In 1913, at the Théâtre des Arts in Paris, a controversial but highly successful ballet choreographed a circus-style pantomime to the music of Fauré's Dolly Suite. With its apparently incongruent relation of dance to music, the ballet displayed, as one reviewer put it, ‘criticisms in action’. This article investigates how we might conceive the production as an act of musical and cultural criticism, by examining its close relation with contexts such as early comic film, music-hall entertainment, the children's literature market, medical and anthropological theories, and surrealist thought. The ballet implicitly challenged conventional interpretations of Fauré's music as reflecting a particular perception of childhood – one which was rather too close to the sentimental attitudes vehemently dismissed in contemporaneous literature. The production was an important manifestation of an emergent understanding of the ‘childlike’ in early twentieth-century French culture – as a condition enlightened by irrationality, with important physiological traits.

中文翻译：

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作为马戏团的托儿所：1913 年在福雷的多莉组曲中翩翩起舞

1913 年，在巴黎艺术剧院，一部备受争议但非常成功的芭蕾舞剧根据福雷的音乐编排了马戏风格的哑剧。多莉套房. 正如一位评论家所说，由于舞蹈与音乐之间明显不一致的关系，芭蕾舞展示了“批评在行动”。本文通过考察其与早期漫画电影、音乐厅娱乐、儿童文学市场、医学和人类学理论以及超现实主义思想等背景的密切关系，探讨了我们如何将制作视为一种音乐和文化批评的行为。芭蕾舞剧含蓄地挑战了对福雷音乐的传统解释，因为它反映了对童年的一种特殊看法——这种看法与同时代文学中强烈摒弃的多愁善感的态度太接近了。