Word: maeterlinck
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Dates: during 1970-1979
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...Blue Bird, as the publicity puts it, "brought the U.S. and the Soviet Union together for the first cinematic coproduction, a distinction accorded to 20th Century-Fox on the American side." The picture is a cultural casualty. The lesson it preaches may have found its origin in the Maurice Maeterlinck play, first performed by the Moscow Art Theater in 1908. An American popular song of somewhat later vintage, however, says it all, and at least as well: "That bird with feathers of blue/ Is waiting for you/ Right in your own/ Backyard...
...filming of The Bluebird, the first full-length movie collaboration between the Soviet Union and the U.S., has gone a lot less smoothly than hoped. The picture, filmed in Leningrad and based on Maurice Maeterlinck's classic fairy tale, first faltered when the Russian cinematographer overexposed much of the early film and had to be replaced. Then one U.S. star (James Coco) dropped out for gall-bladder surgery and another (Elizabeth Taylor) fled to a London hospital suffering from amoebic dysentery. Last week everything seemed back in focus as members of the crews and cast gathered at the Leningrad...
...have all the good roles in Hollywood these days, which may explain why so many actresses have packed off to Leningrad for a part in The Blue Bird, a film based on Maurice Maeterlinck's allegorical fairy tale. Jane Fonda seized the occasion to make political statements to reporters. ("... It's not in the Soviet Union where civil liberties are most infringed, but in South Viet Nam.") In the movie Fonda is cast as Night, Ava Gardner as Luxury, Cicely Tyson as Cat, while Elizabeth Taylor plays Light, Witch, Mother and Maternal Love. Director George Cukor...
Buried Tension. For this reason, theater delighted him. Not the heroics of Shakespeare or Racine, but the work of the new playwrights of the '90s like Ibsen and Maeterlinck, for which Vuillard designed sets at the Théatre de l'Oeuvre in Paris. Russell notes that Vuillard's interiors tend to possess "precisely the elements which Maeterlinck called for: the silence, the half-light, the tensions buried below the point of visibility." He could paint the pauses and solicitous hesitations in polite conversation as neatly as Oscar Wilde could write them...
...London Royal Opera's new setting of Pelleas et Melisande, Debussy's only opera (1902). Debussy believed that in opera "nothing should impede the progress of the drama-all musical development not called for by the words is a mistake." In his rigorously faithful setting of Maeterlinck's moonstruck play about love and fratricide, Debussy ruled out full-blown arias as well as vocal ensembles, and restricted the singers largely to declamation, meanwhile raising the orchestra to a new importance as the main commentator on the action...