Academic literature on the topic 'Ballets Russes (Diaghilev)'
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Journal articles on the topic "Ballets Russes (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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Bischin, Maria-Roxana. "Choreographing Kandinsky’s ‘Spiritual’ in Sergei Diaghilev’s Ballets Russes." Sæculum 47, no. 1 (July 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 designed by Sergei Diaghilev after his musical-cultural conflict with Nikolai Rimski Korsakov. Starting with 1907s, Kandinsky had initiated Der Blaue Reiter group and he starts with various drawing techniques. Were favourable years in which Kandinsky’s evolution from simple drawings to sophisticated Compositions got up. We are witnessing a cultural increasement. So, the ballet, the music, the theatre and the painting can not be separated any more or, at least, or, at least, cannot be thought of separately as systems of aesthetic theory. The aesthetic evolution from ballet and theatre had influenced the evolution in painting. What we will try to show as novelty in our investigation, is the kinetic and spiritual relation between Kandinsky’s Compositions and some representations from Ballets Russes by Sergei Diaghilev, especially with the «L’Oiseau de feu». In conclusion, we want to show how the lines designed by Wassily Kandinsky are describing ballet’s movements. The methods used in our research have consisted in the inter-artistic comparison between Wassily Kandinsky’s theory of painting and the ballets designed by Sergei Diaghilev. We also brought a philosophical and personal perspective on both worlds.
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Foster, Andrew. "A Directory of Diaghilev Dancers." Dance Research 37, no. 2 (November 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 20th century. But what of the hundreds of dancers who actually gave life and form to the Ballets Russes? Who were they? Where did they come from? How long did they spend with the company? The following listing of more than 400 performers is a comprehensive record of the dancing artists who performed with Diaghilev's Ballets Russes.
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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 (May 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 and memoirs, few scholars have considered the possible reasons behind the company's creation. Why would a man who had aligned himself with sumptuous and highly successful art exhibitions and demonstrated such strong passion for opera turn to ballet? Any attempt to answer such a question requires an exploration of the events in Diaghilev's life from his St. Petersburg years to the Paris years and early seasons of the Ballets Russes (1895–1913). Two names recur throughout these years: Oscar Wilde and Aubrey Beardsley – in person, in writing, and in spirit. A review of Diaghilev's career between 1895 and 1913 together with a textual study of some early ballets suggest that Wilde and Beardsley may have had a stronger influence on Diaghilev and the creation of the Ballets Russes than has previously been noticed.
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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 acting, directing, and design, all later adopted by Diaghilev. However, parallels between their two enterprises have always been dismissed as coincidental. New evidence reveals the existence of a mentor-student relationship between Mamontov and Diaghilev based on shared aesthetic views that earned both men a derogatory label of ““decadents.”” Intrigued by Mamontov's philosophy and collaborative methodology employed in creating productions such as Gluck's Orfeo and Rimsky-Korsakov's Sadko, Diaghilev studied organizational principles of his enterprise and modeled the Ballets Russes after them, while himself assuming the role of an artistic director similar to Mamontov's. Thus, Savva Mamontov paved the way for the modernist vision of theater presented to the world by Diaghilev's Ballets Russes.
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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 (April 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 Russian idea of what was important in ballet as an art form.
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Jones, Susan. "Diaghilev and British Writing." Dance Research 27, no. 1 (May 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 in the period. Figures from disparate fields, including literature, music and the visual arts, brought to their criticism of the Ballets Russes their individual perspectives on its aesthetics, helping to consolidate the sense of its importance in contributing to the inter-disciplinary flavour of modernism across the arts. In the field of literature, not only did British writers evaluate the Ballets Russes in terms of their own poetics, their relationship to experimentation in the novel and in drama, they developed an increasing sense of the company's place in dance history, its choreographic innovations offering material for wider discussions, opening up the potential for literary modernism's interest in impersonality and in the ‘unsayable’, discussions of the body, primitivism and gender.
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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' failure to conquer America in 1916–1917, and why that failure had to be edited out of history. Specifically, I look at three aspects of the publicity and critical reception: elitism, patriotism, and modernism. The publicists of the company both misunderstood and underestimated their audience, but in dance research, their prejudices have been taken for granted. The “eye-witness accounts” of Diaghilev's employees and the histories of the company written in the first half of the twentieth century have largely gone unquestioned since, but contemporary primary sources of the North American tours tell a different story. By contrasting the first tour with the second, which received less publicity and better reviews, I emphasize the practical experience of touring in the New World and how differently American critics evaluated the achievements of the two Russian directors of the company—Diaghilev (for the first tour) and Nijinsky (for the second).
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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.
Dissertations / Theses on the topic "Ballets Russes (Diaghilev)"
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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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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 nonetheless commissioned a “typically American” ballet score from Chicago composer John Alden Carpenter in 1923, which resulted in a score featuring a skyscraper-inspired machine aesthetic, and the inclusion of jazz and spirituals. Carpenter’s ballet was dropped by the Ballets Russes before production and was ultimately premiered as Skyscrapers: A Ballet of Modern American Life by the Metropolitan Opera Company on 19 February 1926. This thesis seeks to better understand Diaghilev’s perceived disdain for American culture, the reasons that caused him to avoid the inclusion of an American ballet in the Ballets Russes’ repertory, and his motives for commissioning a score from Carpenter. Drawing on archival documents from the Library of Congress, I construct a historical narrative of the commission and offer insight into the complex politics of patronage in the Ballets Russes. Furthermore, I position Skyscrapers as a product of cultural transfer, thus illustrating the manner in which Carpenter conceived of his ballet as an American work for an international audience. Finally, I examine the Metropolitan production of Skyscrapers and how it perpetuated racial stereotypes and participated in the debates about the mechanization of American life during the 1920s.
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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 sections, representing works composed before, around the same time as, and after, Stravinsky’s notorious masterpiece. Following a brief introduction, and a descriptive chapter outlining Diaghilev’s artistic heritage, as well as Paris before the arrival of his company, the first section deals with the Ballets Russes’s early modus operandi; focusing on Nikolai Tcherepnin’s Le Pavillon d’Armide and Reynaldo Hahn’s Le Dieu bleu. The next explores the Ballets Russes in the wake of Le Sacre du Printemps, using Erik Satie’s Parade as an example of a ballet indebted to Stravinsky’s innovations. However, influence was not entirely a one-way phenomenon, and part of this section also discusses connections between the early Ballets Russes works and Le Sacre. Finally, the season of French ballets performed in 1924 allows me to reflect on the stylistic changes that occurred in the later years of the company, using Darius Milhaud’s Le Train bleu, Georges Auric’s Les Fâcheux, and Francis Poulenc’s Les Biches as examples of the company’s shift to an enterprise that placed greater emphasis on the visual. This research argues that even the lesser-known works, despite their apparent lack of musical innovation, contributed to the more path-breaking scores that have come to command scholarly interest. Moreover, the seasons I have highlighted reflect the changing ideologies of Diaghilev and his company, as it evolved from a Russian troupe inspired by the Mir Iskusstva, to a European artistic collective presenting the ideas of Cocteau and Les Six to Paris. Areas of future research extend from this thesis, as many other lesser-known ballets not encompassed here would clearly benefit from detailed scrutiny. Applying the principles of musical examination here outlined, together with an open-minded approach to new historical perspectives, should further help to redress the balance of scholarly attention that has skewed the overall understanding of the Ballets Russes.
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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 guerre où il a servi, Derain saisit cette fabuleuse occasion de remonter sur la scène artistique. Grâce au succès du ballet, c’est une longue série de collaborations fructueuses avec le monde du spectacle qui débute pour le peintre. Entre 1919 et 1953, Derain conçoit les décors et les costumes de deux pièces de théâtre, deux opéras, treize ballets et élabore de nombreux projets qui n’ont jamais été créés. Il rédige également plusieurs arguments, participe à la mise en musique de certaines de ces œuvres, réalisations auxquelles s’ajoutent les idées qu’il apporte à la mise en scène et à la chorégraphie. Cette étude met en lumière l’importance de l’œuvre scénique d’André Derain et ses particularités. Son travail révèle une richesse jusqu’alors méconnue et inexploitée. Notre étude permet ainsi de donner un nouvel éclairage sur le peintre et son œuvre. Artiste accompli et aux multiples facettes, Derain ne s’est pas contenté du rôle de décorateur, sa passion pour la musique et le théâtre l’ont, bien plus encore, amené à se poser en véritable créateur de balletsIn the early twentieth century the art world was bubbling with excitement following the scandal caused by the exhibition of work by members of the Fauves movement at the 1905 Salon d’Automne. Away from this fuss, stage sets were being created by set designers who remained attached to traditional methods. In 1909 the arrival of the Ballets Russes at Châtelet marked a breaking away from the understanding of the scenic artist’s role. In 1919, when the company was immensely famous, Serge Diaghilev commissioned Andre Derain to create sets and costumes for La Boutique Fantasque. Having served in the War, Derain grasped this fabulous opportunity to return to the world of art. The success of the ballet heralded a series of fruitful collaborations between him and the world of show business. Between 1919 and 1953, Derain created sets and costumes for two plays, two operas and thirteen ballets, as well as working on several uncompleted projects. He also wrote several librettos and was involved in the musical setting of some of these works, achievements that added to the ideas that he brought to the staging and choreography. This research highlights the importance of Derain’s stage work and its special features. This reveals the hitherto unrecognized and untapped wealth of his work. Our study thus sheds a new light on the painter and his creations. A skilled and multi-faceted artist and not content with his role as designer, Derain’s passion for music and theatre begs a true creator of ballets
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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 subconscious, leading to a new discovery of higher or deeper truth. Satie's music aligns with the psychoanalytic elements of the discourse on surrealism. Psychoanalysis, pioneered by Sigmund Freud (1856-1939) and his followers in the 1890s in Vienna, permeated France around the time of the creation of the work. It inspired early surrealist techniques like automatism, illusory formal structures, collage, and stylistic allusion. This thesis demonstrates that such techniques can be discerned throughout Parade, not only in Satie's music, but also in its scenario, staging, costumes, and choreography. As such, Parade was a foundational work for the surrealist movement, with Satie's music contributing with the other media equally to the emotional and psychological impact of the ballet.
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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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碩士東吳大學
音樂學系
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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. Diaghilev created The World of Art, which was an art group and avant-grade magazine. He is also the founder and head of The Ballets Russes. The Ballets Russes caused a ballet revolution which is unprecedented in history. It influenced the whole actions and development of ballet in that century. Nijinsky was generally accepted to be the greatest male dancer in the 20th century. Debussy expressed the sensual desire to the nymphs from the faune in his early works "Prélude à l’après midi d’un faune". Nijinsky''s choreographerization did not obey those rules from the past. It''s an epoch in the ballet history. Debussy composed Jeux which was another import works in his late period. It describes emotional affairs by tennis. It is the first modem ballet topic. Authorities on history treat Nijinsky as the pioneer of the fashion choreographer. The artist atmosphere and musical development on that time was deeply affected by The Ballets Russes. Debussy''s music plays an important role in Diaghilev''s operations. He not only engages in musical atmosphere, but also expounds the dance very much through his music. Ballet grows rich and becomes successful due to combining all kinds of arts including music, dance, dressing, and stage designation. I will discuss them among this thesis; find out the relationships between music, dance, and so on, and look into these kinds of artists.
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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.
Full textBooks on the topic "Ballets Russes (Diaghilev)"
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Nommick, Yvan, and Antonio Alvarez Cañibano. Los Ballets Russes de Diaghilev y España. [Granada]: Fundación Archivo Manuel de Falla, 2000.
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1872-1929, Diaghilev Serge, Scheijen Sjeng, Bowlt John E, and Groninger Museum, eds. Working for Diaghilev. [Groningen]: Groninger Museum, 2004.
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1872-1929, Diaghilev Serge, Scheijen Sjeng, Bowlt John E, and Groninger Museum, eds. Working for Diaghilev. [Groningen]: Groninger Museum, 2004.
Find full textBook chapters on the topic "Ballets Russes (Diaghilev)"
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Snow, K. Mitchell. "Mexicanism Russian Style." In A Revolution in Movement, 36–54. 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 cubist Zapatista landscape with a prominent serape, in response to an exhibit of Russian folk art that had been inspired by the success of Diaghilev’s dance company. Montenegro also cited this exhibition as one of the major influences in his decision to pursue Mexican folk art as a source of inspiration.
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Garafola, Lynn. "Les Biches." In La Nijinska, 149–69. Oxford University Press, 2022. http://dx.doi.org/10.1093/oso/9780197603901.003.0006.
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Despite the enormous success of the 1923 season, Diaghilev reorients the Ballets Russes toward the aesthetics of Jean Cocteau and the French composers known as “Les Six.” In Monte Carlo he organizes a season of “Ballets Classiques,” with an abbreviated version of Swan Lake as a highlight, and a month-long “Festival Français,” which offers a cycle of French operas and ballets invoking the Grand Siècle but viewed through a modern sensibility. With Belloni off the scene, Nijinska is responsible for choreographing all the new ballets, refreshing old ones, and creating dances for all the operas. She choreographs a second master work, Les Biches, to the music of Francis Poulenc, that reveals her continued fascination with gender ambiguity, her lack of interest in narrative, and her effort to forge a contemporary ballet language. In addition to teaching company class, she works privately with Anton Dolin, whom Diaghilev is grooming as a company star.
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Garafola, Lynn. "Les Noces." In La Nijinska, 127–48. Oxford University Press, 2022. http://dx.doi.org/10.1093/oso/9780197603901.003.0005.
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In 1922 Diaghilev reaches an agreement with the Société des Bains de Mer for the Ballets Russes to become Monte Carlo’s resident ballet company, although initially this is complicated by the presence of a Franco-Italian troupe directed by Georges Belloni. In Paris, Diaghilev sees Alexander Tairov’s Kamerny Theater, his first glimpse of Soviet avant-garde stagecraft, which is received ecstatically by critics. In response he decides to produce Stravinsky’s Les Noces in the spare, Constructivist style advocated by Nijinska. The ballet is a triumph both for Nijinska and for the company’s dancers, who work relentlessly to master the challenging choreography and score. Hailed by French critics as a masterpiece, Les Noces is condemned by André Levinson, the politically conservative émigré dance critic, who attacks Nijinska personally and condemns the ballet’s Constructivist aesthetic as “Soviet,” the start of a vendetta that lasts for nearly a decade.
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"John Neumeier, Nijinsky and the Diaghilev Tradition." In Behind the Scenes at the Ballets Russes. I.B.Tauris, 2018. http://dx.doi.org/10.5040/9781350985476.0043.
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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 development of Modernist ballet. It starts with Alexandre Benois’ designs for Stravinsky’s adaptation of Hans Christian Andersen’s story ‘The Nightingale’ in 1914. Diaghilev re-adapted it in 1917 as Le Chant du Rossignol, commissioning Italian Futurist designer, Fortunata Depero. In its juxtaposition of artifice with nature, ‘The Nightingale’ lent itself to modernist treatment. Depero’s kinetic sculpture garden of cones and discs peopled by geometrical court ladies and mandarins was never staged, but in 1919 Diaghilev revived the idea, bringing Henri Matisse to work with choreographer Léonide Massine in London. In 1925 Diaghilev revived Matisse’s Le Chant du Rossignol for a third time with new choreography by George Balanchine fresh from the Soviet avant garde.
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Garafola, Lynn. "A Freelance Choreographer." In La Nijinska, 195–220. Oxford University Press, 2022. http://dx.doi.org/10.1093/oso/9780197603901.003.0008.
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Embarking on a free-lance career, Nijinska opens a studio in London with the goal of forming a professional company, while unsuccessfully seeking backers to fund it. When Jacques Rouché offers her work at the Paris Opéra, she closes the studio and moves her family from Monte Carlo to Paris. Here she plans the repertory for Theatre Choréographique, a chamber company for which she creates a half-dozen works, all designed by Alexandra Exter. Among them is Holy Etudes, a Bach ballet she began sketching in Kiev and which she revives during the next two decades. Financed by loans that she is unable to repay and undermined by Diaghilev, Theatre Choréographique folds after a short tour of English seaside resorts. Returning to Paris, Nijinska choreographs several works for the Opéra, including Les Impressions de Music-Hall, and at Rouché’s request develops a plan for the modernization of the Opéra’s ballet company that is rejected by the dancers. Briefly engaged by Diaghilev, she rehearses Les Noces for its London premiere and choreographs Romeo and Juliet, her last work for the Ballets Russes, which Diaghilev’s interventions nearly destroy.
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Garafola, Lynn. "Where Is Home?" In La Nijinska, 102–26. Oxford University Press, 2022. http://dx.doi.org/10.1093/oso/9780197603901.003.0004.
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In 1922, as Diaghilev seeks to counter the failure of The Sleeping Princess by steering the Ballets Russes in a new direction, Nijinka becomes his resident choreographer. In Paris, where the company plays back-to-back seasons at the Paris Opéra and Théâtre Mogador, she creates several new ballets, including Le Renard to music by Stravinsky, and Aurora’s Wedding, a distillation of dances from The Sleeping Princess. She reclaims her old Fokine roles and adds several ballets choreographed by Léonide Massine to her repertory, including his version of The Rite of Spring, in which she is cast as the Chosen Maiden. Finally, she dances a number of male roles, including her brother’s in L’Après-midi d’un Faune. Although praised for infusing new life into the Ballets Russes, she dreams of returning to Kiev and continuing her choreographic experiments, but is urged by friends there to stay in the West. After plans to re-establish the School of Movement in Vienna fall through, she arranges for a handful of her male students to leave Kiev and join the Ballets Russes.
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Nadel, Ira. "Mansfield, Movement and the Ballets Russes." In Katherine Mansfield and Russia, 89–106. Edinburgh University Press, 2017. http://dx.doi.org/10.3366/edinburgh/9781474426138.003.0006.
Full textAbstract:
Mansfield and the world of the Ballets Russes, is the focus of this discussion of the importance of movement and dance for her writing and life. Incorporating aspects of Russian dance, especially its expressiveness, gesture and experimentation, into her prose becomes an important feature of her writing marked in part by the physical actions of her characters. Balancing the Chekhovian dispassion of her short stories was a vitality located in her incorporation of elements of the Ballets Russes which became, for a period, the intellectual and fashionable centre of London. Part of their originality was collaboration with dancers and choreographers working with set designers and musicians. The Ballets Russes also confirmed her own artistic efforts to unite novelty and tribalism, especially in her New Zealand stories. Her co-editing Rhythm became another venue for her support of the innovative work produced by Diaghilev, choreographed by Massine, costumed by Léon Bakst and highlighted by sets designed by Cocteau and Picasso. Sharing the impact of the Ballets Russes with high profile admirers, Mansfield applied their originality to her own efforts recognising that their overall impact was not technique alone but the expression of technique into idea as the Times wrote in June 1911.
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Roust, Colin. "Boeuf sur le Toit and the Ballets Russes." In Georges Auric, 63–88. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190607777.003.0004.
Full textAbstract:
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 refuge in southern France during the summers.
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Garafola, Lynn. "Back from the Future." In La Nijinska, 72–101. Oxford University Press, 2022. http://dx.doi.org/10.1093/oso/9780197603901.003.0003.
Full textAbstract:
In Vienna, Nijinska finds her brother catatonic at the Steinhof Sanatorium, a mental hospital; he does not recognize her. When her relationship with Romola Nijinsky breaks down, Nijinska is left penniless and takes a job dancing in a cabaret to support her family. After nearly four months in Vienna, she rejoins Diaghilev’s Ballets Russes, both as a dancer and a choreographer, her first assignment being updating The Sleeping Beauty (renamed The Sleeping Princess by Diaghilev) to make it appealing to a postwar Western audience. The work is hailed by many because of its superb display of classical dance talent, but also because of the ballet’s associations with monarchy, the St. Petersburg myth, and the French Grand Siècle. Nijinska is dismayed by the anti-Soviet feeling she encounters in the company, disappointed at Diaghilev’s artistically conservative turn, and frustrated at his unwillingness to present her new choreography. After a brief rapprochement, she and Kochetovsky agree to divorce.
Conference papers on the topic "Ballets Russes (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). Paris, France: 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). Paris, France: Atlantis Press, 2018. http://dx.doi.org/10.2991/icassee-18.2018.2.
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