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

Author: Grafiati

Published: 4 June 2021

Last updated: 27 July 2025

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1

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 Present research based on diverse unpublished sources traces the beginning of the transition toward modernism on stage to the earlier activities of the Moscow Private Opera directed by Savva Mamontov.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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Järvinen, Hanna. "Failed Impressions: Diaghilev's Ballets Russes in America, 1916." Dance Research Journal 42, no. 2 (2010): 77–108. http://dx.doi.org/10.1017/s0149767700001042.

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In 1916 the Russian impresario Sergei Diaghilev (1872–1929) took the Ballets Russes out of war-torn Europe for a tour across the North American continent. The tour was scheduled to run from January to April 1916, with short seasons in New York at the beginning and the end. As it turned out, the company returned for a second tour that ran from late September to January 1917, during which time, however, Diaghilev's former lover and principal star dancer, Vaslav Nijinsky (1889–1950), replaced him as director.In this article I discuss the cultural differences at the heart of the Ballets Russes' fa

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Lavoie, Marie-Noëlle. "Discours sur la danse dans La Revue musicale : autour de Serge Lifar." Les Cahiers de la Société québécoise de recherche en musique 13, no. 1-2 (2012): 69–75. http://dx.doi.org/10.7202/1012352ar.

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Dans la France de l’entre-deux-guerres, la scène chorégraphique parisienne est le lieu de profondes mutations. Durant les années 1920, les Ballets russes de Serge Diaghilev s’essoufflent et de nouvelles troupes, notamment celles des Ballets suédois, rivalisent d’audace et bousculent les rapports entre danse et musique. Puis, les années 1930 voient l’ascension de Serge Lifar, jeune danseur d’origine ukrainienne qui prend la tête de l’Opéra de Paris et conquiert la critique ainsi que le public parisien. Cet article examine le discours sur la danse au sein de La Revue musicale et plus particulièr

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Poesio, Giannandrea. "Perpetuating the Myth: Sergey Diaghilev and the Ballets Russes." Modernism/modernity 18, no. 1 (2011): 167–73. http://dx.doi.org/10.1353/mod.2011.0008.

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Malmstad, John E. "Sergei Diaghilev “The Russian”: Reflections on the Repertory of the Ballets Russes." Experiment 17, no. 1 (2011): 47–64. http://dx.doi.org/10.1163/221173011x611824.

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Abstract The Ballets Russes never performed in Russia, and in the last twelve years of its twenty-one year existence (1909-1929) many Western European artists and composers worked for the company. Yet its essential identity remained as Russian as that of its founder, the quintessential “cosmopolitan” Sergei Diaghilev. An examination of its repertory makes that clear.

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Veroli, Patrizia. "Serge Lifar as a Dance Historian and the Myth of Russian Dance in Zarubezhnaia Rossiia (Russia Abroad) 1930–1940." Dance Research 32, no. 2 (2014): 105–43. http://dx.doi.org/10.3366/drs.2014.0104.

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Serge Lifar built his career during the 1930s, a decade crucial to understanding his ‘années noires’ – or ‘black years’, as the French historian Henry Rousso called the period of the German occupation of Paris (1940–1944). Lifar's powerful and respected position at the Paris Opéra, the social connections he had built and maintained and the psychological impact of exile: all these elements help clarify Lifar's accommodating attitude towards the German occupants of his adopted city. 1 During the 1930s Lifar came to be accepted in French intellectual society as the ‘heir’ of Serge Diaghilev. Thro

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Cebrián López, Macarena. "repercusiones en prensa del estreno de Parade en París: primera colaboración de Pablo Picasso con los Ballets Rusos de Diaghilev." Boletín de Arte, no. 45 (October 4, 2024): 89–99. https://doi.org/10.24310/ba.45.2024.15965.

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Parade, ballet realista, de 1917 fue una creación liderada por Jean Cocteau para los Ballet Russes de la compañía de Serge Diaghilev, que contó con la participación de Erik Satie, Pablo Picasso, Léonide Massine y Ernest Ansermet. Un colectivo que creó una obra única con aspiraciones vanguardistas en medio de los acontecimientos de la Primera Guerra Mundial, provocando conmoción entre los espectadores, críticos y artistas. Para ahondar sobre los abucheos y aplausos que recibió Parade en su estreno de 1917 en París, se hace una revisión a las reseñas de prensa surgidas tras el estreno para exami

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González, Ignacio. "Proyecciones de poéticas de movimiento e intertextos simbolistas: L'Après-midi d'un Faune y Caaporá." Investigaciones en Danza y Movimiento 4, no. 8 (2023): 25–48. https://doi.org/10.5281/zenodo.13787666.

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En 1915, los jóvenes artistas argentinos Ricardo Güiraldes y Alfredo González Garaño concibieron Caaporá, un proyecto de ballet que nunca llegó a escenificarse. A partir del análisis del manuscrito intentaré pensar algunas posibles relaciones que podría haber tenido el proyecto con las obras de la compañía Les Ballets Russes. En esta ocasión, me focalizaré en L'Après-midi d‘un Faune, de Nijinsky (1912) y sostendré que el intertexto con la poética simbolista sería uno de lo

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Porshnev, Ivan D. "The Steel Step ballet by Sergei Prokofiev in Paris and London (1927)." Contemporary Musicology, no. 4 (2020): 104–50. http://dx.doi.org/10.56620/2587-9731-2020-4-104-150.

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The creative dialogue between Sergei Diaghilev and Sergei Prokofiev is one of the key issues on the agenda of modern musicology. Among the productions developed for Diaghilev’s ballet company, one work with a whimsical and somewhat clumsy name—The Steel Step (Le Pas d’Acier)—definitely stands out. The ballet took two years, from 1925 to 1927, to compose. It had a stunning success in Paris and London, where it remained in the repertoire up until Diaghilev’s death in 1929. The article aims to identify general tendencies in the opinions about The Steel Step voiced in print media after its premier

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Pritchard, Jane. "Serge Diaghilev's Ballets Russes – An Itinerary. Part 1: 1909–1921." Dance Research 27, no. 1 (2009): 109–98. http://dx.doi.org/10.3366/e0264287509000279.

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Pritchard, Jane. "Serge Diaghilev's Ballets Russes – An Itinerary. Part II (1922–9)." Dance Research 27, no. 2 (2009): 255–357. http://dx.doi.org/10.3366/e0264287509000310.

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Vasenina, E. V. "Liturgy by Leonide Massine and Liturgy by Olga Tsvetkova: In Search of Historical and Cultural Dialogue." Art & Culture Studies, no. 2 (June 2024): 378–403. http://dx.doi.org/10.51678/2226-0072-2024-2-378-403.

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The article is devoted to studying the reasons for the historical and cultural connection between Leonide Massine’s unstaged ballet Liturgy, which was conceived by him together with Sergei Diaghilev, and the production of the Liturgy ballet shown in 2023 at the Zaryadye concert hall in Moscow. The creators of the new Liturgy ballet, choreographer Olga Tsvetkova and composer Sergei Akhunov, directly point to Massine’s Liturgy as a source of inspiration and highlight the personal need to reflect on the divine principle in art. The article cites a number of sources documenting the three‐year long

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Poldiaeva, Elena G. "Sergei Prokofiev: Unfulfilled Ideas of the 1920s." Contemporary Musicology, no. 3 (2020): 111–40. http://dx.doi.org/10.56620/2587-9731-2020-3-111-140.

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This article deals with the artistic plans that Sergei Prokofiev had for the 1920s, but failed to implement. In particular, the article focuses on the project of a musical drama Human / Automatic Sun, based on the text by Pyotr Suvchinsky, a friend of Prokofiev’s. In detailed correspondence, they discuss the relationship between the word, music and drama. Prokofiev also shares his reflections in his diary. The article cites both sources. At that time, the composer’s focus was on the art of melodeclamation. It may seem unexpected, yet, it was a follow-up to his quest in the field of opera. Melo

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Haine, Malou. "Le magazine américain Vanity Fair (1913-1936) : vitrine de la modernité musicale à Paris et à New York." Les musiques franco-européennes en Amérique du Nord (1900-1950) : études des transferts culturels 16, no. 1-2 (2017): 23–37. http://dx.doi.org/10.7202/1039610ar.

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De sa création en 1913 à sa fusion avec Vogue en 1936, le magazine américain Vanity Fair a pour vocation de parler de l’art contemporain européen et américain par de courts articles de vulgarisation, des photographies et des caricatures. Plusieurs domaines artistiques sont couverts : musique, danse, opéra, littérature, peinture, sculpture, arts graphiques, cinéma, photographie et mode. La France constitue tout à la fois le rêve, l’attraction et le modèle des Américains : elle reste omniprésente jusqu’au milieu des années 1920, puis cède la place aux artistes américains. Vanity Fair reflète plu

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Popović-Bodroža, Ana. "Picasso and the theater: From Harlequin to Pegasus: The modernist fine art and theater turn." Zbornik radova Filozofskog fakulteta u Pristini 53, no. 4 (2023): 317–33. http://dx.doi.org/10.5937/zrffp53-42003.

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Following the method of interdisciplinary studies, this paper analyzes Pablo Picasso's relation to theater through his paintings, theater work, and the influence of theater not only on the themes of his paintings but also on the affirmation of the Avant-garde, the Cubist experiments and practices, the breakthrough of Cubist ideas across the medium of theater. The entire Picasso's art is presented in the light of several major artistic Avantgardes of which he was the founder and ideologist (the "father" of Cubism, inventor of Collage, the first Ready-mades and Constructivist sculptures, initiat

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Abad-Carlés, Ana, and Marina Peñaranda-Abad. "The Influence of André Levinson and Arnold Haskell in the Attempts to Develop a Ballet Culture in Catalonia during the First Half of the Twentieth Century." Dance Research 41, no. 2 (2023): 207–34. http://dx.doi.org/10.3366/drs.2023.0404.

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This article examines a largely neglected chapter of Spanish and Catalan dance history: the attempts to create and develop a dance culture in Catalonia during the first half of the twentieth century, following the visits of Diaghilev’s Ballets Russes in Spain. Two Catalan writers and promoters, Sebastià Gasch and Alfons Puig i Claramunt, were the key figures who sought to position Barcelona alongside other European dance capitals, like London or Paris. Sebastià Gasch was an important art critic and friend of many avant-garde artists, including Joan Miró, Salvador Dalí and Federico García Lorca

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Jones, Susan. "Diaghilev and British Writing." Dance Research 27, no. 1 (2009): 65–92. http://dx.doi.org/10.3366/e0264287509000255.

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This article explores the diversity of British literary responses to Diaghilev's project, emphasising the way in which the subject matter and methodologies of Diaghilev's modernism were sometimes unexpectedly echoed in expressions of contemporary British writing. These discussions emerge both in writing about Diaghilev's work, and, more discretely, when references to the Russian Ballet find their way into the creative writing of the period, serving to anchor the texts in a particular cultural milieu or to suggest contemporary aesthetic problems in the domain of literary aesthetics developing i

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Poudru, Florence. "Quelques oeuvres de Marius Petipa en France : leur rayonnement entre 1900 et 1960." Slavica Occitania 43, no. 1 (2016): 343–57. https://doi.org/10.3406/slaoc.2016.1094.

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The Works of Petipa in France and their Influence, from 1900 to 1960 In France, the Ballets Russes are considered to be the focal point of avant-garde choreography, while the role they played in the renewal of an art from firmly anchored in the past and as link with the Russian works of Marius Petipa is all too often overlooked. Yet a good number of less illustrious Russian troupes, comprising dancers enrolled by Diaghilev from the former Imperial opera houses (Vera Nemchinova, for example), together with the large Russian diaspora present in France during the inter-war years, also played key

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Pritchard, Jane. "From the Russian avant-garde to Sergei Diaghilev’s Ballets Russes." Studies in Theatre and Performance 36, no. 3 (2016): 219–29. http://dx.doi.org/10.1080/14682761.2016.1227916.

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Veroli, Patrizia. "A Tribute to Diaghilev at the Ballets Russes Centenary." Dance Chronicle 33, no. 3 (2010): 480–85. http://dx.doi.org/10.1080/01472526.2010.517501.

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Lacombe, Hervé. "Francis Poulenc et la danse." Les Cahiers de la Société québécoise de recherche en musique 13, no. 1-2 (2012): 61–68. http://dx.doi.org/10.7202/1012351ar.

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La danse constitue un axe important de la production de Poulenc et un modèle essentiel de son style, axe qu’il convient d’examiner globalement. Les références explicites (dans les titres) ou implicites aux danses irriguent toute son oeuvre, en dehors même des ballets, et contribuent à créer un imaginaire de la danse, lié à ses lectures et à ses souvenirs. Les danses populaires urbaines et les danses anciennes s’inscrivent logiquement dans l’esthétique néoclassique et permettent la constitution d’un « folklore personnel ». Le cas exemplaire des Biches, partition composée pour les Ballets russes

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Hunter, Michael. "Diaghilev and the Golden Age of the Ballets Russes 1909–1929." Costume 50, no. 2 (2016): 274. http://dx.doi.org/10.1080/05908876.2016.1175248.

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Sayers, Lesley-Anne. "Re‐Discovering Diaghilev's Pas D'acier." Dance Research 18, no. 2 (2000): 163–85. http://dx.doi.org/10.3366/1290850.

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This article is drawn from PhD research (Bristol University 1999) into Georgii Yakulov's scenic designs for the Diaghilev Ballets Russes production of Le Pas d'Acier (Prokofiev, Yakulov, Massine 1927). This study involved a reconstruction, in model form, currently on exhibition at the Palais de Centenaire in Brussels, shown in the photographs below. The purpose of this reconstruction was to explore the design, within the limitations of a model, using simple lighting to give an indication of the use of gauze and kinetic set parts.

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Tsvetkova, P. Yu. "I. F. STRAVINSKY AND S. P. DIAGHILEV: TO THE HISTORY OF COOPERATION." Arts education and science 2, no. 31 (2022): 179–84. http://dx.doi.org/10.36871/hon.202202023.

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In 2022, two significant dates are celebrated: the 150th anniversary of the birth of S. P. Diaghilev (1872–1929), entrepreneur, creator and head of the "Russian Seasons" enterprise in Paris, and the 140th anniversary of the birth of I. F. Stravinsky, an outstanding composer. Based on documentary evidence, the article traces the nature of the interaction between the two creators in certain periods of their joint work. At the same time, it is noted that the fates of the two figures of Russian culture were closely intertwined in terms of personal friendship. They also had much in common: both Dia

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Ehrbar, Lorena. "Longévité d’un canon : carnation et musculature dans les images de Serge Lifar." Perspective 2 (2024): 175–88. https://doi.org/10.4000/12u3w.

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Par l’examen des représentations photographiques et cinématographiques de Serge Lifar, et de leur diffusion, le présent article vise à éclairer certains ressorts visuels de la fascination exercée par le danseur, de ses débuts aux Ballets russes en 1923 jusqu’à la fin de son activité à l’Opéra de Paris en 1958. En mettant en scène sa carnation et sa musculature, ces images construisent un canon corporel à la fois inaccessible et profondément ancré dans son époque, performatif dans la durée grâce à sa diffusion dans les médias, dont l’essor est alors considérable. Le modèle représenté par Serge

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Odom, Selma Landen. "The Dalcroze Method, Marie Rambert, and Le Sacre du printemps." Modernist Cultures 9, no. 1 (2014): 7–26. http://dx.doi.org/10.3366/mod.2014.0071.

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The standard narrative about the original production of Le Sacre du printemps is that the Ballets Russes dancers hated Nijinsky's choreography; that rehearsals were prolonged; that the work outraged audiences, who rioted; and that the ballet failed and disappeared, but Stravinsky's music endured as modernism's masterpiece. This article offers a revised history, drawing on archival and practice-based research on the method developed by Émile Jaques-Dalcroze, who incorporated movement into music teaching. Starting with what Nijinsky and Diaghilev observed at the Dalcroze institute at Hellerau, I

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Carredano, Consuelo. "Hasta los verdes maizales de México: Rodolfo Halffter y Don Lindo de Almería." Anales del Instituto de Investigaciones Estéticas 30, no. 93 (2012): 69. http://dx.doi.org/10.22201/iie.18703062e.2008.93.2273.

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En las primeras décadas del siglo XX se registró en Europa un sorprendente florecimiento del ballet. La propuesta estética de Diaghilev y las reiteradas visitas a España de la compañía de los Ballets Russes, en tiempos de la primera guerra mundial y en posteriores desplazamientos, despertaron especial interés en músicos, artistas y escritores. El ejemplo de Stravinski y la ruta trazada por Manuel de Falla determinaron, entre otros factores, un notorio cambio de orientación en las producciones escénicas españolas. En este contexto surge el ballet Don Lindo de Almería, de José Bergamín y Rodolfo

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Knoblauch-O’Neal, Christine, and Julia A. Walker. "Diaghilev and the Ballets Russes, 1909–1929: When Art Danced with Music ed. by Jane Pritchard, and: Diaghilev: A Life by Sjeng Scheijen, and: René Blum and the Ballets Russes: In Search of a Lost Life by Judith Chazin-Bennahum." Theatre Journal 65, no. 4 (2013): 608–11. http://dx.doi.org/10.1353/tj.2013.0120.

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O’Mahony, Claire I. R. "Fashioning fairy fellows: Androgynous performativity in the Savoy Shakespeare Productions 1912–14." Critical Studies in Men's Fashion 11, no. 1 (2024): 37–57. http://dx.doi.org/10.1386/csmf_00082_1.

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For a few seasons in London theatres before the outbreak of the First World War, modernizations of historical costume embodied androgyny in both Sergei Diaghilev’s Ballets Russes and Harley Granville Barker’s Savoy Shakespeare Productions. In Twelfth Night of 1912 and A Midsummer Night’s Dream of 1914, cross-dressing, folkloric and magical characterization through costume performed a gender fluidity at the heart of both scenarios. In Prefaces to Shakespeare (1927–46), Barker positions Oberon’s intersex hybridity as ‘travesty’. The Savoy Productions reimagined the androgyny of the fairy charact

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Scholl, Tim. "The Art of Ballets Russes: The Serge Lifar Collection of Theater Designs, Costumes, and Paintings at the Wadsworth Atheneum, Hartford, Connecticut. By Alexander Schouvalofi. New Haven: Yale University Press, 1998. 352 pp. Appendixes. Notes. Bibliography. Index. Plates. Photographs. $65.00, hard bound." Slavic Review 58, no. 3 (1999): 721–22. http://dx.doi.org/10.2307/2697633.

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Scullion, Adrienne. "The Art of the Ballets Russes: The Serge Lifar Collection of Theater Designs, Costumes, and Paintings at the Wadsworth Atheneum, Hartford, Connecticut. By Alexander Schouvaloff. New Haven & London: Yale University Press, in association with the Wadsworth Atheneum, 1997. Pp. 352 + illus. £50 Hb." Theatre Research International 23, no. 2 (1998): 186–87. http://dx.doi.org/10.1017/s0307883300018630.

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Neto, Walter Lima Torres. "Sobre um programa do Ballets Russes de Diaghilev: A coreografia de Parade." ILUMINURAS 20, no. 48 (2019). http://dx.doi.org/10.22456/1984-1191.90182.

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Meu objetivo com este artigo é duplo. Em primeiro lugar apresentar uma versão do que seria a gênese do programa de teatro, traçando assim parte da sua história. Na sequencia expor uma tipologia por mim descoberta, presente nos projetos editoriais dessas publicações. E em segundo lugar, ao tomar como exemplo um programa da companhia dirigida por Sergei Diaghilev, Les Ballets Russes, demonstrar a aplicabilidade do estudo dos programas de espetáculos. Procuro compreender como se apresenta uma ruptura estética, por meio de uma obra divergente. A coreografia Parade estreou em 1917 e foi apresentada

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Kurtulmuş, Murat. "BALLETS RUSSES’ÜN KISA TARİHÇESİ VE KOSTÜM TASARIMLARININ İNCELENMESİ." Balkan Müzik ve Sanat Dergisi, October 22, 2024. http://dx.doi.org/10.47956/bmsd.1445044.

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Sergei Diaghilev, 1872-1929 yılları arasında yaşamış bir Rus sanatçı ve yönetmendir. 1905’ten itibaren Paris'te Rus sanatını tanıtmaya başlamıştır. Özellikle 1909’da Paris’e götürdüğü ilk bale topluluğu olan “Ballets Russes”, büyük bir başarı elde etmiştir. Bu toplulukta yer alan dansçılar arasında Vaslav Nijinsky ve Tamara Karsavina gibi ünlü isimler bulunmaktadır. Diaghilev, sadece bir sanatçı olarak değil, aynı zamanda bir yönetici olarak da büyük bir başarı elde etmiştir. Topluluğun gösterilerine sanatsal birikimi ve serüvenci ruhu yansımıştır. Diaghilev’in en büyük katkıları arasında, çağ

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Katz Rizzo, Laura. "Restaging Bronislava Nijinska’s Les Noces: Multimodal Interdisciplinary Curriculum in the Performing Arts." PARtake: The Journal of Performance as Research 4, no. 1 (2021). http://dx.doi.org/10.33011/partake.v4i1.521.

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In this article I will discuss "Performance-As-Research," as a method of pedagogy, an approach to learning and problem solving, as a practice of inquiry and of making meaning in the performing arts, and as a conduit for students to develop physical, cognitive and affective proficiencies; in the context of a first year undergraduate dance repertory course. Over the past academic year, I have begun to collaborate with entering Bachelor of Fine Arts Dance majors at Temple University (where I am an assistant professor) to restage and perform Les Noces, (French; English: The Wedding; Russian: Сваде

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Tércio, Daniel. "Em memória: Os Ballets Russes de Diaghilev em Lisboa." Revista Estud(i)os de Dança, December 1, 1995, 19–31. http://dx.doi.org/10.53072/red199504/00202.

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Odetti, Jimena Vanina. "El color en los Ballets Rusos de Diaghilev y su influencia en el diseño de interiores del Art Deco." Cuadernos del Centro de Estudios de Diseño y Comunicación, no. 192 (June 12, 2023). http://dx.doi.org/10.18682/cdc.vi192.9579.

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"Diaghilev, creator of the Ballets Russes: art, music, dance." Choice Reviews Online 34, no. 01 (1996): 34–0218. http://dx.doi.org/10.5860/choice.34-0218.

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"Diaghilev and the Ballets Russes, 1909-1929: when art danced with music." Choice Reviews Online 51, no. 05 (2013): 51–2458. http://dx.doi.org/10.5860/choice.51-2458.

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