Leonide massine ballet russe costumes
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Picasso and the Ballets Russes
Pablo Picasso's involvement and collaborations with the Ballets Russes
Pablo Picasso and the Ballets Russes collaborated on several productions. Pablo Picasso's Cubist sets and costumes were used by Sergei Diaghilev in the Ballets Russes's Parade (1917, choreography: Léonide Massine), Le Tricorne (The Three-Cornered Hat) (1919, choreography: Massine), Pulcinella (1920, choreographer: Massine), and Cuadro Flamenco (1921, choreography: Spanish folk dancers). Picasso also drew a sketch with pen on paper of La Boutique fantasque (The Magic Toyshop), (1919, choreography: Massine)[2] and designed the drop curtain for Le Train Bleu (1924, choreography: Bronislava Nijinska), based on his painting Two Women Running on the Beach (The Race), 1922.[3]
The idea for the set design of Parade came from the decorations at a small vaudeville theater in Rome as well as the décor of the Teatro dei Piccoli, a marionette th
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Parade (ballet)
1917 ballet
This article is about Massine's ballet. For other uses, see Parade (disambiguation).
Parade is a ballet choreographed by Leonide Massine, with music by Erik Satie and a one-act scenario by Jean Cocteau. The ballet was composed in 1916–17 for Sergei Diaghilev's Ballets Russes. The ballet premiered on Friday, May 18, 1917, at the Théâtre du Châtelet in Paris, with costumes and sets designed by Pablo Picasso, choreography by Léonide Massine (who danced), and the orchestra conducted by Ernest Ansermet.
Overview
[edit]The idea of the ballet seems to have come from Jean Cocteau.[1] He had heard Satie's Trois morceaux en forme de poire ("Three Pieces in the Shape of a Pear") in a concert and thought of writing a ballet scenario to such music. Satie welcomed the idea of composing ballet music (which he had never done before) but refused to allow any of his previous compositions to be used for the occasion, so Cocteau started writing a sc
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Born in Russia in 1866, Léon Bakst belonged to a ung generation of European artists who rebelled against 19th-century stage realism, sparking a revolution in theatre design. His fame lay in the sets and costumes he designed for Serge Diaghilev's (1872 – 1929) legendary dance company the Ballets Russes, and his huge pageant spectaculars for the dancer and patron of the performing arts, Ida Rubinstein (1883 – 1960).
Bakst was interested in the visual arts from an early age. At the age of 12, he won a drawing contest and decided to be a painter, later studying at the St Petersburg Academy of Arts, and working part time as a book illustrator. In the 1890s he travelled in Europe and became a member of the artistic circle formed by the artist and critic Alexandre Benois (1870 – 1960), who introduced him to Sergei Diaghilev, a promoter of Russian visual and performing arts. In the late 1890s Bakst showed his works in a number of exhibitions organised by Diaghilev. At the time okänt