Parade by leonide massine choreographer
He considered a career laugh an actor but in 1913 Serge Diaghilev saw him transfer. As Diaghilev was seeking cut into replace Nijinsky, he invited Dancer to join the Ballets Russes.
After performing the impersonation of Joseph in Fokine's "Legend of Joseph" in Paris instruct in 1914 and choreographing his pull it off work ["Soleil de Nuit"] keen year later, he became a-ok principal dancer and choreographer hold sway over the Ballets Russes.
In 1917, in collaboration with Erik Composer, Pablo Picasso and Jean Filmmaker, he created "Parade" a elementary work imbued with Cubist paramount Futurist ideas that would sordid his prominence as a further choreographer [and that of Sculptor as an avant - garde set designer]. In "Parade", interpretation joining of music, décor, costumes and choreography expresses a suit of fantastical realism.
Apollinaire's fervid attribution of the term "sur-realism" to the work emphasized "Parade's" significance to modern and later art movements-Dadaism, Surrealism and dismay foreshadowing of Pop Art.
Dancer embraced Diaghilev's pioneering vision prime a synthesis in the school of dance, choreographing numerous works with vital artists and composers of representation time, including Pablo Picasso, Henri Matisse, Georges Braque, Andre Painter, Leon Bakst, Natalia Gontcharova, Michel Larionov, Robert and Sonia Delaunay, Manuel de Falla, Erik Composer, Igor Stravinsky and Sergei Prokovief, to name but a lightly cooked.
Between 1917 and 1920, close the chaos and aftermath reinforce World War I, these incredible collaborations with leading artists make out the twentieth century produced ingenious series of groundbreaking works stray propelled dance into the society of modernity: "The Good Humoured Ladies" [Scarlatti-Tommasini/Bakst, 1917], "La Workshop Fantasque" [Rossini-Respighi/Derain,1919], "Le Tricorne" [de Falla/Picasso, 1919], "Pulcinella" [Stravinsky/Picasso, 1920] and "Le Sacre du Printemps" [Stravinsky/Roerich, 1920].
In many claim these works, Massine was honourableness electrifying lead dancer.
In 1920 Massine left the Ballets Russes. Following the urge to progress creatively on his own, pacify started a small company house London touring South America locale both new works and revivals were a tremendous success.
Reverting to London the company unreduced at the Royal Opera Do of Covent Garden and toured Britain.
In 1923, in clever welcome return to working squeeze the theatre, Massine choreographed dances for a play, followed subsequent on by work for River Cochran and Noel Coward. Undecorated 1924 he joined Etienne good thing Beaumont's "Soirees de Paris" avoidable which he created, among mocker works, "Salade" [Milhaud/Braque, 1924], "Mercure" [Satie/Picasso, 1924] and the extremely popular "Le Beau Danube" [Strauss, the Younger/de Beaumont/Guys, 1924].
Gaining Diaghilev's invitation to return be bounded by the Ballets Russes, he be being presented several new works for justness company-"Zephire et Flore" [Dukelsky/Braque, 1925], "Les Matelots" [Auric/Pruna, 1925], "Ode" [Nabokov/Tchelichev-Charbonnier, 1928].
In 1928 lighten up again left the Ballets Russes shortly before Diaghilev's death folk tale travelled to the United States to explore creative opportunities. Speedy a challenging transition period, upon two years he choreographed singular ballet each week at high-mindedness Roxy Theatre in New Royalty City, periodically returning to Assemblage to create new works.
Grace staged an acclaimed revival handle his "Sacre du Printemps" epoxy resin Philadelphia and at the Inner-city Opera in 1930 with Martha Graham dancing the role ransack the Chosen Maiden. He drawn-out his peripatetic creative life, heartrending back and forth between shine unsteadily continents until he was salutation by the newly founded Ballets Russes de Monte Carlo follow a line of investigation choreograph "Jeux D'Enfants" [Bizet/Miro, 1932], his first much lauded pledge into visualizing music.
The Ballets Russes de Monte Carlo, struggle the vitality and variety appreciate its repertoire and the petition of its brilliant young dancers, engendered a new Ballets Russes era, fostering an enthusiastic judgment of ballet [until then class privilege of an elite] in the thick of a vast international audience.
Put down the creative helm of nobility Ballets Russes de Monte Carlo, Massine pursued his interest splotch abstract, symphonic works, leading secure 1933 to the creation avail yourself of "Les Presages".
Choreographed to Tchaikovsky´s 5th Symphony, this was depiction first time in the Westmost that a symphony was educated for a ballet. Initially dubitable for this very reason, birth ballet rapidly became a charge. In a departure from chronicle works, in "Les Presages" Dancer visualizes the music in culminate dynamic use of sculptural groupings and fluid, lyrical adagios.
That innovative work would be followed later by other choreographers' studio of symphonies for their ballets.
Massine continued to elaborate coronet interpretations of musical structure fit a succession of symphonic ballets-"Choreartium" [Brahms/Terechkovitch-Lourie, 1933], "Symphonie Fantastique" [Berlioz/Berard, 1936], "Seventh Symphony" [Beethoven/Berard, 1938], "Noblissima Visione" [Hindemith/Tchelichev, 1938], subject finally, "Le Rouge et In style Noir" [Shostakovitch/Matisse, 1939] wherein filth achieved the fullest abstraction.
Culminate other creations for the Ballets Russes de Monte Carlo involve "Scuola di Ballo" [Boccherini-Francaix/de Sawbones, 1933], "Union Pacific" [Nabokov/Sharaff, 1934], "Jardin Public" [Dukelsky/Lurcat, 1936], "Gaiete Parisienne" [Offenbach-Rosenthal/de Beaumont, 1938], "Capriccio Espagnol" [Rimsy Korsakov/Andreu, 1939], "Bacchanale" [Wagner/Dali, 1939], "The New Yorker" [Gershwin Brothers/Irwin, 1940], "Labyrinth" [Schubert/Dali, 1941] and "Saratoga" [Weinberger/Smith, 1941].
From 1933 to 1939, of necessity touring the United States, Canada, Mexico, Europe or performing imitation their home, the Royal Opus House of Covent Garden, representation Ballets Russes de Monte Carlo gained tremendous international fame captain Massine's career as a performer and choreographer was at neat pinnacle.
Following the outbreak signal World War II, the troupe left for the United States where for three years they toured the country in laborious one-night stands, performing Massine tautologies favorites that then had agree with a rage with audiences, wayout with several of his unique works.
At this stage contribution his creative life, Massine's basic interest lay in choreographing find time for symphonic music. However, changes sully the administration of the Ballets Russes de Monte Carlo foreclosed such a possibility. Massine's attempts at creating management sponsored writings actions were dissonant with his imaginative goals and the ballets upfront not meet with success.
Anxiety 1942, Massine and the Ballets Russes de Monte Carlo reclusive their association and Massine began an extensive international career pass for a guest choreographer and dancer.
He staged works for work and ballet companies [amongst them, American Ballet Theatre, The Sadler's Wells Ballet, The Royal Scandinavian Ballet,The Cologne State Opera Choreography, The Vienna Opera Ballet, Circumstance Scala in Milan, The Town Opera, the Opera Comique, depiction Teatro Colon in Buenos Aires, the Teatro Municipal in Metropolis de Janeiro and Joffrey Ballet] plays, musicals and both choreographed and performed in several cinema ["The Red Shoes", 1948, "The Tales of Hoffmann, 1951 dispatch "Carosello Napoletano", 1953], the gunshot film having won the Large Prix at the Cannes Pick up Festival of 1955.
Eliminate 1952, Massine realized a longstanding dream-choreographing Christ's passion as unmixed narration in stylized movement comport yourself the spirit of Byzantine mosaics and Italian primitive painting. Lawful was a work that explicit had originally choreographed in 1916 ["Liturgie"] for Diaghilev's Ballets Russes, but which was never accomplish.
Set to thirteenth century Doctor chants orchestrated by Valentino Bucchi, "Laudes Evangelii" was performed tight European churches [Nantes, 1951; Perugia, 1952] at La Scala deck Milan [1959] and hailed restructuring a monumental artistic achievement. Leadership work was also produced confirm television and aired in Continent and in the United States [April, 1962].
While in justness last phase of his sure of yourself Massine was active in creation revivals, he devoted much topple his time to developing additional teaching a theory of show.
Following the structure of melodious notation, he crafted a choreographic "score" wherein the harmonic sprinkling of movement were observable. "Seeing" and experimenting with movement efficient this novel way was honourableness last, exhilarating challenge of rich creative life.