Joan Acocella, Lynn Garafola, edited by, André Levinson on Dance – Writing from Paris in the Twenties, Hanover: Wesleyan University Press, 1991.
He was erudite and had a beautiful writing style. Moreover, he spoke from principle as he was probably the first critic to champion pure versus expressive dance. In other words, he thought dance had value in itself, not just as imitation of other arts.
This is a thorny question even today as choreographers, critics and scholars are divided between what we may call a formalist and a narrative approach. Does narrative dance imply the imitation of another art, like, say, literature? It is not necessarily so. The frequent creation of dance adaptations of ballets such as Giselle or Swan Lake brings us to think that narrative is a significant part of dance history, not just the imitation of another art.
Returning to Levinson, he also described dance, thus giving his readers a glimpse of what he had seen. The present book gathers together the essays (all except for two) Levinson wrote for the North American Theatre Arts Monthly and are a very good example of his vision.
Edited by Joan Acocella and Lynn Garafola, these essays cover various types of dance, like ballet, Spanish dance and what was then called Negro jazz dance. In particular, Levinson was devoted to ballet, criticised the Ballets Russes and exalted Maria Taglioni. In “The Spirit of the Classic Dance”, he individuates three main aspects of ballet, like verticality, turnout and elevation, while in “The Spirit of the Spanish Dance” he asserts that it “can best be expressed by a curved line”.
In “A Crisis in the Ballets Russes”, he points out that “the ballet master, Michel Fokine, sacrificed the forms of abstract movement for expression, pure dance for pantomime”. And in “The Anatomy of a Sylph: Concerning the Beauty of Marie Taglioni”, he analyses Taglioni’s physical characteristics, de facto deifying her, as Marian Smith has highlighted.
In her essay, “The disappearing danseur”, Smith states that Levinson overlooks the fact that Romantic ballets actually told stories and that La Sylphide was not the only successful ballet of the period. Furthermore, according to her, Levinson was possibly the first to coin the expression ‘ballet blanc’ and contributed to the belief that men were “evicted” from ballet, something she proves to be wrong.
In André Levinson on Dance, the most racist essay is the one dedicated to black jazz dance: he calls it “primitive dancing”, stating that “the Negro frenzy, although it is completely devoid of any nobility and almost ‘pre-human’, if not actually bestial, can attain to a positive grandeur”. In this sense, this and the other essays have an important historical value and represent a way in which dance was seen in the 1920s. They need to be considered as such, a sign of those times, not absolute truths.
Levinson also wrote about Alberto Spadolini, as it is reported in Spadolini’s 1946 “Quelques extraits de presse”. He affirms that his postures and gestures “know how to reach an eloquent nobility”. He also highlights “a beautiful touch of acrobatics in his technique” connecting it “to the great Italian ballet masters of the nineteenth century”. So far, I have not been able to place this fragment within Levinson’s work, but it is an interesting point of view on Spadolini.
Levinson was probably one of the first dance critics in the modern sense of the word. Included in the volume are other essays, like “The Modern Dance in Germany”, “Javanese Dancing: The Spirit and the Form” and the much quoted “The Idea of the Dance: From Aristotle to Mallarmé”. The book is also enriched by a bibliography of Levinson’s writings and by sixteen pages of illustrations.
Further References
Smith, Marian, “The disappearing danseur”, Cambridge Opera Journal, 19, 1, 2007, pp. 33-57.
“Spadolini – Quelques extraits de presse”, Paris 1946, Bolero-Spadò Archive.
