Choreographic Drama by LÉon Bakst

Music by Balakirev.

Scenes and Dances by Michel Fokine.

Scenery and Costumes Designed by LÉon Bakst.

IN no ballet, perhaps, are the resources of the Russians so characteristically and comprehensively displayed as in “Thamar.” In certain other spectacles particular aspects of their art receive more emphasis, are more acutely perceived. But in this barbaric legend from the far Caucasus their powers are revealed at their ripest and fullest. There is a “body,” a full-blooded vigour in this swift, fierce drama, and its vivid enactment, which bespeaks maturity. The miming, the dancing, the very mise-en-scÈne draw fire from quickened pulses, albeit so subordinated to controlling restraint, that of no ballet is it less possible to resolve into component elements the spontaneous, arresting whole. The ensemble is perfect. And what “Thamar” lacks in preciosity is compensated by abounding vitality.

It is possibly not mere fancy which suggests that in “Thamar” the Russians give peculiarly spontaneous vent to their artistic impulses. Western Europe has a proverb, which it would scarce be gallant to repeat here, anent the affinity between a Russian and a Tartar; and it would certainly seem as if to the presentment upon the stage of this old tale from the folk-lore of wild Georgia had gone a native appreciation—a relish—of all that it embodies, which must be wanting to the treatment of themes more conventional or exotic. Only in the wonderful exuberance of the crowded Moscow fair in “PÉtrouchka” does one find again that subtle access of spontaneity and vitality which can derive from a national instinct alone.

For the story of “Thamar” it seems there is some warrant in history. At least tradition reports that the castle, now in ruins, which stands in the gorge of Dariol, had once a royal mistress, whose inhospitable custom it was to lure unsuspecting strangers into her toils, and presently cause them to be hurled to destruction from a secret door giving upon a precipitous face of the rocky crag on which the castle is perched. What measure of historical fact is foundation for the legend, who shall say? Certain it is that the tale has lost nothing by the telling, in the handing down from one generation to another; that the lurid colours in which Queen Thamar’s character has been painted have lost nothing—have gained, indeed—in intensity. Yet, if time has not mellowed their barbaric crudity, at least it has arranged them decoratively. Romance has been busy at her loom, from which at length has issued a legend so cunningly woven as needs only the gorgeous embroidery of the Russians’ art to reach an apotheosis.

The master hand of LÉon Bakst has designed nothing more startling and impressive than the great chamber of the castle in which Queen Thamar holds perpetual court. By some wondrous trick of

his art he has induced a sense of height that leads the eye upward far beyond the proscenium’s limit, and creates a loftiness that seems to dwarf the figures grouped about the floor. Even more remarkable is the form and colouring of the decorations. Crude is the word that first presents itself, but crudity ill suggests the ultimate harmony of this astounding tableau. Violence is rather the note—violence of colour, violence of form: meet setting for such deeds of violence as are soon to be enacted. And as with the chamber, so with the dress of its occupants—the splendid, violent trappings of Æsthetic barbarism. Nothing is subdued; it is the very occasion, as the spectator thrills to feel, for passions to be loosed, unbridled and untamed.

Something of the same inspiration seems to have prompted Balakirev’s music, which not only hurries the swift drama to its impending climax, but seems charged with a sensuous violence of its own that enhances, to a point of fascination almost dreadful, the orgy of passionate intoxication on the stage.

Thamar is an exciting experience. In the first few bars of the short prelude which precedes the rising of the curtain the note of mystery, of eerie phantasy, is struck. The listener is transported from reality to the region of legendary lore. To such strains would one choose to read of witchcraft and of magic spells; at least, the music has that degree of kinship with those voices of the elements which raise the hair with unfelt breath, and send a shiver through the stoutest heart.

The curtains, lifting silently, disclose that striking tableau just referred to—a coup d’oeil in a very special sense. Upon a divan at the back, sinuous, a panther in repose, lies Thamar. At one side, flooding the head of the couch with evening light, a huge casement gives outlook, over the river’s turbulent flood, upon the wild snow-covered slopes that surround the mountain fastness of the Queen. In groups about the chamber are scattered Thamar’s women, some close in attendance upon their mistress, others reclining on low cushions, a few watching intently the distant prospect through the open window. Guarding the door, tall henchmen.

A steadfast immobility has transfixed all. So, statuesque, stood the guards and retinue of the Sleeping Beauty. This much the spectator is permitted, at the lifting of the curtain, to apprehend. The stillness is noted, lasting for just that brief but appreciable moment which invests it with significance, and makes dominant that note of phantasy, of unreality, which the opening strains of music sounded. The illusion achieved, the spell of stillness is broken. A woman, one of those whose watchful gaze has been directed through the window, stirs. It is the merest gesture, but a gesture eager, alert: and on the instant, though none other yet moves, the scene becomes instinct with life.

The woman looks again at the distant scene; then turns to another with a whispered word. At the movement heads are turned, figures that seemed indolent lose their sloth. Something is toward; the whispers are pregnant with meaning. Thamar alone, recumbent on her couch, gives no sign of life. One might suppose she slumbered, but for the cat-like swiftness with which, at a word from one of her attendants, she turns towards the window. Half raising herself, as a stalking leopard lifts shoulders and neck to watch its distant prey, she takes a wisp of gauze from her pillow and slowly waves it above her head. A stranger, errant among the lonely mountain sides, has espied the castle, and approaches. Even now he stands below the walls gazing at the fateful casement. Twice and again the seductive signal is repeated. Its purpose then appears to be achieved, for the scarf is dropped and Thamar, springing from the couch, turns to her expectant court.

Orders are issued, but of these there scarce seems need, with such accustomed readiness do the Queen’s minions set about their tasks. Without ado the guards stationed at the doors prepare to sally forth, wrapping themselves in voluminous black cloaks. A subtle touch, those cloaks. They suggest the bleak, inhospitable wilderness without, emphasising the warmth and luxury of the brilliant scene within—an emphasis which is enhanced by the decorative value, considering the scene pictorially, of the black irregular masses which the shrouded high-capped figures present against the general riot of colour. When presently the stranger is led in, likewise cloaked and muffled, that contrast is again insisted upon. The stranger, it is instantly apparent, is travel-weary: one divines the curiosity and wonder with which he finds himself led into an atmosphere of ease and luxury which his tired senses, despite the bandage over his eyes, must gratefully apprehend.

Meanwhile, the Queen has been preparing for the advent of her guest. As the escort departs to bring him in, the women busy themselves with Thamar’s person. Deftly and swiftly she is robed, and ere the door opens to admit the doomed stranger, she is ready and awaiting her prey.

Wonderful mime that she is, I doubt whether Karsavina in any rÔle excels her impersonation of the feline Thamar. Her every movement, under its sinuous grace, has that suggestion of stealth which fascinates while it affrights. From the moment that the guileless stranger is brought before her—for there is that in her attitude, as she awaits his coming, which proclaims him not guest, but victim—till the fierce climax, she never relaxes the tension under which his apprehension of her close-pent, volcanic energy places the spectator. It is as though one watched a panther sporting with some innocent creature that mistakes the play for mere kittenish frolic: as beautiful, as horrid, and as certain in its

ending is Thamar’s way with her victim. The final pounce one awaits as inevitable: the interval is filled with the exquisite agony of suspense.

Embodiment of action in arrest is Queen Thamar as, for a brief moment, she regards the figure of the unsuspecting stranger. Then, loosing suddenly her restraint, she springs upon him, and reaching up a slender arm with eager fingers tears the bandage from his face. Fiercely she scans him: he is fair to see. So, too, is Thamar, and if in that swift interchange of searching looks the wild blood courses more hotly through the siren’s veins, be sure that passion scarce a whit less fiery kindles in the youth, so strangely and suddenly confronted by the glowing, sinister beauty of the Queen.

At a sign from Thamar attendants come forward to relieve the stranger of his travelling gear. Disengaging herself from his grasp, the Queen retires to a table at the side, on which stands a wine cup and flagon. From the background she watches avidly while her women are busy. The stranger’s cloak and high-crowned hat are removed, and he stands revealed—handsome, well-favoured, a very proper figure of a man. He gazes about him rapt in admiration and delight, but ere he can espy again the figure of the arch enchantress, a group of dancing girls advances and encircles him. The graceful measures which they tread distract his attention as he stands, pleased and diverted, in their midst.

The bevy of girls gives way to a more potent allurement. Thamar herself, darting forward, now begins a dance of fascination before the stranger’s eager eyes. With her first lithe movements she asserts her mastery over his enraptured senses. As the moth round the flame of the candle, he hovers on the outskirts of her mazy dance, the reviving blood within him gaining warmth as he feasts his quickening senses on her beauty and grace.

As Thamar continues to dance, so increasingly wavers the young man’s hold upon himself. She saps his power of restraint to the very verge; then on a sudden interrupts the dance, and runs to the table. Ere the stranger can collect himself she is before him, offering with regal courtesy a brimming wine cup. He hesitates to drink, but held by the fascination of her eye he suffers her to lead him, unresisting, to the couch. As they gain the steps of the divan a troupe of dancers enters. Musicians, with quaint stringed instruments, are already seated along the walls, and forthwith, a joyous revel is begun.

The lilt of the music, the throbbing rhythm of the dance, complete the spell which Thamar’s beauty has begun. With eyes intent only upon the face of his enchantress, the stranger puts the potion to his lips. As he sets the wine cup down, Thamar eludes the embrace he proffers and glides away. The youth pursues her through the whirling ranks of dancers, but at a sign from Thamar the women take him by the hand and lead him from the chamber. Reluctant to go, he yet submits to be escorted thus, since the purpose is but to attire him more fitly for the night-long revel.

Left alone amidst her court, Thamar draws inspiration for her approaching deeds of lust and violence from the savage frenzy of her followers. Her henchmen crowd around her, goading her willing spirit with the vigour of their dance. Rapidly the frenzy of that dance increases; the armed men draw their daggers, hurling them points downward to the floor in the midst of their whirling evolutions. Thamar, aloof, looks on with heaving breasts. As she watches her excitement grows, till at length with an imperious gesture she bids her attendants bring the stranger in once more. The women fly at her behest, and Thamar, with sudden resolution, masters her outward evidences of passion, and gains the divan just as the stranger, in rich gala attire, is ushered in.

The dance of armed men has ceased, and the entering youth is greeted by a bevy of girls, each with a tabor in her hand, who dance before him, and presently lead him to the royal couch. The youth advances gladly; but Thamar, stealthily immobile, affects to ignore him. Spurred thus to ingratiate himself, the stranger essays a dance before the object of his passion. He is tall, he is shapely, he is active; his leaps and nimble movements display to advantage his virile elegance and grace. Thamar, watching him intently, is swept past all restraint and casts dissimulation aside. Swiftly she darts upon him, and joins him in the dance. The swaying measure which they foot in concert sets their pulses throbbing to the point beyond endurance. As the music swells in volume, the women are caught by the intoxication of the moment, and as the armed men in their turn join the dance, the stranger finds himself supporting the form of Thamar in their midst. The moment of ecstasy, of abandon, is reached. A pregnant pause—then Thamar has flung herself upon the stranger, fastened her lips upon his, and fleeing from the chamber, drawn him in pursuit.

The disappearance of the two protagonists is the signal for resumption of the revels. Violently and yet more violently throbs the music, wilder and yet wilder rages the furious dance. The casement which earlier admitted the sunset rays has long been closed, and one may believe the night to be far spent ere the revels have reached this pitch of bacchic frenzy. The orgy is at its height when the stranger, alone, re-enters the chamber. His breath is laboured, his gait unsteady, as he staggers under the heady influence of overmastering passion. At sight of him the dancers pause, eyeing him askance, curious but aloof. The wretched youth, at grips with his passion, pays no heed to them, but even as he yields and turns again towards the door, the object of his thirsting desire confronts him. The Queen takes him by the hand and fawns upon him, savagely seductive. The youth is wax beneath her fierce caress, and though the watching eyes of all the court are upon him, he can but gaze, spell-bound, upon his Circe.

Thamar, not less than her victim, is in the clutch of over-whelming passion. The hour is at hand, and as the fateful moment approaches, she thrills with fearful expectancy. Bemused, the luckless stranger sees not the dagger which Thamar with stealthy motion of the hand withdraws from her girdle; neither does he note the yawning abyss, revealed through a panel in the wall a watchful guard has rolled noiselessly aside, towards which his unheeding steps are being surely and relentlessly guided. There comes at last the climax. Even as the infatuated youth leans towards her, with a tigerish spring the Queen stabs him to the heart. He is already on the brink of the open precipice; and as he reels backward under the blow, a push from the minion at his elbow sends him hurling to the rushing torrent far below. Thamar with outstretched neck watches, in gloating ecstasy, the consummation of her fell design.

The panel in the wall slides back again. The guards resume their posts of duty. The courtiers, grouped about the chamber, relapse into immobility. The appointed doom is achieved. What was to be, is. Once more the sense of fantastic unreality asserts itself in the spectator’s mind. Mere ghouls, dread phantoms in human form, this dazzling throng of courtiers—not creatures of warm flesh and blood as in the midst of their simulated revelry he had almost deemed them. Thamar alone exhibits emotion. It is not remorse, however, which sets her shivering as with an ague, and turns her knees to water. Reaction must follow action, and the hideous spectre that treads so close upon the heels of indulgence has her in its grip. The hour has passed, the supreme moment has gone; and Thamar, like every true artist, is plunged in depths that are measurable only by the heights she has erstwhile scaled.

The court, regarding her attentive but impassive, is dismissed with a gesture, and the great chamber is cleared of all save Thamar and her women, by whom she is now unrobed. As the festal garments drop from her, the Queen’s exhaustion, physical and mental, seems to verge upon collapse. Slowly she gains the head of her couch, as the arras is drawn from before the window. Night has fled and the purple rays of the dawn pour into the room. The Queen steps into the midst of this luminous flood, drinking deep of the morning glory. Her senses revive, she imbibes new vigour, the black shadows are lifted from her. As presently she lays herself upon the couch, her women sink to rest upon their cushions.

Thus from supreme climax the action of the ballet subsides gradually to statuesque immobility once more. Stillness broods over the quiet figures of Thamar and her women. Realisation comes suddenly to the spectator that the scene is now identical with that which the lifting curtain first disclosed. And at that moment of quick apprehension—a woman stirs! In a flash of inspiration the spectator’s eye, outrunning the action on the stage, foresees the inevitable happening. Is not the whole ghastly round yet fresh and vivid in his mind? The woman looks again, whispers to another. A third bends to the Queen’s ear, and as the curtain slowly descends the treacherous scarf is being once more lightly tossed into the air.