Parade The Influence of Visual Art on Ballet & the Accidental Origins of Intermedia By Natalia Valerdi, University of California, San Diego
1917 2005 Parade: The First Steps Toward a New Art Form
“When a work seems ahead of its age, it is really the age which has yet to catch up the the work.” – Jean Cocteau 1
The red curtain opens, only to reveal a second curtain. Picasso’s canvas displays a Harlequin, a Columbine and a Pierrot along with a bullfighter, a sailor and a moor juxtaposed with a Pegasus, a sylph and a starred ball. Satie’s Prelude of the Red Curtain plays.2 When this curtain is lifted, sirens, a typewriter and sound of pistol shots3 fill the air. A Chinese Magician appears and produces a trick in which he swallows a ball and makes it re-appear out of his foot. He is clever and satisfied with his trick. Soon, two men in tall costumes (one that looks like downtown Manhattan) enter the scene with voices that sound like megaphones. Eventually, there is dancing and soon enough we hear a melody. To some, this may appear as common postmodern choreography, but when Parade was first performed in the spring of 1917 by the Ballet Russe in Paris, the audience, who disfavored this avant-garde ballet, had little appreciation of the theatrical breakthrough they were witnessing.4 This benchmark production initiated a series of collaborations between choreographers and visual artists to create theatrical Figure 1: Pablo Picasso. Stage Curtain for the Ballet productions that we still see “Parade”. 1917. Pompidou, Paris. 3 Nov. 2005 today. Though not unusual http://www.tancelet.hu/picasso.php for our time, it was an outrage during its premiere in Paris during the spring of 1917. The result of these collaborations indirectly led to the development of Intermedia. Apollinaire expanded on his idea of the ‘new spirit’ in dance during a lecture he gave at the Théâtre du Vieux Colomier in November, 1917. He
1 Cocteau wrote the original script for Parade. See Axsom, Richard H. “Parade”: Cubism as Theater. (New York: Garland Publishing, 1979) p. 219: He refers to Oeuvres completes de Jean Cocteau 3 (Geneva: Marguerat, 1946): 3: “Lorsqu’une oeuvre semble en avance sur son époque, c’est simplement que son époque est en retard sur elle.” 2 The Great Parade: Portrait of the Artist as a Clown. “The Picasso Curtain” (2004. 2 Nov. 2005. < http://www.gallery.ca/exhibitions/exhibitions/parade/english/curtain.html>) 3 Potter, Michelle. “Diaghilev Festival.” Ballet.co Magazine. Ed. Bruce Marriott. (2005. 30 Oct. 2005
5 Axsom, “Parade”, p. 54. See Francis Steegmuller, Apollinaire: Poet among the Painters (New York: Farrar and Straus, 1963. See Steegmuller’s Appendix II) 6 Friedman, Ken. Umbrella. Judith A. Hoffberg. (Dec. 1998. 30 Oct. 2005
12 Axsom, “Parade”, p. 31 13 Axsom, “Parade”, p. 11 14 Axsom, “Parade”, p. 20-24 15 Anderson, Ballet, p. 122 16 Anderson, Ballet, p. 123 17 Anderson, Ballet, p. 135. See Michel Fokine, “Letter to The Times, July 6th, 1914: The Five Principles,” in Cyril W. Beaumont, Michel Fokine and His Ballets (London: C.W. Beaumont, 1945, pp. 145-147) efforts of the artists thoroughly from cover to cover. During the time of his investigation, the Joffrey Ballet staged a reconstruction of Parade. Leonide Massine was invited to supervise the reconstruction, allowing Axsom to conduct a series of interviews which deepened his understanding of the collaborative quality the Ballet Russe pioneered18.The theme of his dissertation emphasizes that what has been missing in the critical literature of each approach to Parade – literary, musical, choreographic and scenic, had been the awareness “of how the four dimensions of Parade worked in ensemble.” In other words, what had been missing was the relationship of the parts.19 Axsom suggests that the isolated critical works of each field (litereary, musical, choreographic and scenic), subtly inhibit a broader perspective on Parade. They isolate the parts instead of evaluating the whole, the latter of which could reveal new information.20 This inclusive perspective has influenced ballet profoundly and propelled new ideas that served as the seeds for emerging concepts such as ‘collaboration’, ‘new media’ and ‘intermedia.’ These concepts are only now beginning to achieve recognition in academia. Axsom even suggest a relationship between Parade’s Cubism and Intermedia. However, he quickly veers away from this idea to instead explore how Parade worked as a vehicle for placing Cubism, a two-dimensional art, within a theatrical setting.21 Picasso’s collaborations with the Ballet Russe caused a ripple of changes, which have taken many years to integrate and analyze. But for Diaghilev, this idea was well overdue.
Diaghilev and Picasso: The War and Art
Sergei Diaghilev (1872-1929) enrolled in St. Petersburg Law School in 1890, during which time when he began participating in a literary group. By 1898, he led the group in publishing their first arts periodical, The World of Art. The Nevsky Pickwickians had a two-fold mission: to break Russia from her isolation from the west while revitalizing her traditions with modernism, and to present the artistic heritage of Russia in the west. The success of this periodical led Diaghilev to the theater, where he found the perfect vehicle for bringing together several arts in a single event.22 In 1909, out of that same mission, the Ballet Russe was born. Diaghilev was at the forefront of integration in the arts and applied his talents as an entrepreneur to divulge the arts throughout Europe. He incorporated several new “ism” available: Cubism, Dadaism, Surrealism and
18 Axsom, “Parade”, p. 7 19 ibid 20 Axsom, “Parade”, p. 4 21 Axsom, “Parade”, p. 8 22 Anderson, Ballet, p. 13-15 Constructivism. Parade was Diaghilev’s first authentic statement of this new artistic strategy.23 In modern art, an “ism” is thought to be a certain radical kind of form.24 This ‘radical’ phenomenon came after a series of wars: World War I (1914 to 1918), the Russian Revolution (1905) and the French defeat in the Franco- Prussian War (1870). These events disintegrated the philanthropic system of the time, giving way to the public gallery spaces we know today. Unknowingly, this also made room for the unexpected. In the mid-1880’s, artists sought an art that was true to itself and less about imitating the outside world. This outlook eventually led to Cubism around 190825, to which Pablo Picasso and Georges Braque gave full expression. There were three principal influences affecting how Picasso would design Parade: the break with artistic conventions through impressionistic ideas, Japanese line art and the fragmentation of perspective. The latter is a trait of the ‘avant-garde’, a military term coined early in the nineteenth century by French critic Saint-Simon who described the ‘avant-garde’ to be a result of progressive social action, art and science26 at the wake of the Industrial Revolution. Diaghilev and Picasso were in the eye of the storm. Pablo Picasso (1881-1973) was born in Malaga, Spain. After moving to Barcelona in 1895, where his father Don José Ruiz Blasco was an art teacher at the School of Fine Arts, he decided to move to Paris in 1900. During this time, also known as his Blue Period, the melancholic qualities of his work suggest longing while depicting derelicts, starving children and beggars.27 During Picasso’s Rose Period, lasting only two years from 1905 to 1906, he began to use circus performers as his subjects, airy and graceful, yet alienated and still melancholic. This paradox of mournful yet heroic clowns is central to the development of the character of the Chinese Magician in Parade, a role Massine himself performed during the premiere, and which he created in conjunction with Picasso, building parts of the Cubist puzzle in all areas of the ballet. The foundation of Cubist thought is indicative of the time when Sigmund Freud published his first book on the subconscious and during the discovery of the atom. The Cubist image “conformed to the new scientific knowledge that human perception derives not from a single, all-encompassing glance but from a succession of ‘takes’, from the experience stored in the memory and from the intellect’s capacity to intellectualize form.”28 Thus to the flat, bass-relief image,
23 Anderson, Ballet, p. 22 24 Hunter, Sam and John Jacobus. Modern Art. 3rd ed. (New York: Harry N. Abrams, 1992) p. 9 25 ibid. 26 Hunter, Modern Art, p. 18 27 Hunter, Modern Art, p. 133 28 ibid. the fourth dimension of time was added, making Cubism the perfect artistic module for the stage. Cubism was fully integrated into the ballet. The sets and costumes conceived of through Cubist forms related to the piece as a commentary rather than as a backdrop. In fact, Picasso would not consider the independent elements Cubist by themselves. Instead he considered them part of Parade’s Cubist paradigm. All parts were integrated with one another to the extent that removing or redesigning any element of the production would alter the vision Picasso had for the entire ballet.29
From Avant-Garde to Intermedia
Guillaume Apollinaire, an art critic during the avant-garde movement wrote program notes for Parade.30 In tracking the effects of this collaborative effort on the part of the Ballet Russe and its associates, he began to describe the outlines of a ‘new spirit’ rising out of cultural democratization, globalism and technological development, claiming that the ‘old regime’ had expired on the battlefield.31 He signals the beginning of a democratic avant-garde and introduced the world ‘Surrealism’ to the public in his program notes for Parade.32 It took four years for audiences to accept such artistic reforms. Parade’s debut in the spring of 1917 witnessed the disfavor the Parisian audience felt towards this avant-garde ballet.33 Such is the history of taste that Parade was the fashionable hit of the season when it was revived four years later.34 Parade was revived by the Joffrey Ballet in 1973, as well as by Maurice Béjart, who also mounted a major revival of the ballet in the sixties.35 Both were drawn to the ballet because of its attempt to realize Gordon Craig’s idea of Total Theatre, defined as “the intersection of symbolic meaning with music”.36 Other reconstructions of Parade include the Bordeaux Opera Ballet’s 2003 tribute to Diaghilev in Paris.37 Although a worker’s strike impeded this performance, it was performed as part of the Edinburg Festival later that year.38
29 Axsom, “Parade”, p. 187 30 Adamson, Walter L. “Apollinaire’s Politics: Modernism, Nationalism, and the Public Sphere in Avant- garde Paris. Modernism/Modernity 6.3 (1999. 28 Oct. 2005
39 “Three-Cornered Hat” American Ballet Theatre. (29 Oct. 2005
Front Cover left: Picasso, Pablo. French Manager’s Costume. 1917. The International Museum of Collage, Assemblage and Construction. 31 Oct. 2005 < http://post- dogmatist-arts.net/museum/collage/picasso001.htm> Front cover right: Picasso, Pablo. American Manager’s Costume. 2005. Diaghilev Festival 2005. 29 Oct. 2005
References
Adamson, Walter L. “Apollinaire’s Politics: Modernism, Nationalism, and the Public Sphere in Avant-garde Paris.” Modernism/Modernity 6.3 (1999). 28 Oct. 2005