{"id":735,"date":"2020-04-29T15:37:48","date_gmt":"2020-04-29T20:37:48","guid":{"rendered":"https:\/\/pages.stolaf.edu\/performinghistory\/?p=735"},"modified":"2020-04-29T15:37:48","modified_gmt":"2020-04-29T20:37:48","slug":"le-train-bleu-the-avengers-of-1924","status":"publish","type":"post","link":"https:\/\/pages.stolaf.edu\/performinghistory\/2020\/04\/29\/le-train-bleu-the-avengers-of-1924\/","title":{"rendered":"Le Train Bleu: The Avengers of 1924"},"content":{"rendered":"

Milhaud\u2019s Le Train Bleu <\/em>is a ballet in one act by Darius Milhaud. At this point in my research I\u2019m still determining which lens would be the best to analyze it through, but I\u2019m leaning towards class. The ballet\u2019s premise is around the shallowness of contemporary love. Because of this, gender seemed like the best lens because we learned in our readings that WWI caused a dramatic shift in gender roles, as more women were needed in the work force. However, after watching some of the ballet and digging deeper, I think class and nationalism might be the more interesting lens. Above all, the piece seems to be depicting the shallowness and frivolity associated with class, which is in line with the notion of France\u2019s developing musical identity.<\/p>\n

\"\"
\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 Cocteau’s Libretto<\/figcaption><\/figure>\n

What I have found most interesting about my research so far is how well connected Le Train Bleu <\/em>was to all the different 1920s Parisian arts. It seems like the idea for\u00a0The Avengers\u00a0<\/em>was already going in 1924.<\/p>\n

\"\"
\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 Le Train Bleu, 1924<\/figcaption><\/figure>\n

For example, the music was composed by Darius Milhaud, the concept libretto was written by Jean Cocteau, and choreographed and starred by Nijinska for Diaghilev and the Ballet Russes the Th\u00e9\u00e2tre des Champs-Elys\u00e9es. Additionally, the costumes and curtain were designed by Coco Chanel and Pablo Picasso respectively. It was a very well-connected piece.<\/p>\n

It is no wonder the ballet was the hot ticket the night of its premiere. According to a June 24th<\/sup>, 1924 article in Le Figaro<\/em>, Le Train Bleu <\/em>was the talk of the town. There was an extended article about the ballet on the first page of the theatre portion, and it made clear that this was the prominent premiere. It is no doubt that this was partially due to the amount of cultural architects involved with the piece.<\/p>\n

As we\u2019ve discussed in class, research is a game of connections. When looking at sources for Le Train Bleu <\/em>I was shocked at how many avenues led to it. I came across it from the perspective of dance, music, and even cubist art. As evidenced by the number of big names in Parisian art attached to this production, I think Le Train Bleu <\/em>hints at the zeitgeist of interwar Paris.<\/p>\n

https:\/\/www.youtube.com\/watch?v=rEHbAscVByI<\/a><\/p>\n

 <\/p>\n

 <\/p>\n

Sources<\/h2>\n

Milhaud, Darius, Jean Cocteau, Henri Laurens, Gabrielle Coco Chanel, Pablo Picasso, and Bronislava Nijinska.\u00a0LeTrain Bleu ballet in 1 act<\/cite>. Th\u00e9\u00e2tre des Champs-\u00c9lys\u00e9es, Paris, 20 June, 1924. Online Text. https:\/\/www.loc.gov\/item\/ihas.200185254\/.<\/p>\n

Cocteau, Jean.\u00a0Jean Cocteau’s libretto for Le Train Bleu<\/cite>. Manuscript\/Mixed Material. https:\/\/www.loc.gov\/item\/ihas.200156357\/.<\/p>\n

“Le Train Bleu”\u00a0Le Figaro,\u00a0<\/em>June 24, 1924. Accessed April 16, 2020.<\/p>\n","protected":false},"excerpt":{"rendered":"

Milhaud\u2019s Le Train Bleu is a ballet in one act by Darius Milhaud. At this point in my research I\u2019m still determining which lens would be the best to analyze it through, but I\u2019m leaning towards class. The ballet\u2019s premise is around the shallowness of contemporary love. Because of this, gender seemed like the best […]<\/p>\n","protected":false},"author":3114,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1],"tags":[],"class_list":["post-735","post","type-post","status-publish","format-standard","hentry","category-uncategorized"],"jetpack_featured_media_url":"","_links":{"self":[{"href":"https:\/\/pages.stolaf.edu\/performinghistory\/wp-json\/wp\/v2\/posts\/735","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/pages.stolaf.edu\/performinghistory\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/pages.stolaf.edu\/performinghistory\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/pages.stolaf.edu\/performinghistory\/wp-json\/wp\/v2\/users\/3114"}],"replies":[{"embeddable":true,"href":"https:\/\/pages.stolaf.edu\/performinghistory\/wp-json\/wp\/v2\/comments?post=735"}],"version-history":[{"count":1,"href":"https:\/\/pages.stolaf.edu\/performinghistory\/wp-json\/wp\/v2\/posts\/735\/revisions"}],"predecessor-version":[{"id":738,"href":"https:\/\/pages.stolaf.edu\/performinghistory\/wp-json\/wp\/v2\/posts\/735\/revisions\/738"}],"wp:attachment":[{"href":"https:\/\/pages.stolaf.edu\/performinghistory\/wp-json\/wp\/v2\/media?parent=735"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/pages.stolaf.edu\/performinghistory\/wp-json\/wp\/v2\/categories?post=735"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/pages.stolaf.edu\/performinghistory\/wp-json\/wp\/v2\/tags?post=735"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}