Relevant bibliographies by topics / Ballets russes de Serge de Diaghilev

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  3. Books
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Academic literature on the topic 'Ballets russes de Serge de Diaghilev'

Author: Grafiati
Published: 4 June 2021
Last updated: 27 July 2025

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Journal articles on the topic "Ballets russes de Serge de Diaghilev"

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Rand, Peter, and Anna Winestein. "Reflecting on the Spirit of Sergei Diaghilev." Experiment 17, no. 1 (2011): 21–29. http://dx.doi.org/10.1163/221173011x611806.

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Abstract The present article is a colloquy between the directors of Ballets Russes 2009, a festival held in Boston in 2009 to celebrate the centenary of Sergei Diaghilev’s Ballets Russes. The authors reflect on the experience of organizing the festival, including the conference at Boston University that forms the basis of this volume. The article features the insights their work gave them into Diaghilev's own experience in running the Ballets Russes, as well as observations about Diaghilev as a manager and cultural entrepreneur.
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HALDEY, OLGA. "Savva Mamontov, Serge Diaghilev, and a Rocky Path to Modernism." Journal of Musicology 22, no. 4 (2005): 559–603. http://dx.doi.org/10.1525/jm.2005.22.4.559.

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ABSTRACT The Ballets Russes of Serge Diaghilev has frequently been hailed as an emblem of 20th-century modernism, its productions created by a ““committee”” of directors, composers, and designers viewed as a realization of an elusive dream of art synthesis. Present research based on diverse unpublished sources traces the beginning of the transition toward modernism on stage to the earlier activities of the Moscow Private Opera directed by Savva Mamontov. An artist and a millionaire, Mamontov succeeded in realizing his ideal of opera as a synthesized art form by instigating major reforms in act
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Foster, Andrew. "A Directory of Diaghilev Dancers." Dance Research 37, no. 2 (2019): 181–205. http://dx.doi.org/10.3366/drs.2019.0272.

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Serge Diaghilev's Ballets Russes came to an end with his death in 1929, but it has since been an endless source of fascination and inspiration for dancers, dance historians and fans. It would seem that every aspect of the Ballets Russes has been exhaustively explored and documented – from the art, the music and the choreography, to the personalities who created them. The names of Anna Pavlova, Tamara Karsavina and Vaslav Nijinsky are legendary, and many others (Michel Fokine, George Balanchine, Ninette De Valois, Marie Rambert) went on to influence and define the art of ballet for much of the
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Rutherford, Annabel. "The Triumph of the Veiled Dance: The Influence of Oscar Wilde and Aubrey Beardsley on Serge Diaghilev's Creation of the Ballets Russes." Dance Research 27, no. 1 (2009): 93–107. http://dx.doi.org/10.3366/e0264287509000267.

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The tremendous impact that Serge Diaghilev's Ballets Russes made on twentieth-century western arts has been well documented by scholars. Rarely has a theatre art made such an impact on society. And this influence spread beyond theatre directors, composers, costume designers, artists and performers to literature. Diaghilev caught the attention of such writers as Marcel Proust, James Joyce, Jean Cocteau, the Sitwells, Leonard Woolf, indeed, the Bloomsbury group in general, T. S. Eliot, Rupert Brooke, E. M. Forster, and, of course, D. H. Lawrence, too. While this has all been noted in biographies
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Bischin, Maria-Roxana. "Choreographing Kandinsky’s ‘Spiritual’ in Sergei Diaghilev’s Ballets Russes." Sæculum 47, no. 1 (2019): 153–67. http://dx.doi.org/10.2478/saec-2019-0015.

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AbstractThe purpose of this article is to demonstrate that Wassily Kandinsky’s geometrical paintings were inspired by the ballet world, and by the body movements of the ballerina. Moreover, painting and ballet communicate with each other. And geometry has helped that. Then, the idea of this article starts with the necessity in relating Kandinsky’s Spiritual theory on non-materiality exposed in Über das Geistige in der Kunst with Sergei Diaghilev’s Ballets Russes brought on Parisian scene between 1909s and 1929s. Ballets Russes is the term which names all the ballet representations thought and
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Portnova, Тatiana. "Historiography, Iconography and Semiotics of Russian Ballet Seasons: On the Issues of World Touring Practice." southern semiotic review 2023 ii, no. 18 (2023): 99–110. http://dx.doi.org/10.33234/ssr.18.6.

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This article addresses the challenges of iconography and historiography related to the "Ballets Russes" by Sergei Diaghilev. The modern understanding of the role of material sources is quite important, as sometimes these sources are the only available information about Diaghilev's ballets.
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Reynolds, Nancy. "Sergei Diaghilev’s Example: The Case of George Balanchine." Experiment 17, no. 1 (2011): 321–44. http://dx.doi.org/10.1163/221173011x611987.

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Abstract In 1925 George Balanchine joined the Ballets Russes, the ballet company directed by Sergei Diaghilev, when he was just twenty years old. Many of the elements of his mature art can be traced to his time with the mesmerizing Diaghilev, who controlled virtually every aspect of his troupe’s activities.
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JÄRVINEN, HANNA. "‘The Russian Barnum’: Russian Opinions on Diaghilev's Ballets Russes, 1909–1914." Dance Research 26, no. 1 (2008): 18–41. http://dx.doi.org/10.3366/e0264287508000042.

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This article discusses the little-known Russian reviews of Sergei Diaghilev's ballet company. It argues that Diaghilev's reputation and social position in Imperial Russia affected how his troupe and the works famous in Western Europe were regarded in the Russian press. In Russia, Diaghilev was accused of exporting a false image of Russia as a semi-Oriental nation of barbarians. Russian critics found evidence for this from the predominantly Orientalist reviews appraising the Ballets Russes in Paris and London. They also judged their Western colleagues incompetent for not corresponding to the Ru
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Kryazheva, I. A. "Sergei Diaghilev in Spain: New Themes, Images, Ballets." Cuadernos Iberoamericanos 11, no. 2 (2023): 138–53. http://dx.doi.org/10.46272/2409-3416-2023-11-2-138-153.

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Spain was a prominent destination on tours of Sergei Diaghilev's Ballets Russes. Numerous visits to this country, spanning the period from the mid-1910s to the mid-1920s, enriched Diaghilev's artistic horizons with new themes and images that resulted in the ballets: «Las Meninas», «The three-cornered hat», «Cuadro Flamenco». The history of the creation and staging of each ballet possesses its own characteristics; in each case, a unique artistic world is conceived, expressed in a modern language, and distinguished by its many facets and complex symbolism. In order to implement his new ideas, Di
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Robinson, Harlow. "“My Second Son”: The Collaboration of Sergei Prokofiev and Sergei Diaghilev." Experiment 17, no. 1 (2011): 140–54. http://dx.doi.org/10.1163/221173011x611879.

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Abstract Russian composer Sergei Prokofiev (1891-1953) and Sergei Diaghilev collaborated on three ballets (Chout, Pas d’Acier, Prodigal Son) for the Ballets Russes, and maintained a crucial personal and artistic relationship for fifteen years during a formative period in Prokofiev’s artistic life. This article traces their collaboration on the three ballets, and the production history of each.
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Dissertations / Theses on the topic "Ballets russes de Serge de Diaghilev"

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Watts, Carolyn. "America in the Transatlantic Imagination: The Ballets Russes and John Alden Carpenter's Skyscrapers." Thesis, Université d'Ottawa / University of Ottawa, 2015. http://hdl.handle.net/10393/31949.

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During its twenty-year lifespan, the Ballets Russes (1909 to 1929) was celebrated for bringing together illustrious artistic and cultural figures to collaborate on exotic productions based on Russian, Spanish, English and French themes. Notable by its absence from the Ballets Russes’ exotic interests is the culture and music of America, and this despite that during the 1920s Americans culture was a source of fascination and unease in the European cultural imagination. The Ballets Russes’ impresario, Serge Diaghilev, is recognized as holding the culture of the New World in disdain, yet nonethel
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Celhay, de Larrard Hélène. "André Derain et la scène." Thesis, Paris 4, 2011. http://www.theses.fr/2011PA040157.

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Le monde des arts est en pleine effervescence au début du XXe siècle, après le scandale déclenché par l’exposition des œuvres des Fauves au Salon d’Automne de 1905. Loin de cette agitation, les décors de scène sont réalisés par des décorateurs professionnels qui restent attachés aux procédés traditionnels. En 1909, l’arrivée des Ballets russes au Châtelet marque une rupture dans la conception du rôle du peintre dans le ballet. En 1919, alors que la compagnie jouit d’une grande renommée, Serge Diaghilev commande à André Derain les décors et les costumes de La Boutique Fantasque. Au sortir de la
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Downes, Michael. "Debussy and the aesthetics of French music : from Wagner to the Ballets Russes." Thesis, University of Sussex, 1996. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.388938.

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Copping, Roxanne Celine. "Composers and the Ballets Russes : convention, innovation, and evolution as seen through the lesser-known works." Thesis, University of Manchester, 2016. https://www.research.manchester.ac.uk/portal/en/theses/composers-and-the-ballets-russes--convention-innovation-and-evolution-as-seen-through-the-lesserknown-works(1357e7f5-17c5-4d98-a32a-13f4ba8bfda1).html.

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The primary focus of this thesis is a selection of lesser-known Ballets Russes works, which, despite being largely neglected in academic studies, constitute important chapters in the history of the company. The bright light of publicity that shone on Stravinsky - in particular on Le Sacre du Printemps - has cast shadows over other Ballets Russes works, creating an over-simplified historical perspective. This is not to deny that Le Sacre was a watershed moment for the company, and in seeking to enrich our understanding of its place within broader musical trends, the thesis is divided into three
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Rajatanavin, Tanaporn. "The Emergence of the Subconscious in Erik Satie's "Parade": The Search for Surrealism in Sound." Thesis, University of North Texas, 2020. https://digital.library.unt.edu/ark:/67531/metadc1707230/.

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This thesis investigates possible connections between the music of Erik Satie (1866-1925) and the later surrealist movement, turning to Parade (1917) in a case study that seeks to understand surrealism in music through the idea of self-exploration, a well-established interpretive approach in studies of surrealism in the visual arts. This thesis seeks to redefine surrealism in music not as a set of concrete musical characteristics, but as a collection of techniques meant to evoke subconscious turbulence by blurring the boundary between the "outside" and "inside," between conscious and subconsci
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Delaney, Katherine Rabinovich. "Diaghilev's Gesamtkunstwerk as represented in the productions "Le coq d'or" (1914) and "Renard" (1922)." 2004. http://hdl.handle.net/1828/553.

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Lin, Hsiang-Ning, and 林湘寧. "Debussy and Diaghilev''s Ballets Russes." Thesis, 2003. http://ndltd.ncl.edu.tw/handle/96982473554034090806.

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碩士<br>東吳大學<br>音樂學系<br>91<br>Debussy is one of the greatest composers in France. He reformed the traditional knowledge and power of harmony and melodies. His music is to suggest ideas or associate thoughts. And is also the combination of lots of colors and tones, and atmosphere being baked. His unequalled skills brighten a brand new filed of contemporary music of the 20th century. Though the rise of Russian ballet is late almost two thousand years to the European ballet. But ballet became larger and more complete after it streamed into Russia in the later half of the 17th century. Di
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Books on the topic "Ballets russes de Serge de Diaghilev"

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Garafola, Lynn. Diaghilev's Ballets russes. Da Capo Press, 1998.

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Shead, Richard. Ballets russes. Wellfleet Press, 1989.

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Shead, Richard. Ballets russes. Greenwich Editions, 1998.

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Columbia University. Rare Book and Manuscript Library, ed. Sergei Diaghilev and beyond: Les Ballets Russes. Rare Book & Manuscript Library, 2013.

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Marsh, Geoff (Geoffrey D.), National Gallery of Art (U.S.), and Victoria and Albert Museum, eds. Diaghilev and the Ballets russes, 1909-1929: When art danced with music. National Gallery of Art, Washington, 2013.

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Fredric Woodbridge Wilson Collection of the Ballets Russes (Harvard Theatre Collection). A Feast of wonders: Sergei Diaghilev and the Ballets Russes. Skira, 2009.

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Ann, Kodicek, Bartlett Rosamund, Sato Tomoko, Myers Lucy, and Barbican Art Gallery, eds. Diaghilev, creator of the Ballets russes: Art, music, dance. Barbican Art Gallery, 1996.

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Scheijen, Sjeng. Diaghilev: A life. Profile, 2009.

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Fedorovski, Vladimir. Diaghilev et Monaco. Rocher, 2004.

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1872-1929, Diaghilev Serge, Scheijen Sjeng, Bowlt John E, and Groninger Museum, eds. Working for Diaghilev. Groninger Museum, 2004.

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Book chapters on the topic "Ballets russes de Serge de Diaghilev"

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Minden, Gabriela. "Introduction." In Modernism after the Ballets Russes. Oxford University PressOxford, 2025. https://doi.org/10.1093/9780198951704.003.0001.

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Abstract The significance of Serge Diaghilev’s Ballets Russes in the fields of music, dance, fashion, and the visual arts has long been recognized. Yet the company’s contributions to dramatic literature and dramaturgy have not played a major role in its reputation. This introductory chapter argues that the Ballets Russes’s 1911 London début was a defining moment in British theatre history. It outlines the artistic and philosophical conditions of the country’s cultural landscape prior to the arrival of the Ballets Russes, unfolding the specific contributions that the Diaghilev repertoire made t
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Snow, K. Mitchell. "Mexicanism Russian Style." In A Revolution in Movement. University Press of Florida, 2020. http://dx.doi.org/10.5744/florida/9780813066554.003.0003.

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The influence of Serge Diaghilev’s Ballets Russes saturated the artistic environment inhabited by Diego Rivera and Roberto Montenegro in Paris before World War I. In predecessors to the debates surrounding nationalism in Mexico, Diaghilev explored its intersections with folk art in the pages of his magazine Mir iskusstva. Montenegro studied with Diaghilev ally Hermen Anglada who urged his disciples to use elements from their nation’s folklore to escape the hegemony of Parisian modernism. Although Rivera disparaged the Ballet Russes’s influence on Mexican art, he painted his “Mexican trophy,” a
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Roust, Colin. "Boeuf sur le Toit and the Ballets Russes." In Georges Auric. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190607777.003.0004.

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The phenomenon of Les Six and Auric’s role in Paris Dada positioned Auric at the center of the avant-garde between 1921 and 1925. His name even appeared in advertisements for Le Boeuf sur le Toit, the bar at which the Parisian avant-garde met and debated. This privileged position was reinforced by five commissions from Serge Diaghilev for the Ballets Russes. As a pianist, he played in the premiere of Stravinsky’s Les noces. As a music critic, he was also offered his first regular column in Les nouvelles littéraires. As life in Paris grew increasingly demanding for him, he increasingly sought r
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Shevelenko, Irina. "“Russian Barbarians”." In Russian Archaism. Cornell University Press, 2024. http://dx.doi.org/10.7591/cornell/9781501776342.003.0005.

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This chapter discusses modernist music and performance in the aftermath of the first Russian Revolution. It begins by looking at the unrealized ballet by Sergei Prokofiev, Ala and Lolli (1915). Initially commissioned from Prokofiev by Sergei Diaghilev in 1914, it was later rejected by him as “international music.” This prompted Prokofiev to rework it into a suite that acquired the subtitle that eventually turned into this work's main name: Scythian Suite. The chapter then traces the formation of the aesthetic ideology of Diaghilev's Ballets Russes enterprise, before considering Igor Stravinsky
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Witchard, Anne. "‘Beautiful, baleful absurdity’: Chinoiserie and Modernist Ballet." In British Modernism and Chinoiserie. Edinburgh University Press, 2015. http://dx.doi.org/10.3366/edinburgh/9780748690954.003.0007.

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The post-war return of Sergei Diaghilev’s Ballets Russes to London in 1918 was heralded by colourful posters of a ‘Chinaman’ complete with trailing pigtail. This was Picasso’s design for the Chinese Conjurer in Jean Cocteau’s ballet, Parade (1914). However Parade would not receive its London premiere until months later. While the avant-garde Parade had a distinctly minority appeal, Picasso’s Chinese Conjurer was a shrewdly commercial choice, testament to the British love affair with theatrical chinoiserie. This chapter examines the ways its engagement with chinoiserie contributed to the develo
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Aloff, Mindy. "Scandals." In Dance Anecdotes. Oxford University PressNew York, NY, 2006. http://dx.doi.org/10.1093/oso/9780195054118.003.0014.

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Abstract Fury, Beauty, and Depth When Serge Diaghilev’s Ballets Russes gave the world première of Le Sacre du printemps in Paris, on May 29, 1913—with music by Igor Stravinsky and choreography by Vaslav Nijinsky—the uproar in the audience was so violent that the evening has remained the standard in ballet history for avantgarde provocation and hostile audience reaction. The young Jean Cocteau summed up the mêlée as, “Quel bombe! Quel chef d’oeuvre!” Although the Ballets Russes was already somewhat notorious in certain circles for Nijinsky’s 1912 ballet, L’après-midi d’un Faune, and was to prov
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Bowlt, John E. "Sergei Diaghilev and Stravinsky: From World of Art to Ballets Russes." In Stravinsky in Context. Cambridge University Press, 2020. http://dx.doi.org/10.1017/9781108381086.010.

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Pritchard, Jane. "Transforming the World of Dance: The Ballets Russes of Sergei Diaghilev." In The Cambridge Companion to <i>The Rite of Spring</i>. Cambridge University Press, 2025. https://doi.org/10.1017/9781108568685.003.

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Garafola, Lynn. "Le Train Bleu and Its Aftermath." In La Nijinska. Oxford University Press, 2022. http://dx.doi.org/10.1093/oso/9780197603901.003.0007.

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In 1925 Nijinska choreographs another stylish work, this one to music by Darius Milhaud. With a libretto by Jean Cocteau and costumes by Gabrielle (Coco) Chanel, Le Train Bleu is inspired by the vogue for beach sports and by celebrities like the tennis star Suzanne Lenglen, Nijinska’s role for herself. Although the ballet is warmly received, the collaboration is fraught with dissension, as Cocteau, supported by Boris Kochno, seeks to impose his ideas of gesture and pantomimic action on the choreography at the expense of the dance material. Nijinska remains critical of Diaghilev’s French turn,
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Steinberg, Michael. "Igor Stravinsky." In Choral Masterworks. Oxford University PressNew York, NY, 2005. http://dx.doi.org/10.1093/oso/9780195126440.003.0024.

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Abstract Stravinsky made the first notations for this music in June 1914 and finished the sketch score on 11 October 1917. The scoring underwent several radical changes, and the first performance of parts of the four extraordinarily interesting preliminary and abandoned versions of the first two tableaux took place at Harvard University on 12 August 1968 under the direction of Claudio Spies. Looking at my now-somewhat-tattered program, I see that the orchestra list for that concert includes the then–twenty-one-year-old future composer John Adams, here playing clarinet. The first complete perfo
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Conference papers on the topic "Ballets russes de Serge de Diaghilev"

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Konovalov, Andrey, Liudmila Mikheeva, and Yulia Gushchina. "Sergei Diaghilev’s Ballets Russes in the Context of Symbolism." In 7th International Conference on Arts, Design and Contemporary Education (ICADCE 2021). Atlantis Press, 2021. http://dx.doi.org/10.2991/assehr.k.210813.002.

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Vyazova, Ekaterina. "Mikhail Larionov and Roger Fry: to the History of Sergei Diaghilev's Ballets Russes in England in Late 1910s." In Proceedings of the 2nd International Conference on Art Studies: Science, Experience, Education (ICASSEE 2018). Atlantis Press, 2018. http://dx.doi.org/10.2991/icassee-18.2018.2.

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