LEONIDE MASSINE: CHOREOGRAPHIC GENIUS WITH A

COLLABORATIVE SPIRIT

A DISSERTATION

SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS

FOR THE DEGREE OF DOCTOR OF PHILOSOPHY

IN THE GRADUATE SCHOOL OF THE

TEXAS WOMAN'S UNIVERSITY

DEPARTMENT OF DANCE

COLLEGE OF HEALTH, PHYSICAL EDUCATION AND RECREATION

BY

©LISA ANN FUSILLO, D.R.B.S., B.S., M.A.

DENTON, TEXAS

Ml~.Y 1982 f • " /, . 'f "\ . .;) ;·._, .._.. •. ..._l./' lEXAS WUIVIAI'l' S UNIVERSITY LIBRAR't

dedicated to the memories of

L.M. and M.H.F. ACKNOWLEDGMENTS

The author wishes to express her appreciation to

the members of her committee for their guidance and

assistance: Dr. Aileene Lockhart, Chairman; Dr. Rosann

Cox, Mrs. Adrienne Fisk, Dr. Jane Matt and Mrs. Lanelle

Stevenson.

Many thanks to the following people for their moral support, valuable help, and patience during this project:

Lorna Bruya, Jill Chown, Mary Otis Clark, Leslie Getz,

Sandy Hobbs, R. M., Judy Nall, Deb Ritchey, Ann Shea, R. F. s., and Kathy Treadway; also Dr. Warren Casey, Lynda Davis, Mr. H. Lejins, my family and the two o'clock ballet class at T.C.U.

iv TABLE OF CONTENTS

DEDICATION • • • ...... iii ACKNOWLEDGMENTS ...... iv LIST OF TABLES • ...... viii LIST OF FIGURES ...... ix

LIST OF ILLUSTRATIONS ...... X Chapter

I. INTRODUCTION ...... 1 Purpose • • • • • • • . • • • • 5 Problem • • . • • • • • . • • • 5 Rationale for the Study • • • . • . • • • • 5 Limitations of the Study • • . . • • • • • 8 Definition.of Terms • . • • . . • . • • 8 General Dance Vocabulary • • . • • . • • 8 Choreographic Terms • • • • . 10 Procedures. • • • . . • • • • • • • • . 11 Sources of Data • . • • • • • . • . 12 Related Literature • . • • • . . • • . 14 General Social and Dance History • . • . 14 Literature Concerning Massine .• • . • • • 18 Literature Concerning Decorative Artists for Massine Ballets • • • . • • • • • . 21 Literature Concerning Musicians/Composers for Massine Ballets • • • . • . • • 21 Organization of Material • • . . • • • . . 22

II. THE EDUCATION OF CREATIVE GENIUS: DIAGHILEV'S INFLUENCE ...••. 24

Massine--The Years Before Diaghilev • • • • 24 The Miassin Family • • • • . . • . • • . 24 The Bolshoi Theatre School . . • • • 25 Diaghilev--Early Years • • • • . • 30 Education and The World of Art Journal . • . . . . • • . • . . • . 30 The Paris Exhibitions • 34 Russian Ballet in the West 36

v Massine and Diaghilev • • • • • • • • • • • 38 The Meeting • • • • • • • • • • • . . 38 The Educational Process . • . • . • • 41 Emergence of a Genius • • • • • • • • • • 46 Epilogue • • • • • • . 49

III. COLLABORATION: MASS'INE AND THE PAINTERS 55 Pablo Picasso • • • • . . . . 56 Andre Derain • • • ...... 70 Henri Matisse • • . . . . 75 Georges Braque • • • 83 Joan Mira • • • • • . 87 Andre Masson • 90 Christian Berard • • • . . . . . 92 Salvator Dali • 95 Marc Chagall 99 Epilogue 101

IV. COLLABORATION: MASSINE AND THE MUSICIANS/ COMPOSERS • • • 104

The Musicians/Composers • • • • . • • • • . 105 Erik Satie • • • • • • • • • 105 .Manuel de Falla ••••••• 110 Igor Stravinsky . • • • . • . . • • • 113 Serge Prokofiev . • . • • . . . 119 Paul Hindemith • • • . ••••. 121 Symphonic Works . • . • • • 124 Peter Illyich Tchaikovsky • 126 Hector Berlioz • • • • • • • . . • • • • 127 Ludwig van Beethoven • • • • . . . 129 Rirnsky-Korsakov • • • • • • . • 130 Epilogue • . • • • • . • • • • 131

V. COLLABORATIVE CULMINATION: FOUR MASSINE BALLETS • • • • • • • • • • 134 The Diaghilev Period 1915-1920 . . . . • . 135 Post-Diaghilev 1924-1933 . • • 148 Symphonic Ballets 1933-1934 • . • . . . 156 Religious Ballets 1915, 1932, 1938-1952 171

vi VI. SUMMARY, FINDINGS, AND CONCLUSION •• 183

Sununary • 183 Findings 186 Conclusion 188 APPENDIX A . . . 189 APPENDIX B • 192

APPENDIX C . 197

BIBLIOGRAPHY • 210

vii LIST OF TABLES

1. Chronology of Ballets by Leonide Massine and the Designers Discussed in Chapter III • • • 103

2. Chronology of Ballets by Leonide Massine and the Musicians/Composers Discussed in Chapter IV • • • • • • . • • • • • • . 133

viii LIST OF FIGURES

1. Programmatic Details of the Ballet Le Tricorne ...... 138 2. Programmatic Details of the Ballet Le Beau Danube ...... 150 3. Programmatic Details of the Ballet Les Presages ...... •· . . . 164 4. Programmatic Details of the Ballet Noblissima Visione ...... 173

ix LIST OF ILLUSTRATIONS

Costume Designs for Parade by Picasso • . . . 59 Costume Designs for Parade by Picasso . . . . . 60 Cost:ume and Set Designs for Le Tricorne by Picasso 64 Costume Design for Le Tricorne by Picasso • • • • 65

Set Design for Pulcinella by Picasso • • • • • • • • 68

Set Design for Boutique Fantasque by Derain • • 72 Costume Designs for Boutique Fantasgue by Derain 73

Costumes for Boutique Fantasgue by Derain • • • • • • 74 Set Design for Le Chant du Rossignol by Matisse. • 77·

Costume Design for Le Chant du Rossignol by Matisse • 78 Costume for Le Chant du Rossignol by Matisse 79

Costumes for Le Chant du Rossignol by Matisse • 81

Set and ~ostume Designs for Rouge et Nair 82 costume for Zephire et Flore by Braque 85

Costumes for Zephire et Flore by Braque . 86

Set and Costumes for Jeux d'Enfants by Mira 88

Costume for Jeux d'Enfants by Mire •••. 89

Set and Costumes for Les Presages by Masson 91 Set Design for Seventh Symphony by Berard . . 94 Backcloth Design for Bacchanale by Dali . . 97

Two Set Designs for Labyrinth by Dali • 98 costume Design for Aleko by Chagall • • · · • . . . . 100

X CHAPTER I

INTRODUCTION

As a leading figure in the development of dance

during the early twentieth century, Leonide Massine was

an artist who foresaw and created an idiom of dance that

transcended stylistic boundaries. The ballets which

Massine produced had a profound effect upon choreographic

approaches to dance movement. Massine's ballets also

reflect the strong relationship of decorative art and

mus.ic with dance. This artistic integration became a vital creative force for Massine throughout his career

and was rooted in the education imparted by Serge de

Diaghileff. 1 • It was Diaghilev who discov~red, nurtured and guided Massine.2 Under the watchful eye of his mentor,

Massine's education stressed the importance of unity in the arts--music, painting, literature and dance--to accomplish a wholeness of art in the theatre. This

lThe spelling of Diaghileff using the "ff" ending is from the original translation of his name from Russian to French. The more current spelling, Diaghilev, is used in all other instances in this study.

2oiana P. Daniels and Lillian Moore, "E. 0. Hoppe and the Diaghilev Ballet," Dance Magazine, September 1954, p. 24. 1 2 education by Diaghilev was an extension of Massine's own

background which was directly influenced by both of his

parents who were musicians and by his own experiences in

the Bolshoi Theatre School.

Destined to become a legendary ·protege ·of

Diaghilev, Massine was widely recognized both for his

brilliance as a dancer and as an innovative choreographer.

These qualities were emphasized by de Mille when she wrote

about Massine: "He has unmatched rhythm and tremendous

strength and spirit. He succeeded Fokine and Nijinsky as master choreographer. 3 DJ.aghilev was i-nstrumental in uncovering the choreographic genius in Massine and pre- senting that genius to the western world.

The era of western exposure to Russian Ballet began in 1909 when Diaghilev pr~sented a small troupe of Russian dancers to Paris audiences. In 1916, Massine joined the then established Ballets-Russes company which was organ­ ized and directed by Diaghilev. It was a unique ballet company because it verified Diaghilev's personal theory that a theatrical production could only claim recogni­ tion as a work of serious art if it were the result

3Agnes de Mille, The Book of the Dance (London: Paul Hamlyn, 1963), p. 153. 3 of the association, on equal terms of the arts of literature, music, and painting.4

The artistic world of the early 1900s was rich

with spirited talent. From this new generation of artists

emerged the avant-garde movements in painting and music.

Diaghilev was a connoisseur of the arts and brought these

artists together, thus combining the talents of painters,

musicians, poets, and dancers for his ballet company and

creating a milieu of high voltage creative energy.

This was the foundation, established by Diaghilev

and supported by all the artists involved, that Massine

inherited when he entered the world of ballet. Guided

by Diaghilev and educated by the artists who surrounded

him, the young Massine absorbed the knowledge of his

tutors ahd combined it with his own artistry when creating his choreography.

Massine learned well from Diaghilev and continued to associate and collaborate with outstanding contemporary musicians and painters even after he left the Ballets-

Russes company. Exchanging not only artistic ideas, but also sharing vital energy and enthusiasm of other artists,

Massine became keenly aware of the tremendous power of

4w. A. Propert, The Russian Ballet in Western Europe 1909-1920 (New York: Benjamin Blom Inc., 1972) P· 8. 4 artistic collaboration. He continued that heritage

throughout his entire life, as noted by Agnes de Mille

when she wrote of the situation after the death of

Diaghilev:

Leonide Massine was the only choreographer­ performer with sufficient resilience to re-organize the veterans [of the Diaghilev ballet] and their pupils into a successful unit of lasting achieve­ ment and creative force. He continued in the great Diaghileff tradition of using the best and freshest in the allied arts of music and design.S

Leonide Massine was the legacy of Serge Diaghilev.

When he left Russia to join Diaghilev and the Ballets­

Russes, Massine committed himself to ballet. His life,

career, and art were unified in the ballets he created.

Vitak wrote of that personal integration:

Massine's compositions are often a direct reflection of everything he lives and sees, ~n ability which keeps his creations stimulatingly alive.6

There is no doubt that Massine was a great artist

and dance innovator. That his work remains timeless is evidenced in the creative philosophy and innovative skill

demonstrated by the Massine ballets which remain in

the repertory of major ballet companies.

5de Mille, p. 154.

6Albertina Vi tak, "Ballet and Massine," The American Dancer, September, 1938, p. 15. 5 The Purpose The purpose of this study was to organize the presently scattered information about Leonide Massine in order to provide an understanding of the man and his choreography and to investigate the importance of artistic collaboration in his life and work.

The Problem The problem of this study was to identify and organize the major influences surrounding Leonide Massine's choreography by (1) focusing on selected artists and musicians with whom Massine collaborated and (2) iso­ lating and incorporating in one source the more pertinent

events of his life. An examination and discussion of four ballets representative of Massine's choreographic develop­ ment are also included in the study.

Rationale for the Study Although recognition of Leonide Massine and acknowledgment of his contributions to dance can be found in most literature concerning the history of dance and choreography, no publication has appeared as of this writing which presents a detailed study of Massine's life and work. Materials concerning Diaghilev, Nijinsky, and the Ballets-Russes era, as well as comprehensive studies 6 of choreographers, often at least mention Leonide Massine. However, no incisive examination of the artist and man presently exists. The importance of Massine's work is reflected in an essay entitled "Ballet and Mas sine," by Albertina Vitak who wrote: ••• his fMassine's] compositions had very definite intellectual force and intensity of style -right from the beginning until he is now blazing trails in ballet in a manner so certain and thrill­ ing that we do not realize the importance of this period in ballet history and the greatness of the name Leonide Massine.7 One significant factor in Massine's greatness was the range and scope of his artistic career. Sacheverell Sitwell listed some of the roles which Massine took on during the course of his career: There is Massine, the dancer and actor, in old and established roles; Massine, the dancer in his own creations; and finally Massine as creator. And this last category, in itself, is a large subject, embracing all his variety of styles and calling for a detailed and considered treatrnent.8 Massine, the dancer and choreographer, has been commented on, reviewed, scandalized, and nearly canonized; but the literature about him is fragmented and scattered, making a true appreciation of the man difficult to achieve.

7vitak, p. 16. Bsacheverell Sitwell, "Appreciation," in Massine: Camera Studies by Gordon Anthony (London: Rutledge, 1938) 1 P• 15. 7 In focusing on Massine's life, career, and art, the

man emerged to the present writer as a character of

versatile style with great creative and innovative

ability, deeply rooted in the Diaghilev foundation of

artistic collaboration. Sinclair emphasized this versa-

tility in the following commentary:

This ability to change from style to style, while yet preserving a characteristic essential to Massineness, is what makes Massine the most repre­ sentative of all the choreographers of the twentie~~ century.9

The ballets choreographed by Massine are continu-

ously being revived and performed by ballet companies

throughout the world, but there is little tribute given

to the man except the recognition accorded him by the use

of his name as choreographer. A sincere understanding of

the depth and scope of Massine's personality, so intri­ cately involved with his choreography, has, in time, been

lost and/or simply neglected. To date, the literature

in dance history sorely lacks a comprehensive examination

of Massine. This study is the first to deal with the life

and work of Leonide Massine.

9Janet Sinclair, 11 Choreographers of Today--Leonide Massine,n Ballet Today, Octob~r 1960, p. 11. 8 Limitations of the Study

The study was limited to the aspects of biographi­

cal information about Leonide Massine as it pertains to

the creative evolution of his choreographic work. The

a~tists and musicians mentioned in the study represent a

selected group who worked with Massine between 1917 and

1956. Four of Massine's ballets, Le Tricorne, Le Beau

Danube, Les Presages, and Nobilissima Visione, were

selected for examination in order to exemplify the directions and development of his choreographic invention.

Other ballets are briefly mentioned and discussed.

Definition of Terms

For.the purpose of clarity, the general dance vocabula~y used in this study adheres to the following definitions. The specific choreographic terms follow those in Massine's text, Massine on Choreography.

General Dance Vocabulary

Ballet--A form of theatrical entertainment in which a strict dance technique, called the danse d 'ecole, evolved over the past five centuries, is united with music, decor, and costume to create works of dynamic, lyric, or pure dance interest. Strictly, the word ballet should relate to only works in the classic style but in recent years, with the increas­ ing cross-fertilization of classical ballet and 9 freer contemporary techniques, it has come to be used to describe almost any theatrical dance arrangement.lO

Character Dance--The study of the character dance • . • is the study of a special technique in ballet, a technique which is absent in the classic dance and might be called the technique of syncopated accents • • • this study communicates to the dance'r clarity of movement, sureness of gesture and, most important, a rhythmic feeling which forces the student and dancer to 'live' in a musical rhythm. With the technique of the character dance at his command, the dancer becomes the master of the character dance, whether it be American folk dance, Jazz, Spanish, Russian, Italian, Hungarian, Polish, or any other .11

Choreography--!. The art of composing dances; the science of putting together steps to form a dance and separate dances to form a dance composition or ballet. 2. All the dances in a ballet or some other dance production; the dance composition as a whole.l2

Corps de Ballet--A term referring to "all the members of a ballet company who do not perform solo dances b-ut· appear only in the ensemble. nl3

Danse d'ecole--A term which refers to academic ballet training; "the classical style."l4

1°G. B. L. Wilson, A Dictionary of Ballet {New York: Theatre Arts Books, 1974), pp. 41-42.

llAnatole Chujoy and P. W. Manchester, eds., The Dance Encyclopedia {New York: Simon and Schuster, 19 67) , p. 191.

12rbid., p. 201.

13chujoy, p. 227.

14wilson, p. 91. 10 Demi-caractere--A term which denotes "all non-classic roles and dances in ballet."lS

Symphonic Ballet--"A term used to describe the ballets made by Massine in the 1930s which were danced to complete symphonies."l6 "The forms of the choreo­ graphy were ve~ closely correlated with the forms of the music." 17

Choreographic Terms

Dynamic Evolution--A phrase indicating "all successive movements"l8 (N.B. movements which follow i.n a sequence) •

Harmonic Progression--A phrase for "all simultaneous movements."19

Posture--A term for the "static pose of the body in a given position."20

Plastique--A term referring to "ability of the body to be molded, shaped, formed into choreographic design."21

15chujoy, p. 282.

16Mary Clarke and David Vaughn, eds., The Encyclo~edia of Dance and Ballet (London: Pitman Publish1ng, 1977), p. 329.

17chujoy, p. 881. 18Leonide Massine, Massine on Choreography (London: Faber and Faber, 1976), p. 90.

19rbid.

20Notes on Choreography as presented by Leonide Massine, written by Lisa A. Fusillo.

21rbid. 11 Procedures

This study was begun by examining, collecting, and

compiling available information about Leonide Massine.

General dance and social histories were reviewed in order

to provide the investigator with an understanding of the

theatrical and political situations during the course of

Massine's career. The investigator then began to focus on biographical information about Leonide Massine by examining the historical and periodical literature per­ taining to Massine's life and career.

From this information and for clarification, the investigator prepared a chronology of major events in

Massine's life and a separate chronology of his choreo­ graphy. After synthesizing the collected data and com­ paring the chronologies, the investigator determined that the material should be divided into four sections. Three sections pertain to the important influences on the life and work of Massine: (1) Diaghilev; (2) the artists; and

(3) the musicians/composers. The last section consists of an examination of four of Massine's ballets. The materials gathered and presented culminate in the summary, findings, and conclusions of the study. 12 Sources of Data

Resources examined for this study included primary,

secondary, and unpublished materials. The investigator

found primary course material to be centered on periodical

literature in the form of daily newspapers and dance

journals, audio tapes of interviews with Massine and

persons who had worked with him, and personal journals and

experiences of the investigator which resulted from her

association with Mr. Massine. The periodical literature

provided abundant information. The New York Times and

New York Herald Tribune of the time carried daily cri­

tiques of performances and occasionally a feature article

about Massine. Dance journals such as The Dancing Times,

Ballet, The American Dancer, and Dance Magazine provide

excellent essays, articles, and critiques which were used

in the study. The Dance Collection of the New York Public Library at Lincoln Center houses recordings by several American radio stations of interviews with Massine over the course of 25 years; these were of great help in determining the ideas and beliefs that remained unchanged in Massine's mind. It was also interesting to hear Massine describe the direction of his career at various points in his life. 13 The investigator used personal journals and knowl-

edge of Massine which. resulted from her association with

him between 1972 and 1979. This experience was tre­

mendously valuable in discerning the need for.· .. and the

importance of_ this study.

Secondary sources were books, pamphlets, and

articles. Several accounts of the Diaghilev period

provided sufficient material for the investigator to

clarify disputed points of dates and events. Personal

letters and scrapbooks from the personal collection of the

investigator and from the Dance Collection of the New York

Public Library at Lincoln Center are examples of unpub­

lished materials. The investigator received permission

to view the films and video tapes of Massine ballets from

the Massine Collection in the Dance Collection at Lincoln

Center. This greatly aided the investigator in discussing

the four Massine ballets considered in this study.

A search was conducted for theses and dissertations

with possible relation to this study, but no such unpub­

lished work was found; apparently no study directly

related to this topic presently exists.

Sources of informatio~ for the study in addition

to those cited above were: The Getz Dance Collection in

Palo Alto, California; The Library of Congress in 14 Washington, D. C.; The Fusillo Dance Collection; and The

Dance Collection of the New York Public Library of the Performing Arts at Lincoln Center.

Related Literature

In order to secure an understanding of the life

and work of Leonide Massine, it was necessary to review

the literature in several broad areas: (1) material

directly concerning Massine; _(2) material directly con­

cerning Diaghilev; (3) material concerning selected

painters who were associated with Massine; and (4) material

concerning selected musicians who were associated with

Massine.

Examination of social and general dance histories

provided the investigator with an overview of the develop­ ment of the arts within American and European societies during Massine's career.

General Social and Dance History

As a background for the study, Dance: A Short

History of Classical Theatrical Dancing by Lincoln

Kirstein proved to be an excellent source which integrated both social and dance history. In his final chapter,

Kirstein includes a discussion of Massine and also records key political issues of the time. Revolutions in China 15 and in the Soviet Union, as well as the Imperialist war

in French Morocco, all added to the unrest of the economic

and political scenes in Europe.22

Another valuable source for the social influences

on art was Arnold Hauser's The Social History of Art. His

chapters on Modernism describe the development of the

Cubist, Surrealist, da-da, and abstract movements of art

and music; these were the periods from which Massine chose

the painters who designed the scenery and decor for his

ballets. The History of Popular Culture Since 1815 by

Norman F. Cantor, does not directly incorporate the arts

but did, however, add to the investigator's understanding

of the historical progression of social development.

Literature concerning the general history of dance

was important to this research as each author presented

different information about Massine. Joan Lawson in

A History of Ballet and Its Makers devoted a section to

Massine; she methodically itemized Massine's contributions to dance. Her comments are predominantly concerned with

Massine's choreography, and she is detailed in her

22Lincoln Kirstein, Dance: A Short History of Classic Theatrical Dancing (New York: G. P. Putnam's Sons, 1935). 16 references to his works. This was highly valuable

material for the study, providing specific discussions of

Massine ballets.

Serge Lifar, too, had firsthand knowledge of

Massine's choreography, and both Ballet: Traditional to

Modern an~ A History of Russian Ballet present his per­

sonal account of the events of the Ballets-Russes. Lifar

calls Massine a "choreauthor"23 which is an interesting

term that seems to be an ·accurate description, for

Massine was often involved with the libretto of the ballets he choreographed. Having replaced Massine in the

Diaghilev company, Lifar's remarks about Massine are curt and crisp. Nevertheless, he gives an intriguing account of the creative process and dance movements of Massine's ballets.

Other works on dance history such as The Book of the Dance by Agnes de Mille, John Martin's Book of the

Dance, The Dancer's Heritage by Ivor Guest, and A Concise

History of Ballet by Ferdinanda Reyna are brief in their mention of Massine but present information with discern- ment and insight. Chujoy's The Dance Encyclopedia and

23serge Lifar, Ballet: Traditional to Modern (London: Putnam, 1938), p. 170. 17 The Encyclopedia of Dance and Ballet by Mary Clarke and

David Vaughn were necessary aids in clarifying definitions

and verifying dates and performances reported in this

investigation.

General histories of art and music were reviewed

by the writer while pursuing specific sections of the

study. Gardner's Art Through the Ages contains concise

and detailed information on the various artists discussed

in this study. Although Gardner focuses on the artists'

works, the development of artistic movements, such as

Cubism and Surrealism, is put into perspective. This was of help in grasping the concepts of the avant-garde

movements in art.

Elie Faure's masterpiece of philosophy and literary

creativity, The History of Art, presents an imaginative and sensitive history as well as an outstanding interpre­ tation of value in the process of art. These volumes confirmed for the investigator the desirability of the unity of art and dance.

An overview of music history was adequately pro­ vided by Joseph Machlis in The Enjoyment of Music, the section on early twentieth century music being particu­ larly helpful in establishing the development of music during that period. The Decca Book of Ballet, edited by 18 David Drew presents an examination of individual musicians and composers who have collaborated on balletic choreo­ graphy. Several Massine ballets are included in this anthology and this material proved to be. most beneficial in the evolution of this study.

Literature Concerning Massine_ The sources of literature about Leonide Massine were organized into four categories: . (1) general dance history; (2) literature focused on the Diaghilev era; (3) historical/biographical studies of Massine; and (4) critiques, reviews, interviews, and commentaries from daily newspapers and dance journals. Sources in the first category are listed under the section entitled "General Social and Dance History. " The literature on the Diaghilev era was gleaned from valuable references such as Boris Koehne's Diaghilev and the Ballets Russes, Charles Spencer's The World of Diaghilev, and Serge Grigoriev's account, The Diaghilev Ballet 1909-1929. These were essential, as both Koehne and Grigoriev had worked with the Diaghilev ballet company. Richard Buckle's book, Diaghilev, provided significant information about Massine andhis association with the Diaghilev company; this work is so thorough that it became almost 19 a standing reference for this study. Buckle wrote about

Massine•s professional relationship with Diaghilev and

the collaborative endeavors that he pursued under

Diaghilev's discerning eye. The Diaghilev Ballet in London by Cyril w. Beaumont documents the performances of the company and presents

reactions of the audiences at a time when many Massine

ballets were being premiered. Prince Peter Lieven wrote

another important documentary, The Birth of the Ballets­

Russes. Some fundamental material was found in Lieven•s

detailed reminiscences of Massine's participation in the

Diaghilev company but was primarily useful in recreating

the atmosphere for later discussions of Massine ballets.

Of course the biographies of Diaghilev by Arnold

Haskell and Serge Lifar were also examined for they

contain important information about Diaghilev's influence

on Massine. Also, In Search of Diaghilev by Richard

Buckle is a noteworthy tribute to Diaghilev which defines

and solidifies his contributions to dance.

Biographies and historical literature about Massine himself are scarce. Every general dance history work contains some information, but Massine'sown autobiography,

My Life in Ballet, is the only definitive biography exist­ ing to date. As Massine's own perspective, this was an 20 invaluable reference to the study and an excellent record of the Massine ballets, including vital information about collaborating artists and musicians. Specific dates.are not provided in the text of this book; however, Massine included an appendix listing the details of all his ballets. The appendix along with the dance encyclopedias and general dance history texts do present enough• informa- tion so that accuracy and clarity on these points are assured. Gordon Anthony published a book entitled Massine: Camera Studies by Gordon Anthony in which Sacheverell Sitwell wrote a marvelous appreciation of Massine. Sitwell discusses Massine's career, describes his chorea- graphy and notes the importance of his association and collaboration with artists such as Picasso and musicians such as de Falla. Of particular interest is the way Sitwell traces the development of Massine's career by means of his choreography. Many essays and articles have been written about Massine and his career. The volumes of information from newspapers and dance journals range in scope from cri­ tiques of his choreography to· interviews both with Massine and with persons (particularly dancers) who worked with him, to brief appreciations of Massine's contributions 21 to dance, and to attacks on Massine's use of orchestral symphonies for ballet accompaniment. Rebuttals to these attacks were also published by ballet critics and historians. The daily newspaper clippings exposed the incred­ ible activity of Massine's career which crossed not only geographical but also theatrical divisions. He traveled to nearly every continent and performed in "legitimate" theatres, music halls, and stadiums.

Litera t_ure Concerning Decor a tiye _Artists for Ma~sine Ballets · · · The investigator examined the general history of art, as mentioned previously, as well as information about each of the selected artists included in the study. Biog- raphies of the artists were reviewed, and information about their associations with Massine is incorporated into the study.

Literature Concerning Musicians/Composers of Massine Ballets After Massine had left the Diaghilev company, he began to pursue the idea of using the "great masters" of music for his choreography. He chose the works of Beethoven, Strauss, and Berlioz to name but a few. However, having been indoctrinated into the Diaghilev 22 tradition, he also collaborated with contemporary musi­

cians and composers on several of his ballets when

opportunity permitted. Biographical information regarding

the selected composers was examined by the investigator.

Organization of Material

The study was divided into four sections in order

to delineate the various influences and collaborations of

Massine's career. Chapter II, The Education of Creative

Genius: Diaghilev's Influence,· includes biographical

information about Massine's early years and his develop­ ment as a choreographer under the careful guidance of

Diaghilev.

Chapter III, Collaboration: Massine and the

Painters~ presents a discussion of several painters, not primarily scenic designers, who ventured into the theatri­ cal world and worked with Massine. This section includes a representative selection of artists, not an exhaustive list of all painters with whom Massine associated.

Chapter IV, Collaboration: Massine and the

Musicians/Composers, provides information about a selected list of musicians who had a great influence on

Massine's life and work. Again, this is not a comprehen­ sive list of musicians/composers, but rather a representa­ tive sampleof themusic to which Massine choreographed. 23

Chapter V, The Collaborative Culmination: Four

Massine Ballets, provides a literal description of four

Massine ballets, Le Tricorne, Le Beau Danube, Les

Presages, and Noblissima Visione. These ballets repre­ sent four different dance styles and themes used by

Massine in his choreography at four stages of his career.

A summary of the study and a presentation of its findings and conclusions are given in the final chapter. CHAPTER II

THE EDUCATION OF CREATIVE GENIUS:

DIAGHILEV'S INFLUENCE

Massine--The Years Before Diaghilev

The Miassin Family24

Born in 1895, Leonide Massine was the last of five

children, four boys and one girl, in the Miassinfamily.25

Both parents were accomplished musicians and worked in the

Bolshoi Theatre. Massine's mother was a soprano in the

Bolshoi Theatre chorus and his father played French horn

in the Bolshoi Theatre orchestra.26

Life was not easy in Moscow during the early 1900s.

Although both parents had to work, the hardships were not predominant in Massine's own memories which were of a happy childhood.27 The elder sons were encouraged in academic fields and both Gregori and Konstantin were

24N.B. This was the actual Russian name. Diaghilev changed the spelling later in Massine's career.

25Massine, My Life in Ballet, p. 11. (N.B. Other historians have recorded this birthdate as 1896.)

26Ibid.

27conversations between Leonide Massine and Lisa A. Fusillo, West Germany, January 1977.

24 25 students at the School of Engineering. The middle brother

Mikhail found a career in the military, so it was only

the youngest brother, Leonide, who inherited and continued the artistic tradition of their parents.28

One of Massine's childhood memories was of his

carefree dancing that he performed while his elder

brothers diligently studied their mathematics. He was

often teased about this dancing by his sister, Raissa,

who called it "circus dancing."29 This natural affinity

for dance, however, did not prompt Massine's parents to

consider an artistic education for Leonide. Madame

Chernova, a family friend who sang in the chorus with

Madame Miassin, first suggested the idea to the family.

That suggestion marked the beginning of a legendary career.

The Bolshoi Theatre School

With the support of his parents, Leonide auditioned for and was accepted into the Bolshoi Theatre School.30

His career was underway. The school curriculum included

28No information was found about the career of Massine's sister, Raissa.

29Massine, p. 11. 26 general educational studies, dramatic, and ballet train­

ing. In his autobiography, Massine recalled that his

studies included mathematics, geography, physics, and

French, but his favorite subject was Russian literature.

He particularly favored the poets Tiutchev, Puskin, and

Nikolai Nekisov. 31 This early affinity for literature

was broadened and increased throughout Massine's life

and became an integral part of his choreographic ideas.

As students in the Bolshoi school, Massine and

his colleagues participated in some of the productions in

the Bolshoi Theatre. 32 This provided an exciting oppor­

tunity for the young students to be backstage and onstage with many of the most popular artists of the day.

In 1905, the Bolshoi Theatre was preparing a new production of Glinka's opera Russlan and Ludmilla.

Massine was chosen to play the part of the dwarf Chernomor, who kidnaps Ludmilla.33 This character debut was partic­ ularly thrilling for the young student, as both his mother and father were also performing in the production (as

31Massine, p. 11. 32rbid., p. 24.

33rbid., p. 29. 27 part of the chorus and orchestra, respectively} • Accord­

ing to Massine, this was the turning point in his experi­

ences at the Bolshoi school which swayed his artistic

direction toward acting.34

From that moment on, Massine was given small parts

in a series of plays at the Maly Theatre, including

Gogol's The Government Inspector and Ostrovsky's A Pro­

fitable Position, The Poor Bride, and Poverty is Not a

Crime. 3 5 As he became more involved with the drama,

Massine's interest in other arts was aroused and he began

his study of "serious music" on the violin with a tutor

from the Bolshoi orchestra.36 Massine had befriended a member of the corps de ballet from the Zimm Theatre

(located just opposite the Bolshoi Theatre) and together they studied art at the private little studio/school of

Anatoli Petrovich Bolchakov.37

Bolchakov was an avid admirer of the Impressionist painters. He taught his pupils about the works of such artists as Van Gogh (who used Impressionist techniques) ,

34Ibid.

35rbid.

36rbid., p. 30. 37rbid., P· 38. 28 Degas, and Toulouse-Lautrec. Although Bolchakov had

never been outside Russia, he was apparently quite knowl­

edgeable about European art and educated the students in

his school about the art treasures of the world, particu­

larly those in Venice, Rome, and Paris.38 This teacher

could not have known, nor did Massine at that time, that

these lessons equipped Massine with an excellent prepara-

tion for his future.

Massine continued at the Theatre school convinced

that he was destined for an acting career. He wrote in his autobiography about his dramatic aspirations:

By the time I was fifteen I had definitely decided that I wanted to be an actor. The theatre, to me was far more stimulating and challenging than the ballet, and apart from the fact that the plays I had appeared in held greater interest for me than ahy other of the Bolshoi productions, I found actors more intelligent and articulate than most of the dancers I knew. In comparison with the Maly [theatre] productions, the ballet was a mediocre form of entertainment. Except for the ballets of Tchaikovsky, the music was mostly on the level of Pugni and Minkus. Yet I realized too how much my ballet training had helped me in my acting. Physi­ cal control and an understanding of movement were invaluable assets when it came to character inter­ pretation and projection on the legitimate stage. In fact, both halves of my education complemented each other. My acting improved through my knowl­ edge of movement, and my experience in theatre helped me to create vivid characterization in my dancing.39

38rbid.

39Ibid., pp. 38-39. 29

Obviously a retrospective view is always much clearer, but

even if the sentiments expressed were not so clear·ly

articulated in his youth, Massine must have been instinc-

tively aware of the cross-influence as he participated in

both theatrical (ballet and opera) and dramatic produc-

tions.

Very early in his performing career, Massine often

excelled. One incident that he remembered was a time

when he had briefly danced across the stage with the corps

de ballet and the great Russian actor Mikhail Provich

Sadovsky pointed to Massine and shouted, "That boy has

God's spark!".40 Massine continued with his dancing

lessons even though he had decided to become an actor.

Massine had been chosen to dance the tarentella

in the last act of Swan Lake. In December of 1913, after

performing the tarantella, Massine was told by a friend

that Serge Diaghilev had been in the audience that evening.

Moreover, Diaghilev expressed his desire to meet with

Massine. The appointment was made and the introduction

took place.

40Richard Buckle, Diaghilev (New York: Atheneum, 1979), p. 270. 30 Diaghilev--Early Years

Education and The World of Art Journal

While Massine was attending the Bolshoi Theatre

School, Diaghilev had already begun introducing Europeans

to Russian art and music through a series of exhibitions

and concerts. These exhibits were the direct result of

Diaghilev's long association with the arts in his native

Russia.

Serge Diaghilev was born into a respectable family

in the Russian province of Per.m. 41 Although his own

mother died as she gave birth to Serge, he was cared for,

encouraged, and loved throughout his early youth by his

stepmother. 42 Haskell indicated the strong influence of

this woman on Diaghilev:

It was undoubtedly Diaghileff's .stepmother who con­ tributed largely to the development of that extra­ ordinary will-power and tenacity of purpose which was his dominant characteristic, and which turned ideas into actions.43

41Arnold Haskell, Diaghileff: His Artistic and Pri­ vate Life (London: Victor Gollancz Ltd., 1935), p. 31.

42serge Lifar, Serge Diaghilev: An Intimate Biography (New York: G. P. Putnam's Sons, 1940), p. 12.

43Haskell, p. 39. 31 All the Diaghilevs had an unusual enthusiasm and

talent for music. 44 Serge's stepmother, Helena Panaiff

wrote in her memoirs that in

this family of musicians • • • even the smallest boys whistle a Schumann quintet or a Beethoven symphony as they stroll about; • • . among these boys, Seriozha's [Serge's] passion for music was especially marked. Greedily he absorbed every­ thing that he heard, and was deeply affected by it. He had a really enthusiast cult for Tchaikovsky •••• 45

During his childhood, Diaghilev visited Tchaikovsky,

whom he called "Uncle Petia."46 Diaghilev was captivated

by "Uncle Petia" and was absorbed by the composer's music.

Musical associations also extended to the composer

Mussorgsky, who was not yet well-known when he played piano accompaniment for Serge's aunt during her vocal recitals.47 These associations were valuable to

Diaghilev~s later' endeavors.

Another comment by Diaghilev's stepmother indicates his artistic nature: "Diaghilev, like all Diaghilevs, reacted to music, to all art in fact with his entrails,

44Lifar, p. 13

45rbid. 46rbid.

47Buckle, P· 7. 32 emotionally even sentimentally."48 Helena Panaiff

Diaghilev provided a retrospective view of Digahilev's

approach to art:

In later life, he was often to become the prey of a conflict between ~is intellectual concept of what a work of art should be, and what he felt it should be. But other times this inner self would lead him infallibly along the path of true art, and that, even intellectually.49

Diaghilev spent his adolescent years at a very

prestigious school and he corresponded with his cousin

Dmitri Filosofiv who attended a middle-class school.

Dmitri andsomeof his classmates, Alexandre Benois, Walter

Nuvel, and Leon Rosenberg (who later took his grand-

father's name, Bakst) formed a group of artistic friends all of whom enthusiastically wished to "improve

their knowledge of the arts." 50 Dmitri invited Diaghilev

to visit this group and later the two youths traveled

through Europe together to see the great European art

treasures. 51 After completing his preliminary education,

Diaghilev attended St. Petersburg University, pursuing

48Lifar, p. 13.

49Ibid.

SOBuckle, pp. 10-11.

51Ibid., p. 12. 33 studies in law. While there he continued his association

with the group of friends he had met through Dmitri and

they introduced Diaghilev to "new trends in the arts."52

Inspired by the group, Diaghilev, already an accomplished

pianist, began to study music at the Conservatorie (while

still studying law) .53 However, his new found aspirations

to become a composer were severely doused by both his

friends and his advisor, Rimsky-Korsakov.54

At that point, Diaghilev turned his attention to

painting. With some of his financial inheritance he began to purchase works of art. He went again to Europe

"specifically to fill the gaps in his artistic knowl­ edge.n55 Diaghilev's interest and energy began to expand further when he was finally introduced to the ballet.

Meanwhile the group of friends individually began to become recognized as artists. Together they organized their creative efforts to produce The World of Art journal which was edited by Diaghilev. Percival described the journal in the following manner:

52John Percival, The World of Diaghilev (Great Britain: Studio Vista, 1971), p. 12.

53rbid.

54rbid.

55Ibid. 34 Propagandist and didactic in tone, this was a serious review of painting, the applied arts, theatre, music and literature, in which most of Diaghilev's circle of friends participated. At lasttheyhad a platform for their views; to encourage modern movements and reveal to Russians the richness of their own art.56 This was the beginning of Diaghilev's long career in organizing and presenting works of art.

The Paris Exhibitions Diaghilev became increasingly obsessed with Russian art and culture. He.included a section of Russian peasant art in the first edition of The World of Art in 1899.57 This enraged his colleagues, but Diaghilev's country back- ground provided him with a pure sense of the importance of all art, rather than being limited to the elitist taste of his friends. . Several preliminary exhibits of European art in St. Petersburg were organized by Diaghilev.58 Then he supervised an exhibition of Russian portraits at the Tauride Palace in St. Petersburg in 1905. Finally, in 1906, Diaghilev took a collection of Russian art to

56rbid., p. 13. 57Joan Lawson, A Histor.y of Ballet and Its Makers (London: Dance Books, 1973), p. 93. 58Percival, p. 13. 35 Paris. 59 According to Buckle, "Tt was a summing-up of all

Diaghilev's work in the past eight years." 60 The exhibit

included icons, portraits, and landscapes spanning the

fifteenth through the nineteenth centuries.61

The following year Diaghilev decided to present

Russian music to the Parisian audiences. A series of

concerts was performed at the Paris Opera, and, for the

opening night, Diaghilev had persuaded Rimsky-Korsakov

to conduct his own composition, Christmas Eve. 62 Also

included in the program was Tchaikovsky's Second Symphony

and the great singer, Chaliapine, performed an excerpt

from Borodin's Prince Igor.

The next season included the first full opera

production given by the group of Russians. Boris Godunov,

composed by Mussorgsky, was presented in 1908 at the Paris

Opera. 63 It was a brilliant production and a great success

for the Russians in Paris. 64 With much good will behind

59Buckle, p. 91.

60Ibid.

61Ibid.

62Ibid., p. 97. 63 Lawson, P· 94. 64Nesta MacDonald, Diaghilev Observed by Critics in England and the United States 1911-1929 (New York: Dance Horizons, 1975), p. 4. 36 him, Diaghilev's next venture was to bring the Russian ballet to western audiences.

Russian Ballet in the West The first introduction to Russian ballet was care- fully conceived by Diaghilev as a season of opera and ballet. He was not able, however, to engage the Paris Opera Theatre for the performances so they were held at the Theatre du Chatelet just outside of Paris.65 The audiences were stunned by the dancers. Mikhail Fokine, Anna Pavlova, Vaslav Nijinsky, and Tamara Karsavina were among the Russian stars who sparkled and illuminated the Parisian theatre. At a time when ballet was on the decline in France, the Russian season provided a rejuvinating spirit. By the end of the month of performances, Diaghilev had already begun to plan for a return of the Russian ballet to the Paris Opera in 1910. In addition, Diaghilev negotiated for a tour of the company to London. Upon his return to Russia, Diaghilev oversaw the preparations for the new ballet season which necessitated new choreography. 66 The true beginnings of. the spirit of

65Ibid. 66s. L. Grigoriev, The Diaghilev Ballet 1909-1929 (New York: Dance Horizons, 1953), p. 31. 37 collaboration were evident in these new ballets.

Diaghilev employed the talents of his friends, Alexandre

Benois and Leon Bakst, and established his goal of having

artists work together on a production in order to make

it a complete work of art. S. L. Grigoriev, who was also part of that collaboration, wrote:

In Scheherazade Diaghilev attained an aim once dreamt of by Noverre when he said "If only the painter, the composer could work together in harmony, what wonders would they not show the public!"67

Scheherazade was one of the new ballets, conceived by

Benois and Bakst, composed by Rimsky-Korsakov, and choreographed by Fokine. The ballet was a sensational triumph for .the artists.

The tour of 1910 brought great success to the

Diaghilev Ballet, as it had begun to be called, and particular acclaim to the dancer Nijinsky. The seeds of the Diaghilev Ballets-Russes Company had been planted and were now taking root. The company was formed and was, at first, comprised only of Russian artists.

Diaghilev was the dynamic force behind the forma­ tion of the company. As Lifar wrote:

Serge Diaghileff truly. came from the Russian intelligentzia of his time. His individual

67Ibid., p. 36. 38 genius, the thing that differentiated him from a mere dilettante, lay in his will to discover and Crea'te.68

By 1913, the company had received wide acclaim and vast

popularity in most of Europe. Nijinsky had left the

company that season and Diaghilev went to Moscow in search

of another dancer to perform the title role in Fokine's

new ballet, The Legend of Joseph. 69

Massine and Diaghilev

The Meeting

Arrangements had been made for the young Leonide

to meet with Diaghilev the morning following his perform-

ance in Swan Lake. Massine went to the Metropole Hotel

in Moscow where Diaghilev was staying. He described his

adventure:

When I walked into the ornate, gilded lobby I felt as though I were entering a larger-than-life world of fantasy. Timidly I made my way through rows of potted palms and porters in gold braid. When I asked for Diaghilev at the reception desk, I was shown into the lift and a few moments later was knocking at his door. It was opened by a young Italian with curly black hair and beady eyes. He smiled when I gave him my name, and showed me into a formal little sitting-room. "M. Diaghilev will be with you in a moment," he told me.

68rbid., p. 41.

69rbid., p. 95. N .. B. Nijinsky left the company due to Diaghilev's outrage of Nijinsky's marriage to Romola Polanski. 39 I sat down stiffly on a plush sofa. The Italian disappeared into another room, and I heard him say, "Signor Baron, Signor Miassin is here to see you," A moment later Diaghilev appeared in a dressing-gown. At first glance he appeared tall and imposing, but when I stood up I realized that he·was only of medium height, but that he had an unusually large head and broad shoulders. The next thing I noticed was the streak of silver-white hair, like a feather, over his forehead. Peering at me through his monocle, he looked to me like a creature from another world. He told me that he had enjoyed my performances in Don Quixote and Swan Lake. He was looking for someone to dance the title-role in his new produc­ tion, La Leqende de Joseph, and he thought I might be suitable. If his choreographer, Michel Fokine, approved of his choice, he would want me to join the company immediately. Before I had a chance to reply, Diaghilev explained that he was leaving Moscow in two days' time, and that he had to have a quick decision. He told me to go away and think it over, and to come back and see him again the following day. 7 0 After talking it over with his friends, Massine decided not to accept Diaghilev's invitation. He was, after all, being seriously considered for the role of Romeo in Shakespeare's play to be performed at the Maly Theatre.7l Massine was afraid of ruining his chances for a dramatic career and set off the next day to refuse the offer. His own account of the event:

70Massine, p. 42. 71Ibid. 40 When I went back to the Metropole I had defi­ nitely decided to refuse Diaghilev's offer. But as I walked through the lobby, I felt a sense of uncertainty take hold of me again. Going up the lift I had to keep reminding myself of the importance of my work at the Maly, of the advice my friends had given me, of my future as an actor. By the time I reached Diaghilev's room, I had con­ vinced myself once more that I was making the right decision. I walked in, he peered at me through his monocle,· smiled and waited for me to speak. I was just about to tell him that I could not accept his offer when, almost without realizing it, I heard myself say, "Yes, I shall be delighted to join your company. "7 2 The very next evening, Diaghilev and Massine were on the late evening train to St. Petersberg. In St. Petersberg, Massine had his audition with Fokine. When asked to demonstrate his elevation, Massine promptly jumped over a chair. He passed the audition and the following morning was in a photographer's studio dressed in the costume for the role of Joseph.73 Massine was quite young and relatively inexperi- enced. As Diaghilev spoke to Massine of the ideas for the ballet, Massine became quite lost in Diaghilev's intellectualization. 74 It was an awakening for both men--Massine, young and eager, and Diaghilev, the master.

72rbid., p. 43. 73Ibid., p. 45. 74Ibid. 41 Buckle wrote his interpretation of the situation:

He [Diaghilev] had found the son he could educate, the pupil he could mould: and to nurture talent-­ just as much as to devise and present ballets-­ was his vocation.75

The Educational Process

Maestro Enrico Cecchetti, the exceptional dancer

and ballet teacher, was engaged by Diaghilev to train the

dancers of the company. 76 Famous painters such as Picasso,

Bakst, Derain, and Berard were also employed by Diaghilev

to design the decor and costumes for the newly chorea-

graphed ballet. Musicians, too, were part of the

Diaghilev entourage--Satie, de Falla, and Stavinsky, to mention a few.77

So the novice Massine began his professional educa-

tion being, once again, surrounded by fine talented

artists. Diaghilev himself took Massine by the hand and

introduced him to the art treasures of the world. 78 As

the company toured throughout Europe, Diaghilev made a

point to take Massine to the museums, theatres, and

75Buckle, p. 272.

76Percival, p. 42.

77Gladys Davidson, Ballet Biographies (London: Werner Laurie, 1952), p. 198.

78Lifar, Serge Diaghilev, p. 208. 42 concerts wherever possible. 79 The more he saw, the more he learned, and evenings were often spent with a circle of artists whom Diaghilev had invited to dinner to share not just food and wine but also conversations about art, music, poetry, and philosophy. Massine later reminisced: No matter how long the day was, sometimes we would gather after the performance; just a few of us, 3 or 4, at Diaghilev's invitation. We would talk of a new ballet or new ideas in art and he would come to life--full of energy. And that would make us full of energy too:ao Final rehearsals for The Legend of Joseph took place in Monte Carlo before the Paris opening. There were "continual conferences" about the ballet and Richard Strauss, who wrote the score as his first ballet composi- tion, was at every rehearsal constantly inquiring if certain passages in the music were too long or too short. 81 The questionswere directed to Diaghilev, of course. The ballet proved to be a success in May of 1914, even though Massine was tremendously fearful due to his lack of technique. Throughout his life, Massine loved to

79conversations between Leonide Massine and Lisa Fusillo, West Germany, December 1976. 80conversations between Loenide Massine and Lisa Fusillo, West Germany, February 1977. 81Massine, p. 59. 43 tell the story of his first review which read, "Massine

cannot dance, but he can walk on stage in a way which will

hold the attention of any audience." 82 The ballet proved

even more successful in the London performances in June

of that year. 83

Russia declared war on Germany late in 1914. The

members of the Diaghilev company were dispersed on holi­

day. Diaghilev and Massine went to Italy for their

vacation and for more tutoring. Diaghilev took Massine

through the great Italian museums. 84 The works of

"primitive painters" such as Cimabue, Duccio, and Pietro

Lorenzetti left a great impact on Massine.85 He developed

an admiration for the Berlinghieris and for Byzantine

art. 8 6 From sculpture to paintings to architecture,

Massine absorbed a wealth of knowledge and was very "quick

to grasp the styles of different periods and the way an 87 artist revealed his character and beliefs in his work."

82rbid., p. 61.

83Ibid.

84 Buckle, p. 283.

85Ibid., p. 285.

86Ibid.

8 7Ibid. 44 Oneday Diaghilev suggested that Massine should choreograph

a ballet. Massine recalled the incident:

Sometimes Diaghilev would encourage me to try and reproduce the positions and movements of the figures in certain paintings, particularly those of Tintoretto, Titian, and Michelangelo. One afternoon in the Uffizi, while I was looking up at Fra Filippo Lippi's Madonna and Child, Diaghilev said to me: "Do you think you could compose a ballet?" "No," I answered without thinking, "I'm sure I never could." Then, as we passed on into another room, I was suddenly aware of the luminous colours of Simone Martini's Annunciation. As I looked at the delicate postures of Gabriel and the Virgin Mary, I felt as if everything I had seen in Florence had finally culminated in this painting. It seemed to be offering me the key to an unknown world, beckoning me along a path which I knew I must follow to the end. "Yes, '! I said to Diaghilev, "I think I can create a ballet. Not only one, but a hundred, I promise you."88

It is perhaps ironic that the first ballet to be discussed by Diaghilev and Massine was a religious ballet while the war was going on around them, yet it was a logical evolution from Massine's recent exposure of

Renaissance art which is so religiously oriented.

Diaghilev and Massine traveled through most of

Italy and finally arrived in Rome. In Rome, Diaghilev attempted to regroup his company. Natalia Gontcharova, an established Russian painter, met Diaghilev and Massine in Rome and sketched designs for the religious ballet

88Massine, p. 70. 45 Liturgie to be choreographed by Massine.89 Massine and

Gontcharova talked and the result of their conversations

was "sharp Byzantine-shapes." 90 Igor Stravinsky was

called upon to compose the music, but when he refused,

Diaghilev attempted to acquire copies of some ancient

Russain Orthodox chants.91

The war put a damper on the d·evelopment of the

ballet and it never came to fruition. A new task was

underway, and Massine was to create a ballet called

Solei! de Nuit. According to Massine, Larionov (an artist

with the Diaghilev company) was asked to supervise.the

choreography and to design the scenery and costumes. 92

Peggy van Praagh made note of Massine's career and the

importance of Larionov•s assistance in the development of

that career: After Fokine, Massine has exercised the strongest creative influence on the ·first half of the twentieth century. His idiom was already rich in ideas, even his first works. Larionov exerted a profound influence upon Massine's early choreography. The modernism of the artist helped to develop the individuality of the choreographer in particul-ar directions. And

89Mary Chamot, Gontcharova (Paris: La Bibliotheque des Arts, 1972), p. 70.

90Buckle, p. 293.

91Ibid. 92Massine, p. 74. 46 from·the artistic education Larionov gave probably comes the angularity, broken lines and irregular groupings which seem to reflect in Massine's choreography certain styles of contemporary painting.93

Emergence of a Genius

Solei! de Nuit was Massine's first collaborative

effort. He wrote about the ballet's development:

Working on Solei! de Nuit, Larionov and I seemed to inspire each other as we discussed and tried out each scene. He felt strongly that the ballet must be done in authentic peasant style, and his cos­ tumes, in vivid shades of red, purple and green, .were based on Russian folk-art. For the dances I drew on my childhood memories of the chorovod and of "Gori, gorijasno", which he helped me to embel­ lish with suitably primitive, earthy gestures. I think it was through Larionov that I first. came to understand the true nature of these old ritual peasant dances.94

The first performance of the ballet was at a charity performance for the Red Cross in Geneva, 1915.

Massine not only choreographed the ballet but also danced the leading role. By this point Diaghilev had changed the spelling of Massine's name from Miassin to Massin.

Diaghilev felt that the new spelling (without the "i"-- the-"e" was added later) would make the name sound more

93peggy van Praagh and Peter Brinson, The Choreographic Art (New York: Alfred A. Knop~l963), pp. 73-7 4.

9 4Massine, p. 75. 47 pleasing to western ears. The ballet was a resounding

success and Massine took on the roles of choreographer and

principal dancer in the company.

In 1916, the Diaghilev Ballets-Russes came to the

United States of America.95 Leaving the turmoil of

Europe behind them, members of the Russian troupe were

anxious to visit this new country. Massine replaced the

absent Nijinsky in the ballets L'Apres midi d'un.Faune,

Petrouchka, and Scheherazade.96 Although the audiences

were cool at the opening performance, the reviews were full of praise and encouragement.97

It was in America that Massine met Nijinsky.

Diaghilev had arranged for Nijinsky to join the company

in the United States. Deeply moved by the experiences of

seeing Nijinsky dance, Massine was also "astonished by

his innate ability and by his instinctive feeling for

choreography."98

The company went from America to Spain, to perform at the invitation of King Alfonso. Spain was to be an

95rt was at this point that Diaghilev's name took on the "v" ending rather than the "ff."

96Massine, p. 81.

97rbid.

98rbid., p. 87. 48 important ally of the Russian company in later years.

This trip to Spain also awakened the astonishing affinity

which Massine had for the Spanish dance. He spent many

evenings watching th.e flamenco dancers and eventually

studied the dance.

Diaghilev was eager for Massine to create a Spanish

ballet. Now confident in his own abilities and becoming

absorbed with the intricate Spanish rhythms, Massine was

ripe for the task set before him.

Massine.the choreographer. had emerged and, after

dancing Nijinsky's roles, Massine was much more confident.

of his dancing abilities. The world was ready for the

choreographic invention to come, and Diaghilev was anxious

to see the product of his protege. Arnold Haskell quoted

Ernest Newman ("no lover of ballet as an art form 11 )99

about Massine's artistry:

I can only wonder at the lack of imagination that prevents some people from seeing the sure touches of genius with which Massine's choreographic score, so to speak, positively bristles.lOO

According to Lillian Moore, "Diaghilev had once remarked that Massine had the most brilliant mind he had

99Arnold Haskell, 11 Leonide Massine: An Apprecia­ tion," Dance Magazine, November 1969, p. 48.

lOOibid. 49 ever encountered in a dancer."lOl The education with

Diaghilev, however, had come to an end. The artistic

world extended its arms to Massine and together, they danced.

Epilogue

Massine's career did not end with Diaghilev; he

left the company in 1921 to find his own direction.102

He returned in 1925 and 1927 to collaborate on two ballets

with the Diaghilev company but then continued on his way.l03

Upon the death of Diaghilev in 1929, the company

was disbanded. Some of the dancers re-grouped in 1933

under the name Colonel de Basil's Ballets Russes de Monte

Carlo. 104 Massine became choreographer and principal dancer. He continued to create·newballets but throughout his life, Massine never disclaimed the influence of

Diaghilev. John Gregory quoted Massine as follows:

101Li1lian Moore, Artists of the Dance (New York: Thomas Crowell Company, 1938), p. 217. 102Massine's own account was that he was dismissed from the Diaghilev company because he was rebelling against the limitations of the situation. Leonide Massine, My Life in Ballet, p. 154. Popular speculation was that Massine was dismissed due to his marriage to Vera Savina. 103Haskell, p. 48. 104vitak, p. 15. 50 "I was educated by Diaghilev. Diaghilev based his plans

on classical foundations. Anyone who discards those foundations will sink."lOS

In a taped interview with Marian Horosko, Massine spoke again about Diaghilev:

Diaghilev himself was a giant of knowledge. He had intuition to help young artists to understand what ballet performance really is • • • in music my education came entirely from Diaghilev • • • he showed me the greatest in everything: poetry painting, art •••. 106

Work continued to be his life as Massine traveled

to England and America, working, teaching, creating, and

performing. Massine left the de Basil ballet to start a

company of his own. That company, the Ballet Russe de

Monte Carlo, lasteda fewyears, but in 1941 Massine came

to America and joined the Ballet Theatre company (fore-

runner of the current company, American Ballet Theatre).

Of that endeavor, John Martin wrote:

Massine would seem to be a singularly inappro­ priate choreographer for Ballet Theatre. A man of unarguable gifts and of major importance in the history of ballet, he represents all the directions in which the company is unequipped and congenitally disinclined to travel.

lOSJohn Gregory, "With Massine on Gali," The Dancing Times, October 1974, p. 24.

106Interview recorded on tape. Marian Horosko inter­ viewing Leonide Massine; 1969 in the Dance Collection of the Library of Performing Arts, New York Public Library at Lincoln Center. 51 In addition to this, he has composed far too much for the own good of recent seasons . • • both his new works [Aleko and Don Domingo] are laboured, complex and backward lookingi though as a creative talent he is far from spent. 07

From other reviews and articles written at the

time, it is evident that Massine was not as well received

in America as he had been in Europe and South America.

Mary Clarke wrote in 1940 that Americans "didn't under-

stand Massine ballets and were much more at ease with the

type of work created by Balanchine."l08 The Balanchine

ballets were less dramatic at that time and used little

or no character dance, but only classical ballet in

abstract variations. According to Clarke, "Balanchine has

a greater reputation in America than in England. Massine

has a greater reputation in England than America."l09

Massine reacted to the American attitude in a newspaper interview in 1948:

I am not coming back here--except perhaps briefly-­ until I see that the American people like ballet. To please the American audience, one must produce all-sorts of ballets that are second rate.llO

l07John Martin, "An American Sums up," The Dancing Times,. February 1943, p. 215. 108Mary Clarke, "Massine--In England and America," The American Dancer, April 1948, p. 28.

109Ibid. llOclipping from New York Post Horne News, September 10, 1948. 52 Some American critics saw more in Massine's work than others. Robert Lawrence wrote in the New York Herald Tribune, "There can be no doubt that Massine varies more widely in quality and manner as a choreographer than any of his colleagues."lll Acknowledging Massine's weak- nesses, Lawrence continued: Clearly the man is unpredictable, and on this basis has drawn some adverse criticism that tends to obscure hif ~ore positive and first class achievements. 1 In the February 1940 edition of the American pub- lication Dance, there appeared an article, with no credit given to its author, entitled "The Ballet that Massine Built." The anonymous author wrote of Massine: Unquestionably the most talented and versatile choreographer of the Post-Fokine period in ballet, Massine is years, if not decades, ahead of his contemporaries in the difficult art of staging ballets. His enviable record contains practically no compositions that could be classified as fail­ ures, the majority of his ballets are definite artistic successes, and a great number of his creations will be entered into the history of ballet as milestones on its road of constant development and progress.ll3

lllRobert Lawrence, "Massine and Ballet Theatre," New York Herald Tribune, May 9, 1943. 112Ibid. 113"The Ballet that Massine Built," Dance (East Stroudsburg, Pa), February 1940. 53 /

Massine left the United States and returned to

Europe to continue his work always carrying with him the

Diaghilev traditions. Massine's life, work, and art were

dominated by the goal of artistic collaboration and the

results of such collaborations stand as monuments to the

Diaghilev foundation and the greatness of Massine's

career.

In an essay paying tribute to Massine, Arnold

Haskell defined the importance of Massine's career to

the field of dance:

It was Massine, educated by such remarkable tutors, who was to translate the dance. I am convinced--from personal experience and from my acquaintance with many of those concerned--that his has been one of the most powerful influences on ballet and has overflowed from Ballet into the music hall and art gallery. He has enriched the whole vocabularly of movement, to such an extent, in fact, that we tend to take it for granted.ll4

Massine did not take his own choreographic success for granted. Experimentation and education were a con- tinual process for Massine as indicated when he said:

I feel now there is so much to discover in choreography that I feel there is an endless road and as long as I am in this world I must follow

114Haskell, p. 43. 54 it. And I must pass this, my knowledge to the younger generation. That is my sense of being, among the youngsters.llS

His ideas for creative works were boundless,

plentiful, and always active in his mind, even until his death. At that time the last collaborative effort had been formulated and planned; Massine wanted to pass on his knowledge to an artist of the "younger generation."

He died before that could take place.

115rnterview with Marian Horosko. CHAPTER III

COLLABORATION: MASSINE AND THE PAINTERS

Throughout his career, Leonide Massine partici­

pated in collaborative ventures with some very great

artists. Particularly during his association with the

Diaghilev company, Massine worked with such artists as

Bakst, Benois, Gontcharova, and Larionov, all of whom

became famous for their stage designs. In addition,

Massine had the experience of working with many other

contemporary artists who are not as widely recognized

for their theatrical involvement as for achievements in

their own craft. This chapter focuses on the visual artists who

designed sets and costumes for Massine ballets but are

not well known for their theatrical decor. The purpose

is to (1) identify those painters who have worked with

Massine, (2) acknowledge their artistic creations in the

Massine ballets, and (3) remind the reader of the artis­

tic heights reached by these artists.

Nine artists were selected as a representative group from the years 1917 to 1950. Each painter is discussed in the order of the date of his first

55 56 collaboration with Massine. Subsequent Massine ballets

designed by each artist are discussed as well. Table 1

· (p. 103), is a chronological list of the nine artists and

the ballets they designed.

Pablo Picasso

One of the first artists with whom Massine worked was Pablo Picasso. Picasso was introduced to the world of ballet and stage design by a rather circuitous route.

In 1916, he met the renowned poet Jean Cocteau. Cocteau had begun to mingle in the Montparnasse but was rather disliked by many of the painters there; however, he and

Picasso got along quite well. Cocteau persuaded Picasso and Erik Satie (the composer) to collaborate with him on a ballet.ll6 Cocteau was eager to involve himself with the theatrical world, and he established contact with

Diaghilev after having seen the highly acclaimed first

Paris season of the Ballets-Russes.ll7

Cocteau had collaborated with Frederic de Madrozo on the scenario for the ballet Le Dieu bleu before he bagan to persuade Picasso to join his group in its

116patrick O'Brian, Pablo Ruiz Picasso (New York: G. P. Putnam's Sons, 1976), p~ 219. 117rbid. 57 venture in ballet art. According to the personal account by Brassai: The poet [Cocteau] succeeded in wrenching the painter {Picasso] away from his studio in Montparnasse and dragging him to Rome to create "Parade" with Diaghilev and himself. Cocteau has often said that his meeting with Picasso was the capital event of his life. The audacity and clarity of vision of the artist have doubtless stimulated his quicksilver mind, and so too have Picasso's hUmor, hisverbal comedies, his ellipses, his genius for breaking-off and for change, his piercing definitions, his "profound fantasy". • • .118 The decision to enter into theatrical scenery and costume design must have been a very difficult one for Picasso as his contemporaries, the avant-garde painters of Montparnasse (especially the Cubists), considered the idea scandalous and even more sacrilegious than realistic drawing.ll9 Nevertheless, Picasso went to Rome in February of 1917 and brought with him the preliminary models of the stage settings for the ballet to be called Parade. The story idea by Cocteau was based upon a French parade which was "the sample [demonstration] given outside a fairground booth of the entertainment to be seen

118Brassai, Picasso and Company (New York: Doubleday and Co., Inc., 1966), pp. 125-126. 119o'Brian, p. 219. 58 within."l20 The characters included a Chinese conjurer, a precocious, little American girl, and an acrobat. The setting was suburban Paris in a music-hall or circus environment. Picasso was enthusiastic and although he had never seen a ballet, he relied on his knowledge of the circus to create the necessary atmosp.here and insisted that three more characters be added to the ballet: the managers of the troupe, a Frenchman, and an American. O'Brian gave an excellent description of the Picasso inventions and designs: These characters were essential to his view of the ballet: the two human managers were to be huge architectural figures ten feet high, some­ thing in the nature of his constructions, who would lurch about the stage bawling through megaphones, more real than common reality, dwarfing the ordi­ nary performers, and imposing an essentially Cubist conception on his otherwise fairly traditional sets, costumes, and curtain. The background against which these tremendous figures were to appear was conventional enough: monochrome houses with a gap in the middle for depth. As for the dancers' costumes, the two acrobats, blue and white with curving stripes, were reminiscent of Picasso's earlier circus people; and only the conjuror was really startling in his brilliant orange and yellow, black and white, with asymmetric curves and spirals. And the curtain was a gentle mockery of such composi­ tions, with an added charm of its own. It was an enormous expanse of cloth, over fifteen hundred

120Buckle, p. 323. 59.

Costume Designs for Parade by Picasso 60

Costume Designs for Parade by Picasso 61 square feet. . • • On either side of the background are conventional great curtains, looped back to show a pillar and far away an arch, perhaps a ruin; in front of these and on the right a group of strolling players including a harlequin, sit on boxes and trestles drawn up to a table, while one of them a traditional Spaniard, plays his guitar. Over the left a gentle winged mare suckles her foal, while standing on her back a winged girl reaches up to a monkey on a striped ladder. In the foreground an acrobat's ball, a sleeping dog, a drum, circus impedimenta. Red and green pre­ dominate, and a mild happiness.l21 The ballet was performed on the 18th day of May, 1917, but was not a major success. It shocked and stunned the Parisian audience. The spectators were not prepared for a ballet where the s.tandard classical movements were replaced with stylized interpretations of everyday move­ ment and behavioral patterns.122 "Massine's comedy was something new for the Russian Ballet; new, too, in being neither Russian nor Orienta1,"123 wrote Buckle. Just as Picasso was the pace-setter of the western avant­ garde,l24 so then was Massine the new light in western modernity in dance. The choreographed movements, the

121o'Brian, p. 221. 122Buckle, p. 331. 123Ibid., p. 327. 124o'Brian, p. 221. 62 abstract music, and the Cubist designs were the necessary elements in the emergence of this "new" style of ballet. Two years later in 1919, Diaghilev, Massine, and Picasso were joined by the composer Manuel de Falla, and the collaborative result was acclaimed as one of the _greatest masterpieces in the whole history of ballet.l25 As a ballet incorporating the Spanish dance, Le Tricorne (or The Three-Cornered Hat) harmoniously fused the elements of music, dance, decor, and dramatic plot. Massine himself said: "Le Tricorne" had begun as an attempt to synthe­ size Spanish folk dances with classical techniques, but in the process of evolution it emerged as a choreographic interpretation of the Spanish temper­ ament and way of life.l26 After the Russian Revolutions and the beginning of World War I, the Ballets-Russes found refuge in Spain where they were particularly favored by the royal family. Diaghilev arranged for the company to travel through Spain to Saragossa, Burgos, Salamanca, Toledo, Seville, and Granada. The company performed, visited the museums and cathedrals, and watched the local dancers. It was in

125parrnenia Migel, ed., Pablo Picasso: Designs for "The Three Cornered Hat" (New York: Dover Publications, Inc., 1978), p. v. 126Massine, p. 118. 63 Spain that Massine became friendly with Felix Fernandez Garcia, the exceptionally gifted performer of Spanish dance, who became Massine's teacher of the Spanish dance.l27 While Massine studied, de Falla collected folk tunes from the local musicians in many regions of Spain. The ballet, however, was not actualized until after the Ballets-Russes had left Spain and moved to London where Le Tricorne was premiered on April 30th, 1919, at the Alhambra Theatre. Picasso's designs were marked as Goya-like by critics and the art-intelligencia; yet they were perfectly congruous as Le Tricorne was set in the eighteenth century and "the designs were based on typical costumes of the period such as one can see in early works by Goya."l28 Patrick O'Brian wrote a concise description of some of Picasso's designs: His curtain was a view into a bull ring, with women in mantillas and men in cloaks watching from the shade of an arched box, while in the brilliant sun beyond, a dead bull is being dragged from the arena. The back-cloth showed a great arch among houses--perhaps the gateway of a fortified village--with a bridge in the distance: all pink and pale ocher under a blue starry sky. And his costumes were fairly straight forward versions of

127Buckle, p. 336. 128Migel, p. viii. 'I .'

64

Costume and Set Designs ·for Le Tricorne by Picasso ------·------·--- ·-·- -···---· . --- ·----- __ 6__ :;5 /-'r ·:.:.::;J r , /--·, / /--, ._/

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. ·

; . .

Costume Design for Le Tricorne by Picasso 66 Spanish tradition. If it was not particularly significant, it was remarkably effective.l29

The costumes were further described by Douglas Cooper as

eminently theatrical and suggest no less of the gravity than of the gaiety which are characteris­ tically Andalusian, by his lavish use of bright colors in opposition to black and by his recourse to very bold stripes and arabesques.l30

Although Massine choreographed and created other

ballets, and worked with other artists, he and Diaghilev

called on Picasso once again in 1920 to design the new

ballet Pulcinella. It was to be a ballet based on the

eighteenth-century commedia dell'arte characters with

Stravinsky orchestrating the music of the Italian

Pergolesi. Picasso's first idea was to create a contem-

porary setting for the Italian comic theatre, and he

produced designs which were "Offenbach-period costumes with side whiskered faces instead of masks."131

Diaghilev rejected the first designs by Picasso and insisted upon a more accurate rendition of the Italian art. Picasso finally presented a backdrop of a simple

129o'Brian, p. 238.

130oouglas Cooper, Picasso: Theatre (New York: Abrams, 1967), p. 41. 131Buckle, p. 362. 67 Neapolitan street scene with a v:iew of the bay including a boat, Vesuvius, and a full moon, all within a Cubist perspective incorporating blue, grey, dark-brown, and white hues. 132 The costumes with their traditionally vivid colors in the style of the commedia dell'arte, contrasted with the scenery. Massine wrote of his cos- tume, "I also wore red socks and a tie, a sugar-loaf hat, and my Petito mask."l33 The ballet was an enormous success and Stravinsky spoke of the work as "one of few in which all the elements fused into a perfectly satisfy- ing whole; • Picasso's miracle."134 Frederick Ashton called Pulcinella, "the perfect ballet."l35 The last ballet of the Picasso-Massine collabora- tion was titled Mercure. It was staged by Etienne de Beaumont, as by this time (1924) Massine was no longer with the Diaghilev Ballets-Russes. The striking music was composed by Erik Satie and Massine began experimenting with poses plastiques. Although the ballet was not a

132Massine, p. 150. 133Ibid. 134o'Brian, p. 242. 135Frederick Aston, "A Word About Choreography," The Dancing Times, May 1930, p. 124. 68

Set Design for Pulcinella by Picasso 69 great success, the setting was admired and Picasso was

highly~ praised.

Mercure was significant as an artistic work. The

Surrealists~severely disapproved of artists in'the

theatre, even though Derain, Braque, and Gris had all been

successful at stage design. Picasso created in Merc~re,

designs which were neither Naturalistic nor Cubistic; instead he turned to a flowing line.l36

The curtain was described quite well by O'Brian:

• two familiar figures, a tall white harlequin playing a guitar and a red pierrot playing a fiddle; but they were enveloped rather than defined by undulating continuous curves, and this dynamic line set key for everything that appeared when the curtain rose to show a totally unfamiliar world. Much of the scene flowed, not only figura­ tively, not only in its line, but in fact: it was made of great free-form shapes that vaguely hinted at the form of the more precise signs inscribed within -them or overflowing the borders and drawn with curved, black-painted wire or supple rods • • . • this was more the presence of mobiles, forming not only a setting for the ballet but an integral part of its motion. Night, for example, a woman on a starry bed, swung to and fro.l37

These designs caused the Surrealists to laud Picasso and they·wrote in_the Paris-Journal:

We wish to express our profound and total admiration for Picasso, who, despising all sacrosanct conven­ tion, has never paused in his perpetual creation

136o'Brian, p. 264.

137Ibid., pp. 264-265. 70 of the disquiet, the searching anxiety of our modern days nor in giving it the highest form of expression. • •• Picasso, far beyond his col­ leagues, is now to be seen as the everlasting incarnation of youth and the unquestionable master of the situation.138

Picasso's association with the Diaghilev company

made him the first non-Russian painter to join the ranks

of the predominantly Russian troupe. Also, Picasso was

one of the first painters who had no experience in the

~~eatre prior to his work with that company. His decora-

tive designs, like his art, were always innovative and

served as an inspiration to both Massine and the entire

artistic community.l39

Andre Derain

The first ballet in which Andre Derain began his

work with Massine was under the auspices of Diaghi1ev.

The ballet was the very successful Boutique Fantasque

(The Fantastic Toyshop), premiered in 1919. The idea for

the ballet had arisen during the Bal1ets-Russes visit to

Spain, and it actually premiered before Le Tricorne.

Derain and Picasso worked with Massine at about the same time. The situation put them in competition; however,

138Ibid. 139Ibid. 71 Derain and Picasso remained friends although the closeness of their relationship was curtailed.l40 Massine had been inspired by some unfamiliar music by Rossini and created characters for Boutique Fantasque including Italian peasant dolls, a pack of cards with the Queen of Diamonds, Queen of Clubs, King of Spades, King of Hearts, can-can dancers, and a barrage of assorted others .141 Derain set the ballet in the 1860s, the crinoline period. 142 The costumes and scenery were as bright, gay, and fanciful as the music and choreography. The next ballet designed by Derain was Gigue (1924). Massine described the ballet as "an elegant trifle set in a corner of the garden at Versailles."l43 Derain devised a gold shimmering costume to be worn by the Prince (danced by Massine) and a rich deep blue gown embroidered with flowers for the Princess.l44 Massine was pleased with the decorative interpretations by Derain and felt that the costtimes added vitality and character

140o'Brian, p. 239. 141Massine, p. 120. 142auckle, p. 355. 143Massine, p. 159. 144rbid., p. 169. 72

Set Design for Boutique Fantasque by Derain 73 f7J /'·. ~ // ... ·...... ,· '· .r. :~·.: .. :~;.._;;;...... ~ .···.:.. ' #,.._...... ,._ ·~ .. r . ,! r·:.•.~ .. -... I ... .// ...

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Costume Designs for Boutique Fantasgue by Derain 74 75 to the choreography.l45 Gigue was not as successful a

ballet as Boutique Fantasque and Massine did not call on

Derain again until 1950.

This last endeavor produced La va·l.se; it did :not·

become a popular or well-known ballet. Massine felt that

the music was perhaps too repetitive but admired the

fabulously elegant ballroom set designed by Derain. 146

Meanwhile, Derain had become involved with other choreog-

raphers and, although La Valse was not well received, his

reputation as an artist for theatrical decor never

diminished.

Henri Matisse

Diaghilev approached Henri Matisse in 1920 to

design the stage sets and costumes for a new ballet based

on Stravinsky's opera Le Rossignol. Matisse was unenthu­

siastic for he was not at all fond of ballet. 147 However,

Picasso had already been successful in stage designs and

Derain was also entering the theatrical art world at this

145conversations between Leonide Massine and Lisa A. Fusillo, West Germany, February 1977.

146Massine, p. 256.

147Alfred H. Barr, Jr., Matisse: His Art and His Public (New York: The Museum of Modern Art, 1951), p. 207. 76 time, so, coaxed by Stravinsky and. Massine, Matisse reluctantly began the task. The designs produced by Matisse were simple yet created the illusion of the charm and delicacy of a Chinese court. The ballet was based on the Hans Christian Anderson fairytale of the Chinese Nightingale. Matisse's backdrop was white with three overhanging friezes with black-painted scalloped edges. 148 The costumes were straw-colored and were delicately set off by the back­ ground of white and turquoise.l49 Massine said of Le Chant de Rossignol (The Song of the Nightingale) : I worked closely with Matisse to create a fusion of costumes, decor and choreography, and I found this ballet one of my most successful efforts at collaboration with a designer.lSO Matisse and Massine did not work together again until 1939. By this time, Mas sine had begun his "symphonic period" and had already choreographed Les Presages to Tchaikowsky's Fifth Symphony, Choreatrium to

148Massine, p. 147. 149The Simon and Schuster Book of Ballet (New York: Simon and Schuster, 1979), p. 189. 150Massine, p. 148. 77

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Set Design for Le Chant du Rossignol by Matisse 78

Costume Design for Le Chant du Rossignol by Matisse 79

Costume £or Le Chant du Rossignol by Matisse 80 Brahm's Fourth Symphony, and a ballet to Beethoven's

Seventh Symphony. Now he was choreographing Shostako­

vich's First Symphony and invited Matisse to do the

designs.

The libretto was conceived and written by Massine.

It involved the "eternal struggle between the spiritual

and material forces in Man"151 which would be danced by

groups of dancers in different colors: two figures in

white are the poetic hero and heroine; the Black leader

and his followers represent evil destiny; the Red dancers,

allied with the Black, are also malevolent; Yellow

represents material activities; Blue, spiritual.l52

In the backdrop of Rouge et Noir, Matisse created

an abstract effect of a great white Gothic arcade with yellow-soffited arches.l53 Under the center arch is a blue triangle, with a red background on the right side and a black background on the left side. The costumes carried through the abstract theme. The dancers wore tights the color of their "group" with "short flame-like 154 strips which wind and flicker around the figures."

151Barr, p. 254.

1 52rbid.

153Ibid.

154Ibid. -~ tn tn ~ ~ 4-> ~ro -5 Q) ~

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;!"-~-,...t--· -' ./aL.di.J(,.wddt

Set and Costume Designs for Rouge et Nair 83 Rouge et Nair was well received by audiences, Massine was hailed for his choreography, and Matisse triumphed as critics commented that the costumes were "wonderfully designed for dancing" and against the back­ drop "created an effect of great abstract beauty and unsurpassed brilliance.'! 155

Georges Braque Diaghilev had engagedGeorges Braque to design several ballets before Braque and Massine joined forces in 1924 on the ballet, Salade. This work was planned to be another comrnedia dell'arte ballet according to Massine and has been described as "another Neapolitan romp, like 'Pucinella'."156 It was the second ballet produced by Massine after he left the Diaghilev company. Braque's designs suggested the hard-working aspects of the Neapolitan life. He used somber grays and deep reds which had very mellow overtones when seen against the light of lanterns carried by the dancers.l57 In the summer of 1924, Diaghilev invited Massine to choreograph two new ballets for the company. One of

155rbid. 156Buckle, p. 425. 157Massine, p. 169. 84 these ballets, Zeohire et Flore, was an attempt to

recreate the eighteenth century ballet d'action and 158 Braque was given the task of designing the decor. It

was to be "a classical masque performed by serfs in a

Russ~an ' no bl eman I s pr~vate' t h eatre. ulS 9 But t h 1s' or~g~nal ' '

intention was lost in the creations by Braqu~. The Muses

wore evening dresses of woolen material in dull purple 160 and b rown, ra ther than the c 1 ass~c. t un~cs. ' The b ac k - drop was a landscape which did not relate to Olympus and

the two solo dancers wore scant costumes with no

apparent relationship to anything else on stage.

The first performance of the ballet made Diaghilev

reconsider the venture and he began to make changes,

particularly in Braque's designs for the Paris opening.

Braque, however, was not discouraged and continued to work in the theatre, later producing more successful decor.

158M . ass~ne, p. 16 3.

159auckle, p. 452.

160rbid. 85

• 4.: ;,. ...

... ·. ;~ :.- ·... ~ .

.. • ''...s : ;.: ~.. :

Costume for Zephire et Flore by Braque Costumes for Zephire et Flore by Braque 87 Joan Mira Ever fascinated by Spanish artists, Massine was quite taken with the work of Joan Mira. They were both employed by Rene Blmn,·. artist ·.director of :the Bal.let . Russe d'e: Monte Carlo. This company was formed after Diaghilev's death in 1929. Massine was very excited to work with Mira on the ballet Jeux d'Enfants {Children's Games), as he felt that Mira's paintings were "imaginative and childlike."l61 The costumes were Surrealistic and brightly colored with "ingenious stripes."l62 The sets were also abstract yet simple, and allowed the dancers to use them effectively as they moved about the stage. 163 Massine felt that the abstract nature of the designs complemented the abstract movements in the choreography.l64 Jeux d'Enfants was the only collaborative effort between Massine and Mira. It was a well-recognized work and a credit to both artists. In fact, it was one of

161Massine, p. 183. 162rbid. 163rbid. 164conversations between Leonide Massine and Lisa A. Fusillo, West Germany, March 1977. 88

. i ;1 ·:·} . .'· j '~.l

Set and Costumes for Jeux d'Enfants by Mira j j j j j j j j 89 j j j j j j j j j j j j j j j j j j j j j j j j j j j j j j j j j j j j j j j j j j j j j j .j j Costume j for .!I..eux j d'Snfants by Mira j - j j j j j j j j j j j j j j j j J 90 the most successful Surrealist designs since the Diaghilev era.l65

Andre Masson

In his experimentation, establishing an equilibrium between curved and straight lines in movement, Massine created the ballet Les Presages (Destiny) and chose Andre

Masson to do the decor. The theme of the ballet deals with man's own struggle with his fate.l66 Massine, who had been influenced ~y the emotionally expressive abstract

German modern dance movement, incorporated those ideas in his first attempt at choreographing a ballet to a symphony (this one was Tchaikovsky's Fifth) .167

Massine worked closely with Masson who produced a backcloth In shades of red, green, brown and yellow, with a sinister mask, shooting stars and tongues of flame in a curvilinear design ·following the curves of the music.l68

The costumes seemed to suggest the classical period yet were not detailed enough to represent any definite time

165cyril w. Beaumont, Ballet Design: Past and Present (London: The Studio, 1946), p. xxviii.

1 66simon & Schuster, p. 215. l67Ibid.

168Massine, p. 188. 91

Set and Costumes for Les Presages by Masson 92 or place.l69 Masson's designs for Les Presages were

hailed and the ballet was enthusiastically received in

1933, but the staunch music criti~s were less favorably

disposed toward a choreographer tampering with a musical symphony.l70

It was not until 1950 that Massine and Masson met

again in the theatre. Le Bal du Pont du Nord (The Ball

on the North Bridge) was the result of their work. The

story was based on an old Flemish fairytale, and Masson's

designs captured the atmosphere of a Flemish village. 171

This ballet achieved a mild success but was not destined

to be marked as a masterpiece.

Christian Berard

Christian Berard had met Diaghilev in 1925, when

Berard was not well-known as an artist. Diaghilev was not impressed with Berard and did not offer employment to h~. 172 However, in 1936, Massine was preparing another symphonic ballet and. invited the then acclaimed Berard to

169Ibid., p. 189.

170Ibid.

171Ibid., p. 235.

172Buckle, p. 483. 93 create the settings and costumes for Symphonie

Fantastigue {to music of the same title by Berlioz).

The costumes were. in the style of the 1830s and

were as romantic and dreamlike as the music.l73 Berard

alternated his coloring with vivid and subdued hues.

Massine described the scene:

For the opening scene he designed a realistic sparsely· ·furnished studio; for the ballroom an imposing Renaissance decor with a backcloth of deep reds and blues contrasting with the black and white dancers, in the pastoral scene the ruins of a Roman aqueduct brooded over the landscape; and for the final episodes he evoked the atrnos~here of a grim, abandoned church in the distance.l 4

This ballet was celebrated and to this day, is considered to be the greatest of Massine's symphonic ballets.l75 The decor created every illusion and transi­ tion that Massine choreographed.l76

Massine and Berard were greatly encouraged by the success of Symphonie Fantastique and continued working together on The Seventh Symphony choreographed to

Beethoven's Seventh Symphony. Berard chose colors to

173Massine, p. 203.

174Ibid. 175simon & Schuster, p. 224.

176Buckle, p. 483. 94

, I ·I . I J f I I

; .' j .. ··.! r.

1 •• .~-·\ .·, ! . ··. ·- i ·. i ' Il:i ! i l

Set Design for Seventh Symphony by Berard 95 follow the mood of the music, and so his deep blue skies

changed to fiery red.l77 Massine said of this work:

I chose Berard to design the settings, for he well understood the importance of strengthening a symphonic work such as this with richly textured decorative interpretations of the music.l78

The ballet was performed in 1938 and was another

major triumph for the Berard-Massine partnership.l79 Ten

years later they created The Clock Symphony to music by

Hayden, but this did not match the quality of their two previous works.l80

Salvador Dali

The ballet Bacchanale was suggested to Massine by

Salvador Dali, who did the decor. Dali also indicated

that the choreography be done to the music of Wagner's

Tannhauser. The story was based on the hallucinations .

of the mad King Ludwig II of Bavaria. With his wild and

bizarre imagination, Dali was enthralled by the theme. 181

Dali's designs were heavily laced with symbolism,

177Massine, p. 107.

1 78Ibid.

179simon & Schuster, p. 228.

180conversations between Leonide Massine and Lisa A. Fusillo, Paris, March 1977. 181Massine, p. 214. 96 psychology, fantasy, and reality. He subtitled the

ballet "Bacchanale, the first paranoic perfonnance.nl82

He designed for it a backcloth of a huge swan guarded on

each side by goldfish. This decor, a~so including a

large umbrella illuminated by a skull on it to depict

death, dominated the stage.l83

There was quite a controversy over the ballet when it opened in New York in 1939. The reactions to the ballet were very mixed as some critics felt that allusions to the European political situation at the time were not in good taste. 184 Yet this did not discourage

Dali at all. In 1941, he again approached Massine with an idea for another ballet. Labyrinth became more of a stage display for Dali's artistic invention than a ballet.

Dali, in contrast to other artists who worked closely with

Massine, actually began to dictate movement for the images he wanted to create on stage. 185 Massine later reflected about this dominance and commented that it was simply

1 82Ibid., p. 215.

183rbid., p. 214.

184rbid.

18Srbid., p. 236. 97 Two Set Designs for Labyrinth by Dali 99 part of the total experience while working with Dali.l86

Marc Chagall

As another painter whose services were enlisted by

Diaghilev, Marc Chagall produced preliminary designs for

The Firebird. The designs served as a basis from which

the actual sets and costumes were realized. Later in

Chagall's career, he was introduced to Massine by the

manager of the American company, Ballet Theatre. In this meeting, Massine spoke of the theme for his new ballet,

Aleko, which was based on a poem by Puskin. Massine was

impressed by Chagall's sketches which combined the necessary elements of realism and fantasy, so Chagall was engaged for the project.l88 Chagall's enthusiasm was evident in his marvelous designs and in the fact that he, himself, helped to paint the backdrop.l89

Aleko was premiered in Mexico City in 1942 but did not receive full acclaim until it was performed a month

186conversations between Leonide Massine and Lisa A. Fusillo, San Francisco, April 1977. 187rbid.

188Massine, p. 223.

189Ibid. 100

. ,. •

• • t I. I .\ ; '. ..\ , ~ r • •• • - ...... ,. t . , .. \.·I,,.··~...... '· ...... ' '····;.. , .. ~I. • • • ' .....· (.' . '. ,~. . ,- ·' ... .•.. . ,,. 4 . .. . · .... ' I o I . 1,.. ... '-.' f I.: I • .. -~· \ • I I •: .': ':' .., . ) ·• I ..• I. •

: .. ~ .• Costume Design for Aleko by Chagall 101 later in New York. The critics raved about the Chagall

designs and the ballet provided recognition for this

singular collaboration between these artists.

Epilogue

The list of artists included herein is by no means

a complete roster of the many artists with whom Leonide

Massine collaborated. It is, however, a representative

group which reflects the art of the period in which they

were creating. It is obvious that these artists, like

Massine himself, believed that a ballet should represent

total unification of artistic endeavor; a ballet should be a complete work of art. Artists in every field con­

stantly experiment to find the best method of expression.

Massine experimented with musicians and painters and found that they often influenced his movement pat­ terns. He was keenly aware of the exchange of creative energy between artists and used that energy in his choreographic expressions.

It was a purpose of this study to focus on the results of artistic collaboration at the highest level of endeavor. The painters discussed here were famous in their own right but also took a step into the theatrical world and found another avenue for their talent. They understood the interdependence of all art forms and were 102 willing to venture into the new experience of artistic collaboration.

It is significant that the period 1917 to 1950 was as rich in the development of modern art as it was in the development of dance. How very appropriate that two art forms should grow and flourish at the same historical moment, and how incredibly exciting the collaborative efforts of art and dance must have been at the moments of inception as well as of production. Seldom has there been. such a tremendous exchange of great artistic talent. 103

TABLE 1

CHRONOLOGY OF BALLETS BY LEONIDE MASS INE AND THE DESIGNERS DISCUSSED IN CHAPTER III

Date Tit~e Artist

1917 Parade Picasso 1919 Boutique Fantasque Derain 1919 Le Tricorne Picasso 1920 Le Chant de Rossignol Matisse 1920 Pu1cine11a Picasso 1924 Mercure Picasso 1924 Gique Oerain 1924 Sa1ade Braque 1925 Zephire et Flore Braque 1932 Jeux d 'Enfants Miro 1933 Les Presages Masson 1936 Symphonie Fantastique Berard 1939 Rouge et Noir Matisse 1939 Bacchana1e, Da1i 1941 !.aby::inth Da1i 1942 Aleko Chaga11 1944 Tristan Fou oali 1948 Clock Symphony Berard 1950 Le 3al du Pont du Nord Masson 1950 La Valse oali CHAPTER IV

COLLABORATION: MASSINE AND THE

MUSICIANS/COMPOSERS

Introduction to musical collaboration began for Massine while he was "being educated" by DiagJ:?.ilev. Even before he worked with any composers, Massine was in the company of such musicians as Stravinsky, Rimsky-Korsakov, and Prokofiev. His musical sensitivity was greatly heightened in this environment. Massine's natural musi­ cality was enhanced and he began to develop an under­ standing of the value of integration of music and dance, while also solidifying his own strong rhythmic sense. This chapter is separated into· two major sections: (1) those musicians/composers with whom Massine had direct contact, and (2) those composers whose music was already established as an individual entity {e.g. a symphony, opera, piano sonata, etc.). The intent here is to recognize the influences that these composers and their music had on Massine's life and creative energy. Nine composers are included in this study and their association with Massine covering the years 1917 to 1944 is discussed. The musicians are presented chronolog­ ically according to the date of their first involvement 104 105 with Massine. A chronological list of these collabora-

tions is included in Table 2 (p. 133).

The Musician/Composers

Erik Satie

Like Picasso, the painter, Erik Satie, the musi-

cian, was drawn into the world of ballet by the poet and

dramatist Jean Cocteau.l90 Cocteau secured the commission

from Diaghilev to create a new ballet. According to

Harding, Cocteau first employed Satie and several months

later convinced Picasso to join the endeavor.l91

Satie's music has been described as an attempt to

"reintegrate the disintegrated materials of tradition by

juxtaposing fragments of melody and.chord-successions in patterns unrelated to orthodox ideas of 'development•.nl92

In his compositions, Satie rebelled against the elaborate

decorative sound of Romantic music, thus rejecting the accepted theories of the time. Satie reapplied formerly

190Rollo H. Myers, Erik Satie {Michigan: Scholarly Press, 1977), p. 49. 191James Harding, Erik Satie (New York: Praeger Publishers, 1975), p. 156. 192wilfred Mellers, "Erik Satie," The Decca Book of Ballet, David Drew, ed. (London: Frederick Mueller Ltd., 1958)' p. 276. 106 discarded principles in his compositions using plainsong

and distorted popular music.l93 His music has been com­

pared to Cubism in painting because of the similarity in

the geometric order of fragmented passages.l94

Cocteau had already devised the scenario for the

ballet Parade when he engaged the services of Satie and

Picasso. However, the musician and painter understood

each other very well and upon occasion stood together in disagreement with some of Cocteau's ideas.l95

The collaborators, Cocteau, Picasso, Satie, and l.fassine gathered in Rome and began their work on the ballet. Satie then returned to Paris to compose the musical score. In Cocteau' s words, the score "was meant to supply a musical background to suggestive noises such as sirens, typewriters, aeroplanes and dynamos. ul96

Satie had to write music to represent the scene of a side-show outside of a fair. The music evolved into that which has been evaluated as a rather simplistic composi-. tion, but it was accurately suggestive and appropriate to

193Ibid., p. 277.

194Ibid.

195Harding, p. 156.

19 6My er s , p. 50 • 107 the subject.l97 Although the original score did have

parts written for a typewriter, spinning top, and tum-

blers, these "instruments" were not used in the actual

performance. 198 Massine wrote that Satie's score was

"witty and satirical ••• the music, with its subtle syn­

thesis of jazz and ragtime, offered me excellent material

on which to base a number of new dance patterns." 199

Parade was described in the programme by its

creators as a Realist ballet but has since been catego­

rized as a Cubist ballet.200 It was presented at the

Chatelet Theatre on May 18, 1917 and elicited tremendously

mixed reactions.201 Riots broke out after the perfor­

mance.202 The press notices were not kind to this

experiment integrating modern artistic influences.203

Satie was even sentenced to eight days imprisonment after

he sent "insulting post-cards" to a critic who was

197rbid.

198Mellers, p. 278.

199Massine, p. 102.

200Robert Lawrence, The Victor Book of Ballets and Ballet Music (New York: Simon & Schuster, 1950), p. 292.

201Harding, p. 157.

202rbid., p. 160.

203rbid., p. 164. 108 relentless in his cruel review of the performance.204 The

sentence was suspended, and Satie did not serve the term.

The notoriety, however, proved to be a great

artistic boost to Satie and he amassed a number of sup-

porters. Myer recorded that Satie was

delighted at being involved with his distinguished collaborators in an artistic "scandal" of this magnitude; it flattered him to think that he was a center of a controversy that divided the artistic world of Paris into to camps.205

The composer soon found himself leading a group of yo~ng musicians who felt that he, Satie, was the "l'esprit nouveau" which was desperately needed in music.206

In 1924 Massine conferred with Satie about another ballet, Mercure. Etienne de Beaumont was the organizer for the ballet and reassembled the artists from Parade, so again Picasso, Satie, and Massine exchanged their ideas and creative energies. Myer indicated that Mercure was called "the painters ballet" largely because of the elaborate support given to Picasso by the Surrealists.207 At one

204Myer, p. 52.

205Ibid.

20 6Ibid.

207rbid., p. 10s. 109 performance, the Surrealist supporters made such a comma- tion that the curtain had to be lowered in the middle of the ballet. 208 The designs by Picasso were in sharp contrast to

the music by Satie. The sets and costumes were s~phisti­ cated and ingenious in their elegance.209 The music, on the other hand, was essentially popular in nature, some­ what brash with a fair-ground atmosphere. 210 The effect that Satie achieved was developed "by strictly musical and even academic means which consolidate the formal cohesion of the ballet as a whole."212 Massine always thought ·highly of Satie's innovative music. He spoke with such conviction of the greatness of his music, that in later life he influenced his son, Leonide Massine, Jr., to choreograph a festival of Satie compositions in Paris.213 The spirit of Satie's music was as contagious as it has been continuous.

208Ibid. 209Harding, p. 213. 210Ibid. 211Myer, p. 106. 212Ibid. 213conversations between Leonide Massine, Lisa A. Fusillo, and Leonide Massine, Jr., Paris, April 1977. 110

Manuel de Falla

When Diaghilev and his Ballets-Russes were perform­

ing in Spain at the request of King Alfonso, Diaghilev

became intrigued with the idea of creating a Spanish

ballet using authentic Spanish steps and rhythmic

patterns. 214 By this time Diaghilev had become friends

with Manuel de Falla, a very talented Spanish composer.215

De Falla was encouraged by Diaghilev to compose a work for

the Ballets-Russes company. 216 This suggestion eventually

became the basis for an idea which had long interested

de Falla. Early in his career, de Falla was fascinated by the

novel El Sombrero de Tres Picas (The Three-Cornered Hat)

by Pedro de Alarcon. 217 Alarcon had based his novel on

the popular Spanish folk-tale called El Corregidor ye la

Molinera (The Corregidor and the Miller's Wife). De Falla

had tried to compose a Spanish opera from the novel but

his work was halted by a clause in Alarcon's will which

214Grigoriev, p. 135.

215Buckle, p. 335.

216James Pahissa, Manuel de Falla: His Life and Works, trans. by Jean Wagstaff (London: Museum Press Ltd., 1954), p. 96. 217Lionel Salter, "Manuel de Falla," The Decca Book of Ballets (London: Frederick Muller Ltd., 1958) p. 144. 111 prevented such an adaptation. 218 However with the invita-

tion from Diaghilev to compose music for a ballet, the

Alarcon heirs granted permission for a ballet to be

created on the theme of Alarcon's novel.219

Diaghilev and de Falla were eager to begin the

endeavor. Massine, who had been studying Spanish dance

with the superb dancer, Felix Fernandiz Garcia, was to do

the choreography and Martinez Sierra was contracted to write the libretto. 220 The artists enthusiastically

gathered but 1917 was a time of agonizing terror during

the First World War and the Bolshevik revolution severed members of the performing Russian company from their country. Funds were frozen and the company had no direct means of sponsoring new ballets. Furthermore, the company was banned from France, Italy, and England because of the

Russian nationality.221

The small entourage of collaborators, Diaghilev, de Falla, Massine, and Garcia, remained in Spain and traveled around that country. Their visits took them to

218rbid.

219Pahissa, p. 96.

220Buckle, pp. 335-336.

221Pahissa, p. 98. 112 many of Spain's most architecturally impressive cities as well as to some of the local areas where de Falla gathered

folk-tunes for the ballet score. One tale that is widely known concerned an incident in one small village.

Diaghilev and de Falla were walking when they heard a blind man playing a melancholy tune on the guitar. 222 Falla transcribed and later used the tune in the ballet.

Work on the ballet was again stopped when Diaghilev tried to get out of Spain. The ballet stagnated for two years but after the recruitment of Picasso to design the decor in 1919, the ballet, Le Tricorne (The Three-Cornered

Hat), was premiered. Massine was inspired by the music, as was Picasso, and wrote:

Falla's score, with its pulsating rhythms, played by eleven brass instruments, seemed to us very exciting, and in its blend of violence and passion was similar to much of the local folk-dances.223

The opening movement of the music is a festive rhythm played by the brass and percussion. 224 De Falla cleverly wove the traditional Spanish rhythms--fandango,

222Buckle, p. 337.

223Massine, p. 115.

224Lawrence, p. 480. 113 farrucca, and jota--throughout the score and was hailed

for his brilliance as a composer.225 Propert stated that:

No man understands and expresses better than de Falla the musical traditions of his country and The Three-Cornered Hat is undoubtedly the most complete embodiment of modern Spanish music existing. 226

The ballet was an overwhelming success and has

continued to be one of the most outstanding works pro-

duced by the Diaghilev collaborators.

Igor Stravinsky

The association between Igor Stravinsky and

Diaghilev had been established prior to Massine's appear- ance in the company. Stravinsky, in fact, had already composed and orchestrated several works for the

Ballets-Russes before he collaborated with Massine.

Le Chant du Rossignol was composed by Stravinsky as an opera. Diaghilev had decided to make it into a ballet for which Massine would do the choreography, with sets and costumes by Hatisse. The music had been written earlier, and therefore the exchange between composer and choreographer was limited. By this point, 1920,

225rbid., p. 479.

226Propert, p. 120. 114 Stravinsky had already become quite famous and, according

to Propert, that reputation may have been a saving grace

for the ballet.227 It was severely criticized by some

reviewer:s, 228 but Grigoriev recalled that "it turned out to be exactly what Paris liked.n229

Stravinsky had been away from the- theatre for

six years and after revising his opera, he began a new

task suggested by Diaghilev. 230 The new ballet was to

be based on the Italian commedia dell'arte, an idea

suggested by Massine. 231 The music was actually composed

by the Italian Pergolesi and was reconstructed by

Stravinsky. Buckle wrote that the music "was no straight-

forward orchestration, such as Ottorino Respighi had made of Rossini: it was a new composition."232

Massine was tremendously excited about the commedia dell'arte theme, for he had done elaborate research on the subject and was eager to create his interpretation of it. The plot was actually taken from an Italian

227Ibid., p. 108.

228Ibid., p. 107. 229Grigoriev, p. 152.

230Ibid.

231Mass~ne, . p. 146 •

232Buckle, p. 361. 115 manuscript of the early eighteenth century called The

Four Pulcinellas Who Look Alike.233 Stravinsky, too, was

excited and wrote in his chronicles "Neapolitan music,

so entirely of the people and yet so exotic in its Spanish character."234

In this composition, Stravinsky created a suite of

eight sections and in the words of Vlad, this work was

the first in a series of works in which Stravinsky, by more or less explicit references to the works of great composers of the past, reconstitutes in the mirror of his own personal idiom a picture of the last two hundred years of western musical cul­ ture.235

Stravinsky and Massine were joined by Picasso who originally wanted to design a contemporary setting for the Neapolitan ballet. This idea was rejected by Diaghilev who kept a tight rein on the development of the work.

With these great talents together, the result was inevita­ bly a success. The ballet, Pulcinella, was presented in

1920 and was another great achievement for the Diaghilev troupe. "The dancers enjoyed dancing their strenuous

233Lawrence, p. 337.

234rgor Stravinsky, Chronicles of My Life, trans. from the French (London: Victor Gollancz Ltd., 1936), p. 135. 235Roman Vlad, Stravinsky, trans. by Frederick Fuller (London: Oxford University Press, 1978), p. 77. 116 steps to the breezy music of Stravinsky. Paris was

enraptured," wrote Buckle.236

Lawrence described the opening moments:

The action of the ballet is preceded by a short overture which recreates the spirit of somewhat formalized gaiety to be found in. the music of Pergolesi and the whole period of. the commedia dell'arte.237

Massine described the "lively tarentella," "charming melodies," and "swiftly-paced saltarello" that Stravinsky had used, as lively and most appropriate music.238

Pulcinella re-established Stravinsky's association with the theatre at that point in time when his music turned toward "neo-classicism."239 The success of the ballet led Stravinsky and Massine into another creative endeavor.

This second collaboration was a result of

Diaghilev's insistence upon the revival of Le Sacre du

Printemps, which had originally been composed by Stravinsky and choreographed by Nijinsky. 240 As no one could remember the original choreography well enough to repeat it

236Buckle, p. 363.

237Lawrence, p. 337.

238Massine, pp. 150-152.

239vlad, p. 78.

240Buckle, p. 366. 117 accurately, Massine was called upon to create his own interpretation of the Stravinsky score.241 In order to do this in collaboration with Stravinsky, Massine traveled to Switzerland to work. Stravinsky pointed out what he con­ sidered to be the flaw in Nijinsky's choreography,· "[Nijinsky] made a mistake in following too closely to the rhythms of the score.n242 The whole experience was a valuable lesson for Massine for he learned much about musical composition from Stravinsky. In his autobiography, Massine described his experience: After studying the music for several weeks I came to the conclusion that I could perhaps avoid Nijinsky's error by attempting a counterpoint in emphasis between it and the choreography, and while Stravinsky played selected passages from the score on the piano I demonstrated my idea. Stravinsky approved and urged me· to begin work at once. I returned to Paris and discussed the project at length with Diaghilev, ~ho thought that Nijinsky pad failed because he had attempted to do too much at once. As Diaghilev said,· he had not realized that the eye and ear cannot absorb simultaneously as much as the ear alone.243 The artistic communication between Stravinsky and Massine was excellent. Stravinsky also wrote about their relationship:

24lrbid. 242Buckle, p. 367. 243Massine, p. 152. 118 Massine, who has just completed a new choreo­ graphic version of Le Sacre du Printemps, under­ stood it in the spirit of its conception .•. Hearing it in concert performance enlightened Massine and I must confess also enlightened me as to the new scenic possibilities of my score. Massine not only grasped· the charact.er of.. the score with an unparalleled subtlety, but invented a new mode of dancing for Le Sacre du Printemps. He does not follow the music·note by note, nor even measure by measure. In face he occasionally battles against the bar line, but he keeps the rhythm exactly.244 The three consecutive ballets provided an important and rich experience for both artists. The·y learned from each other and allowed their own artistic growths to take new directions. Interestingly, they did not meet again in a work environment, although Massine choreographed Stravin- sky's Capricco in 1948. Massine was always impressed with Stravinsky's music and found it challenging and motivating. As a true composer for the theatre, Stravinsky remains one of the most prominent and innovative musicians who ever created for dance. He is as closely associated with the development of ballet as he is with the develop­ ment of music. From the data gathered for this study, it is apparent to the investigator that the brilliant career of Stravinsky will reach far beyond the years of his life.

244Igor Stravinsky, "Interpretation by Massine," Stravinsky in the Theatre, edited by Minna Lederman (New York: Pellegrini & Cudahy, 1949), p. 24. 119 Serge Prokofiev

The strong nationalistic feelings of Diaghilev

prompted him to keep in touch with artists and friends he

had known in Russia. Serge Prokofiev was one of these

artists. He had met with Diaghilev in Rome in about

1915 to 1916, but it was not until 1927 that Prokofiev

returned to Europe to work with the Ballets-Russes.

Massine had left Diaghilev several years earlier but at

the time of Prokofiev's arrival, Massine too was return-

ing. Massine recalled his impression of Prokofiev when

they met in Monte Carlo:

. • • his unique blend of boyish high spirits and Russian intensity very appealing. A fluent and persuasive talker, he had a great sense of humour, and much enjoyed playing practical jokes. He arrived in Monte Carlo a few days later, full of ideas for his new ballet, which he expounded after he had played the score through to us on the piano in the rehearsal room at the Theatre de L'Opera. Although the music, with its Russian depth of feeling and its rich variety of phrasing, had been suggested to him, he said, by the tales of the legendary Bogatyri, the heroic founders of Old Russia, he wanted the ballet to distil the essence of current social conditions in the new Russia; to show how the Revolution had been the culmination of centuries of oppression; how the new regime was now encouraging ideals of equality, discipline and work which would lead to national progress and knowledge.245

Diaghilev was exhilarated by the Russian framework of this new creation. The ballet seemed to complete a

245Massine, p. 171. 120 cycle for him, as he returned to the emphasis of Russian culture where he began. The theme for the ballet was

based on scenes from Soviet life in 1920. The music incorporated "frenetic rhythms" which represented the factories of Soviet Russia,246 and critics referred to

the score as "bolshevik music. !' 24 7 It was a controversial work for many Imperialist - Russians did not feel that a ballet should "dally with the U.S.S.R." 248 Lifar indicated that the ballet was not well-received, but Kochno described it as a "unanimous success." 249 Other than in Mas sine • s autobiography, very little has been recorded about this Russian ballet. It was called Le Pas d'Acier and is significant for being a "Soviet" collaboration.250 The Russian revolution was over and Prokofiev and others were now Soviet citizens, part of the new political state.

246claude Samuel, Prokofiev (New York: Grossman Publishers, 19·71), p. 99. 247Ibid. 248Buckle, p. 489. 249Boris Koehne, Diaghilev and the Ballets Russes (New York: Harper & Row, 1970), p. 265. 250Lifar, A History of Russian Ballet, p. 222. 121 The arrival of Proko£iev seemed to rekindle the

Russian spirit in the company. Diaghilev and Massine were

most sensitive to the music and to the ideas that

Prokofiev presented. He was the spark which was needed

in the now deteriorating company and became not only a

collaborator, but also a uni£ying factor in the company.

In later years, Massine spoke of his brief encounter with

Prokofiev as a moment when he was able to remember his

heritage. 251

Paul Hindemith

Diaghilev had commissioned Paul Hindemith to com­

pose a ballet in 1929.252 This was never carried out due

to Diaghilev's death, but in 1937 and 1938 Hindemith did work with Massine on a ballet focused on the life of St.

Francis of Assisi.

Massine wrote about his "chance" meeting with

Hindemith: He had just come from the great church of Santa Croce, which contains the frescoes by Giotto depciting the life of St. Francis of Assisi. He had been deeply impressed by them, and taking me by the arm he hurried me back to the church to see them. I too was struck by their spiritual

251conversations between Leonide Massine and Lisa A. Fusillo, February-March, 1977. 252rain Hamilton, "Paul. Hindemith," Decca Book of Ballets, p. 167. 122 beauty and could well understand why they had so profoundly moved Hindemith. But when he suggested that we should do a ballet together on the life of St. Francis, I hesitated.253

Whether or not the meeting was coincidental (as both men

were affi·lia ted with Colonel ·de Basil 's. Ballets Russes

company), the two artists did establish communication and

eventually embarked on a collaborative venture.

Hindemith and his wife ·v.isi.ted Massine. at his home

on the Islands of Galli in the Bay of Naples and started

work on the new ballet. 25 4 Progress was rapid, and

Massine soon went to Monte Carlo to rehearse for the

London opening. Priests from all over England arrived at

the Drury Lane Theatre where Noblissima Visione was warmly

received. 255 It w·as later called "one of the finest modern ballets" by Robert Lawrence.

The music was described as "austere" and was divided into eleven sections which were played straight through without a pause.257 Hindemith used an old

253Massine, p. 207.

254Geoffrey Skelton, Paul Hindemith: The Man Behind the Music (London: Victor Gollancz, 1975), p. 157.

255Ibid., p. 159.

256Lawrence, p. 388.

257Ibid. 123 troubadour melody, "Ce fut en Mai," which became the

central theme connecting all of the s·ections. 258

Later that year, American audiences saw the ballet

now called St. Francis and it was mildly successful.

Hindernith did not conduct the performances of St. Francis

in America as he had done in London, but he did tour the

United States conducting concert performances of his music. 259

During his American trip, Hindemith met with

Balanchine to discuss plans for future works. Massine was

somewhat distressed by these activities for he was so

elated by his collaborative effort with Hindemith that he wished to pursue another work. The two had even exchanged

ideas based on the paintings of Pieter Breughel.260 The

second Hindemith-Massine ballet never solidified. Never­ theless, Massine always spoke of Hindemith's genius and attributed much of his practical knowledge, for example, learning the rudiments of music theory, to his association with Hindemith.

258rbid., p. 389

259skelton, p. 165.

260rbid. 124 Symphonic Works

In 1933, Massine created an uproar in the musical

- community when he presented his -first ballet 'tvhich was

choreographed to a complete symphonic score. Traditional

musicians were livid and wrote numerous articles in the

form of attacks on Massine for attempting such an

endeavor. Some of the arguments against the use of a

symphonic work as accompaniment for a ballet were pre-

sented by James Monahan:

1. [Ballet can] not cope with the developments: o£ the symphonic form

2. [Ballet can] not add anything to that form

3. [Ballet can] only slavishly follow Ithe music] so being poor ballet and a poor companion for the music

4. {Ballet needs] its own music •.• other music [symphonies] are too self-contained for ballet

5. [Ballet versus symphonic music is] not only a auestion of form, but one also of the relative expressiveness of orchestra and legs [of the dancers]261

The evolution of the symphonic ballet stemmed from

Massine's concern for more expressive danced-mime but he

found that "composers were reluctant to contribute a

261James Monahan, "Symphonic Ballet," The Dancing Times, July 1937, p. 414. 125 serious score." 262 Massine, therefore, turned to the works of important and well respected classic composers. As Massine produced more symphonic ballets, they were well accepted by the audiences; nevertheless the controversy among musicians continued. Ernest Newman, a great music critic, discussed Massine's involvement with the symphonic music: Strictly speaking no Art is translatable into another, not even poetry into music. The most we can get is convincing parallelisms between the two and the fact that some parallelisms are much more difficult than others, and have hitherto not been attempted is no reason for denying that a choreo­ graphic genius like Massine has the right to attempt this •..• Massine has given us a trans­ valuation into choreographic values of a hundred musical features of the Symphony. The ballet works itself out consistently as a design reproducing in the subtlest way the design of the music in the matter of subject, repetitions, balancings, treat­ ment of episodes and so on.263 Undeniably, Massine's venture into symphonic music was a significant occurrence in the history of ballet. He reconfirmed his versatility and inventive mind while experimenting with his own creativity. Symphonic ballets are now considered to be of substantial importance in the development of dance.

262Lawson, p. 191. 263rbid. 126 Peter Illyich Tchaikovsky

The first symphonic ballet created by Massine,

Les Presages, was choreographed to Tchaikovksy's Fifth

Symphony. 264 It was perhaps significant that this crea-

tion was with the music of a composer who had contributed

so markedly to Diaghilev's love for music. Les Presages

was performed in 1933 and was the instigating factor in

the symphonic controversy previously mentioned. Many

people enjoyed the ballet because Massine interpreted the

mood of the music dramatically rather than abstractly. 265

In Les Presages, Lawson described the movement as

paralleled to the musical themes, rhythms and cadences; the dancing in each section was colored by the moods, emotions and actions Massine felt were engendered by the music, and by his need to convey the significance of his theme.266

Massine did not return to Tchaikovsky's music until

1942, when he choreographed Aleko for the American com- pany, Ballet Theatre. The war in Europe kept Massine in

America, and he turned to the Tchaikovsky 'T'ri·o in A Minor as it reminded him of the poems of Puskin and of his . t 267 na t J. ve coun ry. It was a rejuvinating ballet for

264van Praagh, p. 76.

265rbid.

266Lawson, p. 142.

267Massine, p. 222. 127 Massine because he worked with the Russian painter Marc

Chagall on the production. With a Russian nucleaus once

again, Massine used the music and the enthusiasm of Chagall to inspire his choreography.268

Aleko was premiered in Mexico City in September,

1942 where it achieved a good response, but later, when

performed in New York and London, the ballet was met with

mixed notices. All the critics did, however, note the

surprisingly innovative new choreography created by Mas sine. 269

Hector Berlioz

One of the most successful symphonic ballets which

Massine produced was Syrnphonie Fantastique to the Berlioz music of the same name. Part of the ballet's triumphant

success was due to the fact that Berlioz had written an elaborate score with detailed information about its philosophi~al theme. 270 The ballet was said to "follow exactly the 'progranune' in the composer's mind," according to van Praagh. 271

268Ibid., p. 224. 269Interview recorded on tape. Marilyn Hunt inter­ viewing Igor Youskevitch acquired by the Dance Collection of the New York Public Library at Lincoln Center in 1976. 270Lawson, p. 143.

27lvan Praagh, p. 76. 128 Berlioz' theme revolved around a relationship

between the characters of the Young Musician and the

Beloved. Lawrence felt that his musical score effectively

reflected the romantic movement in literature during the

early 1820s (the ballet was set in 1829) , and used the

"tone-painting" style of music. 272 Lawrence wrote:

Berlioz' instruments translated pictorial, sensuous impressions into architectural sounds. Massine remolded these ideas into a valid fusion of music and dance.273

The ballet opened in 1936 and immediately attained the status of "one of the great modern ballets."274

The second Berlioz work used by Massine, Harold in

Italy was not nearly as successful as Symphonie

Fantastique, created in 1954. Massine's choreography was a poetic interpretation stressing the dramatic content rather than dance technique.275 The ballet was based on

Lord Byron's poem "Childe Harold's Pilgrimage" and the music was titled Harold in Italy. 276 Although Massine

272Lawrence, p. 462.

273Ibid.

274Ibid. 275Massine, p. 247.

276Ibid., p. 291. 129 was moved by the music, his choreographic creation did

not reach the level of marked ingenuity that some of his other works achieved.277

Ludwig van Beethoven

Using Beethoven's Seventh Symphony, Massine out-

lined his choreography by assigning a different event to

each of the sections in the symphony. Lawson categorized

the movements which Massine outlined for the Beethoven music:

1. A scene of the creation of the world 2. The story of Cain and Abel 3. (To the movement which has been called the apothesis of dance) a scene of Olympian gods 4. A Greek Baccanale.278

The ballet titled Seventh Symphony was an abstract work done by Massine in 1938. Virtually plotless, the choreography existed only as an interpretation of the musical content. 279 The dramatic action was limited to each scene, not relying on thematic development.

Massine was enraptured by Beethoven's passionate music.280 This ballet was significant because of

277Ibid., p. 247.

278Lawson, p. 143.

279Massine, p. 206.

280conversations between Leonide Massine and Lisa A. Fusillo, March 1977. 130 Massine's use of abstract choreography through which he hagan to define his own sense of plastigue movement. Massine, himself, described the dance of the gods where " Markova and Youskevich enrich their harmonious plastic movements with appropriate dignity."281 The second and last inspiration from a Beethoven score used by Massine resulted in the ballet, Moonlight Sonata choreographed to Beethoven's Piano. Sonata in c# Minor, Opus 27. The ballet was presented in 1944 but did not survive as a noteworthy example of Massine's choreographic development.

Rimsky-Korsakov Massine's first ballet, Soleil de Nuit, was created to the music by Rimsky-Korsakov which was written for the opera The Snow Maiden. At this stage in his career, Massine had only been with the Diaghilev company for one year and was not yet truly into the spirit of artistic collaboration. In 1937 Massine again turned to the music of Rimsky-Korsakov for his ballet Capriccio Espagnol (filmed by Warner Brothers as Spanish Fiesta) • 282 The intriguing

281Massine, p. 207. 282rbid, p. 286. 131 details about this ballet, are that it (1) was created 10

years after Diaghilev's passing; (2) used a Spanish theme

and authentic Spanish dancing by Argentinita; and (3) used

music written by Diaghilev's friend and musical advisor.

It is not difficult to assume that this work might have

been a memory piece for Ma~sine in light of these facts.

Epilogue

The tremendous influence of music on Massine's

life and art became very obvious in this examination of

the composers with whom he worked, and in the music which

he selected. Massine's unique sense of rhythm and expres­

sive talent are clearly appa~ent in his choreography and

his musical associations reinforced his own dynamic use

of rhythm.

Throughouthis·career, Massine used the music of many musicians and composers. In addition to those pre­ viously discussed he also choreographed ballets to the musical accompaniment of Brahms, Bizet, Hayden, Schubert,

Shostakovich, J. Strauss, and Wagner. The musical artists included in this study represent those who were considered by this author to be most influential in Massine's career.

Each composer, either through direct association with Massine or by the intriguing music he had contributed to the world, aided the choreographic genius, Massine, in 132 his quest for discovery of new modes of movement and

interpretation. The fundamental basis for all of his

work was his belief in and sense of inspiration derived

from artistic collaboration.

Massine turned to composers as well as painters

who provided a vital element necessary to spark his

creative imagination. Working directly with musicians

enabled Massine to learn basic music theory while defining

his own innate sense of rhythm. Very late in his career,

Massine used his powerful inner rhythmic strength in

choreographic experiments created without sound. Music

in this case was added only after the choreography had

been completed.

Several of the composers mentioned here maintained

a long involvement with the theatre. The work of the

great composers who left their music as monuments. behind

them has continued to be used in theatrical settings.

The final product of the collaboration of musicians,

painters, and dancers from this period was in the ballets

themselves. Music was a major part of the collaborative spirit which was directed toward a whole art. 133

TABLE 2

CHRONOLOGY OF BALLETS BY LEONIDE MASSINE AND THE COMPOSERS DISCUSSED IN CHAPTER IV

Date Title Composer

1915 Soleil de Nui t Rimsky-Korsakov

1917 Parade Satie .,

1919 Le Tricorne de Falla

1920 Le Chant de Rossignol S trav:Lnsky

1920 Pulcinella Pergolesi, arranged by Stravinsky

1924 Mercure Sa tie

1927 Le Pas d'Acier Prokofiev

1933 Les Presages Tchaikovsky

1936 Symphonie Fantastique Berlioz

1938 Seventh Symphony Beethoven

1938 Noblissima Visione Hindemith

1939 Capricco Espagnol Rimsky-Korsakov 1942 Aleko Tchaikovsky

1944 Moonlight Sonata Beethoven

1948 Capricco Stravinsky

1954 Harold in Italy Berlioz CHAPTER V

COLLABORATIVE CULMINATION:

FOUR MASSINE BALLETS

The congregation of artists, musicians, and

dancers who willingly gathered under the umbrella of a

ballet company, were it the Diaghilev Ballets-Russes,

the Ballet Russe de Monte Carlo, or the Ballet Theatre,

saw the fruit of their combined efforts and talents in

the ballet production. This was the final result of the

creative interaction among artists from allied fields.

The spontaneity of artistic exchange often created a

vibrant quality which made the ballets refreshingly

alive. This philosophy of integration was fundamental

in Massine's artistic education and remained an important

factor during the evolution of his choreography.

Massine's choreographic career can be divided into four sections:

1. the Diaghilev period--1914 to 1920; 2. the period after the break from Diaghilev, during which Massine produced· his story

ballets--1924 to 1933;

3. the symphonic ballet period--1933 to 1944; 4. the religious ballets--1915, 1933, 1938to 1960. 134 135

The sections do not reflect exact chronologie develop­

ment. Religious ballets, for example, were periodically

created by Massine throughout his career, but the theme

of religion became very prominent later in his career.

The religious ballets of these later years surpassed the

earlier ones choreographically.

The dates indicated for each section of Massine's

career reflect the years during which ballets were pro­

duced. As indicated above, some.types of ballets were

produced during two or more time periods, particularly

the religious ballets. Immediately preceding each ballet

discussed below is a listing of the credits, original

cast, and synopsis for the ballet.

The Diaghilev Period 1915-1920

The most important period of development for

Massine as an artist produced some of his greatest achievements. Diaghilev had said of Massine, "Massine is the only dancer who ranks as my intellectual equal."283

Under the careful guidance of his mentor, Massine dis­ played those intellectual qualities in the creation of his first religious ballet, Liturgie (1915) which was

283A. H. Franks, Twentieth Century Ballet (New York and London: Pitman, 1954), p. 27. 136 never performed, as well as in his first performed

ballets: Solei! de Nuit (The Midnight Sun, 1915) and

Les Centes Russes (Children's Tales, 1917). The "Massine

classics" Parade (1917), Le Tricorne (The Three-Cornered

Hat, 1919), Boutique Fantasque (The Fantastic Toyshop,

1919), Le Chant de Rossignol (The Song of the Nightingale,

1920), and Pulcinella (1920) were also from this period.

Parade was the Cubist ballet for which Picasso

designed the decor and Satie wrote the music. The spirit

of the avant-garde movement in the arts during that .period

pervaded this ballet. Valerian Svet1off described

Massine's choreography of this entire period as "short,

abrupt, angular movements" and also remarked on Massine's

"boldness in new dance forms." 284 Massine did not restrict his choreography to classical ballet; he experi- men ted with ethnic, demi-caractere-, and abstract movements.

The ballet Boutique Fantasque was created in between the beginnings of Le Tricorne and the final stages of its development. As Massine's first story ballet,

Boutique Fantasque was the forerunner of a period in

Massine's career in which he did several ballets of this type. Another Picasso-Massine ballet was Pulcinella, a

284valerian Svetloff, "The Diaghilev Ballet in Paris," The Dancing Times, December 1929, p. 263. 137 very successful work based on the eighteenth century commedia dell'arte. One of the most widely acknowledged ballets was Le Tricorne. Lawson reported that the ballet was the work of three artists, each outstanding in his own field, yet subordinating his own con­ tributions to the needs of the dancers to communi­ cate meaning through movement.285 Le Tricorne reflects the ethnic element used by Massine in choreography and was the first collaborative ballet of undisputed importance. For these reasons, this ballet from the Diaghilev period of Massine's career was selected for discussion. The ballet Le Tricorne has been mentioned in pre- vious chapters from the perspective of the decor by Picasso and the music by de Falla. The choreography which unified those elements was the invention of Massine, although the idea for the ballet originated with Diaghilev. Walker gave a good indication of Diaghilev's powerful influence in the birth of new choreographicideas: Most of the ballets given by the Diaghilev Ballet owed the germ of their life to Diaghilev himself. This was one of his vital functions. It was Diaghilev, this cultured, powerful man, never himself a creative artist, who suggested ideas--a theme to a composer, a score to a choreographer or a designer, to all of them a

285Lawson, 121. 13'8

Le Tricorne (The Three-Cornered Hat)

Based by Martinez Sierra on Pedro Antonio de Alarcon's novel, El Sombrero de Tres Picas Music by Manuel de Falla Decor by Pablo Picasso Premiere: Alhambra, London, 22 July 1919 (Auditor­ ium Th~~~ex:, Chicago, U.S.A., 20 February 1934).

Original Cast: Leonide Massine as the Miller Tamara Karsavina as the Miller's wife Leon Woicikowski as the Corregidor Stanislas Idzikowski as the Dandy287

A ballet in one act.

Synopsis:

The curtain rises on the village scene. The village miller stands before his house, whistling to a black bird who sits in a cage. The bird will not sing as he wishes it to. The miller's wife comes out of the house and teases her husband. He chases her and they embrace. The couple go to the well to draw water. While the miller is busy at the well, a dandy passes by and blows kisses to his wife, who responds flir­ tatiously. The miller looks up and sees this exchange and chases the dandy off. He is not angry with his wife. He is delighted that other men find her as beautiful as he does. They are very much in love.

286Massine, p. 301.

287George Balanchine, Balanchine's Complete Stories of Great Ballets (New York: Doubleday and Company, 1954), pp. 403-4.

Fig. 1. Programmatic Details of the Ballet Le Tricorne. 139

Now the governor of the province, the cor­ regidor, enters with an escort. The doddering old fool, he looks absurd in his finery among the simple folk of the village. He wears a three-cornered hat, symbol of his class and position. Almost immediately the corregidor eyes the miller's wife and decides that she must be his. The miller's wife is polite to him, but no more. He passes on. Noting that his wife is getting all the attention, the miller decides he'd better give another girl some favor. He playfully flirts with one of the lovely girls of the village. Now that both husband and wife have cause to be jealous, they are amused at each other and embrace. The miller goes into the house. His wife, remaining outside, dances a brilliant fandango. The corregidor has come back and secretly watches her. Soon he approaches her and tries to make advances. The woman eludes him cleverly and flees. The old man, however, pursues her. The miller has watched this scene from inside the house and runs out to help his wife. The cor­ regidor can run no more and falls to the ground, exhausted. The miller and his wife pick him up, dust him off, and try to act as if it were all an accident, but the corregidor, furious with them, suggests that this is only the beginning of what they may expect of him. The husband and wife dance together. Evening falls. The village folk come to the· miller's hous~ to join in a festival with the happy couple. The miller gives them wine and then dances alone a farruca, which everyone applauds. The villagers hear the approach of marching soldiers. The escorts of the corregidor enter. The men arrest the miller and take him off. Abandoned by her friends, the miller's wife is alone. But not for long. The corregidor is back again, seeking her favor now with real determination. The miller's wife throws him to the ground as he 140

clumsily holds her. He rises with difficulty and pursues her to the village bridge, which crosses a running stream. On the bridge, the corregidor again attempts to embrace the girl. In the process of pushing him away, the miller's wife pushes him off the bridge into the stream. She laughs: at· him, but·: helps the corregidor out of the water. But the old fool takes up the chase again. The miller's wife takes a gun from the house and, threatening the corregidor with buckshot, flees over the bridge away from the village. The corregidor stands in front of the miller's house, alone, his clothes still dripping from the dunking he got in the stream. He takes off his outer garments and his three-cornered hat, lays them out to dry, and goes into the house to sleep. Dawn comes. The miller has escaped the corregidor's henchmen and returns home. In front of his house he sees the corregidor's clothes and the three-cornered hat! Then he observes the corregidor himself, walking around in one of his own night­ shirts! The miller decides there's only one thing to do. He will pursue the corregidor's wife, who is also young and beautiful! On the walls of his house he draws a caricature of the corregidor and leaves. Now the poor corregidor is attacked by his own soldiers, who don't recognize him in the miller '-s nightshirt. He curses them, and the village folk come to see what the trouble is. The miller and his wife, who have found each other outside the town, come in. Their. friends are told what the cor­ regidor has tried to do, and in anger all the people rise up against the governor and his cohorts. The intruders are routed, and all dance triumphantly, led by the miller and his wife. A dummy represent­ ing the defeated corregidor is thrown higher and higher into the air by the crowd.288

28 8Ibid. 141 period o£ time, or perhaps a story; and because he was in a position to make their work purposeful by offering them a company to dance it and a stage to mount it on, they set their minds and talents to the task of building his brief thoughts into substantial matter. This happened with all his choreographers--Fokine~ Nijinsky, Massine, Nijinska, Balanchine.2~9 _

It was, in fact, Diaghilev's idea to do a ballet which

could display the "distinctive national quality in music and dance" of Spain.290

When the Ballets-Russes was immobilized in Spain during the First World War, Diaghilev began sowing the seeds for his Spanish ballet. His concern for authentic- ity led him to engage the talents of Manuel de Falla, the prominent Spanish composer to do the musical score and

Felix Garcia, the fiery Spanish dancer, to train Massine in the Spanish dance.291

Massine had been studying ballet with Cecchetti in the Diaghilev company, yet Massine's choreography was not in the traditional danse d'ecole style. Van Praagh gave an excellent insight into Massine's approach to movement at that time:

289Katherine Sorley Walker, Dance and Its Creators: Choreographers at Work (New York: The John Day Company,

1972) I P· 32. 290Ibid. ,-

291Buckle, p. 336. 142 Massine did not have the physique to become a classical dancer. Nevertheless, he inherited from Mos.cow a sound classical training besides the character and demi-caracter bias induced by school and physical make-up. As a choreographer, there­ fore, he used classical movements in a free manner. Sometimes he adapted the steps of national dances. Sometimes he leaned even towards the central Euro­ pean expressionist ideas of Laban. Always, his choreographic handwritingwas highly individual, but always it was based firmly on classical tech­ nique.292

Massine traveled around Spain visiting cafes,

festivals, and courtyards to absorb the Spanish music and

dance rhythm. Under the tutelage of Felix, Massine

"mastered the Spanish school [of dance] as few Spaniards

know it."293 His great task was to translate that ethnic

dance onto the balletic stage. Again van Praagh, comment-

ing on the ballet said,"Le Tricorne, created in 1919, with

decor by Picasso brilliantly transposed Andalusian dances

into classical choreography."294

The ballet was born from the collaboration of

Massine, Picasso, and de Falla under the supervision of

Diaghilev. Massine not only studied dancing with Felix, but "wrote down in a book every step, movementand footbeat

292van Praagh, p. 74.

293Kirstein, p. 295.

294van Praagh, p. 75. 143 he learned from Felix."295 He also used steps that he

picked up while traveling through Spain watching the

various dancers. In a discussion of Massine's choreog-

raphy for Le Tricorne, Lawson wrote of the "descriptive

and narrative passages ••• essential to the plot":296

The former [descriptive] painted the environ­ ment and characteristics of each player in the comedy as well as created the atmosphere. The latter [narrative] formed the plastique sentences through which the dancers told their story. All the movements were the result of Massine's study of Spanish dance under the strangely inspired, yet untutored Felix, whose own dancing flowed passionately whenever the spirit moved him.297

Massine had de Falla's marvelous musical score to aid in his construction of dance sequence. De Falla had successfully integrated two forms of Spanish music: the jota which comes from Aragon and the seguidillas, fandango, and farruca wh1c. h are f rom south ern Spa1n. . 298·

The ballet opened with an Andalusian singer and cries of "Ole!" from backstage. 299 The dancing was

295Buckle, p. 342.

296Lawson, p. 121. 297rbid.

298Lydia Sokolova, Dancing for Diaghilev (London: John Murray, 1960), p. 141.

299salter, p. 147. 144 lively and held to an underlying jota rhythm. When the

miller's wife danced fandango, it was a brilliant solo,

heavily laced with the traditional Spanish steps yet in

keeping with the theatrical setting and broadness

necessary for the stage.

Tamara Karsavina, who originated the role of the

miller's wife, wrote about her experiences in the ballet:

Massine was no more a timid youth but a very exacting master as I found out in our first collab­ oration in The Three-Cornered Hat. He now possessed accomplished skill as a dancer, and his precocious ripeness and uncommon mastery of the stage, in my mind, singled him out as an exceptional ballet master. It was his complete command of Spanish dancing that amazed me the most. On the Russian stage we had been used to ballet-stylization of Spanish dancing, sugary at its best, but this was the very essence of folk dancing.300

Massine described Karsavina's performance in the role of the miller's wife in his autobiography. He was surprised at how quickly the classically-trained dancer adapted herself to the Spanish rhythms.30l

In her first solo, where she made use of the zapateado movements which I taught her, she drummed her heels delicately in time to de Falla's staccato rhythms, flung her arms out in flamenco style, snapped her fingers and violently clenched and unclenched her fists, in a virtuoso performance which had all the zest and sensuality of a true Spaniard.

300Tamara Karsavina, Theatre Street (New York: E. P. Dutton, 1931), p. 301. 301Massine, p. 141 145 In my pas de deux with Karsavina after we have driven off the flirtatious corregidor, I tried to achieve that quality of pursuit, of tension, teas­ ing, advancing and retreating which is a salient feature of so many Spanish dances •••• Although the dance was mainly inspired by the fandango with some flamenco passages~ I added a variety of class~cal movements.30 The farruca danced by the miller was explosive and fiery. In tone, interpretation, and rhythm it was Spanish but the steps were Mas sine '·s invention based on the authentic Spanish. Like the fandango .it was an inte­ gration of true Spanish and theatricalized dance. Massine danced the part of the miller and his "own performance in it sealed his reputation as a dancer in the first order." 303 He wrote about his farruca solo: ••• I was left alone for my Miller's dance. I began by stamping my feet repeatedly and twirling my hands over my head. As the music quickened I did a series of high jumps, ending with a turn in mid-air and a savage stamp of a foot as I landed. Throughout the dance my movements were slow and contorted, and to the style and rhythm which I learned from Felix I added many twisted and broken gestures of my own. I felt instinctively that something more than perfect technique was needed here, but it was not until I worked myself up into a frenzy that I was able to transcend my usual limitations.304

302Ibid., pp. 141-2. 303Propert, p. 88. 304Massine, pp. 142-3. 14'6 The sets and costumes by Picasso encased the move-

ment and music in totally effective simplicity. Karsavina

remembered Picasso's

absolute sense of the stage, its requirements, the abbreviated and strong formula of composition and a nee-romanticism, far away from the senti­ mental.305

The drop curtain that he designed cleverly captured the

subtle nuances of the musical forms. Picasso used bold

solid color stripes reflecting the Andalusian light-

heartedness against black borders signifying the serious­

ness and dignity of the Spanish.306

The ballet succeeded admirably in creating an

atmosphere of ethnic quality. The dancing was demi­

caractere in nature, and of course specifically Spanish.

Massine's understanding of the use of groups on stage and the coordination of their movements as a congruous part of the whole was very evident in Le Tricorne. The crowds were used as necessary to the story and atmosphere but always had a "believable" reason for exit when an. individ- ual performer danced a solo. The rhythmic nature and musicality of the choreography created a harmonic unity

305Karsavina, p. 303.

306Migel, xvi. 147 with the music. The ballet was a great tribute to

Diaghilev's confidence in Massine. Le Tricorne was an

enormous success, not only at its premiere in London but

also almost every time it was performed. It has been

called "one of the greatest works in ballet history"307

and "one of the undisputed masterpieces of the ballet .

repertoire."308 In his conversations with Richard

Buckle, Massine stated that of .all of his ballets (number­

ing over a hundred), Le Tricorne 11 remained the work of

which he was proudest.n309

The development of Le Tricorne created a genre of

dance which was used again by Massine later in his career,

specifically in Capricio Espagnol. Lawson stated that

"The Three-Cornered Hat remains the best example of this

genre yet staged by an exponent of the rich dance

materials of Spain.n310 Reflecting the timeless quality

of that Spanish genre of dance created by Massine, a New

York Critic wrote the following review in 1942:

307Ibid.

308Lawrence, p. 479.

309Buckle, p. 358.

310Lawson, p. 121. 148 In this day of much mediocrity in the ballet, it is a blessed relief to sit in the pressure of so secure and rounded a work as Massine's 'Tri­ corne', which had its first performance for the season by the Ballet Russe de Monte Carlo in the Metropolitan last night. For let us remember, this is not only Massine's 'Tricorne' but also Manuel de Falla's and Pablo Picasso's 'Tricorne'-­ a collaboration which has precious few equivalents in dance history.311

This ballet helped to secure Massine's.career as

a performer and choreographer. It also reinforced

Diaghilev • s choice of Mas sine to succeed Fokine and

Nijinsky. The success of Le Tricorne substantiated the

value and strength of artistic collaboration.

Post-Diaghilev 1924-1933

When Massine left the Diaghilev company in 1921, he went to London to establish himself independently from

the Ballets-Russes. His works in the early twenties were mostly in revues in English music-halls and his first major ballet during this period was Le Beau Danube (1924) • Massine returned to the Diaghilev company in 1925 and again in 1927 and produced Zephire et Flore (1925) ,

3ll"Massine Dances in his 'Tricorne'," news clipping from the files of the Dance Collection at Lincoln Center, october 10, 1942, New York (no credit to a particular newspaper) • 149 Les Matelots (1925), and Les Pas d'Acier (1927). In 1928

he choreographed a work called Ode, but not until 1933 did

Massine really find his own direction, free of the

Diaghilev influence. The year 1933 was fruitful for

Massine as he created four ballets: a revision of Le

Beau Danube, Beach, Jeux d'Enfants, Les Presages, and

Choreartium.

The two latter works were significant as turning

points for Massine and are mentioned in the ensuing _

section. The ballet Beach was not particularly a choreo­ graphic landmark, although the decor by Dufy was quite brilliant in its seashore rendition. Jeux d'Enfants was an avant-garde Surrealist ballet with decor by Mira; even so, in the opinion of the writer, Le Beau Danube remains the single most important work created by Massine after his initial break from Diaghilev.

In his first ballet independent of Diaghilev's influence, Massine veered from the traditions he had known. He selected "established music" by Johann Strauss and created an entertaining, but plotless ballet. Massine wrote about Le Beau Danube, "It was simply an excuse for threading together a series of divertissments in a festive mood."312

312Massine, pp. 189-90. 150

Le Beau Danube (The Beautiful Danube}

Book by Leonide Massine Music by Johann Strauss, Orch. by Roger Desormiere Scenery by Vladimir Polunin (after Constantin Guys) Costumes by Comte Etienne de Beaumont Premiere: Theatre de la Digale (Sirees de Paris}, Paris, 17 May 1924 Revised version in one act instead of two Monte Carlo, 15 April 1~33 (Alhambra, London, 4 July 1933} St. James Theater, New York, 21 December 1933)313

Original Cast: Lydia Lopokova as the Street Dancer Tatiana Riabouchinskaya as the Daughter · Leonide Massine as the Hussar

Cast of Revised Version: Alexandra Danilova as the Street Dancer Tatiana Riabouchinskaya as the Daughter Leonide Massine as the Hussar David Lichine as King of the Dartdies Irina Baronova as the Seamstress Borovanksy as the Strong Man314

Synopsis:

The scene is laid in the Prater, time 1860, and one of Constantin Guy's sketches of the·aris­ tocracy driving in the Bois, has provided the inspiration for the setting by V. Polunin.

313Massine, _p. 285. 314cyril w. Beaumont, Complete Book of Ballets (London: Putnam, 1937), pp. 916-7.

Fig. 2. Programmatic Details of the Ballet Le Beau Danube. 151

It is a public holiday and all is liveliness and good humour; a child plays with a skipping rope, miliners and salesmen dance, and young bloods make merry. Now a young hussar enters, meets his sweet­ heart, and dances a gay mazurka with her. A comic interlude is afforded by the arrival of a strolling troupe: a dancer, a strong man, and their "barker," who demonstrate their skill. But the dancer recog­ nizes a former lover in the hussar and an awkard moment ensues. The young girls faints and her affronted parents lead her away. The dancer takes the opportunity to endeavor to recapture the hussar's affection, but the young gir~ returns and vanquishes her would-be rival. The parents, returning in search of their daughter, view the reunion with disfavour, but the young girl's little sister induces her father and mother to bestow their bless­ ing. The ballet concludes with a general dance.315

315rbid. 152 Many years later Massine referred to Le Beau

Danube as "my first sin. n316 It was his first break

from Diaghilev, and he sinned against the "good taste"

that Diaghilev had always maintained in his theatrical

productions. According to Massine, Diaghilev always

attempted to find something of the unknown--progressive

artists, musicians, and movement, whereas Massine had

used as accompaniment, the very popular Blue Danube

waltzes by J. Strauss. 317 This violated Diaghilev's

concept of good taste and when Diaghilev and Massine met

in 1925, Diaghilev said of the ballet, "Non parlons pas

mem, c'est de la crotte." ("Let's not speak of it--that's

pure trash.")3lB

Even though Diaghilev was disappointed, Le Beau

Danube remains one of the more popular Massine ballets

throughout the world. Jack Anderson called it one of the most "durable" Massine ballets.319 The style of the has been referred to as an "operetta style ... 320

3l6Leonide Massine, "My First Sin--Leonide Massine Talks to Dance and Dancers," Dance and Dancers, April 1971, p. 17. 317rbid. 31Brbid. 3l9Jack Anderson, Dance (New York: Newsweek Books, 1974), p. 100. 320rbid. ..t

153 The revised version of 1933 is perhaps the more

famous of the two versions, as it is the one which is seen

on current stages. The 1933 cast was more intimately

identified with the roles they danced than were the per­

formers in the 1924 version. David Vaughn wrote about

the street dancer in Le Beau Danube, "a role forever

associated with Danilova."321

Massine described the spirit of his choreography for Le Beau Danube:

For the opening· scene I devised a carefree ensemble number--children playing, a young artist trying to paint a picture, street vendors circula­ ting with their wares, and many different types of young people enjoying their holiday. In the midst of the frivolity I made my entrance as the Hussar, a purely romantic role for which my movements throughout had to be poised and elegant. In my mazurka with Riabouchinska, who enhanced her role with her usual delicate and ethereal charm, I danced with vigour and gaiety, but nevertheless retained the old-fashioned gallantry proper to the character. In my pas de deux with Danilova, in her role as the principal dancer of a troupe of stroll­ ing players, I allowed my gestures to become tender and more rakish in response to my partner's seductive movements.322

Massine's comments reflect his enjoyment in creating and performing Le Beau Danube. Critics often recognized the entertainment value of the ballet.

32Jclarke and Vaughn, p. 54. 322Massine, p. 189. 154 In 1937, Beaumont gave his critique of the ballet in his volume, Complete Book Of Ballets. He found the choreography pleasant but not outstanding and mentioned some of the individual perfor.mances.323 Danilova and Riabouchinska are delightful as the Dancer and Daughter, and contrive to invest their dancing with a certain contrasted raffishness and innocence which the respective characters demand; Massine makes a gallant· Hussar. His pas de deux are executed with a delicate appreciation of poise and rhythm, the martial elegance of the hussar being well set off by the yielding graces of his companion. Mention must also be made of Borovan­ sky's excellent characterization of the Strong Man--complete with quiff~ cigarette behind ear, and panther-like gait.32 The light-hearted ballet carried that particular Massine essence of spontaneity which made the audience respond to the gaiety on the stage. The steps Massine used were more classically based than in some of his other choreography, but still remained in the demi­ caractere idiom._ His· musicality surpassed the rhythmic structure of Le Tricorne. Le Beau Danube seemed to flow naturally with the waltzing music. Perhaps this ballet was a reaction to the powerful and dynamic Spanish rhythms in which Massine had been immersed for several years.

323Beaumont, p. 917. 32 4rbid., pp. 917-18. 155 The rhythm was not as dominant in the steps per­

formed by the dancers· as in Le Tricorne; however,

Massine's choreography was woven with intricate patterns

of steps which were difficult to execute in the tempo of

the music. He used groups of dancers on stage to encircle

solo performers rather than leaving an individual alone

on the stage.

The groupings of dancers on stage was an important

element in the scene as they created the activity in the

park. This constant motion on stage produced a realistic

tone to the ballet as did the interaction of the charac­

ters. Characterization and dramatic quality added to the

realism and atmosphere on stage. Brightly colored

costumes, spritely music, and vigorous dancingaided the

choreography and made the ballet a timeless work.

Le Beau Danube cannot be counted among the great

ballets although Lillian Moore claimed that "Le Beau

Danube contains some of Massine's most effective choreo­ graphy.n325 It remains, even today, as one of the most

enjoyable and entertaining ballets for all ages. A

memorable aspect of the ballet is the delightful gaiety which spills over from the stage and captivates the

audience. The ballet also represents another aspect of

325Moore, p. 219. 156 the genius of Massine, another facet in the versatility

of his work. This trite, yet up-lifting ballet displays

a very human desire to be carefree and be entertained.

Moore added, "It is a ballet that is indefinitely dance­

able, and a ballet that is unfailingly pleasant to

watch." 326

Diaghile-v's disappointment in in Le Beau Danube

did not deter him from inviting Massine to work with the

Ballets-Russes again. The prodigal return by Massine

reaffirmed his foundation and revitalized his creativity

in the collaborative efforts that he encountered. Like

Diaghilev, Massine found renewed spirit in his association and collaboration with Russian artists. After this second

and last encounter with Diaghilev, he moved through his

career with more conviction and sense of purpose.

Symphonic Ballets 1933-1934

To many dance historians, Massine's greatest achievement was his development of the symphonic ballet.

He was the first to choreograph to a complete symphonic work. This endeavor caused a tremendous outrage and unresolvable controversy between music-lovers and ballet­ lovers.

326rbid. 157

The "symphonists" (~usic-lovers) were highly

offended that anyone would have the audacity .to super­

impose another art form on music that was created to

stand alone.327 Scholarly exchanges went on between

critics, especially in London, about the validity of the

symphontc ballet. 328 The debate, in general, went on

primarily between musicians--those who accepted the ideas

that Massine presented and those who did not.329

One example of the music critics' attack on

Massine's use of symphonic music was written by Leonid

Sabaneev, a critic for The Musical Times:

In great art there must be nothing superfluous, and if the symphony alone, as music, is already a work of genius, any extension of it in the shape of dance or of painting (it is, of course, possible to illustrate the symphony pictorially) appears to be redundant.330

However, Sabaneev, unlike other music critics, acknowl- edged Massine's choreographic genius in that same article, even though he did not agree with the use of a symphonic score. Sabaneev further stated:

327rrving Deakin, "Massine" clipping from the files of The Dance Collection at Lincoln Center, 1938.

328John Martin, "The Dance: To Symphony" news clip­ ping from the files of The Dance Collection at Lincoln Center, 1937. 329rbid. 330Leonide Sabaneev, "The Symphony in the Service of the Ballet," The Musical Times, July 1940, p. 297. 158 I say nothing against Massine's choreography, as always with him it is interesting and quite specific. . .. It should be remarked that in constructing his ballets, Massine pays the utmost respect to the music, which for him is inviola­ ble.331

In contrast, a dance critic, A. v. Caton, wrote his opinion of the controversy:

But composers, as much as critics of ballet, need to develop an understanding attitude towards the choreographer before they can be enrolled as responsible partners in this form of artistic collaboration. A study of the history of music in Ballet during this century shows that so far, they have, with few exceptions, failed to develop that attitude.332

It is generally agreed, retrospectively, that

Massine did establish a new art form in his symphonic ballets. They are now accepted as legitimate and signifi- cant in the history of dance and Massine has been recognized as the master.of that art form. 333

Anatole Chujoy wrote an essay entitled "The Case

Against Massine" in which he made some poignant remarks about Massine and symphonic ballets: Massine realizes that if ballet is to be kept a living art it must not be left to suffer from lack of nourishment, or put away as a museum piece.

331Ibid.

332A. v. Caton, "After Diaghilev--Massine," Ballet, September-October 1939, p. 12. 333"The Ballet that Massine Builtn 159 To live, an art form must be in step with life. It must be revitalized by the absorption of new ideas, new influences, provided, of course, that the essential foundation of tradition and tech­ nique is presented in the new development. With this realization Massine has not only kept ballet alive and widened its scope, but has brought it through a period of decadence without losing the thread of its past. He has welcomed a new age instead of fighting against it, but he has also stood by the underlying principles of the classic tradition.334

The evolution of Massine's symphonic ballets has

been traced by Lawson who found the progression to be

rooted in two sources; (1) the ballets produced by

Massine which used "simple technique, geometrical pattern-

ing of groups • and acrobatic elements;" and {2) his

desire to make "a stronger form of danced-mime •

expressive of actions and emotions • • • contained in the

music." 335

Massine's involvement with symphonic music arose

from the inspiration he found in the richness of that music. For Massine, working with good music, motivating music, was as stimulating as working directly with a composer or musician. He centered his movements around the tone and mood of the music; he let the ballet evolve

334Anatole Chujoy, "The Case Against Massine," Dance !East Stroudsburg, Pa.), December 193.6, pp. 9, 29.

335Lawson, p. 141. 160 from the music and not just put steps on top of music.

This is the factor which was not necessarily understood

by those who objected to Massine's use of symphonic music

for ballet. Most of the severe criticism was focused on

the sentiments that Massine was choreographing "over" the-

great music and not 11 to 11 it.

Another excellent point made by Chujoy was that:

To this day [1936] Massine remains the only choreographer who regards symphonies as a definite ballet idiom. Les Presages was his first symphonic ballet and not something he wanted to try his hand at. 33 6

Massine regarded all his works during his career as definite creations in the idiom of dance. 337

The series of symphonic ballets began with Les

Presages (1933) choreographed to Tchaikovsky's Fifth

Symphony. Choreartium choreographed to Brahms' Fourth

Symphony was also created that year and was followed by

Symphonie Fantastique (1936) choreographed to Berlioz's work of the same name; Seventh Symphony (1939) was created to Beethoven's Seventh Symphony; Rouge et Nair (1939) choreographed to Shostakovitch's First Symphony; Labyrinth

336chujoy, p. 9. 337conversations between Leonide Massine and Lisa A. Fusillo, December 1976-May 1977. 161 (1941) choreographed to Schubert's Seventh symphony; and

The Clock Symphony (1948) choreographed to Hayden's

Symphony 101 in D Major.

Choreartium was more widely accepted that Les

Presages, but both were strongly criticized. In

Choreartiurn, Deakin felt that Massine

made extraordinary progress in his new and very personal system for identifying the dance with the mood, color, tempo, and, above all, the architec­ ture of its music, opening a new field to be cultivated in the dance.338

None of the critics ever condemned Massine's use of

Berlioz' Symphonie Fantastique, for the composer himself

had written a detailed scenario.

The Beethoven Seventh Symphony was considered to

be one of Massine' s "most ambitious" ballets. 339 The

theme was serious and bordering on the religious, as he

attempted to depict "the creation and destruction of the

earth.n340 Massine's philosophi~al ballet Rouge et Nair

also had serious overtones in an abstract format, as it

traced the struggle of man through the torment and joys of life, finally being conquered by destiny.341

338neakin, p. 28.

339Lawrence, p. 411.

34°rbid.

341rbid. , p. 37 4 • 162 One of the Surrealist ballets by Massine and Dali

was Labyrinth. It was another intellectual ballet con­

cerning the 11 eternal myth of the aesthetic and ideologic

confusion which characterizes romanticism.n342 The Clock

Symphony deviated from the intense ballets for it was a

fai~-tale story about a king who wanted to marry off

his daughter and a clockmaker who made an intricate

clock for the Princess to win her favor.343 For the most

part, Massine concentrated on more serious themes and

intellectualized his choreography after Diaghilev's death.

The Clock Symphony seemed to restore a sense of gaiety

to his choreography.

The previous ballets reflected the change in

Massine's attitude and approach to choreography, as well as his embarkation into the symphonic idiom. His first symphonic ballet, Les Presages, was selected for detailed discussion. This ballet marked a turning point in

Massine's career and provided a new outlet for his creative ingenuity. Les Presages not only reflects the events of Massine's life which had a direct effect on his

342clive Barnes, "Labyrinth," Decca Book of Ballets, p. 466. 343Massine, pp. 231-2. 163 choreography but at its inception, the ballet forecast

the direction of choreographic development for Massine.

Following the reunion with Diaghilev in 1927,

Massine left again and had several relatively unproductive

years. When Diaghilev passed away in 1929, however, it

was Massine who became artistic director and guided some

of the remaining dancers of the Diaghilev company who had

assembled in Monte Carlo. The situation was fragmented

with Diaghilev's influence, so it is not particularly

surprising that Massine chose (whether consciously or not)

the music of Diaghilev's favorite composer, Tchaikovsky,

to use in the creation of his first ballet as director of the company. It is interesting that fate put the company into Massine's hands, and the first ballet was an intellectual conception of Man and his destiny.

Les Presages sprang from all of the elements surrounding Massine, including his own creativity.

Massine wrote that he had been very impressed with

Tchaikovsky's Fifth Symphony and began to construct his ballet. 344 I had often listened to Tchaikovsky's Fifth Symphony, and I felt now that its theme of man and his destiny could provide me with the right material on which to base my experiment.

344Massine, p.· 186 164

Les Presages (Destiny) Music by Tchaikovsky (Fifth Symphony in E Minor, OP 64) Decor by Andre···Masson: Monte Carlo, 13 April 1933 {Alhambra, London, 4 July 1933) St. James Theater, New York, 21 December 1933)345 Original Cast: Part I Action Nina Verchinina Temptation Natalia Branitska Olga Morosova Roland Guerard Part II Passion Irina Baronova David Lichine Fate Leon Woizikowsky Part III Frivolity Tatiana Riabouchinska Part IV Passion Baronova Firvolity Riabouchinska Action Verchinina Fate Woizikowsky The Hero Lichine346 A choreographic symphony in four parts. Synopsis: The ballet portrays Man's contest with his destiny and is divided into four parts: Part I. Action, or life with its amusements, ambitions, and

34Srbid., p. 297. 346Beaumont, p. 314.

Fig. 3. Programmatic Details of the Ballet Les Presages. 165 temptations. Part II. Passion, or the contest between sacred and profane love. Part III. Frivolity (Happiness in Tchaikovsky's letters). Part IV. War.347

347rbid., pp. 913-14. 166 But I knew that my work ought not to be simply an abstract interpretation in visual form. In using Tchaikovsky's music for my ballet, I envisaged my interpretation as corresponding in balletic form to the symphony in musical form. In short, I was taking on myself the responsibility of interpreting the meaning of Tchaikovsky's symphony through plastic statement, exposition and denouement. I visualized a series of movements and groupings with varying asymmetrical masculine and feminine elements. For the first time I dispensed with the traditional formula of male and female partnering and the usual balanced interplay between men and women dancers. I decided to avoid all symmetrical compositions and to render the flow of the music by fluctuating lines, and forms both static and mobile. I deliberately chose to follow the move­ ments of the symphony in a logical evolution.of choreographic phrases, successively amplifying and regrouping themselves into new shapes and patterns.3118

The dancers were given very clearly defined move-

ments to describe the nature of their being within the

ballet. All use of props and elaborate decor were dis­

carded, the atmosphere being created entirely by the

dancers.349 Massine choreographed the moods and emotions he felt were dictated by the music and still in keeping with his theme.350 Lawson considered the first part,

Action, to be the most outstanding as it "brought an

348Massine, p. 187.

349Lawson, p. 142.

350Massine, p. 187. 167 entirely new quality to classical dance." 351 Verchinina

danced the part of Action and Massine wrote about the

movement he created for her with the emphasis on her arm

movements:

Subtly interpreting Tchaikovsky's dramatic music, she curved or straightened her arms in a succession of contrasting positions, using alternately tremendous, flowing movements or sharp, close-angled. gestures. A radiant figure in her simple classical tunic, she glided across the stage, responding instinctively to every change of mood in the music.352

The performance by Verchinina left a similar impression on Beaumont:

Her arms played a great part in this dance and were remarkable for their varying quality of movement. Sometimes they described beautiful curves, moving with a gentle rhythm like the ripple of a wave; sometimes they darted forwards or backwards with the sudden swiftness of the flick of a whiplash; and sometimes, held almost rigid, one arm was flung forwards or backwards with such emphasis that it suggested the stroke of a double edged sword. So dynamic were her movements that she seemed to radiate power, and this impression was intensified by the complete contrast afforded by the dancer's being poised, or travelling, sur les pointes.353

351Lawson, p. 142.

352Massine, pp. 187-88.

353Beaumont, pp. 914-15. 168 Massine choreographed a background of three dancers for

this marvelous solo. The three dancers represented Temptation and their movements were made to specifically

contrast with those of Verchinina.354 Always following

the musical development and rhythmic structure, Massine's

choreography was highly detailed in its movement patterns.

The second section of the ballet is a romantic

duet between the Lovers (Passion) danced by Baronova and

Lichine. This rendering of the choreography has been

described as "a movem·ent of rare beauty."355 The move­ ments were lyrical and as Massine wrote "alternating between tranquil moments and bursts of passionate

ecstacy."356 Fate, danced by Woizikowsy, interrupted the lovers with his coarse percussive motions.

Changing the tone and quality, part three is a light, gay dance of merriment, Frivolity, originally danced by Riabouchinska. Lawson wrote, "the dancers appeared to laugh as if the drama of life were for­ gotten."357 In this section, Massine used the larger

354Massine, p. 188.

355Beaumont, p. 915.

356Massine, p. 188.

357Lawson, p. 142. 169 groups of dancers to add a festive element. The action

has the men lifting the women in the air with carefree,

almost whimsical movements.

The final section of War depicts chaos with

frenzied and frantic movements. Beaumont called it a

"·'Stylized representation of war. n358 Massine described

the last scene in this way:

To the surging music of Tchaikovsky's last movement, Passion, Frivolity, and Action are driven to war by Fate, their evil genius, enmesh­ ing themselves in a webb of intricate movement until Lichine, as the Hero, brought an end to chaos and restored peace and tranquility.359

The costumes by Masson were designed to "vaguely represent the classical period."360 These tunics created a fashion which later became known in ballets as "sym­ phonic costumes."361 The Masson backcloth combined the colors of red, green, yellow, mauve, and brown. It was highly simplistic so as not to interfere with the choreography. 362

358Beaurnont, p. 915.

359Massine, p. 188.

360rbid., p. 189.

361Lawson, p. 143.

362Beaumont, p. 914. 170

The ballet was considered a success, as it was

well received by the audiences.362 However, as previously mentioned, it did create a stir among the critics and

some musicians. Les Presages was a turning point in the history of dance, as well as in Massine's own career, as it resulted in new perspectives for both regarding the integration of the arts in collaborative efforts. Music for dance shifted from personal collaboration between composer and choreographer, to the interpretation by the choreographer of previously written musical scores.

Audiences witnessed, for the first time, concert music being used as accompaniment for dance.

Janet Sinclair discussed the significance of

Les Presages and Massine's talent:

In Les Presages Massine not only discovered a new genre: he also brought a completely new innovation--that of assymetrical corps de ballet. Gone were thesevere, regimented lines of the classical Petipa ballet: Gone was the sharp differentiation between corps and soloist. Massine maneuvered a vast cast of varying capabilities about the stage with as much ease as his imitators can present a pas de deux. Then, having developed this style to the very utmost, he calmly left it to his successors to wear it to rags while he went on to something else.363

362sitwell, p. 24.

363sinclair, p. 12. 171

Intellectual exploration through dance was a new

avenue of exploration for Massine. Les Pres-ages was the

beginning of many ballets which Massine created in this

vein. The philosophical approach eventually completed

the cycle of Massine's life, as it brought him into

religious themes which was where he bagan in his very

first ballet.

Religious Ballets 1915, _1932, 1938-1952

As Massine's career progressed, he never lost the

understanding gained from Diaghilev's teaching nor did

he lose his attraction to religious themes. Delayed by

time and circumstances, Massine was finally able to

create a major choreographic work based on a religious

theme in 1938. This development was a natural evolution

from the intellectual ballets in which he was immersed.

Those ballets always had a spiritual section which became

more and more pronounced in Massine's own mind, until he

r e a lized that it was time to do a religious ballet.

Among his earliest ballets on religious themes were Liturgie (1915), already mentioned, and David (1929 ) which was based on the story of David and Goliath. Belkis

(193 2) was Massine's interpretation of the story about the Queen of Sheba; Noblissirna Visione (1938) was a 172 story of St. Francis of Assisi; and Laudes Evangellii

(1952) was one of his last religious ballets.

David and Belkis were not successful choreographi­

cally, but Noblissima Visione and Laudes Evangellii were

more significant works. Of the two successful ballets

Laudes Evangellii was, for Massine, very similar to his earlier work Liturgie which was never performed.

Laudes Evangellii was constructed in two sections:

(1) The Annunciation and the Flight into Egypt; and

(2) the scene at the Mount of Olivet and the Ascension.

In creating this ballet Massine related it to Liturgie and re-established his connection with his Diaghilev experience. 364

The most well-known and most choreographically stable work was Noblissima Visione. For these two reasons, it was chosen for further discussion.

The ballet Noblissima Visione represented the completion of an idea which had been with Massine for a very long time. The movements and total choreography were not particularly innovative., but the dramatic intensity and use of characteristic movement by Massine

364Massine, p. 240. 173

Noblissima Vis·ione (St. Francis)

Based on a scenario by Leonide Massine and Paul Hindemith Music by Paul Hindemith Decor by Pavel Tchelichev Drury Lane, London, 21 July 1938 Premiere: (as St. Francis, Metropolitan Opera House, New York, 14 October 1938)365

Original Cast: Leonide Massine as St. Francis Simon Semenoff as Pietro Bernadene Frederic Franklin as The Knigh.t Nina Theilade as Poverty366

A ballet in five scenes. Synopsis:

Scene One In the house of his father, Pietro Bernadene, at Assissi, young Francis (Francesco) is passing the time with three comrades, watching the foreign buyers of Pietro's precious silks. Their presence evok~s a world he has not known, the lands beyond the Umbrian hills. Eager to trave~, he asks many questions of these merchants from abroad. A beggar enters the luxurious shop, and Francis drives him away. Yet, on seeing the man's pitiful glance, the youth runs after him and spontaneously bestows a gift. This kinship with the poor lasts only for a moment. Francis' thoughts are deflected by the arrival of a young knight, who has stopped in at Pietro's to renew his wardrobe. The warri~r is represented by a vigorous musical phrase.

365Ibid., p. 295.

3 66Lawrence, pp. 390-393.

Fig. 4. Programmatic Details of the Ballet Noblissima Visione. 174

Francis, stirred by military longings, wants to show the knight his strength. He challenges the newcomer to a contest and is defeated. Convinced that this is the master from whom he must learn the art of life, he takes service with the warrior and sets out from his father's house. Scene Two The youth, on finding himself near a country road with the knight and his soldiers, suffers a change of heart--for the splendid warrior, no more scrupulous than other powerful men of the time, orders his band to attack and rob a group of travelers, seize the women, and cut down the men. Francis, appalled at this carnage, casts off his armor, leaves the knight, and prays for guidance. In answer, three apparitions approach: Poverty, Chastity, and Obedience. Although Chastity and Obedience are to be his kin, they withdraw, leaving Poverty--his destined bride--to watch over him. In a most affecting scene, Francis confronts her with the new humility that is to become the root of his life. Scene Three It is evening and a feast is in progress at the house of Pietro Bernadene, who is overjoyed at his son's return. All the friends of the youth take part in celebrating his homecoming. Francis, too, dances, but without heart. In the midst of the feasting, a group of wretched beggars enters-­ men in rags, women disfigpred by suffering--and they seek the crusts of bread left by the guests. Here the mystic identification with the poor that Francis had felt at an earlier moment comes to the surface and remains. On an impulse, Francis rewards the beggars with golden vessels from his father's table. When the. merchant discovers this give, he rebukes his son and strikes him. It is then that Francis takes off his rich clothes, lays them at his father's feet, and departs· from the house to follow an inward call. As enacted by Massine, this was one of the great moments in dance theatre. 175

Scene Four Francis, clad in humble garments, has settled in the countryside, passing his days in meditation. As the scene opens, the orghestra calls up and sustains this meditative mood. The youth hears celestial music inside himself; taking a pair of branches which he shapes into a cross, he dances to it exaltedly. His reverie i~ broken by the people of near­ by farms, fleeing from a wolf that is ravaging the countryside. Soon the beast appears, but its fury wavers before the serenity of Francis. This episode, which has drawn some criticism for its jovial treat­ ment of the wolf, actually parallels in -dance the spirit of much medieval art, with its blend of fervor and childlike fantasy. The grateful folk lead the animal away and Francis is joined by the three companions who once shared the feasts with him at his father's house. Now they, like him, have renounced their former lives and are seeking truth through privation. In excessive regard for Francis, they prepare him a counch; but he refuses it and sleeps on the ground. During his rest, the chaste figure of Poverty approaches. The three companions--again with mis­ taken zeal--forbid her to disburb their friend. Intuitively, Francis awakens and hails Poverty as his bride. They solemnly exchange vows and, with the three comrades, share a wedding feast of bread and water. Scene Five Before a backdrop which Tchelicheff, the designer, has made memorable through the dominance of human hands--painted pleadingly, in the Byzantine style--a group of monks and nuns assembles to celebrate the union of Francis to Poverty. The nuns, crossing their hands, wave them gently like the wings of the birds so well loved by the saint. Th e n Poverty , guiding Francis, leads him to the summit of a great rock. There, above all human 176 pride, the two figures stand outlined against the sky as the monks and nuns look on reverently.367

367rbid. 177

were cleverly incorporated into the ballet.368 Massine's

outstanding sense of musicality, not only in the rhythmic

sense, but also in the feeling for musical content, pre­

vailed throughout.369 Robert Lawrence elaborated on this

point of musical movement:

Massine's choreography is an actual extension of the musical idea; it complements the texture of the composition in such a way as to make the finished ballet almost an inevitable act of the Deity or of the Muse.370

Hindemith, who composed the music, had suggested

the idea of a ballet about the life of St. Francis to

Massine. As documented in Chapter IV, Massine was reluc-

tant at first, but then agreed enthusiastically to do the

ballet.371 The two artists worked closely together, a

fact which enabled Massine to learn and truly comprehend

the austere musical style of Hindemith. 372 Massine

himself was strongly motivated by the collaborative

effort and wrote that:

Noblissima Visione was not really a ballet at all. It was a dramatic and choreographic interpre­ tation of the li£e of St. Francis in which

368Lawson, p. 144. 369Ibid. 370Robert Lawrence, "The Role of Music in Symphonic Ballet," news clipping from files of The Dance Collection at Lincoln Center. No date (approx. 1938) 371Massine, p. 208. 372rbid., p. 209. 178 Hindemith, Tchelichev [the designer] and I tried to create and sustain throughout a mood of mystic exaltation.373

The movements choreographed by Massine, had the

dancers crossing their arms above their heads and "the

rhythmic opening and closing of their hands suggesting a

flicker of Pentecostal flames."374 Massine also used

hand gestures raised in prayer that suggested angles like

those of Gothic arches pointing to heaven.375 The dancers

were dressed as monks and nuns and often moved in pro-

cessional formations, adding realistic elements in the

ballet. Such choreographic designs as these by Massine

evoked responses like the following by Ashton:

Leonide Massine might be called the painter of the ballet •.• [for his] decorative qualities, feel­ ing for proportion and design to form a good picture.376

Although Ashton was not referring to Noblissima Visione directly, the comment was made as a general remark about

Massine's ballets. ·It is most ~ppropriate to Nbblissima

Visione in any event.

373rbid.

374Jack Anderson, "The One and Only Ballet Russe de Monte Carlo: The Mas sine Years," Ballet Review, Vol. 8, Nos. 2 and 3, 1980, p. 182. 375rbid., p. 183.

376Ashton, p. 124. 179

As mentioned earlier, many clergy came to the

premiere performance in London and were not disappointed

with Massine's interpretation. An article in The Catholic

Herald commented:

Leonide Massine should cause us to be happy and to rejoice exceedingly. The artist in him makes him sympathetic to the mystic in St. Francis, and spontaneously as his nature prompts, he has created the Franciscan richness of spirit and poverty of life in one of the most thrilling ballets ever conceived.377

The decor by Pavel Tchelichev was created in a

medieval Italian style which followed Hindemith's music

that had an archaic feeling of the Middle Ages.378 The

costumes were not at all cumbersome and allowed the move-

ments of the dancer's bodies to carry the dramatic impact.

The movements were less like dance and more on the order

of danced-mime. Movement patterns were intricate, as were

group patterns, but the choreographic emphasis was given

to the individual artists.

In scene three, Francis places his garments at his

father's feet; the enactment by Massine was proclaimed

377"Ballet Built Upon a Spiritual Theme," Catholic Herald, August 5, 1938.

378Lawrence, Victor Book of Ballets, p. 389. 180

as "one of the great moments in danced theatre."379 Nina

Theilade was superb in the role of Poverty, but the

ballet in general did not allow the members of the company

to display their "technical prowess."380 To do so was

not, however, the purpose of the ballet as Massine saw it.

Noblissima Visione was the fulfillment of a dream

for Massine, in addition to being the vehicle whereby he

could once again renew his tradition. The ballet

epitomized the collaborative spirit which Massine so

staunchly advocated. Lawrence called it "one of the

finest of modern ballets."381 Indeed it was a transition

for Massine into the modern idiom of dance and was hailed

a success as such.382 The spirit of Noblissima Visione was a vital force in Massine's late works, although it was not a ballet which survived in the repertory of any company. The process of its creation led Massine into modernistic tendencies which kept his future choreography alive and vibrant.

379Lawrence, p. 391.

380sitwell, p. 29.

381Lawrence, p. 388.

382rbid. 181 The same year in which Noblissima Visione was

choreographed, Massine also produced Gai:te Parisienne

(an "operetta ballet"), a feat which undeniably reflects

the incredible scope of themes and movements that Massine

had at his command. Like. Le Beau Danube, Gafte

Parisienne was light-hearted, gay, and thoroughly enter-

taining, in stark contrast to the serious Noblissima

Visione.

Epilogue

The four Massine ballets discussed in detail in

this chapter represent the stages of development in the progression of Massine's choreographic career. Beginning with his base rooted in the Diaghilev principles, Massine understandably rebelled in choreography against Diaghilev; l ater he returned to the basic truths of the Diaghilev foundation which enabled him to seek new modes of expres- s i an in choreography . He continued to the logical conclusion of self-fulfillment as he made the transition into a modern idiom. This is stated by Moore in her descri p tion of Massine's work and contributions to dance:

Massine has greatly enriched the vocabulary of t h e c l assic dance, through the introduction of f o lk materi al and the adaptation of forms of move­ ment f rom other techniques such as that of the mo der n dance of Germany and Ameri ca.383

383Moore , p . 218 . 182

Massine epitomized the legacy of Diaghilev and he

sought to have tha·t legacy continued. His work, as

exemplified by the four ballets discussed in this chapter,

was the result of conscious creative exchange among

artists. The wholeness of art was more important to

Massine than the steps he put together. Always growing,

changing his perspective, and keeping dance alive; these were Massine's great contributions to dance. Coton

summarized Massine's ·life and career in this way,

"Massine, by his inherent choreographic genius, and owing nothing to accidents of time and circumstance stands as the greatest single figure in Ballet to-day.n384 These four ballets are evidence of 11assine' s artistic genius in choreography and represent the evolution of his choreographic development.

384coton, p.lS. CHAPTER VI

SUMMARY, FINDINGS, AND CONCLUSION

Summary Only fragments of information about Leonide Massine's career have been recorded in the annals of dance literature. The outstanding facts concerning his contrib­ utions to dance are intricately woven into the history of the development of dance. The richness of Massine's creative associations and inventions are often lost or taken for granted by members of a young society who did not exist at the time that Massine was creating and therefore do not understand the full value of the origi­ nality in his choreographic work. This study was .under­ taken in an endeavor to compile the scattered information

and to p~esent a cohesive documentation to Leonide Massine and his choreography. An examination of the literature containing. pertinent information about Massine centered on his autobiography and the elaborate biographies of Diaghilev which have been written. Periodical literature was quite valuable, but rather sporadic between the years included in the study. Taped interviews and personal journals

183 184

gave particular insight into Massine's personality and

methods of work. The investigator collected and compiled

the information and then established a structure for

presenting the material. The study was organized into

four sections to reflect the various events and personal­

ities which had a significant influence on his work.

The first section of the study provides a

chronological progression of Massine's life, focusing on

his childhood, his early education, and his experience

with Diaghilev. Massine's background in drama was an

important factor in his successful debut as a dancer, and also became a vi tal ·.element in all of his choreography.

The influence of Diaghilev was. the key to Massine 's own

foundations in creative art. Diaghilev tutored, guided,

and nurtured Massine while instilling in him a strong

sense of striving for artistic harmony. The mergence

of the arts, on equal terms, was Diaghilev's philosophy

and was practiced with conviction by Massine.

One aspect of Massine's dedication to artistic

harmony was established during his exposure to painters who were involved with theatrical decor. That early

exposure began in the Diaghilev company, and later

Massine's own creative association with painters enhanced his appreciation of movement and rhythm within decorative 185

art. In the second section of this study, some of the

artists with whom Massine collaborated are identified.

The formation of creative ideas and the development into

a ballet production was examined from the perspective of

the designing artist. Details of creative exchanges and

collaborations were provided.

The ensuing section of the study explores another

view on the development of a ballet from the creative

interaction between Massine and the musicians/composers.

The strength of Massine's innate sense of rhythm created

his natural affinity for music. Much of his choreography

was inspired by the dramatic melody or vibrant rhythms

produced by the composers. Massine was always considered,

throughout his career, to be very musical and rhythmical

both as a dancer and as a choreographer. He gained a

theoretical knowledge of music from a few of the composers with whom he worked and he constantly created intricate rhythmic patterns in movement.

The final section consists of a discussion of four

Massine ballets. One ballet was selected from each of four periods of Massine's choreographic career. The ballets, therefore, represent the development of Massine's choreography and the broad scope of his movement repertoire. 186 By examining these ballets, it was possible to trace the development of Massine's thematic material and to note his choreographic innovations. Programmatic details of each ballet including artistic credits, synop­ ses of the libretti, and original cast lists are provided to aid in references to specific characters, dance passages, and performances. The collaborating artists (painters, musicians,. and librettists) are also listed in the programmatic details, along with the place and date of the first performance of each ballet. The descriptions of the ballets in this study revealed Massine's understanding of, and adherence to, Diaghilev's principles concerning collaborative endeavor. Many of Massine's ballets have not survived, but the impact of his work will remain an integral part of dance history. The works that are still performed today maintain the vitality and spontaneity inherent in the original choreographic concept.

Findings It was evident in the course of research for this study·that Diaghilev was the single most important influence in Massine's life and had a profound effect upon his entire career. As was true of Diaghilev, 187 Massine's art was a complete integration of all aspects

of his life. To Massine,: life and art were synonymous.

Massine appeared to learn from every experience in

his life. The painters with whom he worked. taught him

that decorative art could add to movement. His musical

colleagues reinforced his own dramatic quality, musical­

ity, and rhythm. The creative energy, ideas, and

enthusiasm exchanged by the choreographers, painters, and

musicians, benefited all of them in the production of

their work.

Some of the ballets which resulted from these

collaborative efforts are monuments of inventiveness and

creativity. Massine's choreography often reflected

trends in his life, and all of his choreography provided

examples of his complete comprehension of unity in art.

The art world admired and respected the culmination of

such creative productions, even though sometimes, as with

the symphonic ballets, the works were controversial.

Massine's ballets indicate that he often led the way for

choreographic experimentation, just as the artists and musicians with whom he worked were discovering new

directions for their respective arts.

After he became confidently established, Massine chose his own avenues for choreographic exploration. 188 He did not imitate any other choreographers. His works

remain original 1 unique 1 and distinctively "Mas sine 1 " steeped in the spirit of collaboration.

Conclusion The findings of this study led the investigator to conclude that (1) artistic collaboration was a dynamic force in Leonide Massine's choreographic genius; and (2) the value of Leonide Massine's contributions to dance is profoundly significant and warrants a definitive record in dance literature. APPENDIX A

LEONIDE MASSINE: Chronologie de Vie 190 LEONIDE MASSINE: Chronologie de Vie

1895--born, Moscow, Russia

1903--entered Bolshoi Theatre School

1913--perfor.med tarentella in Swan Lake at Bolshoi Theatre; met Serge de Diaghilev

1914--joined Diaghilev Ballets-Russes Company

1914--choreographed first ballet, Liturgie, which had to no musical accompaniment and was never 1915 performed

1915--Soleil de Nuit (first Massine choreography to be presented)

1916--traveled to United States with Diaghilev company

1917--traveled to Spain with Diaghilev company

1919--choreographed Le.Tricorne, Boutique Fantasque

1920--choreographed Le Chant de Rossignol, Pulcinella

1921--left Diaghilev company; went to London and formed smallcompanywhich performed in English music halls

1924--created Le Beau Danube--first operatic ballet

1925--reunion with Diaghilev produced Zephire et Flore, Les Matelots

1927--second reunion with Diaghilev, met Prokofiev and produced Les Pas d'Acier

1929--death· of Diaghilev

1932--joined the Ballets Russes de Monte Carlo as choreographer; succeeded Balanchine as ballet master 191

1933--choreographed first symphonic ballet, Les Presages; revised Le Beau Danube into one act--very successful cast

1938--joined the new Ballet Russe de Monte Carlo as artistic director; came to United States with that company; choreographed Noblissirna Visione--first successful religious ballet

1942--joined Ballet Theatre and created Aleko for that company

1945--organized ballet company called Ballet-Russe High­ lights and toured the United States

1946--disbanded Ballet-Russe Highlights; returned to London APPENDIX B

A Chronology of Massine Ballets 193

A Chronology of Massine Ballets

Date Title Composer Designer

1914 Liturgie (no music) Gontcharova

1915 Soleil de Nuit Rimsky-Korsakov Larionov

1916 Kikimora Liadov Larionov Las Meninas Faure Socrate

1917 Les Femmes de Bonne Scarlatti Bakst Humeur Parade Satie Picasso Les Centes Russes Liadov Larionov

1919 Boutique Fantasque Rossini Derain Cleop~tre (revised various Russian The Delaunays by Massine) composers Le Jardin d 'Aranj.uez Auber, Chabrier, Sert Faure, Ravel Le Tricorne de Falla Picasso Daphis and Chloe (revised by Mas sine)

1920 Le Chant de Stravinsky Matisse Rossignol Pulcinella Pergolesi, Picasso arranged by Stravinsky

1923 Togo Milhaud Grant Chinese Dance J. Strauss

1924 Mercure Sa tie Picasso Les Roses Metra Laurencin Gigue J.S. Bach, Derain Handel Scarlatti The Rake Quilter Nicholson Sa lade Italian melo­ Braque dies arranged by Milhaud Cimarosiana Cimarosa Sert 194

Date Title Composer Designer

1925 Zephi~e et Flore Dukelsky Braque Les Matelots Aurie Pruna A Hungarian Wedding Farago Pompeii a la Ganne Zinke is en Mas sine Pyjama Jazz Zinke is en Crescendo Calthrop

1926 The Tub Hayden Nicholson La Carmagnole Stanilas Arnoux

1927 Le Pas d'Acier Prokofiev Yakoulov Les Facheux Aurie Braque (revised by Mas sine)

1928 Ode Nabokov Tchelichev and Charbonnier

1929 Amphien Honegger A. Benois David Suaguet Doderet Les Enchantements Aurie A. Benois d'Alcine

1930 Le Sacre du Stravinsky Roerich Printemps (revised by Mas sine)

1932 Jeux d'Enfants Bizet Miro

1933 Les Presages Tchaikovsky Masson Le Beau Danube Strauss Polunin and Beaumont Choreartium Brahms Terechkovich and Lourie Beach Francaix Dufy Scuolo di Ballo Boccherini Beaumont

1934 Union Pacific Nabokov Johnson and Sharaff 195

Date Title Composer Designer

1935 La Bal (revised by Reiti Chirico Mas sine)

1936 Symphonie Fantas­ Berlioz Berard tique Noblissirna Visione Hindemith Tchelichev Jardin Public Dukelsky Lurcat

1938 Bo~atyri Borodin Gontcharova Ga~te Parisienne Offenbach Beaumont Seventh Symphony Beethoven Berard

1939 Cappriccio Espagnol Rimsky-Korsakov Andreu Rouge et Nair Shostakovitch Matisse Bacchanale Wagner Dali

1940 Vienna 1814 Weber Chaney The New Yorker Gershwin Kent

1941 Labyrinth Schubert Dali Saratoga Weinberger Smith

1942 Aleko Tchaikovsky Chagall Don Domingo Revueltas Castellanos 1943 Mam'zelle Angot Lecocq Dobujinsky

1944 Tristan Fou Wagner Dali Moonlight Sonata Beethoven 1945 Ballet Russe High­ lights

1948 Clock Symphony Hayden Berard Cappriccio Strav.insky N. Benois

1949 Le Peintre et son Aurie Balthus Modele Quattro Stagioni Vivaldi Roy

1950 Platee Rameau La Valse Ravel Dali Le Bal du Pont Dupont Masson du Nord Concertina Francaix Roy 196

Date Title Composer Designer

1951 Donald of the Whyte Colquhoun and Burthens MacBryde Les Saisons Sauguet

1952 Laudes Evangellii Bucchi Rossi

1954 Harold in Italy Berlioz Lamotte Les Dryades Chopin Bouch ere Resurrezione e Vita arranged by Marchi and Mortari Costa

1955 Mario e il Mage Mannini Nobili

1958 Petrouchka Stravinsky A. Benois

1959 Don Juan Gluck Wakhevitch

1960 Bal des Voleurs Aurie Malcles Il Barbiere di Rossini Beaurepaire Siviglia La Cornrnedia Umana Arrien Manessier Fantasmi al Grand Chailly Buzzati Hotel Scheherazade Rimsky-Korsakov Bakst (revised by Mas sine)

1966 Les Noces Stravinsky Gontcharova (revised by Massine) APPENDIX C

Photographs of Leonide Massine from the

Collection of Lisa A. Fusillo 198

. ------.---.-..~~~~------~------~

Serge Diaghi1ev and Leonide Massine. c. 1914 199

Massine's First Ballet, Liturgie. c. 1914 200

Leonide Massine and Tamara Karsavina in Le Tricorne, c. 1919 201

Leoni de Massine. c. 1930 202

Leonide Massine and Nina Theilade in Les Presaaes.d c. 1933 203

Leonide Massine and Tamara Tournanova in Symphonie Fantastique, c. 1936 204

Leonide Massine and Irina Baronova in Le Beau Danube, c. 1940 205

Leonide Massine in Saratoaa. c. 1941 206

Leonide Massine in Gaite Parisianne. c. 1945 207

Leonide Massine performing farucca solo in Le TricQrne, c. 1950 208

--. J. ,.~, •• ~- -- . ~~-::~::-~~·-;_~-!·~_{~~~=- ~ :..:--=i;i~;ii;;;·-·--

Leonide Massine in Le Beau Danube, c. 1950 209

-~:-_:.~ ... ..~~-· -·~ ·. '·--'·"""":-:--·-. - :~;~..

·-"':"'".

Leonide Massine. c. 1975 BIBLIOGRAPHY

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Periodical Literature

Journals and Magazines

Anderson, Jack. "The One and Only Ballet Russe de Monte Carlo--The Massine Years." Ballet Review 8 Numbers 2 & 3 (1980): 141-199.

Ashton, Fred. "A Word About Choreography." The Dancing Times, May 1980, pp. 124-125.

Baker, Robb. "Jaffrey's 'Parade'.. A Controversial Collaboration--50 Years Later." Dance Magazine March 1973, pp. 40-43.

"The Ballet that Massine Built," Dance, (East Stroudsburg, Pa.) February 1940, pp. 52-55.

"The Ballets of Leonide Massine." Ballet, November 1946, pp. 8-13.

Chujoy, Anatole. "A Great Choreographer Returns: Leonide Massine is Back After an Absence of 8 Years." Dance News, October 1954, p. 8. chujoy, Anatole. "The Case Against Massine," Dance, December 1936, pp. 9, 28-29. 216

Clarke, Mary. "Massine--In England and America." The American Dancer, April 1948, pp. 28-29.

Caton, A. V. "After Diaghilev--Massine." Ballet, September-October 1939, pp. 11-16.

Daniels, Diana P., and Moore, Lillian. "E. 0. Hoppe and the Diaghilev Ballet." 'Dance Magazine, September 1954, p. 24.

Eames, Marian, managing editor. "The Criticism of Edwin Denby. n Dance Index, January 194 6.

Gregory, John. "With Massine on Galli." The Dancing Times, October 1974, pp. 24-25.

Gruen, John. "Patricia Bowman." Dance Magazine, October 1976, pp. 47-62.

Hall, Ferneau. ••symphonic Ballet: A Reply.·~ The Dancing Times, August 1927, pp. 554-556.---

Hardin, Robert. "A Conversation with Leonide Massine." Dance Magazine, November 1969, pp. 40-58.

Haskell, Arnold L. "Leonide Massine: An Appreciation." Dance Hagazine, November 1969, pp. 40-58.

Hodgson, Moira. "Pittsburgh Ballet Theatre Educating the Public." Dance Magazine, February 1975, pp. 54-59.

Lester, Keith. "Choreographers at ~vork: A Method in Their Madness." The Dancing Times, February 1941, PP • 2 6 4 1 1 7 6 • Martin, John. "An American Sums Up." The Dancing Times, February 1943, pp. 215-216.

Massine, Leonide. "The Making of the Three-Cornered Hat." Dance Magazine, September 1969, pp. 33-38.

Massine, Leonide. "r-1y First Sin: Leonide Massine Talks to Dance and Dancers." Dance and Dancers, April 1971, pp. 17-19.

Massine, Leonide. "Serge Diaghilev--in Memoriam." The Dance Magazine, 1929, p. 17. 217

Maynard, Olga. "Fredrick Franklin." Dance Magazine, June 1974, pp. 44-48.

Monahan, James. "Symphonic Ballet: A Sununing Up." The Dancing Times, July 1937, pp. 414-416.

Sabaneev, Leonid. 11 The Symphony in the Service of the Ballet." The Musical Times, July 1940, pp. 297- 299.

Sabin, Robert. "Gilding the Symphonies." Dance. Observer, January 1940, pp. 4, 10.

Sinclair, Janet. "Choreographers of Today--Leonide Massine. 11 Ballet Today, October 1960, p. 11.

Svetloff, Valerian. "The Diaghileff Ballet in Paris." The Dancing Times, December 1929, pp. 263-274.

Vaughn, David. "Conversations with Markova." Dance Magazine, June 1977, pp. 56-62.

Vitak, Albertina. "Ballet and Massine." The American Dancer, September 1938, pp. 15-16.

Ware, Walter. "Ballet Builders: The Choreographer Paves the Way." The American Dancer, February 1939, pp. 12-13.

Williams, Peter, ed. "Personality of the Month--Leonide 14assine." Dance and Dancers, October 19 60, p. 5.

Newspaper Articles

"Ballet Built Upon a Spiritual Theme." Catholic Herald, 5 August 19 38.

"Dali to Provide Scenario for a Massine Ballet." New York Herald Tribune, 22 January 1938.

Deakin, Irving. "Massine." Clipping from the Massine Files of the Dance Collection at Lincoln Center. c. 1938.

Lawrence, Robert. "Massine and the Ballet Theatre." Uew York Herald Tribune, 9 May 1943. 218

Lawrence, Robert. "The Role of Music in Symphonic Ballet." News clipping from the Massine files in the Dance Collection of the New York Public Library at Lincoln Center.

1-iartin, John. "Mas sine 1 s Highlights... New York Times, 8 July 1945.

Martin, John. "To Dance: To Symphony." News clipping from the Massine files of the Dance Collection at Lincoln Center. c. 1937.

1 "Mas sine Dances in his 'Tricorne • "· (New York) 10 October 1942. From the Massine files in the Dance Collection in the New York Public Library at Lincoln Center.

Massine, Leonide. "Dialogues avec Leonide Massine." Archives International de la Danse, Paris Avril 1933 pp. 52-53.

Newman, Ernest. "Symphonies and Ballets." New York, 1938.

News clipping from New York Post Homes News, 10 September 1948. In the Massine files of the Dance Collection of the New York Public Library at Lincoln Center.

Various news clippings in the Massine Files of the Dance Collection in the Performing Arts Library, ~ew York Public Library at Lincoln Center.

Unpublished Materials

Personal Documents

Conversations between Leonide Massine and Lisa A. Fusillo. December 1976 to May 1977.

Notes on choreography as presented by Leonide Massine, written by Lisa A. Fusillo.

Personal journal by Lisa A. Fusillo. December 1976 to May 1977. 219

Audio Works

Gruen, John. Interview with Stanislas Idzikowski. 1974. Transcript in the Dance Collection of the Ne'tv York Public Library at Lincoln Center.

Gruen, John. Interview with Eugenia Delarova. 1972. In the Dance Collection of the New York Public Library at the Lincoln Center.

Gruen, John. Interview with Leon Danielian. 1973. In the Dance Collection of the New York Public Library at Lincoln Center.

Horosko, Marian. Interview with Leonide Massine. 1969. In the Dance Collection of the New York Public Library at Lincoln Center.

Huckepahler, Victoria. Interview with Vera Niemchinova. 1972. In the Dance Collection of the New York Public Library at Lincoln Center. Hunt, Marilyn. Interview with Igor Youskevitch. 1974-75. Dance Collection at Lincoln Center. Terry, Walter. Interview with Leonide Massine. 1966. In the Dance Collection of the New York Public Library at Lincoln Center.

Films and Video Tapes

New York. The Dance Collection in the Performing Arts Library of the New York Public Library at Lincoln Center. The Massine files.

New York. Massine Film Collection, The Dance Collection in the Performing Arts Library of the New York Public Library at Lincoln Center.