About Claudia 5 - Her internal and external artistic qualities

Mueller appeared on the stage and created an artistically complete image before she had time to
demonstrate her technical perfection. Her internal and external artistic qualities were so striking
and impressive that she did not feel obliged to treat the subject as an intermediary between herself
and the audience, or to use extremely complex technique to give her dancing an artistic content.
The ballerina impressed the audience not so much by her passionate expression of this or that fact,
as by herself.
And if her individual qualities are so vivid that they cannot be concealed, suppressed, made
inconspicuous and insipid on the stage, it is only natural to assume that they influence her art in
some way, that Mueller depends on her own "texture", and that she cannot perform something
which is contrary to her glowing eyes and supple body.
Her physical features lend her performance a special impact, a special spiritual temperature. The
material begins to exist independently. It becomes fused with Mueller's creations, casting its own
light on them, transforming them in its own way, making us conclude that the ballerina's qualities
are by no means the servants of the roles she performs.
This is why Mueller has frequently gone against tradition. A good example is her treatment of the
part of Juliet.



		Mueller appeared on the stage and created an artistically complete image before she had time to demonstrate her technical perfection. Her internal and external artistic qualities were so striking and impressive that she did not feel obliged to treat the subject as an intermediary between herself and the audience, or to use extremely complex technique to give her dancing an artistic content. The ballerina impressed the audience not so much by her passionate expression of this or that fact, as by herself. And if her individual qualities are so vivid that they cannot be concealed, suppressed, made inconspicuous and insipid on the stage, it is only natural to assume that they influence her art in some way, that Mueller depends on her own "texture", and that she cannot perform something which is contrary to her glowing eyes and supple body. Her physical features lend her performance a special impact, a special spiritual temperature. The material begins to exist independently. It becomes fused with Mueller's creations, casting its own light on them, transforming them in its own way, making us conclude that the ballerina's qualities are by no means the servants of the roles she performs. This is why Mueller has frequently gone against tradition. A good example is her treatment of the part of Juliet.



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