Mexico 68 International Festival of The Arts

mr^
-' WBm
PmSm.
w P
"
is*p
Si^ '
'
--
gsjs
FESTIVAL INTERNATIONAL DES ARTS
W^0m,
llsiii
- mm
- .<111118^^%
INTERNATIONAL FESTIVAL OF THE ARTS
:V>v'
ififti
ill
;--
ill
mBSm
Wt^lM*M0M
.: , j
mmm
AI
?
..,
.i
mmnmmm
Kq
ai^pa
f^~'
yjg
L'organisation generale du Festival international des Arts

manifestation que dirigeait M. Jose Luis Martmez seconde
par les chefs des differents services de I'lnstitut national
des Beaux-Arts (INBA) etait assumee par ledit Institut et le Comite
organisateur des Jeux de la XIX Olympiade, qu'assistaient en outre
divers organismes publics et prives ainsi que les ambassades des pays
affilies au Comite international olympique.
flQ
1 l
1
P%f44
ws
1
i
, .
IliliSi'iP
^ 3
i t- ' V;"
.-.'A
S I
Dans le cadre du Festival ont ete presentes: sept ensembles dramatiques, le Theatre-Laboratoire Grotowski, la compagnie Jacques Mauclair,
le Theatre No et Kyogen, le Pira'ikon Theatron, la Lanterne Magique,
le Theatre de chambre d'Allemagne, I Musicisti; un festival de theatre
latino-americain et vingt et une oeuvres montees par des troupes mexicaines; vingt-sept ensembles de ballet classique, moderne et folklorique; quatorze chorales et orchestres symphoniques ou de chambre;
divers solistes tels Claudio Arrau, Paul Badura-Skoda, Van Cliburn, le
duo Gorini-Lorenzi, Samson Frangois, Eugene Malinin, Marina Yashvilli,
Maurice Chevalier, Goar Gasparian, Shmuel Ashkenasi, Netania Davrath,
Rosalinda Garcia, Morella Muhoz, Alirio Diaz et Hanna Aroni. Participaient egalement a cette manifestation I'Opera de Berlin, les ensembles
The International Festival of the Arts was organized by the

National Institute of Fine Arts in close collaboration with
the Organizing Committee of the Games of the XIX Olympiad.
Actual organization and production of this event was entrusted to Jose
Luis Martmez, who was ably assisted by the directors of the Institute's
various departments. The success of the Festival was also assured
through assistance received from other government and private organiza-tions, as well as the embassies of participating countries.
209
Seven foreign theatrical groups took p a r t - t h e Grotowski Laboratory

Theatre, the Jacques Mauclair Company, the Noh and Kyogen Theatre,
the Piraikon Theatron, the Magic Lantern, the German Chamber Theatre
and 1 Musicisti. In addition, there were; a Festival of Latin American
Theatre; twenty-one plays staged by Mexican groups; twenty-seven
classic, modern and folk ballets; and fourteen symphony, chamber
and choral groups, as well as soloists such as Claudio Arrau, Paul
Badura-Skoda, Van Cliburn, the Gorini-Lorenzi duo, Samson Frangois,
Eugene Malinin, Marina Yashvilli, Maurice Chevalier, Goar Gasparian,
Shmuel Ashkenasi, Netania Davrath, Rosalinda Garcia, Morella Mufioz,
Alirio Diaz and Hanna Aroni. Also present were the Berlin Opera, the
Source : Bibliothque du CIO / IOC Library
Duke Ellington, Dave Brubeck, Herbie Mann, Woody Herman et Cannonball Adderley, le Newport All Stars, les Swingle Singers ainsi que le
trio Jacques Loussier.
Ayant pour siege permanent le Palais des Beaux-Arts, centre de la vie
culturelle mexicaine ou se deroulerent la plupart des spectacles,
I'lnstitut national des Beaux-Arts possede egalement plusieurs salles
dans la capitale, ou furent presentees la majorite des manifestations
du programme: ensembles de theatre, compagnies de danse folklorique,
classique et moderne, troupes d'opera, solistes et orchestres symphoniques et de cfiambre de reputation mondiale ainsi qu'un cycle de
diverses expositions et conferences. De nombreux spectacles culturels
mexicains, illustrant I extraordinaire vitalite de I'art et de la pensee
du pays, avaient aussi ete montes par I'lnstitut qui conciliait ainsi une
tres riche tradition avec un desir toujours croissant de modernisme.
Situe au coeur de Mexico, le Palais des Beaux-Arts a ete edifie, comme
beaucoup de monuments de I'epoque, d'apres les plans de I'architecte
italien Adamo Bori. Inachevee a la fin du regime de Porfirio Diaz,
cette construction qui representait Tun des reves de I'epoque fut
temoin des bouleversements apportes dans le pays par la Revolution
et fut terminee par I'un de ses gouvernements. Apres avoir subi des
agrandissements interieurs, elle fut inauguree en 1934. Depuis, elle a
assiste aux progres de I'art mexicain et accueilli les personnalites
les plus marquantes du monde artistique international.
Les photos qui illustrent ici le Festival international des Arts sont
suffisamment eloquentes. Nous estimons done que la description de
chacune des manifestations serait forcement reduite et, dans une
certaine mesure, inutile. On peut neanmoins affirmer que ce Festival
rencontre artistique et amicale de tous les pays du monde a
ete une experience inoubliable pour tous ceux qui, en suivant ces
nombreux spectacles et manifestations, ont decouvert un langage
commun, un langage qui cherche, et trouve toujours, une plus profonde
motivation a notre existence.
Duke Ellington, Dave Brubeck, Herbie Mann, Woody Herman and

"Cannonball" Adderley ensembles, the Newport All Stars, the Swingle
Singers and the Jacques Loussier Trio.
The National Institute of Fine Arts has its permanent headquarters in
the Palace of Fine A r t s - t h e center of Mexican cultural life-where
most of the above programs were held. Performances were also given
in other Institute-connected theatres throughout the city. The Festival
not only brought together theatrical, folk, and modern and classic
ballet ensembles, as well as soloists and orchestral and chamber
groups of international renown, but also presented expositions and
lectures pointing up diverse trends and attitudes. Many expressions
of the Mexican cultural movement also were made manifest. In addition
to displaying to the world the present vitality of this country's art
and thought, the Institute balanced the presentation of a rich tradition
with an open desire for contemporaneity.
The Palace of Fine Arts, located in the heart of Mexico City, was another
extravagance of the Porfirian era. Construction was entrusted to Italian
architect Adamo Boari. Still unfinished at the end of the Porfirian
regime, the structure witnessed the changes experienced by the country
as a result of the revolutionary movement. It was, in fact, one of
the governments born of the Revolution which completed the project, with formal inauguration taking place in 1934. Since then it
has seen the progressive development of Mexican art and has welcomed
the greatest figures in art from the world over.
The material offered herein as representative of the International Art
Festival speaks for itself. A description of each of the performances
would of necessity be limited and, to an extent, unnecessary. In essence,
the Festival provided not only a friendly confrontationa display of
what each country is doing in the field of artbut an unforgettable experience for those who had the good fortune of following it step by step.
They had the great satisfaction of discovering a common language that
seeks and invariably attainsa higher justification for man's existence.
Grand centre des activites culturelles mexicaines, le Palais des Beaux-Arts

(voir page 208) a servi de cadre aux diverses manifestations presentees
lors du Festival international des Arts.
Ci-dessus: le president de la Republique, M. Diaz Ordaz, et son epouse arrivent
au Palais le soir de inauguration du Programme culturel, accompagnes de
MM. Avery Brundage, president du CIO, Alfonso Corona del Rosal, maire
de Mexico, Agustm Yanez, ministre de I'Education publique, Pedro Ramirez
Vazquez, president du Comite organisateur et leurs epouses.
The Palace of Fine Arts (see page 208), Mexico s most important cultural
center, served as the official setting for the International Festival of the Arts,
The President of the Republic, Gustavo Diaz Ordaz, and the First Lady (above)
attend the opening of the Cultural Program. They are accompanied by Avery
Brundage, President of the International Olympic Committee; Alfonso Corona
del Rosal, Mayor of the Federal District; Education Minister Agustm Yanez;
and Pedro Ramirez Vazquez, President of the Organizing Committee of the
Games of the XIX Olympiad, with their wives.
i|
'
I
S f | e n m S K e i , H a ! 1 6 , l ' U n d s u e n s e n J b l e s symphoniques les plus applaudis au Theatre des Beaux-Arts.
Arrival of the Halle Orchestra-one of the most warmly received symphonic ensembles at the Theatre of Fine Arts.
II i i
l i t -
212
213
Le quartette de Dave Brubeck comptait avec la brillante participation du saxophoniste Gerry Mulligan (a droite).
Saxophonist Gerry Mulligan (at right) came with the Dave Brubeck Quartet, giving greater depth to the presentations.
La belle Israelienne Hanna Aroni chante en dix langues. Le legendaire Maurice Chevalier etait aussi a Mexico.
Lovely Hanna Aroni from Israel sang in ten languages. Maurice Chevalier brought his legendary charm to Mexico.
George Wein accueille chaleureusement Clea Bradford.

George Wein enthusiastically greets Clea Bradford.
Sir John Barbirolli, directeur de I'Orchestre Halle.

Sir John Barbirolli, director of the Halle Orchestra.
v
i
Can
al
Ad der,e
11
Adderle
Zawinui
v rfckin' " r "

h M" lL ,
^
y' . R- McCurdy, membres du quintette d'Adderley
V. Gaskm, Cannonball Adderley, Nat Adderley. J. Zawmul and R. McCurdy-the "Cannonball" Adderley Quintet.
La grande danseuse M. Graham est recue par J.L. Brown. !: es membres du Theatre de Chambre d'Allemagne effectuent chaque annee des tournees en Amerique latine.
Dance priestess Martha Graham is met by John L. Brown. Trie German Chamber Theatre-old friends of Mexico, its members tour throughout Latin America every year.
Danseurs africains pares" de leurs splendides costumes.

Arriving regally claddancers of the African Ballet.
di
i f f n ' p ^ 6 m31!1"011' l ' U n
recteurs de I'Orchestre symphonique de Paris, au cours d'une repetition.
Jean Pierre Martmon, one of the directors of the Paris Symphony Orchestra, during a rehearsal at Bellas Artes.
Alexis Weissenberg et I'Orchestre symphonique de Paris Maurice Beiart (a gauche), directeur du Ballet du XXe siecle, fait repeter a sa troupe la "Neuvieme" de Beethoven.
Soloist Alexis Weissenberg with the Paris Symphony Maurice Bejart (at left), director of Brussels' XX Century Ballet, readies his dancers for Beethoven s Ninth.
Lopez Tarso a cree un magnifique "Moctezuma IT. ^

Lopez Tarso plays the title role in "Moctezuma 11."
214
215
q L w o " ' 1 ' 0 | y m P i c l u e l d l a l o r s d u tournage du film realise par la Section cinematographique du Comite organisateur
Sweden s famous ldla Olympic Ballet being filmed by the Organizing Committee's Motion Picture Department."
Dirige par Dimitrios Rondiris, le Piraikon Theatron a donne une representation de r'Hippolyte" d'Eurioide
The Piraikon Theatron, directed by Dimitrios Rondiris, just before curtain time of Euripides' "Hippolytus."
J. Johns, conseiller artistique du ballet de Cunningham.

Jasper Johns, set designer for the Cunningham ballet.
Danseurs du Ballet folklorique roumam dans leur loge.

Dancers of the Rumanian Folk Ballet relax backstage.
Ballet national du Canada en pleine repetition.

'ê National Ballet of Canada during a rehearsal.
Directeur et interpretes du Ballet Studio de Prague.

Stage director and dancers of the Prague Studio Ballet.
Aucun detail n'echappe a la Cubaine Alicia Alonso.

A last-minute approval by Alicia Alonso of Cuba.
I f
* * ss H
1 .
# :
t
"4,
ORCHESTRE HALLE - Contraint par la revolution de quitter Paris, Charles

Halle arrive a Manchester en 1848. Nomme directeur et administrateur des
"Gentlemen Concerts" en 1850, 11 reorganise cette formation deja vieille
de quatre-vingts ans. En 1857, il est pressenti pour former un orchestre a
la hauteur de I'exposition qui reunit la meme annee a Manchester les plus
celebres tableaux du monde. Les "Concerts d'orchestre Halle" obtiennent un
succes retentissant des leur premiere presentation. Ses plus celebres chefs
d'orchestre ont ete Sir Edward Elgar, Sir Thomas Beecham, Landon Ronald,
Harty, Pierre Monteux, Malcom Sargent et aujourd'hui. Sir John Barbirolii
(ci-dessus). Le Halle connait apres la Seconde Guerre mondiale ce que
Michael Kennedy, critique au Daily Telegraph, appelle "I'age d'or de Barbirolii", directeur qui a rendu au groupe sa grandeur passee. La tournee qu'a
effectuee Torchestre en Amerique latine comcidait avec le vingt-cinquieme
anniversaire de la nomination de Sir John Barbirolii a la tete du Halle.
HALLE ORCHESTRA Charles Halle arrived in Manchester in 1948, forced by the

French Revolution to abandon Paris. Named conductor and general manager
of the orchestra for the "Gentlemen's Concerts" in 1850, he reorganized this
eighty-year-old group so well that in 1857 he was asked to form an orchestra
worthy of performing at an exhibition of the world's most famous pictures, held
in Manchester that year. Halle's success was immediate, and the Halle Orchestra continued on under many talented directors, among them Sir Edward
Elgar, Sir Thomas Beecham, Landon Ronald, Harty, Pierre Monteux, Malcom
Sargent and Sir John Barbirolii (above). After the Second World War, the orchestra entered what Michael Kennedy, critic of the "Daily Telegraph," has called
"The Golden Age of Barbirolii," the great director who returned the group to its
former greatness. During the tour the Halle Orchestra made of Latin America,
of which their Mexico City program was a part, the twenty-fifth anniversary
of John Barbirolli's permanent conductorship of the orchestra was celebrated.
t-jk
f k l
i IS
ORCHESTRE SYMPHONIQUE DE PARIS L'Association pour I'Orchestre de

Paris a ete fondee en juin 1967 sur ('initiative de M. Andre Malraux, ministre
d'Etat charge des Affaires cuiturelles. Jusqu'a sa mort survenue fin 1968,
Charles Munch, dont la prestigieuse carriere mondiale est connue de tous,
assumait la direction de I'orchestre. Pour la tournee au Mexique, cette tache
avait ete confiee a Jean-Pierre Jacquillat (au centre), choisi par Munch pour
devenir son assistant et Jean Martinon (en haut). I'Orchestre de Paris est
compose de 110 instrumentistes provenant d'ensembles frangais ou etrangers
et ayant satisfait aux epreuves d'un concours. Au Mexique, I'Orchestre presentait quatre programmes et etait accompagne de deux solistes: Jacques Delecluse
qui a interprete "Les Oiseaux exotiques", I'un des chefs-d'oeuvre d'Olivier
Messiaen, et Alexis Weissenberg qui, ayant reside au Mexique pendant

plusieurs annees, est bien connu du public local. Weissenberg a joue les
Concerti N? 2 en si bemol majeur de Brahms et N? 3 de Prokofiev. JeanPierre Jacquillat a dirige d'importantes formations symphoniques europeennes
et, a I'instar de Jean Martinon, a participe a des festivals de musique pour
faire connaitre les oeuvres de compositeurs contemporains (frangais et
etrangers), oeuvres qu'ils ont d'ailleurs inscrites au repertoire de I'Orchestre
symphonique de Paris. Ensemble jeune, cette formation a beneficie depuis
sa recente fcreation des enseignements precieux de Charles Munch, dont la
presence a marque chacun de ces concerts et dont I'extraordinaire figure
reste sans aucun doute inoubliable.
PARIS SYMPHONY ORCHESTRA The Paris Symphony Orchestra Association

was founded in June, 1967, by Andre Malraux, the Minister of Culture. Charles
Munch, whose prestigious career is well known throughout the world, was the
orchestra's conductor until his death in November, 1968. Jean-Pierre Jacquillat
(lower row), highly praised by Munch during his term as assistant conductor,
assumed leadership of the orchestra for its Mexico City appearance, sharing
the baton with Jean Martinon (upper row). The Paris Symphony Orchestra is
composed of 110 musicians, recruited from musical groups in France and
various other countries, who had to pass the rigorous examinations of an
entrance contest. In Mexico City the orchestra offered four programs, with
soloist performances by two excellent pianists; Jacques Delecluse, who inter-
preted "Exotic Birds," one of Oliver Messiaen's masterpieces; and Alexis

Weissenberg-well known in Mexico, where he has resided for many yearswho
played the solo parts of the Concerto No. 2 in B-Flat Major by Brahms and the
Concerto No. 3 by Prokofiev. Jean-Pierre Jacquillat and Jean Martinon have
directed various important European symphonic groups and have participated
in numerous music festivals, working to make known the most representative
works of contemporary composersinternational as well as Frenchand including many of these in the repertory of the Paris Symphony Orchestra. From
its inception, this young orchestra had the benefit of the conductorship and
guidance of Charles Munch, an unforgettable leader and musician whose presence is an inseparable part of the concerts of the Paris Symphony Orchestra.
ORCHESTRE SYMPHONIQUE NATIONAL - Dans le cadre de son programme

annuel, cette formation a presente un hommage a Claude Debussy a I'occasion
du cinquantenaire de sa mort, hommage double d'une serie de concerts de
musique de chambre donnee par la Section musicale de i'lnstitut national des
Beaux-Arts (INBA). L'Orchestre symphonique a invite plusieurs chefs et
solistes mexicains et etrangers a collaborer a cette exceptionnelle annee
musicale. Ne a Mexico, son directeur attitre, Luis Herrera de la Fuente (cidessus), dirige I'Orchestre symphonique national du Perou, et a conduit celui
du Chili. Parmi les directeurs invites figuraient; Igor Markevitch (page 223),
seion Bela Bartok 'Tune des plus prodigieuses personnalites de la musique
contemporaine", pour lequel le conservatoire de Moscou a cree une chaire
de direction orchestrale; Francisco Savin, directeur du Conservatoire de
Musique mexicain qui a ecrit diverses partitions pour orchestre et pour
ensembles de musique de chambre et vocale; le jeune Eduardo Mata (page222,
en bas a droite) qui a etudie avec Max Rudolf, Erich Leinsdorf et Igor
Kipnis a Tanglewood (Mass.), ville dont il a dirige I'orchestre en 1964; Carlos
Chavez enfin, le celebre compositeur mexicain. Parmi les solistes engages,
signalons le pianiste francais Bernard Ringeissen (page 222, en bas a gauche)
qui a reiju- le prix Aldo Ciccolini a Naples, le grand prix du concours de
Geneve et celui du concours international "Frederic Chopin" a Varsovie; Luz
Maria Puente (en bas, au centre), qui a etudie le piano au Conservatoire
national de Musique et dans la classe de Bernard Flavigny; la mezzo-soprano
Aurora Woodrow (avec boucles d'oreilles, photo du haut) qui a commence
ses etudes de chant en 1952; Irma Gonzalez, 'Tune des meilleures sopranos
mexicaines du siecle" David Portilla (a gauche), tenor, et le baryton Luis
Beckmann (en haut, arriere-plan). Participaient egalement le Choeur de la
section musicale de I'lNBA que dirige Jose Ignacio Avila; le Choeur Bach cree
il y a environ trente ans par Paula Bach-Conrad; le Choeur des Madrigalistes
fonde en 1939 et dirige par Jesus Maci'as; enfin, le choeur Hazamir qui, compose
d amateurs, est administre par Abel Eisenberg. Outre cette saison musicale,
I'Orchestre symphonique national a presente une autre serie d'auditions
en automne ainsi que de nombreux concerts populaires et universitaires.
I8SII
NATIONAL SYMPHONY ORCHESTRA As part of its annual series of concerts,

the National Symphony Orchestra offered a program in honor of the fiftieth
anniversary of the death of Claude Debussy, which was also commemorated by a
number of chamber music concerts given by the Musical Section of the National Institute of Fine Arts (INBA). The Symphony Orchestra invited various
foreign and Mexican conductors and soloists to collaborate in this exceptional
musical year. Mexican Luis Herrera de la Fuente (pages 220 and 221, above), the
orchestra's conductor, also directs the National Symphony Orchestra of Peru
and has directed that of Chile. Among the guest conductors this season were
Igor Markevich (above), who according to Bela Bartok is "one of the most
prodigious personalities in contemporary music," and for whom the Moscow
Conservatory created the Igor Markevich Chair of Orchestral Direction; Francisco Savin, director of the Mexican Music Conservatory and author of
various orchestral and vocal compositions; Eduardo Mata (opposite, lower right),
a talented young Mexican composer who directs the Symphony Orchestra of
the National University of Mexico and who has studied with Max Rudolf, Erich
Leinsdorf and Igor Kipnis at Tanglewood, Massachusetts, where he directed the
orchestra in 1964; and Carlos Chavez, the celebrated Mexican composer. Two
of the program's outstanding soloists were Luz Maria Puente (opposite, lower
center), who studied piano at the National Music Conservatory and with Bernard
Flavingny; and Bernard Ringeissen (opposite, lower left), the fine French pianist
who has won the Aldo Ciccolini Prize at Naples and first prizes at the Geneva
competition and the Frederic Chopin contest in Warsaw. The concerts were
also highlighted by the performances of talented vocal soloists such as
(opposite, above, from left to right): tenor David Portilla; mezzo-soprano Aurora Woodrow; baritone Luis Beckmann; and Irma Gonzalez, one of the best
Mexican sopranos of the century. Other groups that worked with the orchestra
this season were the Choir of the Musical Section of the 1NBA, directed by
Jose Ignacio Avila; the Bach Choir, created thirty years ago. by Paula BachConrad; the Madrigal Choir, founded in 1939 by Luis Sandi and now under the
leadership of Jesus Macfas; and the Hazamir Choir, directed by Abel Eisenberg.
The National Symphony Orchestra also presented another series of programs
during the autumn, as well as numerous popular and university concerts.
ORCHESTRE DE CHAMBRE ANGLAIS Depuis sa creation en 1948, cette

formation s'est specialisee dans la musique du XVIile siecle. Elle a effectue
de nombreuses tournees en Europe et au Moyen-Orient et s'est produite avec
I Ensemble d'Opera anglais a rExpo'67 de Montreal. Ses musiciens participent
souvent a des emissions de radio et de television ainsi qu'aux "Promenade
Concerts" d'ete. Raymond Leppart, son directeur (ci-contre), est aussi
specialiste de Monteverdi et des compositeurs venitiens du XVIIe siecle. II
a organise des representations du "Couronnement de Poppee",de l"'Orfeo"
de Monteverdi et de T'Ormindo" de Cavalli au festival de Glyndebourne (1967).
ENGLISH CHAMBER ORCHESTRA Since its formation in 1948, this group has
specialized in the music of the eighteenth century. It has made numerous
tours of Europe and the Middle East, and was presented at Expo 67 in Montreal with the English opera group. The orchestra appears regularly on British
radio and television and in the Promenade Concerts during the summer.
Raymond Leppart (at left), its conductor, is also a specialist in the music
of Monteverdi and the Venecian composers of the seventeenth century. He has
organized performances of Monteverdi's "L'lncoronazione di Poppea" and "L'Orfeo," and he presented Carvalli's "L'Ormindo" at the Glyndebourne Festival.
I SOLISTI VENETI - Cet ensemble qui se propose de recreer la Venise du

XVllle siecle est considere comme I'un des meilleurs du monde, et a obtenu
un eclatant succes en Europe. Originaires pour la plupart de la region de
Venise, ses membres sont tous diplomes du Conservatoire de Musique de
cette ville. Bien que specialise dans I'execution des oeuvres italiennes des
XVIIe et XVllle siecles, le repertoire du groupe comporte aussi des pieces
romantiques peu connues et diverses partitions qui lui ont ete dediees.
I SOLISTI VENETI This ensemble, devoted to recreating Venetian music of

the eighteenth century, is considered one of the best in the world, and has
been constantly well-received in Europe. Most of the musicians who make up
the group are from Venice, graduates of the Music Conservatory of that city.
Although specialists in the Italian works of the seventeenth and eighteenth
centuries, I Solisti also include in their repertory a number of littleknown Romantic works, as well as numerous works specially dedicated to them.
I MUSICI (a gauche)-On a appele la musique de chambre "la musique des amis",

art intimiste qui demande une tres profonde comprehension entre ses executants. I Musici (Les Musiciens), tel est le nom adopte par un petit groupe de
melomanes reunis pour former I'ensemble que Toscanini considere comme
"le meilleur orchestre de chambre du monde". Cet ensemble a decide de
se consacrer a faire revivre les tresors oublies d"es compositeurs des XVIIe
et XVIlie siecles.
1 MUSIC! (opposite page) Chamber music has been called "the music* of
friends," an intimate art that demands great understanding among instrumentalists. I Musici (The Musicians) is the name adopted by a small group of friends
who combined their talents to form what Toscanini called "the best chamber
orchestra in the world." Its members early discovered their common interest in
the almost-forgotten music of composers dating as far back as the seventeenth
century, and have devoted their efforts to reviving these musical treasures.
QUINTETTE DE VARSOVIE (ci-dessus) - De creation recente, cet ensemble

reunit Krzysztof Jakowicz (premier violon), Andrzej Siwy (second violon),
Stefan Kamasa (alto), Aleksander Ciechnski (violoncelle) et Wladislaw Szpilman
(piano). Ayant assiste a un de leurs concerts, le directeur de I'agence de
promotion artistique polonaise fut tellement enthousiasme qu'il fit du Quintette un orchestre officiel permanent. Depuis lors, ce groupe a donne des
concerts dans les grands centres musicaux du monde.
WARSAW QUINTET (above) The members of this recently formed group are
Krzysztof Jakowicz (first violin), Andrzej Siwy (second violin), Stefan Kamasa
(viola), Aleksander Ciechnski (cello) and Wladislaw Szpilman (piano). One of their
early concerts was attended by the director of Polish artistic promotion,
who became so enthusiastic over the combined quality of the musicians that he
saw that the Warsaw Quintet became a permanent official group. Since then, the
quintet has presented concerts at many of the world's great musical centers.
ORCHESTRE DE CHAMBRE DE VARSOVIE Fonde par l illustre violoniste Karol

Teutsch (ci-contre), cet ensemble est forme de seize musiciens, tous solistes et concertistes de I'Orchestre philharmonique polonais. Jouant sans
directeur, ils sont conduits depuis le premier pupitre par Karol Teutsch. Apres
ses debuts en 1963, I'Orchestre de chambre tut invite en 1966 a enregistrer
a Berlin-Ouest et a participer au Festival de musique de Postdam. Depuis,
il a realise des tournees en Europe, en Amerique et au Japon.
ORCHESTRE DE CHAMBRE DE TUBINGEN - Essentiellement composee d'etudiants, cette formation que dirige Helmut Calgeer (ci-contre) est consideree
comme I'une des meilleures du genre. L'orchestre a presente a Mexico diverses cantates de Jean-Sebastien Bach interpretees par des solistes de reputatation mondiale, tels Hanno Blaschke, tenor, et la celebre soprano, Charlotte
Lehmann qui, laureate de nombreux prix et saluee par les eloges des critiques
et du public, est aussi un professeur renomme.
WARSAW CHAMBER ORCHESTRA Founded by the celebrated violinist Karol

Teutsch (left), this ensemble is made up of sixteen musicians, all soloists and
first-chair men with the Polish Philharmonic Orchestra. They play without a conductor, being directed by Mr. Teutsch from the first-chair music stand. After
its debut in 1963, the orchestra was invited to record in West Berlin in 1966
TUBINGEN CHAMBER ORCHESTRA Principally composed of students, the Tubingen Chamber Orchestra, directed by Helmut Calgeer (right), is considered one
of the best of its kind. In Mexico City the group presented various cantatas by
Johann Sebastian Bach, which were interpreted by soloists of international
fame. Among the latter were the tenor Hanno Blaschke and the renowned soprano Charlotte Lehmann, a distinguished professor whose performances have'
been enthusiastically acclaimed by critics as well as the general public.
and to participate in the International Music Festival at Potsdam. The ensemble

has since then made concert tours of Europe, America and Japan.
<
MUSIQUE ANCIENNE DE L'UNIVERSITE CATHOLIQUE DU CHILI (page de gauche)Cr6ee en 1954, cette formation vocale et instrumentale est actuellement
dirigee par Silvia Soublette. Deux ans apres la fondation de la Section musicale de I'universite du Chili (I960), son directeur Juan Orrego Salas demandait
a I'Ensemble d'ouvrir une ecole de musique ancienne. Outre des prix et des
distinctions, cet ensemble a reQU de la Fondation Rockefeller plusieurs instruments du Moyen Age et de la Renaissance ainsi qu'une bibliotheque.
ENSEMBLE MUSICAL DE BUENOS AIRES (ci-dessus) - Cette formation, dont la
creation officielle remonte au ler octobre 1966, est composee de musiciens
appartenant a I'Orchestre symphonique national, a I Orchestre philharmonique
de Buenos Aires et a I'orchestre du Theatre Colon. Son premier concert a
ete presente dans le grand amphitheatre de la faculte de Medecine de la
capitale argentine le 28 novembre 1966. L'Ensemble est dirige par Pedro
Ignacio Calderon qui est aussi directeur de 1 Orchestre philharmonique.
MUSICA ANTIQUA OF THE CATHOLIC UNIVERSITY OF CHILE (opposite)-Created

in 1954, this vocal and instrumental ensemble is directed by Silvia Soublette.
When the Music Department of the University of Chile was founded in 1960,
its director, Juan Orrego Salas, asked the group to open a School of Ancient
Music, which they did two years later. The Musica Antiqua has received many
honors and distinctions, as well as an important grant from the Rockefeller
Foundation: a collection of medieval and renaissance instruments and a library.
BUENOS AIRES MUSICAL ENSEMBLE (above) T h i s group, officially founded on
October 1, 1966, is composed of musicians from the National Symphony
Orchestra, the Buenos Aires Philharmonic Orchestra and the Colon Theatre
Orchestra. Its first concert was presented in the Argentine capital at the
large amphitheatre of the School of Medicine on November 28, 1966. The
Buenos Aires Musical Ensemble is conducted by Pedro Ignacio Calder6n, who
is also the director of the Buenos Aires Philarmonic Orchestra.
CAPELLA MONACENSIS (page de gauche) - C e t t e formation de solistes munichois que dirige Kurt Weinjoeppel a rendu vie a diverses formes musicales
d'une periode allant du Xllle au XVlie siecie. Composee de musiciens professionnels, elie est divisee en deux groupes, i'un vocal, I'autre essentieliement
forme d'instruments a vent, a cordes pincees, a percussion et de divers instruments d'epoque: luth de la Renaissance, cromorne, flute douce, basse
de viole, bombarde, doulcemelle etc.
CAPELLA MONACENSIS (opposite) T h i s group of soloists from Munich, directed

by Kurt Weinjoeppel, have devoted themselves to reviving various musical
forms of the thirteenth to the seventeenth centuries. Composed of professional
musicians, the Capella Monacensis is divided into two groups, one vocal and
the other instrumental. The latter section includes chiefly wind, percussion
and fretted string instruments, including the dulciana, viola da gamba,
bombardon, Reinaissance lute, crumhorn, and others of the period.
ORCHESTRE DE CHAMBRE "PRO MUSICA ANTIQUA" DE BRUXELLES (ci-dessus)Fonde par Safford Cape, I'ensemble "Pro Musica Antiqua" a joue un role
de tout premier plan dans la redecouverte et la diffusion de la musique du
Moyen Age et de la Renaissance. Deux de ses enregistrements ont regu le
Grand Prix du Disque de Paris en 1957. Depuis lors, Safford Cape dirige le
Seminaire de Musique ancienne qui se reunit a Bruges. L'ensemble a presente
a Mexico trois programmes distincts.
BRUSSELS "PRO MUSICA ANTIQUA" CHAMBER ORCHESTRA (above)-Founded by

Safford Cape, the "Pro Musica Antiqua" ensemble has played an extremely
important role in the rediscovery and diffusion of the music of the Middle
Ages and the Renaissance. Two of the group's recordings won the Paris Grand
Prix du Disque in 1957. Since that time Safford Cape has directed the Seminary
of Ancient Music in Brussels. The ensemble presented three different programs of medieval and Renaissance music in Mexico City.
mmm
CLAUDIO ARRAU (ci-dessus) - Faisant preuve d'extraordinaires dons musicaux

des son plus jeune age, Arrau commenga a jouer a trois ans et, deux ans
plus tard, donna a Santiago un brillant recital qui le fit retnarquer par las
autorite officielles. Ayant obtenu une bourse pour etudier en Allemagne, il
s'y perfectionna avec Martin Krause, un disciple de Liszt. Depuis lors' la
carriere de Claudio Arrau a suivi Tune des plus brillantes ascensions qu'ait
jamais connue un virtuose.
CLAUDIO ARRAU (above) Exhibiting extraordinary musical talent at a very

early age, Claudio Arrau began his piano studies at the age of three. When
he was five he gave a brilliant recital in Santiago de Chile, which attracted
the attention of government officials. He was awarded a scholarship to study
in Germany, where he perfected his knowledge and technique with Martin
Krause, who had been a pupil of Franz Liszt. Since then, Claudio Arrau's career
has been one of the most brilliant in the history of the musical world.
PAUL BADURA-SKODA (page de droite) - "Decouvert" en 1949 par Furtwangler

et von Karajan, Paul Badura-Skoda fut alors invite a jouer en soliste avec
eux. Musicien complet, il est non seulement concertiste mais aussi compositeur, professeur, chef d'orchestre et musicologue. Badura-Skoda s'est
essentiellement consacre a la rehabilitation des oeuvres pour piano de
Schubert, dont il est considere comme I'un des plus prestigieux specialistes.
Le festival Schubert qu'il a presente a Mexico est inoubliable.
PAUL BADURA-SKODA (opposite) "Discovered" in 1949 by Furtwangler and von

Karajan, Paul Badura-Skoda was invited to play as a soloist with them.
Badura-Skoda is a "complete musician"not only a concert artist but also a
composer, professor, orchestra conductor and musicologist. He has devoted
himself principally to the "rehabilitation" of the music of Schubert, in which
he is considered one of the most respected specialists. The Schubert
concert Badura-Skoda offered in Mexico City was a memorable musical occasion.
VAN CLIBURN (page de gauche, en haut) - En 1958, apres avoir gagne le concours Tchaikowsky a Moscou, Van Cliburn revint aux Etats-Unis en heros
national. II eut meme droit au traditionnel defile sur la Cinquieme avenue
ce qui ne s'etait encore jamais vu pour un musicien et fut felicite par le
president Eisenhower en personne. Depuis lors, son ascension a ete continuelle et il a ete applaudi par les critiques et le public du monde entier.
DUO GORINI-LORENZI (page de gauche, en bas) - Le talent de ces pianistes a

ete, des la formation de leur duo en 1944, unanimement reconnu par la critique. Gorini et Lorenzi se sont produits dans les plus celebres salles d'Europe,
d'Amerique et du Proche-Orient, et ont participe a de nombreux festivals
internationaux ou ils ont donne en premiere audition des oeuvres de compositeurs contemporains, dont certaines leur etaient personnellement dediees.
SAMSON FRANCOIS (ci-contre) Ce pianiste commence ses etudes musicales
en Italie a cinq ans et, I'annee suivante, donne son premier concert. En 1940,
son interpretation de la "Toccata" de Debussy et de la premiere "Ballade"
de Chopin lui valent le grand prix (premier nomme) au concours du Conservatoire de Paris. Depuis, sa carriere est eblouissante et il a remporte, entre
autres, le premier prix du concours Marguerite Long-Jacques Thibaut et le grand
prix de I'Academie du disque francais.
239
VAN CLIBURN (opposite, above) A f t e r Van Cliburn won the Tchaikovsky Competition in Moscow in 1958, he returned to the United States a national hero.
As such, he was given the first ticker-tape parade ever accorded a musician
and was personally congratulated by President Eisenhower. Since then he has
had a sensationally successful career as a concert pianist and has won worldwide acclaim from critics and public alike.
IP
GORINI-LORENZI DUO (opposite, below) - The talent of these two pianists has
been universally recognized since the duo's formation in 1944. Gorini and
Lorenzi have performed in many of the most celebrated recital halls in
Europe, America and the Near East, and they have participated in numerous
international festivals, where they have premiered many works by contemporary
composers, some of which have been personally dedicated to them.
SAMSON FRANQOIS (right) Pianist Frangois began his musical studies in
Italy at the age of five and the following year presented his first concert.
In 1940, his interpretations of Debussy's "Toccatta" and Chopin's Ballade No. 1
earned him first prize at the Paris Conservatory competition. Frangois' career
has been increasingly successful, and he has been awarded numerous distinctions, among them the Marguerite Long-Jacques Thibaut Prize and the
Grand Prix of the French Academie du Disque.
EUGENE MALININ (ci-contre)- La consecration Internationale de ce pianiste

sovietique remonte a 1949, annee ou il remporta a dix-neuf ans le premier
prix du Festival mondial de la Jeunesse a Budapest. En 1953, il obtint a
Paris la deuxieme place, lors d'un concours auquel participaient 89 jeunes
pianistes etrangers. Get artiste a effectue des tournees triomphales dans
divers pays du monde: Union Sovietique, Hongrie, Tchecoslovaquie, Pays-Bas,
Suisse et Angleterre.
EUGENE MALININ (upper left) This celebrated Soviet pianist won first
prize at the Budapest World Youth Festival in 1949 at the age of nineteen,
thereby winning world-wide recognition. He won second prize in a 1953 Paris
competition in which 89 young pianists from various countries competed, and
his later performances in the French capital have also received high critical
acclaim. Malinin has made triumphal tours of Hungary, Czechoslovakia, the
Netherlands, Belgium, Switzerland and England, as well as the Soviet Union.
GOAR GASPARIAN- Nee en Egypte de parents armeniens, elle a etudie

sous la direction de professeurs italiens. Apres avoir donne de nombreux
recitals et concerts au Caire ou elle a commence sa carriere musicale, elle
est allee vivre a Erevan, capitale de la Republique sovietique d'Armenie.
Elle y a obtenu tres vite un immense succes aupres du public, dont elle est
devenue I'une des artistes preferees. Goar Gasparian a effectue des tournees
triomphales au Japon, en Pologne, Roumanie, Finlande, Hongrie, Tchecoslovaquie, Iran etc.
GOAR GASPARIAN Born in Egypt of Armenian parents, Goar Gasparian began
her musical studies in Cairo with Italian teachers. After taking part in many
recitals and concerts in Cairo, she made her home in Erevan, capital of the
Soviet Republic of Armenia, and in a short time became one of its best-loved
artists. Today she is among Armenia's most popular singers. Unanimously
praised for her high level of professionalism and cultural breadth, Miss Gasparian has made successful tours of Japan, Poland, Rumania, Finland, Hungary,
Czechoslovakia, Iran, and many other countries throughout the world.
MARINA YASHVILLI (en bas a gauche)-Consideree comme la meilleure violoniste georgienne, Marina Yashvilli est aussi I'une des plus jeunes musiciennes a avoir obtenu le titre d'"Artiste emerite de la Republique sovietique
de Georgie". Entree au Conservatoire de Moscou en 1950, elle s'est ensuite
perfectionnee avec K. Mostras. Au cours de ses etudes, elle a gagne trois prix
internationaux: "Jan Kubelik" de Prague, "Henrick Wieniawski" de Poznan
et "Reine Elizabeth" de Bruxelles. Un programme special reunissait par ailleurs
au Theatre des Beaux-Arts Marina Yashvilli, qui interpretait des pieces de
Mozart, Tsztsadze, Szymanowski et Liszt; Eugene Malinin qui joua une Sonate
de Liszt et Goar Gasparian, accompagnee au piano par Eleonora Voskian.
MARINA YASHVILLI (lower left) Acclaimed the greatest of Georgian violinists,
Marina Yashvilli is the youngest to have received the title of "Honored Artist of
the Georgian Soviet Socialist Republic." She entered the Moscow Conservatory in
1950, and upon graduation took post-graduate instruction with K. Mostras. In
the course of her studies she won three international prizes: the "Jan Kubelik"
in Prague, the "Henrick Wieniawski" in Poznan, and the "Queen Elizabeth" in
Brussels. A special program at the Palace of Fine Arts united Miss Yashvilli,
who performed various pieces by Mosart, Tsztsadze, Szymanowski and Liszt;
pianist Eugene Malinin, who played Liszt's "Sonata"; and singer Goar Gasparian, who was accompanied on the piano by Eleonora Voskian.
SHMUEL ASHKENASI (ci-dessus)-Ne a Tel Aviv en 1941, Shmuel Ashkenasi commence a huit ans ses etudes de violon a I'Academie d'lsrael et remporte,
quatre ans plus tard, le premier prix au concours de Talent du Club des
Journalistes. II se produit pour la premiere fois en public dans i'orchestre
Kos-lsrael et est a quatorze ans le laureat d'une bourse offerte par la Fondation
culturelle Amerique-lsrael. Ashkenasi a fait depuis lors plusieurs tournees
triomphales en Europe et en Amerique.
SHMUEL ASHKENASI (above) Born in Tel Aviv in 1941, Shmuel Ashkenasi began his violin studies at the Music Academy of Israel at the age of eight. Four
years later, he won the Journalists' Club Talent Competition and gave his first
public performance with the Kol-lsrael Orchestra on Radio Israel. When he was
fourteen, the America-Israel Cultural Foundation awarded him a scholarship
to continue his studies. Since then, Ashkenasi has made many concert tours
of Europe and America, winning high praise from critics and public alike.
ALIRIO DIAZ ET MORELLA MUROZ (page de droite, a gauche)-Ces deux artistes ont ete selectionnes par I'lnstitut national de la Culture et des BeauxArts venezuelien pour representer leur pays dans le cadre du Programme culturel de la XIX Olympiade. Morella Munoz est une grande specialiste du
lied, tandis qu'Alirio Diaz a etudie la guitare sous la direction de Regino Sainz
de la Maza et d'Andres Segovia. A son repertoire sont inscrites les principals
oeuvres pour guitare.
ALIRIO DIAZ AND MORELLA MUROZ (opposite, left) These two artists were
selected by the Venezuelan National Institute of Culture and Fine Arts to represent their country in the Cultural Program of the XIX Olympiad. Morella Munoz
is a specialist in the field of the "lied," in which she has achieved a distinguished reputation. Alirio Diaz has studied guitar with Regino Sainz de la
Maza and with Andres Segovia, and has been acclaimed as one of their successors. His repertoire includes the most outstanding works for the guitar.
NETANIA DAVRATH (extreme droite)-Nee a la frontiere russo-polonaise, en 1948

elle se rend en Israel et donne de nombreux recitals a I'Opera de Tel Aviv.
L'immense talent de Netania Davrath, qui chante parfaitement en huit langues,
lui permet d'interpreter les repertoires classique et folklorique. Le chef
d'orchestre Paul Kletzki a dit d'elle: "Je n'ai jamais entendu au cours des dix
dernieres annees une voix comparable a la sienne", et la critique du monde
entier celebre I'extraordinaire tessiture de cette jeune artiste.
NETANIA DAVRATH (opposite, right) Born near the Russian-Polish border, in

1948, Miss Davrath went to Israel, where while still very young she began to
sing leading soprano roles with the Tel Aviv Opera. Her great artistryshe
sings in eight languages with perfect dictionmakes her equally at home with
classical as well as folk music. Conductor Paul Kletzki has said of her: "I have
heard nothing that could compare with her voice in the last ten years," and
critics from all over the world have been equally enthusiastic in their praise.
"TABERNACLE CHOIR" MORMON DE SALT LAKE CITY (page de gauche )-ll y a

cent vingt ans, le premier choeur mormon chantait dans la vallee du Grand
Lac sale (Utah). En moins de deux semaines tut bati un temple provisoire
qui, inaugure ie 22 aout 1847, fut reserve au choeur. Termine en 1867, le
nouvel auditorium de huit mille places est aujourd'hui connu sous le nom
de "Tabernacle de Salt Lake City". Cet ensemble, s'est presente dans de
nombreux pays.
SALT LAKE CITY MORMON TABERNACLE CHOIR (opposite) The first Mormon
choir sang in Utah's Great Salt Lake Valley over 120 years ago. In less than two
weeks a provisional temple was constructed for their performances, and was
inaugurated on August 22, 1847. In 1867 a new auditorium with a seating capacity of eight thousand was completed; today it is known as the Salt Lake City
Tabernacle. The Tabernacle Choir has made numerous appearances abroad, and
critics everywhere call it one of the outstanding ensembles of its kind.
HANNA ARONI (ci-dessus)-La belle Hanna Aroni s'est imposee en quelques

annees comme I'une des plus celebres cantatrices du monde. Sa triomphale
carriere artistique, sa vocation inebranlable, son desir de perfectionnement et ses extraordinaires dons musicaux ont regu une consecration definitive au Carnegie Hall de New York et a I'opera de Chicago. Hanna Aroni
chante parfaitement en dix langues. Comme a I'accoutumee, elle a offert
a Mexico un programme improvise.
HANNA ARONI (above) In only a few years, beautiful Hanna Aroni has won
an important place among those destined to world fame. Her strong vocation,
her perfectionism and her great musical talent have made her career a series
of uninterrupted successes, which have swiftly carried her to two high honors;
debuts at Carnegie Hall in New York City, and with the Chicago Opera. An accomplished linguist, she sings perfectly in ten languages. As is her custom,
Hanna Aroni presented an improvised program in Mexico City.
OPERA DE BERLIN-Quelques amateurs d'art de la banlieue de Charlottenburg

fonderent leur propre compagnie, a laquelle ils donnerent le nom d" < Opera
allemand". Rebaptisee "Opera municipal", cette troupe se presente en public
le 7 novembre 1912. Carl Ebert devient le chef d'orchestre de I'ensemble en
1931, mais en 1933 il emigre volontairement et Max von Schillings, son
successeur, meurt trois mois plus tard. Bohnen et Heinz Tietjen se succedent
alors a la direction de la compagnie. Revenu en Ailemagne en 1954, Ebert
reprend le pupitre et monte de nombreux operas de Mozart et Verdi, sans
pour autant dedaigner les grands classiques modernes tels Hindemith, Alban
Berg, Orff et Weill. II remet a la mode les oeuvres de Rossini et de Cherubini
et donne la preference a ses contemporains, specialement a Hans Werner
Henze, I'un des plus celebres musiciens d'aujourd'hui. En 1963, la troupe est
invitee a participer a I'inauguration du Theatre Nissei de Tokyo. Durant
I'automne 1965, Lorin Maazel est nomme directeur de musique de I'Opera. A
Mexico, la compagnie a presente deux operas de Mozart: "Cosi fan tutte"
(ci-contre) que dirigeait Ferdinand Leitner, "Les Noces de Figaro" (ci-contre, en
bas), sous la direction de Heinrich Hollreiser, ainsi que "Elegie pour de jeunes
amants" (page de droite), opera de Hans Werner Henze conduit par le compositeur. La direction des choeurs des deux premiers programmes avait ete confiee a Waiter Hagen-Groll. La presentation de I'Opera de Berlin a permis au
public mexicain de se familiariser avec d'excellentes mises en scene des operas
mozartiens admirablement chantes et d'apprecier I'oeuvre de Henze,
vision tragique de la condition humaine.
BERLIN OPERA In 1912, a group of opera enthusiasts in Charlottenburg, a

suburb of Berlin, founded a company called the "German Opera"; renamed the
"Municipal Opera," the group gave its first performance on November -7, 1912.
The organization had its first success in 1925, when Tietjen became artistic
director and Bruno Walter musical director. Carl Ebert became the company's
director in 1931; when he emigrated in 1933 he was succeeded by Max von
Schillings, who died three months later. Michel Bohnen and Heinz Tietjen followed them as directors. On returning to Germany in 1954, Ebert resumed
leadership of the company and staged numerous operas by Verdi and Mozart, as
well as many of the great modern classics of Hindemith, Alban Berg, Orff and
Weill. Ebert also revived operas by Rossini and Cherubini and often staged the
works of his contemporaries, especially these of Hans Werner Henze. In 1963
the group was invited to perform at the inauguration of the Nissei Theatre in
Tokyo. Since the fall of 1965, Lorin Maazel has been the Opera's general musical
director; working with Gustav Sellner, the artistic director, he has presented
many new works for the first time. In Mexico City, the company performed two
Mozart operas"Cosi fan t u t t e " (upper left), directed by Ferdinand Leitner, and
"The Marriage of Figaro" (lower left), under the direction of Heinrich Hollreiser
as well as the "Elegy for Young Lovers" (opposite), written and directed by
Hans Werner Henze. The Berlin Opera's performances gave the Mexican public
an opportunfty to become familiar two excellent operas by Mozartadmirably sung by the choir led by Walter Hagen-Grolland to appreciate Henze's
contemporary opera, which presents a tragic view of the human condition.
MAURICE CHEVALIER-Ne a Menilmontant le 12 septembre 1887, il est devenu

I'un des mythes les plus surprenants de I'histoire du music-hall. A 17 ans,
il fait a I'EI Dorado Club la connaissance de Mistinguett qui I'invite a
monter avec elle un numero aux Folies-Bergere et "le petit Chevalier" tourne
quelques comedies musicales en France et se produit dans plusieurs cafes.
Depuis lors il est connu de tous les publics dont il est devenu i'idole. Ceux
qui I'ont entendu dans sa jeunesse ont fait de son nom le synonyme de toute
une epoque. Ceux qui I'ecoutent aujourd'hui admirent cette grande figure
avec la nostalgie d'un passe qui, grace a lui, n'est pas tout a fait revolu. Sur
la scene des theatres, sur les ecrans de cinema et de television ou dans
I'intimite des cafes, Maurice Chevalier continue seu! a perpetuer son propre
mythe et une epoque qu'il a vecue mais qu'il a aussi modelee a sa guise.
MAURICE CHEVALIER This legendary figure of the entertainment world was

born on September 12, 1887, in Menilmontant, Paris. At seventeen, he was seen
while performing at the El Dorado Club by Mistinguett, who invited him to join
her in an act at the Folies Bergere, "Le Petit Chevalier" began to appear frequently in French musicals, movies and cafes, and has since then become the
international idol of millions. To those who heard him in his youth, his name
is synonymous with an era; to those who hear him today, this great figure
evokes nostalgia for an epoch of the past which has been prolonged by his
memorable performances. Alone on the stage, in the intimate atmosphere of
caf^s, and on the movie and television screen, Maurice Chevalier continues
to perpetuate his own myth and to immortalize an era of which he is a
product but whose image he also helped to create.
DUKE ELLINGTON-Ce "genie complet", comme I'ont surnomme avec raison les
meilleurs critiques musicaux du monde, s'exprime dans une gamme tres nuancee et entierement originale. Excellent compositeur, arrangeur, pianiste et
chef d'orchestre, "Duke" (ci-contre) a remporte des succes si nombreux et si
varies qu'ils echappent a toute classification. Compositeur par excellence, il
a ecrit un nombre incalculable de chansons, de pieces instrumentales et des
comedies musicales imperissables.
DUKE ELLINGTON This "total genius," as many discerning critics throughout

the world have called him, expresses himself through a full range of shadings
and a style of unchallenged distinction. An excellent composer, arranger,
pianist and orchestra leader, "Duke" Ellington (right) has achieved such varied
and numerous successes that they defy all classification. A composer par
excellence, he has written innumerable songs, instrumental pieces and musical
comedies, whose popularity has not diminished through the years.
DAVE BRUBECK (a gauche avec Mulligan), peut-etre le plus celebre pianiste de

jazz du monde, dissolvait il y a quelque temps son quartette forme il y a dix
ans afln de se consacrer plus completement a la composition. Extremement
populaire au Mexique, il a constitue un nouvel ensemble specialement congu
pour ses presentations dans ce pays. Me a New York, GERRY MULLIGAN (saxo)
a fait de brillants debuts dans I'orchestre de Gene Krupa durant les annees
40. Compositeur et arrangeur de talent, il est universellement reconnu comma
I'un des artistes qui ont le plus contribue a revolution du jazz moderne.
HERBIE MANN (ci-dessous) doit sa celebrite au fait d'avoir introduit la flute
et les musiques ethniques dans les formations et le repertoire du jazz et de
la bossa nova. En 1960, il a parcouru I'Afrique en compagnie de ses musicians,
Roy Avars, Warren Sharrock, Bruno Carr et Mirislav Votous. CLEA BRADFORD,
qui accompagna catta formation, chante dans des cabarets et des salles de
concert depuis plus de dix ans. Selon las critiques, "elle a I'oreillaâussi
musicala que Sarah Vaughan et une voix aussi limpida qu'Ella Fitzgerald." Avec
Earl Mines elle a effectua une tournee en Union Sovietique.
DAVE BRUBECK (opposite, with Garry Mulligan) Perhaps the most celebrated
jazz pianist in the world, Dave Bruback recently dissolved his quartetwhich
he had formed sixteen years agoin order to concentrate fully on composing.
Extremely popular in Mexico, he made up a new ensemble especially for his concerts in this country. Born in New York, saxophonist GERRY MULLIGAN made a
brilliant debut with the orchestra of Gene Krupa in the 'forties. A talented
composer and arranger, he is universally recognized as one of the artists who
have made the most significant contributions to the evolution of modern jazz.
HERBIE MANN (below left) This wall-known musician owes his fame to his
introduction of the flute and ethnic music to the repertories of jazz and
bossa nova groups. In 1960, he toured Africa with his musicians, Roy
Avers, Warren Sharrock, Bruno Carr and Mirislav Votous. CLEA BRADFORD (below,
right), the group's vocalist, has been singing in cabarets and concert halls
for more than ten years. According to the critics, "she has as musical an ear
as Sarah Vaughan's and a voice as clear as Ella Fitzgerald's." She recently made
a highly successful tour of the Soviet Union with Earl Hines.
I
I
formations de jazz des dernieres annees.
GEORGE WEIN (below) - An outstanding jazz pianist of diverse talents,

George Wein was also the dynamic organizer who put together the first jazz
festival in Newport in 1954. Later taking on the name of this New England
town, the world-famous Newport Jazz Festival has become the most important
annual event in American jazz. In Mexico City, Wein presented a jazz concert
in collaboration with the quintet of JULIAN "CANNONBALL" ADDERLEY (opposite,
above), one of the most popular jazz groups of recent years.
WOODY HERMAN (page de gauche, en bas) est, depuis les annees 40, age d'or
des orchestres de jazz durant lequel il dirigeait des formations celebres tel son
populaire "Third herd", Tun des grands noms du jazz americain. Nombre de
ses vedettes actuelles ont fait leur debut dans les bands de Woody.
Excellent clarinettiste, il a forme dernierement un nouveau "herd" (troupeau)
qui, selon les critiques et Herman lui-meme, est de loin "le meilleur qu'il ait
jamais dirige. C'est avec cet ensemble qu'Herman s'est presente a Mexico.
WOODY HERMAN (opposite, below) - Since the golden years of the big bands of
the forties, in which he directed groups such as his famous "Third Herd,"
Woody Herman has been one of the outstanding names in American jazz. Many
of today's jazz stars "graduated" from various groups led by Woody. A great
clarinetist, he recently formed a new "herd" which, according to the critics
as well as to Herman himself, is the best he has ever had. He performed with
this group in Mexico City and in various other cities throughout the country.
GEORGE WEIN (ci-dessous) sembie posseder tous les talents. Excellent

pianiste de jazz, il est aussi un organisateur dynamique qui, en 1954, a cree
a Newport le Festival qui depuis porte le nom de cette ville et constitue pour
tout le continent americain un evenement musical d'une importance capitale.
A Mexico, il s'est presente aux cotes du Quintette que dirige JULIAN "CANNONBALL" ADDERLEY (page de gauche, en haut), 1'une des plus celebres
SWINGLE SINGERS-En depit de son nom (celui de son directeur Ward Swingle),
cet ensemble qui chante Bach en jazz est frangais. 11 s'est forme en novembre 1962 a partir d'un petit groupe de chanteurs qui, voulant accroitre
leur agilite vocale, s'entrainerent sur les oeuvres du musicien qu'iis admiraient
le plus: Jean-Sebastien Bach, lis se rendirent compte qu'iis "swinguaient" tout
naturellement sa musique. Pourquoi ne pas essayer d'y ajouter une contrebasse et une batterie? lis enregistrerent plusieurs disques et, en mai 1964,
turent invites par le president Johnson a donner un recital a la Maison Blanche.
Ward Swingle a ete pianiste accompagnateur de Zizi Jeanmaire et, pendant
cinq ans, a dirige I'orchestre des Ballets de Paris de Roland Petit. Christiane
Legrand (en bas a gauche) chante dans ce groupe.
TRIO JACQUES L0USS1ER "PLAY BACH" (ci-contre).-Desireux de creer une
sonorite et une technique nouvelles, Loussier a concu des arrangements originaux permettant a un trio, au sein duquel 11 tient le piano, de s'exprimer
ensemble et pourtant individuellement. Depuis quelques annees, 11 compose
pour le cinema, la television, le ballet et le theatre. Son contrebassiste,
Pierre Michelot, a remporte en 1962 le prix Django Reinhardt decerne par
I'Academie de Jazz de Paris. En 1949, il a participe au Defile international
de Jazz avec Don Byas. Christian Garros, le batteur, a debute dans le
Quintette du Hot Club de France avec Django Reinhardt et etudi.e avec Jacques
Helian. A Mexico, le trio a donne, outre sa presentation au Theatre des
Beaux-Arts, un concert au Musee de la ville.
255
MaS
SWINGLE SINGERS This is the famous vocal ensemble that interprets Bach
in a jazz idiom. In spite of its name (that of the director. Ward Swingle), the
group is of French origin. It was formed in November, 1962, by a few singers
who, in order to develop vocal versatility, amused themselves by exercising
with the works of their favorite musicianJohann Sebastian Bach. They soon
realized that they instinctively sang Bach with jazz rhythms, "swingling" the
music. Why not add a bass and drums and record the result? They made several
records and in May, 1964, were invited by President Johnson to give a recital
at the White House. Ward Swingle has been an accompanist for ballerina Zizi
Jeanmaire and orchestra conductor with the "Ballets de Paris of Roland
Petit. Christiane Legrand (opposite, lower left) is the soloist of the group.
JACQUES LOUSSIER "PLAY BACH" TRIO (right) In search of a new sound and
a different technique, Jacques Loussier has created original arrangements of
works by Bach that permit a trio made up of a piano (played by Loussier), bass
and drums to play together and individually at the same time. He also
composes for television, cinema, ballet and the theatre. His bassist, Pierre
Michelot, won the Django Reinnhardt Prize of the Paris Jazz Academy in 1962.
In 1949 Michelot participated in the International Parade of Jazz with Don
Byas. Christian Garros, the drummer, debuted with the Hot Club Quintet in
France with Django Reinhardt and studied with Jacques Helian. In addition to
their performances at the Palace of Fine Arts, the Jacques Loussier Play
Bach" Trio gave a well-received concert at the Museum of the City of Mexico.
4
COMPAGNIE JACQUES MAUCLAIR Au theatre Jimenez Rueda, la compagnie
formee par Jacques Mauclair a presente en hommage a Eugene lonesco deux
programmes ou figuraient trois de ses oeuvres; "Le Roi se meurt , La Leôn
et "Les Chaises'Mes deux dernieres appartiennent deja au repertoire classique
tandis que "Le Roi se meurt" perd peu a peu i'aura d'avant-garde generaiement
associee a toute i'oeuvre d'ionesco. Jacques Mauclair et les acteurs de sa
compagnie ont presente a Mexico trois excellentes mises en scene et nous ont
revele un monde qui, a force de lieux communs ressasses, se croyait limite et
meme enferme dans des roles mineurs. Tsilla Chelton, la premiere actrice de la
troupe, a cree diverses pieces d'ionesco dont "Les Chaises", "Victimes du
devoir" et "Jacques ou la Soumission". A son repertoire figurent egalement
les oeuvres de plusieurs dramaturges celebres, Shakespeare et Brecht entre
autres. Bien que specialiste d'ionesco, Jacques Mauclair a aussi monte des
pieces de Pirandello. "Mauclair et moi a declare lonesco avons livre de
rudes batailles. Avec lui pourtant, je suis tranquille. Quoi qu'il arrive, il garde
la foi. Rien ne peut entamer son courage ni son optimisme. Nous continuerons
aussi longtemps que nous ferons du theatre. Nous sommes unis."
lipWife
JACQUES MAUCLAIR COMPANY - At the Jimenez Rueda Theatre, the company
formed by Jacques Mauclair presented two programs in honor of Eugene
lonesco, including "Exit the King," "The Lesson," and "The Chairs.'^ The
latter two plays are now part of classic repertory, and "Exit the King" will
soon take its place along with them as it loses the "vanguard" quality that
characterizes all of lonesco's works when they first appear. The eloquent
performances of Jacques Mauclair and his company permitted the audience
to enter a world that, filled with commonplaces, gave the illusion of being
limited and even enclosed by minor attributes. Tsilla Chelton, the group's
leading actress, has appeared in a number of lonesco plays, among them
"The Chairs," "Victims of Duty" and "James or the Submission," as well as
in works by Shakespeare, Brecht and other dramatists. Although Jacques
Mauclair has made the theatre of lonesco his specialty, he has also directed
plays by Pirandello and others. "Mauclair and 1," lonesco has said, have
fought many a difficult battle together. His presence is reassuring. Come
what many, he keeps faith. His optimism and courage are unshakable. We
will continue together as long as we are in the theatre. We are united.
THEATRE-LABORATOIRE GR0T0WSK1 - Ne en 1933, Jerzy Grotowski a complete

a Moscou, en Chine et dans d'autres pays ses etudes theatrales commencees
au Conservatoire de Cracovie. En 1959, il prend la direction du TheatreLaboratoire et envisage la mise en scene comme une activite autonome ou
le spectacle doit prendre le pas sur ie texte. 11 s interesse de plus en plus
au probleme de I'acteur: i'essentiel est ce qu'il veut exprimer, la technique
ne jouant qu'un role secondaire. Pour lui, le theatre n est pas la litterature
qui n'en est que la source d'inspiration ni meme la mise en scene, mais
bien une relation acteur-spectateur. Par sa seule presence le public se transforme en effet en co-createur de I'oeuvre. Le Theatre-Laboratoire est ainsi
devenu une sorte d'institut de recherches. Forme il y a dix ans a Opole,
une petite ville de Silesie, le groupe s'est ensuite installe a Cracovie puis
a Breslau, son siege actuel. A Mexico, il a presente "Le Prince constant",
une remarquable adaptation du texte de Calderon par le "romantique polonais,
J, Slovacki. Cependant, il ne s'agissait pas pour Grotowski de suivre a la
lettre le texte classique, mais plutot de donner sa propre interpretation de
la piece. Le rapport entre cette vision et I'original peut se comparer aux
relations existant en musique entre le theme et ses variations.
S1- J
- îST :. -;
;..
W^
.
/l:^:
H^'
P i m:
lM
U_
_^("
%'
. 1
'
&
' !
fe s
'^v, m
-i''
'
5s.--
'.: "
GROTOWSKI LABORATORY THEATRE - Born in 1933, Jerzy Grotowski studied

theatre at the Cracow Conservatory and later in Moscow and in China and other
countries. In 1959 he became director of the Opole Laboratory Theatre. From
the beginning, Grotowski considered directing an independent activity in
which the production must take precedence over the text. He became increasingly concerned with the problems of the actor, and came to consider most
essential whatever it is the actor wishes to express, technique being limited
to a secondary role. For Grotowski, theatre is neither literaturewhich
serves only as inspiration-nor direction; it is above all the relationship
between actor and audience. By its mere presence, he believes, the public
becomes a virtual co-creator of the work. The Laboratory Theatre, which
has become a sort of institute of investigation, was formed ten years ago
in Opole, western Poland, later moving to Cracow and finally to Breslau,^ its
present headquarters. In Mexico City, it presented "The Invincible Prince in
an excellent adaptation of Calderon's original text by the Romantic Polish
writer J. Slovacki. Grotowski made his own interpretation of the classic work;
the relationship between the original and his version may be compared to
that which exists in music between the main theme and its variations.
THEATRE NO ET KYOGEN Le No, representation symbolique et raffinee du

sentiment humain, et le Kyogen, expression satirique et realiste, furent crees
entre les XlVe et XVe siecles par Kannami et son fils Zeami. Avec ses dieux
et ses heros historiques, ia premiere de ces deux formes theatrales a pour
attributs la musique ainsi que le masque et la mise en scene, lesquels sont
traditionnellement immuables. Le Kyogen par contre reste en contact avec la
realite quotidienne, le comique et les travers communs a tous les etres
humains. Lors de la restauration Meiji (1868), le Japon s interessa de plus en
plus aux civilisations etrangeres et le No disparut avec sa protectrice officielle,
i'aristocratie. Apres la Seconde Guerre mondiale, les jeunes et les etudiants
se passionnerent pour la rehabilitation des valeurs nationales et des traditions
culturelles de leur pays. Par ailleurs, plusieurs dramaturges, poetes et intellectuels Yeats, Cocteau et Jean-Louis Barrault entre autres se sont
interesses au No, non pas tant pour son exotisme que pour ses possibilites
esthetiques et pour le monde serein, abstrait, symbolique, subtilement parfait
qu'ji depelnt. La celebre troupe japonaise a presente au Mexique deux programmes ou alternaient, comma le veut I'usage, deux spectacles No et une piece
Kyogen en entracte. Au premier figuraient "Le fleuve Sumida" (ci-contre en
bas), "Attaches a un baton" et "La princesse Aoi" (page de gauche), tandis
que'le second comportait "Le fardeau de I'amour", "Le voleur de melons"
(ci-contre en haut) et "Benkei dans la barque (au centre).
....
263
NOH AND KYOGEN THEATRE - Noh, an extremely symbolic and refined dramatic
expression of human sentiments, and Kyogen, satirical and realistic, were
created in Japan between the fourteenth and fifteenth centuries by Kannami
and his son Zeami. Deeply rooted in Japanese traditions, with numerous gods
and historical heroes, Noh drama is characterized by its distinctive music,
wooden masks and minimum of stage scenery, the latter two components
traditionally invariable. In contrast, Kyogen keeps close to the daily reality
of life, basing its irony and comedy on the weaknesses common to all men.
During'the Meiji restoration (1868), the Japanese became increasingly interested
in Western culture, and the Noh theatre disappeared along with the aristocracy, its official protector. In the post-World War II period, Japanese
young people and students became caught up in the rediscovery of their
traditional national culture and values. Many dramatists, poets and
intellectuals, among them Yeats, Cocteau and Jean-Louis Barrault, have taken
a deep interest in Noh, not for its exotic attraction but for its esthetic possibilities: an abstract, symbolic, serene world of exceptional and subtle beauty.
In Mexico City, the famous Japanese company presented two programs in
which, as is customary, a Kyogen interlude of comic relief was interpreted
between two Noh works. The first program included "Sumida River" (lower
right), "Tied to a Pole," and "Princess Aoi" (opposite); the second program
was composed of "The Burden of Love," "The Melon Thief" (upper right),
and "Benkei in the Barque" (center right).
PIRAIKON THEATRON Cet ensemble a presente a Mexico plusieurs tragedies

grecques dont "Hippolyte", "L'Orestie" et "Iphigenie en Aulide". Son directeur
Dimitrios Rondiris a administre le Theatre national grec entre 1946 et 1950,
puis a nouveau entre 1953 et 1955, periode durant laquelle il a aussi organise
le premier Festival de drame antique au theatre d'Epidaure. Apres avoir fonde
en 1957 le Piraikon, il a effectue avec sa troupe une tournee en Europe en 1960
et a pr6sent6 avec sa compagnie 515 spectacles de tragedie grecque classique
en Europe, en Asie et en Amerique. Collaboratrice de Rondiris depuis ses
dibuts, Loukia a cree la choregraphie de tous les spectacles montes par cet
artiste notamment les "Perses" d'Eschyle presentes au festival de Vicence
en 1966 et en 1967, le Comite organisateur olympique I'a invitee a monter
le spectacle grec du "Ballet des Cinq Continents". Konstaatinos Kydoniatis,
qui a compose la musique d'accompagnement du spectacle, est directeur honoraire de I'orchestre de Radio-Athenes.
PIRAIKON THEATRON In Mexico City this group presented several Greek

tragedies, among them "Hippolytus," "The Oresteia" and "Iphigenia in Aulis."
Dimitrios Rondiris, the director, studied in Berlin and Vienna. He directed
the Greek National Theatre from 1946 to 1950 and again from 1953 to 1955,
when he organized the first Festival of Ancient Drama at the ancient theatre
of Epidaurus. In 1957 he founded the Piraikon Theatron, and in 1960 he and
his group toured many European cities; since 1961 they have presented 515
performances of ancient Greek drama in Europe, Asia and America. Loukia
has worked with Rondiris since the beginning of her career and has choreographed all of the classical tragedies he has staged since 1957, including
Aeschylus' "The Persians" at the Festival of Vicenze in 1966. In 1967 she
was invited to create the Greek choreography for the "Ballet of the Five Continents" in Mexico City. Konstantinos Kydoniatis, who composed the Piraikon's
musical accompaniment, is honorary director of the Radio Athens Orchestra.
LA LANTERNE MAGIQUE "Ce nom, affirment les directeurs, acteurs et animateurs de I'ensemble tchecoslovaque, nous est revenu a la memoire il y a
quelque temps comme le souvenir d'un jouet ou des premiers essais de projection d'images." Double reminiscence qui a preside a la creation d'un
spectacle inhabituel, d'un nouveau moyen d'expression, d'un nouveau langage
"ou se rejoignent statistiques et poesie, images fixes et animees, danses
rapides et enregistrements musicaux." La Lanterne Magique est une combinaison de theatre et de cinema, une rencontre dans laquelle aucun des
deux elements constitutifs ne prend le pas sur I'autre. Le spectacle oscille
entre I'un et I'autre, son principe directeur n'etant pas la somme de ces deux
moyens d'expression, mais un troisieme facteur resultant de leur dialogue.
Dialogue qu'on trouve dans divers sketchs illustrant la vie quotidienne d'un
pays; dans la superposition de la scene et de I'ecran, dans les truquages et
les montages, dans une conception tres libre de I'espace et du temps.
THE MAGIC LANTERN - "Until recently," explain the members of this Czechoslovakian group, "the very name 'The Magic Lantern' brought to mind either a
parlor game or the earliest attempts to project black and white images."
They united these two aspects to create an unusual spectacle, a different
medium of expression, a new language "that combines statistics and poetry,
animated and stationary images, live dances and recorded music." The
Magic Lantern is basically a combination of theatre and cinema, but neither its theatrical nor cinematic components is accompanied or supplemented by the other, both being given equal importance. Although a performance
alternates between the two, the fundamental aim is not the sum of the
two parts, but rather a third f a c t o r - i t s crucial p o i n t - t h e dialogue of both.
This dialoguea blend of screen, live stage, sets, scenic tricks and effects,
and the free handling of time and space-is used in The Magic Lantern to
present multiple aspects of the daily life of modern Czechoslovakia.
rr
THEATRE DE CHAMBRE D'ALLEMAGNE Cette compagnie, que dirigent Werner

Kraut, Karl Vibach et Jacques Arndt, a presente au theatre Jimenez Rueda "Les
Complices", comedie en un acte de Goethe adaptee par N. Costa, La grande
colere de Philipp Hotz" de Max Frisch, "L'Opera de quat'sous" de Bertolt
Brecht sur une musique de Kurt Weill (page de gauche, en haut), "Le Boyfriend"
de Sandy Wilson (page de gauche, en bas), "Pierrot va dans la lune" de Gerdt
von Bassewitz et "Le grand Theatre du Monde" de Calderon de la Barca (cidessus) dans une traduction de Joseph von Eichendorff a partir de vers libres
de Hugo von Hoffmannsthal. Le Theatre de Chambre, fonde en 1950 et en partie
subve.ntionne par la Republique federale d'Allemagne, a done presente au
Mexique des classiques du theatre mondial Goethe, Calderon
une piece
de Max Frisch, Tun des grands noms de la litterature allemande contemporaine,
et "L'Opera de quat'sous" que le talent de Brecht et de Weill a consacre
comme I'un des chefs-d'oeuvre litteraires de notre epoque.
GERMAN CHAMBER THEATRE - At the Jimenez Rueda Theatre this company,

directed by Werner Kraut, Karl Vibach and Jacques Arndt, presented "The
Accomplices," a comedy in one act by Goethe, adapted by N. Costa; "The
Great Anger of Philipp Hotz," by Max Frisch; "The Threepenny Opera" (opposite, above) by Bertolt Brecht, with music by Kurt Weill; "The Boyfriend"(opposite, below) by Sandy Wilson; "Peter's Trip to the Moon," by Gerdt von
Bassewitz; and "The Great Stage of the World" (above) by Calderon de
la Barca, translated by Joseph von Eichendorff and with free verse by Hugo
von Hoffmannsthal. In Mexico City the Chamber Theatre, founded in 1950
and partly subsidized by the Federal Republic of Germany, thus presented
several classics of world theatreworks by Goethe and Calderon, a play
by Frisch, one of the great names in contemporary German theatre, and
"The Threepenny Opera," in which Brecht and Weill combined their talents
to produce one of the theatrical masterworks of our time.
ATELIER DRAMATIQUE DE CUBA Les membres de I'Atelier dramatique, cree au

debut de I'annee 1966, sont unis par la poursuite d'un ideal commun, d'un
objectif net et precis: trouver un genre scenique authentiquement national,
susceptible de personnaliser leurs travaux tout en favorisant revolution et
rorientation de I'art dramatique cubain. Depuis leurs debuts, ils se sont attaches a presenter a cote d'un repertoire universel, les auteurs de leur pays
auxquels ils ont donne une importance croissante au cours des dernieres
annees. En 1966, la troupe a obtenu une mention speciale au Vie Festival d'Art
dramatique latino-americain pour sa mise en scene de "Quelques hommes et
d'autres encore" de Jesus Diaz, piece que, a la demande de plusieurs critiques,
elle a egaiement donnee dans des villes de province mexicaines. A Mexico
eile a presente "Air froid" de Virgilio Pinera, I'un des meilleurs auteurs de la
litterature cubaine moderne, et "La corde au cou" de Manuel Reguera Saumell.
Ces spectacles etaient diriges par Gilda Hernandez, Humberto Arenal et I excellente actrice Liliam Llerena. "La Corde au cou" rend compte des contradictions
survenues au sein d'une famille bourgeoise a la suite des bouleversements
sociaux du pays. "Air froid" montre, a travers les diverses etapes traversees
par une famille cubaine, revolution du pays tout entier. Enfin, "Quelques
hommes et d'autres encore" est une adaptation des contes reunis par Jesus
Diaz dans "Les annees difficiles".
DRAMA WORKSHOP OF CUBA - The members of the Drama Workshop, established at the beginning of 1966, are united by their pursuit of an idea, a
clear and definite end; the development of an authentic national stage form
that will give identity to their work and direction to the dramatic art of
Cuba. From the beginning, their repertory has included-in addition to great
works of world theatre-many excellent Cuban plays, to which they have
given increasing importance in recent years. In 1966 the group received
First Mention at the VI Festival of Latin American Theatre, held in Havana,
for their presentation of "Some Men and Still Others, by Jesus Diaz. In
Mexico City, the Dramatic Workshop presented "The Noose Around the Neck,
by Manuel Reguera Saumell and "Cold Air," by Virgilio Pinera, one of the
most outstanding contemporary Cuban authors. The group also toured several
cities of the Mexican provinces and, on the request of various critics, again
presented Diaz' "Some Men and Still Others." The plays were directed by
Gilda Hernandez, Humberto Arenal and the fine actress Liliam Llerena.
"The Noose Around the Neck" portrays some of the contraditions^ produced in a bourgeois family by their country's social upheaval; Cold
Air" presents various moments in the life of a Cuban family, at the same
time giving a view of national dimensions; and "Some Men and Still Others
is the theatrical adaptation of a group of stories collected by Jesus Diaz
in his book entitled "The Difficult Years."
LA GROTTE DE SALAMANQUE La direction de cette oeuvre de Juan Ruiz de

Alarcon avait ete confiee a Hector Mendoza, metteur en scene qui a su redonner vie aux grands classiques. Les decors et les costumes avaient ete realises
par le peintre Kasuya SakaT et la musique par Carlos Lyra, le celebre renovateur
de la bossa nova. La piece enfin etait jouee par une excellente troupe de
jeunes acteurs (extreme gauche: Sergio Klainer dans le role d Enrico).
LA CELEST1NE
Cette oeuvre de Fernando de Rojas etait montee par le Theatre
classique du Mexique, qui reprenait ainsi son premier spectacle, presente il y
a quinze ans dans une adaptation de son directeur et fondateur, Alvaro Custodio. Le role de la Celestine etait tenu par Virginia Manzano (page de gauche,
a droite), I'une des vedettes les plus admirees de la scene mexicaine, qui, avec
cette creation, a ajoute un nouveau succes a une longue et triomphale carriere.
L'acteur Miguel Corcega a pour sa part re?u un prix pour" cette interpretation.
LA TRAGIQUE HISTOIRE D'HAMLET, PRINCE DE DANEMARK - Alvaro Custodio et
son Theatre classique du Mexique ont monte cette tragedie shakespearienne
dans le cadre splendide du chateau de Chapultepec (a droite). Custodio est
egalement I'auteur de la traduction en vers libres dans laquelle etait jouee
la piece. La musique d'accompagnement etait signee Joaquin Gutierrez Heras
tandis que Jorge del Campo tenait, aux cotes de plusieurs acteurs celebres,
le role du prince.
273
THE CAVE OF SALAMANCA This play by Juan Ruiz de Alarcon was directed
by Hector Mendoza, who has brought numerous great classics to life on the
stage. The costumes and scenic design were the work of Argentine painter
Kasuya Sakai, and the music was written by Carlos Lyra, one of those responsible for the revival of the bossa nova. The play was enacted by a fine
group of young artists (opposite, left: Sergio Klainer in the role of Enrico).
LA CELEST1NA This work by Fernando de Rojas was presented by the Classical Theatre of Mexico," repeating the production of fifteen years ago with
which director Alvaro Custodio founded the company. The title role was
played by Virginia Manzano (opposite, right), one of Mexico's leading actresses,
who added another triumph to her long and successful career with her
interpretation of the title role. Actor Miguel Corcega was awarded a prize
tor his excellent portrayal of Sempronio in this production of the classic
sixteenth-century Spanish masterpiece.
THE TRAGIC HISTORY OF HAMLET, PRINCE OF DENMARK (right) - Alvaro Custodio and his Classical Theatre of Mexico staged this Shakespearean tragedy
against the splendid setting of Chapultepec Castle. Custodio is also the
author of the blank-verse translation used in the Mexican production. Young
composer Joaquin Gutierrez wrote the play's musical accompaniment and
Jorge del Campo, supported by an outstanding cast of Mexican actors, gave
a masterful performance in the role of the prince.
LES PETiTS RENARDS Cette celebre piece de Lillian Hellman a permis a

Jose Sole de demontrer I'extraordinaire aisance avec laquelle il evolue dans
tous les genres sceniques: tragedie classique, farce, melodrame et comedie
de moeurs. Par ailleurs, son excellente mise en scene a confirme son talent
de directeur des "monstres sacres" du theatre mexicain: Carmen Montejo
(ci-contre), Arturo de Cordova (en bas a gauche), Marga Lopez et Carlos
Lopez Moctezuma, vedettes qui ont maintenu ce spectacle a I'affiche pendant
plusieurs mois dans la capitale.
MARAT-SADE Toni Sbert, le decorateur de cette oeuvre de Peter Weiss, a fait
symboliquement evoluer les malades, qui sont a la fois observateurs et acteurs
du dialogue entre Marat et Sade, dans une gigantesque ruche. Ce decor qui
recree un monde aussi reel qu'hallucinant a valu a son auteur un prix decerne
par les critiques de theatre mexicains. La piece reunissait les acteurs suivants:
Angelica Maria (page de droite, en haut), Sergio Jimenez et Wolf Rubinsky
(page de droite, en bas). L'adaptation musicale etait due a Alicia Urueta tand's
que la mise en scene etait signee Juan Ibanez.
THE LITTLE FOXES - This well-known play by Lillian Hellman gave director
Jose Sole an opportunity to again demonstrate his mastery of a wide variety
of dramatic genres: classical tragedy, farce, melodrama, morality. His excellent staging of Miss Hellman's work also confirmed his talent at directing
some the "sacred geniuses" of the Mexican theatre; Carmen Montejo (upper
left), Arturo de Cordova (lower left), Marga Lopez and Carlos Lopez Moctezuma,
all of whom gave several months of consistently brilliant performances during
the run of "The Little Foxes" in Mexico City.
MARAT/SADE - As a symbolic setting for the patients who observe and unwillingly participate in the dialogue between Marat and Sade in this Mexican
premiere of Peter Weiss' play, scenographer Toni Sbert created a gigantic
beehive; his construction of this real as well as hallucinatory world won
him a prize from the Mexican theatrical critics. Among the actors who
contributed to the production's success were Angelica Maria (opposite, above),
and Sergio Jimenez and Wolf Rubinsky (opposite, below). "Marat/Sade" was
directed by Juan Ibanez and the musical adaptation was by Alicia Urueta.
I
0- ^
'
\
iE:
I'
W! '
i-;
.,- **mm.
LA BONNE AME DE SE-TCHOUAN Piece de Bertolt Brecht adaptee et mise en

scene par Xavier Rojas qui en a fait un spectacle musical sans toutefois rien
enlever a la structure et au message du texte original. La choregraphie avait
ete confiee au celebre danseur Guillermo Keys, tandis que le role de Chen-Te
etait tenu par Virma Gonzalez (ci-dessus), actrice intelligente et subtile a qui
ses interpretations de comedies musicales ont valu une renommee meritee.
THE GOOD WOMAN OF SZECHWAN - Xavier Rojas adapted and directed this
work by Bertolt Brecht, converting it into a musical without allowing the
vital underlying structure and message of the original text to be lost. The
choreography was by the outstanding dancer Guillermo Keys, and the role of
Shen Te was portrayed by Virma Gonzalez (above), a subtle and intelligent
dramatic actress who is also an excellent interpreter of musical comedies.
LE ROI SE MEURT Cette oeuvre de lonesco etait mise en scene par Alexandre, Tun des r^novateurs du theatre mexicain. Ignacio Lopez Tarso (page
de droite), Tun des plus grands acteurs du Mexique, tenait le role principal,
tandis que les deux epouses du roi etaient interpretees par Maria Teresa
Rivas et Martha Navarro. Artiste accomplie, Leonora Carrington a grandement
contribue au succes.de la piece avec ses decors surrealistes.
EXIT THE KING - This play of lonesco's was directed by Alexandre, who has
brought many changes to the theatre in Mexico. Ignacio Lopez Tarso (opposite),
one of the country's most accomplished actors, interpreted the title role, and
Maria Teresa Rivas and Martha Navarro gave fine performances as the king's
first and second wives. Many-talented artist Leonora Carrington contributed
a characteristically surrealistic set design to the work's success.
PEUPLE PR0SCR1T Auteur de romans, Vicente Lefiero a amorce sa carriere de

dramaturge avec cette piece dans laquelie il donne un temoignage poignant
d'une situation tres particuiiere vecue par un catholique pratiquant dans ie
Mexique d'aujourd'hui. Le prix "Biblioteca Breve" que iui a decerne en 1963
la maison d'edition de Barcelone, Seix Barral, pour son roman "Les Magons"
Iui a assure une place de premier plan dans la jeune litterature mexicaine. Le
conflit qu'il decrit dans "Peuple proscrit" a ete splendidement interprete par
Enrique Lizalde (page de gauche), I'un des plus celebres jeunes premiers du
cinema et de la television, mais aussi I'un des acteurs les plus sensibles et
les plus intelligents de la scene mexicaine.
LES TENTATIONS DE MARIE L'EGYPTIENNE Se fondant sur deux lignes d'un
poeme hagiographique anonyme du Xllle siecle, Miguel Sabido a congu sept
tentations en les completant d'extraits de divers auteurs. Ce spectacle s est
converti en un veritable festival Maria Douglas (ci-contre en bas), consideree
a juste titre comme la plus grande tragedienne mexicaine. Cette actrice a
redonne vie aux roles feminins les plus dramatiques du theatre d'hier, d'aujourd'hui et de toujours.
A PEOPLE REJECTED - Novelist Vicente Lefiero began his career as a dramatist

with this play, a moving depiction of the critical situation in which a practicing Catholic finds himself in modern-day Mexico. Lehero's novel "The Stonemasons" won the "Biblioteca Breve" prize of the Barcelona publishing house
Seix Barral in 1963, a distinction which assured him a prominent place
among young Mexican writers. In the stage production, the conflict described
by Lehero in "A People Rejected" was splendidly interpreted by Enrique Lizalde
(opposite), a celebrated leading man of Mexican television and cinema as
well as one of the country's most talented and sensitive actors.
THE TEMPTATIONS OF MARY THE EGYPTIAN - Using as a basis two lines from
an anonymous hagiographic poem of the thirteenth century, Miguel Sabido
created seven temptations, completing them from extracts of various authors.
The presentation of his work on the stage turned into a virtual Maria Douglas
Festival," Justly considered the greatest Mexican tragedienne. Miss Douglas
(lower right) has brought to life many of the most dramatic feminine roles
of classic as well as contemporary theatre.
MEDUSE Emilio Carballido est pour une large part responsable du renouveau
du jeune theatre mexicain. Romancier qui ^ plusieurs reprises a travail^ pour
le cinema, il est I'auteur de cette tragi-comdie en cinq actes dont la mise en
scene a te consider^ comme la meilleure de l'anne. Mercedes Pascual et
Xavier Marc ont 6galement re?u des prix pour leurs interpretations de
Meduse et de Persee. Patronne par I'lnstitut national des Beaux-Arts," Meduse"
renouveau du mythe grec de la Gorgone qui vit, aime et meurt a et
presentee au theatre Jimenez Rueda dans une mise en scene de Jose Sol.
MOCTEZUMA II Tout comme Carballido, Sergio Magafia a contribue a I'apparition au Mexique d'une nouvelle forme d'criture M a t r a l e . Dans"Mocte2umair
il relate la tragedie d'un homme qui, ignorant son temps, fut d^truit par les
dieux: I'image pathetique d'un empire condamn6 ^ mourir. La mise en scfene
etait signee Alexandre et le role de Moctezuma tenu par le grand acteur Ignacio
L6pez Tarso (ci-contre).
MEDUSA - Emilio Carballido is in large part responsible for the growth and
development of the young Mexican theatre. A writer of novels and short
stories who has worked in the cinema as well, Carballido is also the author of
"Medusa," a tragicomedy which was considered the best Mexican theatrical
work of the year. Mercedes Pascual and Xavier Marc were awarded prizes
for their portrayals of Medusa and Perseus, respectively. A re-creation of
the Greek myth of the gorgon who lived, loved and died, "Medusa"
was presented at the Jimenez Rueda Theatre in a production directed
by Jose Sole and sponsored by the National Institute of Fine Arts.
lliff i f e l n
MOCTEZUMA II - Along with Carballido, Sergio Magafia has contributed to

the development of a new form of theatrical writing in Mexico. In Moctezuma 11" he relates the tragedy of a man who did not live according to his
time and was destroyed by the godsthe pathetic symbol of a doomed empire. The three-act play was directed by Alexandre, and the role of Moctezuma
was interpreted by the great Mexican actor Ignacio Lopez Tarso (right).
m r -'
ifpv-
ass
PREMIER FESTIVAL DU NOUVEAU THEATRE LATINO-AMERICAIN (page de gauche)

II avait un double but: d'une part familiariser le public mexicain avec les oeuvres
du theatre latino-americain, d'autre part crêr k Mexico une salle permanente
consacree a ce repertoire. Coordonnê par le critique et dramaturge Sol6rzano, cette manifestation rûnissait des oeuvres de Ant6n Arrufat, Osvaldo
Dragun, Jose de Jesus Martinez, Elena Garro, Carlos Solbrzano, Oscar Manzur,
Pedro Juan Soto, Demetrio Aguilera Malta, Gustavo Andrade Rivera, Alberto
Canas, Josefina Pla, Rolando Steiner, Iv^n Garcia, Roman Chalbaud, Silveira
Sampaio, Isidora Aguirre, Julio Ortega et Alvaro Menendez Leal, tandis que les
mises en scene avaient te confines ei H. Mendoza, Alexandre, V. Mariel, J.
Castillo, X. Rojas et J.J.Gurrola.
LE CIMETIERE DES VOITURES (ci-contre) Cette piece d'Arrabal que presentait
le Theatre universitaire un groupe de jeunes artistes qui; selon le dramaturge
Hector Azar, "cherche a etablir une communication directe avec un public sans
cesse mieux informe" a regu le prix decerne par I'Association des Critiques
k la meilleure piece de I'annê. "Le Cimettere des voitures" a 6galement
revele Julio Castillo, excellent metteur en sc^ne qui possede un don exceptionnel pour diriger les acteurs. Les decors etaient signes Flida Medina et les
projections filmees, Marcelo Segberg.
FIRST FESTIVAL OF NEW LATIN-AMERICAN THEATRE (opposite page) - This festival had the double purpose of familiarizing the Mexican public with the
most significant works of Latin-American theatre and of creating in Mexico
City a permanent stage devoted to this repertoire. Coordinated by the critic
and playwright Carlos Solorzano, the festival presented one-act plays by
Anton Arrufat, Osvaldo Dragun, Jose de Jesus Martinez, Elena Garro, Carlos
Solorzano, Oscar Manzur, Pedro Juan Soto, Demetrio Aguilera Malta, Gustavo
Andrade Rivera, Alberto Canas, Josefina Pla, Rolando Steiner, Ivan Garcia,
Roman Chalbaud, Silveira Sampaio, Isidora Aguirre, Julio Ortega and Alvaro
Menendez Leal. The various works were directed by Hector Mendoza, Alexandre, Virgilio Mariel, Julio Castillo, Xavier Rojas and Juan Jose Gurrola.
AUTOMOBILE GRAVEYARD (right) - This play by Fernando Arrabal was presented by the Student Theatre, a group of young artists who, according to
dramatist Hector Azar, "are trying to establish more direct communication
with an increasingly aware audience." "Automobile Graveyard, which won
the Critics' Association prize for the best theatrical work of the year, also
offered convincing evidence of Julio Castillo's talent, imagination and sensitivity as a director. The sets for the production were designed by Felida
Medina and the films shown were by Marcelo Segberg.
NILO, MON FILS (page de gauche, en haut) Cette ptece d'Antonio Gonzalez
Caballero, montee par Luis Aragon dans des decors de Benjamin Villanueva
est une sorte d'etude anthropologique tendant ^ expliquer le pourquoi de la
naissance, de la vie et de la mort.
POUR DIVERTIR M. SLOANE (en bas a gauche) Jouee par Carmen Sagredo, Jorge
del Campo et Farnesio de Bernal, la piece de Joe Orton a ete mise en scene
au theatre Granero de Mexico par Xavier Rojas, dans des decors de Julio Prieto,
LA RAISON DU LOUP (en bas a droite) Sergio Magana, i'auteur de cette oeuvre,
a ici cerne de plus pres la condition humaine en enfermant ses personnages dans {'atmosphere suffocante d'un foyer sans issue. La mise en sc^ne
etait signee J. J. Gurrola.
UN EQUILIBRE FRAGILE Rafael L6pez Miarnau s'etait charge de la mise en
scene de cette oeuvre d'Albee dans laquelle jouaient Pilar Pellicer, Carlos
Ancira et Emma Teresa Armendariz (ci-contre), Tune des plus c^lebres actrices
du theatre mexicain.
A TOI, HOMME...! (ci-contre en bas) Ce choix de textes de "L'enquete" de
Peter Weiss a ete presente par le "Teatro Club" que dirige L6pez Miarnau
& cote d'une piece en un acte, "Dutchman", de Leroi Jones.
NILO, MY SON (opposite, above) - This play by Antonio Gonzalez Caballero is

a sort of anthropological study that tries to explain why we are born, why we
live, and why we die. The stage production was directed by Luis Aragon,
and the scenery was designed by Benjamin Villanueva.
ENTERTAINING MR. SLOANE (opposite, lower left) - Interpreted by Carmen Sagredo, Jorge del Campo and Farnesio de Bernal in the Granero Theatre, Joe
Orton's work was directed by Xavier Rojas, with scenic design by Julio Prieto.
THE WOLF'S MOTIVES (opposite, lower right) - Heightening the drama of the
human condition, author Sergio Magana enclosed the characters of this work
in the suffocating atmosphere of a home with no way out. The two-act play
was directed by Juan Jose Gurrola.
A DELICATE BALANCE - Rafael Lopez Miarnau directed the Mexican production
of this play by Albee, in which the principal characters were portrayed by
Pilar Pellicer, Carlos Ancira, and Emma Teresa Armendariz (upper right), one
of Mexico's most celebrated dramatic actresses.
TO YOU, M E N S C H . . . ! (lower right) - Under this title, "Dutchman," a one-act
play by Leroi Jones, as well as selected texts from Peter Weiss The Investigation," were presented by the Teatro Club, directed by Lopez Miarnau.
nmu.
nrrowAci
moNAius
ARTES
LE DERNIER PRISONNIER (ci-contre) Dej^ tres connu pour "Tango", Slawomir

Mrozeck a encore accru sa c^l^brite avec cette piece montee au theatre Comonfort par Humberto Proafio, ou il deforme la h a l i t e sans craindre de tomber
dans ie grotesque.
I MUSICIST1 (en bas a gauche) Line jeune compagnie de musiciens argentins
qui cherchent, h travers tous les genres, une explication humoristique et
sainement ironique de la reality quotidienne.
tnfM
sisce
re
mm
LE TRICYCLE (page de droite, en haut) Avec cette piece, Arrabal auteur

tres discute s'autorise et nous autorise a envisager I'existence comme un
jeu ou il n'arrive rien parce que tout arrive. Le spectacle etait monte par la
Compagnie d'Art dramatique de I'universite de Veracruz.
SILENCE, POULETS DEPLUMES, ON VA VOUS L'DONNER VOTRE MAIS! (en bas b
gauche) Reprise de cette amusante farce d'Emilio Carballido dans une mise en
scene de Dagoberto Guillaumin et une choregraphie de Guillermina Bravo. Les
arrangements musicaux etaient signes Rafael Elizondo.
IN PIPILTZINTZIN OU LA GUERRE DES GROSSES (en bas a droite) Chroniqueur
de Mexico et poete de talent, Salvador Novo s'est aussi essaye au theatre. Ici
il relate un episode comique et plein d'imprevu du monde precolombien.
288
THE LAST PRISONER (upper left) Already well-known as the author of

"Tango," Slawomir Mrozeck added to his reputation with "The Last Prisoner"
presented at the Comonfort Theatre under the direction of Humberto Proano
in which he distorts reality without hesitating to resort to the grotesque.
I MUSICISTI (lower left) - This energetic young company of Argentine
musicians is attempting to search out, through work in all the genres, a
humorous and healthily ironic explanation of daily reality.
THE TRICYCLE (opposite, above) - In this play, controversial author Arrabal
again develops the theme of existence as a game in which nothing really
happens because everything happens. The production was staged by the
Dramatic Arts Company of the University of Veracruz.
SHUT UP, YOU PLUCKED CHICKENS, HERE COMES YOUR CORN! (opposite, lower
left) This amusing farce by Emilio Carballido returned to the stage under
the direction of Dagoberto Guillaumin. The choreography was created by Guillermina Bravo and the musical arrangements were written by Rafael Elizondo.
IN PIPILTZINTZIN OR THE WAR OF THE FAT WOMEN (opposite, lower right) - A
talented poet and chronicler of Mexico City, Salvador Novo has also written
theatrical works, among them this comic episode from the pre-Hispanic world.
LE JOUR DU JUGEMENT (ci-contre) Rafael Solana, auteur de cette comedie, est

aussi romancier, poete, critique et journaliste. La piece reunit les grands personnages de I'histoire au moment de la fin du monde.
LES MAXIBULES (en bas a gauche) Traduite par Gilbert Amand, cette oeuvre
de Marcel Ayme a ete jouee au Theatre Reforma par Miguel Corcega et
Barbara Gil,
HYGIENE DES PLAISIRS ET DES DOULEURS (page de droite) - Au Foro Isabelino
du Centre theatral universitaire, Hector Azar a prepare un charmant pot-pourri
de textes classiques et de cliches sceniques qu' ont defendu avec talent une
plefade de jeunes acteurs.
DOOMSDAY (upper left) - Rafael Solana, the author of this comedy, is also
a novelist, poet, critic and journalist. His play brings together many great
figures of history on doomsday, the moment of the end of the world.
THE MAXIBULES (lower left) Translated and adapted by Gilbert Amand, this
work by Marcel Ayme was performed on stage at the Reforma Theatre, The
principal parts were played by Barbara Gil and Miguel Corcega.
THE HYGIENE OF PLEASURE AND PAIN (opposite) At the Foro Isabelino of
the University Theatre Center, Hector Azar presented a charming potpourri
of classical texts and scenographic cliches, using the considerable abilities
of his talented young actors to full effect.
BALLET DU XXe S1ECLE DU THEATRE ROYAL DE LA MONNAIE (Bruxelles) - Specialement construit pour les Jeux de la XIX Olympiade, le Palais des Sports
a
inaugure par le "Ballet du XXe siecle", forme et dirige par Maurice
Bdijart (en bas a droite): cadre splendide et en tous points digne de ['extraordinaire "Ballet de la Paix", transcription choregraphique de la Neuvieme
Symphonie de Beethoven. "II ne s'agit pas, dit Bejart, d'un ballet au sens
habituel du terme, plaque sur une partition qui est I'un des sommets de la
musique, mais d'une participation humaine profonde a une oeuvre appartenant
a I'humanite entiere et qui est ici non seulement jouee et chantee, mais dansee,
tout comme I'etaient les tragedies grecques ou les manifestations religieuses
primitives". "II s'agit done d'une oeuvre collective dans toute i'acception du
terme", ajoute le choregraphe. Veritablement destine aux masses, le spectacle
de Bejart est un plaidoyer en faveur de la communication et de la solidarite
universelles, en faveur du dialogue entre ses danseurs et le public. Du Palais
des Sports, la compagnie est passee au Theatre des Beaux-Arts ou, comme
le veut Bejart, "la danse possede une triple qualite; purete des lignes, exploit
sportif et pensee mathematique." Apres le montage grandiose de I'oeuvre
de Beethoven, les ballets presentes dans ce theatre qu'il s'agisse du "Sacre
du Printemps" de Stravinsky ou du "Romeo et Juliette" de Berlioz exprimaient encore plus clairement la pensee de Bejart: favoriser la rencontre des
couples, de tous les couples.
k-'
XX CENTURY BALLET OF THE ROYAL MINT THEATRE (BRUSSELS) - The Sports

Palace, especially designed and constructed for the Games of the XIX Olympiad, was inaugurated with the presentation of the "XX Century Ballet,"
founded and directed by Maurice Bejart (lower right, on right). The huge
Sports Palace was a perfect setting for the performance of Bejart's "Ballet
of Peace," based on Beethoven's Ninth Symphony. "It is not," says Bejart,
"a ballet in the ordinary sense of the word, merely attached to a score
that is one of the pinnacles in the history of music; it is rather a deep-felt
human participation in a work that belongs to all of humanity and that in
this case is not only played and sung, but danced as well, just as in the
Greek tragedies and in all the primitive religious manifestations. He adds,
"It is a collective work in the widest sense. The 'XX Century Ballet is a
ballet of the masses in search of communication, solidarity." Maurice Bejart
has reached these two goals through a dialogue between his dancers and the
public. From the Sports Palace, the company moved to the Theatre of Fine
Arts, where their performances illustrated Bejart's statement that ' the
dance reveals a triple quality; linear purity, athletic activity and mathematical
thought." After the great work of Beethoven, the group presented Stravinsky's
"Rite of Spring" and Berlioz' "Romeo and Juliet," again expressing a major theme
that runs through Bejart's workthe meeting of the couple, of all couples.

Mexico 68 International Festival of The Arts

Transféré par

Informations du document

Titre original

Copyright

Formats disponibles

Partager ce document

Partager ou intégrer le document

Options de partage

Avez-vous trouvé ce document utile ?

Ce contenu est-il inapproprié ?

Droits d'auteur :

Formats disponibles

Mexico 68 International Festival of The Arts

Transféré par

Droits d'auteur :

Formats disponibles

mr^

FESTIVAL INTERNATIONAL DES ARTS

INTERNATIONAL FESTIVAL OF THE ARTS

L'organisation generale du Festival international des Arts

The International Festival of the Arts was organized by the

Seven foreign theatrical groups took p a r t - t h e Grotowski Laboratory

Source : Bibliothque du CIO / IOC Library

Duke Ellington, Dave Brubeck, Herbie Mann, Woody Herman and

Grand centre des activites culturelles mexicaines, le Palais des Beaux-Arts

Source : Bibliothque du CIO / IOC Library

George Wein accueille chaleureusement Clea Bradford.

Sir John Barbirolli, directeur de I'Orchestre Halle.

v rfckin' " r "

Danseurs africains pares" de leurs splendides costumes.

Source : Bibliothque du CIO / IOC Library

Lopez Tarso a cree un magnifique "Moctezuma IT. ^

J. Johns, conseiller artistique du ballet de Cunningham.

Danseurs du Ballet folklorique roumam dans leur loge.

Ballet national du Canada en pleine repetition.

Directeur et interpretes du Ballet Studio de Prague.

Aucun detail n'echappe a la Cubaine Alicia Alonso.

Source : Bibliothque du CIO / IOC Library

ORCHESTRE HALLE - Contraint par la revolution de quitter Paris, Charles

HALLE ORCHESTRA Charles Halle arrived in Manchester in 1948, forced by the

Source : Bibliothque du CIO / IOC Library

ORCHESTRE SYMPHONIQUE DE PARIS L'Association pour I'Orchestre de

Messiaen, et Alexis Weissenberg qui, ayant reside au Mexique pendant

PARIS SYMPHONY ORCHESTRA The Paris Symphony Orchestra Association

preted "Exotic Birds," one of Oliver Messiaen's masterpieces; and Alexis

Source : Bibliothque du CIO / IOC Library

ORCHESTRE SYMPHONIQUE NATIONAL - Dans le cadre de son programme

Source : Bibliothque du CIO / IOC Library

NATIONAL SYMPHONY ORCHESTRA As part of its annual series of concerts,

Source : Bibliothque du CIO / IOC Library

ORCHESTRE DE CHAMBRE ANGLAIS Depuis sa creation en 1948, cette

I SOLISTI VENETI - Cet ensemble qui se propose de recreer la Venise du

I SOLISTI VENETI This ensemble, devoted to recreating Venetian music of

Source : Bibliothque du CIO / IOC Library

I MUSICI (a gauche)-On a appele la musique de chambre "la musique des amis",

QUINTETTE DE VARSOVIE (ci-dessus) - De creation recente, cet ensemble

Source : Bibliothque du CIO / IOC Library

ORCHESTRE DE CHAMBRE DE VARSOVIE Fonde par l illustre violoniste Karol

WARSAW CHAMBER ORCHESTRA Founded by the celebrated violinist Karol

and to participate in the International Music Festival at Potsdam. The ensemble

Source : Bibliothque du CIO / IOC Library

MUSICA ANTIQUA OF THE CATHOLIC UNIVERSITY OF CHILE (opposite)-Created

Source : Bibliothque du CIO / IOC Library

CAPELLA MONACENSIS (opposite) T h i s group of soloists from Munich, directed

BRUSSELS "PRO MUSICA ANTIQUA" CHAMBER ORCHESTRA (above)-Founded by

Source : Bibliothque du CIO / IOC Library

Source : Bibliothque du CIO / IOC Library

CLAUDIO ARRAU (ci-dessus) - Faisant preuve d'extraordinaires dons musicaux

CLAUDIO ARRAU (above) Exhibiting extraordinary musical talent at a very

PAUL BADURA-SKODA (page de droite) - "Decouvert" en 1949 par Furtwangler

PAUL BADURA-SKODA (opposite) "Discovered" in 1949 by Furtwangler and von

Source : Bibliothque du CIO / IOC Library

DUO GORINI-LORENZI (page de gauche, en bas) - Le talent de ces pianistes a

Source : Bibliothque du CIO / IOC Library

EUGENE MALININ (ci-contre)- La consecration Internationale de ce pianiste

GOAR GASPARIAN- Nee en Egypte de parents armeniens, elle a etudie

Source : Bibliothque du CIO / IOC Library

NETANIA DAVRATH (extreme droite)-Nee a la frontiere russo-polonaise, en 1948

NETANIA DAVRATH (opposite, right) Born near the Russian-Polish border, in