02062    a2200253   450000500170000000800390001702000220005603700360007804000070011404100080012107200140012907200150014307200120015807200120017007200210018207200180020310000230022124500720024425000060031626000320032230000100035452014270036499900170179120250526161930.0250430042016GB                   eng    a9781138247369qBC  bTaylor & FranciscGBP 51.99fBB  a01  aeng7 aAB2thema7 aAGA2thema7 aAB2bic7 aAC2bic7 aART0151102bisac7 a751.752bisac1 aJuliet Bellow974410aModernism on StagebThe Ballets Russes and the Parisian Avant-Garde  a1  aOxfordbRoutledgec20160909  a320 p  bModernism on Stage restores Serge Diaghilev’s Ballets Russes to its central role in the Parisian art world of the 1910s and 1920s. During those years, the Ballets Russes’ stage served as a dynamic forum for the interaction of artistic genres - dance, music and painting - in a mixed-media form inspired by Richard Wagner’s Gesamtkunstwerk (total work of art). This interdisciplinary study combines a broad history of Diaghilev’s troupe with close readings of four ballets designed by canonical modernist artists: Pablo Picasso, Sonia Delaunay, Henri Matisse, and Giorgio de Chirico. Experimental both in concept and form, these productions redefine our understanding of the interconnected worlds of the visual and performing arts, elite culture and mass entertainment in Paris between the two world wars. This volume traces the ways in which artists working with the Ballets Russes adapted painterly styles to the temporal, three-dimensional and corporeal medium of ballet. Analyzing interactions among sets, costumes, choreography, and musical accompaniment, the book establishes what the Ballets Russes' productions looked like and how audiences reacted to them. Juliet Bellow brings dance to bear upon modernist art history as more than a source of imagery or ornament: she spotlights a complex dialogue among art forms that did not preclude but rather enhanced artists’ interrogation of the limits of medium.  c10478d10478