Theatre Designers of Diaghilev's Ballets Russes

Bakst, Benois, Goncharova, Picasso all Designed for Russian Ballet

Jan 1, 2010
Kathleen Duffy

Costume design by Bakst for the dance Narcisse - Wikimedia Commons

Mould-breaking choreography and dance were the perceived mainstays of the Ballets Russes. But, for Diaghilev, the real stars of his ballets were the theatrical designers

In his article "Picturing Movement" in Art Quarterly (Winter 2009), Sjeng Scheijen explains how, despite the dramatic impact of Ballet Russes’ dancers Vaslav Nijinsky and Tamara Karsavina, Diaghilev regarded his set and costume designers as the true stars of his innovative ballet company.

The Formation of the Ballets Russes in 1909

Sergei Diaghilev’s frequent trips to Europe from Russia exposed him to new artistic concepts. He, in turn, through operatic ventures and art exhibitions, brought Russian culture to the European scene.

These cultural exchanges, together with both European and Russian political upheavals, were creating a crucible of new ideas. The Russian artistic avant-garde struggled to shrug off the stifling conformity of traditionalism. Diaghilev’s Ballets Russes, which never performed in Russia itself, would blend the elements of revolutionary music, dance and painting into an astonishing tour de force, altering the course of theatrical dance history.

Designers of the Ballets Russes

Of the many artists involved at some point with Diaghilev’s Ballets Russes, the most important included Leon Bakst, Alexandre Benois, Natalia Goncharova, Mikhail Larionov, and Pablo Picasso. All were deeply committed to finding modern ways of representing the theatrical experience, not merely as an unfolding narrative but an integrated tapestry of art, music and dance that celebrated the rhythm of life.

Leon Bakst (1866-1924)

Leon Bakst is arguably the most well-known designer involved with the Ballets Russes. In Paris in 1910 the costumes and sets designed for Scherezade by the highly regarded Russian easel painter caused a sensation. They were expensive, richly embellished, oriental-style silks in strong colours that had rarely been seen in the theatre before. Bakst's revealing designs became the subject of much scandal, gossip and desire. As a result, Bakst became an overnight success. His costume designs were commissioned and worn by Parisian society women and prices for his artwork soared.

Alexandre Benois (1870-1960)

A deeply cultured man, Alexandre Benois was able to draw on his experience as Scenic Director of the Marinsky Theatre, St Petersburg, in his work for Diaghilev. His immense store of artistic and historical knowledge mixing Russian folk style with elements of the French Rococo would make for ground-breaking design.

Benois’ greatest contribution to the Ballets Russes was arguably his set and costume designs for the ballet, Petrushka, with music by Stravinsky with whom he collaborated on the libretto. The colours employed were deep and vibrant, like paintings by Matisse. He also created outstanding sets for the ballets Giselle and Les Sylphides.

Natalie Gonchorova (1881-1962) and Mikhail Larionov (1881-1964)

As Scheijen [op cit] has emphasised, the years of the First World War presented Diaghilev with opportunities for experimenting with various new art forms. Theatre closures meant more time to experiment with dance and create new concepts, integrating Primitivism, Cubism, Futurism and Constructivism into the heart of the ballet.

In 1915 Russian artists Natalia Goncharova and Mikhail Larionov worked with Diaghilev in Switzerland. Goncharova, an artist who reflected Russia’s dual cultural legacies, Asian and European, had in 1913 designed the ballet, The Golden Cockerel, for Diaghilev using her own abstract expressionist paintings as direct inspiration. However, Goncharova’s ambitious designs for the third act were never fully realised. Diaghilev’s caution was due to audience riots that had broken out in Paris on the opening night of his Firebird ballet.

Now Diaghilev asked them to design a number of contemporary ballets, one of which, Liturgie, was based on the Russian Orthodox service.

Mickhail Larionov’s designs for Chout were the most ambitious to come out of the war years, but this work did not open until 1921. He collaborated with Goncharova on a number of experimental ballet creations which were not fully performed until after the war, including Les Noces and Russian Stories.

Pablo Picasso (1881-1973)

In 1917 Diaghilev premiered a ballet called Parade which was a collaboration between Picasso, Satie and Cocteau. This ballet is often regarded as the beginning of Modernism. With Picasso’s vibrant designs incorporating a circus theme, his cardboard costumes, the sounds of typewriters and machinery, the production seemed like the ideal entertainment for a war-weary public. Charmed at first by Picasso's cheerful stage curtain, they were apalled at the ten foot high cubist characters that appeared on stage. Diaghilev, always ten steps ahead of the critics, was forced to drop Parade.

The influence of the Ballets Russes is immeasurable. But it would probably be beyond the means of most companies to recreate such lavish performances today in their entirety. However, the designers of the Ballets Russes created a spectacular new theatrical experience, the repercussions of which still influence the world of dance.