{[ promptMessage ]}

Bookmark it

{[ promptMessage ]}


ESL145-Speech(personality#1) - Sergei Pavlovich...

Info icon This preview shows pages 1–3. Sign up to view the full content.

View Full Document Right Arrow Icon
Sergei Pavlovich Diaghilev ( Russian : Сергей Павлович Дягилев / ́ ́ ́ Sergei Pavlovich Dyagilev Russian pronunciation: [s ʲɪˈ rg ʲ ej ˈ pavlov ʲɪ t ɕ ˈ d ʲ æg ʲɪ l ʲɪ f] ), also referred to as Serge, ( March 31 , 1872 August 19 , 1929 ) ANYONE WHO CARES FOR the alliance of dance, music and art will be fascinated by Serge Diaghilev, one of this century's most combustive talents, plotting with Picasso, Satie, Coco Channel and Cocteau to turn ballet into hot, modernist art. Despite the Russianness, we think of him breathing the internationally fashionable air of western Europe, far away from the Motherland. The most important goal in his life was that in the beginning of the 20th century he changed the face of the dance. It is interesting to know, that he did not set out on that course deliberately, but fell into it through the turn of (because of some life) circumstances, motivated to a great extent by his personal passion. Diaghilev was born into privileged Old Russia. His parents were wealthy and well connected provincials (he met both Tchaikovsky and Mussorgsky as a child). He knew all the gossip of the operatic world. At 6, he was forever reading, he was absorbing everything: art, literature, music. Before long, he broke all the school rules in Perm and was Sent to the capital to study law, where at the same time also taking classes at the St. Petersburg Conservatory of Music where he studied singing and music. After graduating in 1892 he abandoned his dreams of composition (his professor, Nikolai Rimsky-Korsakov , told him he had no talent for music. Than Diaghilev, only 18, slammed the door and shouted: “We will see which one of us will be more important in history”). That was the time of the beginning the new era World got aqquainted with the Russian Art as well with the Russian ballet. “Extraordinary Impresario” has aroused(appeared). As a young man he worked briefly for the Imperial Theatres, becoming a special assistant to Prince Sergei Mikhailovitch Wolkonsky . It was Diaghilev’s first working contract with the theater hence with the ballet. At that time the theater was dominated by tradition and the ballerinas looked like poor gypsies. But having taste and ambition right from the beginning he liked to run his own show and his interests were too volatile to be contained within a single job. (When he was a small boy his stepmother thought he showed such an abnormal interest in everything that she took him to the doctor.) It was 1890s. So, he was more concentrated in an outside world. Russian culture and politics were also coming to the revolutionary boil and Diaghilev was part of a group of artists and aesthetes who enthusiastically embraced new trends in Western art. Throughout the Soviet era, Diaghilev and his
Image of page 1

Info icon This preview has intentionally blurred sections. Sign up to view the full version.

View Full Document Right Arrow Icon
colleagues were regarded in Russia as defectors and almost as traitors.
Image of page 2
Image of page 3
This is the end of the preview. Sign up to access the rest of the document.

{[ snackBarMessage ]}