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.

Experiment

A Journal of Russian Culture

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References

1)

Peter Stoneley, A Queer History of the Ballet (London/New York: Routledge, 2007), p. 69.

2)

Ninette de Valois, Step by Step: The Formation of an Establishment (London: W.H. Allen, 1977), p. 189.

3)

T.M.P., “The Screen: Ben Hecht’s Revolt,” The New York Times, 2 Sept. 1946, p. 12.

4)

Bosley Crowther, “The Screen: For Adults,” The New York Times, 15 Sept. 1946, p. 21.

5)

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

6)

Manuela Hoelterhoff, “A Potpourri of (Non-Tut) Met Exhibits,” Wall Street Journal, 4 Jan. 1979, p. 12.

7)

Alastair Macaulay, “Century-Old Revolution in Ballet Still Dazzles,” The New York Times, 8 Feb. 2009, AR1.

8)

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

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