Leonide Massine and the 20th Century Ballet


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Stravinsky retreated backstage. Nijinsky continued bellowing counts to the dancers. Later, it was revealed that it had not only been the music that had set the audience off, but the choreography and the costumes.

Léonide Massine Biography, Life, Interesting Facts

Afterwards, Diaghilev claimed that the scandal was just what he wanted. Through costumes from 34 productions from to , the vivid and innovative dance design of the early 20th century will be brought to life on the th anniversary of the Ballets Russes.

Lionide Massine and the 20th Century Ballet

The audience that gasped at the extravagant and sensual spectacle of its first performances could not have imagined the creative drama that was to envelop Diaghilev and his floating team of exiles for the next 20 years as they responded to some of the most turbulent times in history. The Ballets Russes made its first appearance in Paris in the Saison Russe, a sensational season of dance organised by Diaghilev, a Russian-born impresario.


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The ballet integrated traditional dance narratives with modern design, folk art, contemporary music and new approaches to choreography. Raising every aspect of performance—dancing, choreography, music, stage and costume design and publicity—to an equal level of inventiveness and excellence, Diaghilev unleashed a torrent of creative activity on European theatre, placing the formerly moribund art of ballet into the Modernist framework of early 20th century design and culture.


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He harnessed the new and powerful expressiveness of Post-Impressionism and the visionary elements of Cubism linking them to new forms of music built around atonalism and primitive rhythms. Bearing the sweat of the dancers and the ravages of time, the surviving costumes are tangible reminders of the craft of their designers, makers and wearers.


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  • Diaghilev also encouraged his choreographic talent. He added variety and complexity by including synchronized yet individual or small-group dance patterns within the corps de ballet. Critics declared it was both blasphemous and redundant to add dance to these musical masterpieces.

    Leonide Massine

    Nobilissima Visione, St. Francis had libretto and music by Paul Hindemith and decor by Pavel Tchelichew.

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    Because of disagreements with de Basil, Massine resigned and formed his new Ballet Russe de Monte Carlo , which he headed until Later he appeared with the Ballet Theatre and the Royal Ballet. In he joined the newly formed Ballet de Monte Carlo as choreographer and artistic director. Article Media.

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