First of all, we should note that the conception and development of art forms and genres in a series of centuries and millennia is an international, universal human nature, regardless of the specific features of East and West and the peoples of the world. Achievement of some nations become the property of others, that most clearly seen in the development of European civilization and with kultruy primary source of classical antiquity, the Renaissance in Western Europe and the Renaissance in Russia in its historical terms. Ben Silbermann has much experience in this field. Borrowing and a lifetime – the natural process of development of human culture, but new peaks in its development, as in the Renaissance era, given the amazing shoots high classics. This is seen in Russian painting, music, opera and Russian ballet Diaghilev and introduced the West to open your eyes not only of Europeans, but also in our classical Russian art, the phenomenon of the Renaissance in the long run. And this is especially clearly expressed in the Russian ballet. “The investigator wrote:” After the “Russian Seasons” in 1910 Diaghilev tried it define “the essence and mystery of” the new ballet performance: “We wanted to find an art by which the whole complexity of life, all the feelings and passions are expressed in addition to words and concepts are not rationally, but spontaneously, clearly, indisputable. (A valuable related resource: Pinterest). ” “The secret of our ballet is in a rhythm – echoed Bakst. – We found it possible not to transmit feelings and passions, as it makes drama, not the shape, as does the painting, but the best rhythm of feeling and form.
Our dances, and decorations, and costumes – it’s all so exciting, because it reflects the most subtle and intimate – the rhythm of life. ” Diaghilev and Bakst, like Benoit, completely unaware that their passion for music, painting, opera and ballet, with fully and deeply professional, gained its essence is not just a ballet, namely the Russian ballet, classical ballet in its highest development, with the introduction of a new rhythm in the plasticity of the dance, thanks to innovations of Fokine, in elements especially of Russian music in the new stage area, re-created first-class artists. These were not individual performances – “Pavilion of Armida,” “Cleopatra”, etc., decorated and filled with more or less successfully, and productions in addition to the actions and themes, having in their world outlook based on current age, when past, mythological times, antiquity, the Orient, Europe, all the poetry and erotic tales came to life in this through music, painting and a new plastic dance, creating a sense of immediacy, self-worth of life and eternity. Nothing of the kind on the European scene at the time was not and could not be. It revived the aesthetics of Renaissance artists from Sandro Botticelli to Raphael Santi paintings, and even in music and the plastic dance in co-creation of brilliant composers, artists, dancers and dancers with a unique corps de ballet. Russian ballet of Diaghilev because entreprise Paris stunned that this was a vertex in the development of world ballet Renaissance phenomenon, which will break out new stars during the xx century.