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008			181003s2017 stk||||fr 00| u|eng u
040			_aES-MaCDM
100	1		_aFranko, Mark _d1977-
245	0		_aSerge Lifar and the Question of Collaboration with the German Authorities under the Occupation of Paris (1940-1949) _cMark Franko
260			_c2017 _aEdinburgh: _bEdinburgh University Press,
300			_a40 p.
520			_aRESUMEN: This article examines the political and artistic activities of dancer and choreographer Serge Lifar at the Paris Opéra during and immediately after the occupation of Paris. Although Lifar was cleared of charges of collaborationism with the German authorities after the war, the question of collaborationism has arisen again in light of the rehabilitation of his aesthetic by the Paris Opéra and other dance companies. Using archival materials usually ignored by dance scholars, this article examines Lifar's political activities, his political convictions, and his political ambitions. His theory of ballet as set forth in La Danse: les grands courants de la danse académique (1938) and two of his successful ballets of his period - Joan de Zarissa (1942) and Suite en blanc (1943) - are discussed in light of his politics. PALABRAS CLAVE: Serge Lifar, Paris Opéra, Jean Cocteau, Occupation, collaborationism, collaboration, French ballet, Joan de Zarissa, Suite en blanc, ballet and anti-Semitism
773	0		_tDance Research _072889 _wmyd_16032 _gVol. 35, núm. 2, Winter 2017, p. 218 - 257
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999			_c126049 _d126049