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T. Scholl (2017)
Sleeping Beauty, a Legend in Progress
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
Experiment – Brill
Published: Jan 1, 2011
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