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THE ART OF THE BALLETS RUSSES CAPTURED: RECONSTRUCTED BALLET PERFORMANCES ON VIDEO
It is impossible to underestimate the influence of Sergei Diaghilev (1872-1929) on twentieth-century ballet history. But it may be easy at times to underestimate his uncanny ability as an impresario to bring together artists from diverse backgrounds and aesthetic and unite them with a common goal of artistic excellence. Established in 1909, the Ballets Russes made an extraordinary impact on Parisian life and monopolized the audiences' attention for almost two decades. More than simply being a ballet company, it promoted and facilitated the interaction of some of the most avant-garde artists of the time. During their twenty-year run (the company disbanded in 1929 after Diaghilev's death), the Ballets Russes collaborated closely with dancers, choreographers and visual artists that included George Balanchine (1904-1983), Vaslav Nijinsky (1890-1950), Tamara Karsavina (1885-1978), Mikhail Fokine (1880-1942), Léonide Massine (1896-1979), Léon Bakst (1866-1944), Georges Braque (1882-1963), and Pablo Picasso (1881-1973). Some of the musicians who either lent their scores to be choreographed or created music particularly for the Ballets Russes included Maurice Ravel (Daphnis & Chloë), Claude Debussy ( Jeux), Richard Strauss (Josephslegende), Erik Satie (Parade), Manuel de Falla, Sergei Prokofiev, Francis Poulenc, Darius Milhaud, and, of course, Igor Stravinsky. The latter's groundbreaking collaboration with Diaghilev led to three landmark works, all inspired by the composer's native Russia: Firebird, Petrushka, and the notorious Rite of Spring.
THE WORLD OF ART
By the time Diaghilev realized his interest in the arts at the dawn of the twentieth century, the world of the romantic ballet had virtually been dead for years. At its zenith, it was represented by works such as La Sylphide and Giselle, made popular in Europe in the 1830s and 1840s mainly thanks to the superhuman accomplishments by ballerinas like Marie Taglioni (the "first Sylphide"), whose graceful ballons and ethereal dancing on pointe (a novelty at the time) ideally embodied the concepts of the otherworldly and the supernatural. The geography of European ballet history in the later part of the nineteenth century makes for a fascinating read. In spite of the immense popularity that it enjoyed in France until the middle of the nineteenth century, the formulaic and predictable aspects of ballet that once made it popular, now...