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Volume 5, Issue 2
  • ISSN: 2052-4013
  • E-ISSN: 2052-4021

Abstract

By focusing on surviving costumes of the 1913 production of , this article asks how a close examination of costumes and their role in historical performance practice can change our understanding of a canonical work of art. It argues for methodological pluralism in examining material remains together with manuscript annotations, images and reviews of the production rarely considered in previous research and, consequentially, for a critical examination of all previous claims, including the so-called reconstruction (1987) of . Compared with designs and costumes of other productions by the Ballets Russes company, those of the 1913 production explain much of the contradictory ways in which the work figured in discourses relating to art and modernism in France and Russia at the time. Most importantly, the costumes exemplify a particular tradition of making theatre that has been obscured by the prevailing Orientalist view of the Ballets Russes company that is hegemonic in what is claimed to be ‘known’ about and its reception.

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2020-12-01
2025-04-20
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  • Article Type: Article
Keyword(s): Ballets Russes; costume making; dance costume; Igor Stravinsky; Nikolai Roerich; production paradigms; The Rite of Spring; Vaslav Nijinsky

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