Bibliografía: Los Ballets Russes y España

American Music, 2021

of 1916, amid a flurry of publicity, Serge Diaghilev's famous Ballets Russes company arrived in the United States to begin the first of two back-to-back American tours sponsored by the Metropolitan Opera Company. "Never before," the Metropolitan Opera Company's preliminary prospectus announced, "has such a diversity of ballet, mimo-drama, and 'choreographic episode' from such eminent hands been outspread on our stage. Never before have so many ballets moved to such music or been clothed in such settings and costumes. Never before have such performances wrought an equal magic, magnificence, and vitality of illusion. In them the new arts of the dance and many a new art of the theatre touch their present climax." 1 The Ballets Russes, American audiences were promised, would offer Americans a new art, a multimedia spectacle of dancing, music, color, and stage design: "something vital, spontaneous, and distinct, with a rare and poignant beauty, something which evoked within the beholders a spirit at once emotional and intellectual." 2 From January until April 1916, the troupe trekked across much of the Northeast and upper Midwest before a month-long run at the Metropolitan Opera House in New York City. A second round of American performances commenced in October 1916 with a two-week run at the Manhattan Opera House, followed by stops in more than twenty-five cities around the country-New Orleans, Salt Lake City, Los Angeles, San Francisco, Memphis, and Birmingham, among them. The Ballets Russes company originated in a broader series of Russian collaborative artistic ventures. As a young man, impresario Serge Diaghilev (1872-1929) was invited to join a "Society for Self-Improvement" aimed at discussing and formulating a set of aesthetic principles that turned away from the utilitarianism and realism dominating much of Russian art and music in the latter part of the nineteenth century. Art,

The near-riot that occurred at the ballet performance of Igor Stravinsky's Le Sacres du Primtemps (the Rite of Spring) in 1913 was part of the mixed reaction to Russian orientalism in Parisian contemporary art. Many scholars have analyzed the specifics of the piece, the choreography, and the conditions of the night of May 29 th , 1913 at Théâtre des Champs-Élysées. While the analysis of the specific night is useful toward understanding the underlying psychology of the audience, Vaslav Nijinsky's ballet interpretation of The Rite of Spring is indicative of a broader movement in the historical context of the 20 th century. With the imminence of World War I and the growing urge among the French to form a 'nationalist identity', the presence of Russian ballet in Paris created sentiments of infatuation, appreciation, anxiety, and contempt -all in tension with each other. The heavy presence of primitivism, naturalism, and dissonance in Ballets Russes' performances often mocked French traditional civilized values. Ballets Russes 'authenticity' came into question as the company's motives became decidedly commercial and designed for shock appeal. Nijinsky's interpretation of Claude Debussy's L'Après-midi d'un Faune (Afternoon of a Faun) was a precursor to the Rite, but the musical qualities and the choreographic movements were not as provocative. The music itself in Stravinsky's piece, intertwined with Nijinsky's choreography, implied dehumanizing, antiexpressionist ideals that helped fuel the anxieties of Parisian audiences. Sergei Diaghilev, a Russian impresario of opera and ballet, brought a music sensation to 20 th century Western ballet with the establishment and sustainment of Ballets Russes in Paris. He recruited innovative composers and choreographers into a Russian troupe that capitalized on Parisians' fascination with exoticism and orientalism. The project began with the innovative

The Wagnerian term Gesamtkunstwerk, or complete artwork, has repeatedly been used to describe the collaborative work of the Ballet Russes, the company founded by Sergei Diaghilev in 1909. Ballet had long been performed in conjunction with opera, especially French opera.

Endless Inspiration: One Thousand and One Nights in comparative perspective, edited by Orhan Elmaz, Gorgias Press, 2020

This chapter will use the materials related to the Russian and Soviet Orientalist ballets and operas with the focus on Schehera-zade, which became one of the main highlights of Diaghilev's whole project of the Ballets Russes, or the Russian Seasons. It aims at showing the different representations and perceptions thereof not only in pre-revolutionary Russia but in the Soviet Union, post-Soviet Russia and Europe. Diaghilev-Benois-Bakst's Scheherazade based on Rimsky-Korsakov's sea suite became a hallmark of Russ-ian Orientalist art at its peak in all aspects: music, choreography, staging and design. It was produced for Diaghilev's second Russ-ian season in Paris in 1911, and gained an exceptional fame not only for the founder of the Seasons but for the whole troupe, and mainly for their main designer, Léon Bakst (Melville 2015 and 2017).

CULTURE AND ARTS IN THE MODERN WORLD, 2020

The purpose of the article is to analyse and typologize the ballet criticism of the magazine New art (Kharkiv, 1925-1928). To achieve this goal, a number of principles and methods were used: the historical approach and analytical method make possible to analyse scientific and critical articles in the chronological order, the comparative methodto compare articles separating common and distinct ideas and concepts; the typological method-to classify critical publications on ballet topics. The scientific novelty of the article is that the content of the magazine New Art (Kharkiv, 1925-1928) was analysed through the prism of ballet criticism for the first time. Conclusions. In the conditions of the gradual departure from the ideas of the proletarian culture of the early 1920s in the USSR, with a complete rejection of the academic traditions of classical ballet, in the middle of 1920s there was a turn to a certain independence of the Ukrainian culture, Ukrainianlanguage magazines appeared, including the theatrical weekly New art, the content of which included the ballet criticism. The magazine reflects some aspects of the emergence of theatre studies (within which ballet studies developed) in Ukraine, which went parallel with the formation of ballet criticism. Rather conditionally, the content of publications of the New art related to ballet criticism can be divided into groups: theatrical theoretical and methodological (Ya. Mamontov and others); on the theoretical aspects of theatre, in particular, ballet criticism (I. Turkeltaub, K. Rafalskyi, M. Khrystovyi); ballet reviews, interviews, reviews, reports, chronicles (Yu. Zhihela, P. Kozytskyi, F. Malkov, H. Neivi). The New art conceptualized requirements for theatrical, including ballet, criticism: social (orientation to the ruling class of the proletariat), ideological and axiological (the transition from the propaganda of revolutionary and abstract, agitational to ideological and artistic values), anthropological (the formation of a physically and mentally new person). The two groups can be distinguished among the ballet reviews: the first-non-ideological publications, mainly applying an aesthetic and artistic approach to reviewing; the second group consists of those who condemn experimentation (constructive, body-plastic, etc.), focusing on the formation of mono-ideological approaches.

Proceedings of the 2nd International Conference on Art Studies: Science, Experience, Education (ICASSEE 2018), 2018

The following article deals with how Sergei Diaghilev's Ballets Russes enterprise was perceived in England after the First World War, with a focus on ballets choreographed by Leonide Massine and designed by Mikhail Larionov. Larionov's collage Homage to Roger Fry (1919, Victoria & Albert Museum, London) served as a point of departure in this research [1]. The history of this work and its possible interpretations are of interest not only in themselves: the context in which the Homage appeared had to do with the specifics of Diaghilev's ballets of the second postwar period, which turned out to be in line with relevant problems of British criticism and art of the second half of the 1910s.

Revista de la Universidad del Zulia, 2021

The purpose of the study is to analyze various interpretations of the theme of ballet in the context of creating an artistic image taking into account the specific characteristics of various arts on the factual visual material of the late nineteenth - early twentieth century. Methodology: 1) Search method, which allowed to reveal in museums and private collections, works of art dedicated to ballet of the period under consideration; 2) Historical and tipological method, which helped to group the works according to the thematic principle, to determine the degree of their value in the process of the creative work of the artist; 3) Method of stylistic analysis, which allowed to track the structural changes in the images created, the evolution of the creative method of the artist. Main findings: The nature of pictorial foundations in choreography is explored; the artistic pursuits and the various decisions in the masterpieces of graphics, painting and sculpture, dedicated to the ballet t...

2020

INTRODUCTION A holistic understanding of any kind of art is impossible without the study of its criticism, because the unity of theory, history and criticism is the key to the existence of art disciplines, including ballet knowledge. The fundamental studies of the Ukrainian prominent ballet scholars (L. Dolokhova, M. Zahaikevych, Yu. Stanishevskyi, A. Chepalov, etc.) are based on artistic criticism of various historical periods. The aforementioned authors themselves made a lot of efforts to develop the art-critical discourse of Ukraine. However, Ukrainian ballet criticism has not yet become the subject of a special study. The transformation of the social and cultural sphere of Ukraine at the end of the XXth and beginning of the XXIst centuries, the collapse of the totalitarian Soviet regime, opening access to previously classified archival materials, changing value orientations made it possible to objectively reproduce the panorama of the ballet criticism development in Ukraine. The...

Daphnis, Volume 52 (2024): Issue 3-4 (Dec 2024): Special Issue: Anthologien der Frühen Neuzeit im europäischen Kontext, herausgegeben von Nicolas Detering, Dirk Rose und Isabella Walser-Bürgler , 2024

In 1612, Toussaint du Bray, a renowned Parisian bookseller, publishes a daring anthology: Le Recueil des plus excellents ballets de ce temps, a collection of texts borrowed from ballets of his time. In this article, I try to highlight the fact that Toussaint du Bray’s approach constitutes an extremely strong gesture that decisively contributes to the emergence of a true editorial genre. While attempting to address this question, I also seek to assess the political significance of this selection of ballets.

Dance Research Journal, 2010

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” o...