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THE ART OF DRAMATIC AND LYRIC INTERPRETATION.

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82 DRAMATIC AND LYRIC INTERPRETATION
Symphonic Poem, L'Apresmidi d'un Faune, had not existed; do you not think that a poet, hearing this characteristic music, would be in­spired to write the very same poem ? And we have seen a famous dancer, Nijinski, translat­ing poem and music into the realm of the plastic.
It becomes almost commonplace to repeat again that the interpretative artist is most decidedly inferior, incomplete, if he does not unite in his art all the arts.
I was therefore in no way astonished nor embarrassed when Miss Wilcoxon, who was a dancer, came to ask me, the singer, for instruc­tion in the plastic. It was a question of es­tablishing a link between my art and her physical technique, which was quickly found. Miss Wilcoxon danced music, she expressed it by undetermined poses; I then taught her to translate music into thought, thought into words, and to translate both, thoughts and words, into plastic movements and attitudes. She became a mime.
Now let us illustrate some plastic move­ments.
Sometimes you find on my programs a song called Ma Cousinette. There is one verse in the song which reads as follows:








E-Book - An Annotated Compendium of Old Time American Songs by James Alverson III