View allAll Photos Tagged imitator
These probes from the Emissary's race have been spotted on various planets, as well as traveling between them under their own power.
These probes from the Emissary's race have been spotted on various planets, as well as traveling between them under their own power.
These probes from the Emissary's race have been spotted on various planets, as well as traveling between them under their own power.
These probes from the Emissary's race have been spotted on various planets, as well as traveling between them under their own power.
Human Locomotives.
Prezgodnje smrti potegavščine parodije široke pripovedi zagozdenja psihološke globine nadnaravni učinki nasilne nesreče,
crearea de opere poziție editorială reviste ciudate elemente înspăimântătoare orori participanți puncte de lucru identificarea autorilor intrigi,
conscience évolutive êtres impulsifs meurtres crimes mystères dangereux accidents thérapeutiques hauteurs solipsistes déterminations horrifiantes,
privat sikkerhed særlige fornøjelser æstetiske jurisdiktioner følelsesmæssige spændinger puslespil andre avancerede imitatorer flittige imperceptive kort,
a főszereplő kritikai parancsainak megnyilvánulása szorgalom társak illusztris meglepetések különc tevékenységek emlékezetes ítéletek értéktelen hangok,
無差別な位置特定のメリット嫉妬深い見解運転価値創造注意超越的な領域かなりのトラック無関係な時間想像力がアセンブリの猛烈な蒸気のうねる思考をすべて乗せて形作った蒸気のうねる考えはすべて乗っています!
Steve.D.Hammond.
The Panamanian white-faced capuchin (Cebus imitator), also known as the Panamanian white-headed capuchin or Central American white-faced capuchin, is a medium-sized New World monkey of the family Cebidae, subfamily Cebinae. Native to the forests of Central America, the white-faced capuchin is important to rainforest ecology for its role in dispersing seeds and pollen.
Among the best known monkeys, the Panamanian white-faced capuchin is recognized as the typical companion to the organ grinder. In recent years the species has become popular in North American media, particularly in the Pirates of the Caribbean film series.
It is a highly intelligent monkey and has been trained to assist paraplegic persons. It is a medium-sized monkey, weighing up to 3.9 kg (8.6 lb). It is mostly black, but with a pink face and white on much of the front part of the body, giving it its common name. It has a distinctive prehensile tail that is often carried coiled up and is used to help support the monkey when it is feeding beneath a branch.
In the wild, the Panamanian white-faced capuchin is versatile, living in many different types of forest, and eating many different types of food, including fruit, other plant material, invertebrates, and small vertebrates. It lives in troops that can exceed 20 animals and include both males and females. It is noted for its tool use, including rubbing plants over its body in an apparent use of herbal medicine, and also using tools as weapons and for getting to food. It is a long-lived monkey, with a maximum recorded age of over 54 years.
Panamanian white-faced capuchins are highly social, living in groups of 16 individuals on average, about three quarters of which are females. Groups consists of related females, immigrant males, and offspring. On average, females birth offspring every 27 months even though they mate throughout the year. Females tend to stay within their original group while males leave their natal group when they are 4 years old and change groups every 4 years after. Both male and female capuchins exhibit different dominance behaviors within the group.
This image was taken near Puntarenas in Costa Rica.
Another hoverfly visitor on the great burnet (sanguisorba officinalis). I believe this one is a male Chrysotoxum fasciolatum - but could be one of the others in the same genus.
No English vernacular name, but bother the Swedish and the German ones call this one the equivalent of "large wasp hoverfly" as they obviously have taken the wasp mimicry to greater lengths than the average hoverfly.
I actually have an entire album with shots of bugs on these flowers which is a testament to how popular they are with the bugs. You can find it here: www.flickr.com/photos/tinyturtle/albums/72157705562389611
Nature paints THE most beautiful scenes. We mortals are sometimes sad imitators at best, speaking for myself. Water fowl are going out for breakfast on their fine day.
Cebus imitator, the Central American white-faced capuchin is a small diurnal monkey with black bodies, tails and limbs and white faces, throats, chests and shoulders occurring in Central America, in Honduras, Nicaragua, Costa Rica and Panama. Print Size 13x19 inches.
Panamanian white-faced capuchin (Cebus imitator), also known as the Panamanian white-headed capuchin or Central American white-faced capuchin. Seen on the roof of the trailhead building at Curu National Wildlife Refuge, Nicoya Penninsula, Northwestern Costa Rica. Conservation Status: Least Concern
Mimic Poison Frog (Ranitomeya imitator) - Cordillera Escalera Conservation Area, Peru
This species of poison frog uses tiny pools of water to deposit its tadpoles in, the small size of the pools they use can be astounding. I had found a tadpole residing in a pool within a heliconia flower and was going to check up on it when I spotted this individual. Its a juvenile frog that was approaching adulthood that used another of the water pools within the Heliconia petals to take shelter in. They can be tricky to find but a good bet is to check various plant axils and small phytotelmata above ground level. This little frog carefully watched me, trying to determine if I was scary enough for him to make a break for it or whether he should stay put in his cushy pool. It was a bit of a challenge getting into position without flushing him but in the end after a bit of careful maneuvering I was able to get this shot and eventually leave him to enjoy his solitude in his Heliconia flower.
Every one in this world is born with "superheroic" potential. Yet instead some of these youngsters grow on later and become highly intellectual yet emotionally immature, a "supervillain" potential.
How the kid psychologically grows is detrimentally affected by the presence of family in their environment.
To all mother and fathers, your presence means the world to them even if they are too young to realize so. Because in the end a child's overwhelming success roots down the positive, enriched involvement of the parents.
Children are impressive imitators. So give them something positive to imitate.
Welcome to Planet Frost
Our tour continues...
Now you have probably heard of one our most famous residents: Honest John. Yes, his is a story of hard work and success; starting off with just a small used rover lot here on Planet Frost, and now he has rover dealerships throughout the Galaxy. In fact he is building a brand new facility here that will be opening soon. But Honest John's success has inspired many others to try to imitate his methods, and some without such integrity.
Here is one such imitator, Sincere Shawn. It looks like Meep and his friend Karl are working out a deal with Sincere Shawn to purchase that rover, Let's listen in.....
Sincere Shawn: "Yessiree this here is the bargain of the millennium. This here rover was owned by the nicest old federation granny who only roved it down to the crater market every other cycle. Its six wheel drive (but only one at a time for fuel efficiency, see). Its got a radium radiator cap from a genuine earth Mercedes Bends (that's real fancy you know). Plenty of other custom touches too, like this here 7-tone paint job. You can't go wrong. And remember every purchase from Sincere Shawn is backed with out Titanium-Clad Bumper to Bumper Warranty. (Not valid for regular wear and tear or for repairs or defects. Not valid on years that end with even or odd numbers or on days ending in "y")"
Meep: "Meep!"
Karl: "I don't know about this, Meep"
Febrovery 2025 - 10
These three individuals were wracking their brains on how to extract an invertebrate from a hole, unsuccessfully using a small stick as a probe. Capuchins are considered the most intelligent of the New World monkeys, notably using tools to get to food or to defend themselves.
Osa Peninsula, Costa Rica.
Steve rehearsing this afternoon at Mackintosh Queen’s Cross. One of the most influential drummers of all time, He set a new standard in contemporary drumming techniques and performance, and in doing so launched a thousand imitators. Recording so many legendary drum tracks like; " Aja"," Fifty Ways to Leave Your Lover" and "Nite Sprite", there is no drummer alive today who in some way has not been effected by Steve Gadd. His influence is still very much felt and can be heard in the playing of everyone from Vinnie Colaiuta to Carter Beauford. And still to this day there is no one who can get "inside" a tune and find the "pocket" quite like the great Steve Gadd.
“…and another regrettable thing about death
is the ceasing of your own brand of magic,
which took a whole life to develop and market —
the quips, the witticisms, the slant
adjusted to a few, those loved ones nearest
the lip of the stage, their soft faces blanched
in the footlight glow, their laughter close to tears,
their tears confused with their diamond earrings,
their warm pooled breath in and out with your heartbeat,
their response and your performance twinned.
the jokes over the phone. the memories packed
in the rapid-access file. the whole act.
who will do it again? that's it: no one;
imitators and descendants aren't the same.”
john updike
It almost felt like this little sappling was imitating, or mocking, those windmills in the distance. Taken on Oxenhope Moor, West Yorkshire, England.
Explore Page.
This was part of the exhibit of glass orchids which Steve, Linda and I went to the Atlanta Botanical Garden to see on the 18th. I was very tempted at the gift shop to buy his lovely lady slipper orchid, but didn't happen to have $525 handy. Here is information about the artist.
Here are Steve's shots of the Splendid leaf frog (still to come from me) and of a glass orchid, of which I got not one postable shot.
Happy froggie Friday.
© All rights reserved. No usage allowed in any form without the written consent of Mim Eisenberg.
...ou Capucin à face blanche du Panama
Cebus imitator
Central American white-faced capuchin
Panama-Kapuzineraffe
Mono carablanca
Merci pour vos commentaires - Thank you for your comments
Henry and I were walking downtown, I think we were heading China town. Finally found that Structure I wanted to shoot that I've seen on a couple people's pages. This is in Downtown Calgary, 1st Street and 4th Ave SW.
Façade of the east wing of Het Loo Palace in the outskirts of the city of Apeldoorn, Gelderland, Netherlands
Some background information:
Het Loo Palace (in English: "The Woods Palace") is a palace in Apeldoorn, Netherlands, built by the noble House of Orange-Nassau. The symmetrical Dutch Baroque building was designed by Jacob Roman and Johan van Swieten and was built between 1684 and 1686 for the stadtholder-king William III and his wife Mary II of England. The garden was designed by Claude Desgotz.
After the elder House of Orange-Nassau had become extinct with the death of William III of England in 1702, he left his estates in the Netherlands to his cousin Johan Willem Friso of the House of Nassau-Dietz in his testament. However, the King of Prussia claimed them, as he also descended from the Oranges, and the Houses of Orange and of Prussia had, a few generations before, made an inheritance contract. Therefore, most of the properties, including Het Loo, were in fact taken over by the Hohenzollerns, who never lived there. Johan Willem Friso's son, William IV, Prince of Orange, finally received Het Loo Palace, as well as Huis ten Bosch palace in The Hague, from Frederick William I of Prussia in 1732.
The palace then remained a private residence of the younger House of Orange-Nassau until the death of Queen Wilhelmina in 1962. In 1960 Queen Wilhelmina had declared that when she died the palace would go to the State. She did, however, request that it would be returned to her family if the Dutch were to abolish the monarchy. The palace became property of the Dutch state in 1962 when Wilhelmina died at Het Loo Palace. Her daughter, Queen Juliana, never lived there, but her younger daughter, Princess Margriet, lived in the right wing until 1975.
The building was renovated between 1976 and 1982. Since 1984, the palace is a state museum open for the general public, showing interiors with original furniture, objects and paintings of the House of Orange-Nassau. It also houses a library devoted to the House of Orange-Nassau and the Museum van de Kanselarij der Nederlandse Orden (in English: "Museum of the Netherlands Orders of Knighthood's Chancellery") with books and other material concerning decorations and medals.
The Dutch Baroque architecture of Het Loo takes pains to minimize the grand stretch of its construction, so emphatic at Versailles, and present itself as just a fine gentleman's residence. Het Loo is not a palace but, as the title of its engraved portrait states, a "Lusthof" (a retreat, or "pleasure house"). Nevertheless, it is situated entre cour et jardin (in English: "between court and garden") as Versailles and its imitators, and even as fine Parisian private houses are. The dry paved and gravelled court, lightly screened from the road by a wrought-iron grill, is domesticated by a traditional plat of box-bordered green, the homey touch of a cross in a circle you'd find in a bourgeois garden. The volumes of the palace are rhythmically broken in their massing. They work down symmetrically, expressing the subordinate roles of their use and occupants, and the final outbuildings in Marot's plan extend along the public thoroughfare, like a well-made and delightfully regular street.
The private "Great Garden" is situated in the back. This Dutch Baroque garden, often mislabeled the "Versailles of Holland", actually serves to show more differences than similarities. It is still within the general Baroque formula established by André Le Nôtre: perfect symmetry, axial layout with radiating gravel walks, parterres with fountains, basins and statues.
The garden as it appears in the engraving was designed by Le Nôtre's nephew, Claude Desgotz. Throughout his military and diplomatic career, William of Orange was the continental antagonist of Louis XIV, the commander of the forces opposed to those of absolute power and Roman Catholicism. André Le Nôtre's main axis at Versailles, continued by the canal, runs up to the horizon. Daniel Marot and Desgotz's Het Loo garden does not dominate the landscape as Louis' German imitators do, though in his idealized plan, Desgotz extends the axis.
The main garden, with conservative rectangular beds instead of more elaborately shaped ones, is an enclosed space surrounded by raised walks, as a Renaissance garden might be, tucked into the woods for private enjoyment, the garden not of a king but of a stadtholder. At its far end a shaded crosswalk of trees disguised the central vista. The orange trees set out in wooden boxes and wintered in an Orangery, which were a feature of all gardens, did double duty for the House of Orange-Nassau.
Outside the garden there are a few straight scenic avenues, for following the hunt in a carriage, or purely for the vista afforded by an avenue. Few of the "green rooms" cut into the woodlands in imitation of the cabinets de verdure of Versailles that are shown in the engraving actually got executed at Het Loo.
The patron of the Sun King's garden was Apollo. Peter the Great would opt for Samson, springing the jaws of Sweden's heraldic lion. But William opted for Hercules. In the 18th century, William III’s baroque garden as seen in the engraving was replaced by a landscape park in the English taste. The lost gardens of Het Loo were fully restored beginning in 1970 and completed in time to celebrate the building's 1984 tercentenary. Het Loo's new brickwork, latticework and ornaments are as raw as they must have been in 1684 and will mellow with time.
Today, Het Loo Palace attracts more than 400,000 visitors each year, making it the 8th most visited museum in the Netherlands. The building and its gardens are a rijksmonument and are among the Top 100 Dutch heritage sites.
Good morning. For today, and most likely the rest of the week, I'll be posting images of different birds taken in and around the birdbath, starting with this uniquely North American Catbird, whose plumage for some reason reminds me of a tuxedo.
The Grey Catbird (Dumetella carolinensis) is a medium-sized perching bird of the mimid family. It is the only member of New World catbird genus Dumetella. Like the Black Catbird of southern Mexico and Central America, it is among the basal (i.e. diverging) lineages of the Mimidae. Mimids are the New World family of passerine birds, Mimidae, that includes thrashers, mockingbirds, tremblers, and the New World catbirds. As their name (Latin for "mimic") suggests, these birds are notable for their vocalization, especially some species' remarkable ability to mimic a wide variety of birds and other sounds heard outdoors...although the Catbird is considered a poor imitator in comparison to the Mockingbird.
Adults are dark gray with a slim, black bill and dark eyes. They have a long dark tail, dark legs and a dark cap; they are rust-colored underneath their tail, which can be clearly see in a photo in the comments section. Both the male and female are similar in appearance and nearly impossible to distinguish apart.
Thanks for visiting...and I hope everyone has a most pleasant day.
Lacey
ISO200, aperture f/6/7, exposure .008 seconds (1/125) focal length 500mm
© Ben Heine || Facebook || Twitter || www.benheine.com
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For more information about my art: info@benheine.com
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Maurice Bejart, Innovative Choreographer of Modern Ballet
By Lewis Segal
Maurice Bejart, for four decades an extraordinarily innovative and influential choreographer and company leader in Europe who often received critical scorn in the English-speaking world, has died. He was 80.
Hospitalized last week with heart and kidney trouble, Bejart died at Lausanne's University Hospital in Switzerland. In response to Bejart's death, French Culture Minister Christine Albanel called him "one of the greatest choreographers of our time."
He "played an essential role in making a large number of people love contemporary dance, without ever ceding to the easy way out or renouncing his deep demands as an artist," she said. "He never stopped surprising us, until the end."
Although he began his ballet career dancing the 19th century classics in pristine versions staged from the choreography notebooks of what is now the Kirov Ballet, Bejart eventually developed a complex style of contemporary ballet. It incorporated movement influences from a number of cultures, along with a flamboyant theatricality very much in the neo-Expressionist tradition of Western Europe but foreign to classical dancing. A key element of that new style was its refusal to accept conventional notions of what kind of dancing, roles and prominence "belonged" to males versus females.
Contrary to their original versions, Bejart cast a man in the title role of his "Firebird" and in "Bolero" created a sexually indeterminate ballet: It is danced with 40 men and one woman, 40 women and one man or with an all-male cast.
"I and a few others have fought for men's liberation in ballet -- true equality," he said in a 1985 Times interview, "though, of course, it is normal when you fight for equality that it looks like you are too much on the other side." Above all, his approach to ballet was personal and intuitive, insisting, as he said, that "dance is a tool for expressing myself totally, for being, breathing, living, becoming myself."
He was born Maurice Jean Berger on Jan. 1, 1927, in Marseilles, France, the son of self-taught philosopher Gaston Berger. His mother, Germaine Capellieres, died when he was 7. From age 14, he trained at the school of the Marseilles Opera Ballet where, he told The Times, he remembered being the only boy in a class of 25 to 30 girls.
"It was not right," he said. "Life is a balance between men and women. If I push the boys [as a choreographer], it is because there still needs to be a reaction against the prejudice that it is not good for men to dance."
After earning academic degrees in Marseilles and in Aix en Provence, Bejart continued his dance studies in Paris and London with a number of major ballet teachers, including Vera Volkova. He made his debut as a dancer in 1945, adopting the surname of the playwright Moliere's wife. His performing experience included stints with the Marseilles Opera Ballet, the International Ballet in London, the Cullberg Ballet and the Royal Swedish Ballet, where he choreographed for the first time in 1950.
In 1953, after serving in the French Army, he co-founded the Ballets de l'Etoile in Paris, which he also co-directed.
In 1955, his ballet "Symphonie pour un homme seul" attracted enormous attention as the first classical choreography set to musique concrete, music put together from a number of electronic and other noninstrumental sources.
Two years later, the company changed its name to the Ballet Theatre de Paris de Maurice Bejart.
But during this period he also worked with other institutions, including Belgian television and the Opera in Brussels, where he created an enormously popular version of "The Rite of Spring" in 1959. It became his signature work.
Its acclaim led Bejart to move to Brussels in 1960, where he founded the Ballet du XXieme Siecle based at the city's opera house, the Theatre Royal de la Monnaie. After his arrival, attendance at the Monnaie shot up from 40,000 a year to 250,000, and Bejart's success at home was matched abroad.
However, critics often disapproved of works that were long on philosophical and dramatic content but short on pure dance -- particularly ballets that emphasized sensual and often openly homoerotic male dancing.
In hindsight, many of the attacks seem to be barely veiled homophobia, but Bejart took them in stride. "A creator who does not shock is useless," he said at the time. "People need reactions. Progress is only achieved by jostling."
He also created arena spectacles on the grandest scale, in particular his celebrated stagings of Beethoven's Ninth Symphony in 1964 and Berlioz's "Romeo and Juliet" for Brussels' Royal Circus in 1966. His "Messe pour le Temps Present" premiered at the Papal Palace in Avignon, France, in 1967, and the following year he choreographed "Ni Fleurs, Ni Couronnes" for the Olympic Festival in Grenoble.
He expressed his interest in the music of Wagner not only through choreography for his own company, but also for others, most notably the Wagner festival in Bayreuth, Germany, and the Berlin Opera. Virtually every company on the European continent wanted him or someone with the same unorthodox approach to classical dance.
"Ballet is part of the theater," he told the New York Times in 1983. "I want my dancers to be on stage like human people . . . who give emotion to the audience."
In 1970, he established the Mudra Center, a groundbreaking international performance academy in Brussels. In 1978, Mudra Afrique opened in Senegal. But friction with the Monnaie management caused him to move to Lausanne, Switzerland, in 1987 and found Bejart Ballet Lausanne.
"I want to question, renew myself again," he said to explain the move, downplaying any conflicts. "I want a new start toward the future, to create something new."
In 1992, he founded a school in Lausanne similar to the Mudra Center and began a series of collaborations with international ballet stars, designers and musicians. And his success in Switzerland sustained his reputation as one of the greatest creative artists in all of Europe.
At the beginning of this century, Bejart transformed "The Nutcracker" into an autobiographical fantasy about a young, motherless boy -- and ultimately the ballet became what he called "a kind of hymn to the ideal mother that he does not know of." Eventually, that boy met a woman who might be, in Bejart's words, "the mother and maybe Terpsichore," goddess of dance.
Bejart was a close friend of the late fashion designer Gianni Versace and recently, for the 10th anniversary of Versace's 1997 murder, he choreographed a two-part ballet, "Thank you, Gianni, With Love," in Milan.
His many awards include the Hammarskjold Prize (1973), the Erasmus prize (1974) and the Prize of the Society of Dramatic Authors (1980).
His writings include a number of essays and several books, including a 1963 novel, "Mathilde ou le temps perdu," and two theater pieces: "La Reine vert" (1963) and "La Tentation de Saint-Antoine" (1967).
"I tried to write a few books, but I don't think they are so good," he said seven years ago in a television interview. "But I try to explain myself in every ballet."
He amplified that statement in an interview the same year with the London Independent: "All my ballets are, above all, encounters, with a piece of music, with life, with death, with love," he said, "with beings whose past and work reincarnate themselves in me, just as the dancer who I no longer am is reborn every time in interpreters who surpass him."
Bejart is survived by a sister. His longtime companion, Argentine dancer Jorge Donn, died of AIDS in 1992.
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Maurice Bejart (Obituary)
French choreographer who attracted large new audiences to ballet with showmanship and work of striking originality
By The Times
Maurice Béjart probably did more than any other choreographer in the past century to win vast new audiences for ballet. He was by temperament a populist, eager to make ballet as direct and lively an art as cinema, and to attract the same kind of public; but he found no difficulty in reconciling this with the introduction of philosophical themes into his work, often based on oriental culture and beliefs.
In his native France and its neighbouring countries, most critics and the public saw him as unable to do anything wrong; many reviewers in Britain and the United States found it difficult to allow that he could do anything right. History is likely to assess him nearer to his own estimation, which was that as a man of the theatre he worked constantly to extend his reach, with results that varied in quality but were rarely dull.
At his best, Béjart produced some of the most exciting dance theatre of our time. Among his astonishingly large output of about 220 creations, the three most likely to survive in the repertoire are his devastatingly simple but gripping Bolero and his highly original treatments of Stravinsky's Rite of Spring and The Firebird. In both of these latter, characteristically, he gave more importance than usual to male dancing. His Firebird was the leader of a partisan troop, shot and killed in battle but returning in spirit to inspire continued resistance. For Rite, he abandoned the original idea of a single female sacrificial victim in favour of showing a man and a woman chosen to save their tribe through ritual copulation and death.
Often, Béjart worked on a monumental scale, producing spectacles that demanded large arenas and sometimes involved actors as well as dancers. The huge Forêt National sports stadium in Brussels and the courtyard of the Palais des Papes at Avignon were long among his regular venues, and for the bicentenary of the French revolution, the French Government commissioned him to create 1789...et nous in the great hall of the Grand Palais in Paris.
At the other extreme, however, he could make a fastidiously precise short pure-dance piece such as Webern Opus 5 for just two dancers, and in Ni fleurs, ni couronnes he created variations on episodes from The Sleeping Beauty. The Paris Opera commissioned several ballets from him, and his Le Molière imaginaire, based on the playwright's life and works, had its premiere at the Comédie Française starring Robert Hirsch, doyen of that theatre, in the central role, which Béjart himself later played with distinction.
There was often humour as well as showmanship in his creations; Le Concours, for instance, combined a whodunnit mystery with parodies of ballet life, including recognisable caricatures of some habitual competition judges.
Dancers loved working with him. Among the international stars for whom he created roles were Jean Babilee in Life, Mikhail Baryshnikov, Fernando Bujones, Suzanne Farrell in Nijinsky, Clown of God, Sylvie Guillem repeatedly, Rudolf Nureyev in Songs of a Wayfarer, Maya Plisetskaya in Isadora and Vladimir Vassiliev in a very personal treatment of Petrushka. But he also grew his own stars within his company, especially the male dancers; Paolo Bortoluzzi, Jorge Donn and others brought both poetry and heroism to their roles, leading a marvellous men's ensemble from which new talent constantly emerged at need. Nor did his women soloists ever lack notable roles to show off their gifts.
Born Maurice-Jean Berger in Marseilles in 1927, he was educated at the lycée there and extended his mind by avidly reading the books in the library of his father, a professor of philosophy. He also began ballet classes at the Marseilles Opera, making his inauspicious debut as (by his own account) a weedy-looking grub crawling out of an apple in Le Festin de l'araignée. As a teenager he first tried his hand at choreography with a solo for himself, Petit Page. Moving to Paris, he furthered his studies with some of the best ballet teachers including Lubov Egorova, Madame Rousanne (whom he lovingly depicted in his ballet Gaite Parisienne) and, later in London, Vera Volkova.
After a season in 1948 with Roland Petit's Ballets de Paris (during which he was one of Margot Fonteyn's partners in the Rose Adagio from The Sleeping Beauty), Béjart joined Mona Inglesby's International Ballet, dancing the classical leading roles — Bluebird, Prince Siegfried, the man in Les Sylphides — on tour all over Britain. There followed a period dancing with the Cullberg Ballet in Stockholm, for which he staged an early version of Firebird on Swedish television.
The 1950s were for Béjart a decade of struggling to establish himself with freelance work and his own small companies. He began to make a name with experimental work such as Symphonie pour un homme seul, which in 1955 was the first ballet to use the musique concrète (by Schaeffer and Henry) that was about to become fashionable, and Sonate à trois, a danced version of Sartre's Huis Clos to music by Bartók.
Béjart's breakthrough came in 1959 when the new director of the Théâtre Royal de la Monnaie, Brussels, Maurice Huysman, wanted to present The Rite of Spring and invited Béjart to choreograph it. To provide enough dancers, they added to the local opera-ballet Béjart's own group, Janine Charrat's company from Paris and the Western Theatre Ballet from England.
The enormous public success of this production led Huysman to offer Béjart his own large company based in Brussels but touring widely, which he boldly named The Ballet of the Twentieth Century.
It was only after more than a quarter-century of success with a world-wide public that a dispute over funding with the new director of the Monnaie, Gérard Mortier, led Béjart to move his base from Brussels. In spite of a personal plea from the King of the Belgians, and tempting offers from other cities, he chose to accept an invitation to settle in Lausanne, where he was promised complete artistic freedom, good working conditions for his dancers, and the facilities to continue the dance and theatre school which he had started in Belgium. It is notable that the school's graduates include many choreographers who have never emerged as imitators of Béjart but have been encouraged to find their own way forward.
Béjart had more than once been offered the directorship of the Paris Ballet de l'Opéra, but had declined it. This did not prevent him from announcing the promotion to étoile of two men in that company for whom he had created roles — an announcement that had to be formally contradicted by the management as being without authority. In 1974 Béjart became, jointly with Dame Ninette de Valois, the first from the world of dance to be awarded the highly respected Erasmus Prize.
With maturity and success, Béjart developed an impressive appearance, not tall but with a commanding air, helped by the unexpectedly blue eyes that shone keenly in contrast to his dark complexion, black hair and beard. Besides his prolific work for the dance stage, he produced operas, always controversially, and made a revealing film, Je t'aime, tu danses, in which he appeared with the young dancer Rita Poelvoorde.
He also wrote voluminously: a novel, Mathilde ou le Temps perdu, inspired by his passion for Wagner, two plays and three volumes of autobiography, besides long discursive programme notes for many of his productions. These last could sometimes seem pretentious, but in private life he was a man completely without side: simple, direct, even earthy, and full of admiration for the work of others (Frederick Ashton's choreography was an early and lasting inspiration for him). He neither flaunted nor hid his homosexuality but chose almost always, even in long-term relationships, to live alone.
Advancing years, and sorrow at the death of some close friends, did not interrupt his activity and originality. He continued making new ballets right until this month, in spite of illness (exhaustion plus heart and kidney problems) that required his frequent admission to hospital. His final creation, under the title Round the World in 80 Minutes, will have its premiere on December 20 in Lausanne.
It was characteristic of Béjart that when he reached his 70th birthday he celebrated it with the creation of a big new work, Le Presbytère, to music by Mozart and the group Queen, which took as its theme those who had died young, especially from Aids, but treated it with a startlingly positive outlook and celebratory conclusion.
Maurice Béjart, choreographer and ballet director, was born on January 1, 1927. He died on November 22, 2007, aged 80
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The Obituary appeared on www.timesonline.co.uk/tol/global/
• Black microglossus •
Good morning all,
This cockatoo fascinates with its dark plumage. But it has a much more surprising feature: it is the only animal besides humans to use percussion! By pruning branches and beating on trunks, he uses this instrument to court females. It is characterized by its large crest (here folded) and its beak which is one of the most powerful in parrots. This rather noisy forest bird is also an excellent imitator, reproducing the calls of other animals and certain sounds of nature.
I hope you like the shot! ⚡️
Have a lovely day everybody ! 🌿
© Thomas Chaumontel Photographe
White-faced Capuchin
The Panamanian White-faced Capuchin (Cebus imitator), also known as the Panamanian White-headed Capuchin or Central American White-faced Capuchin, is a medium-sized New World monkey of the family Cebidae, subfamily Cebinae. Native to the forests of Central America, the white-faced capuchin is important to rainforest ecology for its role in dispersing seeds and pollen.
Among the best-known monkeys, the Panamanian White-faced Capuchin is recognized as the typical companion to the organ grinder. In recent years the species has become popular in American media, particularly in the Pirates of the Caribbean film series. It is a highly intelligent monkey and has been trained to assist paraplegic persons. It is a medium-sized monkey, weighing up to 8 lb 10 oz. It is mostly black, but with a pink face and white on much of the front part of the body, giving it its common name. It has a distinctive prehensile tail that is often carried coiled up and is used to help support the monkey when it is feeding beneath a branch.
For more info: en.wikipedia.org/wiki/Panamanian_white-faced_capuchin
In my own headcanon, Corphos is an insane and relentless mask collector who travels Okoto seeking out masks to add to his own private collection. His methods of obtaining them are not what you call "stealthy", instead preferring to use his 4 bladed Mask Ripper staff to literally rip the masks off anybody he comes across. Though on occassion he will disguise himself as a Toa or a Skull Villain in an attempt to be able to infiltrate certain locations. On this occcasion, after ripping the masks off a few Skull Warriors and a Skull Scorpio, he took their armour and put it on himself in an attempt to ultimately infiltrate the Mask Forge, befriend Skull Grinder Kulta and steal the Mask of Creation.
So basically, this MOC came about after I bought an extra Skull Warrior and Skull Basher and was fiddling around with possible alternate builds for my sigfig at the same time, and I ended up with Corphos.