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Journal articles on the topic 'Ballets Russes (Diaghilev)'

Author: Grafiati

Published: 28 February 2023

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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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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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6

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.

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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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Veroli, Patrizia. "A Tribute to Diaghilev at the Ballets Russes Centenary." Dance Chronicle 33, no. 3 (November 5, 2010): 480–85. http://dx.doi.org/10.1080/01472526.2010.517501.

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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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Lacombe, Hervé. "Francis Poulenc et la danse." Les Cahiers de la Société québécoise de recherche en musique 13, no. 1-2 (September 21, 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 de Diaghilev, permet à Poulenc de déployer sa propre poétique fondée sur une relation étroite nouant musique, danse et programme intime.

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Hunter, Michael. "Diaghilev and the Golden Age of the Ballets Russes 1909–1929." Costume 50, no. 2 (July 1, 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 (October 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 Diaghilev and Stravinsky were brought up in families where art and music were deeply revered, both studied at Saint Petersburg University and took lessons from professors of the Saint Petersburg Conservatory. The composer and the entrepreneur collaborated for a long period in the Parisian "Saisons Russes", for which Stravinsky composed twelve operas and ballets. Their creative collaboration in the Diaghilev project lasted eighteen years. Fate surprisingly brought them together after their demise, both Stravinsky and Diaghilev rested with a difference of 42 years on the island-cemetery of San Michele in Venice.

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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 (August 7, 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 Halffter, autores, respectivamente, del libreto y la música. Este artículo explora las circunstancias que rodearon la génesis y recepción de dicho trabajo en su versión sinfónica y en su modalidad de ballet, y examina algunos recursos de composición empleados por Halffter en esta obra que, por otro lado, supuso la presentación oficial en México de dos notables exiliados llegados a nuestro país tras la derrota de la segunda República española.

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Odom, Selma Landen. "The Dalcroze Method, Marie Rambert, and Le Sacre du printemps." Modernist Cultures 9, no. 1 (May 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 turn to how the dancer Marie Rambert brought embodied knowledge from her Dalcroze background into the rehearsal process to help Nijinsky prepare the dancers to perform the complex work. I then take up the coverage of Dalcroze and Nijinsky that overlapped in newspapers and journals of the time. Finally, I reflect on why their reputations, first joined a century ago, remain intertwined.

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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 (November 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. Through his publications he made a powerful contribution to the process by which Diaghilev's Ballets Russes assumed its paramount position in the development of modern ballet, a process set in motion by the impresario himself. 2 Lifar played this role chiefly in France. In the English-speaking world, where relatively few of his books appeared in translation, other writers served to canonise the Diaghilev endeavour, albeit for somewhat different ends. 3 A list of Lifar's publications in Russian and other languages (French above all) displays the growing influence of his actions and authority, the power of his connections (inherited primarily from Diaghilev), and his relentless will to overcome the problems of emigration as he secured not only success as a dancer and choreographer but also a public reputation as an intellectual. 4 The recent discovery of new evidence has led to the identification of the respected Pushkin authority Modeste Hofmann 5 as the writer whose unacknowledged work enabled Lifar to establish himself as an historian. This evidence, provided by Hofmann's grandsons André and Vladimir Hofmann, raises serious questions about the authority of Lifar's books. An interplay of subjective relationships is woven into the texture of these narratives in which survival and ambition, a paternal attitude and filial respect, exist in constant tension. Neither the making of these books nor the myth of Russian dance which they espouse can be understood without placing their authors in the milieu they shared in Paris as Russian émigrés.

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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 (September 21, 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 particulièrement le débat que suscite la démarche de Lifar. Plus important périodique musical francophone de l’époque, La Revue musicale a fait la part belle aux disciplines artistiques relatives à l’art des sons et tout particulièrement à la danse. Sont ici examinés la place prépondérante occupée par la danse au sein de cet influent mensuel, l’accueil réservé aux créations de Lifar, ainsi que les idées débattues autour des rapports entre musique et danse.

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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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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 (April 25, 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 plus particulièrement la vie culturelle à New York et à Paris, même si ses ambitions sont plus largement ouvertes sur l’Europe et les États-Unis. Dans la rubrique intitulée « Hall of Fame », il n’est pas rare de trouver un Français parmi les cinq ou six personnalités du mois. La France est présente davantage pour ses arts plastiques et sa littérature. Le domaine musical, plus réduit, illustre cependant plusieurs facettes : les Ballets russes de Diaghilev, les ballets de Serge Lifar, les ballets de Monte-Carlo, les nouvelles danses populaires (tango, matchiche), l’introduction du jazz, la chanson populaire, les lieux de divertissements. Quant à la musique savante, le Groupe des Six, Erik Satie et Jean Cocteau occupent une place de choix au début des années 1920, avec plusieurs de leurs articles publiés en français. Dans les pages de Vanity Fair, des critiques musicaux américains comme Virgil Thomson et Carl Van Vechten incitent les compositeurs à se débarrasser de l’influence européenne. John Alden Carpenter ouvre la voie avec The Birthday of the Infanta (1917) et Krazy Kat (1922), mais c’est Rhapsody in Blue de Gershwin (1924) qui donne le coup d’envoi à une musique américaine qui ne copie plus la musique européenne. À partir de là, la firme de piano Steinway livre une publicité différente dans chaque numéro qui illustre, par un peintre américain, une oeuvre musicale américaine.

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Caddy, Davinia. "On Ballet at the Opéra, 1909–14, and La fête chez Thérèse." Journal of the Royal Musical Association 133, no. 2 (2008): 220–69. http://dx.doi.org/10.1080/02690400809480703.

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AbstractThis article is broadly centred on the ballets staged at the Paris Opéra during the era in which Diaghilev's Ballets Russes were resident in the French capital. I seek initially to define the ways in which both troupes, the Opéra Ballet and the Russian, were received in the period press: in short, how the French company was implored to take its lead from Russian choreographic and scenic developments. My principal aim, though, is to offer a ‘thick’ description of one particular ballet – a commission from the Opéra endded La fête chez Thérèse, set to music by French salon composer Reynaldo Hahn and premièred on 16 February 1910. A close reading of Thérèse‘s narrative, structure and musical design reveals something of the ballet's cultural resonance: a resonance that extends from the ballet-pantomimes of the July Monarchy, through the extra-curricular endeavours of the composer Gustave Charpentier, to contemporary ideals of womanhood, social parity and dancers’ skirts. A new historical perspective emerges, one that prompts a revision of the taxonomies according to which narratives of the pre-war balletic scene are usually plotted, along with a reassessment of the dominant historiographical strategy itself.

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Poesio, Giannandrea. "A Man for All Seasons: Enrico Cecchetti and the Ballets Russes." Experiment 17, no. 1 (2011): 231–44. http://dx.doi.org/10.1163/221173011x611923.

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26

Jeschke, Claudia, Cary Rick, and Lynn Garafola. "Diaghilev's Ballets Russes." Dance Research Journal 22, no. 2 (1990): 29. http://dx.doi.org/10.2307/1477782.

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Rabinowitz, Stanley J. "From the Other Shore: Russian Comment on Diaghilev's Ballets Russes." Dance Research 27, no. 1 (May 2009): 1–27. http://dx.doi.org/10.3366/e0264287509000231.

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Among the many and varied critical responses to Diaghilev's Ballets Russes, two Russian voices have not been heard in the West – Akim Volynskii's (on the right) and Anatolii Lunacharskii's (on the left). The former, Petersburg-based ballet critic from 1911 to 1925, followed the Russian Seasons with anxious dismay as so many stars of the Mariinskii Theatre departed for Paris; the latter, Soviet Russia's Commissar for Enlightenment between 1917 and 1929, witnessed Diaghilev's enterprise first-hand – both before World War I and after – and wrote about it with a mixture of admiration and class-conscious disapproval. These critics’ observations are offered in English translation for the first time.

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Gallup, Stephen, and Lynn Garafola. "Diaghilev's Ballets Ruses." American Historical Review 96, no. 3 (June 1991): 916. http://dx.doi.org/10.2307/2162558.

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Murga Castro, Idoia. "The Spanish Reception of Le Sacre du Printemps (1913–1936)." Dance Research 36, no. 1 (May 2018): 48–66. http://dx.doi.org/10.3366/drs.2018.0220.

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Centenary celebrations are being held between 2016 and 2018 to mark the first consecutive tours of Diaghilev's Ballets Russes in Spain. This study analyses the Spanish reception of Le Sacre du Printemps (The Rite of Spring) (1913), one of its most avant-garde pieces. Although the original work was never performed in Spain as a complete ballet, its influence was felt deeply in the work of certain Spanish choreographers, composers, painters and intellectuals during the so-called Silver Age, the period of modernisation and cultural expansion which extended from the end of the nineteenth century to the beginning of the Spanish Civil War.

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Siegel, Marcia B., and Millicent Hodson. "Restaging Works from the Ballets Russes: A Conversation between." Experiment 17, no. 1 (2011): 345–74. http://dx.doi.org/10.1163/221173011x611996.

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Abstract Critic Marcia Siegel and choreographer Millicent Hodson discuss problems of putting lost or nearly forgotten 20th century ballets back on stage, focusing on questions of authenticity, interpretation, choreographic process and documentation through direct contact with Diaghilev's dancers. The discussion refers specifically to reconstruction of ballets by Nijinsky and Balanchine which Hodson has done with scenic consultant Kenneth Archer during the last years when Ballets Russes artists still survived to pass on their knowledge. Siegel extends the discussion to Diaghilev's other choreographers, Fokine, Massine and Nijinska.

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Levine, Debra. "Theodore Kosloff & Cecil B. DeMille." Experiment 20, no. 1 (October 27, 2014): 146–95. http://dx.doi.org/10.1163/2211730x-12341262.

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The essay explores a rare and unknown 40-year professional and personal relationship between Russian ballet dancer Theodore Kosloff (1882-1956) and Hollywood director Cecil B. DeMille (1881-1959) told through the prism of the making of DeMille’s Madam Satan (mgm 1930). It tracks Kosloff’s colorful career as a dance entrepreneur, from his Bolshoi Ballet beginnings, to his appearance in the premiere Paris season of Diaghilev’s Ballets Russes, to his eventual relocation to Los Angeles where, starting in 1916, he was an acclaimed character actor in nearly 30 silent movies, primarily directed by DeMille. At the outset of the Depression, with the advent of sound in cinema, DeMille relied upon Kosloff as an artistic advisor to bring to fruition Madam Satan his first and only movie musical. The essay analyzes the high-art roots of Kosloff’s bizarre and exceptional ballet mécanique, Madam Satan’s central dance number staged in a moored zeppelin.

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Murray, Melonie Buchanan. "Maestro: Enrico Cecchetti and Diaghilev's Ballets Russes." Dance Chronicle 40, no. 2 (May 4, 2017): 165–91. http://dx.doi.org/10.1080/01472526.2017.1320744.

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Genné, Beth. "“Engulfed in a Whirlwind”: Diaghilev’s Dancers in the Postwar Ballets Russes." Experiment 17, no. 1 (2011): 185–202. http://dx.doi.org/10.1163/221173011x611897.

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Abstract During Worl War I and the postwar period, the Ballets Russes bacame a truly international company, forced to absorb and adapt to the very latest trends in contemporary Western culture. This article describes the challenges facing dancers in the post-war period.

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Jordan, Stephanie. "One or Two Voices? Dance and Music in the Ballets Russes." Experiment 17, no. 1 (2011): 125–39. http://dx.doi.org/10.1163/221173011x611860.

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Abstract One of the most important aesthetic innovations of Diaghilev’s Ballets Russes was its shifting relations between music and dance. At first, the guiding principle was synaesthesia, linked to the Wagnerian concept of Gesamtkunstwerk but at the same time there were moves towards independence between the two media. Ballets by Fokine, Nijinsky and Massine are discussed here, followed by a range of examples from Nijinska’s Les Noces (Stravinsky, 1923) that demonstrate the new contrapuntal developments with the highest degree of sophistication

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Pritchard, Jane. "Serge Diaghilev's Ballets Russes – An Itinerary. Part 1: 1909–1921." Dance Research 27, no. 1 (May 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 (November 2009): 255–357. http://dx.doi.org/10.3366/e0264287509000310.

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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 (September 2016): 219–29. http://dx.doi.org/10.1080/14682761.2016.1227916.

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Garafola, Lynn. "Crafted by Many Hands: Re-Reading Bronislava Nijinska's Early Memoirs." Dance Research 29, no. 1 (May 2011): 1–18. http://dx.doi.org/10.3366/drs.2011.0002.

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In 1981 Bronislava Nijinska's Early Memoirs, the last autobiography by a major figure in Diaghilev's Ballets Russes, was published to near universal acclaim. However, as the choreographer's notes, drafts, and early autobiographical manuscripts make clear, Early Memoirs is a composite work, crafted by multiple hands and harbouring within itself alternative and even contradictory readings of the dominant story. In a field that privileges first-person testimony, the composite nature of most dance autobiographies is highly problematic, at once undermining their narrative authority and forcing recognition of what might be called their multivocality. Early Memoirs, like other volumes of dance autobiography, belongs both to Nijinska and to her interpreters, even if their interests do not always coincide.

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Rasmussen, Sasha. "Karsavina, Mallarmé, and Mauclair." Historical Reflections/Réflexions Historiques 49, no. 1 (March 1, 2023): 103–25. http://dx.doi.org/10.3167/hrrh.2023.490106.

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Abstract The early twentieth century saw a renewed critical interest in the expressive potential of dance, sparked by the overwhelming success of Diaghilev's Ballets Russes. Taking Camille Mauclair's 1912 review “Karsavina et Mallarmé” as a point of departure, this article explores contemporary attitudes toward the dancing woman, the sexual potential of her body, and the desire to transcend (or erase) her corporeality. For Mauclair, Mallarmé's writings provided an intellectual lens through which dance could be detached from the physicality of the danseuse and recast as a serious artistic and intellectual pursuit. This article argues that Mauclair and other critics who sought to abstract dance from the dancer collectively articulated a cohesive alternative to the supposed “physical imperative” of this period.

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Raev, Ada. "Georg Kolbe: Russian Impressions." Experiment 23, no. 1 (October 11, 2017): 267–85. http://dx.doi.org/10.1163/2211730x-12341315.

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Abstract The article describes German sculptor Georg Kolbe’s two direct engagements with Russia and its culture in the early twentieth century. The first, brief but fruitful, encounter, in 1912, the same year that Kolbe’s bronze sculpture Tänzerin (Female Dancer) was purchased by the National Gallery, was with Diaghilev’s Ballets Russes, who had returned for a second visit to Berlin. Kolbe received Vaslav Nijinsky and Tamara Karsavina in his studio; photographs and drawings of the two star dancers served as inspiration for works such as Tänzer (Dancer) and the Heinrich Heine monument in Frankfurt am Main, and also strengthened Kolbe’s interest in modern dance. The second opportunity came in 1932, when Kolbe, as a successful and established sculptor, was invited to tour the Soviet Union. In 1933, Kolbe published a brief account of his travels under the title “In einem anderen Land” (In another country); his observations, enriched with picturesque details, convey a feeling of empathy for the host country and its inhabitants. Only once does Kolbe admit to a certain discomfort with regard to the atmosphere in the Stalinist Soviet Union.

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Mosusova, Nadezda. "Symbolism and theatre of masques: The deathly carnival of la belle époque." Muzikologija, no. 5 (2005): 85–99. http://dx.doi.org/10.2298/muz0505085m.

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The junction of the nineteenth and twentieth centuries in Europe sharpened the clash of artistic novelties in the Western and Slavonic worlds, caused by developed Symbolism and Expressionism. As an output of the former reappeared in the "Jahrhundertwende" the transformed characters of the Commedia dell'arte, flourished in art, literature and music in Italy France, Austria and Russia. Exponents of Italian Renaissance theatre Stravinsky's Petrushka (1911) and Sch?nberg's Pierrot lunaire (1912) turned soon to be main works of the Russian and Austrian expressionistic music style, inaugurated by Strauss's Salome, which won opera stages from the 1905 on. Influences of the latter were widespread and unexpected, reaching later the "remote" areas of the Austro-Hungarian Empire, as well as the Balkans (in 1907 the Canadian dancer Maud Allan performed The Vision of Salome in Belgrade - music Marcel Remy - making her debut in Vienna 1903). Compositions of Strauss and Sch?nberg (Erwartung included) reflected also the strong cult of death present in Vienna's Finde-si?cle Symbolism concerning among other works plays by Wedekind and Schnitzler (Veil of Pierrette was staged successfully in Russia, too), with prototypes in Schumann's Carnival and Masquerade by Lermontov (both works written in 1834!). It was not by chance that Schumann's piano suite became one of the first ballets of Diaghilev's Saisons Russes (1910) and Masquerade, performed with the incidental music by Alexander Glazunov, the last pre-revolutionary piece of Vsevolod Meyerhold (1917).

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Neto, Walter Lima Torres. "Sobre um programa do Ballets Russes de Diaghilev: A coreografia de Parade." ILUMINURAS 20, no. 48 (February 11, 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 no programa como sur-realista. É neste programa que pela primeira vez o termo aparece, antes de ser adotado por André Breton. Palavras chavesPrograma de teatro. Ballets Russes. Parade. Surrealismo. ABOUT A DIAGHILEV BALLETS RUSSES PROGRAM:THE PARADE CHOREOGRAPHYAbstractMy goals with this article are two: In the first place to present a version of what would be the genesis of the theater programs, thus tracing part of its history. Following there is a typology, present in the editorial projects of these publications. And second, by taking the example of Sergei Diaghilev's company program, Les Ballets Russes, to demonstrate the applicability of the study of playbill. I try to understand how to identify an aesthetic rupture by a divergent work. The choreography Parade, whose debut in 1917, was presented in its program as surrealistic. The term appears for the first time before adopted by André Breton.KeywordTheatre program. Ballets Russes. Parade. Surrealism

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"Diaghilev, creator of the Ballets Russes: art, music, dance." Choice Reviews Online 34, no. 01 (September 1, 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 (December 19, 2013): 51–2458. http://dx.doi.org/10.5860/choice.51-2458.

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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 (August 31, 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: Свадебка, Svadebka), a ballet and orchestral concert work composed by Igor Stravinsky for percussion, pianists, chorus, and vocal soloists. Stravinsky subtitled the work "Choreographed Scenes with Music and Voices." The ballet, commissioned by Serge Diaghilev for the Ballets Russes, was choreographed by Bronislava Nijinska and premiered in Paris in 1923. In my Repertory I course, the students and I have worked together to collaboratively craft a creative reimagining of the original work. This article will describe that process, and demonstrate the multiple avenues for teaching and learning that Performance-As-Research opens up in the pedagogical context of the higher education performing arts curriculum.

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"Diaghilev's Ballets Russes." Choice Reviews Online 27, no. 06 (February 1, 1990): 27–3233. http://dx.doi.org/10.5860/choice.27-3233.

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"The Art of enchantment: Diaghilev's Ballets Russes, 1909-1929." Choice Reviews Online 26, no. 10 (June 1, 1989): 26–5576. http://dx.doi.org/10.5860/choice.26-5576.

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"Lynn Garafola. Diaghilev's Ballets Russes. New York: Oxford University Press. 1989. Pp. xviii, 524. $29.95." American Historical Review, June 1991. http://dx.doi.org/10.1086/ahr/96.3.916.

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