Diaghilev's Ballets Russes and over one million other books are available for Amazon Kindle. Learn more
Flip to back Flip to front
Listen Playing... Paused   You're listening to a sample of the Audible audio edition.
Learn more
See this image
Have one to sell? Sell on Amazon

Diaghilev's Ballets russes / Hardcover – October 12, 1989

ISBN-13: 978-0195057010 ISBN-10: 0195057015 Edition: 1st
Buy used
$10.85
Condition: Used - Very Good
Condition: Used: Very Good
Comment: Hardcover in DJ. Binding tight and square. Pages clean and free of writing or marks. Well packed and promptly shipped.
Access codes and supplements are not guaranteed with used items.

Used & new from other sellers Delivery options vary per offer
49 used & new from $3.88
Amazon Price New from Used from
Kindle
"Please retry"
Hardcover, October 12, 1989
"Please retry"
$44.15 $3.88
Unknown Binding
"Please retry"
Free%20Two-Day%20Shipping%20for%20College%20Students%20with%20Amazon%20Student


Hero Quick Promo
Save up to 90% on Textbooks
Rent textbooks, buy textbooks, or get up to 80% back when you sell us your books. Shop Now

Editorial Reviews

From Library Journal

The Ballets Russes, in existence from 1909 to 1929, heraled modernism in ballet. The company's infamous impresario, Serge Diaghilev, had an uncommon facility for recognizing talent and fostering successful collaborations. He brought together innovative artists, dancers, composers, and choreographers in groundbreaking productions such as L'Apr es-Midi d'un Faune . Fokine, Nijinsky, Picasso, Stravinsky, Massine, Bakst, and Balanchine were just a few of the key players in the company's history. Garafola's approach to dance history is expansive, taking in the cultural and artistic influences and economic realities, and applying newer methodologies. Scholarly, yet extremely readable, this is highly recommended for most libraries, even those owning Richard Buckle's Diaghilev (LJ 10/1/79).
- Joan Stahl, Enoch Pratt Free Lib., Baltimore
Copyright 1989 Reed Business Information, Inc.

About the Author


About the author:
Lynn Garafola is a dance critic and historian living in New York.
NO_CONTENT_IN_FEATURE


Best Books of the Month
Best Books of the Month
Want to know our Editors' picks for the best books of the month? Browse Best Books of the Month, featuring our favorite new books in more than a dozen categories.

Product Details

  • Hardcover: 524 pages
  • Publisher: Oxford University Press; 1st edition (October 12, 1989)
  • Language: English
  • ISBN-10: 0195057015
  • ISBN-13: 978-0195057010
  • Product Dimensions: 6.6 x 1.9 x 9.6 inches
  • Shipping Weight: 2.4 pounds
  • Average Customer Review: 5.0 out of 5 stars  See all reviews (1 customer review)
  • Amazon Best Sellers Rank: #1,990,417 in Books (See Top 100 in Books)

More About the Author

Discover books, learn about writers, read author blogs, and more.

Customer Reviews

5.0 out of 5 stars
5 star
1
4 star
0
3 star
0
2 star
0
1 star
0
See the customer review
Share your thoughts with other customers

Most Helpful Customer Reviews

6 of 6 people found the following review helpful By G.C. on August 12, 2011
Format: Paperback
The Ballets Russes and their impresario, Sergei Diaghilev, are celebrated for their impact on the art of ballet starting in the early 20th century, through Diaghilev's sudden death in 1929. Garafola takes pains to stress in her introduction that she is dealing not only with the art of the Ballets Russes, which others before have also done, but also to cover the business side of Diaghilev's work (the second part, "Enterprise") and the development of an audience attuned to modern trends in ballet (the third part, "Audience"). Accordingly, the first part, "Art", does not claim to be an exhaustive treatment of all the Ballets Russes productions, but is more an overview of the artistic ethos of the company, with coverage given to particularly celebrated productions, including "Le sacre du printemps", of course, as well as "Jeux". The "Enterprise" sections shows how Diaghilev had to schmooze and charm wealthy and powerful patrons, and how he sometimes failed at that, alienating the wrong people at the wrong times on more than one occasion. The emphasis in the "Audience" section is on the cultivation of the ballet audience in Paris, naturally enough as Paris was the home of the Ballets Russes, but also in London, which is interesting because Diaghilev evidently had uneasy feelings towards England.

Garafola tells the story well, and the photos include selections that may not be all that familiar. The Appendices compile lists of ballets created by Fokine, as well as operas and ballets produced by Diaghilev. In her Epilogue, Garofola rather forlornly notes that ballet had started artistically on the sidelines before Diaghilev, and he brought it center stage in his lifetime, but ballet has been sidelined gradually in the world since his time in overall cultural consciousness. This takes on extra meaning in such difficult economic times as these, where the arts tend to come under the budget ax first.
Comment Was this review helpful to you? Yes No Sending feedback...
Thank you for your feedback. If this review is inappropriate, please let us know.
Sorry, we failed to record your vote. Please try again

What Other Items Do Customers Buy After Viewing This Item?