One of the key ingredients
of the Russian Ballet's early success in western Europe was its 'Russianness':
the way the productions corresponded with a popular image of Russia as
a wild, untamed and primitive place. The Polovtsian Dances from Prince
Igor 1909 was the company's first popular hit in Paris. Nicholas Roerich's
earth-smeared set and vibrant costumes, Alexander Borodin's stirring music
and the vigorous choreography of Michel Fokine shattered the refined traditions
of ballet.
Aleksandr Golovin
adapted the rich patterning of Russian handicrafts and folk art for his
designs for The Firebird 1910. Fokine worked closely with Igor
Stravinsky to harmonise the movements with the score. The production was
praised for its magical synthesis of dance, design and music.
The Rite of Spring
1913, a ballet culminating in the ritual sacrifice of a young virgin,
marked the company's modernity. Stravinsky's score overturned musical
conventions while Vaslav Nijinsky's choreography was considered violent
and offensive. Roerich's costumes, with their crudely stencilled patterns,
echoed the primeval mood of the ballet.
Natalia Goncharova,
a leader of the Moscow avant-garde, used popular and traditional imagery
to reinvigorate modern art. Her exuberant designs for The Golden Cockerel
1914, with their odd perspectives, strange proportions and irrepressibly
bright colours, drew on the florid patterning of Russian peasant art.
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