Date of Award
2000
Document Type
Thesis
Publication Status
Version of Record
Submission Date
October 2026
Thesis/Dissertation Advisor [Chair]
Hokenson, Jan W.
Abstract
In histories of European Modernism, it is almost axiomatic that the first performance of Serge Diaghilev's Ballets Russes in Paris in 1910 was an aesthetic watershed, culminating earlier experiments by Symbolists and Cubists and forecasting later Modernists' radical syntheses of French arts and literature. Yet the role of French writers in the productions of the Ballets Russes has been neglected by literary critics and historians. Nijinski's choreography of L'Apres-midi d'un Faune stands as the theatrical culmination of Mallarme's poetic. The ballets Sheherazade and The Rite of Spring find a counterpart in the literary work of their admirer Proust, and Cocteau's achievement with the Ballets Russes in Parade serves as apprenticeship for his own later literary work while pointing the way to Surrealism and other avant-garde movements in France.
Extent
97 p.
Recommended Citation
Pionzio, Martine Francoise, "role of the writers in the Ballets Russes" (2000). Electronic Theses and Dissertations 2000 - 2009. 122.
https://digitalcommons.fau.edu/etd_general_5/122
Identifier
FADT12722
Comments
Dorothy F. Schmidt College of Arts and Letters|FAU Electronic Theses and Dissertations Collection|Thesis (M.A.)--Florida Atlantic University, 2000.|Dorothy F. Schmidt College of Arts and Letters