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Sergei Diaghilev’s “Sleeping Princess”

Sergei Diaghilev’s “Sleeping Princess” Diaghilev’s 1921 production of The Sleeping Princess , as the Petipa/Tchai-kovsky ballet The Sleeping Beauty was rechristened for London, has long been saddled with an array of symbolic meanings, enough to rival even the 1913 Nijinsky/Stravinsky Rite of Spring in the variety of interpretations that commentators have ascribed to the work. What did it mean for Dia-ghilev, the master of the modern, to mount a full-evening, late nineteenth-century Petipa ballet after a succession of modernist monuments? Did his London production of The Sleeping Princess amount to a rebuttal of more than a decade of avant-gardism, particularly after the mixed reception that Chout had received in London? 1 Did The Sleeping Princess mark a nostalgic return to the ballet’s bygone era just as Revolution and then Civil War in Russia implied an end to the lavish, late-Imperial productions of the type that the 1890 Sleeping Beauty had come to epitomize? Or was Diaghilev simply hoping for a West End hit, as his régisseur, Serge Grigoriev maintained—a long run, to be managed by others, so that Diaghilev could reinvest his energies in other projects? 2 Whatever the motivation, the project became something of a Waterloo for Diaghilev (or a retreat http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Experiment Brill

Sergei Diaghilev’s “Sleeping Princess”

Experiment , Volume 17 (1): 203 – Jan 1, 2011

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References (1)

Publisher
Brill
Copyright
© Koninklijke Brill NV, Leiden, The Netherlands
Subject
Essays
ISSN
1084-4945
eISSN
2211-730X
DOI
10.1163/221173011X611905
Publisher site
See Article on Publisher Site

Abstract

Diaghilev’s 1921 production of The Sleeping Princess , as the Petipa/Tchai-kovsky ballet The Sleeping Beauty was rechristened for London, has long been saddled with an array of symbolic meanings, enough to rival even the 1913 Nijinsky/Stravinsky Rite of Spring in the variety of interpretations that commentators have ascribed to the work. What did it mean for Dia-ghilev, the master of the modern, to mount a full-evening, late nineteenth-century Petipa ballet after a succession of modernist monuments? Did his London production of The Sleeping Princess amount to a rebuttal of more than a decade of avant-gardism, particularly after the mixed reception that Chout had received in London? 1 Did The Sleeping Princess mark a nostalgic return to the ballet’s bygone era just as Revolution and then Civil War in Russia implied an end to the lavish, late-Imperial productions of the type that the 1890 Sleeping Beauty had come to epitomize? Or was Diaghilev simply hoping for a West End hit, as his régisseur, Serge Grigoriev maintained—a long run, to be managed by others, so that Diaghilev could reinvest his energies in other projects? 2 Whatever the motivation, the project became something of a Waterloo for Diaghilev (or a retreat

Journal

ExperimentBrill

Published: Jan 1, 2011

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