A Thousand Encores: The Ballets Russes in Australia
A Study guide b y K at e R ay n o r
http://www.metromagazine.com.au
http://www.theeducationshop.com.au A Thousand Encores tells the fascinating and important story of how one of the greatest ballet companies of the twentieth century – the celebrated Ballets Russes – came to Australia and awoke the nation, transforming the cultural landscape of conservative 1930s Australia and leaving a rich legacy that lasts to this day.
N 1936, the Ballets Russes de Monte Carlo stepped off a boat into the Ibright Australian sunlight. With avant- garde music by great composers like Stravinsky, and exotic sets and cos- tumes designed by leading modernist artists, the Ballets Russes was a sensa- tion. Over five years from 1936 to 1940 they came to Australia three times, win- ning the hearts and minds of Australian audiences and ultimately sowing the Curriculum links seeds for Australian ballet today. A Thousand Encores should be compulsory viewing for all secondary school teachers and A Thousand Encores is brought to life costumes for the ballet Icare fostered students with a genuine interest in the history of Australian art and culture. The Ballets using a rich archival resource. Australia a lifelong involvement with ballet and Russes tours laid the foundations for our own has the largest collection of Ballets theatre, and changed the direction of involvement in ballet as an art form. Indeed, Russes footage in the world and an im- his art. the world-renowned The Australian Ballet pressive photographic record, with the would be impossible to imagine without this most famous pictures taken by a young At the end of their Australian tour in history. In addition, the Ballets Russes offered Australian audiences an entrée to the great Max Dupain. His glamorous shots 1940, a number of Ballets Russes modernist artists of the European avant- transformed the dancers into overnight dancers chose not to return to war- garde, and this film is wonderful in the way celebrities. Seeing this material and torn Europe. They established ballet in which it ultimately celebrates all the arts. hearing the vivid recollections of former schools and companies in their new A Thousand Encores has relevance Ballets Russes ballerinas (now in their country, setting the stage for profes- to the following Key Learning Areas: Art 90s) and Australians who witnessed sional ballet in Australia today and (Dance, Music, Theatre, Art and Design), Cultural Studies, History (Australian and the ballets in the 1930s, the excitement igniting a passion for dance in future 1930s–1940s) and SOSE/HSIE. It could also fit and impact of this remarkable company generations of Australians. into themed English units focusing on identity emerges. Despite the conservative (cultural, historical, artistic), character and climate of the time, with the prevailling A Thousand Encores travels from the relationships. focus on sport, rather than high art, past to the present, weaving history Victorian teachers are encouraged to Australians were hungry to experience with a contemporary tale. We follow ac- contact The Australian Ballet for information about their engaging education programs. the best in avant-garde music, dance claimed choreographer Graeme Murphy and art – all that the Ballets Russes as he returns to his old company, The embodied. Seeing the radical sets and Australian Ballet, to breathe new life into costumes of European modernists like perhaps the most famous Ballets Russ- of this classic ballet. The film follows Miró, Picasso and de Chirico inspired a es creation of all, The Firebird. Based the sometimes stormy process from generation of Australia’s greatest artists, on a Russian fairytale, The Firebird was rehearsal through to opening night. The SCREEN EDUCATION including Grace Cossington Smith, first performed in Paris in 1910 to great Australian Ballet, Murphy, Vernon and Jeffrey Smart and Sidney Nolan. Some acclaim. Murphy and his partner Janet the magical Firebird ballet that finally went on to add their own unique talents Vernon are very much aware of the emerges, are all part of a living legacy to Ballets Russes productions. For a weight of history and the huge expec- that goes back to those 1930s Ballets young Nolan, designing the set and tations that greet any new production Russes tours of Australia. 2 Above: The cover of The Home Magazine, 1 March 1940, featuring Tatiana Riabouchinska with her husband David Lichine. Although Riabouchinska was known for her speed and grace, she was also the model for the hippopotamus ballerina Miss Upanova in the Walt Disney animated film Fantasia (1940). Performing Arts Collection Melbourne. 1: Tamara Tchinarova as Zobeide in Scheherazade. Tchinarova came to Australia in 1936 on the first Ballets Russes tour, stayed in Australia after the end of the tours and married actor, Peter Finch (© National Library of Australia) 2: Igor Youskevith as the Harlequin in Carnaval in 1936 or 1937 (© Max Dupain)
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DISCUSSION POINTS & ACTIVITIES 2 The main aim of this guide is to present a wide variety of teaching and learning opportunities based on the film, the history of these two fascinating ranging in sophistication and complexity. Teachers are men and their turbulent relationship. encouraged to pick and choose tasks that suit the particular • ‘Stravinsky’s name should be prominent in any account of the interests and abilities of their students and the timeframes legendary Ballets Russes.’ Discuss. within which they are operating – not to work through the • ‘Diaghilev’s true talent was as a guide systematically. Most of the activities target literacy “collector of geniuses”.’ Discuss. outcomes: speaking and listening, reading and writing. There • What can you find out about the are also activities that address film analysis, ICT and creative magazine Diaghilev founded, World of Art? thinking. Some of the statements presented in quotation • In what ways could Diaghilev’s marks are intended to be thought-provoking or controversial Ballets Russes be considered to and can be used in a number of ways: as a focus for embody the principles of ‘total thea- discussion, debate or oral presentations; and as a direction tre’? (Consider Graeme Murphy’s for further research, analysis or creative writing tasks. comments on Firebird’s blend of music and dance: ‘It’s no longer dance or music, it’s something even more communicative and important, The Flaming Stars of the Consult the Resources section at something sublime that arises out Ballets Russes the end of this guide for some pos- of their encounter.’ Murphy speaks sible starting points. of ‘a mosaic of sounds’, where ‘These fascinating people from the • Diaghilev and Stravinsky’s relation- the music, the movement and the other side of the world.’ – Max Dupain ship was intensely productive on dancers’ bodies form symbiotic an artistic level, but stormy and relationships alongside the other • Compile a list of the key figures tempestuous on a personal level. crucial elements: lighting, sets and in the Ballets Russes. Divide the They died estranged and many costumes.) class into small groups to re- years apart, but, perhaps fittingly, • Nicolette Fraillon, The Australian search one of these figures and they were reunited in death, buried Ballet’s Music Director and Chief
present their findings to the class. just metres away from each other Conductor, describes Diaghilev as SCREEN EDUCATION Consider: Sergei Diaghilev, Igor on the island of San Michele in Ven- ‘an incredible force majeure’. What Stravinsky, Michel Fokine, Colonel ice. Stravinsky once said: ‘Diaghilev do you think she means by this? Wassily de Basil, René Blum, Léon and I were on good terms and bad • There were in effect two Ballets Bakst, Alexandre Benois, Léonide terms, in good times and bad times, Russes companies: Diaghilev’s and Massine, George Balanchine, but, after all, he was my brother.’ the later Monte Carlo company of Serge Lifar and Vaslav Nijinsky. Conduct some further research into de Basil and Blum. What continui- 3 1
ties and differences can you trace between these two versions of the troupe? • The Ballet Russe de Monte Carlo premiered in Paris in 1932. Why was the company called ‘de Basil’s kin- 1: Hollywood publicity shot of Irina Baronova, who starred dergarten’ prior to this performance in several movies, including and what happened afterwards? (De Florian and A Train of Events. Basil recruited a number of teenage (© Performing Arts Collection ballerinas for the refashioned com- Melbourne) 2: Irina Baronova in Choreartium, either 1938 or 1939 pany and the press were sceptical (© Max Dupain) about this, but the premiere was a 2 huge success.) • ‘The key to understanding the significance of the original Bal- ing of ballet changed since the ‘People after sixty years still remem- lets Russes lies in identifying the 1930s and 1940s? Has the audi- ber us and I think that’s a wonderful founding impulse in visual arts and ence for ballet changed? thing to be very proud of. The Ballets design – think of Bakst and Benois • The early Ballets Russes dancers Russes: we made a colossal differ- – not primarily in dance.’ Discuss. were predominantly trained in the ence.’ – Anna Volkova • Michel Fokine, The Firebird’s cho- style of the Imperial Russian Ballet. reographer, is credited with fusing What does this style emphasise? • Mention is made in the film of the acting and dance, and extending Choose one of the key ballet hardships endured by the dancers the limits of ballet as an art form. training techniques (for example, on tour (‘tours of hell’, to quote Compile a list of his major works Cecchetti, Vaganova method, Nicolette Fraillon): the frantic pace, and achievements. Bournonville School, Balanchine the long hours on trains and the • Who were the Baby Ballerinas and or Royal Academy of Dance), and tremendous dedication required. why were they important to the in bullet points outline its main On the American tours, over a hun- success of the Ballets Russes’ principles and goals. dred cities would be visited during tours to Australia? (The Baby Bal- a four-month season. Imagine you lerinas were the young superstars The Ballets Russes: On are one of the Baby Ballerinas.
Irina Baronova, Tamara Toumanova Tour and in Australia Write a diary account of an ‘aver- SCREEN EDUCATION and Tatiana Riabouchinska. They age week’ on tour. caused a sensation and were an ‘The thrill and glamour of the most • Why did the dancers enjoy the long important part of marketing and exciting of the arts of the theatre sea voyage to Australia and how did promoting the tours.) Discuss the comes to Australia with the famous they manage to rehearse? (It gave idea of celebrity. Who are today’s Monte Carlo Russian Ballet of Colo- them a chance to relax; and they ballet celebrities? Has the market- nel de Basil.’ – Newsreader rehearsed on the ship’s deck!) 4 2
• Ten Ballets Russes dancers stayed behind in Australia when the com- pany headed for South America 1: Tamara Toumanova in 1940. What factors might have (© National Film and informed their decisions to stay? Sound Archive) 2: Tamara What can you find out about the Tchinarova in Scheherazade 1 paths their lives took here? • Design a program to celebrate the centenary of the Ballets Russes. • What was the scale of the first tour • Discuss the controversy sur- This activity could be designed to to Australia in 1936? (Staggering: rounding the avant-garde ballet take several lessons and culminate around eighty dancers with sets and Les Présages, choreographed to in a major assessment item. Con- costumes for twenty-one ballets.) Tchaikovsky’s Fifth Symphony. It sider including profiles of key per- • How did the Australian tours com- caused outrage in Europe but was sonalities, a brief history, a timeline pare to the American tours for the very well received in Australia. of significant events, an account dancers? (In Australia, the dancers What factors might account for its of the impact the company had on spent weeks at a time in each city, different reception? ballet, a map showing the extent of so the pace was less hectic, and • In what ways could the tours by world tours, sketches of sets and they enjoyed the friendliness of the the Ballets Russes to Australia be costumes, etc. What key perform- Australian people.) thought to constitute our Cultural ances would you include on the • What did Tamara Tchinarova know Revolution? bill and why? Ensure the design of about Australia before her first • ‘The Ballets Russes brought your program captures the spirit visit? (Not very much: ‘All we knew cutting-edge European high art and essence of the Ballets Russes. was the legend that it was a coun- to a mainstream Australian mass • Discuss the legacy of the Ballets try with criminals.’) audience – and the Australian Russes. Consider statements such • What were the Tait brothers’ initial audiences loved it!’ Discuss. as Colin Peasley’s: concerns about the Ballets Russes • Choose one of Max Dupain’s Without the Ballets Russes coming that docked in Adelaide? (There beautiful photographs of the Bal- to Australia, there would be no were mumblings that this was not lets Russes dancers (see
the Ballets Russes in Adelaide in • During the time in which the Ballets schools, but dance schools that SCREEN EDUCATION October 1936 was a spectacular Russes reigned supreme, many understood what classical ballet success, and the ten-week tour dancers from Anglo backgrounds was about. was extended to ten months. What were given Russian names. As And Nicolette Fraillon’s comment: factors do you think might account a fun exercise, give yourself and We wouldn’t have an Australian for how receptive Australian audi- your classmates names suitable Ballet, we wouldn’t have a Queens- ences were to the company? for Russian ballet stars. land Ballet, we wouldn’t have a 5 West Australian Ballet; we wouldn’t have any of the companies in Aus- tralia without the Ballets Russes tours. • ‘The movie footage shot by amateur filmmakers Dr Joseph Ringland Anderson and Dr Ewan Murray-Will – an ophthalmologist and dermatol- ogist respectively – of the gorgeous young Russian and French perform- ers dancing on the beach is full of a lightness of being. The dancers dance for sheer joy and with a sense of freedom and exuberance that is incredibly touching to watch, some seventy years later. We are 1: Danielle Rowe and left with the poignant impression of Kevin Jackson in the the dancer’s mortal body captured 2009 Australian Ballet production of Firebird on film in their most perfect state.’ (© The Australian Ballet. Discuss. Alex Makeyev) 2: Lana Jones in the 2009 Australian Ballet Firebird: Bringing Light production of Firebird to a Darkened World (© Micah Walker) 1 ‘This is not just Firebird. This is Fire- bird with connections back and back cally Byzantine’? and back and back in time … most • ‘The Firebird was never intended of all I want it to have a link to that to be a genuine embodiment of other world – to the Ballets Russes traditional Russian folklore. It that was so important to us all as was an exotic image of Russia creators.’ – Graeme Murphy packaged for the consumption of sensation-hungry Parisian audi- ‘Any Stravinsky score for choreog- ences. Diaghilev’s Russia was raphy is daunting and the more you always designed for international understand about the score, the more export’. Discuss. daunting it becomes, because they are • What did Benois mean when he such brilliant works.’ – Nicolette Fraillon 2 described The Firebird as ‘a fairy tale for grown-ups’? • Using the internet as a research venues of the two performances; • Why did Pavlova withdraw from tool, write an account of the the age, training and backgrounds The Firebird before its premiere? legend of The Firebird. (Teachers of the performers; the sets and (She disliked the music!) please note: there are a number costumes; the critical and public • Design a costume for the Firebird of variations among the different reception. and for the evil Kostchei. Annotate versions of the tale. This is worth • Find a couple of reviews of The your designs. Would your Firebird highlighting for students and could Australian Ballet’s recent produc- be male or female? Why? serve as the basis of an exercise tion of Firebird. • Why are Murphy and Vernon so in itself, identifying differences and • How old was Stravinsky when aware of the history and weight looking at context and source in an he composed the score for of expectation that accompanies effort to explore and explain areas The Firebird in 1910? (He was any restaging of The Firebird? of divergence.) twenty-eight.) What particular challenges might • How might the premiere of The • Play Stravinsky’s marvellous score confront a choreographer tackling
Firebird in 1910 differ from the for The Firebird to the class. Dur- such a highly regarded classic? SCREEN EDUCATION premiere of Murphy and Vernon’s ing the session, have students jot • How does The Firebird work as an version in 2009? Approach this down adjectives and draw sketch- analogy of what the Ballets Russes question from as many angles as es according to how the music did for Australian culture? (Consider possible: consider, for example, strikes them. the film’s opening narration, where the people who would have at- • What does Murphy mean when he the bird is described as ‘bringing tended the two productions; the describes The Firebird as ‘musi- light to a darkened world’.) 6 left: Irina Baronova with students of the Australian Ballet School, of which she was patron (© The Australian Ballet School)
History & Background: body or organisation and write a of our cultural history that leaves Another Time, Another history of it and its place in the you marvelling at how far we have Place huge cultural shift that has taken come from the conservative and place since the Ballets Russes first oppressive culture that reigned all ‘Well nearly every young man thought toured. those years ago.’ Discuss. every ballet dancer was a poofter • Do you think Colonel de Basil’s • Write a profile of the Tait brothers’ and referred to them as that. The criticisms of Australians were ac- company, J.C. Williamson Ltd., ex- conservative element in Australia was curate? (The film includes a shot of plaining its significance to theatre oppressive and positively inhibiting.’ a newspaper fragment in which he in Australia (and New Zealand) at – Yvonne Harris is quoted as saying, ‘Australians this time. lack the art, finesse, fine feeling, • Do you think, from what you see • Construct a timeline for the period grace, deportment, sensitiveness in this film, that ballet was more covered in this film, noting the …’) How did Actors Equity and the popular in the 1930s and 1940s dates of significant global historical Musicians’ Union react to de Bas- than it is today? Give reasons and events and important ballet mo- il’s position? (They threatened to evidence from the film to account ments. close down the theatres and there for your position. • Australian Culture: Then & Now. was a huge public uproar against • What was ballet called in the Draw up a table with two columns de Basil.) How did de Basil make 1920s when Anna Pavlova toured and note down some of the ways peace? (To diffuse the situation, de Australia and how did it differ from our society has changed since Basil held a competition to design what the Ballets Russes offered? the time of the first Ballets Russes a ballet on an Australian theme. (It was called ‘operatic danc- tour. Donald Friend’s drawing for the ing’, and Pavlova offered brief set • It is noted that culture in 1930s story of Ned Kelly won the prize in pieces, little fragments, whereas Australia was primarily focused 1940, but it was never produced.) the Ballets Russes staged lavish,
on sport and the great outdoors – If his derogatory comments were full blown productions.) SCREEN EDUCATION men playing football and cricket. true then, are they still true today? • What were the main options for There was no national opera or When did things start to change Australian dancers in the 1930s? ballet companies. (The Australian and what were some of the forces (Vaudeville or moving overseas.) Ballet was founded in Melbourne that brought about this shift in our • What do you think the National in 1962; its school was established culture? Library of Australia’s curator of in 1964.) Choose a national arts • ‘A Thousand Encores is a snapshot dance does? 7 Why did the directors of the NSW and Victorian art galleries, Lionel Lindsay and J.S. McDonald, refuse to show the exhibition? Where was it shown in New South Wales? (It was shown at David Jones depart- ment store.) • Lovely Irina Baronova was a marketer’s delight, and the film in- cludes material from an advertising campaign in which her image was used to sell cigarettes. Design an ad campaign featuring a principal dancer from The Australian Ballet. 1 Explain your choice of product, the associations with dance you would want to tap into, etc. • Describe the reaction of the audience and the cast when the performance of Les Sylphides was interrupted with news that Paris had fallen to the Nazis. How did the company support 1: Paul Petroff and Ludmilla Lvova on the war effort? Bungan Beach (© National Film and Sound Archive) 2: Ludmilla Lvova on • What happened to Réne Blum? Bungan Beach (© National Film and (He died in Auschwitz.) Sound Archive) 3: Paul Petroff on Bungan Beach (© National Film and Sound Archive) Murphy, Vernon & the World of Australian Ballet 2 • Choose an important figure in the history of Australian ballet such as Sir Robert Helpmann or Dame Peggy van Praagh and discuss their legacy. • Graeme Murphy and Janet Ver- non are hugely important to the Australian dance scene. Write an outline of their careers and an ac- count of their significance to the Australian arts scene. • Discuss Murphy’s approach to choreography. Consider his state- ment: ‘My problem is, I refuse to pre-choreograph, because that de- 3 nies the dancers their involvement in the creative period.’ He speaks • How would you describe Robert • Three thousand people a day of the importance of collaborating Menzies’ attitude to modern art? turned up at the Melbourne Town with the dancers, not imposing (At this time he was Australia’s at- Hall to view the first significant movements on them but allowing torney general.) How does Jeffrey exhibition of overseas modern art, them to own the work and imbue it
Smart describe Menzies? (‘And of the Herald Exhibition of French with part of their soul. SCREEN EDUCATION course you wouldn't expect him to and British Contemporary Art. How • Janet and Graeme have an occa- know anything about painting any- does this compare with the audi- sionally tempestuous relationship way. He was a philistine, a vulgar- ences for blockbuster exhibitions in the rehearsal studio. As Graeme ian.’) What sorts of works do you today? What artists were included says, ‘We used to empty studios think Menzies might have wanted in this exhibition? (van Gogh, with our cold war screaming.’ to include in his Academy of Art? Gauguin, Cézanne, Léger, Matisse) Explain the dynamic and the vari- 8 ous roles each adopts within this in Tuscany: ‘The impression it [the creative partnership. Ballets Russes] made on him as a • If there’s someone in the class who Credits fifteen-year-old boy is still vivid. Al- is passionate about ballet, have most ninety now, he remembered them explain to the class what it Duration: 56 minutes almost every detail of the music, means to them. If there’s someone sets and costumes for each ballet in the class who dislikes ballet, get Year of Production: 2009 as if it were yesterday.’ them to explain why. • Discuss the influence of Icare on • Discuss the incredible athleticism, Executive Producer: Nolan’s subsequent paintings, par- strength and stamina of male ballet Sharyn Prentice ticularly in terms of relationships dancers, particularly for any igno- between figures and landscapes. rant students buying into stere- Director & Writer: What did he aim to do with his otypes about the effete, effeminate Mandy Chang designs? (Nolan wanted to break world of ballet. down the dancers into abstract • How does The Australian Ballet Producers: Marianne Latham forms and meld their bodies with stand on the international ballet & Lavinia Riachi the sets.) How was Icare received scene? Consider Irina Baronova’s at its first staging? (It received comment: ‘They’re very talented, twenty curtain calls, demonstrating Editor: Karin Steininger beautifully trained and the whole a dramatic shift in the aesthetic of company and the atmosphere and the Australian audience over the what comes over the footlights – I Camera: Peter Coleman & period from 1936 to 1940.) consider it the best company in the Micah Walker • Design a PowerPoint presentation world now’. on one of Bakst’s stunning costume Narrator: Jane Menelaus designs for the Ballets Russes or The Visual Arts in Dance one of his sketches of Nijinsky. and Beyond – Perverts & Sound: Terry Chadwick, • The narration notes: ‘The public fell Degenerates? Leo Sullivan & Will Sheridan in love with the beauty of dance and so did Australian artists. Its ‘It was no accident that what was magic inspired an avalanche of afterwards known as the Ballets painting and drawing’. Choose one Russes was originally conceived not to research one of these figures of these images and analyse it. by professionals of the dance, but by and present their findings to the a circle of artists, linked together by class. Consider: Dali, Picasso, A Closer Look at the Film the idea of Art as an entity. Ballet was Matisse, Miró, de Chirico, Braque the natural theatrical expression and Utrillo. ‘This wasn’t just a “ballet” story, of the World of Art ideology, with • Could you describe the Ballets set in a time capsule of the 1930s, its indifference to realism or repre- Russes as having a particular, but an epic story about twentieth- sentation, its love of the decorative, distinct aesthetic? century culture that encompassed the exotic, the magical, above all, its • It is noted that our art traditions in the beauty and wonder of dance, art enthusiasm for a kind of Wagnerian the 1930s were radically different to and music. I was about to enter an “Gesamtkunstwerk”,* in which every those dominating continental Eu- exotic world with a rich history that element would contribute in equal rope. While we had the Heidelberg spanned a century and crossed many measure to a complete rounded School, the Europeans had Surreal- continents. The seeds of the famous artistic impression.’ – Alexandre Benois, ism and Expressionism. Choose a Ballets Russes began in Russia, took Memoirs painting representative of trends root in Paris and eventually found in Australian art at this time and their way to the unlikely continent of ‘It was like this world that they [the compare and contrast it with a work Australia, where from 1936 onwards, artists] imagined, that they wanted from a major European artist. this remarkable company proceeded to go to. And the experience actually • Why were the Ballets Russes to have a profound impact on our art came to them. It was just like having important to Jeffrey Smart and and culture.’ – Mandy Chang, Writer/ a piece of Paris in Melbourne and Syd- what sorts of words does he use Director, A Thousand Encores ney.’ – Barry Pearce, Head Curator of Australian to describe their impact? (‘I think it SCREEN EDUCATION Art, Art Gallery of NSW was like a flash of lightning coming • Make a list of the types of material through’; ‘It was vivid and it was included in the film (for example, • Compile a list of the many high- lively. It was a touch of another newsreel footage, home movie profile visual artists who were world. Simply marvellous.’) The footage, still photographs, inter- involved with the Ballets Russes. film’s director, Mandy Chang, view material, rehearsal footage). Divide the class into small groups says of her interview with Smart • Imagine you are the film’s produc- 9
*Trans. Gesamtkunstwerk: universal artwork, synthesis of the arts, comprehensive artwork, all-embracing art form, total work of art, or total artwork. See
Love, Penguin, New York, 2005. Russes 1909–1933, National Gal- 1882–1934, University of California SCREEN EDUCATION Alexandre Benois, Memoirs, Moura lery of Australia, Canberra, 1999 Press, Berkeley, 2002. Budberg (trans.), Chatto & Windus, (exhibition catalogue). Leland Windreich (ed.), Dancing for de London, 1960. Robert C. Hansen, Scenic and Basil: Letters to her Parents from Martha Bremser, Fifty Contemporary Costume Design for the Ballets Rosemary Deveson, 1938–1940, Choreographers, Routledge, New Russes, UMI Research Press, Ann Dance Collection Press, Toronto, York, 1999 (includes material on Arbor, Michigan, 1985. 1996. Graeme Murphy). Dawn Lille Horwitz, Michel Fokine, Boris Zvorykin, The Firebird and Other 10 Russian Fairy Tales, Viking Press, Debra Craine, ‘Diaghilev’s Ballets Ballets Russes Australian Tours New York, 1978. Russes: Dancers Who Sparked Russes 1909–2009’, This study guide was produced by ATOM. (©ATOM 2009) [email protected] For more information on Screen Education magazine, or to download other study guides for assessment, visit 12