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Tag Archives: Daniel Rabel

A Word on L’Impromptu, 2

09 Wednesday Dec 2020

Posted by michelinewalker in Molière

≈ 3 Comments

Tags

A Note, Colonnade du Louvre, Daniel Rabel

La Colonnade du Louvre (Tripadvisor), designed by Claude Perrault

The Comédie-Italienne and Molière’s troupe shared the théâtre du Petit-Bourbon until it was demolished to make room for La Colonnade du Louvre. They moved to the Théâtre du Palais-Royal.

I tried to indicate the scenes of L’Impromptu de Versailles in a manner other than copying from the PDF version. It was not possible. The toutmolière.net site divides Molière’s plays into acts and scenes, but one must copy the text from the PDF version. The PDF versions, French and English, are paginated.

Also, Scene v was included in yesterday’s L’Impromptu de Versailles.2. It was removed without my noticing. I reinserted its skeletal version before retiring last night. It is short, but it completes the narrative. From Scene vi to Scene x, Molière is asked to go on stage and perform. In Scene xi, the King relieves him and asks that a play the comedians know well be performed.

Help, help …

How does one indent in the Block Editor and where are symbols and characters located? I have tried everything, but failed miserably.

We carry on.

Daniel Rabel‘s Depiction of the Grotesque

© Micheline Walker
9 December 2020
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From “Ballet de Cour” to “Comédie-Ballet”

10 Sunday Apr 2016

Posted by michelinewalker in Ballet, France, Grotesque, Italy, Theatre, Wars of Religion

≈ 2 Comments

Tags

Académie Royale de Musique, Ballet comique de la Reine, Ballet de Cour, Ballet de la Merlaison, Comédie-Ballet, Daniel Rabel, grotesque, Le Roi danse, Louis XIII, Louis XIV, Lully, Molière

Wedding_ball_of_the_Duc_de_Joyeuse,_1581Wedding of Anne de Joyeuse with Marguerite de Vaudémont, 24 September 1581 in Le Louvre. On the left under the dai are Henri III, Catherine de Médicis, and Queen Louise. French school 1581-1582. (Photo credit: Wikipedia)

 

cour

Le Ballet comique de la Reine (Photo credit: Wikipedia)

Molière (15 January 1622 – 17 February 1673), born Jean-Baptiste Poquelin, spent several years performing outside Paris. His first troupe, l’Illustre Théâtre, established in 1643, went bankrupt and, in 1645, Molière was imprisoned. He had to leave for the provinces.

Les Précieuses ridicules, a one-act play which premièred on 18 November 1659, was Molière’s first Parisian success and he would produce several other plays, about thirty-four, eleven of which were comédies-ballets, ten with music by Jean-Baptiste Lully and one, with music by Charpentier. However, preceding the comédie-ballet, was the ballet de cour.

The Ballet de Cour

Circé ou le Balet comique de la Royne (1581)

The first ballet, a ballet de cour, was Circé ou le Balet comique de la Royne (1581). It was commissioned by Catherine de’ Medici, and choreographed by Balthasar Beaujoyeulx, or Baldassarre da Belgioioso. As we have seen frequently, the Renaissance began in Italy and, consequently, many ‘French’ institutions find their origin in Italy. Dissemination was often due to marriages.

The Ballet comique de la Reine was performed on 15 October 1581 at the court of Catherine de’ Medici. It was part of the wedding celebration of the Duc de Joyeuse‘s, a court ‘mignon,’ a dandy, marriage to Queen Louise’s sister, Marguerite of Lorraine). The text of the ballet was written by Nicolas Filleul de la Chesnayne. Girard de Beaulieu wrote the music.

The Ballet comique de la Reine was created for the wedding celebration of Queen Louise’s sister, who married le Duc de Joyeuse (1561 – 1687), a court ‘mignon,’ a dandy. The text was by Nicolas Filleul de la Chesnayne. Girard de Beaulieu wrote the music. And, as noted above, Beaujoyeux, or Belgioioso, was its choreographer.

Louise was married to Henri III of France, a son a Henri II and Catherine de’ Medici, who was assassinated by Jacques Clément, a Catholic fanatic. As for Anne de Joyeuse (1561 – 1687),  he perished at the hands of French Calvinist Protestants, called Huguenots, 800 of whom he had slaughtered. In fact, the French wars of religion are the backdrop to the creation of the ballet de cour.

sED_VCoya_20121115C4ATR5KZIN
Capture-décran-2016-02-18-13_10_54

sans-titre

“Les Fées de la forêt de Saint-Germain” (First performed in February 1625)
“Entrée des Esperlucates ”
“Grand Ballet de la douairière de Billebahaut” (First performed in February 1626)

Daniel Rabel: the “grotesque” in the ballet de cour

  • Daniel Rabel
  • the grotesque

Daniel Rabel (1578 – 3 January 1637) was a man of many talents. Wikipedia describes Rabel as “a Renaissance French painter, engraver, miniaturist, botanist and natural history illustrator.” As a painter, Rabel produced grotesque depictions of ballet, but beginning in 1617 until his death in 1637, Rabel was a set designer for theatres and for ballets de cour.

In our context the term grotesque (from grotto) is not pejorative. The ‘grotesque’ is an aesthetics as is the ‘baroque.’ Medieval gargoyles and misericords are acceptably ‘grotesques.’ Beverly Minster, a 12th-century cathedral, has a fine collection of grotesque misericords. In the 19th century, Hugo would revive the grotesque. His 1831 novel, Notre-Dame de Paris features Quasimodo, a hunchback. The “grotesque” is associated with the Middle Ages and the 19th century.

Le Roi danse

“Les Fées de la forêt de Saint-Germain” was danced at the Louvre in February 1625, with Louis XIII himself in the role of a “valiant fighter.” (See Daniel Rabel, Wikipedia.) Louis XIII also danced in the ballet he composed, the Ballet de la Merlaison.

Louis XIII and his brother, Gaston d’Orléans, danced in the Ballet du Sérieux et du Grotesque. Louis XIV was also a dancer. On 23 February 1653, Louis XIV danced in the Ballet de la Nuit, at the Petit-Bourbon, a theater.

Louis XIV
Louis XIV
Louis XIV
Louis XIV

Louis XIII’s Le Ballet de la Merlaison

You may remember that Louis XIII, the Sun-King’s father, wrote the Ballet de la Merlaison. Louis XIII was a composer and he composed a ballet. Consequently, the creation of ballet is associated with both Louis XIII and his son, Louis XIV. However, Louis XIII’s Ballet de la Merlaison is a ballet de cour as had been Circé ou le Balet Comique de la Royne. As noted above, Louis XIII performed in the ballet he composed.

Other ballets de cour were performed before 1661, when Molière created Les Fâcheux, (the Bores), to music by Lully. King Louis XIII, the Sun-King’s father (Louis XIV), was a composer and, as noted above, he played a role in “Les Fées de la forêt de Saint-Germain.” Louis XIII composed the Ballet de la Merlaison, a ballet de cour.

Maurice_Leloir_-_Le_ballet_de_la_Merlaison

Le Ballet de la Merlaison by Maurice Leloir, in Dumas père’s The Three Musketeers (Photo credit: Wikipedia)

The Comédie-ballet

  • Le Bourgeois gentilhomme: comédie ballet and “play-within-a-play”
  • Jean-Baptiste Lully
  • Molière

For a long time, little attention was given Molière’s contribution to ballet, and my book, if ever it is published, will not improve matters as I will discuss only one comédie-ballet: George Dandin (1668). However, one cannot ignore Le Bourgeois gentihomme (14 November 1670), where the ballet is both entertainment and a play-within-a play. Monsieur Jourdain is deceived into marrying his daughter Lucile to Cléonte who has disguised himself into the son of the Mufti, le grand Turc. This is a case of comedy rescuing comedy.

Molière wrote the text of his comédies-ballets, and the text may be read independently of the divertissements, for which he also wrote the text. However, these ballets inject laughter into Molière’s comedies several of which are somber works. The ballets are, to a large extent, part of the comic text.

Except for The Imaginary Invalid (1673), the music of Molière’s comédies-ballets was composed by Jean-Baptiste Lully, born Giovanni Battista Lulli. Pierre Beauchamp (30 October 1631 – February 1705) was Molière’s choreographer.

All three, Molière (playwright), Lully (composer and dancer) and Pierre Beauchamp (choreographer), are major figures in their respective profession and Molière’s comédie-ballet a significant step in the creation of ballet. Lully was named director of Académie Royale de Musique in 1669 and worked with Philippe Quinault, his librettist. The Académie Royale de Musique developed into the Paris Opéra and the smaller Opéra Garnier. Since 1989, performances have been held at the 2700-seat theatre Opéra Bastille.

800px-Opera_paris_tunli

L’Opéra Garnier

 

800px-Opéra_Garnier_-_le_Grand_Foyer

L’Opéra Garnier, Le Grand Foyer

Comédie-ballet and le style galant

  • Voltaire’s La Princesse de Navarre (1745), the last comédie-ballet
  • Jean-Philippe Rameau’s Les Indes galantes (1735)
  • André Campra‘s L’Europe galante (1697)

Several ballets de cour and the related comédies-ballets were staged. It would seem that Voltaire La Princesse de Navarre (1745) is that last comédie-ballet. It was performed to music by Jean-Philippe Rameau (25 September 1683 – 12 September 1764). (See Comédie-ballet, Wikipedia.)

A few years earlier, Rameau had composed Les Indes galantes with libretto by Louis Fuzelier. It was performed by the Académie Royale de Musique at its theatre in the Palais-Royal, in Paris, on 23 August 1735. The ‘style galant’ had entered comédie-ballet heralded by André Campra‘s L’Europe galante, written to a text by Antoine Houdar de la Motte on 24 October 1697. It was an opéra-ballet, which we are not discussing, not a comédie-ballet.

We close with Rameau’s Les Indes galantes, which was not an opera but a turning-point in the history of ballet in the galant style. Specialists were now developing ballet.  

Conclusion

  • Les Fâcheux (The Bores) the first comédie-ballet (1661)
  • Vaux-le-Vicomte

Molière wrote eleven comédies-ballets, the first of which was Les Fâcheux (The Bores), created by Molière and Lully and performed at Vaux-le-Vicomte, Nicolas Fouquet’s magnificent castle. Fouquet invited a newly-crowned king Louis XIV to a lavish feast at Vaux, which took place on 17 August 1661, but Louis grew jealous. We have read that story. Louis XIV used ballets to cultivate the image of the Sun-King. Therefore, to a certain extent, ballet was put into the service of absolutism.

RELATED ARTICLES

  • Vaux-le-Vicomte: Nicolas Fouquet’s Rise and Fall (20 August 2013)
  • Les Indes galantes & Le Bourgeois gentilhomme : “Turqueries” (30 September 2012)
  • Jean-Philippe Rameau’s « Les Indes galantes » (25 September 2012)
  • Daniel Rabel’s “Grotesque” Depictions of Ballet (10 August 2012)
  • The Ballet de cour, the Grotesque & a Minuet by Boccherini (8 August 2012)
  • The Duc de Joyeuse & Louis XIII as Composer (7 August 2012)

Sources and Resources

  • Le Ballet Royal de la Nuit : images
  • Daniel Rabel : images
  • Petit détour sur l’histoire (histoire du ballet) FR
  • Illustrations by Maurice Leloir, Wikimedia
  • Artcyclopedia: Maurice Leloir (1851 – 1940)
  • Court Ballet (Britannica)
  • Ballets de cour (Wikipedia)
  • The Ballets de cour of Louis XIV (Dance in History, WordPress)

 

With kind regards to everyone. ♥

Below are scenes from Belgian filmmaker Gérard Corbiau‘s Le Roi danse (2000)

bpt6k5518090c

Grotesque Musician from the Ballet du Sérieux et du Grotesque, 1627
(Art Gallery of Ontario)

tumblr_lntso9MrKN1qd4t4vo1_500

© Micheline Walker
10 April 2016
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Daniel Rabel’s Grotesque & Boccherini

11 Friday Dec 2015

Posted by michelinewalker in Ballet, Dance, Grotesque, Music

≈ 2 Comments

Tags

Ballets, Daniel Rabel, Fadango, grotesque, Luigi Boccherini, Passacaglia

1024px-Daniel_Rabel_-_The_Royal_Ballet_of_the_Dowager_of_Bilbao's_Grand_Ball_-_WGA18592The Royal Ballet of the Dowager of Bilbao’s Grand Ball by Daniel Rabel
(Photo Credit: FR.Wikipedia)

Daniel_Rabel_-_The_Royal_Ballet_of_the_Dowager_of_Bilbao's_Grand_Ball_-_WGA18593
Ballet des fées des forêts de Saint-Germain – Entrée des Esperlucates
(Photo credit: FR.Wikipedia)[1]

Dances

  • Ballet de cour
  • Suite (a music form normally containing dance music)

In 1635, Louis XIII of France composed the Ballet de Merlaison.

As for Suites, they are a musical composition most of which contain a number of dances, such as the minuet.

I have featured a minuet composed by Italian-born Luigi Boccherini, who worked in Spain. His minuet is classical.

However, Boccherini was also influenced by the music of Spain and Portugal, Iberian music: the Passacaglia and the Fandango.

Daniel Rabel

Daniel Rabel (1578 – 1637), an artist, was the stage and costume designer for two ballets.

  • “Les Fées de la forêt de Saint-Germain” (First performed in February 1625)[2]
  • “Ballet de la Douairière de Billebahaut” (First performed in February 1626)

The Grotesque

Rabel could not resist a “grotesque” presentation of his ballets: Les Fées des forêts de Saint-Germain (1625) & The Royal Ballet of the Dowager of Bilbao’s Grand Ball (1626).

RELATED ARTICLES

  1. Boccherini’s Iberian Music: the Passacaglia & the Fandango (11 August 2012)
  2. Daniel Rabel’s “Grotesque” Depictions of Ballet (10 August 2012)
  3. The Ballet de cour, the Grotesque & a Minuet by Boccherini (8 August 2012)
  4. The Duc de Joyeuse & Louis XIII as Composer (7 August 2012)

La Musica notturna delle strade di Madrid

Boccherini’s La Musica notturna delle strade di Madrid is our best example of Iberian music by Boccherini.

____________________

[1] In the Wikipedia English entry for Rabel, this image is identified as a depiction of the ballet for the dowager of Bilbao.

[2] “Ballet of the Fairies of the Forest of Saint-Germain”

La Musica notturna delle strade di Madrid, Op. 30 n. 6 (G. 324), Jordi Savall

5637_large1

© Micheline Walker
10 December 2015
WordPress

 

 

 

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Daniel Rabel’s “Grotesque” Depictions of Ballet

10 Friday Aug 2012

Posted by michelinewalker in Dance, France

≈ 2 Comments

Tags

Ballet, Bibliothèque nationale de France, Daniel Rabel, grotesque, Jean Rabel, Musée du Louvre

Daniel_Rabel_-_The_Royal_Ballet_of_the_Dowager_of_Bilbao's_Grand_Ball_-_WGA18593

Ballet des fées des forêts de Saint-Germain – Entrée des Esperculates (Photo credit: Wikipedia)

 
Photo credit:
Grand Ballet de la douairière de Billebahaut (2;1626), Wikipedia (under Daniel Rabel)
Daniel Rabel, Grotesque Musician from the Ballet du Sérieux et du Grotesque, 1627
Art Gallery of Ontario (Wikipedia)
Ballet des fées des forêts de Saint-Germain – Entrée des Esperlucates (Photo credit: Wikipedia)
 
Terminology:
Grotesque: an æsthetics (in the context it is used in this post, “grotesque” is not a pejorative term)
 

800px-Daniel_Rabel_-_The_Royal_Ballet_of_the_Dowager_of_Bilbao's_Grand_Ball_-_WGA18592

Royal Ballet of the Dowager of Bilbao’s Grand Ball (Photo credit: Wikipedia)

Rabel’s “grotesque” Art & the botanical artist

Daniel Rabel (Paris 1578 – 1637), was the son of Jean Rabel (1545 – 1603), the official artist at the court of Henri III who was acquainted to Jean Dorat, the most prominent Hellenist, or Greek scholar, of his days.

Daniel Rabel, Jean’s son, was therefore brought up in the best of French intellectual circles, but he did not become a Hellenist, a Greek scholar.  Nor did he become a poet.  He chose instead to walk in his father’s footsteps, but, as we will see, not entirely.  He was a painter, an engraver, a miniaturist and a decorator.  As well, following once more in his father’s footsteps, Daniel Rabel was a court artist. 

But he was different from his father, because he was:

  • a designer of theatre ballet costumes;
  • a botanist and a botanical artist* (Wikipedia);
  • and because he is associated with the Grotesque art of early seventeenth-century France, an aesthetic.

*  His botanical art will not be discussed in this blog.

Much of Daniel Rabel’s artwork can be viewed at Google Images.

Daniel Rabel as Court Artist

Until the invention of photography, artists were often asked to make a miniature painting or drawing of a fiancée, a daughter, a wife, a husband.  Among other miniatures, Daniel was commissioned to make a miniature portrait of Henri III’s fiancée, Anne of Austria (1601 – 1660), which benefitted his career.  In 1612, he became the official artist of the duc de Nevers, Charles de Gonzague.

Between 1631 and 1632, he was also official artist to Gaston d’Orléans, Henri IV‘s third son.  In 1633, scientist Peiresc (Nicolas-Claude Fabri de Peiresc), an astronomer among other pursuits, wrote letters to Rabel to commission paintings of privately-owned antique vases. These letters are still extant and are housed in the Carpentras library.

Daniel Rabel also painted landscapes (oil paintings) and hunting scenes.  However, on the sole merit of his two paintings of the  Ballet de la douairière de Bilbao, housed in the Louvre Museum, Rabel would be considered an important artist influenced by the Grotesque fashion which has its counterpart in French poetry.

Saint-Germain-des-Prés

However, by 1618, Daniel Rabel had settled in Saint-Germain-des-Prés, where he painted his Suite de fleurs (1624). Rabel works, including his plates, are housed in the print room, the Cabinet des estampes, of the National Library of France, la BNF (Bibliothèque nationale de France.)  The two paintings (shown above) of the Ballet de la douairière de Bilbao are kept in the Louvre.

In other words, as of 1617 until his death, Rabel was a designer for theatres and for ballets de cour.  He was engaged in stagecraft.[i]  He designed costumes for ballets (costumes de ballet).  Two of these ballets are:

  • Les Fées de la forêt de Saint-Germain
  • Grand Ballet de la douairière de Billebahaut (Bilbao) 1626.

I am including two related blogs, but posts dealing with the flamenco are not listed. The picture at the head of this post shows a bal masqué, a masquerade bal.  It is an example of the “grotesque” style.

We have therefore introduced a new element, the grotesque and, in particular, Daniel Rabel’s grotesque depictions of the bal or the ballet.  When Daniel Rabel was designing costumes and involved in stagecraft, there were several “grotesque” poets.  However, 17th-century grotesque was a brief phenomenon.  The “grotesque” is usually associated with the 19th century and the Middle Ages.

Victor Hugo

A good example of the grotesque is Victor Hugo‘s The Hunchback of Notre-Dame of (Notre-Dame de Paris), published in 1831.  Hugo (26 February 1802 – 22 May 1885)wanted to challenge a restrictice notion of beauty and created Quasimodo, a character most would consider repulsive.  Esmeralda  loves the hunchback despite his looks. Remember that, in Beauty and the Beast, Beauty accepts to marry Beast when he is still Beast. She can see beneath the surface.

Other writers of the nineteenth century in France also felt there were different forms of beauty.  For instance, when Charles Baudelaire (9 April 1821 – 31 August 1867) published his Fleurs du Mal (The Flowers of Evil) in 1857, he was also questioning a narrow perception of beauty.

 
RELATED ARTICLES
  • Ballet de cour, the Grotesque and a Minuet by Boccherini
  • Boccherini’s Iberian Music: the Passacaglia & the Fandango
  • The Duc de Joyeuse & Louis XIII as Composer
 
 _________________________
[i] “stagecraft.” Encyclopædia Britannica. Encyclopædia Britannica Online. Encyclopædia Britannica Inc., 2012. Web. 10 Aug. 2012. <http://www.britannica.com/EBchecked/topic/562420/stagecraft>.
 
 
 
© Micheline Walker
10 August 2012
WordPress
 

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The Ballet de cour, the Grotesque & a Minuet by Boccherini

08 Wednesday Aug 2012

Posted by michelinewalker in Dance, Music, Wars of Religion

≈ 8 Comments

Tags

Ballet de Cour, Daniel Rabel, French Wars of Religion, grotesque, Huguenot, Luigi Boccherini, Minuet, Suites

 
 

800px-daniel_rabel_-_the_royal_ballet_of_the_dowager_of_bilbaos_grand_ball_-_wga185921

The Royal Ballet for the Dowager of Bilbao’s Grand Ball by Daniel Rabel (1626)

Photo credit:
Grand Ballet de la douairière de Billebahaut (1626), Wikipedia, under Ballet de Cour
Luigi Boccherini (1764-1767), Wikipedia 
 
 

sans-titre

The Royal Ballet for the Dowager of Bilbao’s Grand Ball by Daniel Rabel

 

The Wars of Religion

After writing about the Duc de Joyeuse who slaughtered Huguenots, it may be a good idea to look at absolutism. In France, absolutism meant: one king, one language, one religion. It was achieved at a cost that makes absolutism a Pyrrhic victory. Chasing away the Huguenots deprived France and New France of citizens who, by and large, were an asset to their community and would be asset to the countries to which they fled.

The Ballet de cour

Yet, as the Wars of Religion took their toll, courtiers danced. Jean-Baptiste Lully composed ballets de cour, but composers also wrote Suites, mostly dances. JS Bach‘s English Suites, French Suites and his Partitas (for the keyboard) are a good example of the union of rythme and melody, but his suites were not the galant music composed by his sons, the eldest, Wilhelm Friedemann and Johann Christian.

The “Classical” Suite for the keyboard consisted of an allemande, a courante, a sarabande(very slow), and a gigue (fast). It was developed in France and grew to contain the minuet, the gavotte, the passepied, and the bourrée. Some suites are introduced by a prelude. 

The image at the top of this post features a grotesque ballet de cour. The grotesque flourished in the late years of the 16th century and the early years of the 17th century in France, showing a distorted form of beauty perhaps consistent with the pity of the wars of religions. The gargoyles of medieval cathedrals reflect a related duality.

Daniel Rabel was a 16th-century French court artist during the French religious wars. For several years he was a set and costume designer for nascent ballets de cour which he somehow ridiculed through grotesque depictions that can be associated with comedy.

Boccherini’s Menuet

But let us listen to a menuet by Luigi Boccherini.  The menuet, or minuet, is a triple–meter dance (1–2–3 ; 1–2–3), perfect for a bal at court. The Waltz also has a  triple meter: 1–2–3. As we know, Louis XIII wrote a ballet de cour, the Ballet de Merlaison, dance music. I do not know if Louis XIII’s music has already been entered into one of the official periods of music. I would surmise it is Baroque music. However, the Ballet de la Merlaison has been revived and was performed in May 2012, in Compiègne. But let us discuss Boccherini, whose music is delightful.

Luigi Rodolfo Boccherini (Lucca, Italy, 19 February 1743 – Madrid, Spain, 28 May 1805) is an Italian-born composer who worked and died in Spain. He composed in the Galante style, fashionable between the 1720s to the 1770s) and is a Classical composer. Boccherini was influenced by Spanish music. His Musica notturna delle strade di Madrid, but the Menuet I am featuring could have been composed by Haydn. It is in the sensitive style.

RELATED ARTICLES

  • Boccherini’s Iberian Music: the Passacaglia & the Fandango (11 August 2012)
  • Daniel Rabel’s “Grotesque” Depictions of Ballet (10 August 2012)
  • The Ballet de cour, the Grotesque & a Minuet by Boccherini (8 August 2012)
  • The Duc de Joyeuse & Louis XIII as Composer (7 August 2012)

 

 
 
 

Luigi Boccherini (1767-68) by an unknown artist

© Micheline Walker
8 August 2012
WordPress 
 

 

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micheline.walker@videotron.ca

Micheline Walker

Micheline Walker

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Micheline Walker

Micheline Walker
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