Javascript must be enabled to continue!
Ballets Russes
View through CrossRef
Founded by the Russian impressario Sergei Diaghilev in 1909, the Ballets Russes played a role of fundamental importance in the development of early twentieth-century modernism. In the course of its twenty-year history, Diaghilev employed the most exciting and forward-thinking artists, composers and choreographers of the time to create over 100 ballets which not only revolutionized the language of dance and reformulated the role of the performing arts by bring modernism onto the stage but also charted a new step forward in inter-disciplinary creation, using the medium of ballet to bring to fruition Richard Wagner’s concept of the Gesamtkunstwerk (‘total art work’).
Title: Ballets Russes
Description:
Founded by the Russian impressario Sergei Diaghilev in 1909, the Ballets Russes played a role of fundamental importance in the development of early twentieth-century modernism.
In the course of its twenty-year history, Diaghilev employed the most exciting and forward-thinking artists, composers and choreographers of the time to create over 100 ballets which not only revolutionized the language of dance and reformulated the role of the performing arts by bring modernism onto the stage but also charted a new step forward in inter-disciplinary creation, using the medium of ballet to bring to fruition Richard Wagner’s concept of the Gesamtkunstwerk (‘total art work’).
Related Results
Ballets Suédois (1920–25)
Ballets Suédois (1920–25)
Rolf de Maré’s Ballets Suédois was active from 1920 to 1925. It was the chief artistic rival to Diaghilev’s Ballets Russes, and de Maré was often referred to as the Swedish Serge D...
Diaghilev, Serge (1872–1929)
Diaghilev, Serge (1872–1929)
Impresario, critic, curator, and founder-director of the Ballets Russes (1909–1929), Serge Diaghilev was a towering figure and pioneer of early 20th-century modernism. Through his ...
Arthur Bliss' Scores for Robert Helpmann: Musical Responses to Ambitious Creative Challenges
Arthur Bliss' Scores for Robert Helpmann: Musical Responses to Ambitious Creative Challenges
In this article, I explain the demanding creative challenges that Robert Helpmann had to face regarding Miracle in the Gorbals (1944) and Adam Zero (1946) by examining the difficul...
L'Intermédialité au Grand Siècle (?) ou la pratique des intermèdes sous le règne de Louis XIV
L'Intermédialité au Grand Siècle (?) ou la pratique des intermèdes sous le règne de Louis XIV
Le concept de l'intermédialité semble contraire à notre vision de l'esthétique classique que nous considérons généralement comme étant caractérisé par l'unité plutôt que par la mul...
Finding Balanchine's Lost Ballets
Finding Balanchine's Lost Ballets
Finding Balanchine’s Lost Ballets: Exploring the Early Choreography of a Master allows the reader to learn about one of the twentieth century’s greatest artists in a way that has n...
“My Second Son”: The Collaboration of Sergei Prokofiev and Sergei Diaghilev
“My Second Son”: The Collaboration of Sergei Prokofiev and Sergei Diaghilev
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 ...
From the Other Shore: Russian Comment on Diaghilev's Ballets Russes
From the Other Shore: Russian Comment on Diaghilev's Ballets Russes
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 Lunach...
Satie, Erik Alfred Leslie (1866–1925)
Satie, Erik Alfred Leslie (1866–1925)
Erik Satie’s compositions, writings, and humor played an important role in many modernist movements of the twentieth century. Experimenting with simple forms, neoclassicism, mystic...

