VH_787 Ballets Russes 1909-1929: Russian art in transition to modernity

Filozofická fakulta
podzim 2017
Rozsah
0/2/0. 3 kr. Ukončení: k.
Vyučující
Elena Khokhlova, Ph.D. (přednášející)
doc. Mgr. Vladimír Maňas, Ph.D. (pomocník)
Garance
doc. Mgr. Vladimír Maňas, Ph.D.
Ústav hudební vědy – Filozofická fakulta
Kontaktní osoba: Mgr. Jan Karafiát
Dodavatelské pracoviště: Ústav hudební vědy – Filozofická fakulta
Rozvrh
Út 15:50–17:25 N41
Předpoklady
Students should have sufficient knowledge of written and spoken English to be able to actively listen to the lectures, read and analyze suggested literature and write essays.
Omezení zápisu do předmětu
Předmět je nabízen i studentům mimo mateřské obory.
Předmět si smí zapsat nejvýše 120 stud.
Momentální stav registrace a zápisu: zapsáno: 0/120, pouze zareg.: 0/120, pouze zareg. s předností (mateřské obory): 0/120
Mateřské obory/plány
Cíle předmětu
At the end of the course students should be able to:

1. understand the concept of Russian Seasons (Les Ballets Russes) in 1909-1929;
2. describe the specifics of music, choreography and stage design of Russian ballets and operas
presented during Russian seasons;
3. estimate significance of Serge Diaghilev's initiatives for art management and art production in the XXth century;
4. distinguish Russian art of “academism” and “modernity”;
5. discuss the tradition and modern variations of ballet and opera resulted from Russian seasons;
6. present one's opinion and participate in discussions concerning Russian and European musical theater and stage art of the interbellum period.
Osnova
  • Syllabus
  • • 1. Introduction: Russian Art Throughout the Centuries
  • • Presentation of the course, important study information.
  • • Review of Russian history of art from the XVth to the XXth centuries. Tendencies, milestones, and influences.
  • • 2. Russian Fin de Siècle: Monsieur Diaghilev
  • • The Five, Abramtsevo colony and the Peredvizhniki.
  • • Serge Diaghilev and “Mir Iskusstva”.
  • • 3. Begining of Les Ballets Russes: Artists and Managers
  • • Diaghilev's club. Idea and program of the Seasons.
  • • "Cleopatre" (Fokine - Bakst)
  • • "Le Pavillon d'Armide" (Fokine - Benois)
  • • "Les Sylphides" (Fokine - Benois)
  • • “Le spectre de la rose” (Weber - Bakst)
  • • 4. The First Season: Epic Russian Opera
  • • Moussorgsky and his astonishing realism
  • • "Khovanschina", "Boris Godunov", "Prince Igor"
  • • 5. Les Ballets Russes on New Choreography
  • • Fokine, Nizhinsky and Nizhinska, Petipa, Massine, Balanchine
  • • “L'après-midi d'un faune” (Debussy – Bakst - Nizhinsky)
  • • "Le Carnival" (Schumann – Bakst - Fokine)
  • • “Fox” (Stravinsky - Nizhinska)
  • • “Sleeping beauty”(Tchajkovsky - Petipa)*
  • • 5. Les Ballets Russes on New Music Standards
  • • “The Rite of Spring” (Stravinsky - Rerikh)
  • • “Parade” (Sati - Picasso)
  • • 6. Visual Culture and Fashion
  • • Fashion inside and outside of the theater
  • • "Scheherazade" (Fokine - Bakst)
  • • "Le Train Bleu" (Chanel - Milhaud)
  • • 7. Les Ballets Russes and Revolution
  • • New art forms on stage: abstractionism, cubism, suprematism and constructivism.
  • • “Parade” (Sati - Picasso)
  • • “The three-cornered hat” (de Falla - Picasso)
  • • “Le pas d’acier” (Prokofiev - Yakulov)
  • • "Les Noces" (Nizhinska - Goncharova)
  • • 8. Les Ballets Russes and Foreign Masters.
  • • "Daphnis et Chloe" (Ravel - Bakst)
  • • “Le train bleu” (Milhaud – Picasso & Chanel)
  • • “Jeux”(Debussy - Benois)
  • • 9. Ballets Russes and Oriental Tradition.
  • • China: “Golden cockerel”(Goncharova - Fokine)
  • • India: “Le dieu bleu” (Hahn – Bakst - Fokine)
  • • Georgia: "Thamar" (Fokine - Bakst)
  • • 10. Ballets Russes and Russian Tradition. Stravinsky.
  • • “Firebird”(Bakst - Fokine)
  • • “Svadebka (Renard)”(Stravinsky – Larionov & Goncharova - Nizhinska)
  • • "Petrushka” (Fokine - Benois)
  • • 11. Reception and Critics
  • • Reception of the Seasons in Europe and America.
  • • Artists surrounding Diaghilev in exile.
  • • Legacy of Ballets Russes and later performances.
Literatura
    povinná literatura
  • DICKERMAN, Leah. Inventing abstraction 1910-1925 : how a radical idea changed modern art. Edited by Matthew Affron. New York: Museum of Modern Art, 2012, 376 s. ISBN 9780870708282. info
  • CADDY, Davinia. The Ballets Russes and beyond : music and dance in belle-époque Paris. 1st pub. Cambridge: Cambridge University Press, 2012, xvi, 237. ISBN 9781107014404. info
  • The ballets russes and its world. Edited by Lynn Garafola - Nancy Van Norman Baer. New Haven: Yale University Press, 1999, viii, 420. ISBN 0300061765. info
  • ARNASON, H. Harvard. A history of modern art : painting, sculpture, architecture. First published. London: Thames and Hudson, 1969, 663 stran. info
    doporučená literatura
  • BELL, Robert. Ballets Russes : the art of costume. Edited by Christine Dixon. Canberra: National Gallery of Australia, 2010, 264 s. ISBN 9780642541574. info
  • DAVIS, Mary E. Ballets Russes style : Diaghilev's dancers and Paris fashion. 1st pub. London: Reaktion Books, 2010, 256 s. ISBN 9781861897572. info
  • DAVIS, Mary E. Ballets Russes style : Diaghilev's dancers and Paris fashion. 1st pub. London: Reaktion Books, 2010, 256 s. ISBN 9781861897572. info
  • DAVIS, Mary Elizabeth. Erik Satie. 1st pub. London: Reaktion Books, 2007, 175 s. ISBN 9781861893215. info
  • Modern art : impressionism to Post-Modernism. Edited by David Britt. London: Thames & Hudson, 2007, 416 s. ISBN 9780500238417. info
  • KLEIN, Pavel. Scénografové ve službách Les Ballets Russes (1909-1912) : počátky divadelní secese. Vyd. 1. Brno: Janáčkova akademie múzických umění v Brně, 2007, 214 s. ISBN 9788086928296. info
  • KLEIN, Pavel. Zrození Ďagilevových Les Ballets Russes. In Theatralia. Brno: MU, 2005, s. 119-133. ISBN 80-210-3785-7. info
  • WALSH, Stephen. Igor Stravinsky : a creative spring : Russia and France 1882-1934. London: Pimlico, 2002, xvii, 698. ISBN 0712667237. info
  • MAUR, Karin von. The sound of painting : music in modern art. Munich: Prestel, 1999, 127 s. ISBN 3791320823. info
  • SCHOUVALOFF, Alexander. The art of ballets Russes : the Serge Lifar Collection of theater designs, costumes, and paintings at the Wadsworth Atheneum, Hartford, Connecticut. New Haven: Yale University Press in association with the Wadsworth Atheneum, 1997, 352 s. ISBN 0300074840. info
  • Design for perfotmance : from Diaghilev to the Pet Shop Boys. Edited by Peter Docherty - Tim White. London: Lund Humphries, 1996, 240 s. ISBN 0853317208. info
  • JOHNSON, James H. Listening in Paris : a cultural history. Berkeley: University of California Press, 1995, xvi, 384. ISBN 0520206487. info
  • SOKOLOVA, Lydia. Dancing for Diaghilev :the memoirs of Lydia Sokolova. Edited by Richard Buckle. San Francisco: Mercury House, 1989, xi, 287 s. ISBN 0-916515-49-4. info
  • Stravinsky : selected correspondence. Edited by Robert Craft. 1. pub. London: Faber & Faber, 1984, ix, 544. ISBN 0571132529. info
  • MACDONALD, Nesta. Diaghilev observed by critics in England and the United States 1911-1929. New York: Dance Horizons, 1975, xvi, 400. ISBN 0903102145. info
  • GORDON, Donald E. Modern art exhibitions 1900-1916 : selected catalogue documentation. Translated by Lucius Grisebach - Léopold Jaumonet - Sara Lehrman. München: Prestel-Verlag, 1974, 360 s. ISBN 3791300660. info
Výukové metody
FAQ:

1. What will I learn? - The course is designed to satisfy several study needs. One of them is to enrich student knowledge of such topics as European and Russian art transformation of the beginning of the 21st century, visual art and modernity, musical theater history, art management, theater and fashion, unique international collaboration of great artists in Les Ballets Russes. It is also designed to inspire critical thinking and art reflection. Students are encouraged to actively perceive art, express their thoughts and ideas, describe the impact of art pieces they see throughout the course in several ways: participate in open discussions in the classroom, present their input on the live board, compose essays and work on final group project. Finally, it serves the goal of shaping future art and music critics, artists, authors, journalists, art managers and other professionals by providing rich case study material, space for reflection and self-expression, sources of creative activities and inspiration.

2. What are the classes like? - Each lesson will provide students with portions of historical and theoretical background of each topic (you hear about art). The majority of lessons, if not every single one of them, will consists of large portions of unique video and audio material, because art cannot be expressed in other people words and descriptions (you experience art). It will always have sufficient time slots for public discussion (you talk about art). Self-study outside of classroom will consist of sources-research and essay-writing experience with one final group project presentation in the end of the semester (you practice art).

3. Do I have to attend all the lectures? - Each lecture represents a very particular topic and consists of large amount of information, as well as unique input from other students. Therefore it is advisable that students attend all the lectures, and it is compulsory that students attend at very least 11 lectures out of 13. In case of urgent issues, illness, or clash of schedules, students will be requested to compensate their absence by an extra essay.

4. How do I get my 3 credits in the end of the course? - Provided that the student has no issues with attendance, two essays (guided essays is optional) and one group project must be delivered by the end of the semester. Presentation of group projects will take place instead of the exam.

5. What if I fail to maintain attendance and deliver essays and the project? - In case this happens, the deadline for essays and the project will be extended, the project will then turn into an individual one. Exam will also follow.

6. Who is the lecturer? - Hello! My name is Elena Khokhlova and I am a native Russian PhD student at Masaryk University. I am currently working on my research devoted to marketing of opera. I have a long track of teaching various subjects, such as art management, cultural studies, bohemian art in fin-de-siècle period, cultural anthropology, history and theory of aesthetics, cultural industries, international marketing, and others at Masaryk University, Ural State University and IDRAC School of Business. My protean career includes several years of coordination and management in Russian theater and cinema unions and galleries. I am looking forward to meeting you and hearing your opinion about the art samples I am going to present.
Metody hodnocení
The final examination will be based on the results of students' projects (two essays and a group project).
Students who successfully submit their essays and deliver their projects before the deadline will pass the examination automatically.
Vyučovací jazyk
Angličtina
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Předmět je zařazen také v obdobích podzim 2014.
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