Serge Lifar and Alexandra Danilova in Appolon Musagete, showing the first version of the costumes designed by Coco Chanel, 1928, Photograph by Sasha, © V&A Images.

Stage backcloth for the Wedding Scene in The Firebird, After Natalia Goncharova, 1926, © ADAGP, Paris and DACS, London 2010.

Serge Diaghilev, Ballets Russes, and the Tone of the 20th Century

Front cloth used for Le Train bleu after a painting by Pablo Picasso, 1924, © ADAGP, Paris and DACS, London 2010.

Tamara Karsavina and Adolph Bolm in The Firebird, 1912 production, Photograph by E.O.Hoppé, © V&A images.

Léon Bakst, Illustration of Vaslav Nijinsky in L‚Aprés-midi d'un faune for the cover of the programme for the Théatre du chátelet, Paris, 1912, © V&A Images.

Costume for Chinese Conjurer in Parade, Artist: After Pablo Picasso, 1917, © V&A Images.

Leon Woizikovsky, Lydia Sokolova, Bronislava Nijinksa and Anton Dolin in Le Train Bleu, 1924, Photograph by Sasha, © V&A images.

Vaslav Nijinsky as Albrecht from Giselle (Act II), 1910, Photograph by Bert, © V&A Images.

Serge Diaghilev, © V&A images,




Victoria & Albert Museum
Cromwell Road
+44 (0)20 7942 2000
Diaghilev and the Golden Age
of the Ballets Russes 1909-1929

September 25-January 9, 2011

Diaghilev and the Golden Age of the Ballets Russes 1909-1929, explores the world of the influential artistic director Serge Diaghilev and the most exciting dance company of the 20th century. Diaghilev combined dance, music and art in bold ways to create "total theatre." A consummate collaborator, he worked with Stravinsky, Chanel, Picasso, Matisse and Nijinsky.

Diaghilev’s dramatic performances transformed dance, reawakening interest in ballet across Europe and America. This major retrospective celebrates his enduring influence on 20th-century art and design and includes more than 300 objects from the V&A’s own unrivalled collection and from a variety of lenders. The energy of the Ballets Russes’ performances is brought to life through giant backcloths, costumes, art, film and sound. Specially created films are on show throughout including footage of composer and broadcaster Howard Goodall explaining the development of music that accompanied the Ballets Russes.

Treasures on show include Picasso’s huge front cloth for Le Train Bleu, as well as original costumes and set designs, props and posters by artists and designers like Léon Bakst, Georges Braque, Jean Cocteau and Natalia Goncharova. These tell the story of a company which began in the social and political upheaval of pre-revolutionary Russia and went on to cause a sensation with exotic performances that had never been seen before.

The exhibition begins with Diaghilev’s life in St Petersburg. With an overview of the dance scene he was set to transform, it explores his early work in Paris, displaying the magnificent costume for Modest Mussorgsky’s Boris Godonov worn by Feodor Chaliapin. This gallery includes a rich array of costumes designed by Bakst and tell the story of the Ballets Russes up to the outbreak of War in 1914. The turban for Le Pavillon d’Armide and the gold and pearl tunic from Le Festin, both worn by charismatic dancer Vaslav Nijinsky at the dazzling opening performance of the 1909 Saison Russe are displayed along with sculptures of him by Auguste Rodin and by Una Troubridge. Radically choreographed by Nijinsky and scored by Igor Stravinsky, the Ballets Russes’ 1913 production of The Rite of Spring sensationalised Paris, causing a riot in the aisles of the Théâtre des Champs-Élysées at its first performance. The first gallery concludes with a group of nine costumes designed by Nicolas Roerich for this very performance.

The second gallery takes visitors behind the scenes of the Ballets Russes’ productions — their inspiration, choreography, music and creation of the sets. Nijinsky’s notation for L’Après-midi d’un faune is displayed for the first time as it was intended to be read, as is the musical score for Pulcinella by Stravinsky. Another highlight is a presentation of The Firebird, examined through a series of designs for Goncharova’s coronation scene, concluding dramatically with the actual backcloth. Pablo Picasso became an integral member of the Ballets Russes during the War. His enormous front cloth for Le Train Bleu, dedicated and signed, is on show as well as a costume he designed for Parade. The exhibition looks at how the Ballets Russes survived during the War having been cut off from their roots in Russia with little access to the cities they performed in before 1914.

The final gallery presents Diaghilev and his company in the 1920s — a period when he had achieved great status in European culture. The works of artists, authors and musicians he knew or was associated with is shown — including manuscripts by Joyce, Proust and Eliot. There is a large selection of costumes in this gallery from the exotic — Léon Bakst’s The Sleeping Princess and Henri Matisse’s Le Chant du rossignol, and the wacky — Mikhail Larionov’s — Chout and Giorgio de Chirico’s •Le Bal•, and the chic — Coco Chanel’s bathing costumes for Le Train Bleu, Georges Braque’s Zephyr and Flore and Marie Laurencin’s Les Biches.

Serge Pavlovich Diaghilev (1872-1929), Serge de Diaghileff, Sergey Dyaguileff, dictator, devil, charlatan, sorcerer, charmer — all names of a single man whose unique character and driving ambition caused a ferment in European culture.

Diaghilev's greatest achievement was his dance company — the Ballets Russes. Created a century ago, the productions of the Ballets Russes revolutionised early 20th-century arts and continue to influence cultural activity today.

As an individual, Diaghilev remains elusive. He lived through the cataclysms of the First World War and the Russian Revolutions, yet seemed strangely unaffected by them. He embraced the modern and exploited the avant-garde, but was in many ways deeply conservative. He lived mostly in hotel rooms, but turned his company into an extended family.

He left few personal possessions, but offers all of us an astonishing legacy of music, dance and art.

On 19 May 1909, after weeks of publicity, Diaghilev launched his first season of Russian ballet in Paris. Audiences were dazzled by the dancing and striking designs. Over the next few seasons a self-consciously Russian element dominated the productions. Innovative music magnified their impact, in particular that of Igor Stravinsky. The company's principal choreographer was the Russian dancer Mikhail Fokine.

Visually, the first Ballets Russes seasons were marked by the exotic designs of the Russian-born artist Léon Bakst. His bejewelled colours, swirling Art Nouveau elements and sense of the erotic re-envisioned dance productions as total works of art.

Following his critical triumph in 1909, and despite a financial loss of 76,000 francs (over £350,000 today), Diaghilev was in demand across Europe. So in 1911 he established the Ballets Russes as a year-round touring operation rather than a seasonal enterprise.

The virtuosity and charisma of Vaslav Nijinsky (1889-1950) were such that no one who saw him perform, it was claimed, ever forgot him. He transformed himself for each role he danced. Trained in the Russian Imperial Ballet, he was an instant success on the Parisian stage from the Ballets Russes' first season in 1909. Audiences had not seen an equivalent male dancer for more than two decades.

As a choreographer, he created unusually varied productions, whose style of movement differed radically from one another and from the academic ballet audiences were used to seeing.

Nijinsky became Diaghilev's lover in late 1908. It was an intense relationship in which Diaghilev was often seen to dominate, and abruptly halted when Nijinsky married and Diaghilev dismissed him from the company in 1913. He returned briefly for two seasons during the First World War, but later suffered from schizophrenia, which eventually ended his career.

Ballet uses the human body to express story and emotion. Given this basic character, ballet tends to explore strong simple stories which may also provide opportunities for dancers to display their virtuosity.

While the dances performed by the Ballets Russes appeared revolutionary, they drew on existing traditions of ballet production. As the driving force of the company, Diaghilev gathered a wide range of composers, choreographers, designers and performers, but maintained ultimate control over every aspect of the productions. His greatest achievement was to ensure the close integration of story, music, choreography and design, creating spectacles where the overall impact surpassed the parts.

From the start, Diaghilev's ambition was to generate entirely new ballets rather than repeat others' successes. Typically, each Ballets Russes season might include two or three new productions and their creation, often protracted, took up a large proportion of his time and energy.

The First World War (1914-18) nearly destroyed the Ballets Russes. During the years of devastating warfare, Diaghilev was isolated from his main European venues. In 1914 Diaghilev and Stravinsky were successful citizens of imperial Russia. By 1918 they were stateless exiles from a Bolshevik Russia wracked by civil war.

When war broke out, the Ballets Russes had completed five successful years and were just dispersing for their summer vacation. The company did not reform until May 1915, when Diaghilev rebuilt it for the first North American tour.

The productions of 1915-19 were both the most conservative and most experimental. The Ballets Russes toured popular works to new audiences in North and South America. Yet there were long periods in Europe without performing, in which the company could workshop original ideas. Léonide Massine emerged as a talented new choreographer, drawing on influences from the countries of his travels, notably Italy and Spain.

The First World War saw the collapse of the Russian, German, Austro-Hungarian and Ottoman empires. After a brutal civil war, Russia came under Communist control and Diaghilev never returned. The belle époque that had seen the birth of the Ballets Russes had been shattered forever.

Diaghilev's great themes — Russia, the classical world and the Orient - were now treated in the context of modernity. Other ballets reflected topical interests such as beach culture, films and sport.

By 1920 the Ballets Russes had a considerable repertoire to which new ballets were added each year. French avant-garde artists such as Matisse, Derain and Braque designed productions, while the choreographers Massine, Nijinska and Balanchine approached movement in innovative ways.

Diaghilev and his company had to adjust to very different economic circumstances. Monte Carlo now provided a winter base in which to create new works, while long seasons in London provided some financial stability.

The designs and colours used in Ballets Russes productions forged a new aesthetic in the 20th century. Knowledge of the company's revolutionary ballets filtered through to theatre, fashion and daily life, including interior design. Diaghilev's presentation of his homeland in particular created a notable strand of Russian style.

Perhaps the most evident legacy is the music Diaghilev commissioned. Ballet scores by Stravinsky, de Falla and others continue to be performed in concert halls around the world.

The repertoire of the Ballets Russes remains an invaluable resource for choreographers today. Over 200 different versions of The Rite of Spring have been choreographed since Diaghilev commissioned it. Diaghilev's achievements continue to inspire the worlds of art, theatre, music and dance.

Costume for Flore in Massine's Zephyre et Flore, After Georges Braque, 1925, © V&A images.

Costume for the Buffoon's‚ Wife from Chout, 1921, After Mikhail Larionov, © V&A Images.

Henri Matisse, Costume for a Mandarin in Le Chant du Rossignol, 1920 © Succession H Matisse/DACS 2010.

Natalia Goncharova, Design for a stage backcloth for Le Coq d`Or, 1919, © ADAGP, Paris and DACS, London 2010.

Jean Cocteau, Caricature drawing of the composer Igor Stravinsky playing the music for Rite of Spring, 1913, © ADAGP, Paris and DACS, London 2010