UNLV Retrospective Theses & Dissertations 1-1-1997 The artistic collaboration resulting in the creation of the ballet "Parade" Elizabeth Marie Kattner University of Nevada, Las Vegas Follow this and additional works at: https://digitalscholarship.unlv.edu/rtds Repository Citation Kattner, Elizabeth Marie, "The artistic collaboration resulting in the creation of the ballet "Parade"" (1997). UNLV Retrospective Theses & Dissertations. 3329. http://dx.doi.org/10.25669/50gh-xf9n This Thesis is protected by copyright and/or related rights. It has been brought to you by Digital Scholarship@UNLV with permission from the rights-holder(s). You are free to use this Thesis in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/ or on the work itself. 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THE ARTISTIC COLLABORATION RESULTING IN THE CREATION OF THE BALLET PARADE by Elizabeth Kattner A thesis submitted in partial fulfillment of the requirements for the degree Master of Music with a Dance Emphasis Department of Dance and Music University o f Nevada, Las Vegas July 1997 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. UMI Number: 1387134 mvn Microform 1387134 Copyright 1997, by UMI Company. Ail rights reserved. This microform edition is protected against unauthorized copying under Title 17, United States Code. UMI 300 North Zeeb Road Ann Arbor, MI 48103 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. The Thesis of Elizabeth M. Kattner for the degree of Master o f Music with a Dance Emphasis is ^proved. E^Kaowimg^in^ttee Member, M a ^ t ColberCB.S. Examining Committee Meniber, Paul Kreider, M.M. Graduate Faculty Representative, George Urioste, PhX>. Dean of the Graduate College, Ronald Smith, Ph D. UniversiQr of Nevada, Las Vegas August 1997 u Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. ABSTRACT The Artistic Collaboration Resulting in the Creation o f the Ballet is an Parade examination o f the development ofParade for the Ballet Russe. It describes the process by which Jean Cocteau, Pablo Picasso, Erik Satie, and Leonide Massine collaborated under the guidance of Serge Diaghilev. The collaborators’ objective was to create a work of “total art” which gave equal attention to visual art, music, and dance. The medium of dance is the primary focus for examination in this thesis, but it cannot be understood without looking at the work of each of the collaborators as well as the political and cultural climate of Paris in 1917. Cocteau’s scenario, Picasso’s Cubist designs, and Satie’s innovative music, along with Massine’s choreographic invention, resulted in this work of total art. lU Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. TABLE OF CONTENT ABSTRACT................................................................................................. üi ACKNOWLEDGEMENTS............................................................................. vi CHAPTER 1 INTRODUCTION................................................................... I Introduction ........................................................................................ I Ballet Russe and the Avant-Garde....................................................... 2 TheFirst World War and Its Impact on Art ......................................... 4 The Collaborators ............................................................................... 7 CHAPTER 2 LEONIDE MASSINE............................................................. 9 CHAPTER 3 JEAN COCTEAU AND THE BALLET RUSSE........................ 15 Cocteau and the Ballet Russe ...............................................................17 Ballet Réaliste................................................................................... 19 The Choteogrtq>hy o f Par<u/e .............................................................. 20 The Managers ................................................................................... 22 The Chinese Conjurer ......................................................................... 24 The Little American Girl.....................................................................26 The Acrobats.................................................................................... 28 The Scandal........................................................................................ 28 CHAPTER 4 PICASSO AND CUBISM ......................................................... 30 Picasso’s Method ................................................................................ 34 The Curtains and the Sets .................................................................. 35 The Costumes..................................................................................... 37 The Managers ..................................................................................... 37 The Chinese Conjurer ......................................................................... 41 The Little American Girl and the Acrobats .......................................... 43 CHAPTER 5 ERIK SATIE .............................................................................45 Picasso’s Influence ..............................................................................46 High Art Versus Low Art and the Reaction to German Impressionism ............................................................ 48 The Music and Sounds of Parade........................................................ 50 The Prelude to the Red Curtain ............................................................51 The Managers’ Theme .........................................................................51 The Chinese Conjurer ......................................................................... 52 iv Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. The Little American Giri......................................................................53 The Acrobats....................................................................................... 54 The Artistic Aftermath......................................................................... 54 Review and Scandal.............................................................................55 CHAPTER 6 CONCLUSION..........................................................................57 BIBLIOGRAPHY...........................................................................................59 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. ACKNOWLEDGEMENTS I would like to thank my committee chair, Vicotria Dale, and the other foculQr members of the Dance Department for helping me expand my horizons beyond just the ballet studio. Special thanks to Edwina Boyer at the dance ofiBce for always going the extra mile, and for always having a listening ear available. Finally, to my most treasured teacher in ballet and lifo, Margot Colbert, thank you for all you’ve taught me, and thank you most of all for the years of fiiendship. You truly are a teacher who makes a difference in the lives of your students. VI Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. CHAPTER I INTRODUCTION Parade's presentation in Paris during the tumultuous years of World War I heralded the shift in dance and other art