Natasha's Dance (172 page)
The Village
durnoi’,
105
The Village gave a huge jolt to society. More perhaps than any other work, it made the Rus
The Village gave a huge jolt to society. More perhaps than any other work, it made the Rus
The Village gave a huge jolt to society. More perhaps than any other work, it made the Rus
The Village
106
The Village
107
Like Bunin, Maxim Gorky knew what village life was like: his disenchantment with the peasa
Like Bunin, Maxim Gorky knew what village life was like: his disenchantment with the peasa
Like Bunin, Maxim Gorky knew what village life was like: his disenchantment with the peasa
My Childhood
When I try to recall those vile abominations of that barbarous life in Russia, at times
When I try to recall those vile abominations of that barbarous life in Russia, at times
When I try to recall those vile abominations of that barbarous life in Russia, at times
108
In 1888, at the age of twenty, Gorky had ‘gone to the people’ with a Populist called Romas wh
In 1888, at the age of twenty, Gorky had ‘gone to the people’ with a Populist called Romas wh
In 1888, at the age of twenty, Gorky had ‘gone to the people’ with a Populist called Romas wh
Some dog-like desire to please the strong ones in the village took possession of them, and
Some dog-like desire to please the strong ones in the village took possession of them, and
Some dog-like desire to please the strong ones in the village took possession of them, and
109
Looking back on the violence of the revolutionary years - a violence he put down to the ‘sa
Looking back on the violence of the revolutionary years - a violence he put down to the ‘sa
Looking back on the violence of the revolutionary years - a violence he put down to the ‘sa
Where then is that kindly, contemplative Russian peasant, the indefatigable searcher a
Where then is that kindly, contemplative Russian peasant, the indefatigable searcher a
Where then is that kindly, contemplative Russian peasant, the indefatigable searcher a
110
6
6
6
6
6
In 1916 Diaghilev was asked where the Ballets Russes had its intellectual origins. In th
In 1916 Diaghilev was asked where the Ballets Russes had its intellectual origins. In th
In 1916 Diaghilev was asked where the Ballets Russes had its intellectual origins. In th
111
It all began at Abramtsevo, the artists’ colony established by the Mamontovs on their es
It all began at Abramtsevo, the artists’ colony established by the Mamontovs on their es
It all began at Abramtsevo, the artists’ colony established by the Mamontovs on their es
112
113
15. Elena Polenova: ‘Cat and Owl’ carved door, Abramtsevo workshop, early 1890s
15. Elena Polenova: ‘Cat and Owl’ carved door, Abramtsevo workshop, early 1890s
15. Elena Polenova: ‘Cat and Owl’ carved door, Abramtsevo workshop, early 1890s
Elena Polenova: ‘Cat and Owl’ carved door, Abramtsevo workshop, early
Urban fans of this ‘neo-national’ style took it as a pure and authentic Russian art. Stasov
Urban fans of this ‘neo-national’ style took it as a pure and authentic Russian art. Stasov
Urban fans of this ‘neo-national’ style took it as a pure and authentic Russian art. Stasov
114
moved on from copying folk designs to assimilating them to the art nouveau style, which mad
moved on from copying folk designs to assimilating them to the art nouveau style, which mad
moved on from copying folk designs to assimilating them to the art nouveau style, which mad
Other artists trod the same path from ethnographic to commercial art. At the Solomenko em
Other artists trod the same path from ethnographic to commercial art. At the Solomenko em
Other artists trod the same path from ethnographic to commercial art. At the Solomenko em
115
The folk-like crafted goods of Sergei Maliutin, the principal artist at Talashkino, wer
The folk-like crafted goods of Sergei Maliutin, the principal artist at Talashkino, wer
The folk-like crafted goods of Sergei Maliutin, the principal artist at Talashkino, wer
matriosbka,
zemstvo’s
matrioshka
matriosbka
116
117
peasants ‘viewed our things not with delight but with dumb amazement which we found hard to ex
peasants ‘viewed our things not with delight but with dumb amazement which we found hard to ex
peasants ‘viewed our things not with delight but with dumb amazement which we found hard to ex
118
It is not immediately obvious what attracted Diaghilev to the neo-nationalists of Abr
It is not immediately obvious what attracted Diaghilev to the neo-nationalists of Abr
It is not immediately obvious what attracted Diaghilev to the neo-nationalists of Abr
119
The co-founders of the World of Art saw themselves as cosmopolitans of Petersburg (they ca
The co-founders of the World of Art saw themselves as cosmopolitans of Petersburg (they ca
The co-founders of the World of Art saw themselves as cosmopolitans of Petersburg (they ca
heritage. In a passage of his Memoirs that is crucial to an understanding of the World of A
heritage. In a passage of his Memoirs that is crucial to an understanding of the World of A
heritage. In a passage of his Memoirs that is crucial to an understanding of the World of A
Memoirs
Theirs was the class to which all the chief figures of Russian culture in the eighteenth an
Theirs was the class to which all the chief figures of Russian culture in the eighteenth an
Theirs was the class to which all the chief figures of Russian culture in the eighteenth an
120
Above all, they identified with the artistic values of the aristocracy. They saw art as a s
Above all, they identified with the artistic values of the aristocracy. They saw art as a s
Above all, they identified with the artistic values of the aristocracy. They saw art as a s
Reacting against the nineteenth-century realist tradition, the World of Art group sought
Reacting against the nineteenth-century realist tradition, the World of Art group sought
Reacting against the nineteenth-century realist tradition, the World of Art group sought
121
But peasant art could also be regarded as a form of ‘classicism’ - at least in the stylized
But peasant art could also be regarded as a form of ‘classicism’ - at least in the stylized
But peasant art could also be regarded as a form of ‘classicism’ - at least in the stylized
For Diaghilev, money played a part. Always keen to spot a new market opportunity, the imp
For Diaghilev, money played a part. Always keen to spot a new market opportunity, the imp
For Diaghilev, money played a part. Always keen to spot a new market opportunity, the imp
Fin-de-siecle
122
teremok,
123
124
‘blouse russe’
sarafans
125
But there was more than business to draw Diaghilev to the neo-nationalists. The fact that
But there was more than business to draw Diaghilev to the neo-nationalists. The fact that
But there was more than business to draw Diaghilev to the neo-nationalists. The fact that
ernism brought them into line with the ethos of the World of Art. Diaghilev was particular
ernism brought them into line with the ethos of the World of Art. Diaghilev was particular
ernism brought them into line with the ethos of the World of Art. Diaghilev was particular
lubok
The Snow Maiden
Vasnetsov’s designs were an inspiration for the neo-nationalists who followed in his foo
Vasnetsov’s designs were an inspiration for the neo-nationalists who followed in his foo
Vasnetsov’s designs were an inspiration for the neo-nationalists who followed in his foo
(Boris Godunov:
The Firebird:
(Ruslan and Liudmila:
lubok
Le Coq d’Or
The Ballets Russes was meant to be a synthesis of all the arts, and it has often been descri
The Ballets Russes was meant to be a synthesis of all the arts, and it has often been descri
The Ballets Russes was meant to be a synthesis of all the arts, and it has often been descri
Gesamtkunstwerk,
16. Church at Abramtsevo. Designed by Viktor Vasnetsov, 1881-2
16. Church at Abramtsevo. Designed by Viktor Vasnetsov, 1881-2
16. Church at Abramtsevo. Designed by Viktor Vasnetsov, 1881-2
Church at Abramtsevo. Designed by Viktor Vasnetsov, 188
the artists at Abramtsevo admired most about peasant culture was the synthetic nature o
the artists at Abramtsevo admired most about peasant culture was the synthetic nature o
the artists at Abramtsevo admired most about peasant culture was the synthetic nature o
khorovod
’I am sending you a proposal’, Diaghilev wrote to the composer Anatoly Lyadov in 1909.
’I am sending you a proposal’, Diaghilev wrote to the composer Anatoly Lyadov in 1909.
’I am sending you a proposal’, Diaghilev wrote to the composer Anatoly Lyadov in 1909.
I need a ballet and a Russian one - the first Russian ballet, since there is no such thing.
I need a ballet and a Russian one - the first Russian ballet, since there is no such thing.
I need a ballet and a Russian one - the first Russian ballet, since there is no such thing.
ballet
Russian
first
in the huge Royal Drury Lane Theatre in London. The ballet needn’t be three-tiered. The lib
in the huge Royal Drury Lane Theatre in London. The ballet needn’t be three-tiered. The lib
in the huge Royal Drury Lane Theatre in London. The ballet needn’t be three-tiered. The lib
The Firebird -
126
Diaghilev’s enthusiasm for the ballet was not always evident. His professional entree int
Diaghilev’s enthusiasm for the ballet was not always evident. His professional entree int
Diaghilev’s enthusiasm for the ballet was not always evident. His professional entree int
saisons russes.
The importance of the ballet as a source of artistic innovation in the twentieth cent
The importance of the ballet as a source of artistic innovation in the twentieth cent
The importance of the ballet as a source of artistic innovation in the twentieth cent
127
128
129
Benois was the real ballet lover in the World of Art group. It appealed
Benois was the real ballet lover in the World of Art group. It appealed
Benois was the real ballet lover in the World of Art group. It appealed
* Cesare Pugni (1802-70), in Russia from 1851; Ludwig Minkus (1826-1907), in Russia from 1850
* Cesare Pugni (1802-70), in Russia from 1851; Ludwig Minkus (1826-1907), in Russia from 1850
* Cesare Pugni (1802-70), in Russia from 1851; Ludwig Minkus (1826-1907), in Russia from 1850
to his aristocratic outlook, and to his nostalgia for the classical culture of eighteen
to his aristocratic outlook, and to his nostalgia for the classical culture of eighteen
to his aristocratic outlook, and to his nostalgia for the classical culture of eighteen
saison russe
The Imperial style was virtually defined by the polonaise. Imported into Russia by th
The Imperial style was virtually defined by the polonaise. Imported into Russia by th
The Imperial style was virtually defined by the polonaise. Imported into Russia by th
Eugene Onegin
War and Peace,
The Sleeping Beauty
The Queen of Spades
The Sleeping Beauty
The Queen of Spades,
130
On the evening of the premiere of The Queen of Spades Tchaikovsky left the Marinsky Theatr
On the evening of the premiere of The Queen of Spades Tchaikovsky left the Marinsky Theatr
On the evening of the premiere of The Queen of Spades Tchaikovsky left the Marinsky Theatr
The Queen of Spades
of Petersburg, convinced that his opera was a dismal failure. Suddenly he heard a group o
of Petersburg, convinced that his opera was a dismal failure. Suddenly he heard a group o
of Petersburg, convinced that his opera was a dismal failure. Suddenly he heard a group o
131
In 1907 Benois staged a production of Nikolai Cherepnin’s ballet Le Pavilion d’Armide
In 1907 Benois staged a production of Nikolai Cherepnin’s ballet Le Pavilion d’Armide
In 1907 Benois staged a production of Nikolai Cherepnin’s ballet Le Pavilion d’Armide
Le Pavilion d’Armide
Omphale)
The Sleeping Beauty,
132
Le Pavilion
Prince Igor
mises-en-scene
133
The Firebird.
Le Pavilion
the score. It was offered to Glazunov, and then Cherepnin, who turned
the score. It was offered to Glazunov, and then Cherepnin, who turned
the score. It was offered to Glazunov, and then Cherepnin, who turned
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