000			01578cam a2200217 4500500
005			20250121145859.0
041			_afre
042			_adc
100	1	0	_aFranko, Mark _eauthor
245	0	0	_aSerge Lifar and the Issue of Collaboration with the German Authorities under the Occupation of Paris (1940-1949)
260			_c2016.
500			_a60
520			_aThis article examines the political and artistic activities of dancer and choreographer Serge Lifar at the Paris Opéra both during and immediately after the occupation of Paris. Although Lifar was eventually cleared of all charges of collaborationism with the German authorities after the war, accusations of collaboration re-emerged following the rehabilitation of his aesthetic by the Paris Opéra and a number of other dance companies. Using archival materials usually ignored by dance scholars, this article examines Lifar’s political activities, convictions, and ambitions. His theory of ballet as set forth in La Danse : les grands courants de la danse académique (Dance: Main Currents of Academic Dance, 1938) and one of his popular ballets during that period, Joan de Zarissa (1942), are analysed from the perspective of his politics.
690			_acollaboration
690			_aoccupation
690			_aWorld War Two
690			_aParis Opéra
690			_aSerge Lifar
786	0		_nVingtième Siècle. Revue d’histoire | o 132 | 4 | 2016-09-23 | p. 27-41 | 0294-1759
856	4	1	_uhttps://shs.cairn.info/journal-vingtieme-siecle-revue-d-histoire-2016-4-page-27?lang=en&redirect-ssocas=7080
999			_c592609 _d592609