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INTRODUCTION: PERFORMING ARTS AND THE AVANT-GARDE

INTRODUCTION: PERFORMING ARTS AND THE AVANT-GARDE Of all the artistic achievements that Russia has contributed to European and American culture perhaps the most original and most enduring is that of modem dance. The dancers and choreographers trained in the schools of the Imperial Russian theaters became the preeminent ballet artists of the begin- ning of the twentieth century, so popular that dancers from other countries took Russian stage names to share in the fame. The spectacle and inventive- ness of Sergei Diaghilev's Ballets Russes, for example, still evoke astonish- ment and delight and are the frequent subject of research and reconstruction. But for all their mobility and versatility, the Ballets Russes, based in Paris and Monte Carlo, never performed in Russia and it is now becoming increas- ingly clear that, parallel to Le Sacre du Printemps and Les Noces, there was another, alternative, and highly experimental kind of dance evolving in Mos- cow during the 1910s and 1920s: informed by Isadora Duncan, and Jaques Dalcroze avant-garde Russian dance tested audacious ideas in the same revo- lutionary laboratory that witnessed Vasily Kandinsky, Vladimir Maiakovsky, Kazimir Malevich, Vsevolod Meierkhol'd, and Sergei Prokofiev. This volume is a direct result of a symposium and workshop organized under the http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Experiment Brill

INTRODUCTION: PERFORMING ARTS AND THE AVANT-GARDE

KONECNY, MARK
Experiment , Volume 10 (1): 0 – Jan 1, 2004
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Publisher
Brill
Copyright
Copyright © Koninklijke Brill NV, Leiden, The Netherlands
ISSN
1084-4945
eISSN
2211-730X
DOI
10.1163/2211730X04X00019
Publisher site
See Article on Publisher Site

Abstract

Of all the artistic achievements that Russia has contributed to European and American culture perhaps the most original and most enduring is that of modem dance. The dancers and choreographers trained in the schools of the Imperial Russian theaters became the preeminent ballet artists of the begin- ning of the twentieth century, so popular that dancers from other countries took Russian stage names to share in the fame. The spectacle and inventive- ness of Sergei Diaghilev's Ballets Russes, for example, still evoke astonish- ment and delight and are the frequent subject of research and reconstruction. But for all their mobility and versatility, the Ballets Russes, based in Paris and Monte Carlo, never performed in Russia and it is now becoming increas- ingly clear that, parallel to Le Sacre du Printemps and Les Noces, there was another, alternative, and highly experimental kind of dance evolving in Mos- cow during the 1910s and 1920s: informed by Isadora Duncan, and Jaques Dalcroze avant-garde Russian dance tested audacious ideas in the same revo- lutionary laboratory that witnessed Vasily Kandinsky, Vladimir Maiakovsky, Kazimir Malevich, Vsevolod Meierkhol'd, and Sergei Prokofiev. This volume is a direct result of a symposium and workshop organized under the

Journal

Experiment – Brill

Published: Jan 1, 2004

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