Evening star., 1936-02-22

Hedrt anu Cne inLellecL, and LnaC So
deeply that the impression fingered
dominatingly over long period.
1t seems paradoxical that a ballet
could be a more potent propaganda
for peace than many a discourse or
writing, but such was the conviction
carried away from the performance
yesterday. There, starkly portrayed,
were the futile discussions, the dread
reality of war, the grim sacrifices, the
abuses and again more Intellectual
discussions. Powerfully conceived, the
dance drama goes straight to the
point without subterfuge and shows
up in scathing manner international
diplomacy and its tragic results. Much
has been written about the expertness
Of the production and the cleverness
of the idea, but what has not been
said and can hardly be conveyed is
the gripping truth of the story as
outlined in the eight scenes and the
great contrast between words and
actuality.
With this work alone, Kurt Jooss
makes known his genius. His inten-
ton on forming his ballet group was
to portray life with all its reality ex.
posed and he has shown himself
master mind at penetrating to the
core of every situation. He scorns
idealism yet by the use of the most
idealistic of arts. the dance, creates
a picture and story more powerfully
telling than a drama with words. The
simplicity of his means is amazing yet
the details are so expertly interviewer,
so deeply expressive, that they
achieved the great aim of art. that of
unobtrusiveness. It is the idea that
registers and holds the attention with
out abatement. and the lesser things.
such as technique and setting, are
only thought of afterward.
Each member of the group Is an
excellent actor and superbly trained
dancer. The training is complete in
every part of the body which gives a
fine coordination and which allows
of great latitude in expression. The
gestures and postures used are neither
ultra-modern nor truly classic, but a
clever mixture of both. There is great
originality in every movement and.
since each dancer is trained on the
same lines, it speaks well for the
school. The costuming was rich and
varied throughout, the use of cello
phane trimmings in the first ballet,
"Ballade," being a distinct novelty.
The program contained three other
numbers besides 1.-The Green Table
"Ballade," 1.-THE Big City" and "A Bail
in Old Vienna" OF these "The Big
City" was the most unusual and most
cleverly conceived. In the three scenes
in which the career of young girl
under the influence of the man
about-town" is told, the change of
scene is indicated by a skillful and al
most unnoticeable substitution of per-
sonages. The BALL in Old Vienna" is
a charming number, beautifully cos
TUNED and the story carried out with
graceful and elegant dancing.
Noelle de Mosa, who took the lead
ing role in the first three ballets, was
especially lovely as the marquise in
"Ballade,"a a colorfully portrayed drama
in the French style, with music based
on an old French folk melody. The
principal male roles were expertly
taken by Hans zuellig and Rudolf
Pescht. The music for the "Ballade"
was written by John Colman, that Of
1.-THE Big City" by Alexander Tans-
man; of the Ball in Old Vienna" by
Joseph Lanner, and for "The Green
Table" by F. A. Cohen, who has col
laboxated with Mr.. Jooss throughout
his career. The accompaniment was
furnished by Mr.. Cohen and MIR. Col