The Ballets Russes has engaged people for 100 years, ever sinceRussian-born Sergei Diaghilev created this dynamic avant-garde company.Diaghilev brought together some of the most important visual artists ofthe 20th century to work as costume and stage designers and workwith composers, choreographers, and dancers, infusing new life andcreative energy into the performing arts of the time. Through thecostumes, drawings, programs, and posters presented in this book, thevisual spectacle of the Ballets Russes is brought back into view for acontemporary audience to appreciate the revolution it was and theongoing influence it continues to have today.
This is the origin of modern art and fashion. A collection of fascinating art and design from the Ballets Russes. In the early 20th century, Ballets Russes, a Russian itinerant ballet company based in Paris and founded by a Russian impresario Sergei Diaghilev, created a worldwide sensation. They brought innovation to the performing arts industry not just with music and choreography but also with scenography and costumes designed by Picasso, Matisse and Chanel. They pioneered an integrated approach to the performing arts in pursuit of the "ideal work of art" and made a huge impact on modern art. Accompanied by rich commentary and focusing mainly on Ballets Russes, this book introduces various beautiful designs from the performing arts from the late 19th century to the early 20th century.
The dance, art, music, and cultural worlds of the Ballets Russes--a dance company which helped define the avant-garde in the early part of this century--are surveyed in this book, which begins with Serge Diaghilev's influence. 200+ illustrations.
Modernism on Stage restores Serge Diaghilev?s Ballets Russes to its central role in the Parisian art world of the 1910s and 1920s. During those years, the Ballets Russes? stage served as a dynamic forum for the interaction of artistic genres - dance, music and painting - in a mixed-media form inspired by Richard Wagner?s Gesamtkunstwerk (total work of art). This interdisciplinary study combines a broad history of Diaghilev?s troupe with close readings of four ballets designed by canonical modernist artists: Pablo Picasso, Sonia Delaunay, Henri Matisse, and Giorgio de Chirico. Experimental both in concept and form, these productions redefine our understanding of the interconnected worlds of the visual and performing arts, elite culture and mass entertainment in Paris between the two world wars. This volume traces the ways in which artists working with the Ballets Russes adapted painterly styles to the temporal, three-dimensional and corporeal medium of ballet. Analyzing interactions among sets, costumes, choreography, and musical accompaniment, the book establishes what the Ballets Russes' productions looked like and how audiences reacted to them. Juliet Bellow brings dance to bear upon modernist art history as more than a source of imagery or ornament: she spotlights a complex dialogue among art forms that did not preclude but rather enhanced artists? interrogation of the limits of medium.
The Ballets Russes in Australia and Beyond draws together essays by leading international and national scholars, who explore the rich legacy of the Ballets Russes. A dazzling array of pictures brings to life the sheer vitality of the companies in a way that makes the volume indispensable to balletomanes, scholars, and those fascinated by the synergies between the creative arts in general.
Maurice Ravel, as composer and scenario writer, collaborated with some of the greatest ballet directors, choreographers, designers and dancers of his time, including Diaghilev, Ida Rubinstein, Benois and Nijinsky. In this book, the first study dedicated to Ravel's ballets, Deborah Mawer explores these relationships and argues that ballet music should not be regarded in isolation from its associated arts. Indeed, Ravel's views on ballet and other stage works privilege a synthesized aesthetic. The first chapter establishes a historical and critical context for Ravel's scores, engaging en route with multimedia theory. Six main ballets from Daphnis et Chlo hrough to Bol are considered holistically alongside themes such as childhood fantasy, waltzing and neoclassicism. Each work is examined in terms of its evolution, premiere, critical reception and reinterpretation through to the present; new findings result from primary-source research, undertaken especially in Paris. The final chapter discusses the reasons for Ravel's collaborations and the strengths and weaknesses of his interpersonal relations. Mawer emphasizes the importance of the performative dimension in realizing Ravel's achievement, and proposes that the composer's large-scale oeuvre can, in a sense, be viewed as a balletic undertaking. In so doing, this book adds significantly to current research interest in artistic production and interplay in early twentieth-century Paris.
The Ballets Russes was a phenomenon of the early twentieth century, permeating daily life wherever the company traveled and leaving a lasting impact on dance, theater, and the visual arts. Sergei Diaghilev, impresario from 1909 until his death in 1929, fused the most avant-garde, groundbreaking movements in dance, choreography, art, design, and costume into unique and stunning productions. The work was exciting, and always new, and it stretched the limits of the possible in art. The color, form, and material in costume and set design astonished audiences, transforming every corner of Western culture in the twentieth century. Fashion and decor designers and visual artists in particular—including Coco Chanel, Natalia Goncharova, Mikhail Larionov, Léon Bakst, and Pablo Picasso—found inspiration in the Ballets Russes. Designers and artists moved past old boundaries and created costumes and set designs for these extravagant productions, bridging the gaps between tangible and abstract artistic genres. The Ballets Russes and the Art of Design explores these revolutionary icons and ideas, illuminating Sergei Diaghilev's profound revitalization of the arts, which continues to influence us today. Ten essays by internationally recognized experts and 200 color and black-and-white illustrations—many from private collections and never-before-published—discuss a broad range of topics, including set and costume designs, graphic design and poster art, photographs and postcards, Diaghilev's presence in the media, and private and museum collections of Ballets Russes treasures.
Beautifully illustrated and drawing on unpublished images and memorabilia, this book illuminates the ways in which innovations by the Ballets Russes in dance, music, sets and costume both mirrored and invigorated contemporary culture. --Book Jacket.