The Legacies of the Ballets Russes

in Experiment
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Abstract

This essay traces the multiple legacies of the Ballets Russes during the 100 years following the company’s first performances in 1909. Dividing the intervening century into four periods (“The Lifetime of the Ballets Russes,” “1930-1954,” “1954-1987: Glamor and Revival,” and “1987 to the Present: Historicity and the End of the Cold War”), it analyzes the dispersal, migration, transformation, and assimilation of its repertory, choreographic methodologies, cultural narratives, aesthetics, and historiography.

The Legacies of the Ballets Russes

in Experiment

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References

1)

Peter StoneleyA Queer History of the Ballet (London/New York: Routledge2007) p. 69.

2)

Ninette de ValoisStep by Step: The Formation of an Establishment (London: W.H. Allen1977) p. 189.

3)

T.M.P.“The Screen: Ben Hecht’s Revolt,” The New York Times2 Sept. 1946 p. 12.

4)

Bosley Crowther“The Screen: For Adults,” The New York Times15 Sept. 1946 p. 21.

5)

Richard Buckle“Introduction,” Diaghilev Ballet Material: Costumes Costume Designs and PortraitsSotheby’s (London) 13 June 1967 p. IV.

6)

Manuela Hoelterhoff“A Potpourri of (Non-Tut) Met Exhibits,” Wall Street Journal4 Jan. 1979 p. 12.

7)

Alastair Macaulay“Century-Old Revolution in Ballet Still Dazzles,” The New York Times8 Feb. 2009 AR1.

8)

William Schuman“Foreword,” Dance Perspectives 16 (Composer/Choreographer) 1963 p. 3.

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