caa a22 4500 38630954X CHVBK 20180307111540.0 cr unu---uuuuu 161130s1988 xx s 000 0 eng 10.2307/1478384 doi S0149767700010457 pii (NATIONALLICENCE)cambridge-10.2307/1478384 Garafola Lynn The Making of Ballet Modernism [Elektronische Daten] [Lynn Garafola] In 1914, as Europe went to war, Serge Diaghilev launched an artistic revolution that profoundly altered the identity of the Ballets Russes. By and large, historians have dated this artistic shift to Parade. Unveiled in Paris in 1917, three years after Diaghilev's last full-scale season in the French capital, the work served public notice of the switch in his allegiance to the avant-garde. Parade came with impeccable modernist credentials: designs by Pablo Picasso, music by Erik Satie, a libretto by Jean Cocteau, program notes by Guillaume Apollinaire. Only Léonide Massine, the ballet's choreographer, was an unknown quantity, although by the early 1920s, his name, too, would be synonymous with modernism. It is not difficult to understand why historians have identified this work as the cradle of Ballets Russes modernism. Copyright © Congress on Research in Dance 1988 Dance Research Journal Cambridge University Press 20/2(1988), 23-32 0149-7677 20:2<23 1988 20 DRJ https://doi.org/10.2307/1478384 text/html Onlinezugriff via DOI 1 research-article jats NATIONALLICENCE 856 40 https://doi.org/10.2307/1478384 text/html Onlinezugriff via DOI NATIONALLICENCE 100 1- Garafola Lynn NATIONALLICENCE 773 0- Dance Research Journal Cambridge University Press 20/2(1988), 23-32 0149-7677 20:2<23 1988 20 DRJ CC0 http://creativecommons.org/publicdomain/zero/1.0 nationallicence BK010053 XK010053 XK010000 NATIONALLICENCE NATIONALLICENCE NL-cambridge