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Fairytales and other
romantic stories are part of ballet's long tradition. Serge Diaghilev's
Russian Ballet told, or retold, stories of magic, romance and tragedy
in a novel and sophisticated manner. Alexandre Benois, a painter and historian,
designed Armida's Pavilion in 1909. The ballet enabled Benois to
realise his vision of French aristocratic life in the 18th-century. By
contrast, nostalgia for the St Petersburg fairgrounds of the 19th-century
inspired his designs for Petrushka 1911. The set and costumes captured
the innocent yet tragic mood of this bittersweet story of a love-sick
puppet.
Characters from the
Italian commedia dell'arte threatrical tradition, such as Pierrot and
Harlequin, were revived for Carnival 1910. Bakst's costumes were
restrained in their decoration, and relied on shape and colour to complement
the lively yet elegant dancing. After the First World War, Diaghilev persuaded
French painters, including André Derain, to design new ballets
with a similarly witty mood.
In 1921 Diaghilev
produced his first full-length ballet, The Sleeping Princess, a
revival of the 19th-century classic, The Sleeping Beauty. No expense
was spared and Bakst designed hundreds of opulently detailed costumes
in strong jewel-like colours. Diaghilev's attempt to revive the grand
traditions of Russia's Imperial Ballet, however, was not popular and almost
bankrupted his company. Thereafter he only produced short, one-act ballets.
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