{"id":1745,"date":"2016-10-04T13:53:31","date_gmt":"2016-10-04T13:53:31","guid":{"rendered":"http:\/\/www.sergelifar.org\/en\/?page_id=1745"},"modified":"2023-04-06T09:03:28","modified_gmt":"2023-04-06T09:03:28","slug":"the-french-period","status":"publish","type":"page","link":"https:\/\/www.sergelifar.org\/en\/biography\/the-french-period\/","title":{"rendered":"The French Period"},"content":{"rendered":"<div id=\"pl-1745\"  class=\"panel-layout\" ><div id=\"pg-1745-0\"  class=\"panel-grid panel-no-style\" ><div id=\"pgc-1745-0-0\"  class=\"panel-grid-cell\" ><div id=\"panel-1745-0-0-0\" class=\"so-panel widget widget_nav_menu panel-first-child panel-last-child\" data-index=\"0\" ><div class=\"menu-bio panel-widget-style panel-widget-style-for-1745-0-0-0\" ><div class=\"menu-menu-biographie-anglais-container\"><ul id=\"menu-menu-biographie-anglais\" class=\"menu\"><li id=\"menu-item-2268\" class=\"menu-item menu-item-type-post_type menu-item-object-page menu-item-2268\"><a href=\"https:\/\/www.sergelifar.org\/en\/biography\/the-ukranian-period\/\">The Ukranian Period (1905-1923)<\/a><\/li>\n<li id=\"menu-item-1854\" class=\"menu-item menu-item-type-post_type menu-item-object-page menu-item-1854\"><a href=\"https:\/\/www.sergelifar.org\/en\/biography\/the-french-period\/\">The French Period<\/a><\/li>\n<li id=\"menu-item-1855\" class=\"menu-item menu-item-type-post_type menu-item-object-page menu-item-1855\"><a href=\"https:\/\/www.sergelifar.org\/en\/biography\/the-swiss-period\/\">The Swiss Period<\/a><\/li>\n<\/ul><\/div><\/div><\/div><\/div><\/div><div id=\"pg-1745-1\"  class=\"panel-grid panel-no-style\" ><div id=\"pgc-1745-1-0\"  class=\"panel-grid-cell panel-grid-cell-empty\" ><\/div><\/div><div id=\"pg-1745-2\"  class=\"panel-grid panel-no-style\" ><div id=\"pgc-1745-2-0\"  class=\"panel-grid-cell\" ><div id=\"panel-1745-2-0-0\" class=\"so-panel widget widget_sow-image panel-first-child panel-last-child\" data-index=\"1\" ><div class=\"img_in_content panel-widget-style panel-widget-style-for-1745-2-0-0\" ><div\n\t\t\t\n\t\t\tclass=\"so-widget-sow-image so-widget-sow-image-default-c67d20f9f743-1745\"\n\t\t\t\n\t\t>\n<div class=\"sow-image-container\">\n\t\t<img \n\tsrc=\"https:\/\/www.sergelifar.org\/wp-content\/uploads\/2013\/05\/san-michele-diaghilev.jpg\" width=\"355\" height=\"355\" srcset=\"https:\/\/www.sergelifar.org\/wp-content\/uploads\/2013\/05\/san-michele-diaghilev.jpg 355w, https:\/\/www.sergelifar.org\/wp-content\/uploads\/2013\/05\/san-michele-diaghilev-150x150.jpg 150w, https:\/\/www.sergelifar.org\/wp-content\/uploads\/2013\/05\/san-michele-diaghilev-300x300.jpg 300w, https:\/\/www.sergelifar.org\/wp-content\/uploads\/2013\/05\/san-michele-diaghilev-60x60.jpg 60w\" sizes=\"(max-width: 355px) 100vw, 355px\" title=\"Serge de Diaghilev\" alt=\"\" \t\tclass=\"so-widget-image\"\/>\n\t<\/div>\n\n<h2 class=\"widget-title\">Serge de Diaghilev<\/h2><\/div><\/div><\/div><\/div><div id=\"pgc-1745-2-1\"  class=\"panel-grid-cell\" ><div id=\"panel-1745-2-1-0\" class=\"so-panel widget widget_sow-editor panel-first-child panel-last-child\" data-index=\"2\" ><div\n\t\t\t\n\t\t\tclass=\"so-widget-sow-editor so-widget-sow-editor-base\"\n\t\t\t\n\t\t><h2 class=\"widget-title\">His first steps with Diaghilev<\/h2>\n<div class=\"siteorigin-widget-tinymce textwidget\">\n\t<p>The date of January13. 1923 marks his arrival in Paris, world capital: \u201cI remember one of those winter mornings in which a pale sun shone through the fog; I was walking down the Champs-Elys\u00e9es, enjoying for the first time the certainty of being out of danger; I was a free citizen of the universe in the freest of capitals\u201d.<\/p>\n<p>On the banks of the Seine he met the man who was to determine his destiny: Sergei Pavlovitch Diaghilev. \u201cAmong a small group of people heading toward us, I spotted a tall man who looked like a giant, walking and waving a cane, wearing a cloak and soft hat. In his rosy, slightly fat face, crowned with white locks like a Saint-Bernard, sparkled gentle brown eyes that mixed vivacity, tenderness and a sort of sadness\u201d.<\/p>\n<h4>Bordeaux, 01\/11\/1979 : Lifar parle de sa rencontre avec Diaghilev<\/h4>\n<audio class=\"wp-audio-shortcode\" id=\"audio-1745-1\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/www.sergelifar.org\/wp-content\/uploads\/2023\/02\/Cassette-audio-1979-11-01-Bordeaux-094-1_Extrait.mp3?_=1\" \/><a href=\"https:\/\/www.sergelifar.org\/wp-content\/uploads\/2023\/02\/Cassette-audio-1979-11-01-Bordeaux-094-1_Extrait.mp3\">https:\/\/www.sergelifar.org\/wp-content\/uploads\/2023\/02\/Cassette-audio-1979-11-01-Bordeaux-094-1_Extrait.mp3<\/a><\/audio>\n<p>&nbsp;<\/p>\n<p>The small troupe travelled down to Monte-Carlo. The view of the Mediterranean, of the hills filled with flowers and olive trees made him supremely happy: \u201cI thought that life was going to be a perpetual feast, but it took only a few hours for disillusionment to come,\u201d he recalled in his biography. Diaghilev\u2019s eye was merciless: \u201cThe leaps of my friends were closer to sport than to dance. When my turn came, I probably had more facility than my friends, for Diaghilev\u2019s face brightened and a glint appeared in his eyes. He thought for a few seconds:, then said \u2018alright. Let them all stay. I believe in this boy, he will be a dancer\u2019\u201d.<\/p>\n<\/div>\n<\/div><\/div><\/div><\/div><div id=\"pg-1745-3\"  class=\"panel-grid panel-no-style\" ><div id=\"pgc-1745-3-0\"  class=\"panel-grid-cell\" ><div id=\"panel-1745-3-0-0\" class=\"so-panel widget widget_sow-image panel-first-child panel-last-child\" data-index=\"3\" ><div class=\"img_in_content panel-widget-style panel-widget-style-for-1745-3-0-0\" ><div\n\t\t\t\n\t\t\tclass=\"so-widget-sow-image so-widget-sow-image-default-c67d20f9f743-1745\"\n\t\t\t\n\t\t>\n<div class=\"sow-image-container\">\n\t\t<img \n\tsrc=\"https:\/\/www.sergelifar.org\/wp-content\/uploads\/2013\/05\/SaVie06.png\" width=\"326\" height=\"242\" srcset=\"https:\/\/www.sergelifar.org\/wp-content\/uploads\/2013\/05\/SaVie06.png 326w, https:\/\/www.sergelifar.org\/wp-content\/uploads\/2013\/05\/SaVie06-300x222.png 300w\" sizes=\"(max-width: 326px) 100vw, 326px\" title=\"R\u00e9p\u00e9tition d\u2019un ballet russe de Diaghilev\" alt=\"Serge Lifar\" \t\tclass=\"so-widget-image\"\/>\n\t<\/div>\n\n<h2 class=\"widget-title\">R\u00e9p\u00e9tition d\u2019un ballet russe de Diaghilev<\/h2><\/div><\/div><\/div><\/div><div id=\"pgc-1745-3-1\"  class=\"panel-grid-cell\" ><div id=\"panel-1745-3-1-0\" class=\"so-panel widget widget_sow-editor panel-first-child panel-last-child\" data-index=\"4\" ><div\n\t\t\t\n\t\t\tclass=\"so-widget-sow-editor so-widget-sow-editor-base\"\n\t\t\t\n\t\t>\n<div class=\"siteorigin-widget-tinymce textwidget\">\n\t<p>Guided by the great art critic and creator of the \u201cBallets Russes\u201d, Serge Lifar was to live a new life thanks to this sure guide who would make an artist of him. Diaghilev\u2019s few words of encouragement gave him confidence in spite of his severity: \u201cIn the eyes of the entire troupe, he was a sort of inaccessible deity, alternately benevolent and irritated. We were afraid of him. He sometimes watched the rehearsals with his retinue. He would sit, watch us dance, then express his displeasure (a word of praise from him was extremely rare), and leave\u201d.<\/p>\n<p>The Ballets Russes Company was a veritable free commune that had its own lifestyle: \u201cOutside of rehearsals, the dancers thought only of playing, drinking and flirting with each other in the most blatant manner\u201d.<\/p>\n<\/div>\n<\/div><\/div><\/div><\/div><div id=\"pg-1745-4\"  class=\"panel-grid panel-no-style\" ><div id=\"pgc-1745-4-0\"  class=\"panel-grid-cell\" ><div id=\"panel-1745-4-0-0\" class=\"so-panel widget widget_sow-image panel-first-child panel-last-child\" data-index=\"5\" ><div\n\t\t\t\n\t\t\tclass=\"so-widget-sow-image so-widget-sow-image-default-c67d20f9f743-1745\"\n\t\t\t\n\t\t>\n<div class=\"sow-image-container\">\n\t\t<img \n\tsrc=\"https:\/\/www.sergelifar.org\/wp-content\/uploads\/2013\/05\/SaVie07.png\" width=\"241\" height=\"380\" srcset=\"https:\/\/www.sergelifar.org\/wp-content\/uploads\/2013\/05\/SaVie07.png 241w, https:\/\/www.sergelifar.org\/wp-content\/uploads\/2013\/05\/SaVie07-190x300.png 190w\" sizes=\"(max-width: 241px) 100vw, 241px\" title=\"Serge Lifar et son professeur Enricco Cecchetti, 1928\" alt=\"Serge Lifar\" \t\tclass=\"so-widget-image\"\/>\n\t<\/div>\n\n<h2 class=\"widget-title\">Serge Lifar et son professeur Enricco Cecchetti, 1928<\/h2><\/div><\/div><\/div><div id=\"pgc-1745-4-1\"  class=\"panel-grid-cell\" ><div id=\"panel-1745-4-1-0\" class=\"so-panel widget widget_sow-editor panel-first-child panel-last-child\" data-index=\"6\" ><div\n\t\t\t\n\t\t\tclass=\"so-widget-sow-editor so-widget-sow-editor-base\"\n\t\t\t\n\t\t>\n<div class=\"siteorigin-widget-tinymce textwidget\">\n\t<p>The first ballet that brought him on the stage was Igor Stravinsky\u2019s Les Noces, the rehearsals for which were directed by the great composer who sat himself at the piano and sang in a cracked voice: \u201cStravinsky communicated his passion to us, his creative gift, and we danced in earnest\u201d.<\/p>\n<p>Back in Paris with the entire troupe, Serge Lifar discovered the Louvre and its endless rooms, Versailles and the impressive Gallery of Mirrors. Diaghilev entrusted him with the part of the dying slave in Scheherazade, and then that of one of the officers in Les F\u00e2cheux, on a theme of Moli\u00e8re. The troupe went on to Barcelona, then to Amsterdam, before returning to Paris.<\/p>\n<p>There he met Picasso, who remarked to Diaghilev with a knowing eye: \u201cThe body of your little dancer has ideal proportions\u201d. His friend Coco Chanel accompanied him throughout his life in Paris and even afterwards. Occasionally she also attended to the costumes: \u201cHe always made me laugh, something that many men have forgotten to do. When he saw that I was sad, he would come and tell me stories about his childhood in Russia, his parents. He is a real Russian, see how he drinks his tea after putting the sugar into his mouth. \u201d<\/p>\n<p>Equipped with a train ticket to Turin and a passport arranged by Diaghilev, Lifar continued his training under Enrico Cecchetti, the \u201cstarmaker\u201d, teacher of all the solo dancers of the Ballets Russes.<\/p>\n<\/div>\n<\/div><\/div><\/div><\/div><div id=\"pg-1745-5\"  class=\"panel-grid panel-no-style\" ><div id=\"pgc-1745-5-0\"  class=\"panel-grid-cell\" ><div id=\"panel-1745-5-0-0\" class=\"so-panel widget widget_divider panel-first-child panel-last-child\" data-index=\"7\" ><div\n\t\t\t\n\t\t\tclass=\"so-widget-divider so-widget-divider-divider-style-d75171398898-1745\"\n\t\t\t\n\t\t>\r\n\r\n\r\n\r\n<hr class=\"so-divider\" style=\"border-style:dotted; border-width:0 0 2px 0; border-color:#5d90c9; margin-top: px; margin-bottom: px; \"><\/div><\/div><\/div><\/div><div id=\"pg-1745-6\"  class=\"panel-grid panel-no-style\" ><div id=\"pgc-1745-6-0\"  class=\"panel-grid-cell\" ><div id=\"panel-1745-6-0-0\" class=\"so-panel widget widget_sow-image panel-first-child panel-last-child\" data-index=\"8\" ><div\n\t\t\t\n\t\t\tclass=\"so-widget-sow-image so-widget-sow-image-default-c67d20f9f743-1745\"\n\t\t\t\n\t\t>\n<div class=\"sow-image-container\">\n\t\t<img \n\tsrc=\"https:\/\/www.sergelifar.org\/wp-content\/uploads\/2013\/05\/SaVie08.png\" width=\"187\" height=\"268\" sizes=\"(max-width: 187px) 100vw, 187px\" title=\"Les cr\u00e9atures de Prom\u00e9th\u00e9e Photo Henri Manuel\" alt=\"Serge Lifar Les cr\u00e9atures de Prom\u00e9th\u00e9e\" \t\tclass=\"so-widget-image\"\/>\n\t<\/div>\n\n<h2 class=\"widget-title\">Les cr\u00e9atures de Prom\u00e9th\u00e9e Photo Henri Manuel<\/h2><\/div><\/div><\/div><div id=\"pgc-1745-6-1\"  class=\"panel-grid-cell\" ><div id=\"panel-1745-6-1-0\" class=\"so-panel widget widget_sow-editor panel-first-child panel-last-child\" data-index=\"9\" ><div\n\t\t\t\n\t\t\tclass=\"so-widget-sow-editor so-widget-sow-editor-base\"\n\t\t\t\n\t\t><h2 class=\"widget-title\">The great ballets: from Prometheus to Icarus<\/h2>\n<div class=\"siteorigin-widget-tinymce textwidget\">\n\t<p>Jacques Rouch\u00e9, director of the Paris Opera, a great friend and admirer of Diaghilev, suggested to Lifar that he create a ballet to the music of Beethoven\u2019s Prometheus. He accepted, but suggested that the choreography be done by Balanchine. The latter was ill with pneumonia, so the responsibility for the choreography went to Lifar.<\/p>\n<p>With Suzanne Lorcia as first dancer and Lifar\u2019s partner, the premiere of the Creatures of Prometheus was a triumph and Rouch\u00e9 entrusted the Opera ballet company to Lifar from then on: \u201cFrom that day on, I became a \u2018ma\u00eetre\u2019 and, for a quarter of a century I was greeted as \u2018ma\u00eetre\u2019, \u2018Bonjour, ma\u00eetre \u2018, from the little rats to the stars, I was like a happy shepherd\u201d, he wrote in Ma Vie.<\/p>\n<\/div>\n<\/div><\/div><\/div><\/div><div id=\"pg-1745-7\"  class=\"panel-grid panel-no-style\" ><div id=\"pgc-1745-7-0\"  class=\"panel-grid-cell\" ><div id=\"panel-1745-7-0-0\" class=\"so-panel widget widget_sow-image panel-first-child panel-last-child\" data-index=\"10\" ><div\n\t\t\t\n\t\t\tclass=\"so-widget-sow-image so-widget-sow-image-default-c67d20f9f743-1745\"\n\t\t\t\n\t\t>\n<div class=\"sow-image-container\">\n\t\t<img \n\tsrc=\"https:\/\/www.sergelifar.org\/wp-content\/uploads\/2013\/05\/SaVie09.png\" width=\"209\" height=\"290\" sizes=\"(max-width: 209px) 100vw, 209px\" title=\"Bacchus et Ariane Photo Lipnitzki\" alt=\"Bacchus et Ariane Serge Lifar\" \t\tclass=\"so-widget-image\"\/>\n\t<\/div>\n\n<h2 class=\"widget-title\">Bacchus et Ariane Photo Lipnitzki<\/h2><\/div><\/div><\/div><div id=\"pgc-1745-7-1\"  class=\"panel-grid-cell\" ><div id=\"panel-1745-7-1-0\" class=\"so-panel widget widget_sow-editor panel-first-child\" data-index=\"11\" ><div\n\t\t\t\n\t\t\tclass=\"so-widget-sow-editor so-widget-sow-editor-base\"\n\t\t\t\n\t\t>\n<div class=\"siteorigin-widget-tinymce textwidget\">\n\t<p>Created in 1931, Bacchus et Ariane was an homage to Diaghilev, a completely original ballet that continued in its own way the aesthetic traditions of the Ballets Russes, with Lifar dancing the part of Bacchus and Olga Spessivtzeva that of Ariadne: \u201cThe show unleashed a storm in the audience. Some applauded loudly, while others expressed their indignation with no less force\u2026 The regulars of the Opera were not yet ready for the new aesthetics\u201d.<\/p>\n<p>The premiere of Giselle took place in February 1932, a Shakespearian drama that Olga Spesivtzeva choreographed to perfection: \u201cIn this part, she was the greatest and most sublime dancer of the 20th century. In this ballet, which I danced for 25 years all over the world, I tried to ennoble the role of Prince Albert by infusing it with an ideal, of which his death in the name of love is the symbol\u201d. Picasso and Cocteau attended the premiere with tears in their eyes: \u201cI, who had always struggled in my life, that night I had one of my finest triumphs\u201d.<\/p>\n<p>\u00a0<\/p>\n<\/div>\n<\/div><\/div><div id=\"panel-1745-7-1-1\" class=\"so-panel widget widget_sow-editor panel-last-child\" data-index=\"12\" ><div\n\t\t\t\n\t\t\tclass=\"so-widget-sow-editor so-widget-sow-editor-base\"\n\t\t\t\n\t\t>\n<div class=\"siteorigin-widget-tinymce textwidget\">\n\t<h4>Ma vie, 21\/10\/1965 : Lifar raconte comment on l'a appel\u00e9 \"Ma\u00eetre\"<\/h4>\n<audio class=\"wp-audio-shortcode\" id=\"audio-1745-2\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/www.sergelifar.org\/wp-content\/uploads\/2023\/02\/Bande-magneto-1965-10-21-Ma-vie-021_Extrait1.mp3?_=2\" \/><a href=\"https:\/\/www.sergelifar.org\/wp-content\/uploads\/2023\/02\/Bande-magneto-1965-10-21-Ma-vie-021_Extrait1.mp3\">https:\/\/www.sergelifar.org\/wp-content\/uploads\/2023\/02\/Bande-magneto-1965-10-21-Ma-vie-021_Extrait1.mp3<\/a><\/audio>\n<\/div>\n<\/div><\/div><\/div><\/div><div id=\"pg-1745-8\"  class=\"panel-grid panel-no-style\" ><div id=\"pgc-1745-8-0\"  class=\"panel-grid-cell\" ><div id=\"panel-1745-8-0-0\" class=\"so-panel widget widget_sow-image panel-first-child panel-last-child\" data-index=\"13\" ><div\n\t\t\t\n\t\t\tclass=\"so-widget-sow-image so-widget-sow-image-default-c67d20f9f743-1745\"\n\t\t\t\n\t\t>\n<div class=\"sow-image-container\">\n\t\t<img \n\tsrc=\"https:\/\/www.sergelifar.org\/wp-content\/uploads\/2013\/05\/SaVie10.png\" width=\"262\" height=\"196\" sizes=\"(max-width: 262px) 100vw, 262px\" title=\"Icare - Photo Pierre Boucher\" alt=\"Icare Serge Lifar\" \t\tclass=\"so-widget-image\"\/>\n\t<\/div>\n\n<h2 class=\"widget-title\">Icare - Photo Pierre Boucher<\/h2><\/div><\/div><\/div><div id=\"pgc-1745-8-1\"  class=\"panel-grid-cell\" ><div id=\"panel-1745-8-1-0\" class=\"so-panel widget widget_sow-editor panel-first-child panel-last-child\" data-index=\"14\" ><div\n\t\t\t\n\t\t\tclass=\"so-widget-sow-editor so-widget-sow-editor-base\"\n\t\t\t\n\t\t>\n<div class=\"siteorigin-widget-tinymce textwidget\">\n\t<p>Created by Nijinsky in 1912, Lifar reworked L\u2019Apr\u00e8s-midi d\u2019un Faune in 1932, introducing \u201cquick, angular movements, based on a great tension in the muscles of the entire body\u201d.<\/p>\n<p>But it was the ballet Icarus that made his reputation as a choreographer. Already in 1932, he was thinking about a ballet on this very aerial theme and began by commissioning Igor Markevitch for the score.<\/p>\n<p>In the end, the ballet was created with an orchestration\u2014or rather just rhythms\u2014by the Swiss composer Arthur Honegger for a percussion ensemble. After being postponed several times, the premiere of Icarus was held on 9 July 1935: \u201cI had made my wings myself and had to train my arms, because the weight upset my balance\u201d, Lifar explained in Ma Vie.<\/p>\n<\/div>\n<\/div><\/div><\/div><\/div><div id=\"pg-1745-9\"  class=\"panel-grid panel-no-style\" ><div id=\"pgc-1745-9-0\"  class=\"panel-grid-cell\" ><div id=\"panel-1745-9-0-0\" class=\"so-panel widget widget_sow-image panel-first-child panel-last-child\" data-index=\"15\" ><div\n\t\t\t\n\t\t\tclass=\"so-widget-sow-image so-widget-sow-image-default-c67d20f9f743-1745\"\n\t\t\t\n\t\t>\n<div class=\"sow-image-container\">\n\t\t<img \n\tsrc=\"https:\/\/www.sergelifar.org\/wp-content\/uploads\/2013\/05\/SaVie11.png\" width=\"185\" height=\"254\" sizes=\"(max-width: 185px) 100vw, 185px\" title=\"Icare photo Lipnitzki\" alt=\"Icare Serge Lifar\" \t\tclass=\"so-widget-image\"\/>\n\t<\/div>\n\n<h2 class=\"widget-title\">Icare photo Lipnitzki<\/h2><\/div><\/div><\/div><div id=\"pgc-1745-9-1\"  class=\"panel-grid-cell\" ><div id=\"panel-1745-9-1-0\" class=\"so-panel widget widget_sow-editor panel-first-child\" data-index=\"16\" ><div\n\t\t\t\n\t\t\tclass=\"so-widget-sow-editor so-widget-sow-editor-base\"\n\t\t\t\n\t\t>\n<div class=\"siteorigin-widget-tinymce textwidget\">\n\t<p>The sets were commissioned from Salvador Dali, but his unbridled imagination made the actual execution impossible: \u201cDali was delighted to collaborate with me and to work for the Opera, but unfortunately our efforts did not come through.<\/p>\n<p>He showed me his sketches. To start with the sets: the curtain is raised before the music and reveals a beautiful painting, this is also raised to uncover a background curtain of the most ridiculous kind, with thirty running motorcycles.<\/p>\n<p>As for the costumes: Icarus, completely naked, his head decked with a huge milk roll, and a housefly poised over the forehead on a metal wire\u201d.1 Lifar was consoled later since he entrusted the stage curtain to his friend Picasso when the ballet was remade in 1962.<\/p>\n<\/div>\n<\/div><\/div><div id=\"panel-1745-9-1-1\" class=\"so-panel widget widget_sow-editor panel-last-child\" data-index=\"17\" ><div\n\t\t\t\n\t\t\tclass=\"so-widget-sow-editor so-widget-sow-editor-base\"\n\t\t\t\n\t\t>\n<div class=\"siteorigin-widget-tinymce textwidget\">\n\t<h4>Ma vie, 21\/10\/1965 : L'Apr\u00e8s-midi d'un Faune<\/h4>\n<audio class=\"wp-audio-shortcode\" id=\"audio-1745-3\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/www.sergelifar.org\/wp-content\/uploads\/2023\/02\/Bande-magneto-1965-10-21-Ma-vie-021_Extrait2.mp3?_=3\" \/><a href=\"https:\/\/www.sergelifar.org\/wp-content\/uploads\/2023\/02\/Bande-magneto-1965-10-21-Ma-vie-021_Extrait2.mp3\">https:\/\/www.sergelifar.org\/wp-content\/uploads\/2023\/02\/Bande-magneto-1965-10-21-Ma-vie-021_Extrait2.mp3<\/a><\/audio>\n<\/div>\n<\/div><\/div><\/div><\/div><div id=\"pg-1745-10\"  class=\"panel-grid panel-no-style\" ><div id=\"pgc-1745-10-0\"  class=\"panel-grid-cell\" ><div id=\"panel-1745-10-0-0\" class=\"so-panel widget widget_divider panel-first-child panel-last-child\" data-index=\"18\" ><div\n\t\t\t\n\t\t\tclass=\"so-widget-divider so-widget-divider-divider-style-d75171398898-1745\"\n\t\t\t\n\t\t>\r\n\r\n\r\n\r\n<hr class=\"so-divider\" style=\"border-style:dotted; border-width:0 0 2px 0; border-color:#5d90c9; margin-top: px; margin-bottom: px; \"><\/div><\/div><\/div><\/div><div id=\"pg-1745-11\"  class=\"panel-grid panel-no-style\" ><div id=\"pgc-1745-11-0\"  class=\"panel-grid-cell\" ><div id=\"panel-1745-11-0-0\" class=\"so-panel widget widget_sow-image panel-first-child panel-last-child\" data-index=\"19\" ><div\n\t\t\t\n\t\t\tclass=\"so-widget-sow-image so-widget-sow-image-default-c67d20f9f743-1745\"\n\t\t\t\n\t\t>\n<div class=\"sow-image-container\">\n\t\t<img \n\tsrc=\"https:\/\/www.sergelifar.org\/wp-content\/uploads\/2013\/05\/SaVie12.png\" width=\"190\" height=\"242\" sizes=\"(max-width: 190px) 100vw, 190px\" title=\"Serge Lifar avec les cl\u00e9s de l\u2019Op\u00e9ra Garnier, 1940 Photo Lido\/Sipa Press\" alt=\"Serge Lifar \" \t\tclass=\"so-widget-image\"\/>\n\t<\/div>\n\n<h2 class=\"widget-title\">Serge Lifar avec les cl\u00e9s de l\u2019Op\u00e9ra Garnier, 1940 Photo Lido\/Sipa Press<\/h2><\/div><\/div><\/div><div id=\"pgc-1745-11-1\"  class=\"panel-grid-cell\" ><div id=\"panel-1745-11-1-0\" class=\"so-panel widget widget_sow-editor panel-first-child panel-last-child\" data-index=\"20\" ><div\n\t\t\t\n\t\t\tclass=\"so-widget-sow-editor so-widget-sow-editor-base\"\n\t\t\t\n\t\t><h2 class=\"widget-title\">Under the Occupation<\/h2>\n<div class=\"siteorigin-widget-tinymce textwidget\">\n\t<p>As the choreographer related in his M\u00e9moires d\u2019Icare: \u201cThe year 1939 came and the war that had been brewing finally broke out\u201d. The war led to the closing of the Paris Opera. Part of the troupe was sent on military or artistic missions, and even as far as Australia\u2014a real expedition in those days. On the way back, Serge Lifar discovered Bali and Indonesian dances, which were to be a source of inspiration in the future.<\/p>\n<p>Paris was occupied by German troops in June 1940, the swastika hung from the Arch of Triumph. The City of Paris asked Serge Lifar to accept the job of Director of the Opera. According to the International Hague Convention, the occupation forces had the right to confiscate any building left vacant by the State: \u201cIt is up to you to see that the Nazi flag does not fly on it for the duration of the war. You have a blank check for all your activities and it is up to you to judge how to conduct yourself vis a vis of the occupants and the personnel of the Opera in order to defend and protect this artistic heritage\u201d. Serge Lifar became an administrator, in addition to being the concierge, floor sweeper, telephone operator, electrician, dancer, choreographer and ballet master.<\/p>\n<\/div>\n<\/div><\/div><\/div><\/div><div id=\"pg-1745-12\"  class=\"panel-grid panel-no-style\" ><div id=\"pgc-1745-12-0\"  class=\"panel-grid-cell\" ><div id=\"panel-1745-12-0-0\" class=\"so-panel widget widget_sow-image panel-first-child panel-last-child\" data-index=\"21\" ><div\n\t\t\t\n\t\t\tclass=\"so-widget-sow-image so-widget-sow-image-default-c67d20f9f743-1745\"\n\t\t\t\n\t\t>\n<div class=\"sow-image-container\">\n\t\t<img \n\tsrc=\"https:\/\/www.sergelifar.org\/wp-content\/uploads\/2013\/05\/SaVie13.png\" width=\"268\" height=\"198\" sizes=\"(max-width: 268px) 100vw, 268px\" title=\"\u201cSuite en Blanc\u201d Serge Lifar et Nina Vyroubova Photo Paul G. Almasy\" alt=\"\u201cSuite en Blanc\u201d Serge Lifar\" \t\tclass=\"so-widget-image\"\/>\n\t<\/div>\n\n<h2 class=\"widget-title\">\u201cSuite en Blanc\u201d Serge Lifar et Nina Vyroubova Photo Paul G. Almasy<\/h2><\/div><\/div><\/div><div id=\"pgc-1745-12-1\"  class=\"panel-grid-cell\" ><div id=\"panel-1745-12-1-0\" class=\"so-panel widget widget_sow-editor panel-first-child panel-last-child\" data-index=\"22\" ><div\n\t\t\t\n\t\t\tclass=\"so-widget-sow-editor so-widget-sow-editor-base\"\n\t\t\t\n\t\t>\n<div class=\"siteorigin-widget-tinymce textwidget\">\n\t<p>Although the Nazi flag waved over Paris, the cultural life continued on the banks of the Seine. Lifar\u2019s ballet, Suite en blanc, was performed in 1943 with a veritable constellation of stars: Lycette Darsonval, Yvette Chauvir\u00e9, Micheline Bardin, Marianne Ivanoff and Paulette Dynalix. The 300th performance was held in 1961:\u201dIt is a real technical parade, a sum of the development of academic dance in the last years, a bill presented to the future by the choreographer of today \u201c, as Serge Lifar commented in a 1954 publication that featured illustrations by such artists as Aristide Maillol, Pablo Picasso and Jean Cocteau.<\/p>\n<p>\u00a0<\/p>\n<\/div>\n<\/div><\/div><\/div><\/div><div id=\"pg-1745-13\"  class=\"panel-grid panel-no-style\" ><div id=\"pgc-1745-13-0\"  class=\"panel-grid-cell\" ><div id=\"panel-1745-13-0-0\" class=\"so-panel widget widget_divider panel-first-child panel-last-child\" data-index=\"23\" ><div\n\t\t\t\n\t\t\tclass=\"so-widget-divider so-widget-divider-divider-style-d75171398898-1745\"\n\t\t\t\n\t\t>\r\n\r\n\r\n\r\n<hr class=\"so-divider\" style=\"border-style:dotted; border-width:0 0 2px 0; border-color:#5d90c9; margin-top: px; margin-bottom: px; \"><\/div><\/div><\/div><\/div><div id=\"pg-1745-14\"  class=\"panel-grid panel-no-style\" ><div id=\"pgc-1745-14-0\"  class=\"panel-grid-cell\" ><div id=\"panel-1745-14-0-0\" class=\"so-panel widget widget_sow-image panel-first-child panel-last-child\" data-index=\"24\" ><div\n\t\t\t\n\t\t\tclass=\"so-widget-sow-image so-widget-sow-image-default-c67d20f9f743-1745\"\n\t\t\t\n\t\t>\n<div class=\"sow-image-container\">\n\t\t<img \n\tsrc=\"https:\/\/www.sergelifar.org\/wp-content\/uploads\/2013\/05\/SaVie14.png\" width=\"217\" height=\"256\" sizes=\"(max-width: 217px) 100vw, 217px\" title=\"\u201cGiselle\u201d, les adieux \u00e0 la sc\u00e8ne de Serge Lifar 1956\" alt=\"Serge Lifar 1956\" \t\tclass=\"so-widget-image\"\/>\n\t<\/div>\n\n<h2 class=\"widget-title\">\u201cGiselle\u201d, les adieux \u00e0 la sc\u00e8ne de Serge Lifar 1956<\/h2><\/div><\/div><\/div><div id=\"pgc-1745-14-1\"  class=\"panel-grid-cell\" ><div id=\"panel-1745-14-1-0\" class=\"so-panel widget widget_sow-editor panel-first-child panel-last-child\" data-index=\"25\" ><div\n\t\t\t\n\t\t\tclass=\"so-widget-sow-editor so-widget-sow-editor-base\"\n\t\t\t\n\t\t><h2 class=\"widget-title\">Then came time for his forced retirement<\/h2>\n<div class=\"siteorigin-widget-tinymce textwidget\">\n\t<p>Lifar gradually entrusted the more strenuous roles to young dancers, although he still appeared on stage for gala events. It was the time to reap his rewards, the laurel wreaths that he so deserved. In 1955, he was awarded the Chausson d\u2019or for his 25 years at the Paris Opera. The following year, he received the Gold Medal of the City of Paris. He gave courses in Choreography at the Sorbonne and was appointed professor at the Ecole Normale de Musique.<\/p>\n<p>On 5 December 1956, he made his farewell to the national ballet scene by dancing Giselle with Yvette Chauvir\u00e9. The twelve curtain calls went straight to his heart.<\/p>\n<\/div>\n<\/div><\/div><\/div><\/div><div id=\"pg-1745-15\"  class=\"panel-grid panel-no-style\" ><div id=\"pgc-1745-15-0\"  class=\"panel-grid-cell\" ><div id=\"panel-1745-15-0-0\" class=\"so-panel widget widget_sow-image panel-first-child panel-last-child\" data-index=\"26\" ><div\n\t\t\t\n\t\t\tclass=\"so-widget-sow-image so-widget-sow-image-default-c67d20f9f743-1745\"\n\t\t\t\n\t\t>\n<div class=\"sow-image-container\">\n\t\t<img \n\tsrc=\"https:\/\/www.sergelifar.org\/wp-content\/uploads\/2013\/05\/SaVie15.jpg\" width=\"252\" height=\"194\" sizes=\"(max-width: 252px) 100vw, 252px\" title=\"Duel entre le Marquis de Cuevas et Serge Lifar\" alt=\"Serge Lifar \" \t\tclass=\"so-widget-image\"\/>\n\t<\/div>\n\n<h2 class=\"widget-title\">Duel entre le Marquis de Cuevas et Serge Lifar<\/h2><\/div><\/div><\/div><div id=\"pgc-1745-15-1\"  class=\"panel-grid-cell\" ><div id=\"panel-1745-15-1-0\" class=\"so-panel widget widget_sow-editor panel-first-child\" data-index=\"27\" ><div\n\t\t\t\n\t\t\tclass=\"so-widget-sow-editor so-widget-sow-editor-base\"\n\t\t\t\n\t\t>\n<div class=\"siteorigin-widget-tinymce textwidget\">\n\t<p>In March 1958, he did not shrink from fighting a duel with the Marquis de Cu\u00e9vas for the exclusivity of the repertoire of the Nouveau-Ballet in Monte-Carlo. The victory went to the Marquis de Cu\u00e9vas, but the two men immediately reconciled. Honour had been saved. After the marquis\u2019 death, Serge Lifar was among the casket bearers.<\/p>\n<\/div>\n<\/div><\/div><div id=\"panel-1745-15-1-1\" class=\"so-panel widget widget_sow-editor panel-last-child\" data-index=\"28\" ><div\n\t\t\t\n\t\t\tclass=\"so-widget-sow-editor so-widget-sow-editor-base\"\n\t\t\t\n\t\t>\n<div class=\"siteorigin-widget-tinymce textwidget\">\n\t<h4>Ma vie, 21\/10\/1965 : Lifar raconte le duel avec le Marquis de Cuevas<\/h4>\n<audio class=\"wp-audio-shortcode\" id=\"audio-1745-4\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/www.sergelifar.org\/wp-content\/uploads\/2023\/02\/Bande-magneto-1965-10-21-Ma-vie-021_Extrait3.mp3?_=4\" \/><a href=\"https:\/\/www.sergelifar.org\/wp-content\/uploads\/2023\/02\/Bande-magneto-1965-10-21-Ma-vie-021_Extrait3.mp3\">https:\/\/www.sergelifar.org\/wp-content\/uploads\/2023\/02\/Bande-magneto-1965-10-21-Ma-vie-021_Extrait3.mp3<\/a><\/audio>\n<\/div>\n<\/div><\/div><\/div><\/div><div id=\"pg-1745-16\"  class=\"panel-grid panel-no-style\" ><div id=\"pgc-1745-16-0\"  class=\"panel-grid-cell panel-grid-cell-empty\" ><\/div><div id=\"pgc-1745-16-1\"  class=\"panel-grid-cell\" ><div id=\"panel-1745-16-1-0\" class=\"so-panel widget widget_sow-editor panel-first-child\" data-index=\"29\" ><div\n\t\t\t\n\t\t\tclass=\"so-widget-sow-editor so-widget-sow-editor-base\"\n\t\t\t\n\t\t>\n<div class=\"siteorigin-widget-tinymce textwidget\">\n\t<p>In that same year, it came time to leave his beloved Paris Opera for good. The curtain fell on more than a hundred of his creations, a heart wrenching event. In a lecture given in Paris in December 1958, he interpreted it as a tactical measure by the French Government, \u201cwhich was starting to take offence at [his] Russian origins\u201d. He founded the University of the Dance and embarked on a new career as professor and lecturer.<\/p>\n<\/div>\n<\/div><\/div><div id=\"panel-1745-16-1-1\" class=\"so-panel widget widget_sow-editor panel-last-child\" data-index=\"30\" ><div\n\t\t\t\n\t\t\tclass=\"so-widget-sow-editor so-widget-sow-editor-base\"\n\t\t\t\n\t\t>\n<div class=\"siteorigin-widget-tinymce textwidget\">\n\t<h4>Ma vie au service de la danse, 1958 : Serge Lifar s'exprime sur son d\u00e9part de l'Op\u00e9ra<\/h4>\n<audio class=\"wp-audio-shortcode\" id=\"audio-1745-5\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/www.sergelifar.org\/wp-content\/uploads\/2023\/02\/Bande-magneto-Ma-vie-au-service-de-la-danse-047-2_Extrait.mp3?_=5\" \/><a href=\"https:\/\/www.sergelifar.org\/wp-content\/uploads\/2023\/02\/Bande-magneto-Ma-vie-au-service-de-la-danse-047-2_Extrait.mp3\">https:\/\/www.sergelifar.org\/wp-content\/uploads\/2023\/02\/Bande-magneto-Ma-vie-au-service-de-la-danse-047-2_Extrait.mp3<\/a><\/audio>\n<\/div>\n<\/div><\/div><\/div><\/div><div id=\"pg-1745-17\"  class=\"panel-grid panel-no-style\" ><div id=\"pgc-1745-17-0\"  class=\"panel-grid-cell\" ><div id=\"panel-1745-17-0-0\" class=\"so-panel widget widget_divider panel-first-child panel-last-child\" data-index=\"31\" ><div\n\t\t\t\n\t\t\tclass=\"so-widget-divider so-widget-divider-divider-style-d75171398898-1745\"\n\t\t\t\n\t\t>\r\n\r\n\r\n\r\n<hr class=\"so-divider\" style=\"border-style:dotted; border-width:0 0 2px 0; border-color:#5d90c9; margin-top: px; margin-bottom: px; \"><\/div><\/div><\/div><\/div><div id=\"pg-1745-18\"  class=\"panel-grid panel-no-style\" ><div id=\"pgc-1745-18-0\"  class=\"panel-grid-cell panel-grid-cell-empty\" ><\/div><div id=\"pgc-1745-18-1\"  class=\"panel-grid-cell\" ><div id=\"panel-1745-18-1-0\" class=\"so-panel widget widget_sow-editor panel-first-child panel-last-child\" data-index=\"32\" ><div\n\t\t\t\n\t\t\tclass=\"so-widget-sow-editor so-widget-sow-editor-base\"\n\t\t\t\n\t\t><h2 class=\"widget-title\">The rediscovery of Moscow<\/h2>\n<div class=\"siteorigin-widget-tinymce textwidget\">\n\t<p>In 1961, he was able to enjoy a reunion with his homeland behind the Iron Curtain: Moscow and the Bolshoi, Leningrad and the Kirov Theatre. He revisited Kiev, the city of his birth, which he had left 40 years before. For him, time seemed to have been abolished: \u201cAnd so the trip came to a perfect conclusion. Youth was united with the wisdom to come. Kiev was reunited with Kiev. I found my house and school, my streets, and even the memory of my parents, everything except for a certain perfume of life that was gone forever. I saw the dance schools. and felt that, from then on, it was from there that the choreographic truth would come back\u201d.<\/p>\n<\/div>\n<\/div><\/div><\/div><\/div><\/div>","protected":false},"excerpt":{"rendered":"<p>The Ukranian Period (1905-1923) The French Period The Swiss Period Serge de DiaghilevHis first steps with Diaghilev The date of January13. 1923 marks his arrival in Paris, world capital: \u201cI remember one of those winter mornings in which a pale sun shone through the fog; I was walking down the Champs-Elys\u00e9es, enjoying for the first <\/p>\n","protected":false},"author":2,"featured_media":0,"parent":4,"menu_order":143,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_acf_changed":false,"ngg_post_thumbnail":0,"footnotes":""},"class_list":["post-1745","page","type-page","status-publish","hentry"],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.5 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>The French Period - Serge Lifar<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.sergelifar.org\/biographie\/la-periode-francaise\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"The French Period - Serge Lifar\" \/>\n<meta property=\"og:description\" content=\"The Ukranian Period (1905-1923) The French Period The Swiss Period Serge de DiaghilevHis first steps with Diaghilev The date of January13. 1923 marks his arrival in Paris, world capital: \u201cI remember one of those winter mornings in which a pale sun shone through the fog; I was walking down the Champs-Elys\u00e9es, enjoying for the first\" \/>\n<meta property=\"og:url\" content=\"https:\/\/www.sergelifar.org\/biographie\/la-periode-francaise\/\" \/>\n<meta property=\"og:site_name\" content=\"Serge Lifar\" \/>\n<meta property=\"article:modified_time\" content=\"2023-04-06T09:03:28+00:00\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:label1\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data1\" content=\"11 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\\\/\\\/schema.org\",\"@graph\":[{\"@type\":\"WebPage\",\"@id\":\"https:\\\/\\\/www.sergelifar.org\\\/biographie\\\/la-periode-francaise\\\/\",\"url\":\"https:\\\/\\\/www.sergelifar.org\\\/biographie\\\/la-periode-francaise\\\/\",\"name\":\"The French Period - Serge Lifar\",\"isPartOf\":{\"@id\":\"https:\\\/\\\/dev2023.sergelifar.org\\\/en\\\/#website\"},\"datePublished\":\"2016-10-04T13:53:31+00:00\",\"dateModified\":\"2023-04-06T09:03:28+00:00\",\"breadcrumb\":{\"@id\":\"https:\\\/\\\/www.sergelifar.org\\\/biographie\\\/la-periode-francaise\\\/#breadcrumb\"},\"inLanguage\":\"en-US\",\"potentialAction\":[{\"@type\":\"ReadAction\",\"target\":[\"https:\\\/\\\/www.sergelifar.org\\\/biographie\\\/la-periode-francaise\\\/\"]}]},{\"@type\":\"BreadcrumbList\",\"@id\":\"https:\\\/\\\/www.sergelifar.org\\\/biographie\\\/la-periode-francaise\\\/#breadcrumb\",\"itemListElement\":[{\"@type\":\"ListItem\",\"position\":1,\"name\":\"Accueil\",\"item\":\"https:\\\/\\\/dev2023.sergelifar.org\\\/en\\\/\"},{\"@type\":\"ListItem\",\"position\":2,\"name\":\"Biography\",\"item\":\"https:\\\/\\\/www.sergelifar.org\\\/en\\\/biography\\\/\"},{\"@type\":\"ListItem\",\"position\":3,\"name\":\"The French Period\"}]},{\"@type\":\"WebSite\",\"@id\":\"https:\\\/\\\/dev2023.sergelifar.org\\\/en\\\/#website\",\"url\":\"https:\\\/\\\/dev2023.sergelifar.org\\\/en\\\/\",\"name\":\"Serge Lifar\",\"description\":\"Site officiel de la Fondation Serge Lifar\",\"potentialAction\":[{\"@type\":\"SearchAction\",\"target\":{\"@type\":\"EntryPoint\",\"urlTemplate\":\"https:\\\/\\\/dev2023.sergelifar.org\\\/en\\\/?s={search_term_string}\"},\"query-input\":{\"@type\":\"PropertyValueSpecification\",\"valueRequired\":true,\"valueName\":\"search_term_string\"}}],\"inLanguage\":\"en-US\"}]}<\/script>\n<!-- \/ Yoast SEO plugin. -->","yoast_head_json":{"title":"The French Period - Serge Lifar","robots":{"index":"index","follow":"follow","max-snippet":"max-snippet:-1","max-image-preview":"max-image-preview:large","max-video-preview":"max-video-preview:-1"},"canonical":"https:\/\/www.sergelifar.org\/biographie\/la-periode-francaise\/","og_locale":"en_US","og_type":"article","og_title":"The French Period - Serge Lifar","og_description":"The Ukranian Period (1905-1923) The French Period The Swiss Period Serge de DiaghilevHis first steps with Diaghilev The date of January13. 1923 marks his arrival in Paris, world capital: \u201cI remember one of those winter mornings in which a pale sun shone through the fog; I was walking down the Champs-Elys\u00e9es, enjoying for the first","og_url":"https:\/\/www.sergelifar.org\/biographie\/la-periode-francaise\/","og_site_name":"Serge Lifar","article_modified_time":"2023-04-06T09:03:28+00:00","twitter_card":"summary_large_image","twitter_misc":{"Est. reading time":"11 minutes"},"schema":{"@context":"https:\/\/schema.org","@graph":[{"@type":"WebPage","@id":"https:\/\/www.sergelifar.org\/biographie\/la-periode-francaise\/","url":"https:\/\/www.sergelifar.org\/biographie\/la-periode-francaise\/","name":"The French Period - Serge Lifar","isPartOf":{"@id":"https:\/\/dev2023.sergelifar.org\/en\/#website"},"datePublished":"2016-10-04T13:53:31+00:00","dateModified":"2023-04-06T09:03:28+00:00","breadcrumb":{"@id":"https:\/\/www.sergelifar.org\/biographie\/la-periode-francaise\/#breadcrumb"},"inLanguage":"en-US","potentialAction":[{"@type":"ReadAction","target":["https:\/\/www.sergelifar.org\/biographie\/la-periode-francaise\/"]}]},{"@type":"BreadcrumbList","@id":"https:\/\/www.sergelifar.org\/biographie\/la-periode-francaise\/#breadcrumb","itemListElement":[{"@type":"ListItem","position":1,"name":"Accueil","item":"https:\/\/dev2023.sergelifar.org\/en\/"},{"@type":"ListItem","position":2,"name":"Biography","item":"https:\/\/www.sergelifar.org\/en\/biography\/"},{"@type":"ListItem","position":3,"name":"The French Period"}]},{"@type":"WebSite","@id":"https:\/\/dev2023.sergelifar.org\/en\/#website","url":"https:\/\/dev2023.sergelifar.org\/en\/","name":"Serge Lifar","description":"Site officiel de la Fondation Serge Lifar","potentialAction":[{"@type":"SearchAction","target":{"@type":"EntryPoint","urlTemplate":"https:\/\/dev2023.sergelifar.org\/en\/?s={search_term_string}"},"query-input":{"@type":"PropertyValueSpecification","valueRequired":true,"valueName":"search_term_string"}}],"inLanguage":"en-US"}]}},"_links":{"self":[{"href":"https:\/\/www.sergelifar.org\/en\/wp-json\/wp\/v2\/pages\/1745","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.sergelifar.org\/en\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/www.sergelifar.org\/en\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/www.sergelifar.org\/en\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.sergelifar.org\/en\/wp-json\/wp\/v2\/comments?post=1745"}],"version-history":[{"count":5,"href":"https:\/\/www.sergelifar.org\/en\/wp-json\/wp\/v2\/pages\/1745\/revisions"}],"predecessor-version":[{"id":4581,"href":"https:\/\/www.sergelifar.org\/en\/wp-json\/wp\/v2\/pages\/1745\/revisions\/4581"}],"up":[{"embeddable":true,"href":"https:\/\/www.sergelifar.org\/en\/wp-json\/wp\/v2\/pages\/4"}],"wp:attachment":[{"href":"https:\/\/www.sergelifar.org\/en\/wp-json\/wp\/v2\/media?parent=1745"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}