The Ballets Russes existed for only twenty years--from 1909 to 1929--but in that brief period it transformed ballet into a vital, modern art, creating classics such as Les Sylphides, Firebird, Petrouchka, L'Apr???s-midi d'un Faune, and Le Sacre du Printemps , nurturing the century's greatest choreographers, and bringing to dance the richness of other arts as it forged partnerships between the most important composers, painters, and poets of the day. While the era of the Ballets Russes is probably the most chronicled in ...
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The Ballets Russes existed for only twenty years--from 1909 to 1929--but in that brief period it transformed ballet into a vital, modern art, creating classics such as Les Sylphides, Firebird, Petrouchka, L'Apr???s-midi d'un Faune, and Le Sacre du Printemps , nurturing the century's greatest choreographers, and bringing to dance the richness of other arts as it forged partnerships between the most important composers, painters, and poets of the day. While the era of the Ballets Russes is probably the most chronicled in dance history, this book is the first to explain the company as a totality--its art, enterprise, and audience. Taking a fresh look at familiar sources and incorporating fascinating archival material previously unexamined by Diaghilev scholars, Lynn Garafola paints an extraordinary portrait of the company. She traces its origins not only from Diaghilev and his circle but also from Fokine's revolutionary secession within the Russian Imperial Ballet, shows for the first time how the art of the Ballets Russes reflected its status as a complex economic enterprise, and reveals how Diaghilev created an audience that in turn shaped his company's changing identity.
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Dispatched, from the UK, within 48 hours of ordering. This book is in good condition but will show signs of previous ownership. Please expect some creasing to the spine and/or minor damage to the cover. Grubby book may have mild dirt or some staining, mostly on the edges of pages. Ripped/damaged jacket. The dust jacket of this book is slightly damaged/ripped, however, this does not affect the internal condition.
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Very Good. Very Good condition. Good dust jacket. A copy that may have a few cosmetic defects. May also contain light spine creasing or a few markings such as an owner's name, short gifter's inscription or light stamp.
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Good. Good condition. Good dust jacket. A copy that has been read but remains intact. May contain markings such as bookplates, stamps, limited notes and highlighting, or a few light stains. Bundled media such as CDs, DVDs, floppy disks or access codes may not be included.