1. Introduction: Le Génie de la danse; 2. Ballet at the Opéra and La Fête chez Thérèse; 3. Nijinsky's Faune revisited; 4. Metaphors of invasion: the Ballets Russes and the French press; 5. Beyond and behind Le Coq d'or.
A fresh perspective on the Ballets Russes, focusing on relations between music, dance and the cultural politics of belle-époque Paris.
Davinia Caddy is Senior Lecturer at the School of Music, University of Auckland. Her articles and reviews have appeared in publications including the Journal of the Royal Musical Association, 19th-Century Music, the Cambridge Opera Journal, Music and Letters and Opera Quarterly.
'This richly absorbing study of the Ballets Russes in Paris
illuminates the interplay (both synthesis and disjunction) between
music and gesture in modernist choreography on the lyric stage.
Davinia Caddy makes a vital and beautifully written contribution to
our understanding of ways of using the body in opera and ballet in
the early twentieth century.' Susan Rutherford, University of
Manchester
'Elegantly written, meticulously researched, The Ballets Russes and
Beyond is a major contribution, offering fresh perspectives on
Diaghilev's troupe and its impact. With keen insight and broad
vision, Davinia Caddy illuminates the meaning of dance in
belle-époque Paris and immerses the reader in a culture of beauty,
innovation, and artistic intrigue.' Mary E. Davis, Case Western
Reserve University, Ohio
'Fresh perspective … an interpretative study that reaps rich
rewards … this book will inspire many other interrogative and
revisionist accounts to come of the Russian Ballet, and of
twentieth-century dance more generally.' Emma Adlard, Notes
'This fascinating book is supported by visual examples and a
copious bibliography. Much wider reading is provided in the
footnotes (which readily links theoretical writings to the issues
raised in the press) and French quotations are clearly translated
and presented as parallel texts. The book will be of interest to
scholars (and students) in music, musicology, dance history and art
history. It is a significant and refreshing contribution to the
field.' Helen Julia Minors, Slavonic and East European Review
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