Essais / Esssays Dans la même rubrique In the same section イヴォンヌ・カルチエの生涯 The life of Yvonne Cartier (1928-2014) オーギュスト・ヴェストリスとはどんな人だったのか The One and the Many - When the Many is One too Much Nicola Guerra (1865-1942) Enrico Cecchetti’s ’Days of the Week’ Piotr Frantsevitch Lesgaft (1837-1909) « Précipiter une nouvelle ère poétique » Qu’est-ce l’étirement ? How valuable is the Cecchetti Method in ballet training today? Qui était Auguste Vestris ? ’L’en-dehors dans le marbre’ (The Turnout, as it appears in Marble) Le Satyre dansant de Mazara del Vallo se pose au Louvre « Danseur noble » ou « danseur de demi-caractère » ? Kick-Ass, or Jackass? Les rubriques All sections : Les Nuits Blanches au Centre de Danse du Marais : les grands pédagogues Grandes leçons de la société Auguste Vestris Essais / Esssays Entrevues / Interviews Critiques / Reviews Evénements / Events Musique / Music Théâtre / Theatre Critiques de livre / Book Reviews Gallerie Photo / Photo Gallery Bibliographie / Bibliography Inscription liste de diffusion Accueil / Home		Spoken in Silence June 2005   |  1029 visits / visites What Elisabeth Maurin represents for the dance has been plainly stated by Rudolf Nureyev, "She reminds me of Ulanova". In Russia, at that time, the use of words was forbidden. Or rather, one could use words, but only approved words. The question of what is man could only be spoken in silence. Life could be defended neither from the pulpit, nor in newsprint, nor in any explicit form. The will to defend it was there, and it had to be acted on, but only in silence. Apostle of an art most peculiarly suited to serve that idea, was Galina Ulanova. Elisabeth Maurin vu par Edgar Degas en 1873 In very many respects, the ruling classes in certain powerful Western nations do now closely resemble that faction which, in the uproar attendant upon the 1917 Revolution, very nearly prevailed in Russia- a faction exulting in the spilling of blood, in unchecked power over one’s fellow man, and vandal, in its contempt for centuries of thought and labour. Someone must stand up and say No. Strength of resolution, dissolving into one fiery moment the course of a lifetime’s thoughts. That is Elisabeth Maurin, like Ulanova proof that man is not only bone, tissue, sinew, vein, and animal liquors, but a thinking feeling particle of universality. The sway she holds over the public, the unending ovation on June 29th 2005, was not a triumphant explosion, that final satisfaction that, on quitting the stage, one carries off like carrion to feed upon, but an understanding from heart to heart - Von Herzen - moege es wieder zu Herzen gehen, of what her entire career has been about. I am sorry that I am not a poet to sing Maurin’s praise, but there are poets and so John Keats writes, Knowledge enormous makes a God of me. Names, deeds, grey legends, dire events, rebellions, Majesties, sovran voices, agonies, Creations and destroyings all at once Pour into the wide hollows of my brain And deify me, as if some blithe wine Or bright elixir peerless I had drunk.... Hyperion, 1820