NEW RUSSIAN DANGER.

Gisborne Times, Volume XXIX, Issue 3257, 30 June 1911, Page 3

NEW RUSSIAN DANGER.

- Mcllle. Natasha Truhanova, a half Russian and half French dancer, lias the “sacred fire.” She is a mime ot remarkable imagination and power, says the Paris correspondent of the London “Daily Telegraph.” Few more interesting performances' of the kind are to be seen, for instance, than toe immature drama in mimicry which she plays to ono of Liszt’s Hungarian rhapsodies. The dance to an orchestrated version of Liszt’s second Hungarian Rhapsody was a tiny play in itself of an utterly different character. _ The Hungarian o-iri, alone, is dreaming wistfully tar Front her country, one imagines. ihe wild notes of her native music come to her ears, and she dances passionately, and then, falls to dreaming again. Ihe wild sounds strike her ears once more, and she dances this time with increasing passion, till the end is reached m a climax of savage fury. This is not merely dancing, but the real art of pantomime. Several pi the interpretations of pieces from Gneg a Peer Gvnt were also excellent, and hacl the right touch of almost uncanny fancy. A delightfully simple little 10mance in mimicry, again quite different in character from the other scenes was Weber’s famous Invitation a la Valse, which, thus -intepreted, became a tender and amusing love story between an early nineteenth century couple. Aid lie TVuhanovii, in* white muslin, n ml 31* Robert Quinault, of the Opera Conuque, in blue coat and smalls.