Аннотация: Russian Seasons and the philosophy of Sergei Diaghilev. The essay.
Russian Seasons and the philosophy of Sergei Diaghilev. The essay.
One of the meanings of the word "season" is a part of year. In the meaning (a year is a cyclically repeating period of time), a repeatability, a regularity is laid, is presented.
The beginning of the Russian Seasons of Diaghilev is the 1909 (there is another opinion: the 1906).
The last year of the Russian Seasons of Diaghilev coincides with the final year of the earthly life of Sergei Diaghilev (1929).
Russian Seasons have become an unusual unique phenomenon in the history of world art.
Diaghilev's season is (as much as it possible) a comprehensive regular (annual) demonstration (display, presentation) of Russian art to the European (and American) public.
As a separate, independent phenomenon, 'Russian Seasons' is the result of the practical application of Sergei Diaghilev's philosophy of art.
What did this Diaghilev philosophy look like in practice?
First, Diaghilev sought to present more or less comprehensively music, dance, fine art, vocal art. The best option in the late 19th - early 20th century for this purpose was a ballet.
Secondly, Diaghilev sought to build the creative process on the foundation of cultural traditions. At the same time, he sought to capture all the latest trends in all areas of art, to present these trends in his Seasons - he sought to outrun time.
Updating the themes, repertoire, creative team, creative methods - the desire for novelty and renewal of everything that can only be updated - Sergei Diaghilev lived and worked in this style.
Thirdly, Russian art was seen by Diaghilev as European art. And although the name 'Diaghilev's Russian Seasons' has become traditional, the Russian Seasons have become more and more European Seasons. The European Seasons of Diaghilev more and more over time were based on Spanish, Italian, French, and other European cultural traditions. Of particular importance for the Russian Seasons were rehearsals and performances of the Diaghilev team in Spain, in Monte Carlo, in France (especially in Paris), in the UK, in the USA.
Over time, Diaghilev's team was replenished with artists (actors) from Western Europe. Such artists (actors), as a rule, were given Russified stage names to preserve the general style.
As many leaders of European culture as possible, as many geniuses from all fields of art as possible, participate in the Russian Seasons of Diaghilev - that was one of the principles of the work of Sergei Diaghilev. Diaghilev was able to see a genius when this genius had not yet proved, not yet showed himself to a significant extent.
Such components were of a special importance for Diaghilev's Russian Seasons: the desire to integrate music, dance, fine art, singing; the integration, the presentation of Russian, Spanish, Italian, French and other European cultural traditions; the combination of a deep cultural basis, foundation, and the newest, emerging, not yet recognized, phenomena, trends in various fields of art.
Russian Seasons of Sergei Diaghilev became a powerful unique cultural process, which transferred the art of Europe and the USA from the past to the future by a strongest effort. We note, for example, that modern musicals are largely the result of the work of Sergei Diaghilev.
June 17, 2020 22:32
Translation from Russian into English: June 17, 2020 23:52.
Владимир Владимирович Залесский 'Русские сезоны и философия Сергея Дягилева. Очерк'.