains 
bijoux  ruines  par   les  cbeniicaux  DANS  l'eau —     soient  perdus —  Irt   temns  et  les  efforts 
neoossaires,    les   consultations   avec  dos   exr)ertos   de   paniers,   d'ecaillo,   d'art  nouvoau 
otc—  toui,-)ours  a  l'autre  bout  de   MY —  c'otait    invraisenblable,     IV't   on   r>e   sait  rnene   pas 
a  (]ue]    point  la  banquo  KST  res])onsable —  financi  erernent,    surtout   pour  mon  tomps   perdu. . . 

lionc,  ,i  •  rii  recomi'ience  le  livre  seulerrient  rocemment  (sans  etre  fini  avoc  los  bistoires 
avec  la  banquo j  et  c'est  dure  apres  des  intorromptions  do  00  (r^nre«  Mais  7)ondant  les 
derniers    jours  ca  coairienco  a  s'arranir^er  un    peu» 

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Donnez~inoi   si<];ne  do  vie,    je  vous   ]>rie —  si   vous  n'etes    pas  trop  acca])are — 
j  je  vous   o(Ti])rasso  tres  fort  tous   los   trois — 


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17  janvir^r   ]078 


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Ch«re  ':arie-ll<*rr«? — 


•  •» 


„iiellf»    inir  d^  vons   lirf^   ^t  d'avoir,    ^^nPin,   H^  vos   riouvf»llrsi      Oin* ,    f^vid^^pnfnt, 
votr^^   l'*ttrf*  du   juill^t   sVnt    pf^rdne    (c^la   arriv«,   h«las,   de   plus   on  plus   soiivent 
a  New  YorK  et  .surtoiit  a  bureau  ('e    post^   *'10'')2"),    conr:n,   «/»alen^nt,    1<?   t^nps   pour 
unf^   lettre  <^ar  avion  d«    l*aris  a  NY  «st  une   seinain«,   parfois  ntir'^e  10  joiirs —  et 
c'est   la  neme   cliose  si   cela  est  de  Zürich^    Lon<lr^\s,    lierlin-—  n'irnportf?  d'on.      Tl 
faut  ?3'en   rendre  compte,.» 

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Jn  HMin  beureuße  de  vous  savoir  en   fome  hien  qiie  desolee  qtie  voiis  avez  du  passer 
par  \m  te;ii(}s   si  de.sagreabif»  avec    proc<*s   ^tc»    pour  voiis  arracher  d 'Artluiarf, . .      lut 
apre«   18  ans  une  tftjle  Separation  est   penible   et  difficile  en  tont  caa«      ^1  me 
senble    jue  joincLre  Stock  etail  un.'^  tro:s   honne   idee  de   to\iS   Ic.s   noint.s   'fr  vne 
meme  3i,    natiirelleuient,    of»la  apporte  anssi  des  conplications—  qiiand  mene,   ]>ar 
intnitjon  et  surtont    "in  the   lon^r  riin"   je   pense  qu*»  ce  sora  VIVIS  hien  et  je   suis 
contont«*  de   savoir  qiie  ca  narche«     i)onc   je  vons  dit:   M..»»   que  cela  continne 

et  vous  apporte   "contentment"  a  vous   et  a  i\ndre» 

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Ce  que  n'a  hcaucoiij)  fi'appe  dans  votre    lettre    (carte)    <f^tait  ce  cjue   vous  ditf?s  du 
nrobleri?'  d'etre   "enrerme**   pendant  des   henres   ce  qui   est  si  difficile   pour  vous 
comi'je   «/»alerient  pour  .^icolas«      Vous   eter>    Ir    f)rei;iert'    personne  de   tou'*e  na  vie 
qui   exprine  cette;  dif  ficultte  que  je   partaf^eil     C'est   la  raison  que  j 'ai   eu  une 
vie   si  difficile   financiere  jus  ement   par  ce  (|ue  je  ne   pouvais   supporter   les  Job» 
avec   ces   renrermemement  pendant  les  henres  repfulieres...      pendant  5  nois  c'etait 
toujours    le  r^axi^lurn|    apres   il  y  avait  toujours   un   (M)lla  so    totale,,,      !\t,    pens^^z 
vous —  l*ajTiie  de  i^a  jeunesse  que   j'avais   retrouve   l'annee  derniere  a  liaden—Waden, 
m'avait   raconte  ([u«  de  ja  a   16   ans   je  disais    [ue   je   no   pourrais   jarip.is   surporl.er 
d'etre   **ca/^ed**  de   ^  a  5  dans  un  Job.      J'avais   oublie  que   je  m'en  rendais   conpte 
deja  comrif*    presque   enfani*     Sans   liitler  cela  n'aurait   pas   presentc  de   proVlemea, 
ni   pour  um  actrice   ni   pour  un  ecrivain«      (J  •«vais  e/ralement  les  diff'icuLtea  a 
l'ecole   ou  j'ai   fait   la  buisonnierc  tont   !♦?   temps),  nais  Nicolas   est   le   prenier 
enfant  dont  je   sais  qti'il   ne    peut   pas   supporter  dVtre   enferme,.. 

Je   suis   sure  ou'il  afi]/rend   plus    ;  ar  vous  nue  dans   l'ecole  sauf   pour   le  fait  d'une 
certaine  discipline,    si  vous  c^e    pornettez  d^   le  dire —   tlK^  (Usciplinr^  to  apr  ly  one— 
seif  is,   basically,    t)\e  only  thin^r  one  lÜilAIjLY  le«rns   in  sc!)ool —  surtout  en  etu- 
diant   1p   latin  et   la  riatheriaticjue,   disciplines   si  difficile«   pour  les  enf'ants  doues 
et  je  ne  ra!)f)elle  que  (]uan(i  ma  mere    ((pii  n'etait  jainais  a  l'ecole   et  a  comnence 
ses  etudea  a  1 'universite,   apres  un  exainen  special,   a  1 'a^e  (ie   30  ans)   a  du  s* 
occiiper  du   latln   et  du  fT^ec  ancien,    c*etait   la  discipline  de   savoir  comnent  etudier 
qui   etait  difficile»,.      I^es  enfa^ihs   ijirnericains,    sans    In  tnoindre  discipline  de 
quoique   ce  soit,   qui   exirrent  qu'on  les  AMHSK  a  l'ecole   etc.,   ne  savent,   par  conse- 
quent  IIII'jN...      >'n  de. dt  de  ma  rebellion   contre    l'ecole    (et   roptre   nes   par'*nts) 
il  y  a  surement  on  certain   fond,   un^  base,   c^ue   j'ai   recu  a  l'ecole  bien  ijXie  tout 
C9  que  m'interesse  dans   la  vie  c*etaient  nies   narents  qui  m'en  ont  donne   la  base 
(et  non  ])rerTiier  amour)« 

yxiand  aura-t-il,    Nicolas,    ses  7  arts?*^     J'ai    IHnpression  que   le  petit  ca<lea\i  de 
Noel,   un  onoopy  "i^ajama  ba/^*'  que  je   lui   ai   envoye   le  8  decenbre  n'est   f>as  arrive?? 
Cela  rn'attristerait  beaucoup  car  j '«»vo.is    pris  beaucoup  de   peine  de  trouver  quelque 
chofto   {x>ur  lui  ariuser  K'i*  qui   etait   facile  a  envoyerÜ     Ce  frßx\r(^  de  chose  disparu 


souvent  tres  vit^sx  fl#s  mar^asins,   av#c  cett«  folie  americain«  d«  trouvar  das  chosaa 
NO  V'IUJ'S  sans  ca^sa«,«      Bien  qiie  j>   l'avais  f^rwoyB  par  avion,   parfois  Täs   choses 
arrivent  avec  beaiicoup  d#  retard,  laais   Toit^s  moi  »avoir,    je  vous   [^rl#.   si   cela  n* 
arrivß   pas,««      Peut -etre  cä  s«ra  miaiix  (1'#viier  ?>Ioel  et  celßbrer  1 'anniversaire   (jt 
la  prefer**—  Noel  est  si   •^^yenoral'*   et  anni   ersaire  ast   "special—  une  norto  de  fossil 
de  mon   en1*anca«,.)  —  -  - 

Mas  no'  velles   sant  toujoiirs  la  confusion —  jf^   no   suis  allae  ni  a  Hollywood    (heureuse- 
nent)  ni  au  Canada  ni  cbez  non  abbasse  bc»ncdictinei     Mon  ami  *Iohn  avait  recn  pemission 
inattentkia  d^   retourner  dans    son  isle   pres  de    Tiierto  Vallarta  au  Mexique  et,   en   princi- 
i>a,   .!>  df»\n*ais   lo  jojndre   la-be?;  le  T   fevrier  nais  je  nVn  cr-ds  plus  jnsquCa  cn  qme 
j  •y  Sftrai  vrairaentJi     Je  suis   i'atiguea  et  tout  traine  cPun*^    Tacon  invraisemblable—  los 
"lop;i»i[tirs"  de»  la  vie  qnotidienne  aont  df^venu   presque  in^oluble  a  cote  du  travail   et 
ja   fini    pur  reiuli-e  justice   ni   a   l'ne  ni  a  l'ft,utra  ce  ijue  me  desesi'fre«     liVidi^nu  ent, 
on  a  cfis  periodea  dans    In  vie   «t  il    fant     las   snpporter   (ernhire)   tout  simplement» 
Ma  chere  Marie-Pierra  -r  ^ous  nes  voeux  toujo\irs   —   jf   vous  rDibrsisse   tous   le^   trois 


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433  Baat  Sl  Strömt,  Nrn.-  York,  M.Y,  10022 
23  novombrc  l^YH 


Mes  chors  Anis  Marie-Pierro  et  Andre— 

Cowrnent  allcz  vous,  tous  Jos  trois?  J«  commoncc  a  mv?  faire  des  soucis  a  votre 
o»>ard  etant  donne  (luo  ;jo  sui.s  «ans  voa  novivellos  depfuis  mai— -  j'espere  (jue  ce 
n'ost  <]MC   le  suiTAena;iTe  (lo  rnot  juste  de  surmoner??)  a  cause  du  travail,.«  Mxix 
Je  sais  qne  ra^  lon^' e.  lettrej^a  chacmi  de  vovs   et  une  carte  a  Nicolas  ont  du     /; 
£C¥^«Ar-a^^ apres  yotro  dopart  en  vacances  rmis  j*avais  esf)ere  qu'ollcs'^äÖiiabillfmw 

.suiitei^^^  au  moins  que  vous  les  av^i».  trouva^en  rentrant».,  J'ai  ecrit, 
un  pf'U  en  avance,  a  Andre  |V)ur  sa  feto  et  on  jreneral  vous  repondez  prcsouc  par 
caurri^r  prochaini  J'cxplique  tout  cola  pas  po\ir  vous  reprocVior  ce  q^ue  je 
detcste  mais  aeulem^nt  pour  expliquor  pourr]uoi  jo  ni'infiuiete. 

J*espere  lU'^  vous  avez  pa«se  un  ete  af;reabIo—  la  l''oiro  a  i^rancfort  a  du  etr« 
aussi  assoimant  comrr;e  d'habit\|de  et  c]uand  viondrez  vous  final oment  a  New  York?? 
Si  vous  avez,  c«  que  mo  Terait  tant  de  plaisir,  desprojots,  faite?^  noi  les  savoir 
aussitot  que  possiblo^  je  vous  prie,  car  il  a  l'air  que  je  sorai  absente  de  NY 
de  temy>s  en  temps  et  je  sorais  desolee  de  vous  nanqxier» 

En  ce  moment  je  me  trouve  "en  at tonte"  d'avoir  des  nouvelles  de  Hollywood  de 
Jobn  iinston  (|Ul  a  ote  tres  tres  gramentnt  malade  pendant  2  mois—  aussitot  qu'il 
soilJ  reiabli  [floB^ie  recevoir,  je  prendrai  lo  prochain  avlon  pour  discuter  beaucoup 
d'aspect  de  mon  livre  liu  temps  a  Hollywood  dont  lui  et  son  poro  ctaient  les  per- 
sonnes  princi7>ales»«,  ?-lais  tout  est  dans  une  j[xrando  confusion  car  au  fond  il 
habite  le  Mexicjue  ou  il  ne  peut  i>as  encore  retourner,  etc.  etc»  etc.   t  personne 
ne  sait  quand  il  soit  assez  ,^eri  pour  des  converaations  serieuses  etc.  C|esiJla 
troisieWk:;  fois  que  nous  essayons  d'arranger  de  tel  rondezvous  et  jrriais  nklcnlBl  fi 
4\^rche^  nais  cetto  fois-ci  je  l'ospere  encore  plus  qu'auparavant«    — 

Mntretemps  j*ai  Pini  le  premier  chapitre  sur  Hollywood,  je  letrouve  excessivemont 
difricile  a  ecrire  0t  cola  n'avance  qu'a  pas  d*escarßotsI  J'avfi.ii  teilement 
espero  de  pouvoir  finir  les  MViMOIH>iS  on  printemps  mais  je  ne  l'envisa^^e  plus..« 
Cela  pese  beaucoup  sur  mes  ej:)aules  et  je  suis  ^atiquoe-—  ccla  traine  tropi  II  y 
a  trop  de  possibilitos—  le  choix  est  si  tfidTficile  et  en  plus  je  ne  voux  vrainont 
])as  ecrire  un  kiss-and— teil  iivre.  D'aillours—  comment  a  marche  le  livro  de  Mv 
Ullmann??  Ici  ca  disi)arait  plutot  vite  des  bestsi^ller  list,  memo  celni  de  Brooke 
Ilayward  qui  etait  emoinrant  et  tres  bien  ecrit...  Je  veiix  diro,  meme  le  nom  de  Liv 
Ullmann  retisi^i  seuloment  ondant  un  certain  temps» 

A  propos —  je  ne  reste  que  peTi  de  temps  a  !loll;^7vood  je  pense  car  j^e  ne  voux  paa 
encoro  une  fois  une  interronption  conune  K]iiA±  celle  du  voirajpte  en  Kurope—  mnis  je 
doiS^^a^Wer  T)our  uno  semaine  chez  mes  Bonedictines  voir  non  amie  Abbesse  et  peut- 
otre  brievoment  au  (Kanada—  alors,  tenez  moi  au  courant  avec  vos  projots  si  pos- 


sible  (je  sams  que  cela  n*est  [las  tonjo^ir^i  possiiile)»^  —  - 
le  sejour  fabuleux  de  Sadat  a  Jerusalem! 


1^^^ 


Tous/m>s  voeux  toujours—  donnes  moi  de  vos  noinrollos,  je  vous 

embrasse   tous   los   trois  affectu'?nsf>raent- 


Vous   pendant 


le— -je  vous 


I  I 


New  YorK|  ce  11  Soptembro  1977 


eher  Andr* — 

/■ 

Me  voici— -  peut-otro  im  [)e\i  en  avance  bien  que,  aver  Ic  coiirrier  ces  jours-ci, 
on  ne  sait  iamais —  .je  pourrais  memo  etre  trop  tarrij— -  nour  vons  offrir  tous 
mes  vooTix  pour  votre  anniversaire —  ei;icorp  plus  affecteueux  apres  cos  houres  si 
"cozy",  chalmireuS)fes  et  amicales  penciltnt  mon  sojour  a  Paris...  C'est  hien  pour 
les  amities  memo  si  elles  sont  solides,  de  les  raffraichir  de  tomps  en  tomps... 

Comment  allez  vous—  Marie-Pierre—  mon  ami  special«  en  depit  de  sa  jeimesse?? 
Vous  avez  passe  un  bei  etc —  en  Suisso,  campagne,  etc.?  J'avais  ecrit  une  lon^ie 
lettwr  a  vous  et  ecralement  a  Marie-Pierr©—  separees  mais  dans  la  merreenvelope, 
malh  ureusement  apres  le  dei)art  do  Marie-Pierro,  dans  l'espoir  qu*elle  von* 
suivra  si  vous  n*etait  pas  reste  a  Paris  avant  de  les  joindre  plus  tard...  mais 
je  sais  quo  pendant  l'ete,  et  les  vacances  de  tout  le  nonde,  le  cotirrier  s'e/i^are 
facileinent.  Donc  je  tiens  a  vous  repeter  aomrnent  j'ai  adore  AlMMZ-VOUS  T>]S 
KSCAii(iOTS—  quel  conte  de  fee  serieuxi  Ton  a  fai*  ce  que  me  plait... 

II  n*y  a  pas  beaucoup  de  nouvelles  ici —  l'cte  etait  le  plus  chaud  gbi|Bii  pendant 
les  derniers  cent  ans—  comme  l*hiver  passe  le  plus  froid—  mais  l'acclimatiseur 
(c'est  le  mot?)  a  marche,  heureusement,  et  on  a  tont  survecu.   Aujourd'hui  c'est 
une  joumeo  d'automne,  de  fraicheur  merveilleuso—  je  tappe  ceci  sur  ma  petile 
terrace  que,  j*espere  tojours,  vous  et  Marie— Pierre  viendvsxt  un  jour —  non,  ca  ne 
marclio  pas  ainsi:  viendrez  voir  un  jour...  Dans  un  futur  pas  trop  lon/ftemps. 

J'ai  beaucoup  travaille  sans  faire  du  progres  visible,  mais  avec  les  recherches 
necessaires  pour  la  partie  Hollywood  et  essayant  de  trouver  une  structure  pour  y 
mettro  ce  que,  decidemment  est  trop  de  personnes,  trop  d'exnerionces,  trop  de  VIKi 
La  fin  de  la  partie  europeenne —  que  j'aurais  du  finir  avant  mon  voyafce  en  Kuropei— 
a  plu  enormenent  a  Mary  Yost—  eile  pense  que  pi  c'est  tres  different  de  tout  ce 
qu*elle  connait  du  f^enre—  j*en  suis  contente.   II  me  fallait  lire  le  bouqiin  d'Kveljm 
Keyes  (SCAitUl'T  ÜMIAIWSHÖ  YOIINCIKU  SISThll,  public  par  Lylo  Stuart::?),  fmm   epouse 
No.  3  de  Jolui  lluston—  le  inanque  de  gout,  tact  est  invraisemblable —  je  crois  nu'olle 
a  bai  tous  ses  horarnes  et  puisqu'elle  n'est  pas  dutout  mourante  de  faim,  d'ecrire  ce 
genre  de  porno...  C*est  domna/!:«  car  eile  est  douee.   IIb  bien*«.  Je  iie  rappelle  connie 
Walter  Huston  rae  disait,  "Alors—  notre  fils  vient  de  se  inarier  encore  une  fois..." 
quand  Jobn  est  "eloped**  avec  fVelyn  Keyes.,. 

II  y  a  une  petite  nouvelle  qui  facilitera  i^eut-etre  mon  procbain  sejour  en  France— 
une  vieille  amie  a  moi,  Prancaise,  qui  habitait  ?W,  est  en  train  de  demenager  a  Paris 
pour  du  bon  et  m'a  deja  dit  que  maintenant  j 'aurai  de  nouveau  une  chairjbre  d*amis  pour 
y  habiter  au  lieu  d*un  hotelj  J^cn  suis  raviej  Mais  d*abord  il  PAIIT  finir  mon 
bouquin  et  cela,  je  crains,  prendra  encore  plus  de  temps  que  je  le  crai[]:ne... 

Bon  vryane  pour  Prancfort  ou  vous  irez  surement—  j'e  vous  embrasse  tous  les  trois— 
et  pour  vous  encore  HAPJT:  BIRTIIDAY: 

Bien  amicalement 


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A  bieatÖt,   j«    _:r-  i 


Je   voui    ;  rabri.ysfc— 


433  East  51  Street,  New  York,  N.Y.  10022 
13  juillet  1977 


Mc 


eher  Andre—- 


QUoex^ 


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II  m'esi  IMI^OSSIBLP]  a  com  »rendre  coninent  j 'ai  reussi  a  omettre  un  mot  a  vous  pour 
vos  romercier  de  1  •  enchantement  dUIMICZ-VOUS  LES  ES^:ARG0TS? —  que  j 'avais  lu  tout 
de  suite  apres  mon  retour  pendant  que  j'otais  allittrec  avec  les  histoires  de  mon 
estomac«*»   II  n'y  en  a  pas  d'excuse,  seulement  peut-etre  une  explanation —  je  suis 
toujours  tres  vlte  avec  ma  machine  a  ocrire,  vous  le  savez^  mais  puisque  je  vous 
savais  a  Jerusalem,  j'avais  recule  mon  desire  de  vous  ecrire—  et,  je  dois  l'avouer, 
j'arrives,  ces  jours-ci  a  etre  dsitraite  a  im  point  lamentable«««  L'a^e,  je  pense, 
ou  trop  de  choses  dans  l'esprit—  choses  inutiles  naturellement««» 

Donc—  c'est  merveilleux,  amüsant,  instructif  (je  ne  savais  rien  des  escargots  et 
je  pense  que  les  demiers  que  j 'avais  man^^es  etait  a  Strasbourg  il  y«  a  34  ANS  (ils 
ne  ra'aiment  pas —  trop  de  l'ail'ii)  —  c'est  poetique  et  piain  de  charrae  et  une  grand 
joie«  Les  illustrations  de  Searle  sont  aussi  tres  poetiques —  mais  j*aurais  pre- 
fere  de  voir  des  illustrations  a  vous«««  Vous  auriez  du  les  faire  a  merveille«  Mais 
je  sais  que  dans  la  vie  ca  ne  marcho  pas  toujours  comme  on  aurait  le  desire« 

Je  ne  sais  pas  si  vous  accompagne  Marie-  Pierre  en  Suisse  et  plus  tard  chez  sa  greind- 
mere  —  j'aurais  voulu  ecrire  avant  son  depart  mais  ce  n'etais  absolument  pas  pos- 
sible«   II  me  fallait  finir  le  chapitre  que  j'aurais  du  finir  avant  mon  coyage— 
j*ai  <m  befjucoup  de  mal  de  reprendre  le  travail  apres  cette  longue  interromption— 

il  s'agissait  en  plus  de  la  fin  de  ma  vie  europeenne—  tout  complique  pour  moi««« 
Mais  onfin  j 'y  suis  arrivee—  la  semalne  prochalne  je  le  donnerai  a  Mary  Yost—  et 
ensuite  il  faut  "face"  les  problemes  de  la  partie  sur  Hollywood—  deuxieme  moitie 
du  bouquin,  au  moins  an  tlers«  J^en  ai  peur«  Je  ne  sais  pas  corament  l'crganiser, 
ou  commoncer«  Rien«  (^ue  j 'aurais  besoin  do  vous  parier«  Pourquoi  n'etes  vous  pas 
ici  avec  vos  conseils???  J'aimerais  parier  a  John  Huston—  le  seul  des  grandes 
relations  dans  ma  vie  qui  est  toujours  vivant,  mais  il  passe  l*ete  en  mexique  ou  il 
Vit  maintenant  en  permanence  et  c*est  impossible  pour  moi  a  cause  de  la  chaleur  et 
l'humidite»««  Donc  pas  de  "help"  de  ce  cote,  helas»   II  faut  se  dehrouiller  seul« 
Commo,  en  effet,  presque  toujours  dans  la  vie«  Presqne« 

Andre —  je  pense  toujours  avec  plaisir  a  notre  excursion  en  voiture  a  la  cajnpagne — 
a  votre  gentillesse  de  passer  i)ar  Nanterre  pour  me  permettre  encore  une  vue  des  oucxaui 
maisons  de  Fabio—  c' etait  gentil  de  vous«  Que  vous  m'avez  presente  a  Madame  votre 
mere  ra'a  fait  un  tres  grand  plaisir-—  c'est  bien  de  connaitre  la  famille  des  amis« 
Qu 'eile  m'a  recue  avec  lant  de  chaleur  m*a  beaucoup  touchee«   (Si  on  avait  emmene  une 
etrangere  chez  moi  sans  meme  me  prevenir,  je  n'aurais  pas  ete  si  "gracious"  je  vous 
assure«)  Marie-Pierre  m*a  ecrit  qu'elle  m'a  troÄve  civilisee—  quel  compliment  mer- 
veilleux  que  j'ai  beaucoup  apprecie«  Dites  lui  mes  hommages,  si  vous  voulez  bien,  si 
cette  lettre  vous  trouve  a  Paris« 

Quant  a  vous-meme—  encore  un  grand  merci  des  beures  que  j'ai  passees  chez  vous— 
que  vous  avez  trouve  tant  de  temps  pour  moi  avant  votre  grand  voyage—  pour  votre 
livre —  pour  tous  les  temoi^piages  de  votre  amitie« 


Mille  amities  de  ma  part,  egalement« 


433  Ea  t  51  >treet,  New  York,  N.Y.  10022 
13  juillet  1977 


Ch*re  Marie-Pierre — 


Votre  lettre  m'avait  tont  simplement  bouloversie  par  son  ainitiÄ  et  sa  gAb'erositÄ 
—  3  'aiirais  voulii  repondre  par  retour  courrier  pour  vous  en  remercier  mnis  ici  tout 
etait  si  difficile  q,ue  je  voulais  attendre  un  moment  \m  peu  plus  paisible«  Enfin 
je  me  sentais  "forcee"  d'une  facon—  pour  finir  la  partie  du  bouquin  que  j'aurais 
du  finir  avant  de  PARTIR —  ces  25  pages  etaient  tellement  difficiles  d'accomplir 
apres  le  retour—  comme  si  je  n'avais  jainais  ecrit  im  mot  auparavant***  Je  ne  peux 
absolument  pas  continuer  "comme-ca'*  apres  une  interromption  et  encore  moins  apres 
tant  d'impressions  nouvelles,  conversations  emouvantes —  rencontres,  aini(e)s  etc» 
SuromomA  vous  comprenex  ca—  je  sais  que  tant  d'autres  ecrivains  ont  la  meme  diffi- 
cultes,  non? 

En  tout  cas,  les  25  pages  qui  m'emmenent  a  la  fin  de  ma  vie  europeenne,  sont  sur 
papier,  recrit  mille  fois,  et  en  quelques  jours  je  les  donnerai  a  Mary  Yost,  mon 
agent  avant  des  les  recopier  encore  une  fois,  xorox  et—  off  to  Zürich  aveci  Je 
suis  enfin  soulagee  d'avoir  fini  ce  que  sera  ou  la  moitie  ou  2/3  du  bouquin—  et 
^or  better  or  worse,  arrondit  ce  que  j'ai  fabrique  jusqu'a  raaintenant»  ENFINl 

Et  me  voila  por  bavarc^er  un  peu  avec  vous,  m^excuser  du  retard,  exprmier  mon  espoir 
que  cette  lettre  vous  suivra  en  Suisse»  J'aurais  tellement  voulu  vous  ecrire  avant 
votre  depart  de  Paris  mais  vous  devez  me  croire  et  tout  simplement  je  ne  le  pouvais 
pas. 

Tout  ce  que  vous  m'aviez  ecrit  m'avais  fait  tant  de  plaisir  et  je  vous  remercie 
aussi  specialement  pour  m*avoir  fait  savoir  les  mots  si  touchantes  de  votre  belle- 
mere»  J'avoue  que  cette  sorte  d'appreciation  me  dit  beaucoup—  c'est  ce  que  j 'aime 
le  plus  d'entendre.».   ("omme  je  vous  l^avais  deja  dit  dans  ma  lettre  a  moi —  les 
rencontres  avec  vous  et  votre  famille  etaitent  parmi  les  plus  precieux  de  mon  voyage 
Je  savais  que  vous  etes  des  vrais  amis,  mais  j'ignorais  a  quel  point» 

Et  ce  que  fait  aussi  tant  de  plaisir  a  moi,  vous  avez  reconnu  si  lucidement —  que 
je  vous  airao  tous  les  trois  ensemble—  et  egalement  chacun  jqun  separement  pour  ce 
que  VOUS  et  chacun  de  vos  deux  "hommes"  et  a  lui**«  MPIRCI—  de  grans  mercis« 


Que  Israel  etait  le  ciel  me  ravie«   (ravis??)»  J'ai  entendu  souvent  \inetel  reaction 
tandis  que  j'hesite  bizarrement  d'y  aller  moi-meme»..  Ce  que  me  plait  surtout  c'est 
que  votre  decision  y  emmener  Nicolas  etait  tout  juste  ce  qu'il  fallait  faire« ••   II 
faut  prendre  les  risques  dans  la  vie«  Dans  toutes  les  directions»  Meme  si,  ce  que 
naturellement  arrive,  ca  ne  marche  pas,  au  moins  on  a  essaye«.»  C*est  bien  mieux 
que  dire  apres  "si  j*avais  seulement».»"  Bravo,  Marie— Pierre» 

Maintenant  j'espere  que  vous  vous  reposez  bien  en  Suisse  et  ensuite  chez  votre  grand* 
mere—  donnez  moi  un  signe  de  vie,  si  possible—  au  plus  tard  pcwkxyw  apres  votre 
retour»  Je  m'en  rejouirai*  Je  resterai  surement  tout  l'ete  a  NY  ce  que  j'aime  assez 
—  ma  terracG  est  pleine  de  fleurs  et  presque  toujours  agreable  avec  le  vent  du  East 
River  et  l'acciimatisation  dans  la  chambre  marche,  heureusement.  S'il  ne  faut  pas 
currir  par  ci  par  la  pendant  l'ete,  NY  n'est  jm,s   mal  du  tout« 

Vous  aussi,  restez  comme  vous  etes,  ma  chere  Marie-Pierre«  Je  vous  embrasse  bien 
affectueusement — 


jltkljjL.M.' 


11  ..ai  lt)77 


Mes  cherp  Amis  Marie-r^ierre  et  Andre — 

Vouj;  devtz  etr^'  d^*  rptour  ces  jüur:.-*cl  #*t  jf    ti^-^nt:>  qu'a  vouü  r«  c  oz  mi  Jijot  a 
iioi  tt  c^    tnnpE-la  pour  vou:'  dir*?  bonjv;url 

J*:ii  i^eiis^   ci   souvent  f>  voue  troia  eins  l'^^-f^poir  que  votr     vüyage.  vou;.!  g 
apportf,    tout  c^  que  VOUS  en  av^s  espere —  civez  vouü  rt^usf  i  li  toucher  It*  l'urV? 
Eteit  vüt^^'    s''r'jour  uii  ^^nchanteincntV 

O^ölail  luie  tir^^nda  joit^  pour  :noi  dt-  coniiöllrf-   Wicoiaü  eiifin  c^t  d«*  !<:»   trouver 
encor     plus  chi^rmant  et  reinarquable  qu»-   Je  m'^^n  attendais.1     u  ,.  ht.  ureß  cxu-z 
voub  dt  avcc  vous  etalent  t:l  chaleureusee^   si  omicaivy —  cii--   lü^oat  cn.'Ui'ietl 
le  cüt.rar     et  jf«  vou;i>  en  renercit;  uiiiie  fois,     J^  suib  toujoarLi  trt-;>  sUbOptible 
aux  tt"-'rioicinageö  dv«  i'ainitie  et  que  vüUi>  tvez   trouve  It*   tt-riups  ci-    im"    recevoir 
pendfiiit  vos  prirparations  pour  uxi  t*<l  vq/ai,e,   n^i   beaucoup   tuuchee  et  iii't;.  fuit 
r^^rcttttT  eacor-    plus  Ir^   fait  qu'tlii  ocean  iioub   t^epare  öf:»uf  pour  leK.   brx  -fs 
liiomeiiti?  (juarid  oa   ee  r«- trouve —  ou  a  x'ari.s —  ou  ici««» 

Meinteiiant    il   faut  que  vouc:   ve^aez   bi^ntöt  l'.  -^*ev  -^orkl      J*fr;r>perc-l 

bftrr.irieiit  j     ne  ferai  plus  jaü-ais  uii  vcya^v   copme  ceiui   dont  j^  vieius  rttouTiier 
—  c'etait  merveillfc'UX  r.ais   betiucou^  «ürop  fati^u^int,   j'^-i   c-bi^c  z  Go  pt-axie  de 
Uih  retrouver  t  t  de  roprenare  mon   travail  et  ort^txnxb^  r  lt.  vi..   quütidi-,^uae# 
veux  dxr« —  le  vcr/-a^e  etait  bleu  reucöi  a  prt'ßquf   tous  les  poirits  d^^-  vue  mais 
ia  prochtintj  foic  ce  sera   UN  endroit  ou  deux  au  plus —  fiU  üpu  d  .   courrir  par 
ci  par  la  penduit  tout  de  neirie   7   seinaiiieti}   trop  ae   L<flgga^>*55|    trop  loiie^tenipsi 
uJ^i^e^   dnnc  un   s^-^ns,    trop  d-^  p^-rsonnes—  on  pari     avec  trop  d'iri^entixte  t^t  on 
ecoute  d  '  Im  liiSme  faconj    justf.i.ent  pcur  iT:ettr<    authi.t  qut;  possible  dtuie   ces 
qu^^iqu.  L-   heur<!jS|    let;  r^:liContres  toujours  trop  liinitf's 


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Kais  d'i.borci  il  faut  finir  le  Douquln,   travaill^  r  coinnt.  ui^e  feile  ^t  ^-.^en/^T 
de  produire  qutilqut^  ciios^    interf^ssantel     Eiusuit-,.   on  verra  i 

Donnez  ii^oi  de  vos  ncuv*riieö>   je  vous  prie^  «preß  qu*.r  vous   avez  vutre  vi# 
quotiditiuiel     Kt  iüerci  micor  ,   uii  GEA-D  jrierci,   de  votrr.  a^aitie  fidelei   ;;.oiid<:'^ 
qui  lae  fait  tant  d«»  plaisir« 

Liübrabö't.a  lacolhs  pour  i'ioi —  j'aim^rias  bi^r-n  ir  gard^-x  cöirji>-    ^'j.rUiit    axTd^'l 
Quellt    eüt  Is   datc  de  son  aruiivrröaire'n 

ioutj  iiiL^ü  vopux  pour  vous   tous  —  je  vüus  »Mrjoraf^se 


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CüiUc-iil  Kxi».«  vouts,  i^^ri'    ?ir;rr«i?,    .  '  \.       1  rrinc -  qiii  nr    x'  [ul       ^r  1.1 

est  ^ür*i>»iiit  d^jr   Uii  pr^sc^ue  vi<;ux  j.o*»;.it-urI     J'.  j^^^^Tv,  que   tout  x.   ^..v'ild     Vi 
bi.:'ii      t  M^^-   i.'3i;  afl>-ir^jS   cli   ::  ^tucK  n     oOüi    ^a».   trop  u/' .>   tjrtubi.:;j      t   Jh.  p   ase 

Je  f^.tS|    rucoT     Uii     foi.  ,    d    i.  ^^rojeto  pour  uii  vüy:^     -n    -uio^.   ^.rolaL>x^..<;iit 
cxi  i'C'vri^r/iiors,   eiVtc  f\ut?iut  qu.    poiji..ibl'    c.     Ar^es         Oxii^;  cauia  xa  ^Qch  ^   ^   '^ 
fial,    ct    que  j*    vciLs  boaiÄUp  d<*:sirti'  hk.Ili   c'.üt  trop,    tout-     <jvjttt.  vic  quc  j'^ax 
u.     v-.t  ;iurv'cur,   ct    qu»'  ii^  c-ösv:^  j?    '  is  t   jui'etüiiütri  i; .  ••     J^i^uii».  vii  trc-iii 
c<'.  preparor  .on  uialtrc,  vi  x^üois  quaiACl  j  ^a  u^^-riü  ±i:-  isort  u'iiJLexeindi::r  jbvniwl- 
lioloiiia   ;vütrv  aut(:ur  a   \oug,   j     pcnse)    qui   ttüit  t..ilcii:w2it  enl^c'      v  c  ;.oii 
Usiiipw   il— baia  lit  v;ui  «  U,it,  u     tou:^  ic^  t>'>^'^^^  xii tr^ro;äLJciits  qUv    j'.i  rt*iCuuLix 
fet  qui  ^ti.it  Jac)fc>  aiiiis,   iütiuc  ,euL-^trei   t\x  foac-,   -l-.:^  plus  dout:  et  stir- . iü-^ü t  xu 
pj-u^  bize;rro  ut  qui,    srixis  qut*  je  in'ai  r  ndais  cojLpt     :    1^'poou»- —  j'ftnls 
b^öucüup   tiw^-  jouii' —  r  *'r\    ;it/^it.  1^.  vrui     fin  d.  i*</.pir'.    MÄt^tro-iAon^^roie 
tJL  ivwx   ce  qui  utaxt  >    cuiu^riö*  ••      -    fair,    coi-pr^-iidr  .  Ct-xa,  d'uii<u   vu.,  pi^r- 
^.onmlir  tist  preüruei  trop  ^.our  in  c^.  don.'3  liirdtes«««     J  ^  d.  vraiü  vi  vre  ^    x'  rir» 
k\»  Ui^ji  v^.  r  ttvec  voa^.   Loul  x.     i.  .  ps —  c^^t  eid.ri'.it,  i  44.S  ici  ii  aV^-  i-  a'- 
Louae  qui  eii  coiapr^nd  cuoicjUt    c»i  soit|   buxi  qUw  iloc^.^  -^ot;t,   pe)r   .Mvj/ipi»:*^   -^öt 
faociiiiir:    du  p.  u  .  ut   j«    xui  rttcont     uiiuti  dt?:,  grfaidfc»  iiit  rvx.a:     ^iat^rVi-lxt:^.*^^) 
J'C'L&ic^  «Ui  coaU.ct  vif  av^-tc   u*  rri.  t  p'^iKU.at  Ak)  itnt;,    ju;.'"u*rt   ix  y  o  q- 
vUAu,    o  ruiid  ix/  t^vhxt  oa  .siirxiCv    töujours  soud-r.ii;   .t   tout  ^    fr.it  i..ußtvri';UiC 
ij-aib  cn  r  xi&fait  k  pc.u  prt  s   Tuo  l.ttrts  dout  wt  ^  ucoup   tr^  .    intc'.r..J^ef;bt  i.\x 
^,i>iutüv    vav    pt'.rt>omu:t,v    t  t  iittt  r?  tur  ,   j     coi .  .  ac«.    ti   co  ^rüarv    ociiucpup  c*> 
qu^.,  a  ??  ans^  na  wo  pas  du   tout  cU>nn!.'v,«*      tout  ♦>     i  ^lu«  ^    j     n-    vii.i;x  paa 
iwxir.    Uli«,   ivio^i^phi     d'    Ltfruct-iioxvnial 


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y.  ^ropOL^  Uii  ^jTiji:  ;.öu«.r  d<    x'üui\vr:.xTi    di    i-v^t    •i£iiri^iai&  m'c.  apprucav' ,  qui 
ft.lt  Ly^-^  r  ch  rch.  s  pour  un  -   bio^r:-.pii       d.    r.c;^tr.;U;:.,   Ü  viadn:    s     prb  av    r 
plu..   t.vru  V.,  HL  x^ciinr».,     Uli  Ubli  ua  R  *.k  r "lU,    .  rciiv     c :  iir^  xii   bibxiütt    uo 

c.    x'ü..i''. v.riiiloi  t-:t  04*  cL  rciiv   U,t  lü^xuoriiülj-ia^   .tc«     o      uct     ©aii,  jj^o.      *-iCor<. 
—     i  J*-:n  rCjflochi  bcnucoup —  c<.  qu.    je  d;  vri-ii^  fuir^>  evi^c  inv   coli   ction  d 
corr     ^Oi^d.acc— -  7^-   .^    ilr^^   u     A»<iü»rcu..,   c^    i.UL.  u».  ^*^i'a -Uf  a  ^»u  |.rs..;j  00  oa 
7^   (j     x'oi  üubliCj   de:    FeuchtVMiiier,    ua     c  .utaiiic  u..    -'•ritz  Lcu^,  ^  \x.l  ü<  litco, 
(:   >    X'^otr-.-^  ci<Ä  Jciai  ^iu;.itoxi,      Lc,    .  uc —  ci*i     -:.lt>v.-  xiifiaic«».     ^i  j     .i.    (njxi> 
^a;3  Vc^iior     Uml  C'..lt.  ua  jour,   c«    ;i  r.' it  i.;  Lur  li  .       t  pour  ua     üibxiotqu^., 
..i-iiiü  je  a^\x::;..   pas  d^r   Qcp.vrv.r  -*.s,.    -  wr^^Vi^iau     t   Lou;.....   .^uri.       .,     cjntiiu/ra'oxoaü 

.  /v«^z  vou.\.  d<  ^:  idC    .    :    Cv.-,   S'uj    t."i*i     J.     vüU:.     h    .  x'ui;..   tr^  l   r-  cuu:*öi        .i'.   • 

Ceci  cionc  1,,..  aouVwileß«     J'.joutci  ^Uv,jl-,u       ...ol  ^uut  I*c.ri^ --^i  it .   uvuc  oae 


^u.wlxGu   .:t  j.    v^üi.  .anbi 


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fit#<»b    JLU    ^.lilli    el 


J•e&p^-^t1l     lioa  vqyag<»  aera  ionij  blen    jU^  jti  n     poui 


jours  ö   cii  u..    arrSt —  xarxc:^  -sjücir  c.^   Zürich^  .äx^ü^   V.jiaIö^,  i->oriiu   U-t 
u.V.   uutr«-.    yiL.c   .      ..ii..  ii*tr.rSt;»     J'    1  ^...'^  aicii:^  |->artüut;    r"ivia.;iuiik:Ut,   uoiic 
jt  eortir&i  j>rüüabl^  .    .^t  toujour..  j^our  dejeiaier  ut  alner  ou  daiiö  .i^ur 

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noire  avoc  uri   turtiv  nt-xt  t:5t  i;ijv.ux  ou  f;ciu.rpe  forj.idcbxc;,  ou  avc->c  une 
vov^U    (bxaserj   en  v  lour  lioir«     ilAIo  A  PAKIS--  ex  c*?  a'r^öt  pas  tout  h  fa.xt 
4dör*f  copainTi?     Par  «XÄinple  Cliarioa  i^HJusseau,  ancii^nt  ^rof«  dei*  ^coii^c 
PoltHque-.,   tvQcat  de  ia   ^iv.ncc  t    L-  iu^'-e    U      ijuii:  kpI©  d»-   ir   f      i^.!.    •  &!» 
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öciirt.  d     j.jy     ou  rohi    aoirn?     i-'u.i^quis  tout  6  rr   lourd  f^   cause  d:^    i'hi\;jr| 
je  »erai  tr'..  ürät^avuc  biöü  £ü  kilosl     J     ..  •-^cose     ^'u^ie  c^u^^tiou  ;i 


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i^Viint  de  p^.rtir  cii-aiaCii«.   poui*  p^it^t^ci*  uxi.    .s^iXiiit.  chvü  nieij  fiuieü  btmtraictiriitö, 
je  vou».   ^cri:- —  cioiic  tili  ^.Vniicc —  Uii  ^<itit  Hiox.  j^-our  voUv,   r.iVwy<:r    tou^ 

et  Ir   Prince  pour  iioe^  r.t  ij7G«     '^ut;  Ci&  t^oit  uii*.    üiint:r   bi  .n  GupCri^ui'v;   a 
x<.  u^r^niitre —  je  puiibe  qiUp  rioiAn    tu.^a  pourroni?.  air.   c^;l'-:l 

Cointaei.L  i.jLxc2.  vout: —  etiei  vout  fc  irtiiiCfürl —  et  nii/ind  vi^ii^un-i;  vo -^  ici — 
^....ut-*trc  en  ^riiiL-  ps'i^  Je  m^n  r^  juuirfii;:; —  j'^.i  t^raad  ^rivit.  de  bavarccr 
en  frfci.^iiiü  —  cu  ü.«  b;3ll^»Q;.r  rvic  vouc    .  t  iv:.dK    coinrce  autr^  fcitU 


li  ri*y   i.1  rii  n  a     bien  t.  rbccnl  r,  hi^a'^^   ce  qui   i/t  bi^K   -laiiyeuxi     ^  ■  i 
p-ut-tlro  d»-   S'arvivn-  est  diija  btF.ucoup  cei:  jourj5-ci«,.r 

Loac —   .  iicoru  uii    th     vtiy   b»  3t  vishüt.— -  jt  voui?  v.br.ijLt — 


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Ch'srr  Ancrr-—  ixrci  .ic    voi,re  i-ritr« —  j^tiü.ij  ua  ^vu  triLi.-.    qu«-  vom,;  av^wicü 

aouju.- tjt?   qUv    ctxi.  r»'a  pciij  de^xU  ii  VOüi:.!      u;   i.iTv:.t,    c'etrit   :oujiii3  a  VüUo 
pi.ri:/unn«r,j.iei;ii;at  inai^  ptiut-virt    ^■:i>^  ^^ii^b  u'^v^iL  pf^i^  coüpric  cei/i   c.<r  je 
nt   l^c-   couiiai»s  pas  ct.  c'e^ait  Riiiier  H-unjfcnn  qui  ...'bVKit  arr£<iit>ti«      -.u^^nt. 
iiU  tjujt-t  di-  x'i         Lici^rai-i.it; —  koi*,   jutri.         .t.  ^i,^.  at  seir-f^m.i/tii.;    ou  co 
ii^nrc  CK    chü5<  ,   p..L;  de   ^'.joni't^aGioniuu*'--  j'?;!  hurr*.. ur  c*-:   ga  pour  ..iOi-irZiu  — 
je   oui:-  beaucüup  trüp   iiiu-^  per'oonn^'r  priv^^^t —  ncii,   j-   vourcin;;:  rf:Cüniur  oey 
ci^Uv,  L.    intpt  rtröiif.ii  tt,i>  iiOxit   il  y    avidl   tout  i.o:  <•   Hfciöe2   ciaw;.^  Ti.^.,   vIl.,        ü  t^»  :ui 
Uit4r€LiSc.ntt;ii,   uu  i-oii.t  dt,   vut^  hi-toriqw: —  pxutCo  a»:r*ü  Cc-tt-    airection^ 
irw\I'i2  faire  1*-  iiar^-r-drupping«     Cc-  br::ra  noiui.;  uci  :^l-:jJ^rc:  que  o^^v    aulreü« 
.icic     *..e  ^.-üur  c;Xc.  ii  y   u  hü  riu^n«  nt  u-    ilifficuxt«;.  iii~/rit;uree  ^        oi- 
^Jiiii^^   jt  doteüttr  i*i.-ais3cretJLon  .Xai*ri   &,    c*e:3t  ia  vog^ui  aujcurd*hux —  aonc 
j'    ut;  o'^r  patJ  dt  iiütrv    ttnpfj  pvut.-?trt^..  •     U.  ^.oum.it  ^nrirr  u^uucojj^j  ae 
LwUo  coli.—  donc  vent  2  bientSt,    vjui..  et  *-aru.-r'i^;mil 


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Car  je  ptHiisc    bien  cLic^ii^mt^il  c    vouc:  aujoura'hui,    i.     jour  nCut,   ^t  iies 
isüuiud'Ls   tiMUt   :ii.  i^ör  d   K:.sai>  j.'iltxaiiti   u...   ^'üur  vou,    accc,       .,u;  r  i..  auoiit 

iiVi.c   ßcti   tai^.nt^  rciiarqmibles  daut.  xei  cuiuiü-X   vi    cSt'    d..  ^omv>  x.  o  ^  utrealj 
voiu^  a  pttut-'^.tr     uf IV  rt  qu;.ic[Ui     cliO^f.«:  dv    ü^cci:!,    brilv.         i^    j*    Lp.ri 
qut  vouj>    Loub  ailt-z  biou,   que  it..   cJ:ior>iiö  üc  Hiarcheiit  p^s  trop  jüai  et  qut^> 
Uli  d*    ccw-  jour.  >    vüUo  et  i^arit:— -t'ii..rr<.  vieiidrcz  lut;  vuir  iu  dtar  oxu  i^  v\^f 
iux>l      C^.iv.   c'w.L»t  a1   vi  all  pour  votr     I*Ctc« 

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Ri  n  u-    nouvcau  ici,   sauf  ou.    tüut  ju;.tr;  Iv    T        rque-  viciit  d'^^tr     r  j    tte 
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t.sn\  piß^    dMiw^  1     cti.^  Li';r  cti;t  cdlteuT   (qlii  u.^   biz.-'rrr r::: nt,   dcjaaiidc  a  A^^xy 
Yot>t  liion   ü^     rt   *'vhi.t  do.  t.  ^h     lo»....    -.xkc"!!;,      ^  bi   n  roue  iü'a 

dj-t  piu^.>it'UrL   foib^   qu^oa  hl.  pcul  öw^^   ^suiciu  i   ^oui*  u.    p^-i,   ?trv    >-ui*..  ct*.^ 
C(^  qui  tsbt  vrcii,    il  d^vi'.iit  de  pluü  tJi  piu::.  difficüc  d^    gü.rci.  r  i^oquilibrti» 
J     ii      ;  ^i3  ebiioiu-,  iit  p^e   Cö  qofe  j«    VciiiS  d  v<.nxr^    tou:j   -.ics  tojiti  ^^iOiit  ucaiß 
ia  iii?i/]     Aö^ictto— -  plu.    ou  :]oiii£> —     pour  ue   riMi  dire  du  i-iOx^a.    -aiti.  r, 

Volci  poujcv.uül   j^.Vi'ji^  hr.it     u     vou...     crir  —  c     n'  ;.>t  pnü  1'    l.'^*J^     de 
i..ttr     puur  Uli-  i.iiiiivtirö^iirfc—  uoiio  j     IMuiis  ici,   ^n  vou.    .iiibrc.eaaiii.   tuUb— 

bii^i  fidi.iv.i/jv.ut 


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Votrc  annee  se  rondt!-- ►  donc  il  i'hut  vous  CLclrfc£ö*:r  toua  itrtx  votux  poor  ia 
joiti  avec  ie  r'rincc 


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pas  trop  Dial —  ...ciIl.  Itit,  lüiinuii^ö  ^ont  ^randö  partout  au  xcondti  i^t  Jl.u  vi«  uevieiit 
de  plUB  -n  piu.    durt.  biea  que  üiSa^e   *i%^rctVfcnt  eilt  n^etait  j^u^  ex^cteiXiexit 
pour  rirul      Alcr.;,   coraae  dit  i^dlKi- —   ^-,'ai  parle  du  victwlre»     Ix  i'^ut  &ur- 
Tivrc —  c'«:bt  tout."     Doiic,   eöb<.ycuö  dt    L'urvxvrbl 

J^etait  triste  qu4i  vuu;^  n'i;ves  paa  aiiue  i  oa  liwioir  tur  i>»^  ..iarciUe,  j'^wais 
bien  voulu  stvoir  votr^   critioue—  vos  übji^ctions»..     r»iUt-t*tr».  voUw  aviea 
attuiidu  quexq«^  chosf    trc:   profonGt.r   taudia  quL-  je  u^.   Vüiu.a.jLiö    v^t  ^oavais) 
aufc  deci-irk    Ct-ttc*  oaiitie  extr.^.orcinaire  et  ca  ou«  lui    11  it*   i:iontr*''    dt.  xi. 
lui-iü?ine •  •  •     *Ni  ixiterpr^'-tation  d     toii  Oi  uvrt-.,   ni  c     lai-röeue  -^  iitni.  s*f»6 
cüxiöeijih,    Sfb  attitudt,ß>    von  c^irtct^rt    i3*  Ion  int  l  *        ra   iic^-c    uvec  lui«.« 
J'caI  eu  dl;;    TiMCtioui^.   Ire:,    iavcrc  bli^b  dt-..  ^ii^iii5  qui   %?Lait.iit  isuaa,  i  ait.  iia;>iJi 
des  ^aitrtß  qul  ont  voulu  ^irt    ct   qu*    jf^n'cv^is  peb  pt'crit***     Vot,  ^xplicft- 
lioii^,   vctrv  critl^'^  r^^^»4r^  toujouTG  crx^^Äet  J'ttaib  depu^i   pa   öeiü.r      .t  de 
Vütrr  rvccliüii  ut^ativti  iuLit=  au^ei  qucf  tVidciim^^iit^   vcuw  l'ave3&  oi  t--  ^  iiim 
qut;  vüUß  li'avez  in^       ^aö  lae   doxiii*!!  "tho  Len€»fit  cf  ycur  oplriiün".,« 

£n  Cfc  moru^^.t,   c'c::.t  l  dirr   dt-^piUL  plubi^--urb  moiü  j'^i  f ixi^x^ ,    c,t  cu/;jj.t^ute  a 
ecrirt?  une  autobio^raphit. —  jt;  1t    Lrouv;.?  rtiicor-    piub  aifficxx^,   4ut^  c'i'.tait 
d'tcrirt.  xtt  iv.L.arcu<.- —  ixi  c.flcti    ch^qu*,.  Üvrr.  ©ul  ^lus  uifficixi    quo  x»;  ti«'ri.ier,«, 
iHöb  prubluiiir.b   öout  fc^raitdfc. —  ce  qu*>  ^ui;.L.    iiittirt  i  .^tr  un  lurcpt;^   luti-cui.  t^u- 
Alitiiaat;nt,  B^r^ixi,   cu  j'ci  vCcue  d^abord   (cüüiijk    AutricJtxi^-Tiiat;} —  ii'o  p^.a  a«r 
vaxtriiT  ici  t.,t   tant   d'autrei>>   oif  fi'.'iLi.tt.  £♦     J'avanci'    öv/üi  .    ut  <    ^^i  o  d'i.i:caröt>tf 
fet  qik,  xiK*i3   ^uurci.,i.  tt  rtcxiercbcL  coiit  aliemaud  xit-  facixitc  pa^j  moi,  aiiglaiti,«« 
!,Ce  qui  e.tc»it  d4ja  unt^  aifficuitt  avt-c  It?  iieine^raut ;  •      luay  Ic^i  a  lu  xt  poBi- 
Xiit^x;ctiU4it  t:t  cn  iii>t  beauccup  plu^  exitiic^aiaLitt^.   encoiv   que  jc^  x'^viiii^  cb«»!]^  a 
eßperuT— •  ^ixit.  vieat  d».   rt.ntrcr  de  &t5L  vacancfeb  et  j'ai  cca  iiüWeileb  pa^iöS 
^our  ellt#*«     J'öi  üecide  d'ticrire  c^  rthixiei:!   cho5e:ß  dti  ma  jt^unesbe  saub  pt^ütitir 
exi  Cti  moDciit  öi  odi  ou  noxi  c^.xa  vexidrait—  ii-ettrt    öui^  papit^r  CL:rtaiii*:.  iniLOxrt» 
parce  qu'ixa  t,ont  exctii^txoxintlö,   t;;t  voir  piut  tard  ai  oui  ou  xion  uu  peut  xt.ü 
g,aro<nr  daiis  Ic  livr«  •     lout  cexa  t^bt   un  va-buiquc —  coTmix-  tbait^i^t-iit  bi  jt.  ^our- 
ralü  lii^ hrridi.^%j:r  fixia^iciereinexit  pour  t^xic^^r^   un  i.ivr«:<rr*      ^1    c«xui-ci  pr»  x^ura 
ßtirrniwnt  plü::^  a.ünt,tei:ips  a  ecrir<)  que  1©.:  autres»     i'^'  bi>  xi,    tobp^ronb  pour  uii 
i-iraci.'iJ      t'tJt.t  dCjt^  Ldracuiijux  qu«  j*ai  pu  coutiiiU^r  jUi^;u'ti   tujouru'htiil 


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lit:^!  arnicai«iiiMint 


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•  ■  ■  oeadat/  aoHl/Gaag  Jif  m!i.iukjui  b|  rjrJ  sBpiui'j  souotac^j  sh[  ap  opuoj 
P  *rm')I\n  V'  uoi.iiujijjuo  )  RipiiiTiinj  op  'i^p'uiuuoiuQ  ()uis()  jocl  cpuuop 
Kj<|o  •  •  •  sn|(.iJiso  ap  loqj\^  if  'Oiueju,!,!  jnod  saiui^j  suoih'NJ  sop  spuoj 
•^I    ':l:IDIN;n.I    '*     •^^•••Mj"  ~   (^•*P"'^l"'.l)     i>fniu''"'^u'0    o^iso  p    uoiiisodiuoo 

•  •  •  oiioj^  .uqjv  ^  'P"";I  s.u.ijpijq^  suoijt'x;  p-^lfun  niji  *Hl:')I\'n  IfJ^"''*^ 
oj  puiquij  jo  i>(nun;u3iUQ  oius^    \'q  p.iinqiJUio.T  uSissp   •   •    •  aaix  ^^-^S   ^ 


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plus  otT,;  r^r  '.!?t^'   ^':'^  ^^"^^   '^'^  ^^^         a-n^dW.  j,    ...    .als 

J    .    .     r.  4Ue   vüu;;  .-cceptiuz  Jüt .    voc-ux  i:U6Li  diaia  uii     x-  •  trc     ui    vcl- 
oonnt.rß  edaiemeiit  c.  ms  nouvclles.  "  '' 

^voai  tou"  d/cld'   t"  '•'"'  """"  '"'^  '^''  ^^  ^"°^  «^  '^^i*-^  -^'-^^^'^  -^^^ 
^  oub  t  ht  !'^";^r^Cu:Lnc:    c^r  ia  ..  .,;.,..Uou  ou  .deux  x.    col^epö.   totJ 

Je  Uv   sai^  pas.  exaclaMnt  cüimaeiit  Heia,  r  orgaaisers   tout  car  c'.  .t  iui 
qui  s'occupe  aeb  i)hotocopi„£  du  ras.,   de    U    cc-orc  i,.- t  inn   h1     »,      * 

öl  dit  .  ue  Je  voudr^s  r;u.   vou^   scye:.  cOi.ßidrre  d'.Dora  c.  au'il  .,«a 

.^..on  trav.il.      Ln  v.lfct,    j      vüub   cit     u..     foi:.   aj.n..  le:  livr-     cori:.     un  ri^^ 

tdiuurb  frMicais  d-    R       rou.  .  saa-  ..ou.       n.sii   „v.       TT-  V 

IvY   Fl,        i    Hij.T  ^i"^  *  &8J1"  ^'Oium     iv'aillturt.,  1^    iivr     t'c.pp.ilo 

tout  c     -:     ?  "^  "•  '^  i^^'  •  "'^"^-  °"-  ^"'    ■     ^^^^  ^'<^^^r^^l     -i^-'  f-it 

*ra  t^'.;ir\    '    '''""'        :"^'^""'^"'  "     ^'  ^"^^  -^'^-^  ^^^'^  ^^-  ^-^^'^^   ^     ---t  le. 
ii^Uitfa  qui   ^'tii  occuptjit» 

Prob..bx     -at  ^.  c^uo     d<.   xa  ^rt-v.,  j,-  suis  Sc-a..  x...  aous-xx.  a.-  F..bxo 
iu..ti—  ,     t  il  chf.rchc  !:■   mti.  TIü:  L/.ä  HUÜSE  d..   chez  vou^rr^     J     x'«   uerell 

cas  LA..  huu.x.-  j.    „,:    voucirais  pas  que  vous  r^^ez  uii  Bens  a.  d»  ja  vuU 

et  r^^Tt'"'"'""     "%'^  ^^-^"^^  '"  .ituatioa  ^inCrax.,   puixticue,   GcuaLique 
XJ^Ö,    .linpxv        t  pOuT  survxvr.,-...       .t  oncore  tralt.r  cionil     i^i.s  Iw.ixier 
r     ^1^         f  '^^^^''"''  '**'^''  ^""-^^^  o'u,.txu-x.Ue,   donc  ..ox  .u..i  j'.i 

ispCroiii-  ^our  uii  bi^ai  ii,t.iiltur  iJ7ö  et  d-    uou.  r  voiri 


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raison  b.:^:^:  i.t:^;i:r^^,.'^^^°^^  -  ^:^,  ^v,  ^"- .  ^^    ^^ -   -■ 

Quant  ^  is  di  ;pOültlon  d-u  i  t       ^ 

a  iüon  joi^i  iabio   (nui  n».    t  W,   i      <      '         '   r     «*'..  avt,c  x.        .,     c.urri  r 

ü«  ni'?^  f^'    ^    "^  ""^  ''      ^  -  ^^^^^<-\P^^t  Ir.  joua-r.6e   (j     u     Ja!  pas 

Jlax  u  i..,iiu:  a  i-abio  u.r  vous  fair.        voi^l    ,>o  r  „  t-a  xl  y  c.  b  ui;tii;. 

pa.  i.  m,  r*inte,u;nt  ^our  qu.    J     pai  ee^ooLliiL^/  ''''f"''V  ^^-V      ^^^^^ 


y  u;.  .'iviä;.  d4ji.  wuioiicc:  i'invitntioii  »cur  1 


J't.p-r.    qu.    vou.  avcz  eu  de  tr' .-  bomiv;t> 
qui  H'    3t..r..  p^fc   trop  alfficix«. ...      waur. 
i^rl  -—  ot  1'.-.  j  .Lui...  rriacv   c>.iu,L,i — 


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depart  t^n  vttcMiceb —  ou  ^-ut-^tr^    vojxii.  y    ^U      cirja»'^^     tvinon,  fHU\.-7tr<: 
vou:^  pourri^'Z  m^-  fear-.-   ö^ivoir  i^a  (iUtixc|Uc:    uots  c^hu..i.iit  \oab  axjut-z,  vout 
l^iiiXic-i'iii.rrr  cit  1:    Pitit  rrinc^    ctr  j.    i.iv    i'tiio  dao  i.uucii.  t,  votiv.    tj^^^ru— 
vou:^  etitjz   1.1  ^ei^tii  d>    me   f:>ire    'oh.\oxT  tout  dt^  .uit     i'iirrivr    ciu  id^.  de 

pxiüua^.t  quo  ie;:^  eli^ctioiits  a^ait^üt  iiCcaparC   tuut  votr*.    tvJu^:?.«»     ^aif) 
depuie  Cotte  lettre  il  y  a  le   idi^nce  cOirpiot  ce  ^,u    n'cct  p^s  du  tout 
'■voti'f,  t>.ur€" 


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i^ou^  itionti  li  decu  que  idtLcrc.ua^  e.  tx  si  pt-v^   u.    vote;^  Kiaiiquaiit,  li'a 
pa.    pu  aciiev^r  c<    quc   noa^  tiviouto  tout>   ^i    ..L^per^ —  je   L^uit:   bttr^^:  qa^;   c*t,;^t 
iui  qui  otait  votri.  ciioix  ''i^aitUutjnt^  aon'i'i     ^  aii>  peut-rcr«,,   jui^Lcu^iit 
puisqu^   ifi.^  electiüiib  £taieiit   ßi    '"clo&t.*'    celc;  va  avoir  uxid  iiifiu*:-.nce   gut 
Ic   futui*  dc^  -l6  trauce    (et  ou  i.iüi.dtr; ,  ci^aiG  ±c'   L:-^.iii.-.'     dcUii;    r  spo^ü: -iiitt. 
piuf  grtuide,   au  poiiit  d-  vu  huinciiitidre>   du  pr  luii^r  cnoitii... 

J'avai;-  x'ii:^res;jion  t  .    votrt-  l^ttr^  que  ie  liOnu     d;^:    editioni>  lu    vouü 
intervbbent     plui^  beaucoup  a      ue  je  pvUx   trov    bien  conprcHidTv-     j  V    trouve 
a     :  oiu^   tt  Lioiu;::  deL  i.lvi\.  ..  <  ui    iut'r   it..  ut   (for  idf.üxc.:   iVLij'Tll.-  i'Ki  ul_  .i/i* 
Mru« —  x^ta'iita;  in  &.  V>oodv<";rd>  ••«       -t  X  i^    r«  afitionü  :      -Uü  /tu;      öur  ^«'       r.  uti 
n'^.u^ui'     p^;    bieii,   ix  rne   s«-*?inbxr,   a  la  dir<  ction  ou  lo^  i^ifiitou  enit^ricaines 
vont  c  ..   jotj:*^-ci«     Ui  v  fi\  t,   i«ou.>   \^\  Ly  Yü..t  t  i  jijoi)   .iOUv      voiib  eu  de^> 

r  j,-'0ni:5Co  tjiUiüUiji: r-ai;..  r.u  cit  d**^.iJ.<;t. —  pati  djoffriL;  ui  d'/^Uutii:  uiii, 

ni  de    »:cribn;..r,  ni  Knopf,  it^t    troib   Luii.ont:.  qui  l'ont  eXtuJinC.*»     i-n  ^fftt^ 
je  riilTchiL   bt£;Ucoup   c   .    jour;^.ci  iji  üOul.  uc   ci   vioiü:,  ^ut>  offrir  cn  ^urop^ 
en  i^r..     ti:.i..p{>^  tU  cr'.^jil  u«    frait.   cüi.t.iutr^.bx. .    pour  i-oi    ^ar^^  li  oU:    jv:  u's. 
vraii/ieut  p^.ö;    et  d'uü.    ch^ut    dt:   ^a*übi^'"e^>   qui     uivroiit  probMblc:^ii]ti.L  tn   caö 
dr.\  pubiic>  tion  turup'A;iuK    avuit  un       ^  .  vic:  iiu.m 


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^^a  «;ffct,   je.  ;^ui;.  tnu    treo  decüui'u^^et-- 
aw.  LiOin.  ,   j.    ij<L   dijD   fciei  dnnt>   noii  (  t^i^ritl 


^j;it:   inutixe  de   öe  det'.e  -  p' rvr 


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Qu£jit  au  LAviT  Iiüü»jü —  j'^^üpcr^    ^[Ue  voti'«.-  tiix  ac-    acxiOK  ;i'i  diqu^:  pats  qu^.    It; 

ro i'i  vout)  a  d'.xul     oi  voub  a^if.z  i'occ..>iOii  a     ±<-  iire«     m.   "vrai"  ».circ  xJLo, 

üioa  pxU5  vitii  ami  dt    ua  jcuneiJbe,  vii  expot»«;  r  f  in  d<^   ^epteiiibrc  cut.-z  i^t rriiiAtiiii 
jtuue  V :  -   j«:  vaib  iui  deiu^ind«  r  d     vou;    invitcr  pcur  i     v   ndsjia^*  l     j.vir.  Lijrit.iit 
je  jüuii.  roL.ancit.r,   j*.    vuuw)  prib  d     ii     ^-:  .    pr»  ndr^    xittv.ral.      hl  ce  qu^   j'c.i 
ecris  ö  prupoy  du    xui    ,   t  i^urtout  tsu  feiijotr  quw    j*i.ii:c    b^aucoupll)  j   i\x>xf  dcrivrd, 
df**ilivur.,|   a'a  aucunc    id'      qu'il  ti^t  d   \    ;^u  uin    ^riomu,  dcuii^  un  u.    : 


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dt  i  a^i'.--x'it;rv.~ 


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J-^Vare  qu.   Tiü:  LAlil'  HCÜSL  vo.s  u  j.i.a  eu  Loa  tei.^.  ^t  oun  eUt, 
itai.  je  vi.^i.  a.  trum.r  d.ux  pa^,..  de  bs.-  ia.  p^.  6  .t  ?' 


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i-u^t.    (au  il.u  d.    'Luce"j     läxii  ''•°r''i--r     pati.  118,  li^a.  4  uu  ua.. 


II 


iJev  iur/w,   17  cLvril  ij74 


Ui  i^otio  iLOt  pour  vouü  dire  qxit;  je    ^uit^  en   tr  iu  c'^dl  r  kxtK  ^u  bure^u 

stricte   L  turii^  aveo  1<:^  .  xir-tiit  tn  tion»';...     J'-.'^v;iv    -,a     c^  arrib     bi  ii 
T-t  bi.  i.tötf  ^  t  w^urioul  quc  vuiui  jL'tijßtir*, zi     Vo^vi,   vurr^z  quc^,   gmü^  jl^ö 

car^icteres...      /iV<:  z  vou^  cüunu  J^c.-iu  s:.  '-^-hery^i     C'ett  tAu.xlt.  che:;  i..oi, 
dv  iii6  r.^OQi'Tm 


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J't^jjbrat^ör    tout     l:     f/.iniile— 


17    L.£.r6    jlj74 


Ux..r  iuicre — 

C01VJ.K  i.t  :.L1\:Z  vüiiws —  :-<  ri:,-'-ir'i.:rrti: —  ie  x'iiti^  x'riiiCt.'^     'viviiCiPLZ  vout^  ^^  -tit- 
?tr..  c<-tte  cjiner,  vous  -t  --  rie-i^I-rr^'i»     I-l  y  e   siii  loiigt'Uvs  ^-1^'-^  nous  ne 
liOc^i:.   r>0]:ii::eti  ^£.h  vus,   j^.-   u'^ruiui:   ce  voui   g  u>"l     J  V-.ii.jrciiL  iv^rit::r  c.voc 
vüu.  ,  n^  bcü.j.aci'cr  u.:^  peul        Doi^c —  '••  .■-<.  .-I 

--iifin —  j.     nouvt£u  bo^i-uin     it  fiid    .1.  co:nr..-nc  ra  coii  ch*  .  ;in  cl  .  .?.iii,    ch  z 

lrLlt::r...     -  rij^   est  TPiÜL)  eiiUiousircmre  et  ^^-^ine^  ci't^.^.oir»»«     /loriL'   c  xa 

i-  ^>»eu  ^.-r .  -   b\j  uüO  vorcvt'.     .4.  intrUiriit  c     a'-    t  yxut  s-crt  ^^ —  jt.  ri'^n  voiUr  is 

j.    '^o^vL.!'^  X'-'   fiiiir —  c'etc.il  ^jIh;^  cifficii:    r;u..    touL  c»-  ou-    j'<.i  ccrit  :-v^ 
^'  TLVixiii, —  quv.  i*.:j:  ro:i:'ii£  fjoiit  jjIus   >-::i:rust^iit U     Ici — '  cUüLjt  Lt  V- 10.11.11      V.t 
je  lie  ciii;-.  pc^L.  üür--   cju<.-  i.L.rleü'    bi«  tricn  v  t  r:;iL-üt-c..    uodooro  -.i  s«  ro*.t  con- 

>.,u(;.iio  a  VL..  lAw./^  liüJbF,   x;:   d  :mi»  r  ro-.:an,   ji^  uoib  ...a   ortcin  dr    f..  ir»    i:...irt; 
deo  cOi^ir^L  xerox  .^our  rHi  tiiva/ .r  l.  vüu^: —  j*'.taiL,  tro^j  cr«;:vf:;t    at,  L.*occu..jV.^r 
d-:  ouoiqut  ce   Liü^t  t.  c8Ui  du  P-f^^-ar^  loc^    1  ais  cttVOUL..  viiUarc.  uii  a     ctis  jouri-;« 
Jt-  VüUQr^iü  bt;aucoup  qd'.:.  voui^  X»-  iisiif^x     ''.^t  j'ttui^  ii-;ur ...ut;..    qu     vul».  *jUu 
L.vie2i  c.  ...cnuee«     ici,   ic   coi.cxucioa  etait  ''uüt  coiiii:;i?rci:  j.  '-aüu^h"»     ij'iarr».- 
^^our  ic  rur/xji  sentit  c     ^\i:.^rqvi('z  d'c..ixj-t.urs   u-^x  xjG.;  qUcüic  j'I^taiti  l.  ZurichJ 
et  l"ui.  ii  6L-'~  Ulm  ac,-L'  ^jer;=üna»je£  —  ix  y   a  dtiv.   f±ui:,h  Le^cks  c  uo^..^,  \ooa  CLt.ac. 
X  a  ^'l'ortii.s*'.      loij  Vj2.iiacr    (holt;  a  6it.b*^-re  i^  i-^..iy  de  i'ofi'rir  ..u  -uro^jc 
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i..i  *Lüi  avaicau  t  -•t.rcul 

i'utrune.i*t  ii  a'y  ^  ri  n  ar-  iiouveau —  ii  y  a  5  crocus  cn  fi-.;urG  sur  :;ici  ttr- 
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V  CMicoi:  «r-ii  --urupo —  voir  iec:  ;:a;i;,  voir  rui>-xr'iu  chüsv  ci'autrt.-  oul  wi^t  ^tvi 
liaic:  j4ai  ci-'  l'e».püir>  curtout  pOcj:  io  Kcimtcuu  bi'i.  qu-,  j'ij;:>jt^.,iv  qu.-  quci- 
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^     i^etit  i-'ri.i;cc —  qui   ...  t  dtvjf    uxi  J    lu..'    ^Ioiif;!.. vo:,   j      srisl 

lX)i  .......  .  Ui  L     VUb  i.uü\  .L.i^  .ül 


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1  '.       .      '  .      1     .  .'•3^•' 


AFTER  FIVE  DAYS.  RETURN  TO 


Peter  H,  Behrendt- 


2064  Bast  96th  Street 
C  levelandjO. 


Kiss  Ruth  Ixarton 
1354  ITo.  Harper  Street 
Hollywood,  Cal. 


^  12-PM  ^, 


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Ruth  Horton 

1354  NC.  Horporetreot 

llollyr/ood^   (fil. 


Jtily  14,  1943 


Acne  Tranrfnr  ft  !^tora6e 
817  ^-eBt  J)lxth  J-treet 


Centlenon: 

Wtll  ycu/)lnai^Q^note  "that  I  aii  not  vdl/'int;  to 
put  up  rdth  ^Jiy  further  delay  in  tliic  caee»  The  addrecoee 
of  thc  box^v.iilch  I  had  tu  ncd  over  to  you  for  chii)r;*(i:it 
to  ClGvol  1  d^Ohio  In  liOvenber  194?/h^iß  nov^  rocelvcd 
a  notlfl^oatlon  i'r^m  tho    .iokel  i'latr  Road  Comp:iny 
that  thc  box  hac  boen  con^  to  public  rtorage  on  kpril  22, 
(n  r$fi{iilr:r  by  tölophono^  thc  addroisee  r;nh  told  that  the 
box  could  br  dolivored  only  11  thf-  bll     of  lacUnf;  nais 
'j>rGtsontrd  arid  ßtoraßc  ooct  lor  th«^  anount  of  about 
t  10. •  naß  paicl#  Thc  addreecee  iß  not  in  T)orßerion  of  the 
blTT  of  ladinß  rjid,  of  oouree,  neithcr  ßhn  nor  I  aro 
r/lT  in^  to  ^ay  thr  ßtorage  ooßt. 


43 


Tho  thin  cnt  h^ie  bf^^^n  prnpaid  and  h^ie  to  bo  d« 
llvored  by  you  vithout  an;;  further  chrrpc.  ihe  cllfiiculty 
aroße  obviourly  becaiiße  of  an  inproper  addrese  r;hloh  you 
had  nut  on  thp  ehi  nont.  You  h^d  ad^rerred  tho  box  to 
Äuth     artin  T^hich  iß   ,  but  for  ono  letter^  py  ncirie(  ciy 
nano  1«  raison  not  !  cortln)    •  The  addrecceeb  ru^^if^  vaß 

Gerd  iuehßam  ., 

't 

V/iil  youj)lcao€i, note  Xlxat  thc  recent  chvin^jc  of 
addreßß  by  ;  ioe  I  urhAan  han  no  oonnootion  fvith  tho 
difficulty  •  Cn  April  22,  45    ,*4ien  the  bo:;:  iiad  finril  y 
arrived  in  CicvcUmd,  !  iß.   iluohsam  i.aß  ßtlll  livinc  at  tho 
addreßr.  ßtated  on  thc  noticc  of  ai^rlval  nancTy  lüü7  K  97thSStt 
Clov  1  jid,OIilo.  But  ßinoo  thore  v;aß  no  i.uth  Vtirttn  llving 
in  that  houBc  the  box  could  not  bc  delivcrcd. 

•  In  Order  to  oxi)edilfte  thc  oa.:  e  ir;i,tl  you  further  note 
thit  thn  frei(5htbtll  of  tho  !;ickol    acitr  I?oad  l)caro  t^o 
nunbor  40008  and  tliat  the  oQnßifgiocß  nan©  iß  ßivcn  aö^^Jrder 


40008  and  tliat  the  o^nci^ocs  nan©  iß  ßivcn  a»^^ 
M-elßht  ('oriiT)c»ny|  Inc^  '^hc  notloc  of  ar^lval  ex  > 


^'topire 

ßtitcB  that  thc  freifM  haß  bon  prepaid. 


rofifly 


I  I 


Ruth  Marton 

1354  No.  Harperstreet 

Hollywood,  Cal. 


July  14,  1943 


Acme  Transfer  &  Storage 
817  West  Sixth  Street 
Los  Angeles,  Cal, 


Gentlemen: 

V/ill  you^  please^  note  that  I  am  not  willing  to 
put  up  with  any  further  delay  in  this  case.  The  addressee 
of  the  box^which  I  had  tu^ned  over  to  you  for  shipment 
to  ClevelandjOhio  in  November  1942,  has  now  received 
a  notification  from  the  lackel  Plate  Boad  Company 
that  the  box  has  been  sent^  to   public  storage  on  April  22,  43 
On  ftdquiry  by  telephone,  the  addressee  was  told  that  the 
box  could  be  delivered  only  if  the  bill  of  lading  was 
presented  and  storage  cost  for  the  amount  of  about 
t   10.-  v;as  paid.  The  addressee  is  not  in  possesion  of  the 
bill  of  lading  and,  of  course,  neither  she  nor  I  are 
willing  to  pay  the  storage  cost, 

The  shiDi.ent  has  been  "orepaid  and  has  to  be  de- 
livered  by  you  without  any  further  Charge.  The  difficulty 
arose  obviou^'ly  because  of  an  inproper  address  w^hich  you 
had  put  on  the  shi  ment.  You  had  addressed  the  box  to 
Ruth  Martin  v.'hich  is  ,  but  for  one  letter^my  name(  my 
name  is  I.Iarton  not  Kartin)  .  The  addressees  name  was 
Gerd  Iiluehsam, 

Will  you^please^note  that  the  recent  change  of 
address  by  I.iss  Luehsara  has  no  oonnection  with  the 
difficulty  •  On  April  22,  43  ,»hen  the  box  had  finaliy 
arrived  in  Cleveland,  L.iss  lluehsam  w^as  still  living  at  the 
address  stated  on  the  notice  of  sirrival,  namely  lob?  E  97th  St» 
Cleveland, Ohio.  But  since  there  was  no  Ruth  Martin  living 
in  that  house  the  box  could  not  be  delivered. 

In  Order  to  expedi^e  the  car:e  vdll  you  further  nott 
that  the  freightbill  of  the  Nickel  Plate  Road  bears  the 
number  40088  and  that  the  consignees  name  is  given  as'^Ärder 
Empire  ]j'reight  Company,  Inc.  The  notice  of  arrival  expressly 
States  that  the  freight  has  been  prepaid. 


I  I 


I  expect  you  to  settle  the  case  vdthin  two  weeks  afte 
receipt  of  this  letter.  Otherwise  I  shall  ask  iny  lawyer  to 
take  the  neces.'ary  steps. 

In  Order  to  prevent  further  mi stake s  I  repeat  the 
address  to  vvith  the  box  is  now  to  be  sidi)oed: 

Mss  Gerd  Liuehsam,  Apt.  18  ,  I9OO  Ansei  Road, 

Clevelanä,0. 


Very  tmly  yours, 


,•* 


I   expect  you  to  set  cle  thc  care  vlthln  two  weeks  £ifter 
receipt  ol'  tliis  letler.  Cthervvise  I  shall   ask  my  lavjyer  to 
takf^  thf  necei?' ary  Bteps, 

In  or<5<?r  to  r^revent  further  niistalres  I  repeat  the 
addresr  to  vath  the  box  is  now  to  be  s  in  jedx 

Mise  Cord  üuelisaia,  Apt.  18  ,  I900  Ansei  Hoad, 

ClevelcUicljO» 


Vary  tnily  yoiirs. 


.-»r 


loi,^  Eh  ^  ^/^ 


Ai>^  HcPi^e^, 


) 


Ruth  Ivlarton 

1354  NO.  Harper  Street 

Hollywood  ,  Gal. 


September  20,  1943 


Acme  Transfer  Fr.   storage 
817  -  6th  Street 
Los  Angeles,  Cal. 


ü-ent  lernen: 


The  shipment  to  Clev^-land,  Ohio  ,  addre:-^see  Gerd 
Muehsam  on  which  I  had  dritten  you  several  letters  has  now  been 
delivered  after  Miss  Muehäam  has  paid  the  Nickel  Plate  Hoad 
^9*55  for  storage  cost  in  brder  to  avoid  further  delay  •  It 
is  now  obvious  that  the  difficulties  arose  because  you  halt 
erroneously  addressed  the  box  to  Miss  Ruth  Martin  vhich  is 
about  wxy   name  v/hile  I  had  given  you  the  narne  of  Miss  Gerd 
Iwuehsam  as  acldressee*  IJelivery  had  first  been  tried  on  April 
19,  1943  .  i'rorn  this  time  tili  end  of  July  when  Miss  Muehsam 
was  informed  of  the  arrival  the  above  storage  cost  has  accumu- 
lated# 

Since  the  freight  had  been  prepaid  and  the  additional 
cost  was  caused  by  your  niistake  you  will  have  to  make  good 
the  damage .  If  this  i^  not  done  within  one  we^k  1  will  ask  my 
lawy  r  to  take  the  neccessary  steps  to  collect  the  money» 

I  cal'-  to  your  attention  that  the  notjce  of  arrival 
of  which  you  undoubtedly  have  a  copy  clearly  states  that  the 
freight  v^as  prepaid,  that  it  was  misdirected  to  Ruth  Martin, 
that  it  w^ant  on  public  storage  for  this  reason  on  April  22 
and  th  :t  the  correct  addressee  was  not  notified  before  the 
second  half  of  July.  You  ^.ill  have  no  chance  in  any  court 
in  View  of  this  evidence  to  escape  payment. 

I  further  notify  you  that  a  valuable  dictionary 

which  v;as  in  one  of  the  boxes  is  missing.  The  title  of  the 

bock  which  is  in  l'rench  is  : 

Mireur,  Hi  polite    Dictionaire  des  ventes  d'aii; 

V/ill  j'^ou  at  once  search  for  the  book  which  presumably  has  got 

lost  when  you  repacked  the  goods,  I  expect  your  reply  whether 

the  book  has  been  found  or  if  you  or  the  insurance  Company 
iare  willing  to  pay  damages. 

Very  tiruly 


i^eter  II.   Behrei^dt 
55  West   88t h  ^treet 
Nev  Yprk  City 


Liebe-  Pmth 


den  ;^7.'  tlanuar  I94O 


die  alle  ordrinngsmässig 
IOC-  war  angekommen 


Vielen  Dank  für  Ihre  verschiedenen  Briefe, 
eingetrof :'"^-^n  sind«  A.uoh  der  Scheck  über  ^ 
Ich  vergass  ihn  zu  bestätigen.  Auch  die  längeren  Briefe  sind  mit 
gebührender  /Aufmerksamkeit  gelesen  worden.  Dass  der  -^'reund  sehr 
berühnt  ist,  h-be  ich  mit  Interesse  gelesen  und  ohne  das  hätte  es 
wohl  auch  nicht  abgehen  können,  iir  ist  ja  sogar  /irier,  also  was 
ganz  feines. 

Ich  wUrde  Sie  grrn  noch  mit  einigen  weiteren  Bererkun^jen  hoch  nehemn, 
muss  aber  zu.   dem  wichtigeren  sachlichen  Teil  übergehen.  Otto  i^ar- 
ton  schreibt  mir  heute,  dass  Ihre  Mutter  bei  ihri  wohnen  könne,  wäh- 
rend &erd  bei  -^'ritz  Marton  unterkommt.  Beides  kann  natürlich  nur 
ganz  provisorisch  sein,  denn  Otto  wohnt  in  Hoboken  und  -^ritz  auf 
Long  Island,  zwischen  den  beiden  liegt  also  nicht  nv'r  ein  i'luss 
sondern  zwei,  Hudson  und  East  River.  Sowie  aber  erst  einraai  der 
erste  hier  ist,  wahrscheinlich  ^^erd  ,  kann  man  weiteres  entschei- 
den. Bei  Edith  '•'osen  \jin  ich  sofort  gewesen,  Sie  können  derd    lei- 
der nicht  aufnehmen,  da  sie  einen  bisher  bei  i'ritz  ftiartön  ein- 
quartiert; en  Onkel  übernommen  haben. 

Um  die  Abholung  v;erde  ich  mich  kürr.iem  und  hebe  mich  schon  mit  dem 
■  Council  in  Verbindung  gesetzt.  In  jedem  Fall  gehen  wir  beide  und 
Otto  karten  hin*  Es  wird  alles  tadellos  geregelt  werden,  falls 
nicht  etva  eine  ^^achtankunft  oder  Sonnt agsankvnft  zu  einem  -^^rei- 
auf enthalt  in  Ellis  Island  idcif  verhilft,  was  aber  auch  nicht 

tragisch  ist. 

Jetzt  möchte  ich  gerne  die  Abrechnung  mit  der  i''amilie  noch  mal 
kurz  erörtern.  Es  ist  di;rchaus  möglich,  dass  mir  inf  Ige  der  lan- 
gen Zeit  ein  Irrtum  unterla\:ifen  ist  und  ich  bitte  Sie  dann  mich 
^sogleich  zu  berichtigen. 

//Vor  langer  Zeit  hatte  ich  mal  aus  wenn  ich  nicht  irre  einer  Über- 
weisung von  ^^elmAnti^  $   40.-  übrig  behalten.  Diese  Summe  war 
vor  einiger  Zeit  für  Bankgebühren(  bei  den  diversen  Hinterlegungen 
etc) ;  Kabel  ^Photokopien^l'lugportij^  Südamerika  usw.  restlos  verbraucht^ 
ohne  dasF:  ich  im  einzelnen  Abrechung  gelegt  hatte.  Dann  habe  ich 
von  Otto  harten  noch  wenn  ich  nicht  irre  $   45.-  erhalten.  Hiei^on 
sind  in  der  letzten  Zeit  noch  etwa  $   10.-  verbrancht  worden,  sodass 
aus  dieser  Abrechnung  noch  S  55.-  etwa  übrig  sind.  (  Über  die  hohen 
Bank  sprsen  werde  ich  im  einzelnen  der  Mulle  berichten.) 

^Dann  habe  ich  die  Sicherheit  von  ''  6OO.-  auf  t^   1000.-  erhöht. 
Hierzu  haben  Sie  einen  Scheck  über  $   250.-  beigesteuert. 

^Schliesslich  kom.en  die  i^'ahrkarten.  Ich  habe  für  die  Pahrknrten 
von  Gerd  ?*  210.-  und  für  Alice  $   >08.-  bezahlt.  Das  mpcht  zusammen 
$   418.-  Uazu  halen  Sie  vor  kurzem  mir  den  •'  100.-  Scheck  geschickt. 
Jetzt  werden  mii  also  geschuldet 

aus  der  Hinterlegung  $  150.- 

für  die  i?V-^hrk arten  ^   318.- 

wahrend  ich  der  i^'^ailie  ungefähr  $  55.-  schulde. 
Wesentlich  interessiert  mich  ob  die  letzte  übeir/eisung  an  mich 


I  I 


von  Mairton,  wie  ich  glaube  S  45«-  war  oder  etv;a  nur  ?"  4-0.-  . 


V/ir  selbst  ziehen  am  Kontag  um*  Bitte  achten  Sie  auf  die  neue 
Aäre:se»  V/ir  leben  so,  dass  wir  1^'ider  keinen  ,^n  dem  einem  Zimmer 
aufnehmen  können • 

Beide  F^chiffe  durften  übrigens  in  dem  Augenblick,  wo  ich  diesen^   ^. 
Brief  schreibe,  bereits  aus  der  Gefahrenzone  heraus  sein«  71'    y^^'  /^. 

(      Viel  herzliche  G-rue^se  ' 

Ihr 


\ 


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'•-# 


^         AFTKU  ö  DAYS  RKTURN  TO 

^   Ppt^r  H,    BohroDdt 


1 


I  53  West  8Sth  StrpRt 

NEW  YORK.   N.  Y. 


11  »• 


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A'  _k"i  V% 


UNiTfD 


THOMAI 


3  CENTS  3 


Miss  Ruth  Martibn 
8760  Sunset  Blvd 
Holxywooc',  ^al. 


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Miss  riuth  Marton 
8760  Sunset  Ave 
Hollywood,    Cal, 


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38  V/est  91st  Street 
New  York  City 


den  ??.  Dezember  1939 


Liebe  Ruth, 

• 

Mit  dem  Telegramm  habe  ich  noch  etwas  gezögert»  Das 
eiT/iess  sich  als  zweckmässig  ,  weil  inzwischen  eine 
l^achf orderung  der  Holland  Linie  über  $   30  •-  kam-i 
Die  habe  ich  sofort  ,  wenn  auch  widerstrebend,  bezahlt, 
offenbar  sind  die  Preise  inzwischen  erhöht  vorden. 
Dann  habf^  ich  telegraphiert:  Passagerest  erledigt 
drahet  wenn  Alice  gleiche  Hilfe.  Dies  schien  mir  nabh 
langer  Überlegung  die  richtige  Form.  So  wie  die  Dinge 
liegen,  konnte  man  nic^ht?  anderes  tun.  iv^an  mues  Ihrer 
Mutter  d  Le  Emtscheidung  überlasFien,  ob  sie  ihre  hie- 
sigen Mittel  um  weitere  ?^  200.-  für  ihr  ^'ahrgeld  schmä- 
lern will.  V/ichtig  vjar  nur  sie  darauf  hin  zu  v;eisen 
daes  jedenfalls  noch  I.  ittel  in  dieser  Höhe  vorhanden 
sind  und  dass  ^au ch\l chj jederzeit  bereit  und  in  der 
Lage  bin,  diesen  Betrag  auszulegen.  Ich  glaubeijji  dass 
das  durch  mein  Telegramm  völ  ig  kl'ir  gestellt  ist. 
Hrass  Ihre  iiutter  auf  diesem  liege   noch  das  Schiff  am 
29 •  erreicht,  vaiTso  wie  so  unvahrscheinlich.  Vielleicht 
hat  sie  auch  wirklich  recht,  wenn  sie  sich  selbst  auf 
das  Risiko  einlässt,  weil  doch  nach  dem  was  Sie  schreiben, 
die  Hoffnung  besteht,  dass  sie  wirklich  die  i'ahrkarte;^ 
von  der  Gemeinde  bekommt.   Anderseits  war  ^erd  wirklich 
viel  mehr  gefährdet  und  ausserdem  wird  sie  versuchen 
die  ^iollandsache  zu  ordnen. 

Was  meine  Briefe  betrifft,  so  sahen  oie  nicht  ganz 
my  poitn*.  V/emi  Sie  irg'  nd  welche  letzten  Ersparnisse 
von  sich  herangeben  oder  unter  6.usnutzung  von  jtieserven 
sich  ^eld  beschaffen,  so  schmälert  ("^as  das  -^'amilicn- 
vermögen  genau  so  als  wenn  ich  oder  sibnst  jemand  den 
^etrr.r   heute  vor^nhi  esst .  ^.as  ich  meinte,  war  nur  ob 
Sie  vielleicht  von  dritter  ^eite  das  Geld  aufbringen, 
was  ja  wohl  doch  nicht  mc-glich  ist. 
Nun  noch  sehr  he  r'^.  liehe  V  uns  che  von  uns  beiden  zu 
V/eihnachten  u.nd  Neujahr.  7/enn  das  neue  Jahr  sonst  niciits 
Gutes  bringt,  so  v  ird  es  doch  venigstens  die  Sorge 
um  die  drliben  veinindem,  weil  sie  9m  nun  ja  wohl  alle 
beide  b^ld  hier  sein  werden. 

Von  Gerds  Ankunft  werc  e  ich  übrigens  durch  die  Linie 
in  Kenntnis  gesetzt.  Alles  erforderliche  werde  ich 
selbstverständlich  veranlassen.  Sollte  ich  etwa  wie 
beabsichtigt,  n^ichsten  Monat  in  Boston  sein,  so  ist 
ja  mindestens  meine  -^'rau  hier. 

Herzlichst  wie  immer 

Ihr 


t 


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den  15.1?/:i9 


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t't{%cH  •  ? 


Liebe  Ruth, 

ich  erhielt  hpiite  Mnlif^gencle  ^^irte  Vib^r  deren  Inhalt  ich 

ziemlich  entsetzt  bin.  Kein  zeitlich  ist  interessant,  dass 
die  telegrafische  Benachrichtigung  an  mich  anscheinend  am 
!•  Dezember  abgegangen  ist,  aber  erst  am  11,  -Dezember  bei  de  • 
hiesigen  Schiff^ahrtslihie  und  am  Vc^ .   Dezember  bei  mir  war© 
Die  Mitteilung  des  Schiffahrtsagenten  ,  dass  das  Billet  eigent- 
lich t   2-^5  •-  koste,  w'lhrend  doch  nur  t   175.-  angefordert 
waren,  ist  vielleicht  irrtümliche  Vielleicht  kom'^t  auch  noch 
wegen  inzvlechen  erfolgter  "Rrhöhung  eine  -^^achf orderung* 

Die  -^'rage  ist,  v;as  jetzt  mit  Ihrer  Mutter  geschieht.  Das 
'-^ransferverfah^-^en,  auf  das  sie  anspielt,  ist  vahrscheinlich 
kein  aktueller  ^eldtransfer  sondern  man  zahlt  der  deutsclien 
jüdischen  (^em^^inde  eine  grössere  Summe,  wogegen  das  hiesige 
Komitee  von  hif^r  ans  die  Fahrkarte  berv^^hlt.  Offenbar  sieht 
Ihre  Butter  nicht,  wann  dieses  Verfahren  zu  einem  Knde  kommen 
soll  und  ist  nun  betr,  CJerd  nervös  gew^orden.Die  G-efahr  ist 
natürlich  auch  für  ^erd  grösser,  da  immer  v^iec'ier  von  Einziehung 
junger  Mädchen  zum  Arbeitsdienst,  Verschickung  nach  Polen  usv. 
gesprochen  wird.  Trotzdem  kann  es  natürlich  jetzt  passieren, 
dass  Ihre  Mutter  nicht  mehr  rauskommt  wegen  (Offensive  oder 
Bonst  etwas. 

irage,  was  geschieht  ^' Sov;eit  es  sich  um.  Pumoe  n  des  G-el^'es 

handelt,  könnte  ich  die  Summe  ohne  weiteres  sogort  aufbringen. 

Ihre  iViUtter  will  aber  v^ohl  gerade  nicht,  dass  oie  hiesigen 

bescheidenen  Mittel  allzu  sehr  geschmälert  werden.  Dazu 

kommt,  dass  ich  mit  einer  Rückzahlung  des  englischen  G-eldes 

innerh'clb  absehbarer  Zeit  nicht  rechne.  Dass  Sie  sich  dort  um  i.'-n^i cyC 

Borgen  des  fJel  des /bemühen,  hätte  nicht  allzu  viel  Sinn,  da 

•^i^^  dies  b^i  mir  einfacher  haben  können.  Es  bleibt  also  nur 

die  eine  ein  zige  i^rage,  und  deswegen  schreibe  ich  diesen  Brief ^ 

Gl^^rib  n  Sie,  dass  Sie  dort  irgend  jeinand  finden,  irgendeine 

Stel  le^oder  so,  dir  vielleicht  das  ^eld  zur  Verfügung  stellt 

sagen  v  ir  in  Form  eines  Darlehns  bis  Ihre  Mutter  hier  etwas 


verdient.  (  Ein  Darlehn  in 


iorm  wäre  natürlich 


hVf  yil'4^^  i 


t<.  • 


).  Vielleicht  können  Sie  darauf  hinweisen,  dass  Ihre 


Mutter  KXB8Ä  "inen  'i'eil  Ihres  Vermögens^  jedenfalls  sehr  erheb- 
liche Felder  der  Berliner  Gemeinde  zur  Verfügung  gestellt  hat 
usw.- 

Das  bedauerlichste  ist  natürlich,  dass  tatsächlich  ja  die  Bei- 
den hier  viel  besser  vorwärts  gekommen  v ären  wenn  sie  gerade* 
im  /Anfang  hätten  zusammen  sein  kT'nnen  und  dass  sie  vahrschein- 
lich  für  ihr  lieben  nicht  mal  mehr  gebraucht  hätten  als  f>erd 
allein. 

^russ 


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Miss  Ruth  ^larton 
8760  SunsefBlvd 
Holiyvjocd,   Cal. 


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P.   H.  Behrendt,   38  V/est  9lst  ÖW- Wew  York  JUtvl 


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12.  Dez.  1939 


■^  e  1  e  gr  amm 


\ 


Liebe  T?uth:   Zu  Ihr-r  Inf onnation:  ich  wurde  he-^te  von  dem  hiesiegen 
Büro  der^Holland  Amerika  Linie  benachriCxhtigt ,  dass  sie  ein  "^elegramm 
von  dem  Hauptbüro  in  Holland  erhalten  hätten,  dass  ich  175. —  $ 
tMv   ein  Billet^  für  "^erd  einzahlen  möchte,  nebst  5.--$  fü:  Kabelspesen. 
Nähere  Details  waren  nicht  festzustellen.  Nach  hiesi^ger  Auskunft 
beträgt  die  Fahrt  augenblicklich  220. — ,  sodass  der  Betrag  auch  für 
einen  üur  einen  Teil  darstellt. 

Jedenfalls  habe  ich  das  »eld  sogleich  gezahlt  und  das 
ist  sogleich  abgegangen. 

Mag  sein,  dass  sie  von  dem  Komite  nicht  das  ganze  Fahrgeld  für 
beide  bekommen  haben,  mag  sein,  dass  es  sich  um  irgend-einen 
Posten  für  Frattit  handelt.    "        .• 

jedenfalls  denke  ich,  dass  sie  nun  sehr  bald  kommen  v^erden. 

Da  der  direkte  '-^"ele grammverkehr  über  -^eutschlano  eingestellt  ist, 
ist  Äes  übrigens  ganz  üblich,  di'^rch  die  --^chiffahrtslinign  zu  korrespondieren. 

v.enn  Sie,  wie  Ja  anzunehmen,  nicht  etwa  inzwischen  Geldmittel 
alÄim.uliert  haben,  so  ist  es  nicht  nötig,  dass  S:e  sich  netzt  um  das 
eld  bei  -^ritten  beiiühen,  Ten  ve-^^rechne  es  mit  Ihren  -ijeuten,  wenn 

sie  da  sind . 

Die  dreihundert  von  Elsa  liegen  imiier  noch  hier.  Ich  habe  von 

dort  nichts  mehr  gehört. 

Ist  nun  eigentlich  d'-r  ganze  Schmuck  beiöammen??  Sec  schrieben 


nlchtsn:ehr  drüber,. 


Mein  Preimd  Scheerer  hat  vor  laneer  2ie^t  Pin^v.  -d-t   • 

der  auch  schon  gelegentlich  £«  tfn  vojjelerpn  h«J  Z''  %^slisch  geschrieben, 

Stern  (Kann  bezw.  Preimd  Von  Eva  Heide f^ffL^^^f  ^^^t^^^or  istG^onther' 

Der  Flhm   ist  mir  bekannt  und  nil+   !?*  uf    ^^"^^   bekanntlich  vom  Pach. 

rür  Lorre  gedacht,  do^a'r  nicht 'gele  s' et?  ^)"%t  -..Muster.  War  ursprünglich 

^  gisseur  von  Rio  vor  rSrahmv^   Lf    t^  ^  *  ^^^^'^   ^^^^^  ^^^ 

Bitte  geben  Sie  dalSber  S^Sheid     '^  ^''"*  ^^^"^  ^^"^  '"^l  einzuschicken? 

ein  S^'L^nimf  ^we^'^^r??nr^  °\"^"  ^'^"  ^^^  ^^-  ^^-^^e  und  -erd 
versuchen,  "^iJ^^J^^  l^^n^EsT^ ^;^^>   ^T^  ^^^ 

w^^n  r^h  r::ht::$^;ir4?-?j;rs-?  fri?f ^^^^ 

sonst  sorge  ich  dafür  ^J^f^^^,^'-^^'^!^^""sankundigung  erhalte^f. 
v.^o  es  seh?  billiris?'  M«^nnc  I  Z\^   unseren;  haus  wohnen  können, 
für  Sie  ^-^^e]'lfe'll',^ZT^^^^^  ev.__Q^a^ie. 

gegebenenfalls  nochmals  fragen  Die  Wohun^  i  .+  ^J^^^^li^h.  Ich  würde 
vom  anderen  nur  durch  Vorhabe ?ren^f^ä  J.   ^f  ^^^^'^'  ^^^  Zimmer 
sie  immer  hereinfahren  mSss^S!       '     aussderm  m  Hoboken,  sodass 

^iele  Grüsse 

Ihr 


•DAN 


Miss  Ruth  Marton 
8760  Sunset  Blvd. 
Hollywood,  Cal« 


"•«^ 


e 


V 


Peter  H.  Behrendi^- — 
38  West  91  st  S*§^^  ■'*''• /\ 
New  York  City  f-^NOV.??.  ^ 


Km 

f  THISSIDE  OFCARDIS  FOR  ADDRESS  J 


l;Iiss  Ruth  Harton 
8760  Sixnse-t  Blvd. 
Hollywood,   Cal* 


p.ß. 


THIS  SIDE  OFCARD  IS  FOR  ADDRESS 


*»*WJSu^:    *4/f*4U^  /^Igj/     /*0«/    ^^'t^     h^l^^    *^Ut^^    *<.t^yü^^ 


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,JI       ..o.  .80- 

3  CENTS  3 


i 


■M*' 


den  27.  Oktober  1939 


zurück . 
räumen . 


Liebe  Ruth, 

iclt  habe  mich  sehr  gefreut, über  Ihren  Job  zu 
hören.  Das  sieht  ja  alles  grossartig  aus  und  hoffentlich 
springt  auch  mal  Geld  heraus,  da  es  ja  ohne  das  leider 
nicht  geht* 

Von  Ihrer  Mutter  hatte  ich  vor  einigen  Tagen  einen 
Bilef ,  der  via  Clipper  neun  Tage  gegangen  ist.  Sonst  ent- 
hielt er  nichts  neues • 

Auch  von  mir  ist  sonst  nicht  viel  neues  zu  berichten-^ 

JJio  Karte  für  dao  Oafe  und  der   Schlüssel  f olg^  anbei 
Es  hat  keinen  Zv:eck  mir  ein  Recht  an  dem  Safe  einzu- 
da  ich  zur  Öffnung  immer  persönlich  in  Los  Angeles 
sein  müsste.  Sie  müssten  daher  als  zweiten  Berechtigten 
jemanden  nennen,  der  dort  wohnt  «Sie  müssen  aber  zu  dem  dann 
das  Vertrauen  haben,  dass  er  auch  in  Ihrem  Todesfalle 
Ihren  Weisungen  folgt  und  sich  mit  mir  in  Verbindung  setzt 
usw.  Dazu  gehört  natürlich  viel  Vertrauen.  Ich  weiss  nicht, 
ob  Sie  so  jemanden  haben.  Sonst  können  Sie  nur  dadurch  Vor- 
sorge treffen,  dass  Sie  den  anlnd^genden   Vertrag  unterschreiben, 
aus  dem  sich  ergibt,  dass  ich  de/i^Schmuck  gekauft  habe.  Ich 
schicke  Ihnen  2  Examplare  von  diesem  Vertrag  •  Unterschreiben 

während  Sie   ^     v  2/  *l 

Ich  möchte  annehmen,  dass  die  von  Ihnen  vermissterf^^^*^**''^^>^'  I 
Schmuckstücke  in  der  Zigarettenschachtel  innen  drin  sind. 
Prüfen  Sie  das  sogleich  nach* 

Imübrigen  möchte  ich  noch  sagen,  dass  der  beste 
Schutz  gegen  Rücksendung  der  Sachen  im  Todesfall  natürlich 
ein  Testament  ist,  vorin  Sie  mich  zum  Erben  einsetzen,  und 
l/oraufhin  ich  die  Sachen  für  Ihre  Familie  erhalte.  Allerdings 
könnten  Sie  ja  auch  Helmati  einsetzen.  Ich  habe  aber  im  Augen 
blick  nicht  die  Zeit  ein  solches  Testament  zu  entwerffen. 

Viele  her^'liche  Grüese 


Sie  beide  und  legen  Sie  das  eine  in  das  Safe>  während  Sie 
das  andere  Eyamplar  mir  gelegentlich  zurückschi 


Ihr 


iiw 


i 


Auch  von  mir  herzliche  GrUsse 


^ 


H/hA</ 


tif   i^t^ 


'i0L^x 


Ruth  Mühsam  (Maiijon) 
1413  Sierra  Mar  Place 
Hollywood,  Cal. 


October  Ist,  1939 


Mr.  Peter  H.  Behrendt 
38  West  91st  St* 
New  York  City,  NY. 


Dear  Mr.  Behrendt: 

This  is  to  confirm  that  I  have  sold  you  the 
12  (twelve)  pieces  of  jewelry  listed  in  the 
attached  inventoiy  for  the  pl±ce  of  $200 •-- 
(two  hundred).  me 

You  agree  to  resell  the  jewels  to/for  the 
same  price  provided  that  I  exeroise  my  repurchase 
right  within  a  period  of  one  year,.e.|;.  before 
October  Ist,  1940* 

You  agree  further  to  place  the  jewels  at 
my  disposal  for  a  limited  time,  in  case  I  should 
desire  so,  so  that  they  may  be  sold  for  your  account. 

Very  truly  yours 


(  Ruth  Mühsam) 


Htith  .   iht3£u:t   (laa  ton) 
141:i   Sir/rra  Tar  "'laoo 


Oct cbrr  Irt^   1  )39 


i.r.   Potcr  TT.   Be''^renr?t 
Not  Yorl^  City,   yiY. 


D'^ar  rr,  Pehronc'tt 

Thiö  iß  to  confiir.'    »hat   i   hrve   ßolrl   you  the 
1:?    (br/elve)   piecer.  of  jercljy  lirteö  in  tlio 
attachfö  l}>voiito:i:y  f'a^  tho   [^tl'cc  of     r^OO*-- 

You   ngr'^n  to   i"^\^p11   t"^   ^r^rlr  tc/i'CT  the 
sann  ^^r'^.o^'  Tor^>v5.^.ed  th^t   I   exc  :rcine  r«y  :Gr>*  rohnco 
•.rt^^Vit  v?thi'    a    >erioci  of  ono  y^rr,   c.J;«   bci'rrc 
Hctoher  Ist,  1^140 • 

Yon  rißroe   f^'rthor  to   .:rluce  thc    ;jgw  eis  et 
nijr  dis:)0sal  for  a  linitcd   tir^e,   ir    ca':'c  I   sh.ould 
flcrrve  no,    eo  tha     thoy  "'ay  be   r>o  ;.cl   fnr  ycur  aoc  imt# 

i 


(   rtiith  ;:ihran) 


/ 


\ 


/ 


\ 


Miss  Rath  Marton 
1413  Sierra  Mar  Place 
Hollywood,  Cal. 


ß 


1 


Peter  H.  Behrendt 
38  ^est  f^th  St. 
New  York  City 


t 


i 


< 


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Liebe  Ruth: 

Auf  das  ^eleßrajnm  Ihrer  Mutter  würde  ich  empfehlen, 
v:ie  folgt  zu  antworten,  falTs  Sie  nicht  die  Sache  inzwischen 
schon  e-^'ledigt  haben; 

"Stellungslos  Mittel  erschöpft  Bil^ettkauf  unmöglich^^Suth"  . 

Jeder  andere  ähnliche  Text  tut  es  natürlich  auch*  Unter- 
schrift in  diesem  i'all  empfehlenswert* 

Ich  habe  noch  zwei  Antwort  seh  eine  für  elegranune  an  Ihre 
Mutter  hier,  nehme  aber  an,  dass  Sie  dort  auch  noch  welche  h 
von  denen  ich  einen  rein  lege.  Wenn  Sie  dort  noch  welche  haben, 
so  schickenden  Schein  sogleich  wieder  zurückyf^  da  die  V/ahrschein- 
lichkeit  gross  ist,  dass  ich  von  hier  noch  mehrere  Telegramme 
an  Ihre  Mutter  schicken  muss. 

Wenn  Sie  den  Schein  bruachen, 
dass  es  die  Antwort  auf  das  dortige 
'^elegramni  lautete:  Konsulat  fordert 


so  sagen  Se  ,|Lfalls  gefragt, 
l'elegramm  ist.  Das  betr. 
zusätzlich  vierhundert  Dollar 


Akkreditiv  fuer  erd 

11 


•  •  • 


.u.s#w. 


An  ^^elmuth  möchte  ich  vorläufig  nicht  schreiben,  da  ja  viel  eich' 
in  einem  Monat  Ihre  Kutter  raus  ist  und  dann  selbst  schreiben 
kann.  Sehr  viel  Wirkung  habe  ich  doch  nicht»  An  sich  ist  es 
sehr  unrecht,  dass  sich  überhaupt  Kunstsachen  dort  befinden, 
anstatt  in  USA»  Wäre  es  nicht  auch  möglich  den  Gir^andaja 
hierher  zu  bekommen,  falls  er  noch  in  Holland  ist,  wohin  doch 
unser  Adolf  jeden  tag  einmarschieren  i^ann. 

Den  Schmuck  wUr-'e  ich  doch  v  rkaufen,  wenn  Sie  Gelegenheit 
haben  und  n^r  die  Stücke,  an  d  enen  Sie  und  etwa  erd  hängen,  zurück- 
behalten, Ihr  He^rz  kann  doch  unmöglich  an  dem  ganzen  Laden  hängen/ 

Den  Schmuck  legen  Sie  in  ein  ^afe  od  r  versichern  Sie» 
Wenn  versichert^  ^^'afe  nicht  nötig* 

V/egen  England  warte  ich  auch  ab,  ob  nicht  Gerd  selbst 
bald  komirt  und  dann  die  richtigen  Adressen  att abfeieren  kann. 

Das  ^jiesige  Depot  für  ^erd  lie%an  sich  am  30 •Nov.  ab, 
ist  aber  von  mir  in  diesen  Tagen  aus  taiktirchen  ^runden  um  6  lonate 
verlängert  worden. 


Viele  grUsse 


ilU 


Liebe  Ruth: 


r»  / 


Ich  habe  also  hente  zusätzliche  400 • — f  für  Gerd 
hinterlegt.  Offenbai;:  .^-chafft  sie  niin  mindestens  das  Visiim. 
Ob  sie  damit  nun  auch  aus  Deutschland  heipauskcmnit ,  ist 
eine  zweite  Präge.  Ich  .hoff e  es  aber. 

.•   Pur  Ihre  Mutter  habe  ich  überhaupt  kein  Depot  gemacht. 
Im  ganzen  sind  dann  für  Gerd  hier  bei  d^  r  Manhattan  Bank 
1000 •--  hinterlegt*  Ausserdem  schweben  immer  noch  die  600« — 
in  England • 

Ich  lös-^e  Ihren  Scheck  ein*  Dagegen  konnte  ich  die 
Überweisung  aus  Argentinien  nicht  benutzen,  da  sie  ja  für 
Alice  war  und  daher  nicht  einfach  für  Gerd  benutzt  v^erden 
konnte.  Die  Überweisung  war  nämlich  direkt  an  die  Bank 
gegangen  mit  der  Weisung  sie  für  ein  Depot  für  Alice 
zu  benutzen. 

Wenn  wir  jetzt  die  600-»  aus  England  hätten,  könnten 
wir  sofort  1000 • —  auch  für  Ihre  Mutter  hinterlegen.  Wir 
haben  sie  aber  nicht. — 

Zunächst  nun  noch  an  sie  Mahnung,  sich  nicht  bis  zum 
letzten  auszugeben.  Sie  schrieben,  dass  sie  30#--  erhielten, 
um  etwas  zu  lernen»  Dann,  tun  Sie  das  und  sehnte iben  Sie  . 
m^^r  sofort,^  damit  ich  Ihnen  das  ^eld  schicke^.  Auch  sonst  kann 
ich  Ihnen  solche  kleineren  Summen  sofort  schicken.  Es  ist 
sinnlos,  dass  Sie  verhungern  oder  sTcnTFgeneine  Chance 
entgehen  lassen,  denn  wenn  %rd  und  Ihre  Mutter  erst  hier 
sind,  ziehen  Sie  doch  alle  an  demselben  Kar  ren  und  wenn 
einer  nicht  mehr  kann  trifft  das  die  anderen  ganz  genau  so. 

In  der  Angelegenheit  .^erd  ist  nun  wohl  im  Augenblick 
gar  nichts  mehr  zu  tun  ausser^^d^ss  man  schliesslich  wahrschein- 
lich das  geisegeld  via  Italien  aufbringen  muss.  Ich  wollte 
noch  weiter  den  ^eorge  Mühsam  bearbeiten,  d^r  bekanntlich 
jetzt  eine  neue  Stc3uerquittunß  verweigert  hatte  ebenso 
v;ie  nochmalige  Darlegung  der  Verwandtschaft.  Ich  warte 
aber  darin  zunächst  auch  noch  ab.  Es  ist  doch  nicht  sehr 
aussichtsvoll • 

Bleibt  Ihre  Miitter.  Ich  versuchte  noch  einmal  über 
eine  andere  Auskunftei  etwas  über /yaupt  zu  erfahren.  Da 
er  selbst  interviewt  wird,  schrieb  ich  ihm  einen  langen 
Brief*  Erhielt  eine  glatte  Absage.  Lasse  die  Auskunftei, 
die  5#--  kostet,  trotzdem  laufen»  Vielleicht  kommt  doch  noch 
etwas  heraus.  Hoffnung  aber  schwach. 

Jedenfalls  scheint  es  jetzt  nicht  sehr  zveckmässig,  eine 
Hinterlegung  von  weniger  als  1000 j-  für  Ihre  Mutter  vorzu- 
nehmen. Ich  könnte  noch  weiteres  ^eld  geben,  wenn  es  für 
bestimmt e^'^eit  wäre.  Das  ist  ja  aSer  leid  r.nicht  abzusehen. 
Ausserdem  ist  es  ja  gan  ;  gut,  wenn  ich  für  ^eii^jegeld  und 

für  Sie  in  Reserve  bleibe. 

Eng  and  ist  nun  furchtbar  schwer.  Sowohl  ich  XJCKXS 

(der  Einzahler' wie  Gerd  die  "^egünstigte  sind  deutsche  Staats- 
angehörige. Wenn  man  also  da  jetzt  etwas  machen  kann,  so 
nadh  meire  r  Auffassung  nur  persönlich.  Gerd  hatte  sich  bekannt- 
lich zunächst  an  ein  Prl.  Ehrenthal  gewandt,  mit  der  ich  auch 
korrespondierte.  Dann  an  eine  Ehrenberj  und  schliesslich 
an  einen  Anwalt.  Die  Bestätigung  *on  dem  ^eldeingang,  von 
dem  mir  Gerd  Abschrift  sandte,  ist  an  ein  Erl.  Camerman 


> 


gerichtet.  Wissen  Sie  die  Adresse  des  Anwalts  (der  tatsächlich 
dann  E  rfolg  hatte)?  -^st  er  etwa  mit  Miss  Camerman  identisch? 

^  Ich  vAlrde  dann  nach  Ehgland  an  den  -tietFBff enden  schreiben. 
Jdenenfalls  muss  man  dann,  wenn  man  dar  ^eld  zurückhaben 
will ,  auf  das  Permit  verzichtea.  Das  kann  man  ja  aber  jetzt 
wohl  unbendenklich  t\m.  Immerhin! die  ganze  Sache  kann 
wahrscheinlich  wirklich  mit  Aussicht  auf  Brfolg  nur  von 
öerd  selbst  gemacht  werden. 

Ihre  Mutter  telegiBphiert;?^ heute  femer:  Wenn  Elsa  nicht 
mehr  kann,  versuchet  Ilse  durch  Ruth.  Dieser  *^atz  bezieht 
sich  klar  nur^auf  die  tiache  £erd|  da  Ihre  Mutter  glaubte, 
dass  kein  "^eld  mehr  aufzubringen  sei.  Das  ändert  ja  aber 
nicht,  dass  man  trotzdem  auch.« diese  Stelle; für  IhreMutter 
^   in  Anspruch  nehmen  könnte.  Wer  ist  das  .??  Wollen  Sie  darin 
etwas  tun?? 

Natürlich  mochte  ich  vor  Hinterlegung  noch  einen 
e  Bescheid  aus  Berlin  abvarten.  Es  ist  ja  denkbar,  dass  Ihre 
Mutter  endgültig  abgelehnt  ist.  Ich  glaube  das  alles  aber 
nicht,  sondm  glaube  nur,  dass  sie  Gerd  vorangehen  lassen 
will.  Ich  schreibg  deshalb  morgen  via  Clipper.  Jedenfall  s 
•■'-•  sollte  man  keine  Zeit  verlieren  und  s  ch  inzwischen  um  die 
fehlenden  700  bemühen. 

Den  Schmuck  schicke  ich  demnächst  dorthin.  Ich  werd* 
ihn  wegen  Kosten  nur  für  die  '"'eise  verischem.  Sie  müssen 
dann  eben  dort  vorsichtig  sein.  Bv,  geben  Sie  ihn  jemandem 
ins  Safe.  ^   -   * 

Marton  hat  noch  ?  44»--  Ich  sagte  ihm,  er  soll  sie 
gelegentlich  mir  schicken.  Vorläufig  sind  Auslagen  durcha  alten 
Betrag  noch  gedeckt,  fitflbcr  Sie  können  also  auch  mit  diesem 
^eld  rechnen.  t 


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Miss  Ruth  Warton 
1413  Sierra  Mar  Place 
Hollywood,  Cal» 


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Petstr  K.  Behrendt 
38  West  91st  ST. 
Nevy  york  City,   NY. 


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6.  Oct* 


Lietie  Ruth: 


Der  Schmuck  ist  bjeute  abgesadt  worden,  rgj,s1^ered  mit  V/ertangabe 
500 • — %.   Heben  Sie  die  Verpackung  auf  ,Nda  Sie  sie  viel!  eicht 
später  mal  wieder  brauchen«  Die  Versendung  hat  viel  Schwterigekiten 
gemacht  und  mich  in  leichte  V/ut  gebracht. 

Achten  Sie  darauf,  dass  Sie  dort  nicht  bestohlen  werden*  Besonders 
zeigen  Sie  ihn  nicht  in  einem  Laden,  wenn  andere  Kunden  drin 
sind  und  Ihnen  etwa  nachgehen  können. .Ich  habe  mich  hier  nach 
eir-er  Ve  picheinng  für  einen  Monat  erkundigt*  Vielleicht  erkundigen 
Sie  sich  dort  auch  und  versichern  ihn  kurzfristig,  wenn  Sie 
ihn  rumzeigen  v^ollen.  Ich  kann  die  Versicherungskosten  ohne 
Vveiteres  aus  den  heute  an  mich  von  Otto  Marton  gezahlten  %   45*-- 
bec^treiten.  v^^  ^ 

Sie  haben  hier  noch  Ihr  "^af  e ,  dessen  Miete  W  Hev •  abläuft  # 
Es  ist  jetzt  wohl  das  richtigste,  dass  Sie  dieses  "^afe  aufgeben. 
Es  kostet  ja  %   5#--  pro  Jähr.  Den  Schlüssel  sende  ich  Otto  Marton  ein. 
Schicken  Sie  ihja  einen  Brief,  ad  ressfeer/an  die  Emigrant  Saving-6 
Bank  New  York,  that  you  wish  to  discontinue  the  rent  of  the  safe 
de^osit  box  at  the  earliest  possible  date. 
Pur  den  ^erkauf  des  Schmucks  folgende  Anahi tspunkte; 
Das  Äebot  von  ?10» —  für  alles  exl.  die  Uhr  stellt  wohl  so  ziemlich 
die  unterste  Grenze  dar,  d.h.  den  reinen  Metall-  und  Steinwert. 
Snhen  Sie  sich  vor,  die  Anreisstücke  nicht  zu  billig  zu  verkaufen, 
falls  Sie  einzelr^  verkaufen,  da  man  dann  auf  dem  -^^est  sitzen 
bleibt.  (Anhi.ngeiOy 

Di  e  bsten  Stücke  sind  die  beiden  Armband  r  und  die  beiden  Broschen/ 
Nichts  wert  sind  die  feine  Perlenkette  und  die  kleinen  ^tücke 
m  t  den  Perlen.  Reiner  Groldwert  des  Cigarettenetuis  50-60  %. 
Die  Kravattennadel  mit  dnn  beiden  Diamanten  hat  uliynrirlls  nur  einen 
iWbnimalen  Werto  Obwohl  die  Stücke  teilweiie  nicht  gestempelt 
sind,  sind  sie  al"*.^  echt  (Jold  bezw.  PlÄtin.  Der  Mittelstein  in  dem 
Anhänger  hat  ein  Loch,  was  ihn  sehr  entwertet» 
•^m  ganzen  müssen  Sie  12  Stücke  erhalten.  Siehe  meine  frühere 'Liste. 

Di^  Auskun/ft  über  ^Wpt  habe  ich  nicht  bekommen.  Der  scIb  int 
vielmehr  verärgert  und  erklärt  nun  nichts  mehr  tun  zu  wollen. 
Wag  er. 

Ich  warte  auf  Antwort  auf  meinen  I'lugpostbiref  an  Ihre  Mutier/ 
den  Sie  heute  etwa  haben  mü^ste*  Elsa  muss  einen  Brief  von 
mir  Ende  nächster  Woche  haben. 

^aben  Bie  an  den  ^r.  I^lein  v^egen  d^r  -^leider  ge:  chrieben.^ 
eine  -^ra^lä^st  grüssen.  Sie  kann  bald  wieder  laufen. 


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Miss  Ruth  Marton 
1413  Sierra  Mar  Place 
Hollywood,  Galt 


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38  West  91  Str»9t. 
New  York  City 


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Miss  Ruth  Marton 
1413  Sierra  Mar  Place 
Hollywood,  Cal. 


Peter  H.  Behrendt  38  W  91s"t  Street  New  Yo 


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Liedes  Ruthchen»  ? 

Ich  habe  jetzt  im  ganzen  4  Händler  gesprochen.  Einer  ha1i  I  210 •-  fUr 
das  Ganze  feeboten  una  will  bei  diesem  Angebot  auch  stehen  bleiben« 
Günstiger  schien  mir  ein  anderer,  ein  Deutscher,  der  die  Sachen  be- 
stimmten Kunden  vorlegen  wollte  und  mir  daraufhin  dann  von  sich  aus 
ebenfalls  ein  Angebot  auf  das  üanze  machen  v^ollte*  Anscheinend  dachte 
er  dann  daran  vielleicht  auf  #  300.-  zu  komrien.  Er  wollte  die  Sachen 
für  2  -3  Tage  zur  Ansicht  haben.  Ich  glaube,  dass  man  das  wohl  tun 
kann,  obwohl  natürlicn  immer  eine  leichte  Gefahr  darin  liegt •  Der 
Mann  machte  mir  einen  ga'üc.n  Mnäruck  und  war  mir  von  2  Seiten  em- 
pfohlen • 

Die  Schätzungen  der  beiden  andexv^n  bewegten  sich  etwa  auf  derselben 
Höhe«  d»  h.  um  ^  ^00 •-  oder  et  a^.  höher» 


Ich  will  nun  am  Montag  in  jedem  i'all  ein  ^epot  von  $   500.-  für  Ihre 
Mutter  einrichten.  Aus  bestimmten  ^runden  habe  icu  aas  o-eld  nicht  vor 
Montag  frei.  300.-  werden  bekanntlicn  in  'kM±z»t,m   aus  ArgentiHten  gedeckt 
sein.  Ich  bin  bereit  uie  re st li 011^11  k^uO.-  zunächst  einmal^^auf  den 
f /ha<^        Schmuck'zu  geben.  Die  i'rage  ist  natürlich,  ob  (j&r6  Sinn  hat/T  Ich  habe 
T/Lüfi^ouf^    hier  meine  iviöglichkeiten  erschöpft.  Die  Wahrscheinlichkeit  hier  mal 
^4i\.y,  A^ein  ütück  einzeln  zu  verkaufen  ist  gering^  soweit  ich  in  -trage  komnie. 
^^•'^f^   Wenn  Ihre  Mutter  herkommt,  mü^ste  sie  ja  cloca  an  den  verkauf  der  Sa- 
chen herangehen.  Ob  sie  damit  mehr  ulück  hat,  ist  die  i'rage .  Einer- 
seits hat  sie  vielleiciit  mehr  jtinergie  in  ouichen  Dingen,  andererseit^^^ 
wird  sie  genau  wie  ich  esarke:iin...  Verbindungen  haben  .  Wesentlich  scheint 
mir  daher  nur  t^iü^  ^.nderer  Möglichkeit,  dass  ist  die, den  bchmuck  in 
Hollywood  zu  verkaufen.  Ich  kann  mir  vor-ste'len,  aabs  der  Markt  dor^b 
vielleicht  besser  ist.  Auch  kann  man  .xcvoarlich,  wenn  Sie  entsprechen- 
de üeziehungn  haben,  für  ..inzelstücke  viel  mehr  erzielen.  Aller- 
dings ist  dann  immer  die  Gefahr,  da^DS  mcxu   mit  aem  est  ganz  sitzen 
bleibt •  Durch  die  ubersenauiib  uc^oxJHollyvvood  incl.  Versicherung  ent- 
stand t^n  auuii  eiiiijc  Spesen/f<^'^^. 


Jedenfalls  schreiben  .^^ie  nun  olnm^n.  so^ei 
halten,  da::  s  der  Schmuck  dort- hin  geschi 
leut sehen  in  Kommision  geben  soii,  woo^i 
Angebot  vorher  nuuxx  ^xtteilen  ..ürde,  ode-L 
den  die  oachen  für  künftig  behalten  soll. 
$  200.-  ohne  weiteres  auii>x-.^n,  e^  £uinte 
dass  ich  sie  eines  Tages  brauche,  nie  enx 
lig  unbeoBUtbnd. 


ch,  ob  Sie  es  für  zweckmässig 
ckt  wird  oder  ov   icn  inn  uum 
ich  Ihnen  dessen  endgültiges 
ab  man  LUiter  allen  Umstän- 

Ich  könnte  im  /lUgenblick  uie 
aber  natürlich  immer  mal  sein, 
i^teiinden  Z/inskosten  sind  völ- 


hei  mir  hat  sich  übrigens  exu  nerr  Klein  gemv^det,  der  für  eine 
Frau  Mühsam  ^  Ileider  mit  hat.  Die  Kleider  sind  von  einer  Prau 
Reimann  nach  Jugoslavien  mitgenommen  und  dort  bei  einer  Person 
gelassen  worden,  die  sie  dann  hierher  geschickt  hat.  Die  einzige 
Schvierigkeit  war,  dass  nach  der  Information  von  Klein  Prau  Mühsam 
sich  bereits  hier  befinden  soll  und  deren  Mann  erst  vor  etv^a  3  Jahren 
verstorben  ist.  Dadurch  entstanden  Zweifel  an  der  Intendität#  Anderer 
seits  wird  es  doch  vvohl  die  Prau  Reimann  sein,  die  sich  mal  mit  meiner 
Prau  hier  in  Verbindung  gesetzt  hat  und  die  eine  arische  Bekannte  Ihrer 
Mutter  ist-i  Wenn  Sie  über  die  Sache  tewas  sagen  können,  schreiben 
Sie  gleich  mal  an  Klein.  Adresse:  Dr.  M.  Klein  5000  Broadway  N.Y.C» 


I 

Ich  gebe  Dr.  Klein  auch  Ihre  Adresse*  Klaren  Sie  auch  auf,  dass 
Sie  eigentlich  Mühsam  und  nicht  Marton  heissen.  Er  weiss  offenbar 
nicht  recht,  ob  er  die  Kleider  an  Sie  schicken  soll-.  Selbstver- 
ständlich bin  ich  auch  bereit  die  Übersendung  der  Kleider  zu 
UbeipnehmBn.  Seinen  Si^e  in  dem  Brief  an  Klein  immerhin  vorsichtig, 
da  ich  ihn  nicht  kanne  und  nur  telefonisch  gesprochen  habe« 

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Liebes  Ruthchen, 

es  ist  einfach  ein  Skandal,  dass  ich  Ihnen  nicht  längst  geschriben  habe. 
Ihre  Gebirrtstagsbriefe  und  Packetchen  und  ebenso  die  folgenden  Mahnbriefe 
sind  pünktlich  angekommen.  Die  Taschentücher  für  mich  waren  ebenso 
wie  das  Tixx   meine  -^'rau  ganz  entzückend,  und  als  l^ritik  lässt  sich  nur 
der  eine^ Ihnen  bekannte  l'adel  aussprechen,  dass  Sie  vmter  keinen 
Umständen  CJeld  ausgeben  sollten.  Dazu  möchte  ich  noch  sagen,  dass  dies 
nun  wirklich  einschliesslich  alleiirü-eburtstage,  liVeihnachten  etc.  das 
letzte  Geschenk  sein  soll^  solange  nicht  in  Ihrer  Lage  eine  Änderung 
eintritt.  Ich  hoffe,  dass  nicht  irgendein  Zusammenhang  mit  meiner 
Tätigkeit  für  Ihre  Mutter  und  Cferd  vorliegt  maÄm  oder  gar  eine  Anweisung 
aus  Berlin.  Das  Wcire  eine  wirklich  falsche  Auffassung,  denn  ich  wünsche 
nicht,  dass  Sie  irgendwie  sich  dafür  verpflichtet  fühlen.  Also  endgü 
tig  und  ein  für  alle  Mal  Schluss  oder  aber  sofortige  Verwandlung  in 
begüterte  Dame  mit  Packard  und  Villa,  in  v/elchem  ^'alle  ich  zur  Annah- 
me von  Creschenken  unbegrenzt  bereit  sein  werde. Ihnen  diese  letzere 
Alternative  von  Herzen  gewünscht.  Trotzdem  waren  die  Tüchelchen  ffetri 
hübsch  und  haben  grosse  -^'reude  gemacht.  Es  war  übrigens  das  einzige 
Geschenk,  welches  an  meinem  Geburtstag  ankam,  da  ich  und  meine  i'rau 
wegen  der  dortigen  Lokalität  auf  Beschenkung  verzichtet  ha^n. 

Wir  v^aren  also  4  V/ochen  lang  an  der  See,  haben  uns  wunderbar  erholt 
und  weniger  ausgegeben  als  in  New  York,  und  andererseits  auch  nicht 
weniger  erreicht,  da  ein  Äichts  sich  nicht  vom  anderen  unterscheidet. 
Leider  hat  sich  zum  Abschluss  des  Aufenthalts  meine  i^au  beim  Ab- 
sprihgen  vom  i\^hrrad  den  i'uss  gebrochen.  Kicht  weiter  geflJirlich,  hin- 
dert aber  3  V/ochen  am  Laufen  und  war  natürlich  Tür  cht  er  lieh  xmangenehm, 
da  wir  in  Mew  York  unser  Zimmer  aufgerieben  hatten  und  neue  Behausiang 
suchen  mussten  und  zunächst  nicht  finden  konnten.  Nach  einer  Woche  i 
einem  fürchterlichen  Kellerloch  haben  vdr  jetzt  ein  schönes  Zimmer 
38  Y/  91  Street.  Bitte  die  neue  Adresse  merken.  Mes  alles  Erklärung 
meines  Schweigens. 

Wie  imiaer  habjs  ich  aber  die  eachlich  notwendigen  Dinge  nicht  verschlampt. 
Ich  habe  bereits  am  5»  oder  6.  September  von  Ihrer  LiUtter  ein  Tele- 
gramm erhalten,  aus  dem  ich  ersah,  dass  die  Kinwanderungssache  reite 
betrieben  ^'^^äensoli.  Darauf  habe  ich  sofort  nach  Argentinien  te- 
legraphiert und^^^t'Si^fyfe G  if  :)00.-  erhalten.  Tjs  ist  zwar  noch  keine  Deckung 
für  den  Scheck  da,  die  werde  ich  aber  zwischendurch  selbst  steilen. 
Ferner  habe  ich  nunmehr  die  ochmucksache  in  Angrifliff  genommen,  tlit 
Marton  zusammen  habe  ich  heute  mehrere  Juwelenhändler  aufgesucht. 
Nur  bei  einem  habef^wir  eine  sachliche  Auskunft  bekommen,  die  ziemlic 
vernichtend  war.  Fast  alle  Stücke  bezeichnete  er  als  so  aus  der  Mode, 
dass  er  nur  einen  Preis  für  den  reinen  Metallwert  bei  den  Geldsachen 
für  erzielbar  hielt.  Die  Brillianten  sollen  mindere  Qualität  sein. 
Dies  war  ein  Fabrikant,  der  selbst  nicht  kaufen  will  und  daher  kein 
Interes.^e  hatte  uns  unnötig  zu  drücken,  andererseits  aber  vielleicht 
die  l'acon  sehr  unterschätzt.  Nach  seiner  Auffassung  käme  höchstens 
etwa  ein  Erlös  von  $  200.-  in  Frage.  Morgen  spreche  ich  nun  weitere 
'rntr  nr\(\   erlmndi  C  ^"^^  ^^^  onoin  jivH^r.i»,  Jo/goyi-poiiQ  habe  ich  beschlossen 
Ihnen  weitere  Ilachricht  zu  geben,  ]bevor  irgend  etwas  verkauft  wird. 
Beleijpung  scheint  sinnlos.  Man  würde  nur  etwa  50  bis  75%   des  Ver- 
kauf swertes  \F¥rtT  erzielen  und  ausserdem  fortlaufend  Zinsen  bezahlen. 
Kommt  Ihre  Mutter  dann,  so  mü^ste  sie  ja  doch  das  ^eld  alsbald  aufbrin- 
gen und  die  Sachen  verkaufen.  Das  allerbeste  wäre  natürlich  ein  Ver- 
kauf privat.  Unter  meinen  Bekannten  wäre  nur  mein  i'reund  Haudek  in 
Frage  gekommen,  der  vor  2  Monaten  heiratete  und  damals  Schmuck  kaufte. 
Ich  kann  mir  vorstellen,  da  s  er  vielleicht  unmittelbar  vor  V/eihnachten 

wieder  etvas  kauft.  Jetzt  will  er  nicht.  Ich  überlege  mir  aber,  ob 


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h 


nicht  8ie  in  Hollywood  bessere  v erkauf smö^lichkeiten  haben# 

Ich  selbst  v^Alrde  notfalls  auf  den  Schmuck  jetzt  t   200.-  vorstre  ckeno 

Dann  könnten  Sie  dort  in  Ruhe  Verkauf  versuchen.  In  diesem  Zusammen- 
hrng  ist  jedenfalls  vdchtig,  ob  der  Schmuck  versichert  ist«  Y/enn  der 
Schmuck  im  üafe  ist,  braucht  er  nicht  versichert  zu  sein.  Ivian  brauchte 
ihn  dann  nur  für  den  unmittelbaren  Transport  zu  versichern.  Andererseits 
miisste  er  wohl  versichert  sein,  yi^nn   Sieoäann  dort  einzeln  vielen  Per- 
sonen zeigen  wollen.  Bitte  schreiben  Sie  mir  sogleich  darliber(  Plugpost 
aber  nicht  Eilboten). 

Sie  werden  1  oder  2  Tage  später  von  mir  also  einen  Plugpostbrief  mit 
Nachricht  über  die  v;eiteren  HändlerauskUnfte  haben.  In  jedem  Pall 
wären  also , wenn  man  den  Schmuck  mit  %   200.-  zunächst  einstellt,  damit 
immer  erst  t   500 •-  beschafft.  Wenn  irgend  möglich  will^ja  aber  t   1000:4 
haben.  Schreiben  Sie  noch  mal  wieviel  Geld  Sie  besitzend  Evtl. 
könnten  Sie  mir  einen  Teil  davon  schicken,  wobei  ich  bereit  bin, 
Ihnen  im  Krankheitsfalle  usw.  sogleich  die  gleiche  Summe  von  mir  aus 
vorzus  Chi  essen.  Man  muss  immer  bedenken,  dass  Ihre  Mutter  ja  das 
Geld  in  die  Pinger  bekommt,  sowie  sie  herkomnt.  Und  wenn  sie  nicht 
kommt,  so  wird  das  Geld  ja  nach  einiger  ^eit,  ich  werde  es  wohl 
diesmal  nur  für  3  I/^onate  sp/erren,  wieder  frei. 

Betiniblich  ist  femer,  dass  heute  '^eorge  Riühsam  sich  nach  dauerndem 
Bombardement  mit  Briefen  und  Telefongesprächen  ^lar  geweigert  hat, 
sein  /Affidavit  durch  eine  Steuererklärung  und  Klarlegung  der  Verwand- 
schaft zu  ergänzen.  Vermutlich  hat  ihn  in  einer  anderen  Sache  der 
Council  nach  dem  jetzt  hier  üblichen  Verfahren  inzwischen  auf  seine 
Pflichten  aus  einem  der  Affidavits  hingevviesen.  Ich  soll  ihn  aber 
in  ^/Wochej^  noch  einmal  anrufen. 

Andererseits  habe  ich  einen  neuen  Weg  gefunden,  Auskünfte  von 
Dun  and  Bradstreat  zu  bekorrjuen.  Diese  Auskunftei  wird  bekanntlich  vo 
amerikanischen  Konsul  anerkannt,  ich  will  mich  um  Auskunft  betr* 
Mühsam, sowie  auch  betr.  Haupt  und  Ciimmins  bemühen.  Las  alles  wird 
morgen  erledigt. 

Anliegend  schicke  ich  Ihnen  nun  noch  eine  Aufstellung  der  Schmuck- 
Sachen,  aamit  ^ie  sich  die  Sachen  in  Erinneorung  rufenWfach  den  heuti- 
gen Auskünften  ist  jeaenÄalls  J^r^  2  wertlos,  während  für  Mr.  7  und  8  a 
reiner  ü-eld  bezw.  Steinwert  etwa^S  50.-  bis  60.-  genannt  werden*  Platin 
ist  leider  stark  und  Perlen  sind  ungeheuer  gefallen.  Für  die  besonders 
feine  Arbeit  von  Nr.  9  hatte  der  Mann  ans  che  inänd  kein  Verständnis  • 


Herzlichst  Ihr 


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Fdss  Ruth  Martoti  - 
1413  Sierra  Mar  Place 
Hollywood,  Cal» 


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den  7#  August  ly:>9 


Liebe  Ruth, 


ich  erhielt   Ihr  Selacranim  und  einen  unnötigerweise 
expr<»ss   gesandten  ]irlf^f .      In^^^v^^ischeri  h^^br   ich  von  Lorfmcinn 
ein  Affidavit  für  Ihre  hutter  b-^yomri^n,   Rr  hat    l  30.-  Wochenj« 
hnlt,    also   £ohv;ach,    nber  venisstens  volls^tandig.    Jetj^t  v;artt 
ich  auf  die   angef orderten  Berichte  über  die   Vermögenslage 
von  H'uipt  und   Cununins.    Jedenfal].s  das  Haup-fe-affiöavit  könnte 
man  dadurcVi  vieU  eicht    sehr  aiifbessem,    da   er   ja  imm.erhin 
verv\'andt  ist.    Ich   selbst  konr.e  b>    '/'t .   ¥wt*  für  ein  Affidavit 
und   ebenso   fllr  eine   Hinterl^g^ing  nicht  in  ^''rage,    einmal  v^'e^^n 
meiner  Englandpläne ,    zum  andern  v/egen  meiner  i'reundin  in 
Prag  und  noch  aus  anderen  ü-rlmden. 

Veorge  Miiisam  hat  versprochen  mir  die   Steuererklärring 
für  ü-erd  suzucenc'en  und   ich  ho  f e   sie  b-^ld   zu  haben  • 

Inzv/ischen  hat  nur'   Ihre   hutter  noch  geschrieben,    dass  neu- 
erdings yooh  in  Zv/eit'elsfallen  noch  Hintf^rleijungen  von 
r  ICOC-   gefordert  würden^   über  die   der  Imm.igrant  dann    ,wenn 
er  hier  ist,    in  -Beträgen  von  monr^^tlich  :    100«-   verfügen  darf. 
Es   lie.t   "Iso   eine   Sperrung  von  maximal  10  Lonaten  vor. 
Fdr  <ierd  sind   nun    ,   wie  Sie  wissen  $   60C.-  bereits  hier  hin^Ser- 
legt  und   dar^aber  ist  deivivonsul  verständit'::t*   Die   anderen 
$   600 •-    sind   nach  Engl:aiö  geg?^ngen*    loh  kann  an  sie   nicht  heran 
und  will  auch  nicht,   da   ja  die  Jr^ermitange^egenheit   imiücr  noch 
schwebt   und  nicht   fallen  gelas.sen   werden  soll.    Immerhin 
beabsichtige   ich^demvifonsul  dar^dber  cir^k^:   eine  iVltteilung 
zu  machen,   Möglich,    dass   er  auch  die^ev^.    600.-   Gerd   giitbringt. 

In   jedem  i'all   wollte    ich  Ihnen   das   alles   erzi:ihlen,   und 
fragen,    ob   etwa  noch  von  irgendeinem  i^amilienrndtglied  aus, 
(    Helmut?)    eine   Hinterle^'^jung  geleistet  werden  kann,    Sie   hatte;^ 
ja  wohl  nur  noch   sr  200.-,   die   Sie,   weflm  sie^  überhaupt  noch  da 
^"ind,   nicht   angreii^:n  sollen,    Ihre  Lutter  hat  übrigens   sich  sa^ 
die   Ver\^■andten  in  Argentinien  gewandt,    doch    scheint   dort 
ein  Brief  an  mich  oder  sonst   etvas  verloren  gegangen  zu  sein, 
L;ie    Sc-che   ist    jedenfalls   noch,   nicht   .geklärt,   Es  bestehen  dort 
wohl  auch  l^evisenschwierigkeiten.  W^^Ä^^  '^  *^^^  '^'^'^^ /^^ 

fU  Sie    ''^twa   i^n  -elinut    schreiben,    berichten  Sie,    c-  ,j3 
man  jetzt   senr  sehne   1   z   eimal  wöchentlich  Flugpost  nsioh  Europa /J^^y 


schicken  kc\nn.   von  wo 


es 


natürlich  weiteres  ilugzeug  nach  Pa- 


lestina gibt.  Lieser  Hinweis  nur  wegen  der  besonderen  Sachlage*" 
unci  trotz  Kritik  an  Ihren  Portoauslagen,  Das  Telegramm  an  mich 
war  ebenso  wie  der  Expressbrief  sachlich  ganz  ungern chtiertigt. 
Halten  Sie  Ihre  paar  «röschen  zusanrnen. 
Alles  Dersönlicne  denonachst  mal. 


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Miss   dMth  Larton 

1413   ÖiTra  kar  Place 

liolJ.y^^  00^  ,    Cal, 


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Liobe   Frau  Dr#I 


u  »Haupt 


Ich  orhl^lt  Ihr  T^To^^owm  imd  Ple  f^^hlolten  wohl  nirin« 
Antv;ort  <la::^5  f,  d*o  hof:Tont^  ich  verot^ind  Icr«  T;ar« 

loh  hatto  f;«racio  c^as  Affindvlt  iirhalten.  Es  folffb  anbei 
In  i^voi  Exoraplaron.  "^'in  drittos  (iint^rnchr  eb-'^nns  wid  bo^l») 
Exouoiar  habn   ich  boi  raoi  >n  /ikton  behal^ton« 

i)io  Vnr«()fferimß  orklUrt  sioh  d*^dnroh,   dc^sn  sich  Inr^jlsohen 
ein  kleiner  Kajinf  ?;v^iöohen  don  obenoo  rllhr^ndon  r/io  tuch-fcigon 
Dorf!a0Jin/ab^^nß:nielt  hat.  Krgehnis  ist  dos  onllogondo  nj.t 
ITiinceln  voreoheno  affi# 

Zn  Ihr^r  Infornation  fUge   ich,   Äenn  drr  Brlof  nicht   r^i  diok 
frl:^  nrilnon  T^tvnirf  hol,  don  Herr  Ilaupt  loid^r  nicht  imtcrschrlQben 
hat#   -iJiosmi     ntvmrf  bitte  ich  r«lr  ssfeleich  anrUchausonöcn,   da 
ich  ihn  violtoicVit  noch  f^inral   in  aiiäoror  Kac.hr  branoho« 

Eo  fohlt    nm'iohst  die  SteuorerlclVlnin?^«  Dio  nar  nicht  su 
•rl^ngfin  auch  n  cht  auf  öew     -e  direkter  ^lusendrnr;  mi  clor   Konsul • 
^^L  ;>ön  an'-ic  Jgondar  BoglÄitbrief  von  Ilaupt.  Arch  Ti'^  \ocrdon  rlolleicht 
T7i3non^  doss  Börsanait-liodnr  hier  alle   soh^  ^r  reich  nind. 
Kiscrt  "'ich  rfisöto  öchnn  ^;  s  den  Konciil  sonllscn«  IKm^  0.  oc  ein 
schiv«  r  reicher  t^ann  mm  g^r^.r'.r   in  einem  Jahr  (1-j3Q)    -in  -*^ejfizlt 
in  d  r  ^^'Inko:  monostonrrorlfl:lruiig  hat,   d#h#  Äa^s  sein  ilnralt  so 
viel  geschickte  AbaUffe  filr  Sp«lmiationGScr?  hafte  ii.^.w.  angebracht 
hat,  dnss  die   3t euere rki;i.rting  nit  einem  ])ofisit   (tr^^t'^»  vielleicht 
rioslcpn  Br*at"^^.oeinnpJiri©n)    noh  l^o^t^  ~   da.s  k'TOite  doch  iiicht 
entcch«?idond  sein*   f'o  ich,  hofjTen  rir,  dnss  d«r  Kons^il  auch  so 
denkt.   Irr^^  erhin  hab'ü:  ich  von  oinor  (Ureter  AnskiTftci  ilb^r  Vor- 
alttlmi^  Keiner  Pr^nk  noch  oine  Atiolomlt  Über  den  Kann  einholen 
l.;nsrn,  von   d^r  ich  annehme,   cl-.'Sö  s^e   glärc^.c^nd   nrsfll'^.lti     nd  dio 
Ihnon  dann  sn^^lcich  .^icolit«  Ich  donko,  Ca>bg  ich  cio   in  Laufe*  dor 
nächsten  ^oche  ht'be. 

Jedenfalls  scheint  pi^*^  die  öach<?   rstt  d'^'r  Stouor  nicht   so   schliim, 
wenn  nan  b  rUcksichtigt  di?8S  die  ^  nnierkTmc  nit  d^r  Boiaflo  bedeutet, 
dass  der  ^^rn:    schv;er  reich  ist. 

Es  fohlt  fomor  alles     ber  6^s  conoinsüre     nterosc??   des 
Kunstsax'^.'nicl nc •  Ilier^iii  h?*be   ich   n^m   (Dorfnann'r;  Idee!!)   tUis   dor 
Tines  o  nen  Ausscliritt  aus  den  ^ahr  1J35  henRiftSf^c sucht,  in  dar» 
über  don  *  erkauf  c'or  V>mxm  ung  Ifciupt,  die  offenbar  sehr  bedeutend 
V7ar,  beriditot  wird.  Der  AbücJinitt  folgt  in  der  tmlaz^  oder  rait 
nidictcL:     v-^for.  V  esont^.ic'i  ist  nat  ii^licli  dt>es  Gio   G^con  doss  Ilau^t 
Ilinen  don  Aussdinitt     ugesohickt  hat.   UJ.cht  ( tv;a  (^asö  Kie  de  n  Aus- 
sclinitt  heruag^e siecht  haben.   D3ä  s  nur  als  Var'beroitmig  cL-or  nlindlichon 
Bgs  vrcchn' ng.  Ich  werde  Ihnen  doizn  noch   oin  paar  i-orto  in  linglicch 
schreiben. 

Strtt  dessen  ist  nw    doch  die  V'-ma^idtcchcffc   02Tv 'ihnt.   Dasu  ist 
2u  sa.':eni  auf  Seite  45  Ihrer  ^'aiüilteiusof^chidito,   Ausf;abo  von 
Jahre  li;18  ißt  ein  Edi^ard  IfiUif^aü  crwrihnt  und  dessen  I'rau  Kinne. 
Dloöe  riinne  hatte  eine  Scht^oster  und  deren  Tochter  iLit  ilorence  Haupt ^ 
erste  indischen  verstorbene  Prau  von  Ira  HaT^pt.  Ich  Tdt^.c  einen 
/i^^ttcl  bei,   uro  dessen  l^üc kgabo   ich  bitte,     "^en  ^'ettel  hatte  Dorftean 
fUr  seine  lJnterredunf;en  nix  Hruot  vorbereitet. 

Dö.s  Tväre  al  os^   Dio  ^achc   steht  nicht   so  unc''rBtig  auG,  rio 
sie   "iUnächst  donken  v;orden. 


es  h^inffb  von  der  Aiißltmft  ob* 
Gliichr^eitis  hobo  ich  auch  oino  Auslamft  llber  Dmnins  einholen 
lasofn.  Vielleicht  hilft  «nch  die  etrvas. 
Das  Bogleit^^ohroiben  von  Haupt ^  diiS  ich  hier  mT  nooh  in 
gevK5nnllchf*r  Abschrift  habo,  bitto  ich  in  Joden  ^ixl     vor  V^inrelchiang 
photokopicren    :u  lassen* 

Jch  habe  noch  «inen  Ausschnitt  »us  dor  Ti  nmm  aus  dem  «^ahire  1927 1 
tvoniscl'i  H#  den  BörsGnsit25  fUr  $  löO.OOO#—  gekeiift  hat*   Schien 
mir  ubor  su  -  eit   j^uittcklifigond,  im  noch  Intersso  zv  haben» 
DuQs  dio  -^oate  finanziell  BU  den  f  hrenden     eriten  cohf^ren^  könrxen 
Sic  daraus  ersehen,  dass  sie  etwa  ein  Dutsend  nal  in  der  xiwes 
in  den  let7iton  10  Jahren  verzeichnet  stehen. 
^©danken  Sie  sich  bei  Dorfni*  und   loberl  ?lo   s^ine  Tüchtigkeit 
imd  iindigkeit. 

Kun  nochi  ein  Bitte  von  nirt  habe  Sie    vielleicht  zufällig  noc  h  einen 
'•^atal  ß  der  vorsoheidenen  Kunstauktionen  iieinos  Votors»  Dann  bitte  um 
^sondTing,  v;om    nicht   oti  firosse  ^^rbeit  n  t  ^^  r^t^ssiichcn  verbunden. 
"Erhielt  eine     ostkai^;e  von  Mr#  peisiue* 


.-^ 


^ 


Viola  ^rUsGO 


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I.Ü.SS   liath  Ir.  T'-ton 

1632  North  Sierra  Bonita 

Holiyr.-ood  ,    G.-.I. 


UNITC 

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THIS  SIDE  OFCARD  IS  FOR  ADDRESS 


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41 


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Infolr.o  oincß  K'  ajüens   (in  Äcooiintinß,  prt^)rti5icli  nichts 
arK'ercs  alc  r>uchhcJ.tur^.^;)  Icomite  ich  nicht  eh^r  so.hreiV'cn#  Hc 
sind  eine  f^anso  Rrhe  ^aclier.  zi^  beaorechon  wx\  Ichrvi  1  gleich 

1.   FllGüs«  Der  ^iof  von  Um  ist  ja  nicht  goradc   sehr  licbr'nsvrtliw 
dif;,   iibrr  d;  s  liöftt  vio     eicht  <xn  ö'm  Ublichon  fTuriatent:til«   Ich 
halt     GG  f'.lr  ^5v;ocklOö^  dr.ss  Sir»   sich  iira  di'^   Foch'»  rei-"  p.t  boitfvlhon« 
R'örlar/lia:dif;ervvoise  h:kb:^  icl:!  irnif  oolir  indlr^^lctem       ^e  ä^ehvirt,   cIasö 
•in   -•   ^:^ir  -ioit  hier  r;ar.  Ich  v^eissT^' tjelchor   (einer  ist  nchr  t>in- 
flus     os)   noch  ob  auf  Bosvich  od^  r  y^ie   c^ni^t.  Tach  "*elti''n5sn:Gld\iiig©n 
hießi:3  OG^   CüQi^  öio  HÄCh  truclfeiaerl^'a  c^ßÄnÄ^n  s  eien*    hirontlich  EillcGt« 
icli  ni^iier-^ju  böse  sein»   Den)^  m^xh  doa  i^rAfif  v^n  Fließ,    er:"  t  es 
5?o  aus.  L'^ß  ob  er  «ich  ft  ih.er  bei   IVmen  in  der  «^Äohc  W'  r"e  ne 


d« 


kÖTQBi:Q  bcjiaVJit  ^uit^   c-ls  €ö  Wirklich  akut  v;^.r  iwß    VLc  die  fi-ch« 
lavifcn  Hessen*  Ich  '  lanb«  vhür  boetirL^t,  d'>sc  d^r  betr»  Fats 

"I>Lu.'ß  die  V)Orren  :?r3iicr  dm  ^'^'fxsch  ceht^bt   Vt."!)  :.• ,   3ich 

Tax  Herrn  Behr©f"^ndt  i^i-i  iiitercesif^ren,.  hubc  doch  rori*de 

ich  Urnen  rit:/:tei   t..^  . 

•intin  falschen  *:indr*t!ck  onveckt«     atsi'^.che  wi.*r,  daeo  icV*  no.ch  1933 
mich  bei  drn  einen  von  d'^n  J'.   colir  Jebheft  nr:  e'ne  i^trllwnß  bemllht 
habe  vdiCi  völlir,  ab?,eblit^^t     bin*   Crnind  wniidxr^   dass  cic,  viatj  Bio 
nichtt  vJicsen^   2;un  Schluss  nit  m- uien  V&tnr  in  :  cnsoh  iclirr  I^nsioht 
sfehr  ..chli  :r:.'i?iiniTit«,on  hat'  an.  ian  kann  ve:r^•tchen^  dcs?;sie 

obvvch.l  Sir:  ;,olil  die  ^ad-ic  nenscl*ilich  v  rr^-tanden,   nn]i  mit  d  r  ganj^an 
Ki.llo  nj-olits  mahr  sntu:i  haben  v;ollten*    (I>    d  r  vQ^nlch.t""  r,  Jodan 
KÖ3fi  obons  Hoffniuic^pfle.'^to  lae'n  Vater  belc^n-tlic!*  von  oln^nr  GilVndlich- 
kclt   'S-\  sein,  v:iG  ich  sie  öuf  dicüex*  biahf^r  ricl.t  T^i^rd^r  on{>:etroffen 
habe«)  V/ie  mm  dio  nc'e  /avfraf.e  raTparor-anl^i  Tifrt ,   ist  rchv  er  zn 
vcrstchon*  -^ch  Tvill   jctf^t  Vßrsnchen,  hier  an  den  Bctroffenden 
P«  hnr^insnkorir^Giii  beiTi^^eifla  aber  dess  dus  rDö,*,7,ich  ist.    '"ohrncbeln^ 
lieh  Ist  dia     'rl:llr»V.f;,  ö^..sn     die   ^oclifrvC«  bei  Fiiors  von  ein«a 
andorai.  uusgljig  üils  d  n  bei  dor^  ich  dar:*' Ig  abblit/^G«   Die  P.^b  sind 
bekanntlich  keine   fJinheit^   sonderij  mj.ndcs  ene  eij^ie   A^reilieit^  r^omi 
a;ich  ke\ne  hoili:,e*   In  dor  c^ache  kaini  v^n  I?inen  a  s  nichts  i  nhr 
gescIieUen»  jyiir  i/cnn  Sie  J?lio   ß^  nAcl'iDalR  sohor.  sollten,  fragen 
Sie  ilm  Tvann  die  I^achfrÄf^e   erfolgto^  Ich  solbsthabe  llbr  e^-ßs  Flioss 
^mr^^n  d 


CS 


rjod 


IVJ 


lies  ^aters  mal  (Sehr  imce:rlffon     .  d  rjf'Chtc  daher 


nie  t^  düQö   er  r.cx-acle  von  rair  ura  llllfe  ansej.&Tic'ien v  ird,  obwohl  an 

sich  s  iist  in';iüc!icn  uns  nichts  vorllof:tr 

2.  In  ^erds  i^achen  Imt  o  j.ch  oinon  ;)Oßitivün    >o;  choid  von  i^l# 

^hronthwjl*  Bio  will  ;jatrt  v.eitor  bonren,   33ie  "^ache  h  V.te  ILinßst  Über 

sio  f:or:ac}it  werdei}   öollon,   obwoh]    nan  d  t  derart!  ym  ^-rf  viir^^iigan  nicht 

roclinen  konnte  ••-  -^a:jß  os  mit  d^?n  ITSA»  Visnra  ira  /UTslv^nd  »mtor  Umntrmden 

län^-er  cU/  ort,   ir.t  aioh  riir  bekannt*  ^cnar^es  nicht  fostotehond,  '^/clir- 

schoiniich  ^anz  vou    iinaclfa  1  *'.bhlngond#   7ax  dc-?r  }^'iT5v:^e  ob  ^ord  dticsdct 

des'iO Vl^  j!i^^  d'^n  rAviL'chena'^'rontha  t  in  ]?nt:l.  vor  loliten .  so^-l,  kann  ich 

^^ T'';\Xn^  iriili^fftfa^gA^irrtri ^  jch  ;/lrc>  nichts     r^.skioren  <üi(i>nich  Engl» 

gehen*  -^us  Affi  ir'iiK^arü  ist  nnch  koiiiomve^r^s  so  sehr  erstl^liissig» 

Es  kann  soin,  daee  sich  eirif^s  •*^ttr>^s  die  IaJ^ liclil'-oiten  lilngl*   echliesi 

dann  sp'lter  das  Affl  RBlhi^öTi  als  im fiXir eichend  erklärt  wird  und 

don     ist  •li'OS  aus.  •  ich  v.otoo  i^vch,   d;>se  /iffi  nicht  v^^f;  iialten* 

Eino  bootin!  te  Riflal  scheint  n?.oht  vor p^iU Hagen*  Also  abri^rton*  Ich 


hoffe^  f;eg«l)#nwifaTls  «in  n#nes  kTfi  von  l\   j^i  balcoinr'inni  Es  rflrü 

aber  Elciier  niotit  lelchl;  seiiu   ^Tnd  noch  schv^erer  wirä  boDtirmt  di# 

Brlonguii«  der  SteuorerlclUrung  ßo'n.   iVll«  Aiiiftrikönor  halten  da  furchte 

biir  buiAick.  Allercliiics  hat  er  sie   ja  it    Pull  •"adinaim  geßebon.  Anderer^ 

salts  iiaben  ihn  di«  i^rrcalinuicen  mit  diesen  halb  blinden^ ebenso  rii- 

boholf!>non  vae  sym^athiöchen  ilann  wohl  arschroclrt*  -  Et3  kann  auch  soin^ 

dass  sich  Oasb  /iffi  ¥!w  dadurch  ini5v;ischon  vori^clileri.tert^   duas  dio 

beiden  vvolteren  Afflo  {oder  w^r  eo  eijioL?)   dio  ar  incr/i.^cacn  «agoban 

hoben  soll  niurinifjhirvorher  herankonmon,   Icii  v^oiss  über  deren  Datum 

atc,  nichts  Nähe^'f^s.   JodoijfGlls  sind  auch  v  emi  Sif>  schon  in  Creista 

dlailCorror  puclron  noch  tmiserid  MöglichJcciteii  ttiit.  ylvhlcSrjOhen  cla^ 

ut  d  Vvojin  Gerd  in?5v;ij:o  f.n  In  }3ngLand  ist^  so  hat  x±xk  Gio  <lun  n  Jeden- 

falls  etv/as   *;e,  oniien« 

3*  r.eiji  ^-^oiißnis  finrclo  icii  mal   emschickon*  IJachstejis.    .  rdu  nicht 

viel  ])raktfeächen  \;eii;^    .joclenfmilc  nicht  S'^cTarjcrilwai  ohne  doit  pwr- 

B8n  ich  JonAndcm  2Ta  kennen  odrr  oorsoDlich  iuir  f  send  zu  toiiu 

4#   ;\n  T.eiiiiUiifi  i^artleLon  hübe  ich  mir-h  niciit  A.eT^andt^  v'oil  noch 

keine  '^eit.     erde  es  noc!    t^m^  obv;ohl   nicht  c.-ni^;  dnrchcic   big   ^ 

yiozvim  ^at  aboj"  vielleio^it  all£^^i.;ein  //v  eck*  l^orLman  r;c:eint  icci^ien 

Erfolc  r.oh^::.bt   ^i  haben* 

4.  ^"e^-ien  rieiner  Sacherii^   C-ülsf^r  berichte  icli  derfin' lohst*  ^  ir  fehl^J^ 

sehr  viel.  Vor  aller    mein  "titto.   Abö^res  überflüssige   '.xtiun^ 

Gc  :scht  o:    einen.  PhiAnod.   h&l>F  ie}>  tr^koirra  n^  etv;^.s. 

3.  ^rankenversichoruiiß  gibt   es  liier •   *oov^'ohl  üfi'ont liehe  \  i^  Jjrlvate^ 

alierd  •Jif^s  *Älles  erst  in  'intvickliin^scta  iir    mid  nit  i  anchon  Mangel» 

Jrtriv?5te  ssavf  grosse  gt'dte  bebclirMrJct,   o:\ne  freie  Ar/.tv;ahl* 


Vlelo  HWrr, liehe  i^'itwe 


Ttuth  oTti'Mt  i  bßclirif^. 


6,    ^otr',t  vorgAss  loh  6ir.  ilauirbaache.    '^^s     ny.vrJLV.o}-fh  für  Sie  e?rl»n£te 
Affi,  IC    hP.l)«t;  ns  l^^lcler  n.'.Qlit  j.;    Wortlaut  ceseh«n.  V/eiiri  Sie  mir  «tv;a 
m:  1  vo).  (ion  '  ichtij^en  iri-Qi.:on  oiuc   Abaöririft  sßliickon  kömion,  vi  re 
das  gut,  Bb  schaint  «n  sich  n  ctschlaoht  '.m  sein,   loidnt     nbor- natürlich 
an  dßn  "Abllolion  i'nhlGr  der  .uyngr-liideu  ni;eue:'.-«ii;ü.ttinc.   <  b  Sie  danit  durch. 
Ko     eit  j-iehr  ric  S5V*e  ifclhcft.   J«d«nifaMs  ^h^b»»  fiie  die  ^ai-;  cino  n 
Vortcilic  die  sich  ^^s  dera  Bosits  ©in«ö  Ki'fi   erreben.   JSwinc'tonl ander  u.a.w 
rMenoJmiii!    Jcaftn  nan  dajui  die  St.  uerbesch«inißiu\g  spütrr  her.msholcn 
immcntlloh  wem^  «n  geling/ übrr  den   f  ongel  e  inen  oolirlftlichf^n  XlAxx 
«eeoheid  voiü  Konsul  ^ii  liekoroLion.  i^eir.  Affi  r-eröe  ich  mir  nc^ch  nal 
Ubor Legen .     «nn  idi  ra  nicht   au  sebmi  br.u'ohtfi,  w  re  es  nati-rlioh 
selrpohöYi,  ans  vielen  a^ij^don.  Ausserdem  iat**^»dsnf»ils  j»  ruoh 
rehr  r ehr -eh.  PchU-^-ßsllrih  Rilt  die   >.nt ;- che i düng  darHVer  ,1«  nicht, 
da  3»  iir...   j€tr;t  noch  niclits- T^Jr  Sic  ciitocl-iieden  ^  ird.  nud  df-r  allge- 
meine Voii;  eil  dea  ^nsit'.oö  eines  Affi  goi  ;  hi-t  ist. 
Ich  möchto  aus  donselben  Orllndou  so'ir  luifcorn  and  o  K«c'.e  heran  MB 
denen  Gio  damals  Riith  abrieten,  eines  .«ro'ßtjben.  Kb  kommt  aber  auch 
noch     ndeies  tiinau,  Ii-  eriiin  yllerseits  Entschoidung  f.unchst  msr 
ml  zurück.",  i^tallt. 


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o;:^b.^  /ouriö  lii     '^->nu^. 


oxl^^/C  o(   ,    ii::!* 


/lii-.     il 


den   ?0.   ..pril  1939 
Liebe   Ruth!    Heute   traf  Ihr  Brief  mit  Blümchen  ein.    "Dieses   duftete  noch 
f;er.de'3U   erst;  unlich  imd    h:^.t    /-:ro::ne   i'reucle  cht.     J.:ierdin,;G   mache   ich 

diskret  darauf  •^"»■'-^^^rkcc.m   ,    Hass  nach  la  r  erteilter  Information,    Stief- 
mütterchen  nls  J^^eiUL^^ei^'ien^  anders  al.^3   die      ndem   sind,    sü'b* 
Ich  hoffe,    dasc   ^^^'YnxTy. \.T  In  di^-er  Rici'tun;*;;  ^**;ekennzeichnet   v/erden  ioll. 
Ich   '/Virde    ;]edeni    i.is  protestiere],  .      (^>{V>i^  i<^i^^f^<^') 

^R?i  hutte  Ihnen  langst  schreiben  sollen  und  habe  e^  "uch  eigentlich  jeden 
T'"  *  tun  v/ollen^  aber  ii;}' :er  vieder  ged'cht,  dass  jet-^^t  ein  iirief  von  Ihnen 
korii'  t,    der   bleich  mit  benntwortet  Vv'eräen   Jcann, 

Es  V'/ar  nämlich  in   der  ZvJischenseit   alJ. -r  land  los,   vonit    ich  diesmal  nicht 
Europa   sondern  ^erds   /Inrele  ,enheiten  irieine.    Aller^jin^^s   erst   in  der  letzten 
Woche,    sodass   Sie   nicht  viel   eher  hatten  i^e^scheid  hn.ben  können. 
Sie   v.is   en,    d.iss   ich  am  10.    [Wr?,   d    s    ^eld   durch  Cabel  nach  london  ::eschiGkt 
habe,    /an   .rleichen  'j.:  .    .^    fsohrieb   ich   einen  bestätigenden  -/rief.    Vorifien 
J.''reit  .      nun  df  hi    am  lA^^ragte   väi\d.  y.\\& \^\_^   vvciruru  ich  das   l'elei';,ranrn  voqi 
1.   I. -a;'/;  nicht    beantwortet  h^-Ltte  .  (T   l'ele 


3:^.  ..r.:!:; 


Ich  h'ib(.      n   selben 


ofort 


^aivor  m   einer  em- 


durch   Cxbel  die   Suche   richtig   t^^esteli.t,    n   cnaen-  ic 
?;ehenden  ^»achforsch  n,^   festa:cstellt  h:-tte,    dass  meine  i^aiüc   das   ^eld   der 
IViidl  aidb.xnk  in  London  über/'iesen  hatte  und   dass   diese  m.eire    i^cUik   entsorechend 
belastet   hat.    Es   ist   natürli   h   so   ,";ut  ^'Jie   a):i;      ajcViloesen,    d-..ss   das   ^^eld 
bei   der  i.ddl- adbank  in  London  stecken  r^eblieben  isv^    da   diese    ja   sonst 
hi^'^rher  lierichv    erstattet  hätte,     iber  puch  in  diesen  Pall  hatte  man   ja  wenig- 
stens  ^,ec\en  meinen  .»rie::;  in   dem  ich  die   Gabelüberveisiing   ^schriftlich  v'ie- 


derholte 


orotestieren  rrissen.    Ich  habe    ^^^In/.ni   Z\«;pifel,    dass   nichts   veiter 


eine   un,\ehcure   Sohl,  mperei   bei   dem  ^^^orti;  en  Komitee   vorlie^-'it. 
Vielleict  hat  mrai  irgend   jemand  Binders   auf  Ksld  d-s   CJ-eld  nach  En^.lr-nd  herein- 
f:ebr   cht.    irotsdem  h:  be  ich  um  das   Ü-eld  nicht   die  j^e rin      '  e    "  n   st ,   da  das 
ivomitee  natürlich  finan.'^iel   gut   ist.    Aber  die    ^er'^.ö^^eruni?:  ist   doch  schreck- 
lich und   k  mn   ja    ,    wenn  inzwischen  ein  Krie|J  ausbricht,    verhanf^nisvoll 
werden. 

Selbstverständlich  habe   ich    «'l-^ichzeiti,    mit  meinem  -^'elegramm  auch  noc-'    einen 
ziemlich    schccfen  .ori'"^f  riesclirieben.    ^erner  schrie.b  ich     ach   an  G-erds   x^'reun- 
din  i^'r^'.ulein  "Ehrenthal  und   b:  t   umi  deren  Mithilfe. 

hehr  koimi  icri   im     .u,  ,onblick  np.gM;  tun.    Ich  hol' le  ,   d.*;.  s   sich  .  1  .es   einrenkt. 
r.Iit  jL^edauern  habe   ich  von  denv^c^^^nd enden   aifidavitaussiohten  betr.   Ihre 
Mutter   ,-ehört.    G-estem  war  Dorfr:u:"nn  bei   mir  und  versorach   sicri  \' eiter  bemuhen 
zu  wollen,      i"   sa':t ,    d;.ss   er  noch   zv  ei   Leute   in  .aissioht   h^tte,    c'ie   er   jetzt 
in  den  nächsten  j-.       .x  .^afsuchen  will.    Daneben  best   lit   ...ucn  noch  die    schwache 
/aussieht,    dass  ich   selbst  mi      ,  ,e\visse     r-eri:     ".:a  tax  ein   Affidavit   :.  chaife. 
Aber  das   könnte  n: .türlich  nur  immer  ein  ''iUsatzaffidavit   sein.    In  der 
Anr.ele  ■  enheit   Isaacsohn  oder  so  ahnlich  von  dem  ^erd   be'^     ntlich  ein 
Jj'reundrchaftsaffidr.vit    (Vo-coh  ein  -berliner  Korüitee   erhielt,    bem/üht    sich 
wie   mir  Ihre  hutter  schreibt,    Otto  karten.,    eine  Umschreibung   auf  Ihre   ...utte 
zu  errei(3hen. 

Von  mir  is     nic-'t  vie      ",u.  berichten,    ^s   geht   etiles  im  nlten  'x^rott  weiter. 
Ig     bin  froh,    d'.ss   Sie   die   V/ohrnm,' skalamität   eini.;err-'     sen  übnrs' ehen. 
Ich  finde   immer,    ^-.ass  für  unsereinen  "^/ohxiun/^sechvaeriglceiten  noch   schlimimxer 
sind,   wie    ;.lles      :idere.   Y/ean  Sie   Ihres   A.    m-O.      ieder  h''blfir-.ft   veroen  könntenj 
v:<;.re    es  psychisch   j      .    r  Sie   sehr  ."ut.   üb   sonst       icVi ,   wei.sr    ich  nicht. 


«^' 


Dass   die   Ti.u.lli  von  ein^m  Institut  in  '7^nshi}i^;^ton    Vntwort   bekor 


•\r-  n")^ 


t 


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chrieb 


lle   <  n/ieren  Sachen  ver:      t  .h  ben.    iion.'ten  Sie 


sie  mir     v^ch.    tlet' t    ,      o 

vieAleiC'  t   '-i'nv»  vdrklioh  m""'.   'n  <^en      irrn   ;' '^ller   ^"nhreibenr^^eti-'.t   L  .    en  Sie 

sicn.    recht   gut   ,,ehen,    fol.-.en  Sie  iii    jedei*      '.chtun,    Ihren,  neuen  Vorbild 

ces   Jahrhunderte  a.lten  Elefanten,      i^ch  darin,    d  Sie  s   i''ett   ?aisetsen( 

(    etw:  s'^bitte,^-    ber^^vio.l*  verbietev    j.-.    wohl  die    liiianzlage,    ich  bin  entscldeden 

fu.r     vollschlank,    l..sse  mir  aber  auch  in  .  nderen        llen   ^.ureiden   )    und 

in  dif^sem  Siilne  a  ^         y  n         y 

Ihr  11  /     ^  f^y.^    ^^^^        ^^^.^yf^^; 


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Liebe   Ri^th, 

Die   Anselejenheit   G-erd   i5.t   längst   erledigst*   D'^s   ^eld 
habe   ich  noch  nm  ^'reitaji  yer  Kabel  überwiesen,    nach- 
dem eini;\<?   nötij;e   -'-^'oststel 'ungen  ^'^etroff en  v^aren. 
Die   schriftliche  üestätißung  ist   cam  Sonnabenrl   mit 
der  Queen  Mary  ab^^'e^an^Bn, 

Ihren   Sclieck  habe   ich,   wie   Sie   daraus   erseVien, 
ordnun5S[;emäss   erhalten.    Im  f,anzen  hat      Iso  die 
^erd   Jet::t    $  1.200,-   als   Sicherheit,    c^ie    ja      eden- 
falls   in  ir^r.endeiner  i^'orn^  und   ir^endv.en  mal  ^A'ieder 
frei  \\erc[en. 

Dop  nlr  beigele^^ten  -Brief  von   Ihrer  Lulli  h"be   ich 
71  e sho Ibl ^ chon « mit   ßrosrem  Interer  -e   ;,eleäen,   v/eil 
Ihre  kulii   mir  denselben  i:>rief  ber  ats   ein,- .eschic'gt 
hntte ,    darauf  aber  die  beiden  obersten   ^--eilen  ab- 
gesdraiit^^en  Vvaren,   Ich  verglich  nun  und   konnte   mit 
Jt^reiide   feststellen,    dass   ich   offenbar  die  V/orte 
"  Liäuschenklein  • '*   und  kruseschv/änzchen"  nicht  lese"^^ 
sollte,   luit  um  so  ^^rösrerem  Interes:  e  habe    ich   jetzt 
von  dieser  J^etitelun^;,  Kenntnis   ^jenomi  en. 

Sonst    enthielt   Ihr  -^rief   ja  nicht  vIrl   Schönes, 
i^r  llmziehemniAssen  habe   ich  eine  tirfe   Anteilnahme 
da  ich   ;ir-    so   zu  sa^'*;en   mein   :  mzes   Leben  auf  der 
Wanriersohpft  war.   Dank  der  liebevollen   Anteilnaiune 
meines  Vaters  habe   ic'i  in  Berlin  über  ein  Dutzend 
möblierte    7jironer  gehabt  als   er   so    zi   mlich   die    luye- 
riösesten  V/ohnun^en  Berlins  hatte.   Es  gibt   virklic 
nichts  Schlimreres   als   so  von  "^^ude   zu  Bude    ziehen 
m  ssen. 

/aich  das  mit   dem   U-eld    ist  nicht   erfreulich.   Es   tut 
mir  eil  aiS    seh-'   herzlich  leid. 


Schreiben  Sie  m*"^l  bcxl-   vvieder  wie   es   Ihnen   seht. 


Herzlich 


Ihr 


k^ 


Trotz  allem  noch  ^^inen  Verweis.  Das  'lele^^ramrn  war 
natürlich  wieder  ßanz  liberflüssig.  Bilbri-f  beschleu- 
niget ü])rifienc  Mich  nur  sehr  v.enis,h:a;  nur  deji  eine 
Vorzug  ,  dass  er  Sonnabend  nachmittat^;;  und  Sonntag 
aus[,etra,r»^en  wird. 


l(wvt.>A(^  ^^^  f^Ao  ^M/jW>?^ 


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Liebe  Ruth 


Sowohl  Crertrud  vde  ich  hatten  die  (Iriope,  ausr:erdem  hatten  vdr 
beide  viel  zu  arbeiten,  loh  hritte  einen  Spezialauftrag  der  mich 
sehr  in  /mspruch  nahm  und  v  ohl  auch  noch  einige  ;^jeit  in  /vnspruch 
nehmen  v/ird*  So  komrt  es,  dar:s  Ihre  Briefe  nicht  beantv/ortet  vrurden. 
Bitte  seinen  Sie  deshalb  nicht  böse. 

Ich  habe  in  Ih?reni  letr-^.ten  Brief  mit  Bedauern  von  dem  Entschluss 
Ihres  A.  c^elesen.  Vielleicht  fest  ee  ;  her  v\'irklich  besser  so. 
las,  was  Sie  über  Ihren  Pass  schrieben,  ist  mir  nicht  {'':anz  Iclar. 
Ich  nehme  an,  ö:ass  für  die  Urkunden  in  Deutschland  (  fxmndbuch) 
Ihre  iMamensanderun^:"  nötin  i(::t.  Ich  will  mich  aber  dar'.lber  noch 
mal  erkundigen.  Tun  Sie  vorl'-^.ufig  nichts,  solan^^^  nicht  etv;a  Ihre 
Mutter  eine  gan:^.  strikte  Weisung  gibt.  Die  müssten  Sie  dami  natxir- 
lich  befolgen,  denn  di   ^-eute  köj-nen  vor.  fr-^'-^^rr  eher  übersehen,  was 
etwa  in  lüm.blick  auf  die  dortigen  -^-^estirrmiuntjen  und  Ihr  noch  dort 
befindliches  Vermögen  geschehen  muss.  Was  die  hiesi,',en  Bestimmun- 
gen ebc,  betrifft,  so  brauchen  Sie  sich  um  Ihrem  Pass  natürlich 
überhaupt  nicht  '^n   beküinmem.  > 

Zu  dem,  v.as  Sie  in  Gerds  Saclten  schreiben,  wil'  ich  nichts  sa^en, 
da  dnss  wohl  überholt  ist.  Di*^  letzte  i^achrinht,  die  ich  von  ^erd 
hatte, (  vom  30.  Januar)  besagt,  dass  sie  versuchen  will,  die 
Wartei^.eit  bei  Helena  Rninsay  11  c^axe  Oobnrg  Place  zn   vnrbrin,:;en 
von  der  sie  wohl  eine  Winlfidung  hpl^en  wilU  ])r*su  braucht  sie  eine 
Garant i  e ,  die  r.ra  r.  chen 
liegen  soll.  Sie  vilL 

gestellt  Wf  rden  soll.  Vorläufig  hofft  sie  -noch,  da 
die  <^ar':^jitie  selbst  stellen  v-ird. 

LJch  hoffe,  dass  das  alles  so  f;-- eht .  Ich  selbst  habe  nrlmlich  v;eit 
höhere  G-arantie summen  gehört .^'^ie  ich  Ihnen  schon  schrieb,  kommen 
die  '''   60Ü.-  für  diese  Garantie  nicht  in  i^raf.e.  Dieses  Gold  vmrde 
zwar  am  ersten  j.ovember  d.  Jh.  auf  mein  Konto  zurückgehen.  Das  ha 
ja  aber  nicat  v:.el  Sinn,  da  Gerd,  v/enii  sie  bis  dahin  nicht  im  Lr^n'i 
ist,  das  Geld  v/eiterhin  für  den  amerikanischen  Konsul  sei  es  in 

.  Berlin  sei  es  in  London  br^^ucht.  han  muss  also  das  Geld  anderweit 
aufbringen.  Bei  giir  sieht  es  augenblicklich  von  alÄem  anderen  ab- 
gesehen deshalb  ungünstig  aus,  weil  ich  nun— mehr  einen  mir  sehr  nahe 
stehenden  Lenschen^eine  j^'renndin  -•'Us  Prag  ViereinbrixL^en  muss.  Ich 
hatte  dies  s.  Zt.  schon  Ihrer  Mutter  geschrieben,  dass  diese  Löglich- 
keit  imnc  r  loch  im  Hintergrund  besteht.  Lein  Tvird  also  das  Geld  irgendwie 
anders  bekommen  müssen,  i'^ür  ^erds  erste  Amerikazeit  brauchen  Sie 
doc'ri  deshalb  nicht  zu  sorgen,  veil  in  dem  Aujenblicg,  r:o  Gerd  hier, 
eintrifft , sie  j*^  die  .•';'  600.-  abheben  kann,  mdererseits  müssen  Sie 
unbedin^^rt  ^inen  kleinen  "^etrag  für  sich  behalten.  Immerhin  haben 
Sie  ja  $   Ü40.-  v'enn  Gerd  etv/a  n^^r  -i"  400.-  br-'^ucht,  so  könr:en  Sie 
das  wohl  aufbringen.  Zu  altererst  möchte  ich  also  mr^l  abwarten, 
ob  und  bis  das  i'elegranira  an  mich  Icommt.  Dann  gebe  ich  Ihnen  sofor*':; 
Bescheide  . 


J^50.-  und  150. -.-^dan  sind  $   250.-  und  750*9 
mar  telegraphieren,  v/e}m  die  ^Tarantie  berei",  ^ 


hiss  R. 


/*^      ^^<^      /^      ^.^  AW^ 


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\    ^-'.f.O  Mi!OA  CT  , 
l^rffis  i{?e3  i^l^  GTT 


«     » 


/ 


Miss  .{-th 

75ix  i'ranl^lin  Avenue 

Hoilyi'.ood,    Cal. 


iii 


LeooO,   19^0 


Liebe   Riith, 

Q  zi^'nächst   sehr  herzlichen  Dank   für  das  lu;ti/.biich  und 

r  s  T'  schentuch,    -beides  hat,   auch  vvenii  Sie   es  als   so  gering- 
fügig bei^eichnen,   i'reude   gemacht,   ^as  Taschenti:'ch  ist   sehr 
hübsch,    imd   ein   solches   Taschenbuch  Vvollte   ich  i.ir  gerade 
'besorgen,   -beides   soll   Ihnen  auch  nc^ch  diesifial  verr^.iehen  werden, 
aber  das  gilt  nicht  für  spätere   i'älle.   han  kann  auch  nett   sein, 
ohne   Geschenke   zu  schicken. 

5croüC3C±KÄ  »'as  macht  d^r  Hexenschnss?  Ich  leide   dauernd 
daran  und  Vv'eiss,    dass   es    sehr  schi  er7>haft   ist.   Und   oben- 
drein wird  manauch  noch  ausgedacht,  weil  man  sich  so  komisch 
bewegt. 

Nun  die  verschiedenen  Anfraf;en: 

1.  Schmuck.   Schreiben  Sie   Ihrer  Mut' er  bitte   genau   das,    v;as 

sie   hören  will.   Dass  Sie   den  Schmiuck  nach  am.   -Bestimmungen  nicht 
verkaufen  durften,    ist  für  die   deutschen  Behörden,   v/enn  Uher 
hauDt  bekannt,   ganz  gleichgültig.   Dann  haben  Sie   sich   eben  gegen 
die  am.    ^esetze  verga  gen.   Die  i^eutschen  wr-rden  Sie    sicher  nicht 
den  am.   -^ehcrden  anzeigen. 'Ui.d  wenn  doch,    so  küniftn  Sie    ja  dann 
den  AmierikaneiTL  immer  noch  den  "^chmuck  vor  zweigen. 9 

2.  Die  '^ache  mit   der  Staatsangehörigkeit   ist   mir  nicht  klar. 
An  sich  würde   ich  auch  hier  sagen,    Sie   sollten  das   Schreiben 

was    Ihre  Mutter  w/ill.    Aber  v/emi  Sie  schreiben,    dn.ss   Sie    Am^^rikanerin 
gewereken  sind,    so  werden   die  J^eutschen  i^achweise  verlangen.    Ausser- 
g[emw*-issen  Sie   auch  drüben  ,^  nz   genau,    dass   man  erst   nach      5 

^ahren  die   am.    Staatsangehörigkeit    erwirbt.    Tatsachlich   sind 
e   natürlich  deutsche.    Alle   Österreicher   sind  automatisch 

eutsche   gewoiw^^.    jedenfali.ls   behandeln   si3  die  -deutschen  als 
^eutsche.   Durc.lf5fl5a!nv.anderung  hier  oder  sonst   etwc-;.s  komitensSie  nicht 
die   am.    Si:a'atsangehörigkeit   erwei'ben.    Ich  rdirde   also   ant- 
worten,   dass   Sie    zu  d^'^r  "^'rage   der  Staatsbürgerschaft  nichts  sagen 
könnten,    Sie^seien  früher  »i^sterreicheriii  gewesen  und  h^itte   n   jet'-t 
hier  Ihre   Citizenpapers  genomm^en.^^i^^s  letztere   ist   absichtlich 
missverständlich,    ee.^   5ind   nur  die   first  nicht  di^^   en  df^iltigen 
papers,    aber'v/enn.  die  ^erren  dort  wollen  kernen  -  ie    es   zu  lYiven 
Gunsten  missverstelrien.^  Sie   können  nebenbei   erv;ahenen,    dass  Sie    ja  mm 
vohJ.   endgültig  auch  Dpvisenauslanderin  seien.    Aber  ich  glaube,    dass 
das   t\\T  die  i'rage   der  "fine*'   keine   Holle   soielt. 

3.  Die  Bib'J.iothek  würde   ich  nicht  mehr  erw-lhnen. 

d.   -L>en  Antrag  für  ^-^^ustralien  für  Gerd  werde   ich  dieser  Tage  abschicken. 

iMAr  alle   Fälle,   gemäss   Gerds  Weisungen.    Es  vatd   ja  nicht  dazu  komünen, 

und    ^^v.   wird  m.an  das  jfeld   schon  irgendwie    zusamriien-brin^^gen. 

•dagegen  schicke  ich  den  Antrag  Iher  Mutter  nicht  ab,    da  ich  das  w  r  tun 

sollte,   wenn  Gerd  nicht  allein  hereinkommt.   Es   seteint   ab  r  als   ob 

sie   doch  allein  hereinkcmmt ,   da   sie   diüuen  i^  eunde  hcnt. 

5.   Das   Äff.   Cummins   unbedingt   für  Ihre  Mutter,   wie   ichc   chon   schrieb. 

6t   /inbei      er  -^rief  an  ^rof.   Müller,   unverändert.    Schicken  Sie   ihn  aber 

nur  ab,   wem    Sie    das  Äff.   Cummins  nicht   bekommen  oder  sich'  die  Sache 

allzu.lange   hinzieht.   Denn  die   Sache  Müller  ist  Mnsichtiich  Äff. 

doch  nicht   sehr  aussichtsreich,    ^md  m^an  seil   eine   -^ezielriun  g  nicht 

unnötig   ''verbi*auchen'* . 

alles.   Nun  zum  Schluss  ein  herzliches   Gutes  Neue 

s  für  uns  alle  besser  als  das  alte* 


£        iSo,    das  v/äre  wohl  a 
ffahr{(Hoflent]ich  wird  e 


Ihr 


ft^r 


Wb^ 


Mss   Ruth  i.iarton 
7511   i*'ranklin  /^venre 
Holljn/.ood,    (Jal.' 


V 


% 

T     X 


FETER  H.  DEHRENDT,  LLD. 
119  WEST  63ili  ST 


NEW  YORK  CITX  ' 


1/ 


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A 


De?'o,  '^ 


8 


•Liebe  Hii.th: 


1.  Tun  Sie  wpßen  der  Bilder  nichts,  solan(;e  sie  nicht  aus 
Leutschiand  Jrieraus  sirul  und  dann  a  ch  erst  nach  .'vnfrage  bei 
mir.  Ich  ver^jtand  v.enigsters  Ihre  Bemerkungen  in  dem  heu  e 
angekonirienen  "unglücklichen''  Brief  dahin,  d'.sis  ^ie  sich  um 
kuiistsachen  bemühen  wollen,  die  noch  drüben  sind.  Jede  solche 
Anstrangung  i.st  sinnlos  und  kann  ti'otz  aj  ..er  Vorsicht  Ihre 
]\lut'  er  aTifs  schversi  e  gefährden.  Y/en-  Ihr^^  Kutter  Ihnen  die 
ExoertisBn  v^-n  Bode  übersc.nät  hat,  so  hat  d-^p  sicher  nur  den 
Sirji,  die  Bilde?"  drl'.ben  als'Vvertlos"  auszugeben. 

2.  Wenn  Sif^  ein  Affidavit  ai'f  den  ^ertrag  mit  H.  stützen  komien 
imd  v\'ollen,  so  stellen  Sie  bitte  zv  ei  Äfft  aus,  eines  für  Ihre 
Mut^  er  ^^nd  eiries  fUr  I^ire  Schnsxer.  CJerd  kommt  K^'icher  vor  Ihrer 
Mutter  dran  und  soll  versr^chen  ohne  das  Äff.  von  Ihnen  durchzu- 
kommenc  Wur  im  Notfal].  sgl]^j>sie  es  zücken.  Wenn  sie  es  nicht  br-'cht, 
so  kann  dann  Ihre  tiuttery^esvorlegen. 

Je''''es  Äff.  in  drei  "^xemr^alren.  (im  ganzen  ai  so  6).  Je  zvei  schicken 

i^-e  nrch  B.  an  Ihre  ""eute,  nicht  an  K^^nsula*^  .  Je  eines  bhe^Oten  sie 

hirr.  Die  n^'hrren  ^nvmj  sungen  werde  ich  nach  Berlin  geben. 

Das  gan/^e   erfahren  /;eht  nur  nicht  ^  v/enn  die  beiden  etwa  gleichzeitig 

'»'eimin  haben  oder  Ihre  Lp^t'i  er  voi'iix  Grerd .  Dann  kann  man  es  sich 

immer  noch  überlegen. 

Die  Sach^^  von  ^erd  steht  gerade  auf  der  Kipue .  Kein  Äiensch  weiss,  ^-^ie 

sich  i  zwisclien  die  »^  che  gestaltet.  Am  liebsten  Vv^iJrde  ich  für  TUi^ 

noch  ein  ganz  schwaches  i^nd  fr  Ihre  Mutler  Vertioses  Äff.  haben. 

Ihr  Äff.  ist  etwas  stärke^'  und  bliebe  besser  für  die  Mutter  reserviert 

3.  Fragen  Sie  bei  dem  Jewish  ('oiincil  nocb  einmal  wegen  des  Dcrf- 
man-affi  für  Ihre  Mutter.  Problem  Moral /i^i^r  ly /) 

4.  Ich  wei.^de  auch  noch  an  laeine  VeiT^';'ndteri  nach  Engl,  schreiben, 
bezweifle  aber  dass  sie  v/a^s  tun  können,  da  Deutsche  und  rniis^ierdemi 
•  ohl  mit  Sorge  für  Nähere  belastet.  Jedenfal  s  kann  Gerd  dort 
immer  mal  pin  r;aa.r  Tage  ausspannen.  ^ 

/ie^"  dr 


b^ 


das  K 


sich  n 

-c-rklarung  für^Efe^^^i^^chland  abgaben 

Termiin  beim  Konsul  h£^l^J^45anrl  man 

eine   Erklr  luig  der  "^ank  sei 

seit    .  .  .  ,   besteht    c'der  ms 

London.  Y/erJi   ^erd   vr^u^-r^i  Kazis   gef 

dass  Sie      sich,>*<s^onto   erst    jetzt 

haben.    SiL-etTfilau  wird    sie   wohl   selb 

n  ch 


als  Sie  die 
ein  Datum.  V/enn  Gerd 
och  direkt  an  den  Kosul 
assen,  cfeass  das  Konto  schon 
soäter  diese  Erklärung  nach 
wl-'d,   anri  sie  sagen, 
Afi .  eingerich'i  et 
kann  es  ihr 


o  c 


rro' 


^.  Sagen  Sie  ii  dem  ^Aff .  nichts  über  -Bankkonto  oder  je^-^enfalls 

nicht  wie  3  ange  das  iv  nto  besteht.  Einfach  Bargeld:  

Darm  lassen  Sic  sich  die  übliche  Bestätigung  von  der  -»^ank  geben. 
Ich  werde  an  Ihre  Mntter,  sobald  ich  von  Ihnen  hcre ,  dass  alles  o.k. 
schreiV'en,  Si-^  soll  uns  Be:-:cheid  geben,  wenn  die  "^anlcbesche  .nigung 
abgeschickt  Verden  soll.  Die  lassen  wir  dsann  direkt  an  den  Konsul 
gehen,  sei  es  nach  Berlin  odei*  nach  London,  und  sei  es  zu  den 
Akten  Ihrer  biutter  oder  von  ^erd. 

Also:  a.  in  Afl.  nur  einfach  Erklürung  üoer  '-^eldbesitz. ,  kein  Zeit- 
punkt, seit  vann  Sie  es  haben. 
b.  Bakkbescheinigung  be.-chaffen,  aber  vorläufig  gar  nicht 
abschicken.  Meinen  -^e:  ch  id  abv  arten. 


etrri:)t  '.'ber  -i-h 


r- 


eigenen  Note.  Es  verb i asst  ja  al ' es  gege 


n. 


die  Nöte   dort   drüben,    aber  das   lindert  iiich 
rafft   sich  der  H.   v^ieder  auf 


j    • 


Hoflentlich 


^ierzlich.    in  Kile 


l^  0i^ 


.^'"•'•f-V 


Wöv.  25,  1938 


Liebe  Ruth, 

^uibei  Iferchschlcig  des  Bri^^fs  an  Ihre  Lutl.er,  Ich  hatte 
nicht  gleich  Ihnen  antvvorten  kounen,  weil  ich  voll  mit 
anderen  Sachen  beschaftiftt  war.  hein  J^'reund  ü'ritz  i^'riedl 
lander  ist  verhaftet  worden.  Dies  unter  anderem. 

Das  Äff.  Ihres  i^'riseurs  für  Gerd  -eht  nicht,  weil 
ein  unverheirateter  kann  kein  Äff.  flir  einjs'  imverheirattes 
Mädchen  geben  darf.  Vielleicht  fc^nn  man  aber  den  Prisör 
für  Ihre  liut-- er  einspannen*  Ich  habe  keine  ,.hnung,  ob 
bei  einer  immerhin  älteren  Lame  die  l^ioralbe denken  ebenso 
stark  sind.  Bitte  gehen  Sie  zum  dortigen  Ooimcil  of 
Jewiph  Y/omen  unc  last^en  Sie  sich  darüber  beraten.  i..an 


wird  Ihnen  darüber  dort  eine  genaue  Auskunft  geben  können. 

Ich  habe  mich  nunmehr  entschlossen,  Gerd  hier  ein 
Konto  über  $   600.-  einzurichten.  Die  Sache  ist  devisen- 
rechtlich einwandfrei.  Die  Benachritigung  ging  direkt  a 
den  Konsul  in  Berlin,  üamit  ist  das  ü-eld,  was  mi-r  s.  Zt. 
aus  Palastina  zuging  zum  grü^:^:ten  l'eil  festgelegt.  Ich 
hatte  s.  Zt.  £  65B.  -  erhalten.  Einige  •--  sind  jetzt  noc 
für  /.uslagen  drauf  gegangen,  .us  \  eichen  Grunde  Sie  in  Ihrem 
letzten  Brief  eine  Summe  von  i';  1  000.  -  erv^ähnen,  weiss 
i  ch  ni  cht  • 

Die  Sache  mit  dem  Konto  ist  so: 
Das  (jcld  steht  unv/iderru Jülich  Gerd  für  ein  Jahr  zur  Ver- 
fügung. Sie  kann  aber  nur  verfügen,  v  enn  sie  herkommt  und 
eingewanderl;  ist .  Solange  das  nicht  geschieht,  könn  übe 
haupt  -keiner:  an  das  Geld  ran.  i\iach  einem  Jahr  wird  das 
^eld  ,  wenn  die  irist  nicht  verlängert  wird,  an  mich 
zurückgezahlt.  Kommt  also  G-erd  innerhalb  des  einen  Jahres 
her,  so  kann,  sie  selbstverständlich  frei  verfügen. 

Ich  hoffe  ,  das  ist  klar,  meine  frül:ieren  r'emerkungen 
darüber  hatten  Sie  v/ohl  missverstnnden.  • 

Nun  müssen  wir  uns  also  beide  weiter  bem'dhen.  Ich 
s. .'reche  heute  mdt  Dorf  mann.  Man  darf  nicht  n-^chlc)ssen, 
denn  vielleicht  w^erden  die  -^estim^nungen  geändert  oder  weit- 
herziger aufgefas»^:t ,  so-dass  auch  schon  ein  ganz  schwaches 
Äff.  eines  nicht  verwandten  Lenschen  selbst  für  eine  ältere 
i'rau  vde  Ihre  IVlutter  ausreicht.  Lir  ist  ja  auch  die  Sache 
von  Gerd  noch  immer  etwas  schwach.,  und  ich  würde  sie  gern 
du  ch  ein  v;eiteres  ,  Vv^enn  auch  noch  so  seh'  aches  Äff.  stützen. 

Von  Ihrer  1  utter  hatte  ich  eine  Karte  ,  die  recht 
verza^fet  ist  und  sehr  um  Hilfe  bittet,  auch  für  sich  selbst* 


iMa,  das;^  ist  ja  aber  selbstverständlich  ,  es.  muss  drübe  i 
entsetzlich  sein.  Das  einzige  Ü-lück  im  i'fll  Ihrer  Ange- 
hörigen ist,  das^s  i'^rauen  sind,  die  man  aii^^enblicklich 
anscheinend  nicht  verhaftet,  von  mir  nichts  neues.  Vielen 
Dank  für  hiitteilungen  betr.  Califomien,  ich  habe  noch 
keinen  festen  Entschlmss  gefasst.  tledenialls  ist  es  seh 
schon,  da:  s  Sie  selbst  jetzt  ein  bi.sscher.bes.  erer  Stim- 
mung sind . 

Herzliche  GiiA^se 

von  uns  Beiden 


»^    iit/r-' 


i 


\ 


f 


( 


Uov.  25  ,  1938 


nötig 


Liebe  Frau  Doktor^ 

Ich  eitiielt  heute  Ihre  mit  der  ^ Europa  gesandte  Karte  Tom 
17#11#«  ^^s  Is"'  folgendes  zu  sagen: 

l^^erd«  Anbei  ein  üiief^  den  Sie  drüben^  obrrohl  dies  nicht 
«•^i^??{  sein  dürfte,  ins  englische  übersetisen  können  und 
den  ^erd  auf  Vunsch  beim  Konsul  vorlegen  kann^was  aber 
ebenfalls  wahirsche?-nlich  nicht  vorlangt  wird»  Die  üe« 
nachrichtlgung  an  den  Konsul  Ist  zu  Gerds  Akten  gegangen« 
Vienn  Sie  wollen,  können  Sie  naohprtlfen,  ob  der  ^rief  auch 
wirklich  zu  den  Akten  gekommen  ist.  Er  ist  mit  dem  gleichen 
3)ampfer  gegangen,  wie  dieser  Brief (  IQSSGSXIliX«  Dt  H.  ich 
weler  das  nicht  einmal  genau*  Jedenfalls  ist  der  Brief 
heute  in  den  Kasten  gekoninenn  Er  kann  sowohl  heute  Abend 
mit  der  Europa  wie  Morgen  früh  mit  der  Normnndie  abgehen* 
Jedenfplls  aber  dürfte  die  Post  von  beiden  Schiffen  gleich 
zeitig  in  Berlin  Piikomnen*  Selbstverst^dlich  habe  ich 
eine  Kopie  der  Benachrichtigung. 

Gerd  wird  raUncIlich  darüber  befragt  werden,  von  wem 
das  Geld  stammt  und  aus  welchen  Mitteln  usw*  Sie  soll 
df^nn  eben  wahi1ieltS;:emäs8  den  Sachverhalt  umgeben  und 
die  verschiedenen  Fanlllenmltglieder  nennen.  Ob  Sie  auch 
George  darunter  nennen  will  oder  nicht,  ist  Geschmacks- 
Sache,  vielleicht  bescer  nicht. 

Obwohl  Gerd  nach  der  Einwanderung  ein  völlig  freies 
VerfUgungsrecht  erwerben  soll,  kommen  vorher  irgendwelche 
Rechte  nicht  in  Frage,  wie  sich  Ja  wohl  genügend  aus  dem 
Begloit schreiben  ergibt.  Alle  rfxiili  nmltglleder  hnben 
mir  übereinstimmend  erklärt,  dass  unter  keiner  Eventualität 
irgend  eine  Hilfe  für  Gerd  durch  eine  Zdi  lung  nach  drüben 
in  Betracht  kommt. 

7XX         V/ie  Sie  rus  meinem  letzten  Brief  ersahen,  wollte 
ich  gern  noch  ein  Zusatzaff .  für  Gerd  haben.  Das  hnbe  ich 
bisher  nicht  bekennen  können.  Ruth  hat  sich  die  erforder 
liehen  TJnterlrgen  zur  Stellung  eines  eigenen  Äff.  nicht 
beschaffen  können.  Sie  glrubte  Jetzt  Jem^mden  andern  näm- 
lich ihren  i'rlseur  gefunden  zu  haben,  der  ein  Äff  geben 
sollte.  Der  I/iann  mag  in  ganz  guten  Verhältnissen  sein,  i 
ist  aber  nicht  verheiratet.  Aus  Gründen  der  Moral  ist  nach 
meiner  Kenntnis  ein  solches  Äff.  für  Gerd  nicht  zulässig. 
Ich  glpube,  dass  dasselbe  auch  für  Ihre  '^erson  gilt.  Ich 
will  dies  aber  nochmal  klären  larsen.  Sollte  etwa  wieder 
Erwarten  Ihnen  schon  gleichzeitig  das  Äff.  von  Ruth  über 
sandt  werden,  so  darf  es  nicht  verwertet  werden.  Ich  will 
über  den  Fall  noch  weitere  Erkundigungen  einziehen,  falls 
Sie  die  Möglichkeit  haben,  können  Sie  a  auch  dort  über 
die  Präge  des  Äff.  unverheirateter  Männer  an  unverheiratete 
i'rauen,  Erkundigungen  einziehen. 


Ih™  J       d««  oWgen  ersehen  Sie  auch  gleich  einiges  über 
Ihren  eigenen  iall.  Selbstverständlich  v.erden  die  Be- 
inühungen  fr^eeeetzt.  Heute  Abend  ist  Herr  Dorftnann  hier 
und  man  vvlrd  sich  Überlegen,  wie  man  andere  iandlienSt- 
glieder,  die  erst  noch  ausgegraben  werden  mUssen.  anseht 
Auch  Ruth  setzt  natürlich  ihre  üemUhungen  fori.  An^^ 
Rissen  Sie  Ja  dass  nach  meiner  Auffassung,  Sie  von 

f.?iv??  "T"  Z^^'^'''^'^,   v^enn  Sie  ein  braudhiare«  Äff.  eines 
vdrklich  nahen  Angehörigen  haben,  also  einer  Toohte]^. 
Sie  eiTvagen  aber  mit  Hecht  die  liglichkeit  einer  reitherzi^en 
Auslegung  der  ^estiromungen  und  deshalb  '  Urde  ich  selb«? 
^^nSn''°''  ^''""^  ^^"  Bchwächstr  Äff.  neil^en  JnS  iS^' 

o„u^+^^^^^^"  f°n^*i6en  Plänen  kann  ich  wenig  sagen. 
«°^T*®  ^?  ^^?  Hlchtuiig  von  Helimt  sind  sicher  auf^ 
npch  Lage  der  Sache  richtig.  Aber  alles,  was  im  einzelnen 

mSSte'^irM.^f "V"'^'  ""^^"«^  ^pekufationeS.1?s  J^^st 
wi  %o   ^^'^^^se^^en,  dass  ich  innerlich  'Ue  Überzeugung 

^n  ^?  «^^^f^rK^"""  Ruth. Oder  mir  gelingen  wird,  noT^ 
ein  Äff .  auf*utreiben.  Was  Ihnen  das  nützt,  lässt  sich 
eben  im  Augenblick  nicht  übersehen. 

«^«oh«  r,4  il?fVi^®'^*^°i^  "^"^^  verzagt  sein,  wenn  etr;a  die 

Cen,  wie  die  Unterlrgen  aufzubessern  sind. 

ton  bemüht^wSf  ^°  ersehen  Sie  wohl  ,  dass  ich  nnch  Kräf-   ' 

-imiri-  ^4^^   Englischlomen  soll  man  über  einen  bestimmten 
t^vn^?'-'"  nicht  Detreiben,  weil  man  da  doch  nicht  '  el.- 
ter  komrrt.^aGegen  k^mn  ich  mir  vorstellen,  dass  es  .  wenn 
ble  über  völlig  freie  Zeit  verfügen,  für  Sie  wertvoll  Min 
?Ti!:«Si°^  l^J^^   Grundlage  in  Spanisch  zu  verschaffen.  Auch 
ich  habe  Jetzt,, mangels  rnderer  UesoWiftigung  .  ein  wen!« 
Spanisch  gelemt.  Hier  im  T«nde  ist  Spanif^vin  elnT- 
n«S  Ltr^  ^    ^f^°  !^  ^^^*  ^^^   «^^«  Stellimg  bekommt) 
ML^rr'^TnBÜ^^,^^^"  *^^''^^^.   ''ohin  das  Geschick  Sie 
einmal  yei^chlägt.  Von  den  überhaupt  noch  in  l"rage  kom- 
menden ^^deiTi  sprechen  schlie.^:slich  sehr  viele  Spanisch, 
und  .panisch  ist  Ja  eine  von  den  Weltsprachen. 

Mt  diesem  nicht  allzu  wertvollen  Rat  mrchte  ich 
schliesren.  Im  übrigen  hat  natürlich  Jede  handwerkliche 
wache,  die  Sie  lernen  können,  irgend  einen  Zweck. 

PI 3^«  r.   y*"^  "iJ^^^fi^,'^'"^''^  ^^""^   ^  melden.  Ich  habe  schwache 
Pläne,  mal  nach  Callfomien  zu  frhren. 

Herzliche  Grüsse 
*      Ihr 


•  I  • 


liov.  30. 11. ..8 


\ 


f^^tUfKtC^^^ 


Liehe  Ruth, 

» 

Ich  erhielt  gestern  einen  vom  27t  L^oizr.  datierten  Brief  v 
von  Ihnen.  In  diesem  "^rief  erwähnen  Sie  Ihren  "  an.fgere^; 
ten  und  verwirrten  gestrigen  -^rief/'  der  also  am  26.  ab- 
geschickt sein  mllsste.  Dieser  ii^rief  ist  bei  mir  nicht  an  • 
gekommen.  Ich  kann  daher  auch  Ihre  Bemerkungen  über  ^erd's 
London-  Absichten  nicht  verstehen,  j^itte  prüfen  Sie 
nach  vind  schreiben  Sie  mir  evt,  noch  einmal. 

In  einem  frü  heren  -^^rief  fragten  Sie  nach  Gerd 's 
-^eruf .  Ich  vürde  angeben,  Lusikerin  und  Musiklehrerin. 

Die  Vornamen  von  'ierd  kam.  ich  aus  meinen  ünterla 
gen  nicht  ersehen. 

Was  Ihre  Mutter  bertif f t ,  so  hat  eine  A;  sistenstel- 
le  hier  keinen  Sinn»  Ein  amerikcmisches  besetz  verbietet^ 
bekanrtlicih  jeden  Vertrag  betr.  Stell.ung  vor  der  Ein- 
wanderung. Eine  Ausnahme  bilden  nur?  rof essoren,die 
unmittelbar  zwei  Jahre  vor  der  Einwanderung  diesen  Be- 
ruf noch  in  Deutschland  ausgeübt  hr;ben  .  Das  lä:  st  sich 
doch  bei  Ihrer  Lutter  auch  bei  besten  Berühungen  nicht 
nachweisen.  Ihre  Kutter  darf  also  garnicht  erwahn^:n, 
dass  sie  etv/a  hier  eine  Aussicht  auf  eine  [Stellung  hat, 
selbst  veiin   dies  wahr  wrire* 

Da,^egen  köiirte  man  Yielleicht  daran  denken,  sich 
an  den  Professor  Valentin^u  wenden,  ob  er  vielleicht 
Ihrer  Mutuer  ein  Äff.  geben  will  oder  i:   wahrscheinlicher) 
ob  er  vielleicht  irgend  jemanden  weiss  z.   B.  einen 
reichen  Menschen,  Kunstmllzen  oder  dergleichen,  der  ge- 
willt w  ra  ein  Äff.  zu  geben.  Wenn  Ihre  Mut-^er  dann  noch 
ein  /'nsatzaff .  von  Ihnen  h^itte,  könnte  es  vielleicht  rei- 
chen. Ich  selbst  habe  an  den  .  üller  noch  lAcht  herangehen 
wollen,  weil  ich  von  ^riefen  nicht  viel  halte.  Ein  Brief 
von  Ihnen  als  Tochter  hätte  vielleicht  etwas  mehr  Wirk- 
ung. Vvenn  Sie  einen  solchen  Brief  schreiben  v.  ^?en,  so 
ist  es  vi(  bleicht  zweokm**ssig,  dass  Sie  die  ganzen  sehr 
guten  />eu;^nisse  Ihrer  Mutter  beifügen.  Ich  vu.rde  sie 
Ihnen  dami  zusenden.  Ferner  wäre  es  sehr  zweckm-Issig, 
w^enn  Sie  s  ch  dort  noch  irgend  eine  l  fehl^^ng  an  den 
Mann  beschaffen  können« 

Es  schadet  nach  meiner  /nsicht  nichts,  wenn  Sie 
in  einem  Äff.  angeben,  dass  Sie  ein  Bankkonto  haben. 
Schlimmstenfalls  bleibt  auch  der  Weg  das  Äff.  direkt  an 
den  Konsnl  zu  senden  .  Ihre  Ljitter  wollte  das  zwar  nicht 
aber  so  wie  die  Dinge   jetzt  liegen,  ist  es  vielleicht 

richtig • 

Lfber  den  T-^lan  ins  Hotel  zu  ziehen  kann  ich 
wenir;  sa,  en.  Ich  glaube  dass  die  Ereignisse  drüben  schnel- 
ler gehen,  als  unsere  Vorschlage.  Inzwischen  werden  Kot eis 
den  Juden  längst  verboten  sein,  hücher  schicken  ist  natür- 
lich richtig,  aber  wv^ilir scheinlich  auch  unmöglich. 

Ich  wusste  nicht,  dass  sie  noch  ein  Sperrkonto 
hciben.  Ich  meine  ein  ver\r;ert bares.  Wenr.  es  noch  verv;ertbar 
ist,  ist  es  wohl  das  Richtigste, es  zu  verkaT!:''en. 

Ich  habe  auch  daran  gedacht,  für  *ierd  einen  Ve±- 
oß  hierher  zu  konstruieren.  Sie  kö  nte  man  ja  als 


K 


fh^lCt>AAj  ^i^  /.rtistin  frisieren f  Es  scheint  mir  aber  der  '^^eg  mit  dem 
i^^ifyiAjmAAX  %/ki/>  Äff.  lind  den  .'!'  600.-  sicherer,  obwohl  auch  das  zweifel- 
^^/4^«  Ä^*<^ii^^h£if t  • 

IIMmaam  iu^^  Dorfmann  bemüht   sich  um  weitere   /.ff.,    r.ei   es   für 

Iik^  LOu^cM  (^      ü-erd,    sei   es   fU.r  Ihre  l.utter.    Er  bot   sein   eifienes 
l4H.  l4ZccA4ff*uitiJff.   an.    Verdient^  nur  ;>7.-^'    .    Sehr   schwach.    Scheidet   füi^ 


s Chat ziungsw eise  Litte    l'v^anzig»   Da  Ihr  i^'riseur  etwa 

so  alt   ist   wie   Ihre  Mütter,    furchte   ich   dasj  desi^en  Äff 

auch  für  Ihre   lat^^er  ausscheidet.—— 

Y/as  war  der   junge  Samek   frühier  in  Deutschland? 
Wie  alt?  Kichtarisch?  ' 

.Herzlichen  Gniss 


¥  (ja^ 


LjU^  (R/y^^'    '  •^*^  ^"^^^ 


/Ua/!  f-ä6<?-c4^ik/</-    ''^^' 


J. 


n 


/i 


iÄ^ 


m^  -w^; 


.—  *r- 


V 


; 


l.iiss   "Ruth   lucirton 
7511  yraniclin  Ave 
Uolljn:or^d,    Cal^ 


\ 


V 

\ 


\ 


"^ 


6  'p  i>   - , 


V 


^et:.i  M.  b[:HuZ:;d1vüj). 

119  WIST  G3th  STREET 
NEW  YORK  CITY 


/ 


den  l^ai.^Ü 


1^Ui^^€ffC 


Liebe  Huth! 
Vielen  Lcink  l'Lir  Ihren  leti^ten  Brief,    der  wohl  noch  nich"^; 
beantwortet  ist«   iJie   angegjet  enen  i:3tellen  betr.   acoountant 
werde    ich  beachten.    Ich  werde  wohl  bald   nach   OMlifoimieL 

koBiiiien,   um  mich  aort  umzusehen  und    zwcir  zuru.chst  nach 
Los    yinf^eles.    Ich  verde  aber  wahrscheinlich  von  dort  \  ei- 
ter   gehen,    ^'chreiben   bie  mir  doch  wenri  möglich  mal 
eine   i^^eile  über  den  ''.ug,   mit   dem  Sie  von  hier  gef^^liren 
sind,    iis  war   doch  v  ohl   ein  Snezialzug,   in   dem   es   auch 
Eschen  und    Schlaf geleK.enhnit   gab.    i'rotzdem  Coach?  Ich 
kfinn  einen  solchen   '^.i:».g  nio^it   ermitteln.    i'Uhren   Sie  vom 
^rand    "Central  oder  x^ennil venia   Station.   Vyif::sen  Sie   noch  ^       .^  ^ 

was    das    Billet   gekc-tet/i  hat?  ^Ut^^    f^    ^'ff    ^^J'  a4ft(^St^^^^^J - 

V/as   das   /viiidaxit   betrifi't    so   ersehen  Sie   aije  s  nähere 
aus    der  anlief^enden  Abschrift   eines  ---rie^fs   an  Ihre   Lutter 
bit1:e    £chic]:cn  Sie   mir  r  ber  di^  sm.r.l   die   Abschrift  j^vu^ 
rlick^    v^eil   ich   sie   bei  meinen  r-.kten  behalten   ^'-ii^-«    -^  s 
•A.ffidavit  v/ird   vielleicht   nicht   ausreicihen  und''%i<jchte   da- 
her  ein  Zusatzaffidavit   von  Ihnen  für  ^erd   h  .ben.   Ler 
JL.'all  Ihrer  i  utter  ist    ooch  jetzt   aussichtslos,   -^»amentlich 
kann  man  ih^*  nocii  nicht    einrual   ein  honto   einräumen, 
weil  das   »^^eid   für  2   ^r  hre   (bder  larit^^r  festliegt.   J^s 
korni/it   hüchr".ens   in  i-'rage  ,    dass  ^ie/^in  Konto  über  SCC;.- 
aus   dem  ^eld    ,   vas  ihrer  -^'"amilie  äxst  hat,    hier  bei   einer 
l'ank  einräuruen.    Ich   zögere   aber  auch  darin  noch,   v.eil 
das    jpfeld   dann  eben  a^^ch  .  Ihnen   für  Jahre   entzogen  ist# 
Aus   frdem  kö^aite   es   nur  von  Ihnen s  elbst    zur  Verfügung 
gestellt   werden  und    das  mochte   ich  nicht   ^^erne,   wegen 
Ihres  Vermögens   in  L'eutschl'.-.nd.    Ich  überlege   es  mir  a])e'' 
noch.   Vorerst  möchte   ich  gerne   vds^. en,    ob   Sie  nj.cht 
selbst   noch  ein  /'iff.    geben  können.   Bitte   gehen  Sie    sogleich 
zu  dem  dortigen   Council   of  ^ev^sh  ilromen    ,    lassen   sich  die 
i'ormulr.re   geben  und   veiter  i^escheid    sagen»   V/enn  Sie 
ein   Äff.     geben,    müsren  Sie   nach  meiner     iisicl'it   ein;e   Ein- 
koniTien  von  mindestens   %   4^' .-   nr-chweisen  können.    Sie   müs- 
sen  sich  überlegen,    ob   Sie    solch   einen  ^*''chwe:.s   flüiren 
können.    ./\u.^-^seräem  mürste   m  m  Ihiien  dann  ein  Br^nlckonto   ein- 
richten,   auf  dem.   sich   etva    -    600.-   ode::^  700.-   befinden 
kr  nen.   Ij^'^.  i:^mil:konto   könnte   in  venigen  l'agen  eingerichtet 
sein.   Ich  v-ürde   Ihnen    einen  Scheck  über  das   (reld    zuschicken-t 

lÄÜ  Die   S,'  che  ist    ziemlich  eilig.    Ich  möchte,   dass 
alles  in   2   oder  3   'Jochen   erledigt   isi^. 

Sonst  \veni{5 /ffeuesy  ausser^  v:as  vdr  beide   in  den  Lei- 
tungen  gelesen  hcü)en.    Inre   l.utxer  erkundigte   sich  heute 
telegraphisch    ,    vie   die  /oTf.    Sache   irerd   steht. 

"-herzlichst. 


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SayiS  11169  iS3M  6  TT 

'an  'iaN3yH3a  'h  d3i3J 


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1938 
7511  i'rj.nl<:lin    ''ve 


£'.  5IF 


Air  L.  ill 


den  11*  Oktober  1938 


Fnxa  Doktor I 


Ich  imtv^ortr'   siemlioh  kurs^  nur  um  das  V'ichtlgste  zu 

erwähnen  •  XZ 

!•     hilt  den  Veirvaiiriten  kar^n  ich  wahrscheinlich  manßelti  genauerer 
Angaben  nichts  rnfangen«  Ich  vprde  micli  jedenfalTs  beKillhon*  Es  ist 
aber  gur^  vienn  Ple  fllr  alle  l'S.lle  weiter  nachforijchnn. 
2.     Die  Hundeidee  i:i;t  violleicht  nicht  schlecht*  i  ^n  hrt  hinr  haupt- 
sächlich Scctchte.rriei^  (   s chv;ar2 ) Dr aht haart erri er, ChoT^-Chow( Abart 
von  '^-^alnrhiaic?),  \x:.C   l^ngJiaarige  D^.ckel«  Jedenfalls    meist  kloine  Hunde, 
wenig  ßiofse  wln  z.  B*  deutsche  Schäferhunde • 

3»  Der  Ausgang  Ihrer  verschiedenen  e'tellungsbemUhunüen  erstaunt  mich 
nichttSif»  v/irten,  dasr.  Ich  es  fllr  ausgeschl  ossen  hielt,  aus  der 
Fntfnmung  oine  5*tellTaif;  zu  finden*   l>er  Bericht  Ihres  lieffen  ist 
jedenfalls  zu  oe^siniiytiüch,   sov;eit  es  sich  um  terd  handelt* 
Ich  betirteile  auf  üruiid  meiner  cehr   viel  genaueren  Kenj-tnis  gei- 
stlgor  Berufe  deren  Aussichten  flir  sehr  günstig,  v.enii  sie  eine  kur- 
ze /oilrufaeit  Übersteht*  i5elbstV8r8tändlich  soll  die  die  üache  mit 
der  Gtoldsclinidtschule  einnehmen^  Darilber  ist   Ja  nicht  zii  reden* 
V/enn  sie  aber  in  ilireii  i'ach  etv  as  findet  und  dann  vielleicht  auch 
noch  nebenboi  ^:tancler-  geben  kann,   so  ve?:Tlient  sin  soviel,   dass 
Sie  ohne  weiteres  einige  Zeit  davon  nitleben  können.  Dabei  meine 
ich  nicht  nur  Liit durchgefüttert  r erden*  Ich  glaube,  dass  8ie  bei 
einiger  -  endi^^lmit  ih.t  selir  brld  f^tunden  abnehmen  kennen  usv/* 
loh  bitte  inii'ier  nicht  ;5ui  vergersen,  dars  ein  behalt  von  $  35*-  die 
Woche  hier  durcfiaus  nl(?at   s<nhr  hoch  ist^»  Venn  ^•ie   f^iihe  und   Zeit 
haben,   werden  rie  vie  leicht  auch  etrrs  finden  z*  B.  in  einem 
i^seum^  I.  -tUxlich  ^:ii;J  ihre  Aue c^ichl^eft  nicht  «HoFa-  gxinstis,  aber  sie 
sind   nuch  nicht  cinlVch  schlecht* 

Ob  ärllben  Ihre  ^::d.stcnz  irra'^r  grsichert  ist,  muss  ich  Ihrem 
Urteil  Uborlcissen*  Ich  bezweifle  es*   ^r^i-d  Zuloinft  ist   o^denfalls 
null,  v/ähü^end  bie  hier,  venn  nicht  eine  völlige  Umwulzixng  erfolgt, 
eine   v irkliche   '/.i:ikurjCt  ir  besten  Sinne  des  Y/crtes  vor  sich  hat* 
Je^^e  veitere   /'.ögem  allsrdiiigs  ist  vorderblioh*  Die  /ussichten  ge- 
rade in  den  berchrr^nlrteii  geistigen  i^erufen,  v/erdcn  durch  •  eiteren 
Zuötror.  immer  schlechter* 

Das  Affidavit  für  Gord  öof  e  icli  in  den  nächsten  Tarsen 
zu  hbbEii*   Sie  selbst   ^;ino   ja  noch  i^aiTiioht  f^lait  unc  vielleicht  hat 
bis  Sie  können,   G-erd  sich  ll'ngst  fojyt gesetzt* 

Välirend  ich  Gf^rcl  also  ininer  vifder  zurede,  vdll  iclri  bei 
Ihnen  durchaus  nicht  siu^eden*  Aber  ich  machte  aucli  virklich  nicht 
abreden. 

Viele  Grüsse 

Ihr 


cen  i^ü.    Oktober  ly^Ö 


Liebe   Ruth!    Um^.tph'' i.i^     znnuohi:t,    v.'ie  ublioh,    /Lb.schril"t    eines  ^-ief 
an  Ihre  Lutter.Ich  hofife    jetr^t    bestiumt  und   endgill-i:iß  im  Laufe  de?; 
nächsten  V/oc^ie   das    Mrfidavit   für  ü-erd    zi^   haben. 

Sonst  yi:-be   io:i    1  nge  nicht    ^^esohrirben,    veil  v'irklich 
nichts    zu  berichtn^  war.   Ich  bin  betrübt,    äass   üie    jetzt  nicht 
h' rkorjr-^.en,    fv-eue  Mich   fM-er,    dass  Ihre   Stimiriung    jec'enfails   etwas 
besser   zu   sein   scheint.    ..-..nn  Sie   sich  an   jemünc^   anschliessen 
könnten,   vjare   es    ja   sehr  schön.    Cb   ein  bi^:  shot   gerade   das   Richtige 
ist,    dar^dber  kann  man   streiten,    'vber  Ihr  h;'bt    ja  nun  einmal   eine 
Virlieb^    für  so   etv/as.    ^]s  verleiht   erst   den  richtif^en   Crlanz 
ohne    den  das   Ver^^nli/'^j'n  anscheinend    sich  nicht   einstellen  v;ill» 
Ich   hin  ff  1-    '.,inv^   Mdiz      Ite    i'"  iriTc^  in   Ihrem  i''-0."^y 'leider  hundertnro- 

cniiessiich  auf  heirat   ein- 


zentie3  ^^-^^   ^o^  Kopf  bis   i'Uss  und   .^-^uss 


s 


gestelJt,    ich  meine    für  Sie.,  lind   au  diesem  Zv/eck   sind   biß   shot 
nicht  ideal        sondern   im  (j-egenteil  höchst   un^^eeignet»    jjiese  Alten  — 


iW 


i'antenße Sichtspunkte  im  ]iinl)iick  auf  unsere  Lage  und  darauf,  dass 
Vv'ir  nicht  mehr  in  -^nrlin  oder  v/ien  mit  r-icherem. '13od.en  unter  den  i'üs- 
sen  in  Vergnügungen  herumnlüte ehern  können-. 

ivieine  i*'rau  ist  mit  dem  letzten  sdi  önen  j-alde  nicVit 
ganz  einverstanden.  Ich  hrlte  es  aber  trotzdem  'lufrecht. 

Von  üiir  ist  gamichts  zu  berichten. Ich  denke  jetzt  doch 
V'ieder  da.rrn,  accountenc^.y  zu  studieren.  Ziel:  sogenannter  certified 
acoountant.  üs  liegt  mir  wenig  ,  ist  aber  für  mich  zu  schaf'^. en 
und  niciht  völlig  arssichtslos  .•  Ich  habe  auch  ri'-Kler  an  Californien 
insbesondere  Los  .ngeles  gedacht.  -J'-'-i  dieser  Gelegenheit  eine  i3ittc. 
Ich  m/Jchte  gern  an  ^-^ine  öf f ent li cli e  St r 1 1 g   dort  schreiben  und 
mich  noch  den  rem^irmen'bs  erkundigen.  •  cnn  Ihnen  jemand  sagen 
kann,  nn  ven  ich  mich  V;enden  muss,  so  schreiben  Sie  es  mir.  Ich 
kann  mir  vors'^:pllen,  drss  ein  accountant  oder  auch  ein  lav/j^er  ode 
einer  der  anf   diecse  beiden  -^erufe  hin  studiert,  es  v.eiss.  jitte  machen 
Sie  sich  aber  nici\t  besondere  ruhe  damAt .  Ich  vü.rde  es  auch  hier 
irgendv'ie  herauskriegen.  Sollten  ^:ie  aber  zufällig  auch  über 
'iispicht'^-n  des  accountant  dort  etv.as  hören,  so  schreiben  Sie 
oder  sagen  Sie  lair,  mit  v/em  ich  in  Verbindung  treten  soll. 

Viele  herzliche  (Irüsse  von  uns  beiden 

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July  8,  1938 


Liebe  Riith.  Ich  antvorte  rst  houte,  da  zunächst  Gertrud  nach  ihirr 
vor  einer  woche  erfolgten  Rückkehr  ziemlich  lange  mit  einer  Er- 
kältung gelegen  hat  und  dann  ich  einige  Tage  durch  einen  kleinen 
Schnupfen  in  A^nspruch  genommen  war* 

Zunächst  einmal  das  Sachliche •  An  Hellmut  schreibe  ich  mit 
dem  nächstenDampfer.  Mir  hat  er  ja  auf  meinen  ürief  überhaupt 
nicht  antwortet  ,  was  in  jedem  i'all  eine  Ungehörigkeit  ist. 

Was  Gerd  betrifft,  so  köniien  Sie  ihr  ruhig  andeuten,  dass 
ich  hier  jemanden  wüsste,  für  den  sie  nach  meinem  Gefühl  ausge- 
zeichnet als  Ehefrau  passte.  Mehr  kann,  man  natürlich  nicht  sagen. 
Ob  die  Beiden  sich  nachher  wirklich  gefallen,  weiss  man  nie. 
Immerhin  sind  Beide  sehr  interlektuell,  Beide  sehr  musikalisch, 
das  Alter  passt  und  die  Vermögenäverhältnisse  auf  der  männlichen 
Seite  sind  so  vorzügli'che,  dass  etwa  die  nachfolgende  Einwanderun, 
der  Mutter  eine  Kleinigkeit  wäre.  Detailliertere  Angaben  will  ich 
nicht  machen,  weil  es.  nach  meinem  ü-efühl  ein  Unglück  wäre,  wenn 
Gerd  dann,  wenn  sie  auf  den  Mann  trifft,  sozusagen  wüsste,  dies  ist 
derjenige  welcher. 

Nachdem  jetzt  die  Einv/ahderung  von  Gertrud  völlig  glatt 
erledigt' ist ,  bin  ich  jedenfalls  bereit,  für  Gerd  auch  mit  einem 
grö  eren  Betrag  zwecks  Einwanderung  einzuspringen.  Lies  können 
Sie  bei  allen  Ihren  Plänen  berücksichtigen.  Natürlich  gilt  das 
nur  z.  Zt.  Ob  die  Zukunft  nicht  irgendeine  Änderung  bring'.,  v/eiss 
man  nicht.  Z,  B.  denke  ich  allen  Ernstes  daran  nach  Südamerika  zu 
gehen,  v/eil  ich  mir  anscheinänd  hier  keine  Existenz  aufbauen  kam. 
Möglich,  dass  da  einmal  meine  I^attel  in  irgend  einem  Bet- riebe  fest 
gelegt  sind.wiber  das  ist  Zukunftsmusik.  Gerd  Äatd  mir  jetzt  einige 
Unterlagen  hinsichtlich  ihrer  Examina  geschickt  und  mir  gesagt,  m±t 
wem  sie  sonst  noch  in  Verbindung  st^ht.  Ich  werde  mich  an  die  Stel- 
len insbesondere  an  den  Council  v/ahrscheinlich  Wenden./"  Sicher  ist 
jedenfalls,  dass  sie  nach  den  neusten  Ereignissen  versuchen  muss 
so  schnell  v/ie  'nur  irgend  möglich  aus  i^eutscliland  herauszukommen. 

t    Nun  die  Sr^che  m.it  der  Vermögens erklürung.  Die  Frist  lauf* 
so  viel  ich  weiss,  erst  Ende  i^eptember  oder  P]nde  Oktober  ab.^^'^chBr 
ist,  dass  nach  dem  Wortlaut  der  Bestimnn.tngeri  jeder  Kunstgegenstand 
oder  Edjelmetall^ecenstand  also  jede  goldene  IThr,  jedes  Pelzstüc^ 
usv^5^f^5rL^^§e^OT^erden 'muss.  Sicher  ist  auf  der  anderen  Seite,  dass 
man  nach  unserem  Interesse  möglichst  v/eMg  angeben  muss.  Nach 
meiner  Ansicht  müssen  ^ilso  nur  diejenigen  Gegenstlimde  von  Ihnen 
angegeben  werden,  die  berei1;s  anderweits  b e karint  sind.  La  Sie  ja 
wohl  in  früheren  Steuererklärungen  und  ähnlichem  niemals  irgend- 
welche von  den  Gegenstäi  den  übei!'  die  Sie  jetzt  zweifeln,'  einzeln 
aufgeführt  haben,  -  prüfen  Sie  auch  das  nochmal  nach-  so  bleiben 
eigentlich  als  gefahrlich  nur  die  verschiec'  len  Versicherungen 
übr'.j.  Bitte  überlegen  11  e  sich  genau,  ob  Sie  in  einer  Versicherung 
Gegenstände  einzeln  als  solche  a  fgefülrirt  haben /^  Möglich  ist 
natürlich  auch,  dass  Sie  z.  B.  in  dem  /mtrag  auf  die  Schmu ckversi- 
cherung^,  die  Ihnen  d  ann  abgelehnt  wurde,  die  einzelnen  Gegenstände 
angegeben  h-^^-ben.  ?>elbst  das  wurde  genügen,  um  anzunehmen,  dass  die 
Sachen  den  Behörden  bekannt  sind.  Man  müeste  also  alle  diese  Gega 
stände  unter  allen  TTmstllnden  jetzt  wieder  angeben.  XIKiXÄitX2ÜQ^KX 
XXKMpCKIK  Denn  Sie  müssen 'sich  darüber  klar  sein,  dass  der  Verbleib 
eines  Gegenstandes,  den  Sie  einmal  hatten,  notfalls  nachgewiesen 
werden  müsste.  Im  Ausland  durften  Sie  nicht  verkaufen,  ohne  das 
Geld  :^bzuli  fem.  ^enn  Sie  den  Gegenstc9nd  im  Innlc^nd,  in  Deutsch- 
land verkauft  haben,  so  müsste  man.  annehmen,  dass  Sie  den  Käufer 
gegebenenfalls  nachweisen  könnten.  Wenn  Sie  etwas  verloren  haben  , 


SO  ist  zunächst  zu  erörtern'  ob  Sie  etwa  eine  Versicherung  gegen 
den  Verlust  hatten.  Dann  vv-ürde  man  Ihnen  den  Verlust  niemals  glau- 
ben, weil  Sie  ihn  nicht  der  Versicherung  angezeigt  haben.  Aber 
selbst  wenn  keine  Veri:3icherung  bestand,  würde  es  sich  empfehlen 
ein  Verlieren  immer  nur  hinsichtlich  eines  Oegenstandes  zu  behaup  - 
ten,  Pelze  allerdings  können  sich  ja  wohl  wirklich  abtragen.  Jede i 
falls  kommt  es  entscheiü'dnd  immer  wieder  darauf  an,  welche  ije^":;en- 
stände^etwa  aus  irgend  einer  früheren  Erklärung  bekannt  waren. 

V/enn  nichts  bekcinnt  war,  dann  wurde  ich  ein  bisschen 
Schmuck  angeben,  aber  nicht  sehr  viel. 

Den  Mantel  wird  man  vielleicht  als  gev^öhnliche  Garderobe 
bezeichnen  können,  die  oeviül  i  nh  w^q^  y?^  nicht  angabepflichtig 


rV  ^, 


-f^! 


:-  *^. 


^- 


'S 


ist.  Schliesslich  ist  er  doch  schon  erheblich  getragen«  Übrigenä 
könnte  wahrscheinlich  der  Mantel  auch  dann  von  jemanden  Ihnen  her 
gebracht  werden,  wenn  er  angegeben  ist.  Die  Püchse  würde  ich  ganz 
unter  den  Tisch  fallen  lassen,  ^^enn   Ihre  Mutter  will,  kann  immer 
noch  Gerd  die  als  ihr  Eigentum  angeben. 

'         Um  das  Konto  in  V/ien  machen  Sie  sich  v^eiter  keine  Sorgen. 
Bankkonten  im  Ausl-'^^nd  köi:inen  in  der  Tat  von  Detektiven  usw.  un- 
ter Umständen  ermittelt  werden.  Dje'&efahr  ist  aber  in  den  ver- 
schiedenen  Ländern  ganz  verschieden,  nur  Schveiz  usw.  sehr  gross • 
AusseÄdera  kümmert  sich  natürlich  kein  kensch  um  ein  1  £  Konto. 

Bitte  prüfen  Sie  auch  nochm^'^als  wegen  der  Pelze,  v- eicher 
Pelz  etwa  in  einer' Versicherung  einzeln  aufgeführt  worden  ist. 

Übrigens  bin  ich  der  Auffassung,  dass  Sie  dle^J^elze  über- 
haupt nicht  und  lr\   koinnr»-  tfnll  ■  anzugeben  brauchen,  Tr«r¥*^ie  zu 
Ihren  persönlichen  C^ehr  uchsgegenständen  gehören«  Das  v  re  nur  dann 
nicht  der  Fall,  wenn  6s  sich  um  so  ungewöhnliche  Vierte  handeln  wür- 
de, dass  man  sagen  könnte,  der  einzene  Pelz  ist  eine  di  rekte 
Kapitalsanlage.  Davon  kann  auch  bei  Ihrem  BreitBchwanz  keine  -^»-ede 
sein,  sollte  aber  einer  der  i^elze  einmal  besonders  versichert  wor- 
den sein,  so  fragen  Sie  mich  lieber  nochmal  an.    ' 

Was  die  Schmuckgegenstände  und  Kunstsachen  betrifft,  so 
scheint  es  mir  nach  dem  Formular  als  ob  man  lediglich  den  G-esammt- 
wert  angeben  muss.  Eine  Aufführung  der  üegehstände  im  einzelnen 
isi  niom^'geTor^rt .  Hatürlich  müssten  Sie  sich  privat  irgendeine     y 
Grundlage  für  Ihre  Angabe  zurechthalten«  Ivjehr  ist  aber  nicht  nötig. 

IDenkbat  ist  natürlich,  dass  noch  eine   besondere  Ausführungsbestim- 
mung ergangen  ist,  von  der  ich  nichts  weiss.  Jedenfalls  wird  das 
•t^este  sein,  wenn  Sie  einfach  irgend  einen  ziemlich  niedrigen  Wert 
■  einsetzen,  soweit  nicht  etwa  eine  frübiere  Versicherung  entgegen- 
steht. Beachten  Sie  ausserdem, dass  der  Verkaufswert  vom  April  193Ö 
massgebend  ist#  Es  ist  also  möglich,  dass  ein  Gegenstand  jetzt 
viel  v/eniger  '»»ert  hat,  der  vor  einigen  Jahreri  höher  versichert 
worden  ist.  Bei  Schmuck  wird  man  das  allerdings  kaum  sagen  gönnen, 
da  ja  die  Preise  in  Deutschland  sehr  gestiegen  sind. 

Jedenfalls  fragen  Sie  mich  nachmal  an,  bevor  Sie  das  ganze 
abschicken.  Ich  glaube,  dass  Sie  von  sich  aus  überhaupt  nur  eine  , 
einzige  Ziffer  auf  S.  3  unter  g  einzusetzen  haben.  Diese  Ziffer 
wird  man  verhältnismässig  niedri  halten  können. 

Wenn  Sie  mich  noch  einmal  in  der  Sache  anfragen,  so  schicken 
Sie  mir  bitte  die  Formulare  zurück. 


oen  1-j,   1'^.,   Vf 


lAehe   Ruth! 


Jetf^.t  nur  ein  par  teilen.  Ich  höbe  in  der  letzten  ^eit 
sehr  viel  mit  den  dachen  der  Leute 'drüben"  zu  tun  ge- 
habt. Unter  anderem  auch  mit  Ihrer  Mutter.  Ich  will 
daher 'Ihren  letztan  i^rief  ausführlicher  erst  morgen 
oder  an  einem  der  nächL-ten'i'agj  t  eantworten.  Ich 
werde  IVimen  danji  auch  den  r^rief  an  den  Professor  luüller 
durchgesehen  'Zurücks chiokefi  und  die  Anlage  zusammen- 
stellen. Oder  haben  üle   die  ^B^ni.^.se  selbst? 


OlAilL{ui^ 


Inzw'   "'•rn  hat  u-erd  den  ^  lar  r.c  < .!  Australien  zu  gehen  • 
Sie  hat  mir  einen  entsureche^den  Antrag  nebst' Unter- 
lagen zugeschickt.  Das  ganze  ist  nur  notfalls  gemein-^- 
falls  es  Ih:"  nämlich  nicht  gelingt  nrch  England  herein- 
zukorxT.en  uno  ^ort  die  Zeit  bis  zur  Erteilung  des  ameri- 
kanif:chen  Visi^ms  abzu'  arten.  Es  handelt  sich  of '  enbar 
einfach  dariim  unter  allen  Umst-nden  und  auf  aller- 
schnellsten  V/ege  aus  -Deutschland  herauszukomijen. 

Die  Sache  i^'t  nun  folgende:  Zur  Einwanderung  sind 'tm- 
scheinend  200.-  .€  erforderlich.  Ein  Gesetz  darpb'^r 
•gibt  es  nicht.  Dies  schein":  aber  die  übliche  Zil'j'er 
zu  sein.  Das  ^-^eld  ist  ein  Vory.eif^er^Gld  und  muss  ledit, 
lieh  bei  der  Landung  vorgewiesen  v/erden.  Obv/ohl  die 
Englandaus  sichten  von  Oerd  nach  heutigen  -'eitungsnach- 
richten  gün:--tig  :  tehen,  muss  die  'vUstrallensache  be- 
arbeitet werden.  Der  .ntrag  muss  von  hier  nach  Austra- 
lien geschickt  v/erden.  Ich  brauchte  die  'Sumr::e  nur  ein- 
zusetzen und  die  bache  abzusenden,  wobei  ich  mir  über 
legen  werde,  ob  ich  ^  bitte,  die  Korrespondenz  über 
mich,  zu  führen.  Die  i*'rage  ist  nur:  kann  das  ü-eld  auf- 
gebracht werden.  Dazu  ist  zu  fragen: 

1.  Können  ohne  Rücksicht  auf  üerds  Mesiges  ü-eld  im 
ganzen  1000. -.'fl^  von  Ihnen  und  Helmut  ^aufgebracht  v/erden? 
1000.-  ^   entsorechen  etva  200.-  ^. 

2.  Wenn  das  nicht  möglich  ist,  so  müsste  man  das  hie- 
sige ^eld  einbeziehen,  ''n  sich  sollen  die  S  600  -  , 
die  jetzt  gasprrrt  sind,  v;ie  ich  Ihnen  scririeb , 'ü-erd 
erst  zur  Verfügung  stehen,  wenn  sie  hier  in  Ameilka 

ihre  Emigrationskarte  vor^'^^eisst .  Ich  möcnte  €\ber  annehmen, 
dass  sie  man  sie  auf  einen  '^rief  von  CJerd  aus  dem  /^usland 
vielleicht  auch  frei  bekomiit  .  In  jedem  i^Ml  gehen  fllie 
"^öOO.-  n-ch  einem  <J"ahr  auf  _n e i n_  Kont o  zurück.  Ich  müsste 
mir  also  überlegen,  ob  ich  etv^a  bis  dahin  G-erd  das  Oeld'^*^  luUouAUit 
vorstE^ecken  kann,  wenn  die  vorherige  i'reigabe  misslingt. 
Mir  w  re  das  wenig  angenehm,  lediglich  aus  dem  ^iu.nde 
y/eil  ich  w'ahrscheinlich  noch  für  andere  Leute  ein- 
stehen muss« 


Immerhin  denken  Sie  mal  über  die  Sache  nach,  und  schrei- 
ben Sie  mir  möglichst  bald,  da  es  natürlich  eilt.  Selbst 
verst  ndlich  schreiben  Sie  über  den  (reldr;unkt  nichts 
nach  "Deutschland.  Die  wissen  von  der  Soffrrung  nichts. 


Auch  dem  j/all  Ihrer  kut-i;er  will  ich  mich  wieder  widmen. 
Ein  Äff.  rj:ch  ein  schlechtes  hätte  selbstverständlich 


den  Zweck,  äasj;-:  sie  vielleicht  mal  von  irgend  einer 
sich  jetzt  bietenden  ^elee'.enl-ieit  G-ebrauch  r!;achen  kann, 
z^B.  einer  Einreisemüglichkeit  nach  England  fllr  alle 
die,  die  Äff.  haben. 

Mein  Vetter  imnz   Behrendt  ist  hier  eingewandert ,  bleibt 
aber  nur  ein  paar  Tage  hier.  Das  nimmt  micl^i  jetzt  sehr 
in  Ansiomch,  Ich  hofJB  aber  doch  noch  ninmr.l  vor  Weih 
n  chten  .^:chreiben  zu  k'nnen.  Kvtl.  wirklich  alles  C^ute 
von  mi3:  und  meiner  l'rau, 

^Ich  ermahne  Sie  dringend,  uns  nichts  zu  V/eihnachten  zu 

schicken,  da  Sie  dazu  einfach  nicht  in  der  Lage  sind. 
ll Ich  würde  diesmal  vdrklich  böse  werden  und  sofort  die 
{iKorresr)ondenz  abbrechen.  Lies  in  allem  Ernst. 


Herzlichst 


/ 


TJvic 


U!0  M^'^.'v  t0i  ^-  . 


NisLi  Ru.th  I'..'ir-ü 
7511  FronXlin  ' ve 
Äollyy.rcr\ .    C'.l, 


M.ir-   LL.il 


1 


i 


1 


M  Z60ZI         rAU6mSA.H  pamilv  cou^c^udH 


f 


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deutsches 

filmmuseum 

frankfurt  am  main 


Deutsches  Filmmuseum,  Schaumainkai  41,  6000  Frankfurt  a.  M.  70 

Frau 

Ruth  Marton 

New   York      NY     l002.2- 


Ihre  Nachricht 


Ihre  Zeichen 


Unsere  Zeichen 

loe/le 


Stadt  Frankfurt  am  Main 
Der  Magistrat 

Telefon  (069)  21  21 
Durchwahl  (069)  212- 
Telex413  064 
Telefax  (069)  75  00-33  49 

Bankverbindungen: 
Postgiroamt  Frankfurt  am  Main 
Nr.  2-609 

FW- Haltestelle  Schweizer  Straße 


Datum 

26.  7.  1989 


Sehr  verehrte  Frau  Marton, 

ich  habe  mich  sehr  gefreut,  von  meinem  Kollegen  Ronny  Loewy  nach 
dessen  Rückkehr  aus  New  York  (anläßlich  der  Ausstellungseröffnung) 
zu  hören,  daß  Sie  bereit  wären,  einen  Teil  Ihrer  Korrespondenz 
-  d.  h.  jenen  Teil  des  Briefwechsels  mit  namhaften  Persönlichkei- 
ten aus  der  Filmbranche  (Regisseure,  Schauspieler,  wie  auch  Fritz 
Lang,  Ophüls,  Huston  u.  a.  m.)  -  dem  Filmmuseum  zu  übergeben. 
Sicherlich  wäre  das  meiste  davon  eine  große  Bereicherung  unseres 
Sammlungsschwerpunktes  "Film-Emigranten". 

Herr  Loewy  hat  mir  auch  erzählt,  wie  schön  es  war,  daß  Sie  auf 
der  Ausstellungseröffnung  waren  und  hoffe  auch,  einmal  nach  N.Y. 
zu  kommen  und  Sie  kennenzulernen. 

Ich  habe  noch  eine  Bitte:  falls  Sie  den  oben  genannten  Briefwechsel 
noch  nicht  so  rasch  ans  Filmmuseum  übergeben  möchten,  würden  Sie 
uns  dann  bitte  Fotokopien  dieser  Briefe  zusenden?  Für  die  anf lalen- 
den  Unkosten  kämen  wir  selbstverständlich  auf! 


Mit  freundlichen  Grüßen 


Jürgen  Birge 


p  CU^ 


^ 


o 
o 


apt.  11-y 


(212j  688-2934 


29.   Auipj»!   l'^89 


Vr.  Jürgen  iier^^r 
Deutsches   Kilnamuscum 
Schauraainkai  41 
6000  l'rankfurt/MAin 

Lieber  *^rr  Borger — 

Als  Ivonny  und   ich  hi»  r  uebor  '»^ein  Firn-'Archiv  8]>rachent  meinte  er, 
Sit^  vuerden  sichf*rlich  dir«?kt  die    Vf>rbindun|?  mit  mir  aufnflmienj 
unci   so  danke  ich  Ihnen  fuer  Ihren  iirief  Tom  26»  J.  11» 

Ich  fretie  mich  ueher   Ihr   Ine)tre88«  an  reiner  Stflmlung,  die   nachdem, 
vas  iionny  ßdr  erkiaert  hatte/  in  ihr  KxiIe«>i^Togriitnm  gehoeren  duerfte, 
auch  wenn  sie  kein<^«fallÄ  auf  das  Ho}lyvoo<i    (oder  i^ondon,  IWris, 
'*ienj  jener  äA^it  konzentriert  ist»     i>a  Miein  Vater  jjt.  Kurt    filhss« 
war,   Chef-ite iakteur  von  Filro-ß.ii.   urwl  Lichtbildbnehne   (1924-1931-— 
sielte     onrad  Veidt.s  i>rief  an  ihn  in  Jhrer  i^uJ    i-^ni  AusstelJungj,   so 
ij;ehe!)    «eine  rilmsachen  roit  mir  gewidmeten  iotos  von  *'oia  N^gri,   i.ya 
de  i^utti,  usv.   usv,   auf  u^eine  fmeheate  Jugend   jmrvieck     und  ^«»faast, 
wie  Sie  vriBseni   auch  toerikaner  wie  John  ^Itrston,   seinen  Vater  und 
seine  Kinder,   sowie  auch  iilm  osenarios,    tausende  von  clipj^inas  seit 
etwa  1938,   sahllose  liuecher  mit  oder  ohne  Vlrtnungan  der   'Tutoren,   kur» 
al£eSf  was  sich  auf  die  vielen  bedeutenden  xunA  auch  vmbedeutenden 
Filmleute  besieht,  denen  ich  begegnet  hin  oder  die  nahe  und   naec hste 
Freunde  warfen  oder  noch  sind.      In  ihrer  Vielfaeltigkeit  ist  die 
Koljektipnwohl  oinnalig,   denn  sie   ist   fast  ausschliesslich   ";rivat**, 
ganz  anders  8«B.   als  die  von  ^  aul  Kohner» 


Sas  ^ru,riZf:  Pr<  jekt  ist  ab  r  weseittlich  koinj^lizierter  als  es  wo)  1  aussieht 
Ihre  bitte  fuer  /hotokopien   ist  schon  wei:{en  des  i4Kfangea  der  Korres- 
pondensen  ^^bjxz  unr^Yoei^lich»      Ich  hoffe,   da  Vieles  »o  sehr  oersoenlich 
ist,   iricli  nicht  von  den  dachen  zu  meinen  Lebzeiten  trennen  zu  imiessen, 
aber  es   ist  absolut  denkbar,  dass   ich  eines  Tages  die  .Sammlung  und  viel- 
leicht grate  die   "Kosinen"  verka>ifen  muss;  da  4tiOtokopien  den  Vpi-kaufs- 
wert     eines  i^bjektes  vermindern,   ist  das  schon  sowieso  nicht  gegeben« 

Ich  bescbaeftii^e  räch  seit  eini,;er  Z»eit  mit    Um  ordnen  der    >afiimlung 
und  auch  mit  Ueberle|rungen  ueb«^r  ihre  VAiümnft  und  behalte  gern  Uir 
Interense  im  Auge«     i)ie  iTobleme  sind  manclrial   recht  drueckend;     Z.W. 
habe   ich  etwa  2>0  an  pach     erichtete   tiriefe  vv;u   Alexander  i-ernet-holenio 
von  dem  ja  viele  Luocher  verfilmt  wurden«     uehoeren  diese  aber  nicht 
eher  in  die   Wiener  otaatsbibliothek?       Oder  der  üoh-'  ntwurf  meiner 
Üeberselzung  von  rritz  ^^n^s    'ich  glaube   letzteroj   Drehbuch,   das  er  fuer 
Jeanne    loreau  g*  schrieben  hat,  mit  seinen  hrieTlichen  KoBadtentaren  dazu? 
Sie  sehen,  womit  ich  z\i  arbeiten  nahe! Sollten  Sie  nach  New  \ork  kommen, 
wuerdf   ich  mich  aehr  freuen,     >ie  kennenzulernen    (ich     urde  hier  unter 
brochen  und  dadurch  f  el  der     bsat     unter  den  Jisch—  »orry! 

Inzwischen  mit  freundiictien  Viruessen 

Ihre 


tt  cuaI 


U^^^ 


apt.  11-F 


(212)  688-2934 


29.  August  1989 


Lieber  Ronny — 

¥!•  :;ie  wissen»  hat  mir  Surren   Berger  geschrieben»  und  ich  le  e  i 
Ihnen  einen  I>urch8chlag  meiner  Antwort  in  diesen  Brief. 

Vielen  i/ank  fu<*r  Ihre  (Iruesse—  es  ist  immer  nett»  Ton  Ihnen  zu 
hoeren —  auch  ich  hatte  mich  sehr  gefreut,  .Sie  hier  wieder  su 
seken»  auch  wenn  es  nur  so  Kurs  war»  und  die  Ausstellung  mjit  IHMi^N 
s»!  seh^n»  war  auch  etwas  ganz  besonderes »  woran  ich  oft  zurueck- 

denke« 

Ich  habe  das  Oy>hüls  otueck  den  Sommer  ueber  in  der  Ausstellung 
gelHSsen»  von  der  mir  Jon  Albrecht  sagte»  sie  sei  gut  gegangen 
und  wuerie  nun  zu  c  ornell  University  wandern —  sehr  guti   i-^  hat 
mir  gestern  das  *^«  nto  zunieckgebracht,  unversehrt  und  j^anz  wie 
rieull  Jetzt  ist  es  wirJer  gut  verwahrt  und  eingeschlossen  "zu 
H  use'*»  aber  ich  freue  mich  immer  noch  nachtraeglich,  das»  ich  damit 
so  greif »;ar  zu  Ihrer  Ausstellung  beigesteuert  habe«  Und  danke  ihnen 
nochmals  fuer  Ihre  Vcrlaesslichkeit  und  vorsorgliche  Muehe  mit  dem 
Stueck—  so,  wie  Sie  es  sz.  versprochen  hatten» 


\ 


Und  wie  ^^ebt  es  Ihnen  sonst??  '<^ann  kommen  6ie  wieder  eimral  her?? 
Denken  .>ie,  unser  nettes  kleine«  franzoesisches  Cafe  an  der  icke 
hat  zu^eriacht..«  Typisch  New  York,  weil  es  klein  und  huebsch  war, 
hat  sichs  finanziell  nici;t  ausgezahlt. •  • 

Ich  hoffe,  vorTi  13»  September  -  4,  Oktober  in  der  Schweiz  zu  sein— 
ich  schreibe  ihnen  hier  meine  schedule,  nan  kann  doch  nie  wissen, 
vielle  cht  kreuzen  Sie  zufaellig  an  meinen  iiaten  dort  auf??  (Ich 
w?ir  einmal  zur  selben  /leit  wie  eine  Ireundin  in  Florenz,  aber  vir 
wussten  nichts  von  einander,  das  war  zu  duiar).   Alsoi  13.-19.  9. 
Hotel  } urope,  ^uerich,  Tel.  Ol-  47-10-30;  19.-29.  9.  Hotel  B^lvedere 
cipiez,  Tel.  033-54-33-33  (Thuner  :>ee),  29.9.-4.10.  wieder  /-uerich, 
Botel  i^urope.   Voriges  Jahr  onisste  ich  die  ueise  im  letzten  >ioment 
krankheitshalber  absagen,  hoffentlich  chaffe  ichs  dieses  ^'ihr,  ich 
brauche  absolut  einen  Tapetenwechsel. 

Ihnen  und  der  lieben  aisela  alle  guten  Wuenscfie  und  hoffentlich  bald 
auf  H'iedersehen  irgend  wol 

Ihre 


Honny  Loewy 


Ruth  Marton 


J 


Ruth  Marlon 


Erich  Maria 
Remarque 


Dokumente 
er  Freundschaft 
1 939  -  1 970 


Ausstellung  im 
|ch  Maria  Remarque 
riedens-Zentrum 


ab  März  1 999 


Remarque  an  Ruth  Marton, 
30.  Mai  1940. 


apt«  11-F 


(212)  688-2934 


29.  August  1989 


Lieber  Ronny — 

Vi#  .Sie  wissen,  hat  mir  Jürgen  öeri^er  geschrieben,  und  ich  ie,,e  i 
Ihnen  einen  lAirchschlag  meiner  Antwort  in  diesen  Wrief • 

Vielen  i/ank  fu^^r  Ihre  Gruesse—  es  ist  imioer  nett,  Ton  Ihnen  zu 
beeren —  auch  ich  hatte  mich  sehr  gefreut,  Sie  hier  wieder  bu 
selten,  auch  wenn  es  nur  so  kurz  var,  und  die  /Xusstellung  mit  IliNi>N 
lu  «eh^n,  war  auch  etvas  ganz  besonderes,  voran  ich  oft  zurueck- 
denke. 

Ich  habe  das  Ophüls  otueck  den  .Socnrner  ueber  in  der  Ausstellung 
gelassen^  Ton  der  mir  üon  Albrecht  sagte,  sie  sei  gut  gegangen 
und  wuercie  nun  zu   t-ornell  Lniversity  wandern—  sehr  gut!   üir  hat 
Diir  gestern  das  «^b  nto  zurueckgebracht,  unversehrt  und  ^anz  wie 
n#u!I  Jetzt  ist  es  wi^Jer  gut  ve^i^ahrt  und   eingeschlossen  **2u 
H  use'*,  aber  ich  freue  mich  immer  noch  nachtrae(':lich,  das«  ich  damit 
80  greifbar  zu  ihrer  Ausstellung  beigesteuert  habe.   Und  danke  ihnen 
nochmals  fuer  Ihre  Verlaesslichkeit  und  rorsorgliche  Muehe  mit  dem 
Stueck— -  80,  wie  ::>ie  es  sz.  versprochen  hatten. 

l^nd  wie  i^eht  es  Ihnen  sonst??  Wann  komnen  Sie  wieder  einrral  her?? 
Jenken  .  ie,  unser  nettes  kleines  franzoesisches  Cafe  an  der  i cke 
hat  zugemacht. ••  Typisch  New  York,  weil  e^  klein  und  huebsch  war, 
hat  sichs  finanziell  nicht  ausgezahlt... 


Ich  hoffe,  Yord   13»  September  -  4.  Oktober  in  der  Schweiz  zu  sein— 
ich  schreibe  ihnen  hier  meine  schedule,  ran  kann  doch  nie  wissen, 
Tielle  cht  kreuzen  >^ie   zufaellig  an  meinen  liaten  dort  auf??   (Ich 
v^r  einrr.al  zur  selben  /leit  wie  eine  l're\mdin  in  Florenz,  aber  wir 
%nissten  nicfits  von  einander,  das  war  zu  dunur).   Also:  13.— 19.  9. 
Hotel  i  uropc»,  /.uerich,  Tel.  Ol-  47-10-30;  19.-29.  9.  Hotel  i>elvedere 
.Spiez,  Tel.  033-54-33-33  ( Thuner  :See),  29.9.-4.10.  wieder  Zuerich, 
Hotel  i-urope.   Voriges  Jahr  rausste  ich  die  iteise  im  letzten  Moment 
krankheitshalber  absagen,  hoffentlich  chaffe  ichs  dieses  *^ahr,  ich 
brauche  absolut  einen  Tapetenvechsel. 

Ihnen  und  der  lieben  aisela  alle  guten  Wuensche  und  hoffentlich  bald 

euf  Wiedersehen  irgend  wol 

Ihre 


Eonny  Loewy 


Kuth  Marton 


Ruth  Marlon 


Erich  Maria 
Remarque 


Dokumente 

einer  Freundschaft 

1 939  -  1 970 


Ausstellung  im 

Erich  Maria  Remarque 

Friedens-Zentrum 


ab  März  1 999 


Remarque  an  Ruth  Marlon, 
30.  Mai  1940. 


Ruth  Marton,  Schauspielerin, 
Übersetzerin  und  Autorin 
österreichiscil-jüdischer  Herkunft, 
und  Erich  IVIaria  Remarque 
verband  ein  über  SOjähriges  tiefes 
Vertrauensverhältnis  (1939-1970). 
Sie  trafen  sich  erstmals  am 
22.  Oktober  1939  in  Hollywood  auf 
einer  Cocktail- Party  bei  dem 
Regisseur  William  Wyler. 

Remarques  zögernde  Frage 
„Kenne  ich  Sie?"  war  der  Beginn 
einer  tiefen  Freundschaft  und  eines 
Vertrauensverhältnisses,  wie  es  für 
Remarque  wohl  einmalig  ist. 

Ruth  Marton  wurde  in  persönlichen 
Begegnungen  in  Los  Angeles  und 
New  York,  in  zahllosen 
Telephonaten  und  einer  umfang- 
reichen Korrespondenz  zur 
Vertrauten  Remarques  - 
und  umgekehrt. 


In  den  Briefen  an  den  „Engel"  Ruth 
Marton  zeigt  sich  ein  fast 
unbekannter  Remarque  - 
ohne  Masken,  kein  berühmter 
Schriftsteller  oder  Lebemann, 
einfach  ein  Freund  und  Ratgeber 
in  guten  und  schlechten  Zeiten, 
ein  Mensch,  der  sensibel  hilft  und 
zugleich  offen  Einblick  gibt  in  seine 
persönlichen  Probleme. 

Nach  Remarques  Tod  1 970 
begann  Ruth  Marton,  ihre 
Erinnerungen  an  den  Autor  und 
Freund  niederzuschreiben, 
die  1993  unter  dem  Titel 
Mein  Freund  Boni  veröffentlicht 
wurden. 


Durch  einen  namhaften  Betrag, 
den  die  Köster  Bau  AG  &  Co. 
gestiftet  hat,  ist  es  im  Januar  1999 
gelungen,  die  Korrespondenz  und 


andere  Dokumente  dieser 
Freundschaft  für  die  Bestände 
des  Erich  Maria  Remarque 
Friedens-Zentrums  zu  sichern. 

Das  Konvolut  umfaßt 
82  Korrespondenzstücke  von 
Erich  Maria  Remarque  an 
Ruth  Marton,  85  Briefe 
Ruth  Martons  an  Remarque  sowie 
zahlreiche  weitere  Materialien, 
darunter  über  100  Presse- 
ausschnitte zu  Remarque. 

Die  Ausstellung  präsentiert  eine 
Auswahl  aus  diesem  Konvolut, 
ergänzt  um  Exponate  aus  den 
Beständen  des  Zentrums,  um 
einen  ersten  Einblick  in  den 
Charakter  der  Dokumente  zu 
geben  und  gleichzeitig  die 
Geschichte  des  langjährigen 
Vertrauensverhältnisses  zu 
skizzieren. 


[ 


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Stadt  wv-^v-  rKANi-j-uRT  am  hA,M\A 


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MIT  LUFTPOST 

par  avion 


Paradies  mitten 
in  der  Stadt. 


j1.    A  C'ji. 


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DEUTSCHC    ' 
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Ma  tres  chcre  Mab— 

Votro  lettre  m'ß  bien  attrlöteiu  bien  que  je  .suiw-  htAireuse  que  vous  n'avez  ecrit 
tout  de  mtmei   doat  Jt  vooö  remtircie  de  tout  coeur«     C*a  ete  toujour;    vonß  qul 
m'a  montrti^  votr«  aiaitie  fldele  i*t  Aiidi^pendente,  pendant  les  r^O  ans  de  mon 
amitie  avec  Jacqxies^   souvent  bien  tuinut\le\i8e •  •  ♦     Je  suis  navret-  de  votre  lettre 
et  j'tiii/ie  vou;.i  reponcirt   außji  bri^vejnej::it  que  potihible«      (Ut  lettr<^  de  Jacqueci 
d'aiileursi   a  ete  teile  que  J'rn  etais  choquee  e  mon  tour«) 

Que  ma  lettre  etait  naladroite —  je  ve\ax  bltoii  Ib   crt^irü  et  j*t    le  regretterale 
beaucoup,     JU^taib  büUl(;V€-röee  de  l'histoirt    et,   par  consequeiiti   on  dit  facilenent 
leü  choseß  comine  on  ne  les  devrait  pas  dire%       Mais  il  ne^  faul  o\iblier  non  plus 
qub  l^tüDltie  entre  JacquÄis  ©t  moi  a  ete  trt?b  bingulier^-  des  le  commenceLient—  avec 
unc  intimite,  bien  que  amicalei  extraordinaire-~  nous  avons  toujours  discute 
TOÜT,   aans  mettre  Ict^  mots   &ur  une  balence  d*orl     Pendant  20  ans  mes  conseilß 
ont  ete  demandes»  donc  je  n'ai  pas  du  tout  l'habitude  de  "refl8chir"~  je  denn© 
mon  avl3>  aur  quolque  ce  aoitj^  comme  je  l'al  fait  miUe  fois  auperuvant,  crlti- 
quant  ou  applaudant  selon  ma  r^c&tion*     Mala  Jamals  je  ne»  me  i^xxis  "latdee  dans 
ses  affaires*^—  Ct  n'est  pas  du  tout  mon  genre^  nl  avec  Jacques,  ni  avec  quique 
ce  soit»     Ce  q\jUs  j^avais  d^imande  mol,  c* etait  une  oxplanation  commeiit  c •etait 
poööibie  qu»r  quelqu^un  ine  ionne  certains   •^ falte"   en  m^encourageaiit  que   je  les 
verlfies  che«  Jacqu^s^  quand  Je  ne  les  voiüais  pas  croirel     Je  voulait   savoir 
l^hibtoirt  du  c6te  de  JacQ\iefl   et  cela,   il  mm  seirble,  est  ce  qu'il  fellait  faire, 
ce  que  etalt  aoniial^  entrt  amls  cooBne  Jacques  et  znol»     La  fi^con  dont  jo  l^ai 
falt  etait  peut<Are^  comccoe  je  le  dis  t5n  haut,  maladroite,  mais  les  ct^rconstances 
l'etaient  aussil 

Aiaraia— je  dft  IGxNORER  la  conversation  pendant  un  dfjpuner  ici  a  Nev  York,  ou 
un  vi<ail  aiaii,  pas  au;3ßi  intimt:  que   Jacqucs^  bien  sür^  niait.  un  ami  fidele  tout 
de  m&oe,  qui  avait  recu  Jacques,  Marion  et  iiK>i  pendant  mon  demier  sej^-'Ur  & 
Pcris,  2ie  parle  des  ennuis  si  graves  dt  Marion  et  des  demarches  faites  a  son 
«gard^  en  fijoutant^   "ton  ami  Jacquae  Francoisl   ötc%  ete»**" 

Ma  Mab  cherie,   je  suis  fort  sensible  aux  desespoirs,   surtuut  flnanclers,  dee 
feinmf:^  s» nies  coinrie  iiarion^   aans  fai-iie  (ou  encore  avec  uiie  Maman  a  90  ans)^ 
perduasf  d'une  facon»     En  ©ff et,   ce  sont  bivin  laes  cauchemars  a  mci-~  ca  q\ie  je 
deviendrai  a  l*age  de  Marion,  ou  bitii  rn^jna  avanti     Jamals  je  ne  penötttrais  qu'on 
considt;re  d^mander  le  secours  des  aiais  "mendier"!     Je-  n'ai  par^  oublie  quo  c* etait 
vouö  qui,  aux  Invalides  il  y  a  deux  ans,  m*a  off«^rt  si  gtiereuisement  du  secours 
si  je  m.i  trouvais  sans  argent  en  Europe»     J^en  etais  profondement  touchee  et 
jt?  m'en  ßouviene  toujours  avec  gratitiAde*     Mais  si  j^avais  l'accepte,  si  j'avais 
toume  a  vous  et  ensuite  entendu  dire  qu*on  dit  dx  quo  June  femme  ne  devrait 
pas  mendier"—  j^espere  qu«f   quelqu^un  aurait  demende  un^s   explication  a  mon  egardl 
Je  ne  sais  rien  dee  detaile  df^  l^histxDire  de  Marion  tt  peut-$tr»^  c'est  mieux  de 
laisseT  tout  ctla  finalem<?nt,  malr  je  voudrals  que  vous  comprendrie«  mon  attitude 
envers  l^amitle^   ttrlle  entre  Jacques  et  moi  peiidant  si  lorigtt-jnpB*»»     Jt>  veux 
bien  m'excuser  de  m^avolr  exprime  mal^droiteimcnt^  nais  pas  pour  avoir  demande 
"Pourquoi?     Comment?"     Evidemro^nt,  a  travers  d'un  ocian  ce  n'est  pas  facile  de 
discuter  des  queetions  delicates.»»     —  •—  Si  je  las  avals  ignorees,  je  ne  serais 
pas  une  amie  a  Jacquee* 

Ce  que  vous  m'ecrives  de  vos  affairet::  m'inruitte  beaucoiq?  bleu  que  |#  suis 
soulagee  pour  vous  que  vous  avez  liquide  Le  Touquet  et  la  Reine  Mab^  m&ne  si  mal» 
J*b;:>pere  de  tout  coeur  que  vous  vous  arrengle»  saois  les  abgoisses  quotidiennes 
des  dernieres  aiineesi     Je  suis  ravie  de  sr.voir  que  vous  ^t  tout  Iti  moude  se  portent 
bien —  je  peux  bien  m*imaglner  le  bonheur  que  Oyril  vous  apportel 

Avec  toute  mon  affection  fld^e  pour  vous^  et  miUe  amities  pour  Empi — 


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ecran#   sur  la  scene  et  sur  ] 


LA    CRITIQUE    de    Jean-Jacques    GAUTIER 


AU    TH£ATRE    DE    L'ATELIER  : 

<  UN  MOIS  A  LA  C AMPAGNE » 

de  TOURGUENIEV^#   Adaptation  d'Andre  BARSACQ 


MF.RVKILLEUX  speclarlc. 
Lxccllentc  s  o  i  r  c  e  .  On 
toiinaii  la  pi^cc  de  Tour- 
giiniiov,  (ctte  comödie  au  long 
soulMr,  LOijrue  et  composee  sui- 
vwnt  los  plus  surcs  tiadiiions 
dun  siöclc  oii  Ton  airnait  k 
riic  suipris  par  ce  qu'on  aricnd 
e\  oü  la  Icnie  decouveitc  de  Ja 
psvcholoj^ie  Ats  petsonnagcs  nc 
prcnail  au  depourvu  que  Ics 
licros  de  Ihisifürc  ;  mais  quoi, 
cciait  un  iheatrc  soigneux  et 
soignc,  saus  aucun  rappori  a>ec 
la  mclodic  et  !e  conticpoint 
t(h('kho\ion.  Ici.  pas  de  pctitc 
musiquc  ni  menic  de  mnsica- 
liic,  pas  de  silcnccs,  ä  pcine 
cjuclques  points  de  Suspension  ; 
et  des  fjUL'SLions,  ccnes,  de» 
inieiiogaiions  ä  cliaquc  cliar- 
Tiit:re  ;  (ependant,  on  s'apcrcoit, 
aujourd'luii,  non  sculeraent 
qu'on  ainiaii  ^a,  niais  qu'on  est 
cntoic  piis,  rcienu  par  Ic  de- 
Toulemeni  sans  haie  de  ccs 
caidiogiaiumcs  si  piopiemcnt 
riablis.  Lcs  noms  et  le  cadre 
sont  russcs.  Ccrtaius  pcrsonnages 
aussi.  celui  du  nicdecin  cntre 
auircs.  Mais  lanctdote  et  Ics 
emotions  n'ont  absolumcnt  rien 
de  specitiqücmcni  slave. 

Ccite»  niaison  de  campagne, 
quelle  diltcicnte.  au  siöcle  prcs, 
avcc  la  maison  i^iAsmodic,  par 
cxemplc  ?  D'ailleurs,  ici  et  lä, 
c'est  Iarri\öe  dun  jeune  gai^on 
qui  troublc  la  maitressc  de 
ccans,  unc  feminc  encore  d(!'si- 
rable,  dont  lcs  cmois  et  lcs  hu- 
meurs  sc  rtveillent...  Et  le 
meine  genrc  d'ennui  bourgcoi« 
favoriseia  lcs  rcactions.  Le  fait 
que  les  bouleaux  de  18.50  de- 
viendront,  cn  1937,  ics  pins  de 
Fian<;ois  Mauriac  ne  changcra 
pas  tcllcinent  l'atmosphere  du 
domainc  ci  le  climai  de  Tinti- 
mite  familiale.  Le  roman  de 
lorphcline  russc  sc  translor* 
mera  en  aniour  d'EraraanuC:lc. 
A  la  tin,  le  jeune  gar^on 
s'cloigneia  pareilleincnt.  Seule- 
mcnt,  la  grandc  invention  mau- 
riaciennc  drcssera  le  personnage 
de  i\f.  Couturc  qui  jcttera  sur 
le  drarae  un  dclairagc  inqui6 
tant.  El  Celle  lunii^re  de  soufre 
»uftira  ^  tout  modifier,  le  style 
dune  ame  boulcversant  lcs 
passions  dicrnclles. 

C^tait  plus  calme  dans  Tour- 
gticniev.  I/avcniurc  est  sans 
double  fond  et  ses  h<$ros  depas« 
scnt  ä  peinc  Ic  Stade  de  Ja 
nostalgie,  Un  mo\s  ä  la  cam- 
pagne nc  manquc  pourtant  pas, 


reprtons-lc,  de  vertus  sccniques 
bien  aitachautcs. 

11  faut  avouer  d'ailleurs  qu'il 
est  inipossible  de  donner  de 
cette  comcdic  unc  rcpresenta- 
tion  plus  achev^c  que  cellc  qui 
vient  de  nous  etre  offene  par 
TAtclier. 

Mise  cn  sd^nc  sans  dcfaut. 
M.  Andre  Barsacq  a  remaiqua- 
blcmcnt  fait  övoluer  ses  dou^e 
personnages  au  long  des  cinq 
actcs  qui  sc  dcploient  dans  lcs 
dc^^-ors  si  rt'ussis,  sans  surabon- 
dance,  de  M.  Jacques  Dupont. 
Ccs  dc^cors  creent  la  dcmcure, 
le  cadre,  la  density  et  la  trans- 
paren ce. 

Et  lcs  comddiens  sont  lous 
cxtellcnts,  rhoisis  avcc  un  sens 
aigu  de  Icur  physique  et  de 
leurs   possibilites. 

Je  suis  Obligo,  moi  aussi,  de 
choisir  les  plus  caractöristiqucs. 

La  fraichcur  dclicicusc,  la  lu- 
minositc  d'Elisabetli  Alain, 
jcunc  filie  rcvec,  jeune  fille  de 
rcvc  ;  la  vcrve  et  la  puissance 
dramatiquc  et  comique,  la  sa- 
vrur  de  Julien  Guiomar  ;  la 
dignite,  la  grandc  autorit^  sous 
Terabarras   de  la  bonne   educa- 


tion  qui  repugne  k  l'cmotion 
et  ä  rimpudeur,  mais  aussi  la 
parlaiie  sincöritö  qui  n'abolit 
pas  la  disiance,  le  caractcre 
douloureux  du  jeu  de  Jacques 
Franfois,  dont  c'est  la  meilleurc 
crc'^ation  en  sa  maturit^,  tout 
fcla  est  dcjä  bien  digne  de 
chaicur  dans  Tclogc. 

11  y  a,  en  ouirc,  Delphine 
Scyrig.  Sa  voix  au  timbre  mu- 
sical,  sa  voix  aux  bellcs  notes 
grave  est  un  chant  ;  ses  yeux, 
son  visage,  son  front  sont  un 
poc-me  ;  ses  niains  sont  une 
caresse  ou  un  tourraent  ;  son 
sourire  une  lame  ou  un  rai  oe 
soleil.  Et  cctie  cr^ature  harmo- 
nieuse,  poelique,  mystericusc, 
possede,  dcticnt  un  charme 
incf  fable. 

Ajoutez  que  Delphine  Seyrig 
represente  a  miracle  ce  pcrson- 
nage  distinguc  que  soulcvent 
tout  ä  coup  des  houlcs  dcchi- 
ranics,  sachcz  que  c'cst  unc  in- 
Icrpreie  exccptionnclle,  et  vous 
tomprcndrez  pcut-eire  pourquoi 
je  vous  cnvoic  sans  h(^sitaiion 
passer  des  Mois  ä  la  campagtte, 
place  Dancourt. 

Jean-Jacques  Gantier. 


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LE  FIGARO  —  29  OCTOBRE  1962 


sixt  l^eoran»  sur  la  sofene 


LA  CRITIQUE  de  Jecin-Jacques  GAUTIER 


A    LA    COMEDIE    des    CHAMPS-ELYSEES 

U'AMANT  COMPLAISANT> 

de  Graham  GREENEl  Adaptation  de  Nicole  et  Jean  ANOUILH 


UN  mcrvcillcux  cocktail  de 
drame,  de  comedic  ei  de 
vaudevillc  oü  se  raelent 
^iroitemeni  la  vie  et  Ic  iheärrc. 
Et  c'eM  jiisicnient,  dison>-l« 
rout  de  siiite,  parce  que  dans  Ic 
dernier  acte  il  fallait,  sous 
prine  de  ne  jamais  sortir  d'af- 
iaire,  cn  revenir  ä  la  pure 
Convention  el  taire  exprinier 
par  les  personnages  des  choses 
qu'on  nc  precise  poini  dans 
l'cxistence,  de  ces  choses  qu'on 
admet  sans  les  dire,  qn'on  Sup- 
porte ä  condiiion  de  ne  pas  le« 
formuler.  qne  ce  dernier  acte 
est  moins  satistaisant  que  les 
precedents.  Mais  jusque-lä,  que 
d'art  et  d'habilet«^,  quelle  fi- 
nesse,  quelle  acuit^  I 

Graham  Greene.  le  Graham 
Greenc  de  La  tin  d'unf  liaison, 
raais  qui  a,  cette  tois.  laissi^ 
Dieu  en  repos,  etudic.  avec  une 
esp^ce  de  sourire  triste  et  sans 
illusion.  la  condition  des  a«  teurs 
sinccres  dun  amour  adulterin 
tres  ordinairc.  fls  sont  de  bonne 
foi.  Ils  aiincnt  veritableincni. 
Ils  croicni  a  leur  amour.  IIi 
soufirent  tout  autant  que  les 
heros  des  bclles  legendes  oü 
Ton  n'est  que  deux.  Mais  oü 
et  quand  nest-on  que  deux  ? 
Dans  Tristan  et  heult  il  v  avait 
dcjä  un  roi  Marc...  Ici.  le  roi 
Marc  est  dentisic.  Profession 
qui  se  rencontre  peu  sur  la 
sctne.  L'auieur,  et,  apres  Uii. 
ses  excellents  adaptaicurs  Ni- 
cole et  Jean  Anouilh.  ont  lu 
jouer  au  maximura  des  moin- 
dres  possibilitcs  qu'offrait  ceiic 
invention,  cc  choix  d'une  pro- 
fcssion.  Ils  ont  exploitö  la  Situa- 
tion et  en  ont  tirc  maints  efiets. 
non  pour  verser  dans  la  facilit6, 
mais  pour  donncr  plus  de  relicf 
k  certains  contrasies  fr^uenis 
dans  raduit^re,  ceiic  «  chose 
triste  qui  fait  rire  la  France 
depuis  le  Moyen  Age...  » 

Et,  prcsque  aussitot,  la  Situa- 
tion se  tend  :  il  y  a  toujours  un 
des  deux  ainants  qui  veut  tout, 
il  veut  tout  de  l'autre  ;  p^r  mal- 
heur,  l'autre  veut  tout  aussi, 
mais  pas  de  la  meme  maniere  : 
il  veut  tout  avoir  et  tout  gar- 
der. Pr^cisons  :  dans  la  piticc 
de  Grecne,  l'amant  veut  avoir 
sa  maitresse  toutc  ä  lui.  Et,  eile, 
veut  l'avoir,  lui,  mais  aussi  gar- 
der son  mari,  sa  maison,  ses  en- 
fants.  Et  sans  doute.  de  surcroit, 
la  consideration  que  lui  vaut 
son  etat  notoire  d'epouse  fid^le 
et  de  merc  «mpcccable.  C'csi 
toutc  la  com^die  et  tout  le 
drame.  L'auteur  le  dcpeint,  sans 
en  avoir  l'air,  sans  insister,  ä 
:oups    d'observations,    de    mots 


sans  grandiloquence,  de  braves 
repliques,  de  traiis  lucidcs,  de 
remarques  cruelles,  de  petites 
lirades  desabuseei  qui,  si  on  le» 
ecoute  bien,  rendeni  un  son 
presque  d^chirant;.. 

El,  cela.  en  döfiriitivc,  com- 
posc  une  tableau  tres  humain... 
que  seuls  refuseront,  me  sem- 
ble-t-il,  ceux  qu'un  tel  porirait 
de  leur  propre  miscrc  touthe- 
rait  intimrmcnt. 

Mais  ceux-la  meme  seroni,  je 
prnse,  d^sarmes  par  Tironic,  ap- 
privois^  par  la  drolerie  et,  je 
l'esp^re,  sensibles  a  l'humour. 

Si  touie  cette  douceur  amere 
ne  suffit  pas  ä  les  s^duire,  ils 
auront  encorc  la  rcssourcc  du 
srcond  acte,  brusque  looping 
dans  le  cid  du  meilleur  vaude- 
ville  avec  gags.  trouvailles,  arri- 
vees  insolites,  rencontres  impr^- 
vues  et  rebondissemenis  burles- 
ques. 

El  —  6  miracle  I  —  ce  retour- 
nement  soudain  n'empeche  ni 
le  drame  sousjacent  ni  la  tramc 
douloureuse.  la  pitrerie  nc  d^- 
molii  pas  le  patheticjue.  Siniple- 
ment,  eile  masque  le  cynisme, 
eile  dissipe  la  gene.  Ce  nie- 
lange de  comique  et  de  desola- 
rion  en  ^quilibre  insiable  est 
d'une  adresse  acrobatique.  Le 
bouffon  empcchc  le  raelo  d'en- 
trer  et  met  la  trag^ie  dans  sa 


poche.  Nous  rions  de  bon  cocur 
dun  episode  plutoi  navrant  : 
deux  amants,  apres  une  esca- 
pade  de  trois  jours,  s'arrachent 
I'un  k  lautre,  eile  va  retrouver 
son  mari,  lui  retourne  ä  sa  soli 
tu  de. 

Et    cela    passe   dans    une    pi 
rouette. 

Ajouierai-je  que,  m^me  dans 
le  dernier  acte  qui,  ainsi  que 
je  Tai  dii.  seni  (beauroup  plus 
que  le  franc  vaudevillc)  la 
Convention  d'auteur.  il  existe  un 
Couplet  exiremement  couri  sur 
l'usure  de  Tamour  frauduleux, 
la  tatigiie  des  amants  fatigu^s 
de  leur  fatigue  reciproque  en 
Situation  toujours  irr^uli^re, 
qui  est  d'une  verit^  cruellc  sous 
la  cocasserie  de  surface... 

En  im  moi  comme  cn  ccnt, 
voil^  donc,  ä  quelques  reserves 
pres  sur  la  fin,  une  comedic 
tres  reussic. 

Sa  repr^sentation  vous  fait 
passer  une  soiree  de  choix,  car 
eile  est  remarqiiablemeni  inter- 
preicc.  Henry  (iuisol,  Jacques 
Fran^ois  et  Martine  Sarcey,  au 
(härme  inimitablc,  ont,  ä  jusie 
titre,  fait  l'admiration  d'un  pu- 
blic qui,  pourtant,  n'a  pas  la 
reputation  de  prodiguer  ses  en- 
thousiasmcs. 

Jean-Jacques  Gautier. 


LA  GRANDE  MAISON  DE  BLANC 

8^  Boulevard  de«  Cspudnes.  Paife 


Madame  Andr6   BERGEREJ-DUiüAX 


95   rue   de  Seine 


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Henri  Muller  et 
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au  Concours  d'Art  Dramatique 

d  'Engh  ien  -  les-Ba  ins 


Auteurs 


vos 


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pieces 


IL  y  a  diverses  manieres  de  connaitre  Enghien.  On  peut  s'y 
rendre  pour  canoter  sur  le  lac,  on  peut  se  promener  dans  les 
rues  calmes  de  cette  petite  ville  de  la  banlieue  parisienne,  qui 
prend  une  animation  inaccoutumee  le  jour  des  manifestations 
hippiques  ;  enfin,  on  peut  se  rendre  directement  au  casino  d*En- 
ghien.  Et  ceci  pour  diverses  raisons  :  soit  pour  jouer  ä  la  roulette 
ou  au  baccara,  soit  pour  y  dejeuner  ou  diner,  soit  pour  assister  ä 
une  representation  theätrale,  dramatique,  choregraphique  ou 
lyrique. 

Les  dieux  nous  ont  servis  :  nous  sommes  venus  dejeuner  au  casino 
d'Enghien  pour  y  trouver  le  Tout-Paris.  Cetait,  en  effet,  le  jour  oü 
Pierre-Jean  Ducis,  President  de  la  Societe  des  F^aux  et  Thermes 
d*Enghien,  et  fondateur  du  Grand  Prix  d*Art  dramatique,  ayant 
convoque  le  Jury,  d'une  part,  ses  amis,  de  Tautre,  le  decernait.  Fond^ 
en  1950,  il  a  pour  but  d'encourager  les  jeunes  auteurs  en  mal  de 
suivre  les  traces  de  Moliere  ou  de  Racine. 

•  Sur  U  terrasse  qui  doniine  le  lac,  voici  les  hommes  politiques  qui 
ainiient  le  theatre  :  MM.  Le  Troquer,  President  de  la  Chambre,  Bor- 
deneuve,  secr^taire  d*P]tat  aux  Arts  et  aux  Lettres,  Medecin,  d^put^ 
des  Alpes-Maritimes,  et  le  general  Corniglion-Molinier  (de  meme).  i 
A  cote  d*eux  (le  contraire  eut  surpris  !),  de  jolies  femmes  :  Mme  De- 
mange,  femme  du  prefet  de  Seine-et-Oise,  Mmes  Elisabeth  Hijar, 
directrice  du  theatre  Edouard  VII,  et  Suzet  Mais,  qui  participe  au 
succes  de  «  La  Duchesse  d'Algue  »  ;  ^galement,  une  autre  dame  qui  > 
porte  un  nom  illustre  :  Mme  Mounet-Sully,  petite-fille  du  tragedien,  i 
II  y  a  aussi  le  Jury  :  Marcel  Achard,  en  «  tenue  canicule  »,  a  un  col 
plus  auguste  que  jamais.  Ici,  «  auguste  »  veut  dire  «  down  »  car  la 
cheniise  d'Achard  est  de  'S  tailles  au-dessus  de  sa  pointure;  il  le 
sait  et  quand  le  general  Corniglion-Molinier  le  lui  dira,  il  observera 
simplement  : 

—  C'est  pour  mettre  quelqu'un  d*autre  dedans. 

II  y  a  aussi  Henri  Jeanson,  barbu  et  agressif,  Rene  Fauchois, 
Roger  Ferdinand,  directeur  du  Conservatoire,  Andre  Certes,  Morvan 
Lebesque,  le  cheveu  en  brosse  et  gravement  vetu  de  noir,  et  Beatrice 
Dussane,  en  un  rose  qui  s'harmonise  avec  ses  cheveux  gris. 

Tous  ces  gens-lä  ont  lu  deux  cent  quarante  pieces  envoy^es  par 
deux  Cent  quarante  inconnus  ;  d'autant  plus  inconnus  au  Jury  que 
leur  manuscrit  ne  porte  pas  de  nom,  mais  un  simple  numero,  afin 
que  ne  joue  pas  «  la  Hepublique  des  Camarades  ».  L'un  de  ces  deux 
cent  quarante  va  gagner  un  million.  Mais  lequel  ?  En  ce  moment, 
deux  cent  quarante  anxieux  sont  sur  le  gril.  De  meme  que  le  filet 
de  Charolais  en  brioche  Brillat-Savarin  que  nous  savourerons. 


42 


f^ 


/ 


*?: 


'    _  .v:  >■ 


mnPVf-  GRAND  PRIX  (fort  dramatique  dEnghien,  De  ffauche  ä  droite  et  de  bas  en  haut  :  MM.  jj^f^/Vi^l' 
Ki^sm  vr  utiAiy urniA  u uri  «""J"**^   c„n,i    M   J^rnttPK  Francois   le  laureat,  et  Mme  Beatnce  Dussane,  M.  Mar- 

Mjsnes  Hersin,  Elisa  Lamothe,  Monique  Rolland  ei  Kesler. 


"JMI 


A.' 


Mais  il  semble  que  la  meme  impatience  gagne  le  Jury.  Pour  eux 
ce  n'est  pas,  il  est  ^rai,  Tapp^tit  de  savoir,  mais  Tappetit  tout  court: 
Bref,  Ton  passe  dans  la  grande  salle  ä  manger.  Le  President  de  I 
Chambre  aura  pour  jolie  convive  Mme  Demange,  le  general  Comi-J 
glion-Molinier,  Mme  Hijar,  et  Pierre-Jean  Ducis...  Achard  et  Jean 
son.  II  est  vrai  que  Monique  Rolland  preside  elle-meme  une  table. 
Un  immense  menu,  assez  inquietant  pour  ceux  qui  ont  le  foie  sen- 
sible, est  remis  ä  chacun.  II  a  et^  «  pense  par  Andre  Martin,  realise 
par  le  mailre-queux  Andre  et  servi  par  rofficier  de  bouche  Henry  ». 
II  y  a  cinq  plats  et  quatre  vins  plus  la  vodka  qui  accompagnera  les 
bouchees  au  caviar  ;  il  faudra  savoir  faire  une  course  d'attente, 
sous  peine  d*etre  d^borde  dans  le  dernier  tournant  !  A  notre  gauche, 
nous  avons  un  auteur  dramatique,  Claude  de  Presles,  assez  blas^ 
quant  aux  prix  pour  auteurs  dramatiques  ;  il  en  a  un,  ce  qui  ne  Ta 
pas  empeche  de  n'etre  jamais  jou^.  II  prend  cela  avec  Philosophie  ;  il 
est  lui-meme  critique  dramatique  ;  en  attendant  qu'on  le  juge,  il 
juge.  Et  il  ne  juge  pas  toujours  favorablement  les  m<rurs  theätrales 
en  France,  mais  passons...  D'autant  qu'il  nous  a  demand6  d'oublier 
ses  souriants  propos  et  que  le  Montrachet  1953  en  magnum  est  bon. 


L'auteur  est  comedien 

Mais   Beatrice   Dussane   He   leve   pour   rt^vis   rapfk^l.^«*^.«w^qf\*is 

sommes  pas  lä  uniquement  pour  nous  amuser.  On  lui  tend  une  enve- 
loppe.  Le  moment  est  pathetique  !  Elle  Touvre  et  lit  un  numero  i'*-^«] 
celui  du  vainqueur.  Mais,  cette  fois,  le  numero  correspondra  ä  un    . 
nom,  ou  plutot  ä  deux  prenoms  :  Jacques  Francois.  Ce  sont  ces  deux      , 
prenoms-lä  qui  remportent  le  sixi^me  Grand  Prix  d'Art  dramatique^ 
et  ces  deux  prenoms  ne  nous  sont  peut-etre  pas  inconnus.  L'on  j^ ', 
demande  ;  «  FIst-ce  de  lui  qu*il  s'agit  ?  »  Car  Jacques  Francois  est 
un  comedien,  repute  pour  son  jeu  sobre,  pour  sa  distinction  et  pour    * 
la  qualite  de  sa  tenue  vestimentaire  :  il  a  obtenu,  il  y  a  quelques 
annees,  une  pomme  doree  parce  qu'un  autre  jury  trouvait  qu*il 
s'habillait  bien. 

Le  nom  de  la  piece  de  Jacques  Francois  est  Monsieur  de  France. 
Pour  rinstant,  c*est  tout  ce  que  nous  saurons  et  il  faudra  attendre 
la  venue  du  laur^at  (qui  habite  rue  Chambiges  ä  Paris)  et  que  Ton  r 
vient  de  prevenir,  pour  savoir  ce  qui  se  passe  dans  sa  piece.  Evidem- 
ment,  le  jury  le  sait,  mais  il  est  encore  ä  table.  Mme  Dussane  lit 
encore  quelques  noms    :  ceux  des  accessits  ;   ils  gagnent  tout  de 


me  cent  mille  francs  et  c'est  dejä  cela,  si  ce  n'est  pas  le  million... 

...Qui  permettra  peut-^tre  ä  Jacques  Frangois  de  monter  sa 

jce  ä  Paris,  apres  que  M.  Millot,  directeur  du  theatre  ä  Enghien, 

ura  fait  representer  ici,  me  souffle  mon  voisin,  non  sans  malice. 

Parmi  les  ben^ficiaires  des  «  cent  mille  >.  il  y  a  Claude  Magnier, 
recidiviste.  II  a  obtenu.  Tan  dernier,  le  premier  prix  pour  Mon- 
ur  Mazure  que  Ton  joue  acluellement  avec  succes,  mais  qui  n'a 
s   encore   atteint   sa  centi^me    representation  ;   ce   qui  autorise, 
pres  les  r^glements  du  concours,  Claude  Magnier  ä  concourir 
te  annee  encore  ;  et  il  n'a  pas  manque  de  le  faire.  Comme  Ton 
t,  le  myst^re  est  bien  gard^  autour  d'Elnghien. 
Mais  voici  un  brouhaha  et  c'esl  Tarrivee  de  Jacques  Francois  ; 
en  mis,  en  effet,  dans  un  complet  bleu  clair.  II  a  un  trac^pouvan- 
[)le,  ce  jeune  acteur,  et  il  parlera  si  bas  ä  la  radio  qu*il  faudra 
^e  Dussane  vole  ä  son  secours  et  dise  ä  haute  voix,  d'une  part,  le 
,.^  ien  qu'elle  pense  de  Tacteur,  de  Tautre,  de  sa  pi^ce  ;  et,  finalemenl, 
"qu'il  est  tr^s,  tr^s  content. 

*  Monsieur  de  France  se  deroule  en  Ecosse,  au  moment  de  la  R^vo- 
k.;  •»lution  fran^aise  et  c'est  une  histoire  d'amour.  Roger  Ferdinand  nous 

*j^    —  Naturellement,   je   ne  savais  pas  que   cette  pi^ce   ^tait  d'un 
->Jcom^4ien  .j.«/»i«   i^.m'en  suis  un  i>eu  dout*.  Et  si  Ton  in*avait  dit   : 
•J^^-'i  öui,  mais  de  quel  acteur  s  agit-il  ?  »  J'eusse  repondu,  je  crois  —  je 
dis  bien  :  je  crois  —  Jacques  Frangois. 

iJr-   Ce  dernier,  de  son  cote,  rac&ntait  : 

—  Je  ne  puis  imaginer  une  pi^ce  qui  ne  soit  pas  en  costumes.  Les 
^•^^yttirecteurs  de  theatre  fönt  evidemment  un  nez  ! 

*VS  II  ajoutait   : 

^"  '   —  J*ai  ecrit  Monsieur  de  France  parce  que  je  m'ennuyais  en 
oum^e. 

Et  puis  il  a  re^u  un  ch^que  d'un  million  de  Pierre  Ducis,  et  il 
araissait  toujours  aussi  l^ger  et  ^l^gant,  et  il  est  all^  s'asseoir  ä 
6t^  d'Elisa  Lamothe,  de  Monique  Rolland  et  de  Lucienne  Boyer. 
'aturellement,  auparavant,  il  etait  alle  serrer  la  main  du  President 
e  Troquer,  du  prefet  Demange,  du  sous-prefet  Lambert  et  de  tous 

s  membres  du  jury. 

C'est  cet  instant  que  choisit  Henri  Jeanson  pour  s'emparer  du 


micro  et  dire  que,  dans  ses  votes,  Achard  n'^tait  pas  s^rieux  ;  ce  qui 
fit  crier  ä  Morvan  Lebesque  : 

—  Vous  faites  de  l'autocritique  par  personnes  interposees  ! 

Rene  Fauchois  fit  ensuite  l'eloge  de  Tofficier  de  bouche  Henry,  qui 
parut  aussi  intimide  que  Jacques  Francois. 

Et  chacun,  ensuite,  retourna  vers  la  capitale.  Non  sans  que  Roger 
Ferdinand  ait  confie  ä  des  intimes  qu'Yves  Mirande  allait  epouser 
Louise  de  Vilmorin. 

Ce  qui  est  evidemment  un  excellent  depart  de  com^die. 


A    U ETABLISSEMENT    thermal,     la    docto- 
resse  Pichon  devant  le  huste  de  Vabbe  Cotte. 

FIN 

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DocTEUR  Andre  Bergeret 


CHIRURGIEN    DE    L' HÖPITA  L  ST  ANIOI  N  E 


10.  Avenue  Buseaud 

Lundi  ehVendredi  a  14'.^ 

et-  sur  rendez-vous 

Passy  33-89 


25  Juillet  1949, 


I 


1 


Ch^re  Mademoi seilet 

Je  suis  d^bordÄ  de  trEvall  k   la  veille  de  mes  va- 
cances  encore  plus  que  d'habitude  c'est  pourquoi  vous 
devez  m'excuser  de  vous  r^pondre  si  tardivement  et  de 
vous  envoyer  une  lettre  ä   la  machine,  quoique  Je  Sa- 
che que  cela  est  tres  bien  admis  en  Am^rique« 

Votre  lettre  m'a  fait  tr^s  grand  plaisir  et  je 
suis  heureux  que  les  trop  rares  moments  que  vous  avez 
eu  ä  passer  chez  moi  vous  aient  ^t6  aussi  agr^ables« 

Je  ne  pense  pas  rentrer  d'Amerique  du  Sud  avant  le 
quinze  Octobre  mais  peut-etre  les  Charmes  de  Paris 
vous  retiendront-ils  jusque  Ik   ? 

Je  vous  souhaite  une  trhs   bonne  fin  de  sejour  en^ 
Europe  de  toutes  fagons  et  mille  bonnes  choses  en  vous 
priant  d'accepter  l'expression  de  tous  mes  meilleurs 
sentiments. 


« 


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Miss  Ruth  MARTON 


nOinir(St}^ööiriJK 


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22    Ä    ST    MARTIN 


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Wunich/  July    16.76. 


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00 


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i 


So,    80   Ruthchen  - 

die    Jahr3   um    '35    fehlen.   Na,    ja,    ?rnat  Deutsch   ipt   ja   auch 
9chon     un9  voran^  gan^n.    Ich    lebe    zwar   noch  aber    doch 
recht      dezimiert.    "Die    Leute    behaupten  zwar    ich   sae  he 
wieder  blendend  aue»   ab3r  disi  66   Jahre   und  die   Operationen,— 
eine   Bandecheibe    fehlt  und  ein   gut  Teil  meiner  Prostata, 
haben  mich   doch  v^raendert,    ge^chwaecht  und   aind  eben,    wi3 
man  so  echoen  pagt:    nicht   ppurlop   aM   mir  vorueber    g^  gan- 
gen. 

Immerhin,    eBiet  mir    hier   im  ]\"ue neben  die    1-^  tj^ten   jähre 
doch  pehr   vülbe^eer   geg?^ngen  alp    die    letzten  Jnhre    in 
Hollywood.    (  rret  wollte    ich    P:Sgin    'jAmerika'*    ^b-er    Holl.y- 
woodVlst  wirklich    9  ^.  hr   weit  von  der    fue  r   mich   ?ehr    Pc''oe- 
n^n  Kri-gpzeit   in   den  TI3A    -ntf-rnt.)   "Der   Haupt.grund  v;arum 
3  9   mir   di^    1-tzte-n  fuMif  Jnhre    po   gut   gin^   ist  Lieech-^n, 
die    mich  nicht  nur  umf^orgt,    f'ondern  mit   der  man   reden  und 
leb-^n  und  reiben   kBnn.   "Vir  waren   in   Gitechenland,    Italien 
Frank-reich  auf  aueg^  de  htnten  Reihen,    manchmal  mit   y^rbeit 
verbunden.    Wir  wai4i   in  Spanien,    und   eind  oft  in  T3ozen  - 
uno^r   LieblingPk-urzauef  lug.  C_Auf  der    heutigen,    durchgehen 
l^r  den  Autobahn,    dauert  die    Fahrt  voir   Ghiem^ee    2^  Stunden.) 
^     -Vir   9ind  dort  eine    Stund  von  Salzburg  und  ebensoweit  von 
i     Mu>nchen  entfernt.   Dieser   Sommer   ist   der    heiseeete    in 
^      100   Jahren.    (Temp.85F    in  der    Stadt)    Ja,    Lieschen  ist 

Gtttfnd  Nummer   eins    fuer  m^in  allgemein  menschliche b  'Vohl- 
befinden.    Grund   'Tummer   2  ist,    dass    ich   in  den   Letzten  Jah- 
ren immerhin  sov-<Lel  zuru3  ck"le Igen  konnte,    dass    ich  mich 
fuer  ein  paar  Jahre    nicht   sorgen  muss. 


Na* 


^  ^ 

1 
^ 


!^>  Noch  bek-omme    ich   keine    Socual  Security,    weil   ich  dann  nichts 
^neb^^nbei  verdienen  darf.    Ich   moechte    mir  da   k3inen   A^rger 
c-    machen  -  fu^r   spaeter.    (/^uch   idiotisch,    wer   weies,    ob  man 
i^     'spaeter'    noch   da    iet.   Von  72  Jahren  an   darf  man  S.S.   be- 
r    ziehen  und  hoch   dazu  v-rdienen.  ) 


^ 


\ 


Wir    haben  zwei  Wohnungen,    die    eine    am  Ohidmsee,    und  ein^ 
wirklich  winzige^  sort    of  Jungesellenwohnung  in  der    Stadt, 
eine    Art  Absteige,    »e  h±    schoen    in  Bogm^hausen   gelegen,    und 
trotzdem  sehr   billig,    weil    'Sozialbau'.    (Vie    immer  nur 
durch   Beziehungen   hereinzukommen) 

n 

Ja,    was   noch.    Wir    sehen   Inge    nie  •   Warum   sollen  wir   sie 

gnrufen,    wenn  sie    nicht   zuru eckruft.    Sie   wollte    mich  als 
'Begleitung'    und   hat  mich  v^.  rloren.    Dabei  mag  sie    Li-- sehen 
aber   eie    will  eben"^  entweder    oder  -sehr   egozentrisch  und  - 
das    int   da?   Schlimme    an   ihr   -   tight  as   Hell   bs   far   as 
money    goes. 

[?leanor    schreibt  regelmaeesig  und  bl-ibt  uns    trsu,    musch^t 
freöh  mit   ihren  Liebhabern   herum  als  waere    sie    Zwanzig. 
Beneide    Dich  um  das   Bild  der   Gorch  Fock  und  der   anderen 
Segler      auf  dem    ?ast  River.    Sei  umarmt. 


MIT  LUFTPOST 

PAR  AVION 
BYAIR  MAIL 


USA 


Mrs.    Ruth  Mar ton 

433  J'aat  51rst 

N9W  York,    N.Y.    10022 


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ZViT  kciii'    /vluiUiic   ^-r  Jlc^\ici>  ^^ünot  iat^   od.  r  vh^.  ^kjnatu  bedtrUtwc,  aüttp  atö 
m.cht  j«'.   auch  rachtt.) —  ich  bin  uebt^rh^iupt  uiifa/hi(^,   ir*i.  ad  eiüeii  i>iulc.o- 
^hiv-cLui  iVüiize,  t  zu  bi'^grr'ifi.n-—  so  bi^  ich  i^i.uz  i^  iuer  -- inuiit»,   uas^  uir  nur 
Uli  i-c  b<.ja  hGüeii  uiid  dieöL'.    üo  vi  1  vxr  irt.t^iiü  iuoeglich  o-öuitiiiiistt^u  buiXtiu 
DaiSJj  Du  uit  einer  bezftubr.rad  n  i'r  u  ieb^^t,    i.  t  tic:.Lj   ^chüt.n:"1      Ui.d  icn  bia   ^.  i^r 
frv.ii  f  u.  r  Lieh  cf.- ru<  b  r,    fiad     ^ucii  xar  Ai.    r  t.--^-^-^  r-icxiLx^i  OiiU  :lj.ti.>>   vöö 
Du  iionst  öeii^istp   uuch  ciai^t»   i>u  eiii  bj.;DCaea  ^^Id  aatjaü3i  .t-.li]  xan^.öt,    i;^i  t^cz 
gro^iLi —  maii  braucat  c-b  iu  Alt  r  iLchr  h.lu  fra;:ht:r>  di.     ii^l  jCt  j.wc>  irct^t-..     -fix;:/v> 
'woit/<  r  .'O —  uau  Liit  ut-iü  tiru<:,at-.a  oU.r —     ich  k^-iai  i^  ia.,-   A.ü^titv     .    rat<:.Uja,   iuvü 
ötiibit  v^luucoiiie    ^var>  ist  ^^rut.-.tr  ^tciT^),  kontx*oxii..rti  ;%b»::r  dhn^  aaui.-.rtv.  la^ige 
uiiCi  vrr  iCtia  ^'piiöt;^   uiid  iLaa  iu^t  h?it   a^u-.rnciU^L  aizw   uaü  cluii   und  vvr  Vfjiö^^i 
Vfit>  noch  alit-;L.  iCOirnj-ti    e.bi.r  y^n.u  desvv.,i^f.a —  lait^-üii-.c  i*,   Vc  ^  itaa  aiitatiiii^tu  a.  lai, 
fcio  iaii£i  es  ebt  n  ^c.hii      Aa  dhi>f  \iLi>  auch  CKem  iod     K.üim:;t,   d^.xikc-  ich  nicat  nur 
ait:,    t^üadeni  ^i' "^b^'  auch  au  iiichts —  th     tnu  ij    üu.   ..-ac«      x-'Uiuwtuii  .      (Wit 
e;r:;jat>t^  ßhilüLophit;  UTiü  iuriit,ioa   c:.iaa  aicaL  .  .  iuc  l^üitchcj« 

I*ela>   a«:-in,    ich  v*  in-    kt^;in-^i!i  Vcrloremn  ü.iiobtci:  riüchi   ^.c-ia  «-'Uoesl     Absolut 
nichtl      ica   tut  ob   :.u  iraig,   aü^-r  da^  li;^»  auch  r.n   a  a    *-'i..titaeacu üj   aL  r  t»*.:it 
L-ieincr  xoai^ea   -urop<;r  i;>':    xJ6b^   bin  ica  zv^r  v*  it..riiia  a.^lciii^   aber  aub  ii:t.at,c.x— 
hc'ftor  Ci^lM^^'nheitI     Bt  i  Ing\^  i^t  ai;b  aud*-:rs-^  üootz  WAK  ß*r'hr  bei-ond -r^—  er 
virT  nicht  nur  (^.-r  bt:;^.  tc   Lifbh^.Lt  r>   d  r  h.ir  j^    bt-j^.feia*  t  XlI,   uiad   ica  i.aiui  uir 
Qö  Vifohi  tria   ^rtc;ii  i-riaubeii^   ..L  r  er  v*  r  auch  al^i  K^atch  b.« wundert;—  Vr/iAU  auca 
Hiit  Villen  '^fthlcni",   vi     vii*  \11"»     Vxm  idhh  autjsclilitfu:  lieh  luit  kj^u^b  'jolch::'n 
Mt;afcjcn..i*  t,^±^:DX.  hi\lf    iüt  eü   öicturlich  fr.t  uiu..ü.fcjlich|   ihr*  zu  v.rv,iiic;  a  oc!   r 
au  ersctztii —  mü  s  i  d.nn,  dc:r  Sufc- 11,  das  ^luf  ck,   h^lfn« 

Da  ica  .iiut    '  ratr   gjro^w*    ^^i;  be  ciit   [;    Vtr^or   ^   r  ^ic.rb,    6    ^*oca     ,   nechd  la  t^r 
ßir  o^^'-ot  h^ttt  ,   v,ir  vu.  r<:   :.  h.  irntv.!!,   iL-h  hi.tL.    üu*  ^^^  xi»  l  .  ,    .     l     xc  14   nc:r>, 
BUöötfe  ich  b*  r  itc>  daUfj-s?  iem^a,  iijit  di':-b«rU;  Vtirlu.\.x  zu  it:;beii,  e.h.  irai  zu 
v».rvindk  ii,   ^^^cur  dare.n  r.u  v-ruauv   zu  t>tlit.a—     vob^i   ica,   i;    uaLrit>»Ai^    .  f  uiiü.  ii 
ixabti,   dasL-   Iüü  -Lticat-. r  zu  t.rtri.^tia   iül  a-Lö  Vi.j.kiue;  out,   v^cil  i-iim  aa   xod  ja 
uab6t.».ilit',t  ißt,   d*n,   al&o  liich  niciit  olt3  faixur«.    ivouraclitet«     ii.;la  ^^.tjnn  ia 
xiOacion  Wc.r  >.eint..   Art,   i..it  dit-üt.:ü  lod  f i.  rti^i  ::.u  v  rd  a —  but   Uia^'t»  üi.-^itiAcr  Uc-re 
acr    cli<:.ri.-, •     Kü..^.rci.:ie>t,  •  musa  Liar*  iDi:.i.'r  uau  iiiit  jt      .    i^chtu,   e;;^  küi:i...L  uur  uroUC 
aa,  vic  Veit  ii.an  ec  Kann  urid  vo— •  ich  hab  eü  iiüt  oitur.tion»-n  i^eKoiuit,   aber 
aiciil  liiit  r.  aüchrn,   r   tj.-»   aicnt  juit  (u-a,ra,    aii-   ajicxi  fai^ziai^rt  aü.^t:a-.      Aber 
hcUtt   i^l  crs  auch  SU,   aast^  ein,-  i:'rau  idt  üo  aicuu  ii.<-ar  üv:-ur  Vicltf   faazxaicrb, 
also  sthr  veni^,  reß^jonsirr  hatj   bei  iia.r  Vt.ucit::ra  juni^v    iis'.aücht:;.a   Cu^.-  ait^  Zu)   in 
iüc  ia  u.b'-a  uau  aut>  dt;iuöeibr:n  auch  vi.  ..r  acraua,   alle::»  pXatc»aisch,   Wc.w  Ji^ir 
b«*hr  rc'Ciit  iiitj   neuxüa    iral'  ich  datii.  vtrutiraL-bt   a  i^-^m,    i   utv.cU;.  r,   oti*  -.dr  .: 
gefallen  i:iapttt  ,  vt^iui  er  fr  i  waerc  •     li^r  volitc  aucli,   ob^ileicn  er  .  ^  ia  Alttjr 
vuaate«     Abt^rl    .Ich  ö^^llt^    iiiir  vor —  t.;r  X  .-bt  aul"  ao.^^^  i-Llaau    Ual  v^i'ü  iratv-t 
al^o,   wa^   üo-cibt  da  fa^rr  ii;icj/^      -inuu.l  die   Uoch*    ein  i«acniüittag   vi..lj.cichi, 
und  vt  an  ich  ni^ht  involved  bin,   t:ehtr:/  doch  schori  ^^c  r  nicht-^  also,  die  utäbri- 
^e  ^    iL  daim   ''wiirtr-a^V     i^t-in  a  ia  a   il      Sooo  gut  t,erai.a.ca  hat   er  mir  v;i        r 
nicht  und  ör,lbst  v<aal     Also  d-aui  li-b^  r  r^llrinti»  in,   da  Wtdbc>  ihan  VtniGöteua, 
woraxi  L'it:.n  ist, 

i*ach  vi.    vor  «^  h?  b  ich   i.       r  aoci.   h.      ljt'u^..    vr^tr.  ^l  uad   ixi  hox-v  v^jua  vi.l 
ßehr  i'rcuadr^alti  hier,   wo  t^r  ni:    v     i  v- r  uad  aucn  daa  aocxx  abgebla^  tttirt  ist; 
Und  i./h  hfib  (;^rltniip   w^.a  Joiai  hu^  f,oa  mir     ia.  :  i  v^r  lan^,r.  r   Z   it  b^^^a^  hat; 
^Thv  r     i:>  ha^^ia^.c;.  ixi  jlOxi  lixiea^,    tuo»''       r  a.  o  r  cht«       ia  ^i  ,.   ^Luxil  aVif 
mtrintir  T<  rraöj^tr  tuid  Bluiii^n  frcu»jii  mich  auch  a-Llein.«*     od^?r  ai^    vot  uLi^  onab- 
havxif^igktit,   di-   d»  r  Alle iawlen seh  hat*.%   Und  mit  ü-.m  Üchr  dbi<n —  ich  hab  nicht 


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cUtß  oixi  Veriegvdr  t>i     uruckiii  viii...     Ich  bchr  iu.  ,  weil  c.    üdr  c'twru  bcieuttiti 

LüiluiT  üuc  biüci-kuii  Viv.-iiü,   cUiL  icii  2;>irft  t»ebfrü  k^raUCüc   ^u  vurdiciAi^iif  v^iui  aL.i>  axXt>r- 
icLzte,  attw    ich  auch  habt,  oder  luir  verr^chufft  ha^v^j   /.u  ".i^cu  ii^t»     ^j.*.    4  i^v^Hk-iic 


cit;r  i-L  Jc;iii*c  K        u     *;  nur,   üiit>^  icn  U::;buiriii-.ü^ö  *"'o1ü  heb  a"  v^  r,   ii..  3x     c-Ciir<:.iucii 
i.u  KU  hä.:X4—  üonst  nichtöll     Uxui  di*  Icli  aivinand«r.i};  r?twaß  ilntscheidende.s  guDbu  kajan, 
UcXi.u^;    ica  null  i..cd  alxv>in  biiij    ..o  i;^t  m^-'iix  "l^b^u^'  iiui*  ;-   t^iviizt^   L^ur  bii^^rwizt« 
Lit.:  i-uccht-r  L^xiiü  L»ü2m>ao  iA  cu:;;r  ^yi^.,y^:i$   u..r  duoa  vi.      r^^ibt,  v/axü;.   ;jcuun  k^Iii 
WbtoveÄirU  ist»     i^atairrxich  hufft  iwvxi,  irdö  dru^   w^.     rjau  in  stjiiu   buecn..r  legt,   ^öintüi 
Itfid.  xiuill   k^u  fiiiav.n^   i^Oi^cV  tiuch  u^^iu,   abr.r  da  ViiiiDIu^;^!^    ^iad   uiw  aiciitUl      Uid 
iiu  u-..L^rit»»:-'ii   i^ttih  ich  ticaüii  i2iü:.cr  *.,  uf  d<:]:;  r^uakt,   äittiij  et»  ^^iriai:^  e^i^i-ia  *  iiü'ach   *'uxai.c.d" 
ijü  Lc'bjii  aichL  ^eht,   uad  davon  hairJc...    ^ca  ^t.ru  j.«.hr  lu;.bwa  ko;:4aiea,  c  ü  r  uo^ca  dat> 
ijLtaüA  *auA  i^icii  jö   xt^.xut^r  aiciit  s^^Xbi^t  i.  ut>.:>ucii.  a»      bci.xxi.a';  viru  v^  t?ri:)t  viriJ.ica^ 
v^Ma  luiiii  xwi^iiiii;  ii.t  uau/ou .a-  di«,^  i^Üc ta.  aichc  ...»^ar  ■^ydu.'^n  ^aiin —   lau.-  ^i-oüii.-  i\-  iiL 
Ittateren  PV.il  hufl\    icü  i^uuz  cuuiüi  tuf  ''Glutck'^  iv.^»   i.u.    -oadt.!', 

iXOti^X'    aj.X«;r;3    hXubui 


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fV.P/furiidh   80/    i3u8ching9trae83    24 

den25.    4.74. 
Ms  in   lisbse   RJathch^n:       • 

In^    hat  mir  l^sinsn.-ßf  i?  f  zu   l3?«3n   g^gih^n  -   schon  vor 
^Tochen.    J3  tzt!"*komin3    ich   dazu   Dir   auch  mal   zu   «.chrsib^n. 
?r8t  U3b^r   Dich:    Bin   ganz  Dsinsr   i\n8icht,    daaa   das  Ls- 
b^n  nur    insofern  Sinn   hat,    als  man  and^r^n  IVhnschsn 
'^twas    g3g3bsn   hat.    Bin  abeolutsr    j^nhn^ng^r  von  Jacques 
Monot    ('Vir    pind  nichts  als   sin  :Rs trisbsunfall   der  Natura 
Man  nimmt   sich   da.nn  nicht  rashr   wichtig,    genissst   das 
Dasein  rsuelos  und  macht   sich  nuch   keins    ^sdanksn  mehr 
uebsr  was   nach  dem  Tod  kommt.    Zum    'Geniessen  des   Lebens 
geho^rt   allerdings   einiges,    z.    B.    Geld,    Zaertlichk-^it, 
(um  nicht   zu  sagen  Liebe),    also   kein  Alleinsein.   Bas 
ist   Inge*s  Komplex.    Sie    graebt   sich  ein.   Bu   hast   offen- 
bar  ebenso   wenig  erkannt,    dass    je    aelter  man  wird  man 
desto    groessere  KIom.promisse    schliessen  mues   -  wenn  man 
meiner  jAnsicht   i^t,    dass    das    Ganze 'Zufall   und  Notwendig- 
keit'   ist    (Monoäfl)  und  nicht  von   uns    gelenkt.    Also,    das 
Fazit:    Lerne    zu   geniessen.   Wenn  Dich   schreiben   freut, 
pchreibe   -  aber  nicht  um  damit   etwas    zu  beweisen,    wie 
z.B.    dass   11  JRhre   nicht  vergebens   von  Bir   gelebt  wur- 
den.   Dns    ist  Anmnasssung  und  Unsinn,    Ue berhaengsel 
schlecht  verdauter   Tthik   oder  Relid[iositaet.    ?njoy 
your   life .    There*s   only   one    of  it. 

Nun   zu  mir,    der   ich   endlich   diesem  wahnsinnigen  Ameri- 
ka  mit  seiner  puritanischen  Grundtendenz,    seiner  hoff- 
nungslosen verbohrten    ?rfolgsethik  den  Ruecken   gekehrt 
hab=^    -    gerade    noch   zur   rechten  Zeit.    Hier   nun   habq    ich 
ausgesprochen    'G|.ueck*     gehabt.    (Auch   das    ist  nicht  mein 
Verdienst.    Niemand  verdient  Glue ck   oder  Unglueck.   Auch 
das    ipt   einfach  ein  Betriebsunfall   der   Natu.r,    rlass    der 
eine   mehr    Pech  und  der   andere   mehr   Schwein  hat.)  Ich  habe 
Arbeit   im   B^rns-fehen,    habe    mir   schon  eine    ganze   Menge 
Geld   sparen  koennen,    lebe   mit  einer  bezaubernden  Brau 
(sie    ist  46)   mit  Fehle rn^ die    ich   uebersehe   und   guten, 
grossartijcren    Eigenschaften,    die    ich   in   die    Hoe  he    sr)iele . 
Wir   lieben  und,    wissen,    dass    das   nur    dadurch  moe  g' ich 
ist,    dass   wire  inander  akzeptieren,    nicht  wie    ßu  und  Inge 
den  verlorenen  Geliebten  nachweinen.    (Ich  weiss   nicht 
ob  Bu   das   noch   tust   aber    In^qr?    kann  nicht  von  dem   (Image' 
von   Goetz    los.)  Flerrgottnoch  mal,    es    gibt   ke  inx  Vergange- 
nes,   um  das   es   sich  lohnt  die    *^e genwart  zum  Trauerspiel 
zu  machen. 

Ich  will  Dir   k^^ine   Predigten  halten,    nur  mitteilen  v;as 
ich   endlich  erkannt    habe    (bin   gerade    64    geworden)    i?s 
hat  also    lange    .genug  gedauert.    Bas    ?inzie:e   Aer gerliche, 
woran   Ou  arbeiten  solltest   ist    :zu   Geld  zu  kommen.    Es 
gibt   genug  einsam.e    Menschen  m.it  Geld,    die,    wenn  Bu   sie 
nur   auftreibst   gern  eine    L?. bensgemeinschaft  mit  einer 
9ntelligenten,    sensitiven  Person   haetten  wie   Du.    Ich   ken- 
ne   hier    genug  fro^hliche    alternde   Menschen,    die    ebenso 
wie    wir  merken,    dass   es   langsam  weniger  V7ird  -   das  Phy- 
sische  und   die    trotzdem  das   L^ben   noch    geniessen.    Ich, 
z"um   Beispiel   habe    einen   gruenen  Star,    an  dem   ich  er- 
blinden  kann  wenn   ich   nicht  aufioasse.   Deswegen  mauze    ich 
noch  lange    nicht  wie    beispielsweise    Inge    es    dauernd   tut. 
Also,    mein  Schatz  -   draw  a   line  under   that  negative    think- 

ing  and   enjoy  whatever    th^re    sti;i_. 


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LUFTPOSTUEICHTBRIEF 
AEROGRAMME 


N,\unc^p„ 


Stadt 


USA 


MIT  LUFTPOST 
PAR  AVION 
BY  AIR  MAIL 


Ruth  Karton 
433   Ta^t  51ret 
IT3W  York,   N.Y. 


10022 


Zweiter  Falz  /  2öme  pllage  /  2nd  föld 


Der  Luflpoetlelchtbrief  darf  nach  den  Vorechrlften  des  Weltpostvertrdges  keine  Einlagen  enthalten. 

D'apröa  les  dispositions  de  la  Convention  de  t'unlon  postale  universelle  ra6rogramme  ne  doit        ) 
contenfr  aucun  ob|et 

According  to  the  provlslons  of  the  World  Post  Agreement,  an  aerogramme  may  not  oontaln 
eny  enclosures. 


Absender: 
Exp.: 

Sender: 


P.    B3rn3iB 

8  Munich  80 

Bu9chingetr8  9B3    24/  G^rmpny 


■•  -  T»/- 


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Fünfter  Falz  /  5dme  pllage  /  5th  fold 


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P.    Bernela   c.o#    Block 
Verleg/  8   Muenchen   QO 
Petric^traBBe    3./  Tel:    64402^ 
Liebe    Ruth: 

Du    hast   mich  an  einem  Briefschreibevormittag  erwischt. 
Deshalb    die    prompte    Rue  ckantwort.    Frstmal:    Gehe    am  30. 
Juli   auf  Rivieraferien  bis   Mitte    i^ugust.    Deine    Freunde 
sollen  sich  bei   obiger   Telefonnummer   bei  mir  melden  - 
mein  i3uero.  ^Mache  mit  jungem  j?inanzier   Reisefuehrer,    spe- 
ziell   fuer    ^eschaef tsleute    (nicht  wo   Gustav   Adolf  begra- 
ben   liegt,    sondern  wo  man   in   fremder   Stadt  abendssich 
amuesierien,    sorich  Puppen  auf  tun  kann),    i^iiasardem  mactee 
ich   Ihier   Procter   &Gamble   HoerfunJ<:ipotentertainment  neben- 
bei, in  der  Hoffnung  Freies   Fernsehen  kommt  mit  Werbung 
wie    Amerika  und  man  kann  dann  nchoen  verdienen.    Jetzt 
gehts    es    bei   iriir    gernde  ueber   die    Runden.    Aber  bin  .Qchreck- 
lich   froh   hier  und   nicht   drueben  zu   sein. Trotz    Daniel 
FllPberg  und  anderen  mutigen,    die   mir   Amerika,   fast  wie- 
der   lieb  machen.    ) 

Teil^    Deine  uebergrosse   Verehrung  von  Inge   v.    Fyck  nicht. 
Sie    hat   zwei  Riesenfehler.    Erstens    ist   sie    schrecklich 
geizig  was    sich    immer  -  aber   immer,  auch  auf  ueberha,upt 
*  geben'    -    'hingeben'    au.swirkt.    Ich   habe   nicht  mit   ihr 
geschlafen  und  werde    es  auch  nicht.   Weil   zweitens    sie 
das    ist;Was   ich  eine    'Pferdefrau'    nenne,    ^''ra.uen  die    lie- 
ber  auf  Pferden  als   anders    'reiten'    taugen   im  Eett  nichts. 
Das    hat  mich   schon  Joan  Fontaine    ganz    offenherzig  ge- 
lehrt.   (Du  bist   sicher   nie    gerittenj )   So   much  for    that. 

Habe    andere   nette,    huebsche    Frau  auch  nicht  ohne  Kom- 
pldkationen  aber   in  ei^iem   gewissen  Alter    darf  man  nicht 
mehr   so   anspruchsvoll   sein.   Oder  vielleicht  sieht  man 
zu   schnell   Gutes  unt^  Weniger   Gutes  aus  Erfahrung  und 
durch  Vergleich  mit  Vergangenem.    Jedenfalls  mache    ich 
heute    leichter  Kompromisse. 


Leben   hier  wird   sich  machen^ einfach  dadurch,    dass    ich 
fest  vorhabe    hier   zu  bleiben,    mich  einzurichten,    mich 
endgueltig  zu   akklimatisieren.    Tu  das, wo   Du   jetzt  bist^ 
auch.    Kenne   Deine    Gegend  p.ehr    gut.    Habe    drei   Jahre    im 
Krieg  im  Hotel  Belmont  Plaza    gewohnt,    zwischen  49'th  und 
50th.    Sonntagsspaziergang  zum  Fluss  und   dem  kleinen   Steg» 
(Gibts   den  noch?)  und   zum  *^ruen  Deiner   Baeume   der   51rst. 
Waren   pc'ioene    Jahre    in  New  York,    eine   unvergessliche    Zeit, 
mit  netter   Freundin  am  Sheridan   Sqixare  ,    -^'reunden,    Theator, 
gitem   Geld   (wa.j    exnert   Consultant  at  $39   ^    day  und   habe 
S2.10   fuer  mein  Hotelzirmner   gezahlt.    Martinis  1^0.90.    Da- 
von  immer   zwei   drei  vor  ele^^antem  Restaurant  Fssen.    Dann 
ins   Theater,    Dann   zu  Sardis.   Na,    ja,    alles   gehabt. 

Hier  regne ts.  Auch  Poehn  ist  oft  aergerlich.  In  New  York 
ists  der  Schmutz  und  die  Verschmutzung.  In  L.A.  ists  der 
smog.  i\uf  dem  Land  ist  man  zu  weit  weg.  Sei  umarmt.  Lass 
ruhig  ^on  Dir  hoeren  -  aber  zwinge  m.ich  nicht  jeden  Brief 
zu.  beantworten.  Fleanor  ist  wie  immer  voller  Lebenslust. 
Gott  was   holt   sie   alles  nachi    Das   brauchen  wir  nicht  eh? 


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tli«uk  you  for  8«iaii.b  iw-  it'a  «ß  i»'-er- 
«eiit^fe  P~t^  WiU  i  vioh  you  iuok  wiu»  it. 
I've  writUn  to  ?«t*»r  in  C&iiforüia. 

Sinc.erely> 


Fluth  Mtirton 


Hr«  KAX  Becker 
üb  labt  oi:nu  St 
HYL  10028 


JxevYork,  Mnc  K.'i.  loür-2  ,  dfcü  7.  Juli  lvi71 

Lieb.t.r  Peter-  Du  ^i.t.-b.rh.u.t  nic.t  d.,n     «b^  r'/j.tc'aertr'.r- 

vt-.  icii  ihi;er.  .chr.,-ib..n  vrrcie.     C' "«  ^Ui  ^^^^^f^f^f-%i;i;,t-  ser^  lustig 

a..o  vei..t  Lu,   ich  ^^-«^^f  ^f  ^,  ^..'-^^^^Il/uL'' nlt^M^^^^^        ^-t),  oder 

(ocivri  t.r;  uiü.t  ^--r^'^^^^^^/K^^^'  ^"'''^J  oder  nicüt  ^e^o^^u-  ...0,  l-'O  ^ibts 
mit  Kiud-ru  tju^B)  oder  proatsbeb^ßsen,  «oer  nie       b  ^^^__  ^^^ 

Keine  .•wo;.,,.-.iX£-tionen'i     Hab  ich  nocr.  nU   „.fvi.d^n.  u      j 

v€nn  nicnt  f ufcsen,  dnnn  innen. 

We!=  l;u  uobrr  iivji-  i.66&t»  i-t.  intore.SBnT..  ;.,•.. gehen 

.ennt  ..d  in  w..  f u.r^.   ^ ^"r.'i.c 'Sx-rv"     itf  .i.  .ich  .....ti.rt 
leb  bin  r.tv.s  uob-^rr^^scht,  venn  nuc..  nicht  uw  ^     ^.b.rruüchuncvn 

in  ..  xner,  u.ben  «^^f  »^J^/^J^^f,!  ^,i,,   ^,1;  ,i,  i  x  in  i^^ü^^m  .oben  .«- 
unfa^ri.,  aotr  ucch.     .4w  ö^i..  ^^^^  •  „c^fort  vi.^u*=r  fcuf  ur,c.  mite  lei-e 

ritt.cn,   fand  es  hernich,  ^^^  «  '  f  ^^^^^i^.f/''  i^^^u  sina  .i.entiich  UÜH 
lUori.  ru.r  v-'-f  ^-^-^-"f,"/,  *  ^ne    •ii;%na;h.u,   ich  ^..-ou,  c.  ist  .c 

einfach  —  -enn  i-u  vi-i   c-.or^^  -^J   ''.•'^        .    ,  ,  ^^,.  ,  ,^0.    ut^-r  ^-i^  \:ii,i:cniii 

das  echtfc,  viiKli'-hw, 

X    •    i,^v    K'rr-TS     V^nn   ia  deBv^rt;';"  z.ä,  auch  k.-'inf-   i^oriio 
ßchrr.ibon,  das  oiüzioc  wt-er»,  kiie,   au.r  oes  ^"«-^  .£  xn:i.ai  Ir.  Alter 

\.  r,;^v>t   rir-  Srii^tchterte,     Hußcn  buecL  xuu  --dt-  i.'-  J-  '^  * 

ur.d  vaere  nicnt  ^^l^^^-'^''''^:^  ,'   ,,  /LifinB"iu  danach  nicht  rehr  ^.Ttrfüe- 
haupt  nicht  ::ifhr  ari.i,  v-ix  ich  '/'-/'■f  ^''-  ,        iuehi^er  »Xs  i<^J,   der 

juct  forned  dovn  nn  cid  .üver   Uicnt  er-  ^r  ^«^  y^«;  i^r^f  der  c.ferö  erspart. 

..„  u..  U.i...  ^v..  .ibtc  noch,   ..<:  v^  ..i.^r  J-^-^-^rLttlt^' 
Handbreit  Flua.  zviscnen  den  heeucern  -^-. ^^^^,.^^.^  ^J^'^^L^^t,  und  DAS 

i.t  d.r  II..ken-  aber  d.  ich  ueberh.upt  ^^^^^^^^^^J'^J^^^^^^^^,  ,,  i,,  das  Ganze 
veim  ich  nicht  ^v^  vi.- .^r  vorK^^^f.-  'unn  e..3f.eendl^.  ve.  k  .w  ,, 

ru.i5.sit;.     '-un,  inen  wird  sehen, 

KachE  veiVir  gut,  i^^ttr,  unü  i-ass  aui  .ich  auf.     V.«  U.ner 

.       .•  ♦+   r.  -.nr.,  vor  ihren  Tod  etvas,  das  riich  senr  beeincirucict 
.,bt.i—  ui.o  i^r  tr  in  d.^r  ersten  Iteihe..."     lii^^^  passt  aucn  auf  uns. 


IiTi  uebrit;:,en  i^t  die   Vere  erst  Ende  40,  also  eher  in  Inges  Alter,  vas  je  auch  nett 
ißt, 

Gie  fßiiren  we^^en  Waten  und  Gepaeck  per  bchiff  und  werden  so  rütte  Juli  in 
i'.ueiicheu  ßeiru     Die  Oracfin  baudicf.in  h£it  ihnen  ^Ine  Z\vit:chenvohnung  e^cfunden, 
deren  Aaresbe  usw«  hier  folgt:     c/o  Btinscher,  Kurziriannweti  7,  iluenchenbl,   Telefon: 
usbdoi  i^8-lü-lü«     v>je  vcrd^ijii  in  ciif-btrr  i-oluriunL;  bia  i^o\ca:ibcr  sein  und  hoffoi:,   in 
der  Zeit  ':ine  eigne   zu  finden —  tio  haben  hier  ein  hau&  tu  üreau  i.ücic  ^üha;:/t« 
Di^  Vor.M  Uftt  nun  auch  grnii^  mit  den  jobb  uiid  ich  glaube,   beide  vollen  es  sich 
Gut  b'öhen  lassen  und  hab'jn  auf  jeaen  Fall   (wer  nicht'O   üie  i«aöe  vüxl  von  /j;.erica 
luA  von  ^\i  ini  De.^ouclCTen# 


feüuerlich  ii^b  ich  das  ruch,   ab^r  v;auf^r  einen  Mann  nodri  Geld,   statte. ».-acen  aber 
jet2:t  encixicn,   zum  erst^^n  J-ial  in  der  ii^iDi^ration,  eine  vir/ilicn  iiu^i^öca-^  ;'<onnung 
mit  i'lni-Törra^^se,  auf  der  ich  dieoen  brief  tippe  und  v/o  ich  suist  am  B  uch  verkle« 
SO  laecst  nich  isY   auch  noch  aushalten,  voll  i.^aii  vü»lii(^  iauiiero  i^t  una  auLiüer- 
dvin  dic'i^or  iti^ztc  block  der  51ut  v-trefit  eine  der  ^.Ubbüchosten  ctracüen  von  r^if, 
dead  end  riit  ninl-park  S  Haeuser  entfernt,   ebenso  wie  dem  K^ist  Iti^er  uiid  l:'eekEian 
i^iacc —  Biiio  \^tinn  schon   isSf,  dann  halt  bo* 

An  dem  inoirentanen  Meisterwerk  3lt%  ich  scrion  ut;oer  eii;  Jahr  urid  vat r  sclion  froh, 
w«cnns  auf  Papier  vaerej   ich  hoffe,   dass  es  seineLi  iilnde  zu^exit,  in  ::— o  lOiiaten 
zuidndfist —  und  dann  musr  r^n  seiien,     V;i^-;  ileanor  mir  neulich  schrieb,   äi4i  Zcdt 
der  dicken  sex  Waelzer  sei  vorbei,   seit  LA3V.:i]  S'i'ulvlf,  und  üi     vuA^rdtj  sich  <^;ar 
rJicht  vundtjrn  W(?nn  kleine  "nufatie  riniatures",  wie  si^  n^ine  i:ut.cncr  nenixt,  eu 
vogue  kaemen,     XÄin,  ilir  Wort  in  Gottes  uhri     Aber  von  irgend  wat.  m\ki>'^  der  Schorn- 
stein absolut  wieot-r  rauchen  unc^  so  kaiUi  iniax  nux*  da;^  iJestv  hoff  .n»     V/rTin  auch 
ax«^se;>  i^ucli  wieu(:;r  unvörKaf^ui'licn  ist,  nusc  ich  direkt  vun  aer  attrrasc  in  den 
Fast  iJLver  nprin^en»     Andr»i  I»oesiu:,.en  saehcr  ich  nicht* 

lüt  der  Briif  l^Jig  gering??  Es  v«er  hufrosch,  wenn  Tai  vir  auch  ohne  c  Lc  Kahns 
oder  ji>onstir,.e  Gruende  antv/orten  vaieroect  und  ^-rzaehlen,  vjie  es  Dir  L'e-i^>  ^^^^ 
Du  i-Gci-st —  v:aD  Irt  Block  Vcrla^^V?  Ür.d  vieso  i'ubli^ninb  Verlag,  wie  lUeanor 
es  mir  ourchgesa^t  hat??  Bist  ioi  LieKtor,  oder  editor  oder'i?  dnd  uebcrhaupt 
und  so« 


ich  wu.^;rde  Kiich  ^jehr  freuen,  wenn  Du  Dicli  der  hahns  etwas  annen::!en  koi;nntest 
und  volltt'at   (so  gern  hab  ich  auch  noch  selten  wen  "eri^jfohlon"!)   unci  ditj  Inge 
cchofinstcns  {^ruesöon^  von  der  ich  natuerlich  'ob.^ii  ^irni  hooro-*  "\/uerde,  abur  sie 
scnreibt  ja  selten,  dab  bin  ich  schon  geivohnt«««     tr-  tut  au:r  bti  mir  dor 
''iTcundscncft  fu.:rs  U^b^^n"  keinen  Abbruch,   das  kaiuist  Du  ilir  auch  sat,e,n,   sie 
weiss  ccbon,  was  das  heisst  una  kanns,  wcr-nn  sie-  will,   Dir  ei-kxacr.::ii» 

Lir  selbst  alles  Liebe —  wie  immer  Deine  alte   (oh  ja,  sehrl) 


435  Kc.st  61  Street,  h*.'V  York,  i..i:.  Iü0?2 
£?•  Juiii  lJ7i 


Elöanor  ervaeiint  iiouier  bo  nett,   dass  Du  doch  ;:o  feern  iwic^e  i-rief«    b^kcemst,  in 
der  iioffiiuiui,  oaeb  ich  Dir  ecxir«ribe —  ich  Din  ein  conpxusive  i^'-ttf3r  vriter^ 
au3ser,   v^eiin  ich  wi"3  jetzt  an  tiiueXi  iior^ica  bin —  utj)  ebicn  hab  icn  rit  ihr  in 
hüii^-vooü  telefoniert,  uiu  nach  i>iuLr  lv;tzten  iidresse  z-    fr^iyen*     ßie  var  vie 
iiüiüt-r  vere>naecit  und  guter  Dinge  und  fcai^te,  no  i.e^hQB^e —  che  jur     vrot'  to  you« 

i:^e.lbLtverfc>tfc*incilich  het  et>  vii^tn  Grund,  oo.öl  ich  T^ir  h>  ut^  i.chroibe,  ^tbi^esehen 
von  allfVemoin  ux;d  ßo,  eleo  first  thint:«:^  first —  vie  tieht  es  Dir2     ich  hatte 
mich  SUiTt  gafresut  zu  ho»:.rtii,  ua^b  Du  uiacI  Ii%'^  Kuch  bt freundet  h^l)t  viici  ich 
hoffe,  ciass  Ihr  lifeu  und  ireundlich  miteinaxiaer  seid —  ihr  koennts  i^eide  t;e- 
brauchon;   Inte  ist  etwtiS  ßbhr  b^Lonüt«rc-;:>,  va3  ich  Lir  nicht  Vfiitcr  ^^.u  erklaeren 
briF'Ucrio,   dvAi  aas  veiGi.:t  Du  3cKoii  xaene:tit  Cüibi^t,  und  DKIME  b^vsonderen  i.igen- 
schafti^n,  oie  icii  in  fabt  -iü  tJaiiren  ireundachaft   Coh  Gott,   dys  r!/;rf  rcn  ja 
^ar  niciit  laut  st-^'f-i^l)   Ja   zur  Cniiuece  iu^nne,   collten  nwr^h  ihr  sehr  viftl  be^-eu- 
ten.,,     It:   uebrie,en  haix:  ich  x^ione  >^urebtie  voxi  ilir  u:io  n^fhiie  ui,  dass  dars  nur 
oclilai;iper*;.i.  ist —  icn  hatte  ilir  7>\x  VeilinachteJi  gescriri^ben  und  auch  ctauäia 
(fufir  Claudibi   ÜKD  Tinej,  aoer  iu:.Q£i  dciü  t,ro£t>en  Intervi^tv  in  dr^r  ^'ext,  dr.s  mir 
von  iTKihrcjTün  Seiti^n  ^escaickt  v'urde,   cchloc^  ich,  dass  In^e  <*twr.  vu.  die  Weih- 
nachtszeit nacii  liueiiCiien  ueuersiedölte,   axjiO,  wer  veiߣ,  ob  lurine  Briefe  ariKainen, 
res];,   ii:.  Jüizu^ibtrubcx  \iiitt:rt,in^>^n.      Ich  d'>r]kv3  sehr  oft  f>.n  ?.ie  und  inoechte  absolut 
nicht  (jLt^u  iiontai'Lt  lüit  ihr  vt;rxitii";in««» 


¥ititj  bCait3cx.n  ist,   ist  aie  -^vrisaimiui.^  von  Fi-euiid^rn  in  ^hIOl'lChen.     Ich  K.r.nnc  es 
Uic;b<.  rxictupt  nicht,   d.ii*   lul^r  ich  ^»'i^^^  xjöB  rdt  ^rnst  und  -Ajiuf.chka  iri  v^agen 
bei  ßchlopsenregen  DüKCH,  r^an  konnte  dit   llanu  i»icht  vor  den  Au^ycn*  senun  und 
vir  v:/.r<^)n  noch  da5:u  in  tdie*     nevor  vlt  ich  dac  letrte  • -el  in  t'iuenchen  mit 
7  Jc.hrcjn  und  das  ist  etvas  i.an^  heti'»     i'loetzlich  abt.r  iebbt  J»u  stao.idig  dort 
und  nmi  auch  In^ie«     Uno  in  ',.t.;nii:f»)i  Tag(^n  ucbrrsiedeit  ©ine  Cousine  von  Anuschka 
—  nach  Miienchentil 

Ünu  üirt^tve^an  schreib  ich  Dir  (Du  vii^-il  Dich  erinnf^rn,   dass  icn,   ais  THi  noch 
in  Vfii  i^'ii  Vc;i'st,  Uffi  Äuakutinf te  uo^-tr  Hut-nchcn  gebeten  hatte,   dit;  Du  in  alter 
Veriat^su^lichkeit  una  Uenauigktät  auch  e^abstl)«     Ich  hab«?  mich  in  dt?n  lotzten 
Jahren  seit  KiTiSts   lOa  SL^r  L-dt  ihr  UH>rrf<urid>^t  ur.rt  dnj^  sagt  berrdtr  s^^hr  viel 
denn  ich  finde  neue  rreunaschaitt:!-!  n»-utzuu*c»e  sthr  sehr  schv»  r,.«     "  o  tut  mir 
aus sfrord entlich  loia,   sie  nur^  ^ieL<:n  zu  r>ohen,  al)er  vas  soll  i^au  nacnitjnj     It 
iijn't  up  to  iFife  aftor  all«     bie  ibt  cii^*    ir^iu  :.dt  Stil,   Charn:«f;  und  Int^-^slÜö^nz, 
und  nct  auEi;:croi^ri  exw^n  coHusoxc-nen  i^^.nn —  ijr  ist  Architf  kt,   sii»  int  -rior  designer^ 
di;^  jrtiirelang  editor  von  einer  grossen  ai^icrii^:.  Zfiitschrift  mit  'dilioiienauflage 
war   (/•i''>ihICi'"J^  HOliE),   f  uf  r  dio  sie-  abf^r,  Vf'S  editors  sonst  nicht  tun,   (^rschrieben 
hat,  nicht  nur  eaited  usv«     Unu  exgi^nLllcn  inLuresii^ier  :ia  sich  b^id^    n\^i*  fucr 
roii!ani;:ch..-  ?^uiic:t,   sinu  aucn  in  rim-r  Asrocintion  fuer  ronansKr^  Kürst —  irhren 
nach  iui-opa  l^üK  urn  roinajiisciie  nircxitjü  zu  sthcn —  Du  siehst,   ua^^-^s  it-t  un^iewoobniich« 
isr  ist  uobrigenc  aus  Derlin,  etwa  Dtin  Alter  und  sieht  sehr  gut  aus,  er  ist 
auch  ein  Cousin  von  Pem,  wac  sagt  maü,  XxnC  htdsst  O^kcr  Hahn«     Div^  Varh  sieht 
ebf-nso  gut  aus,  aoer  encers,   ist  in  Vicn  go-borcn  uiid  v^r  eig-^-ntiicii  Jugor^^lavin, 
na  ja,  wie  das  fru^her  so  Mar.     Icn  lauss  sagen,   ich  habe   S£fiK  lan^i  nicht  ein  so 
charmantes  und  interessantes  i:aar  getroffen  und  eb  ist  iTiir  gredezu  ein  Vergnuegen, 
sie   Dir  ans  Herz  zu  le^tnl     Icii  ntuiuj..  ;ju,   class  Du  sie  Anuschkas  ve^ic^n  wirst 
treffen  wollen,  aber  ich  kann  Dir  versprechen,  dess  es  Kein  Opfier  sein  wird,   im 
Gegenteil*     Ich  glaube,   dass  auch  Inge  absolut  interessiert  waere  and  I  don't 
sey   this  liglxtiy« 


K 


All  Fofct  i'l  titreft,  -'ev  XorK.   ...Y.  luo?.? 


^i^  ^Ua<i.t-j 


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Max  i:;eckfcr  iit-t  Diir  cii-s  r.f..  von  DA..  uT' bl :RhJiL>CHr,M/i    /<!:  HVhliTi  U^.LLiAL*^  -jescliicKt, 
natvu^r-u-t.!h  laüu  «s  i^i  ani/a*^]*sti;^t>t«>i  *-oT'vi*t  zuu.  ^-•ei.-^n,   6v;dn{$t.   ich  Ljr  *  rsl  jetzt 
öcLr(iL»ii  A.tiüi—  ich  iese  to  et\'tt  nicht  t^^'^^i   verj.  ich  nicht  u«h  ^-üj;f  fr^ri  haie« 

.>Uii  r.irp  icii£  fiit:0  c/l'^^^n«     Kt:  o^^ t  nütUfrjLloh  u.tii  utjc   i-i'.i^c   ui.Ci  V6i>  hcuot  noch 
hJL.u  ..  dc.ru  5^h0t^rn~  l'ni  bifr^t  jr.  j-'sch'^it  .in--   ^  t  viuo  ^/•»ii^.-t,   vo  ^».-ti    -x^iUit« 

Abfr  fut-r     inir    Ur- bers»:' f^ vuig  retp.   Zuec-Xuceriarbtit  bixi  ich  xtid^r  xf^id^r  nicht 
CfT  t^evic^**t-.tf-  IltiübCji —  ?:.ufci  vi^'j.fjrii.-l  ^r^i^aC'^dm     Wi#^   i<:u  Dir  je   5ichr»-ib:-,   bin 
.iCh  ii^iti^n  iii  tii*<o   ijfiiMi  Hor.nn  der  xcrv&crt::.  ^»eht,  Vv-iin  auch  üit  _roi>ö'rLi  xjaUfcMiai 
LresLOfTiin  (ir^iaer  bf'i  mir)   ^Jiid  auf  c^chne ck*infuwjßri.#     /V.j,r  r-r  C-^HT  voi'vi.rrrts«     Ich 
Sr-iiir  r^c-.ii*t:  Koüt^üclikei t|   iiiXi  5iU  uiitt-rürt: chfMi,   aA-d   th^it  Ltfeiit  ^.icr.tJ.r    to  co^e«     uub- 
h' Tc  rin   vdr.  Kt  i .'  e^ß^  ^^''   :"'6*}   nrbf-   ich  c*^n  trt:*.»;.   Ailir.*-.L  fu-'r  ^      .  .  lIülT  jr^o- 

fcichr»  iben,   lu  virti  xfcchen —  i'iicialf-^inerica  cb^i^  ^'xb^uz^uo.  ^^^'^iSnx  UiiO   b::i  3  i/2 
IUij.iQ:*t;ii  Atüxr^^f  noti'iirti  vo  mi*:.',      r>%     ci..   KeiLt-ü  ilu»  ^♦•iri'^i;.   aiK.z<  ^vtij^rt  und  Liir 
tn^^v.  ?utf  t,  <?&  v.^rdttii  vviter^^  aer-ignir.eiit^.  .wOHurifeu   ^auch  d^^s  vxt  &uf  .  :oue-aß». ieiniLeiit; 
Du  Kam-^^t  r-ir  dt^nken,   i'ie  gut  ich  uebvx  ^tcIVlrbiit-ü  tchj'^lb^.i.  ke-nn,   totv  fuer  5  Tage 
VHT^.  ^ut  bta^f^hlt   uno  c?>i   ?\^  visstn,    ti^-  du-rrfe^t  ir:ich  nicnt  h^tzf^n  lu^iü  b»:reit  biiid, 
to  iet  Jiito  du  iL  et  i:y   ti' «>    r^lrx   t  ort     ubjichti  i.;  «u^^    •'-'In  b:  sciitn  u-^lc    !■    die  Jöude 
i^OHjit,  v'f  s  f.ehr  r-o^ti^  iet# 

Ich  bin  nuii  ueberhöu»jv  nicht  eJ^wof^'laiiti  d-utsch  zu  Ihö-u  aiiu  Vf-r^itiidii  es  auch  aufß 
Ac:u.:ßt  rs:t^-,   &üf3-r  Privrikorrc  .        c:^.i:..,   Icii  tiii  ^i*.^wiarv   t-i..£iJ,^/-tr£'..Kiuiiid€^d  und 
c*    ich  \.^.'^:^\fi.  c</^yritsht  [Aii^riQ^ii)   jh  nux;  :  ux  -i^  ^..lib^.u  üchrfriLi-   inui;£|   ;so  boJLlü  auch 
d^.bei   bleiben  uiiu  wenn  icn  Ru'^h  EU(^ru  i  iiii/utr  df*i;kf.,   it  voiu.a  b^   fun  to  tra*.fc>iate 
s  i>lfy,   ich  ö»:^h  derai  ii^viier  vif-ürr  sufort —  no,    it  i^^a't«     Li  al  .>^uacren 

i  5vi-L  ivOi..:  \-  noch  a;e./u —  ich  hao  p-       .   .j-ich  c-tv^e.b  l*»cs"/*.  J  hi:..riüt-r,    ui*;  in 

driP  Zukuiift  iipieit«     i'-lach  eintfr  Wi^r.  fabcr^r  ::c  i&lt,  vi•c.u.x^,ich^  a4:;bf-rhaa^t  3cit:nce 
fictiüfi,    k.u:'.'inv\f-;.t   L-'.it  JuLc.b  Vci\.t   i'-^hxt  nur  da   xv.^^::^(i  v.'Rfc— -  j.-iii  }'*hinT>   aber 
in  uiiG^^rnr  (l)   tli^v  musü  i^an  ja  end^-icn  sich  \:^:'KV  .^oj.cht^  oacii«. ^i  i^xar  tiw  i/i,     i^s 
ibl  :Mir  auch  ausb^rd#M-i  kifr^   aaub   ich  cri..-ii  tthr  f.ur. ^^^ra-e^•.-7.x  u-lii  i.ai.t|    öü  eher 
jt^if  tß '.i.' rnu   (o'-r  ijf-T^r  til^i^o*»;,   yr  ic^t  to  hiii,jeknaxii>  v^b  c;^  iiertutr.rxxch  K^.inii^veeis 
ibl>    bOxiUt.rn  Qt*i  r-.ein»  ..   '-.bH*?is.-iv -ü  rv.-vrliiit,  iif-rc.t^f>/..oniJ:t;    ^i<    \   n  '.t  '  r^    'iA^.Z  fa-LS'uh 
f.-'  r  iifrrn  Uibaa-l^    LFIDlK,     Denr*  ich  liebt  n^ori  ;:nl  ple7v^>|   v  iiv  ^.o-^r  i-xu^..*   Theater- 


,"     Ui.a     bi<r>h<;     OU*.i; 


Yl\ 


j.cii  iij**^r^  acix,   aai.  Vc    j*  '"  ••  h 


/ 


\i--^nii  ich  air   üiai:^a7inf.  htM^if^.  damals  scno-i  ^:,r.wuj[7ht  lm-  \.l*  ,  xj:>;  l's    '  *"    ioii  f-dcherlich 
^i  ioh  i;^.in  t:,psi;.t;t^  ab-^r  biF.  ^rsttrn  Vwit>::ti:    ich  ja  nicuti   aa&j.-  nuxi  ^.nc^ich  i..ai  bei 
Kir  •^+vrt'  Lv'^i^^ftppt  hat|   ir^ouitihit  ol"^>br=S'.t  rbti    v  eanoch  .-Ji     bchoi.   DAß  ist  eine  sehr 
t,rcLi:f  3  ^faLtungj   ich  i-j^ine  üO  h.jj:     rtii'v-l,    b-^i       'in^^x;  V'.  ruaicTi.ttu:  i^i^cii^-n.,  uie 
dr^iUi  ni^aiiaiid  vili,     han|    so  1.     ^  ^n'o£Cj    :     rt'i<Uit|   i:,iut       ..   ^     nicat 

auf. 


Also,   i-etercneii,   nich"fr.  fu^>r  U2;gat,   darnu:,  atie  tu  an  mich  i-,f dacht  hattest —  und 
viclicdcht  :.;ei  icit  ^^Ivc^i    andei^i|   veiu.  ich  b^^tve^n  boc   .,  bin.*.      Ua».,   i:..  uebri^^en, 
in  dioL^r  .^tadt  l'hano^  ori»'r  nir.r.t  boim  -^h*  at-^^r  hat —  a^i^o  ci  t  ^■"•tial^  1  >-t.n  tKübch, 
>^ur^roe  icii  üa^^finl     1  Ufl;ri.:,fn  hab  i^-.h  .,   .  v.-rn  oin^n  .spiitceifr-&i>rnttci:trri  ' Mephisto 
auf  ci.r  -pc-rnbuiJmr  ^tcehf^n^   und  hat  nur  ac  t^f-btauixt*     Aito  veiast  ^\i««»     Unü  selbst 
fw.r  die   cur"j^in  c^-lj-ö  varl   ^^r  aicix  nocn  nicii^  .  ^jl  t\a     ca.^»         ^  :*r  '^urnei   <.inig<; 

uaic;  a-.  div    i?chult»"r  biß  z'^n  ^^abfl  uri  natu...     i*a^  li-achtfe  ihn  aijrX   achvux  viid 
ßCiAirdK:..  dfcu  ^ai«z^-n  vorir^frit,^»a  if lext,   v/Utrrc.»*  icji  csa^'-n,   aU/r  aovj  ..  .  t.ri>:x:  die 
Loutt    jr    hier  nicht«     Vln^   Vii^ut-i^t  auc  iii^v  icrk« 

Pt-tarchen,   ich  hofff-  thinf^s  artrn't  too  orim  Tor  /ou,   thanka  a^ain  ui'*L  ich  sende 

i^aecnct^   woci .    r]^      -^  ^^  ''"-"'''^  ""^   "  -"'■  '^"^  ^'''*  ^'"^''^  office— 

viix  b-  avay  Tro^.  ^ülf  ^i^  'SftPifedlv*^Jt.flf^^ 

I^H^fTzlichöt   Dein 


({Xu^i<^^ 


.#  .  hlu.  c^c 


tetoöenci  T/ank  fu«;tr  Deihf;  rcbchc-  Aiitvort —  bist  doch  6»in  Verj.aeßsxi04i€»s» 

vo^  Aiiv*;;CiiKut  Cov-üiii^i,   tbur  (iuiji^chl     Ich  vr-rdi.  cii-xc  /»usKUcni'Le   ^ö»t:ir 
in ' exlit,«^ut  liaturjriichj  eütßj^Tf^cher^d  Vfirerbebfen  unc),   ir  tolle  veitcrf-r 
ira,/>ii  iLiüi  've/'U^u -iAL'vtil  rn  Herrn  ^nrictiüe  Vfxden«      (Von  i^lA.^:-.  iJtrbeiiC- 
abeiiC  redet  nein  jif-iißch,  i-ioeji^c-  der  li».bf    ^jrott  rvch  d^vcr  bc':r-hriJii^   f;ij.eii 
zu  habeiil) 

Zu  Diii^tüi  VOntOILAGi     I  ,xvv    pltyfe  u^d  lovo  to  r»^.Rri  it#     iiiiD  /'^ay  ik^cktr 
tu^^-^ViXi .  n —  ich  keiirif,  iiiri  f^aricxititii   a;^»-r  i-:r  voxsb  t^aiif-.u,  v«..r  j.cii  birii 
1  wuc>  vs'Ao  ciuu  v:rc/?:'t>6<r/  Ih  >\:i>,ric.hn  >»ubiishii.til     J-r  v/ r  t'.r.hr  frr-uiiOlich 
und  i;irc;  iiich  sofort  aiirufVn,  venu  das  ütiieck  vie/aer  bbi  ilir.  i^t —  it's 
*'^ut^'   h.\.  pi*<^5eiil» 

loa  habe  iii  vi-sl^rn     Jahrnn  i.;fli»rr-t,  HIE  etvfiü  z\x  flkzepti^r^^u,  ühiJJ  es  r-rst 
ux^d  zvüx  sehr  -^ruendlich,  ^^-ItLQ^.n  äu  hf;b'^nt     Lü  ^ibt  l^r^cxi^m^  die  mir  ac 
iiicht  lifc^^ *=.!-,  i*!t.ir.er  Art  ^u  d.nlcri:  odtr  5Ciir^ih€;:a,  dass  ic*^*  sin  nicht  aus 
^^^  ii&ääÜ&L^*^''  ueberbBt25f'ri  kann,   unu  o*-nn  wirds  nix,  rc;^^.,   freien  cUt   ^üilL  der 

»Jit^I^n^uxiit-i*  'ftrhaviluTiis  zu  d»  :>   wm;  dr^^l  r>3U£>bcl;aui.i:n  l:aii;i_u;^v. —  bu 
verL'ti:'hLt«     Aber  :>rir>zipif-li.  bin  ich  In^r^ressierL»    \ 


^,x-^fl> 


^edüch,   daö  inusb   ic}i  sofort  sa^en —  ich  hh^oc^  in  xmixi^iv.  bri<ii  nich^  ervLthnt, 
aber  iü^  bin  TüitUr.  in  ^tn^ir.  nf-aen  Roran,   u»^r  rir  f'l^üvruin>  vici  iJchvieriü- 

:oitLn  icacht,   j^idoch,  es  Vö<=^re  dann  auözuvaet>^n,  ob  icn  in:*  unterbrechen 
vü^  unu  iviÄiui —  Du  v^r:.tfhbT.%     Meiiiv-  irtz-^a.  i^rüt-tüi;  tjrhen  :3iir  i  '.it^yund  ich 
Euss  mir  ßcil:r  i;enau  ueüerlßt;en,  what  I  want  to  shov  l'cr  It,   fu^^r  die^e  \^anr- 
jcii'.iiAjL^f.-h  xe-ü^^u  Ch^iOfi —  u:rji  dm^nch  kuiint  ja  dann  Zk^tvo. 

iiA  ar:;brit;en  bin  ich  linin  gMt  mit  d^r  aunzin^jer —  .Ich  icami  di^i  Mittlersche 
abjiolut  nicht  vc;frknuee/i  und   ei»^:  hat  sieh  euch  zx&i,  zm  i)runos  Ztiien  £cnw,ine~ 
i:.ac,.ü;-i<i  u*id  i^anii  u}C£djed  for  zu  rir  b*M.,or:Ten|  ali^o  ich  bin  yr-c-judiced,   jedoch 
—  icii  trau  inr  uicnL  vua  hier  bis  dort*     /ißo,  vt  »iXi  ich  aai:  i  ^asterveric 
oexwwiöi.  iui*jt:.;|  werd-i  ich  Dir  r.ofort  ochr^-^iben« 

i.ö  sCiAvcüt  lIL.  kltrines  uriji«^l*-:jt::ö  'i  mit  fre^f:  lanc«  non-fiction  r>tx£i  ^vaiig 
und  ticherilch  schlecht  bezahlt —  ^  don't  kncvytit^   t.xi  ViiJtlii^  tu   iSf-*-.  t^^e 
Liaterial  I';i*  sicp^.o&üd  to  v^vr     vith)   f..'*.r  ein  hau,'3bacfcencs  i.idQ-i.f.-A..;tjri.Cfi  i.aba- 
ziiAf.,  axso  A-unxit  wofuer  ich  ^jerijnf^t  bin —  v/o  ich  dcca  ^raaö  so  smir  verbuche, 


-t'j^^vui" —  >y.l\Y   TIIAiuVo  für  üff.-;ri*. 
i.uch  nicht  axler.  iir:  rctsit^eu 


vat:  i::achtt    'u  tliese  aaysiTi 


,  vie  CS  b<?i  kt.{^n6r  hexr>bUi  vut.rüvii'Z 


oCii 


1-ie.iti  Itrxtion  itl  wl^  ^^-.habt^  nur  ^    '.zt  in  Zifff.rn:   'il?^'6\^2i>hA^ 

j\j.p  ixea.aür  ibu  i.bsolut  ai:«2,ii.^*«     CrosLart'it;   fu**r  eiel     Icii  kuiaii^t  ii:ir  vor  wie 
juiTC   ^rorofci&iautltorl  1 1     Lut  I  i.üvte  neri 


Herzlichst  Deine 


5757  Ranchito 

Van  Niiya,    Calif  91401 

den  17.8.70/ 


Mein  liebes  Ruthchen  - 

Dank  Dir  fuer  Deinen  Brief.    Frat  alA'uin  Deine    Frage   wegen 
de 8  Lebensabends   in  Deutschland   in  beschraenkten  aber 
noch  tragbaren  Verhaeltnie^sen   zu  verbringen  glaube    ich, 
dass   Du  doch  Deine   DM  1500  bis  DM  2000   haben  musst^je 
nachdem  ob  Dr   beweglich   (sprich  alter  VW)   oder  nicht 
sein  willst,   Muenchen  und  Umgebung  ist   genau  so   teuer 
heute  wie    die   beruehmt  teuren   Gegenden  -  Hamburg,    Duessel- 
dorf, Frankfurt.    Tegernsee    ist   sehr   teuer  weil   Ziel  aller 
Berliner  die    die   Berge   sehen  wollen  und  sich  Fdelweiss 
an  den  Hut  stecken.   Oesterreich   ist  etv/as  biliger,    dafuer 
schmutziger  und  verlotterter.    Bodensse   nach   Schweiz   hin^ 
auch   grosses  -^^eiseziel.   Natuerlich  gibt  es  unpopulaere 
abliegende    schoene    Gegenden  wie    den  Jura,    die   schwaebische 
Alh  aber   da  bist  du  dann  auch  richtig  unter  Bauern.   V/ie 
hat  meine   alte    Tante   so   schoen  gesagt:    Das   Leben  ist  schoen 
aber   teuer.   Man  kann  sichs  auch  billiger  machen  aber   dann 
ists   eben  nicht  so  schoen.. 

So    das  waere   die    J\uskunft.   'Nenn  Du  mehr  wiv^sen  willst 
schreib  wieder.   Nun  mein  Vorschlag;    Ich   habe   ein  deutsches 
Theaterstueck  geschrieben,    dass   sich  offenbar   in  Deutschland 
pchwer  verkaufen  laesst   (sprich  Liesl  Mittler)    ,dass  aber 
hiesige   Fachleute  mir  sagen  haette   eine   Chance  am  Broadway 
or   off  or  C)ff-off#   Fs   ist   nicht  absurd  -  leider.   Fs   ist 
nicht  wie   Liesl  sagt    'Boulevard'    -  es   faellt   zwischen  alle 
^ategorien  aber  es   ist  amuesant  und  hinter gruendig. 

Wenn  Du   daran  interessiert  waerest  es   zu  uebersetzen  -   ich 
kann  mich  nicht  dazu  aufraffen,    dann  lies  es.    Fine  Kpfede 
liegt  bei  meinem   guten  Freund   dem  Agenten  MAX  BFCKFR, 
115   Fast  82nd  -  Phone:  Yu  8~3887.    Ruf  ihn  an,    stell   Dich 
vor,    sag  Du  moechtest    'DAS  UFBFRRASCHFNDF  AN  KFRRN  LABSAL» 
von  mir  lesen.   Max   ist  kein  Deutscher,    spricht  es  aber 
fliessend* 

Ich  warne   Dich   gleich, dass   die  Kopie   nicht   sehr   gut  ist. 
Max   hat  sehr  mit  mir  deswegen   geschimpft.   Aber   sie    ist  le- 
serlich. Ilse   Lahn  von  Paul  Kohner   hat  das   Stueck  sehr   ge- 
fallen,  und   sie  wollte  was  damit  machen.    Aber   ich  halte   es 
fuer  besser   es   in  New  York  zu  versuchen.    Also  -  lies  und 
sag  mir  Bescheid.    SHt  einigen  uns   schon  wegen  der   immerhin 
moe glichen  Tantiemen. 

Sei  mir   gegruesst.    Fl' anor  sehe    ich  oft  und  sie    ist   jung 
und  frech  und  lebenslustig  wie   noch  nie. 

Herzlichst  Dein 


ly/riflZ^^l^l   ^ 


4to* 


n-^^ 


'■■■•"-    ■-  - 


■^  :^r- 


AFTEA  9  DAY6  AETUAN  TO 


(v-    P'/l   U 


■geter  Berneia 
5757  Ranchito 


Van  Nuys.  Calif  91401 


ZIP  COD6 


Ruth  Mar ton 
433  Fast  51rst 
New  York,  City, 


Pft  R  ft  V  I  0  N 


10022 


I 


7.  Au^u&t  1j70 


Fleauor  trM'a€>iui\:e  vor  .tiuio'.  r  iut.ii-i  dr  c:t.   .  u  v;:».t:?ct.r   u    ^tincj.tr  bist  lüid  iroend 


uii'J>  hatte  ich  den  ILinaruck,   gut   beiöaiüjajii  bißt.     La  vaere  nett^  nal  wieuer 
vü.i  :)ir  zu  hüc^n-jn^  vat>  j'u  Lc*.wo  uiiO  tr^iu^t  V'-^^^*-i*^r  schr-xbt  irj  lo:.^^t  ^   nig 
—   .c:i  :.  rrlne  t^rit-^xc  feix  iilchl —   }  und  vie's  Dir  ^..t^ht^   uucii  ohiie  dasL   icn  lieh 
uu;i     ainifoe  Auucueui  le  bitit;» 

Sii-'iu  uti^i   -6u  voxi  -.xi^Lo  i-i  uLtiCi*  ..:. u  i  ich  Ziji'jh  r*xt  ciu^.r  ^ou.;iiir'  von  Anuectike^. 
cit  hier  jL^bt,  aiiti^'frt-iirjdcjt   (tie  gel  mir  8uch,  öllT  Aiiuechkab  bit*ue,   cz«  die 

i.aCXa'icht;^     eiüö    btr  ;:>UliUt  X*».^    iAt.:tU      cUAl    ilit»-;l-i.iö<'>  i- tl.     i'r.iw>     €•  tV.iii,     J  -tüi^^rr    BIS 

vlr>  hiar;tt,;^ii  ii.it  oiiitjs  Üstiai,  der  viftv'eruu  aeiter  itt,   Lasicai.^  aoer  i#öUte 

vie  wir^   ich  melius:»,  Kt>ir*€.:  kiiiderj   venat^rirtii^,  iatoxiektiu^Ü  U-'i*    ^^  t  t-iri  editor 

iii  ci.i«-n  ia.^;a;vir*t  I  ijr  Architekt  abrr  vohi  L^ehr  odc-r  vcni^^er  retirtd)>  dit   aicht 
iiu  u^^xo  i^cxiVrii-uiiitrii  aüoi'  aiAw-tjE-diu  1^;  i       -• 

Vi';^  vir  au^vi,   atii4ueii  auuu  sir  dt-xun^   dc-ii*  Tur.'l  iiir?t  let^   .     nichi  liJ.  •^--r  r.onaerii 
rrA'r:^ij.chL>t  druciteii  zu  verbriiii.eu,   va^  ich  Lir  ja  kfeirie^iäila  iiaeiu.r  zu  iir/ciaeren 
brftucheull      Uk  c.avfi,..Li  Z-ast  iH- viiha:.,,   Uucx*.      c^  r  u^dauk»^  aii  i/uriiChMi  iwii,   auch^ 
iV'iii-   bt  id^   eich  :[:urueci:zithcxi,   sowat:  wit*  Tet^erase^  od^r  hcdt-iibt"/ ^   ü.n.  a-.so 
nichi  otadt  öOi*cu*ra  .uu^iü,     uc'    *  in  ...  uoch  iii'.  j^.r^nnci  v»jrii-^2*l'ti^  antvorten  kaiin^ 
vie  viel  aei<\  i  an  :\\jjih  Lr:*ben  ir^^^-'-iu  v?o     raucht,  dachte  ich  icir,   DU  wir:>t  dueiL 
.eiii  ui.e>eia'v.hrcw  ha.xd  f:,ou*\ij.  k.v^zmi'::i.p  u^iüi  l^vin^     .. .:.u^r»iiUi^'.  bii.u  at.-hiixich  '^i^i  die 
von  UTib,  VoS  z.xi»  div  vo/i  rnuschKa  nicht  sind,   verstehst  Du? 

F.s  haiide-Lt  bich  l.uCXa  nicht  uo  Lttailb,   bOüdern,  vie  dit;  '/era  ßp*ite,   v;:..ü  bie 
^ern  viöLen  vui^rdr.  VL^itp  tWiw»    !.ai*  luibidiiit^t  dit,  StULine  X  braucno,   tiouüt  haett© 
eb  fe>su:  rw;^-Liieu  oimr^  uin  i:ir  bin  beisi^i*;!  zu  t>ttb(rn,  da  die  ^ohnunt^birfli:,^:  in  i'aris 
nichc  zu  X'^cb^n  ibt,  vi  Hü  *;^^'.  nicht  .         '^'c^,.^!^.  >i  hat,    u;w  o.iiici     oiüixki^j,  z\<  Kaul'en, 
bo  l;it  es  schon  trin:r.al  einriiot^,  an  l^aris  zu  denken»     lixint^t  aao  Küi:fus?     Aber 
lu  bj-üt  uücn  ^ubcjiv.x^  uiid  ::»  .u.w.t  Lii.c:i;  an«.    \,ir./L  b-hon  v^.i  t.teu^-n«     :      nauueit 
sich  nicht  uüi  Luxasibbrai,   '^aa  iat  ja  klar#     AibO,   was  Ihmtr  Du  Uiir  sat>^n  kaiuistj 
vaere  ich  Dir  oVilR  daukb^*r«     ^u^u  auch  nccii  2.U  baofc:i  ist,   dasb  et.  ^  aucn  mich 
senr  intf.ic.bwiit^r^xi     v^oiisraf^,   auch  venn  icti  ja  ieicier  noch  i'i'^fin^b falls  an  solche 
Zur:uiiitüp.uA«.ino  a.-M^dii  üari"-^  ab..r  iuctjcacen  irioticht    .an  doclij  nlcnr  ^'itiri 


Vvr  aJL...  ,   Ua  hx   iuiiüor  anü.w.tr;i^xlch  v,ird,   i».  iuL       i:i  Irer-rr  *^'vihn.#«     Wir  aber 
auch  nichts  i;.chr  klappt,   die  voellii>  Deterloration  von  AhLEi:  hier  Ibt  absolut 
ui.i\crbU:-La.bc^r,  w«.i.**  l^^h  »rc  i^^Cii.    o/ .  ^x-.cii   .•i'a.k.b«.i*  unc  bicii  aar'.n  auirt^ibtin  wuerde» 
AI;.,  oh  dfb  Leben  auch  Oiflß  all  di^    idiotißcnc-n  ^chvitjrl.^Kc^itbn  ein  ^.ucKerleci^en 
vatirl     i'';ii*ew    ibtb  bew>tiinLit  nicho,  v-  -»..».  aja.eb  i  ^ur  wa*er  v#>nit^r  vin  fcchaLt, 
n-ir  ;;ab:    ich  «axidlich —  ziun  ersten  ]!£.!  brit  irnhixitr  Ju^^end  air.  fwurfuerrstiinaaim, 
tilne  viri'^x^cxA  t^ii './iicuiLv^nu*-.    .uhau^c,,  ^iit  lü'Juii^t^ri'i^i^L:,   aui  c^r  icn  j-oü<t,   xa  t-iii%sii: 
•rr.tklar.aic^en  Haus  und  ^bensoicnr  r  otresae  (jubt  off  Betkinaii  xlecc,  vovl),  aber 
alj-eb  ancüT^:  lat  a"tL.oiut  ^k^quir-Lte   »>ciiirit.'iöch««#     i-^un,  vor  t  *iona•L^•n  ax.nte  ich 
nicht,  abi:  ici;  pxoetzlich  hltr  wuixnt^A  vui^rdc   <r<rxocated  by   i.^  xa^.diorü; —  axbo, 
bei  L'ij.r  kci.'irnt  ja  AUXij  iri.vr  unt^rvcrtet  lUic  i-ioetzlich,  albo,«« 

I'iichb  gut,  Peter,  hab  Danl;  ini  voraub  fui-r  alxe  yiyfjkuenftte,   und  aliee  i-iebe 

Deine  leiaer  seür  axte