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Mingle Media TV and our Red Carpet Report host Keetin Marchi were invited to cover the the 68th Emmy Awards Costume Design Nominee Reception hosted by Television Academy Peer Group Governors Lily Tomlin (Performers), Fred Savage (Directors), Terry Ann Gordon and Sue Bub (Costume Design & Supervision) and the FIDM Museum.
The 10th annual “Art of Television Costume Design” features over 100 costumes from 23 popular shows including designs from 8 shows nominated for the 68th Emmy® Awards. Television Academy Chairman & CEO Bruce Rosenblum was also in attendance for this exciting event honoring costume design.
Emmy Nominees for Costume Design
American Horror Story: Hotel, Downton Abbey, Empire, Game of Thrones, Outlander, Roots, The Good Wife and Transparent were honored with a certification and are included the FIDM Museum’s 10th Annual Outstanding Art of Television Costume Design Exhibition.
FIDM Exhibit Open Hours - Free Exhibit
August 2, 2016– October 15, 2016 10am–5pm Tuesday through Saturday
Save the Date: The “68th Primetime Emmy Awards” will be hosted by Jimmy Kimmel and broadcast live from Microsoft Theater in Los Angeles, SUNDAY, SEPTEMBER 18 (7:00-11:00 p.m. EDT/4:00-8:00 p.m., PDT) on the ABC Television Network. For more info, please visit www.emmys.com
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About FIDM Museum’s 10th Annual Outstanding Art of Television Costume Design Exhibition
The free-to-the-public exhibition will be held in downtown Los Angeles at the FIDM Museum & Galleries at FIDM/Fashion Institute Design & Merchandising and runs from August 2, 2016– October 15, 2016. Museum hours are 10 a.m. – 5 p.m., Tuesday through Saturday. Visit fidmmuseum.org/exhibitions/upcoming/#art-of-television-co... for more info.
FIDM Museum & Galleries on the Park Address
FIDM/Fashion Institute of Design & Merchandising 919 S. Grand Avenue, Los Angeles, CA 90015
For more of Mingle Media TV’s Red Carpet Report coverage, please visit our website and follow us on Twitter and Facebook here:
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Based on the prologue to “The Thousand and One Nights,” the ballet Scheherazade premiered in Paris on June 10, 1910, at the Theatre National de l’Opera. Rimsky-Korsakov composed the music, Michel Fokine did the choreography and Leon Bakst was the stage and costume designer.
The story is about the Sultan of ancient Persia and his harem. Ida Rubinstein played the Sultan’s favorite wife Zobeide and Vaslav Nijinsky was the Golden Slave for the premiere. The Sultan suspects that Zobeide is unfaithful so he pretends to go on a hunting trip with his brother. Upon their departure, the concubines bribe the Chief Eunuch to free the slaves, which ignites an orgy. Zobeide chooses the Golden Slave with whom she falls into a passionate embrace. The Sultan returns unexpectedly and is enraged at the betrayal. He orders that all be killed. Zobeide begs the Sultan’s forgiveness but, when it seems futile, she stabs herself and falls to his feet.
Available on Youtube is a great performance of Scheherazade by the Kirov Ballet in 2007 with principal dancers Yulia Makhalina as Zobeide and Igor Kolb as the Golden Slave.
Part 1: www.youtube.com/watch?v=jUXSL81owSg
Based on the prologue to “The Thousand and One Nights,” the ballet Scheherazade premiered in Paris on June 10, 1910, at the Theatre National de l’Opera. Rimsky-Korsakov composed the music, Michel Fokine did the choreography and Leon Bakst was the stage and costume designer.
The story is about the Sultan of ancient Persia and his harem. Ida Rubinstein played the Sultan’s favorite wife Zobeide and Vaslav Nijinsky was the Golden Slave for the premiere. The Sultan suspects that Zobeide is unfaithful so he pretends to go on a hunting trip with his brother. Upon their departure, the concubines bribe the Chief Eunuch to free the slaves, which ignites an orgy. Zobeide chooses the Golden Slave with whom she falls into a passionate embrace. The Sultan returns unexpectedly and is enraged at the betrayal. He orders that all be killed. Zobeide begs the Sultan’s forgiveness but, when it seems futile, she stabs herself and falls to his feet.
Available on Youtube is a great performance of Scheherazade by the Kirov Ballet in 2007 with principal dancers Yulia Makhalina as Zobeide and Igor Kolb as the Golden Slave.
Part 1: www.youtube.com/watch?v=jUXSL81owSg
New Movement Collective: Collapse, A Period Drama
New Movement Collective (NMC) premieres their new work 'Collapse - a period drama' at the Royal Festival Hall, Southbank Centre. 30 July-6 August 2016.
Choreography, concept + performance: New Movement Collective
Sculpture, design + film: Scanlab Projects
Composer + cello: Oliver Coates
Lighting design: Zeynep Kepekli
Performers: Clemmie Sveaas, Patricia Okenwa, Alexander Whitley, Jonathan Goddard, Joe Walkling, Renaud Wiser
photo - © Foteini Christofilopoulou | All rights reserved | For all usage/licensing enquiries please contact www.foteini.com
Based on the prologue to “The Thousand and One Nights,” the ballet Scheherazade premiered in Paris on June 10, 1910, at the Theatre National de l’Opera. Rimsky-Korsakov composed the music, Michel Fokine did the choreography and Leon Bakst was the stage and costume designer.
The story is about the Sultan of ancient Persia and his harem. Ida Rubinstein played the Sultan’s favorite wife Zobeide and Vaslav Nijinsky was the Golden Slave for the premiere. The Sultan suspects that Zobeide is unfaithful so he pretends to go on a hunting trip with his brother. Upon their departure, the concubines bribe the Chief Eunuch to free the slaves, which ignites an orgy. Zobeide chooses the Golden Slave with whom she falls into a passionate embrace. The Sultan returns unexpectedly and is enraged at the betrayal. He orders that all be killed. Zobeide begs the Sultan’s forgiveness but, when it seems futile, she stabs herself and falls to his feet.
Available on Youtube is a great performance of Scheherazade by the Kirov Ballet in 2007 with principal dancers Yulia Makhalina as Zobeide and Igor Kolb as the Golden Slave.
Part 1: www.youtube.com/watch?v=jUXSL81owSg
“Born in Kharkiv, Ukraine into a wealthy Jewish family, Rubinstein was orphaned at an early age. She had, by the standard of Russian ballet, little formal training. Tutored by Mikhail Fokine, she made her debut in 1908. This was a single private performance of Oscar Wilde's Salomé, in which she stripped nude in the course of the Dance of the Seven Veils.
“Sergei Diaghilev took her with the Ballets Russes and she danced the title role of Cléopâtre in the Paris season of 1909, and Zobéide in Scheherazade in 1910. Both ballets were choreographed by Fokine, and designed by Léon Bakst. Her partner in Scheherazade was the great Nijinsky…
“Rubinstein is not considered to be in the top tier of ballerinas; she began her training too late for that to have been a possibility. She did, however, have tremendous stage presence and was able to act. She was also a significant patron and she tended to commission works that suited her abilities, works that mixed dance with drama and stagecraft.” [Wikipedia]
Mingle Media TV and Red Carpet Report host Cathy Kelley were invited to cover TheWrap.com's 5th Annual Pre-Oscar Event at Culina inside the Four Seasons Hotel in Beverly Hills. This event is hosted by CEO & Editor-in-Chief, Sharon Waxman who welcomes Oscar nominees and Hollywood notables to celebrate Awards Season and the Oscars.
Get the Story from the Red Carpet Report Team, follow us on Twitter and Facebook at:
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ABOUT THEWRAP.COM
The Wrap News Inc., has established itself as the leading news organization covering the business of entertainment and media. The Wrap News Inc. is comprised of TheWrap,PowerGrid, PowerGrid Pro and TheGrill. The Wrap News, Inc. is backed by Maveron, a venture capital firm co-founded by Starbucks CEO Howard Schultz and Dan Levitan.
For more of Mingle Media TV’s Red Carpet Report coverage, please visit our website and follow us on Twitter and Facebook here:
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www.flickr.com/MingleMediaTVNetwork
Follow our host Cathy Kelley on Twitter at twitter.com/CatherineKelley
Based on the prologue to “The Thousand and One Nights,” the ballet Scheherazade premiered in Paris on June 10, 1910, at the Theatre National de l’Opera. Rimsky-Korsakov composed the music, Michel Fokine did the choreography and Leon Bakst was the stage and costume designer.
The story is about the Sultan of ancient Persia and his harem. Ida Rubinstein played the Sultan’s favorite wife Zobeide and Vaslav Nijinsky was the Golden Slave for the premiere. The Sultan suspects that Zobeide is unfaithful so he pretends to go on a hunting trip with his brother. Upon their departure, the concubines bribe the Chief Eunuch to free the slaves, which ignites an orgy. Zobeide chooses the Golden Slave with whom she falls into a passionate embrace. The Sultan returns unexpectedly and is enraged at the betrayal. He orders that all be killed. Zobeide begs the Sultan’s forgiveness but, when it seems futile, she stabs herself and falls to his feet.
Available on Youtube is a great performance of Scheherazade by the Kirov Ballet in 2007 with principal dancers Yulia Makhalina as Zobeide and Igor Kolb as the Golden Slave.
Part 1: www.youtube.com/watch?v=jUXSL81owSg
Ballets Russes produced this version of “Sleeping Beauty” and renamed it “The Sleeping Princess.” Leon Bakst designed the costumes and scenery and Marius Petipa and Bronislava Nijinska were responsible for the choreography. The music by Tchaikovsky was partly re-orchestrated by Igor Stravinsky for Ballets Russes. It was a lavish and costly production which premiered at London’s Alhambra Theatre on November 2, 1921, and it nearly bankrupted Diaghilev’s company. The National Gallery of Australia describes the ballet and the reasons for the ensuing financial disaster as follows:
“…At the birth of his daughter, King Florestan XXIV and his queen invite all the fairies of the land to be godmothers to the baby Princess Aurora at her christening at the palace. All the fairies arrive and bestow a magic wish on the young princess. However, the ceremony is interrupted by the wicked fairy Carabosse who, angry that she has been left off the invitation list, curses Aurora, promising that one day she will prick her finger and die. Although she cannot break the curse, the Lilac Fairy frustrates Carabosse by exchanging Aurora’s imminent death with a long slumber, from which Aurora can only be woken by the kiss of a prince. Aurora’s awakening by Florimund a hundred years later is followed by their spectacular marriage.
“This ballet had its genesis as Sleeping Beauty, presented in 1890 by Marius Petipa for the Mariinsky Theatre and celebrated for its lavish production quality and for the commissioning of Tchaikovsky for its musical score. The young Bakst, Benois and Diaghilev saw this production, and were enthralled by its fusion of historical art, design and contemporary music. The ballet was given a number of times outside Russia, including a version for Anna Pavlova’s company in New York in 1916, with costume designs by Bakst. While the Ballets Russes had reached the end of the decade as the acknowledged leader in modern ballet, Diaghilev’s decision to stage this ballet in 1921 was driven by the company’s weak financial position and the hope that such a classic might secure for the Ballets Russes a long-running season in the conservative, but lucrative, London theatre world. He reconciled with Bakst, offering him the design work, secure in the knowledge of Bakst’s previous experience with this production and his sketches prepared for the earlier Pavlova commission. Diaghilev secured the backing of Sir Oswald Stoll, the director of the Alhambra Theatre, to fund the production, renamed in English The Sleeping Princess, but soon ran over budget. The costs of Bakst’s costumes for a huge cast spiralled due to their lavish use of expensive materials and couture-like construction and detailing, with the final detail of every costume personally overseen and approved by Diaghilev. The National Gallery’s costume for a lady-in-waiting is an indication of the extravagance, as a costume provided for a relatively minor character. Bakst’s six elaborate sets, inspired by the Baroque work of the seventeenth-century theatre designer Ferdinando Galli Bibiena (1656–1743) and the eighteenth-century work of Bérain and Boquet (for the later period of Aurora’s awakening), also drained the budget.
“The demanding, lengthy performance of a single ballet did not appeal to audiences used to a more varied repertoire, and crucial audience numbers did not eventuate, forcing the production to close after 114 performances and leaving Diaghilev with crippling debt. As security, Stoll impounded the valuable costumes and properties at his Coliseum Theatre until Diaghilev was able to repay the debt, something he did not achieve until 1926. Having fled London before the production finished, without his properties and unable to return to Britain due to the risk of legal action and penalty, Diaghilev was again forced to change direction and focus. An unplanned future benefit of this episode was that the sturdily crafted costumes remained in relatively good condition, having been worn lightly and stored for a long period. By the time they were released, Diaghilev had moved on from such historical spectacles and the costumes, like Aurora, entered another long period of slumber and obscurity.” [National Gallery of Australia at www.nga.gov.au]
Mingle Media TV and Red Carpet Report host Cathy Kelley were invited to cover TheWrap.com's 5th Annual Pre-Oscar Event at Culina inside the Four Seasons Hotel in Beverly Hills. This event is hosted by CEO & Editor-in-Chief, Sharon Waxman who welcomes Oscar nominees and Hollywood notables to celebrate Awards Season and the Oscars.
Get the Story from the Red Carpet Report Team, follow us on Twitter and Facebook at:
www.facebook.com/RedCarpetReportTV
www.youtube.com/MingleMediaTVNetwork
ABOUT THEWRAP.COM
The Wrap News Inc., has established itself as the leading news organization covering the business of entertainment and media. The Wrap News Inc. is comprised of TheWrap,PowerGrid, PowerGrid Pro and TheGrill. The Wrap News, Inc. is backed by Maveron, a venture capital firm co-founded by Starbucks CEO Howard Schultz and Dan Levitan.
For more of Mingle Media TV’s Red Carpet Report coverage, please visit our website and follow us on Twitter and Facebook here:
www.facebook.com/minglemediatvnetwork
www.flickr.com/MingleMediaTVNetwork
Follow our host Cathy Kelley on Twitter at twitter.com/CatherineKelley
New Movement Collective: Collapse, A Period Drama
New Movement Collective (NMC) premieres their new work 'Collapse - a period drama' at the Royal Festival Hall, Southbank Centre. 30 July-6 August 2016.
Choreography, concept + performance: New Movement Collective
Sculpture, design + film: Scanlab Projects
Composer + cello: Oliver Coates
Lighting design: Zeynep Kepekli
Performers: Clemmie Sveaas, Patricia Okenwa, Alexander Whitley, Jonathan Goddard, Joe Walkling, Renaud Wiser
photo - © Foteini Christofilopoulou | All rights reserved | For all usage/licensing enquiries please contact www.foteini.com
On May 19, 1908, Diaghilev premiered Mussorgsky’s Boris Godunov at the Paris Opera for the first time outside of Russia, featuring the legendary Russian bass Feodor Chaliapin, Dmitri Smirnov, conductor Felix Blumenfeldt and the chorus of the Imperial Theatre of Moscow. The music was composed by Mussorgsky, revised and orchestrated by Rimsky-Korsakov, and the sets and costumes were by Aleksandr Golovin and Alexandre Benois, among others. The libretto was based on a play by Alexander Pushkin about the struggle between Boris Godunov and a False Dmitry (usurper) during a troubled period in Russian history. Boris Godunov was Tsar from 1598-1605 and, from 1601-1603, Russia suffered a famine that killed one-third of the population, about two million. At the time, Russia was occupied by the Polish-Lithuanian Commonwealth and suffered civil uprisings, usurpers and imposters. It was a time of troubles for Russia that lasted from the end of the Rurik dynasty in 1598 to the establishment of the Romanov dynasty in 1613. This time has inspired many artists and playwrights in Russia and beyond.
The opera, in its original form, was first produced in 1874 in St. Petersburg and in Rimsky-Korsakov’s revised version in 1896. “Boris Godunov was Diaghilev’s first foray into the world of Parisian theatre. Financed in part by the tsar, the production was intended to reassure the French, who were underwriting an increasingly crippled Russia, that its eastern ally was indeed worthy of support.” [National Gallery of Art, Washington, D.C.]
A leading feature in the appearance of Ballets Russes are the gorgeous color combinations of Leon Bakst, whose work was the sensation of art galleries and a dominant influence in the fashion world. He was the most distinguished artist in line and color that the theater had at the time. The beauty of Diaghilev's company springs from the costumes and scenery that Bakst designed for it. "Color should afford a joy for the eye." - Bakst
The ballet “Narcisse” is based on the myth of Narcissus and is set in Boeotia at the shrine of Pomona, the goddess of fruitful abundance. The beautiful mountain nymph Echo is spurned and ridiculed by the young, self-indulgent Narcissus. In anger, Echo appeals to the goddess Pomona to make Narcissus fall in love in a way that can never be reciprocated. Under her spell, Narcissus falls in love with his own reflection in a glassy pool. The ballet premiered at the Theatre de Monte Carlo in Monaco on April 26, 1911. The costumes and scenery were designed by Leon Bakst, the choreography was by Michel Fokine and the music by Nikolai Tcherepnin.
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Ballets Russes produced this version of “Sleeping Beauty” and renamed it “The Sleeping Princess.” Leon Bakst designed the costumes and scenery and Marius Petipa and Bronislava Nijinska were responsible for the choreography. The music by Tchaikovsky was partly re-orchestrated by Igor Stravinsky for Ballets Russes. It was a lavish and costly production which premiered at London’s Alhambra Theatre on November 2, 1921, and it nearly bankrupted Diaghilev’s company. The National Gallery of Australia describes the ballet and the reasons for the financial disaster as follows:
“…At the birth of his daughter, King Florestan XXIV and his queen invite all the fairies of the land to be godmothers to the baby Princess Aurora at her christening at the palace. All the fairies arrive and bestow a magic wish on the young princess. However, the ceremony is interrupted by the wicked fairy Carabosse who, angry that she has been left off the invitation list, curses Aurora, promising that one day she will prick her finger and die. Although she cannot break the curse, the Lilac Fairy frustrates Carabosse by exchanging Aurora’s imminent death with a long slumber, from which Aurora can only be woken by the kiss of a prince. Aurora’s awakening by Florimund a hundred years later is followed by their spectacular marriage.
“This ballet had its genesis as Sleeping Beauty, presented in 1890 by Marius Petipa for the Mariinsky Theatre and celebrated for its lavish production quality and for the commissioning of Tchaikovsky for its musical score. The young Bakst, Benois and Diaghilev saw this production, and were enthralled by its fusion of historical art, design and contemporary music. The ballet was given a number of times outside Russia, including a version for Anna Pavlova’s company in New York in 1916, with costume designs by Bakst. While the Ballets Russes had reached the end of the decade as the acknowledged leader in modern ballet, Diaghilev’s decision to stage this ballet in 1921 was driven by the company’s weak financial position and the hope that such a classic might secure for the Ballets Russes a long-running season in the conservative, but lucrative, London theatre world. He reconciled with Bakst, offering him the design work, secure in the knowledge of Bakst’s previous experience with this production and his sketches prepared for the earlier Pavlova commission. Diaghilev secured the backing of Sir Oswald Stoll, the director of the Alhambra Theatre, to fund the production, renamed in English The Sleeping Princess, but soon ran over budget. The costs of Bakst’s costumes for a huge cast spiralled due to their lavish use of expensive materials and couture-like construction and detailing, with the final detail of every costume personally overseen and approved by Diaghilev. The National Gallery’s costume for a lady-in-waiting is an indication of the extravagance, as a costume provided for a relatively minor character. Bakst’s six elaborate sets, inspired by the Baroque work of the seventeenth-century theatre designer Ferdinando Galli Bibiena (1656–1743) and the eighteenth-century work of Bérain and Boquet (for the later period of Aurora’s awakening), also drained the budget.
“The demanding, lengthy performance of a single ballet did not appeal to audiences used to a more varied repertoire, and crucial audience numbers did not eventuate, forcing the production to close after 114 performances and leaving Diaghilev with crippling debt. As security, Stoll impounded the valuable costumes and properties at his Coliseum Theatre until Diaghilev was able to repay the debt, something he did not achieve until 1926. Having fled London before the production finished, without his properties and unable to return to Britain due to the risk of legal action and penalty, Diaghilev was again forced to change direction and focus. An unplanned future benefit of this episode was that the sturdily crafted costumes remained in relatively good condition, having been worn lightly and stored for a long period. By the time they were released, Diaghilev had moved on from such historical spectacles and the costumes, like Aurora, entered another long period of slumber and obscurity.” [National Gallery of Australia at www.nga.gov.au]
Chout (pronounced “shoot”) was Prokofiev's first completed ballet score for Sergei Diaghilev, written in two versions between 1915 and 1921. It is sometimes known as “The Tale of the Buffoon,” or simply “The Buffoon.” The story is based on a folk tale recorded by Alexander Afanasyev and is somewhat ridiculous and brutal. It involves seven buffoons who all murder their wives after being told by an eighth buffoon that he has killed his own wife and brought her back to life with a magic whip, and promises to do the same for them. When he fails to deliver on his promise, the other buffoons seek revenge. The principal buffoon is forced to disguise himself as a woman, and is chosen for marriage by a wealthy merchant. He escapes after swindling the merchant out of 300 roubles.
The first performance of the ballet by the Ballets Russes was on May 17, 1921, at the Théâtre Municipal de la Gaîté, Paris, with choreography by Fyodor Slavinsky and artistic supervision by Mikhail Larionov. The orchestra was conducted by the composer. It was fairly well received, however the London premiere on June 9 was bitterly attacked by audiences and critics alike. [Source: Wikipedia]
A small portion of the ballet with modern choreography by Alexey Miroshnichenko may be viewed on Youtube:
www.youtube.com/watch?v=seIwWv705j4
I love the costumes and the explosion of color, which is still clearly influenced by the original avant-garde work of Mikhail Larionov. I wish the entire ballet was still available.
La Peri is a ballet by French composer Paul Dukas about a man’s search for immortality and his encounter with the mythological Peri which carries the flower of immortality.
“Paul Dukas wrote the music in 1911 as a dance poem in one scene… He was commissioned to write the music for the Ballets Russes with designs by Leon Bakst, with Natalia Trouhanova as the Peri and Vaslav Nijinsky as Iskender. However, because Serge Diaghilev did not feel that Trouhanova was enough a skilled dancer to be a partner to Nijinsky, the production was cancelled. Trouhanova eventually commissioned Ivan Clustine to choreograph the music, and the work premiered in Paris on April 22, 1912, with Bekefi as Iskender and designs by Rene Piot.” [Wikipedia]
The New Chanel Boutique Opening and Charity Event, on Robertson Blvd, hosted SIMPLY CONSISTENT INC.
www.simplyconsistent.com/non-profit/childhood-obesity
"-Kathleen Checki.","-Checki.","-Simply Consistent.","-Simply Consistent Management.","-Costume Designer,Erica Nicotra, Actress,Francesca Gregorini , Writer & Director, Tatiana Von Furstenberg.",
Ballets Russes’ “Daphnis and Chloe” premiered at the Theatre du Chatelet in Paris on June 8, 1912. Leon Bakst designed the scenery and costumes. Michel Fokine did the choreography. The music is by Maurice Ravel.
The basis for the story is a novel by Greek writer Longus published in Florence in 1598. Set on a beautiful Mediterranean island, the shepherd Daphnis, his lover Chloe and their young friends gather to celebrate the god Pan. Enemies of Daphnis and Chloe, namely Darkon and Lisinion, are determined to disrupt the festivities but fail in their attempt. Pirates, on the other hand, who invade the island led by Briaxis succeed in abducting Chloe. The distraught Daphnis beseeches the god Pan to bring her back to him. Pan answers his plea, scaring the pirates away and bringing Chloe back. The reunited lovers dance in celebration.
The Royal Ballet presented “Daphnis and Chloe” at a Gala celebrating the re-opening of Covent Garden. This version was choreographed by Frederick Ashton and broadcast by the BBC. The ballet may be viewed in its entirety on Youtube.
Part 1: www.youtube.com/watch?v=H1XSculJrRs
Part 2: www.youtube.com/watch?v=MxFeO6tUhHE
Part 3: www.youtube.com/watch?v=8urmYWF0HU0
Part 4: www.youtube.com/watch?v=5A-AOxRQXZA
Part 5: www.youtube.com/watch?v=9AWLpfG0EO8
Part 6: www.youtube.com/watch?v=3CWteqJe-Fk
Part 7: www.youtube.com/watch?v=nePQHOKX9mA
A leading feature in the appearance of Ballets Russes are the gorgeous color combinations of Leon Bakst, whose work was the sensation of art galleries and a dominant influence in the fashion world. He was the most distinguished artist in line and color that the theater had at the time. The beauty of Diaghilev's company springs from the costumes and scenery that Bakst designed for it. "Color should afford a joy for the eye." - Bakst
Ballets Russes produced this version of “Sleeping Beauty” and renamed it “The Sleeping Princess.” Leon Bakst designed the costumes and scenery and Marius Petipa and Bronislava Nijinska were responsible for the choreography. The music by Tchaikovsky was partly re-orchestrated by Igor Stravinsky for Ballets Russes. It was a lavish and costly production which premiered at London’s Alhambra Theatre on November 2, 1921, and it nearly bankrupted Diaghilev’s company. The National Gallery of Australia describes the ballet and the reasons for the ensuing financial disaster as follows:
“…At the birth of his daughter, King Florestan XXIV and his queen invite all the fairies of the land to be godmothers to the baby Princess Aurora at her christening at the palace. All the fairies arrive and bestow a magic wish on the young princess. However, the ceremony is interrupted by the wicked fairy Carabosse who, angry that she has been left off the invitation list, curses Aurora, promising that one day she will prick her finger and die. Although she cannot break the curse, the Lilac Fairy frustrates Carabosse by exchanging Aurora’s imminent death with a long slumber, from which Aurora can only be woken by the kiss of a prince. Aurora’s awakening by Florimund a hundred years later is followed by their spectacular marriage.
“This ballet had its genesis as Sleeping Beauty, presented in 1890 by Marius Petipa for the Mariinsky Theatre and celebrated for its lavish production quality and for the commissioning of Tchaikovsky for its musical score. The young Bakst, Benois and Diaghilev saw this production, and were enthralled by its fusion of historical art, design and contemporary music. The ballet was given a number of times outside Russia, including a version for Anna Pavlova’s company in New York in 1916, with costume designs by Bakst. While the Ballets Russes had reached the end of the decade as the acknowledged leader in modern ballet, Diaghilev’s decision to stage this ballet in 1921 was driven by the company’s weak financial position and the hope that such a classic might secure for the Ballets Russes a long-running season in the conservative, but lucrative, London theatre world. He reconciled with Bakst, offering him the design work, secure in the knowledge of Bakst’s previous experience with this production and his sketches prepared for the earlier Pavlova commission. Diaghilev secured the backing of Sir Oswald Stoll, the director of the Alhambra Theatre, to fund the production, renamed in English The Sleeping Princess, but soon ran over budget. The costs of Bakst’s costumes for a huge cast spiralled due to their lavish use of expensive materials and couture-like construction and detailing, with the final detail of every costume personally overseen and approved by Diaghilev. The National Gallery’s costume for a lady-in-waiting is an indication of the extravagance, as a costume provided for a relatively minor character. Bakst’s six elaborate sets, inspired by the Baroque work of the seventeenth-century theatre designer Ferdinando Galli Bibiena (1656–1743) and the eighteenth-century work of Bérain and Boquet (for the later period of Aurora’s awakening), also drained the budget.
“The demanding, lengthy performance of a single ballet did not appeal to audiences used to a more varied repertoire, and crucial audience numbers did not eventuate, forcing the production to close after 114 performances and leaving Diaghilev with crippling debt. As security, Stoll impounded the valuable costumes and properties at his Coliseum Theatre until Diaghilev was able to repay the debt, something he did not achieve until 1926. Having fled London before the production finished, without his properties and unable to return to Britain due to the risk of legal action and penalty, Diaghilev was again forced to change direction and focus. An unplanned future benefit of this episode was that the sturdily crafted costumes remained in relatively good condition, having been worn lightly and stored for a long period. By the time they were released, Diaghilev had moved on from such historical spectacles and the costumes, like Aurora, entered another long period of slumber and obscurity.” [National Gallery of Australia at www.nga.gov.au]
A leading feature in the appearance of Ballets Russes are the gorgeous color combinations of Leon Bakst, whose work was the sensation of art galleries and a dominant influence in the fashion world. He was the most distinguished artist in line and color that the theater had at the time. The beauty of Diaghilev's company springs from the costumes and scenery that Bakst designed for it. "Color should afford a joy for the eye." - Bakst
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The ballet “Narcisse” is based on the myth of Narcissus and is set in Boeotia at the shrine of Pomona, the goddess of fruitful abundance. The beautiful mountain nymph Echo is spurned and ridiculed by the young, self-indulgent Narcissus. In anger, Echo appeals to the goddess Pomona to make Narcissus fall in love in a way that can never be reciprocated. Under her spell, Narcissus falls in love with his own reflection in a glassy pool. The ballet premiered at the Theatre de Monte Carlo in Monaco on April 26, 1911. The costumes and scenery were designed by Leon Bakst, the choreography was by Michel Fokine and the music by Nikolai Tcherepnin.
Ballets Russes produced this version of “Sleeping Beauty” and renamed it “The Sleeping Princess.” Leon Bakst designed the costumes and scenery and Marius Petipa and Bronislava Nijinska were responsible for the choreography. The music by Tchaikovsky was partly re-orchestrated by Igor Stravinsky for Ballets Russes. It was a lavish and costly production which premiered at London’s Alhambra Theatre on November 2, 1921, and it nearly bankrupted Diaghilev’s company. The National Gallery of Australia describes the ballet and the reasons for the financial disaster as follows:
“…At the birth of his daughter, King Florestan XXIV and his queen invite all the fairies of the land to be godmothers to the baby Princess Aurora at her christening at the palace. All the fairies arrive and bestow a magic wish on the young princess. However, the ceremony is interrupted by the wicked fairy Carabosse who, angry that she has been left off the invitation list, curses Aurora, promising that one day she will prick her finger and die. Although she cannot break the curse, the Lilac Fairy frustrates Carabosse by exchanging Aurora’s imminent death with a long slumber, from which Aurora can only be woken by the kiss of a prince. Aurora’s awakening by Florimund a hundred years later is followed by their spectacular marriage.
“This ballet had its genesis as Sleeping Beauty, presented in 1890 by Marius Petipa for the Mariinsky Theatre and celebrated for its lavish production quality and for the commissioning of Tchaikovsky for its musical score. The young Bakst, Benois and Diaghilev saw this production, and were enthralled by its fusion of historical art, design and contemporary music. The ballet was given a number of times outside Russia, including a version for Anna Pavlova’s company in New York in 1916, with costume designs by Bakst. While the Ballets Russes had reached the end of the decade as the acknowledged leader in modern ballet, Diaghilev’s decision to stage this ballet in 1921 was driven by the company’s weak financial position and the hope that such a classic might secure for the Ballets Russes a long-running season in the conservative, but lucrative, London theatre world. He reconciled with Bakst, offering him the design work, secure in the knowledge of Bakst’s previous experience with this production and his sketches prepared for the earlier Pavlova commission. Diaghilev secured the backing of Sir Oswald Stoll, the director of the Alhambra Theatre, to fund the production, renamed in English The Sleeping Princess, but soon ran over budget. The costs of Bakst’s costumes for a huge cast spiralled due to their lavish use of expensive materials and couture-like construction and detailing, with the final detail of every costume personally overseen and approved by Diaghilev. The National Gallery’s costume for a lady-in-waiting is an indication of the extravagance, as a costume provided for a relatively minor character. Bakst’s six elaborate sets, inspired by the Baroque work of the seventeenth-century theatre designer Ferdinando Galli Bibiena (1656–1743) and the eighteenth-century work of Bérain and Boquet (for the later period of Aurora’s awakening), also drained the budget.
“The demanding, lengthy performance of a single ballet did not appeal to audiences used to a more varied repertoire, and crucial audience numbers did not eventuate, forcing the production to close after 114 performances and leaving Diaghilev with crippling debt. As security, Stoll impounded the valuable costumes and properties at his Coliseum Theatre until Diaghilev was able to repay the debt, something he did not achieve until 1926. Having fled London before the production finished, without his properties and unable to return to Britain due to the risk of legal action and penalty, Diaghilev was again forced to change direction and focus. An unplanned future benefit of this episode was that the sturdily crafted costumes remained in relatively good condition, having been worn lightly and stored for a long period. By the time they were released, Diaghilev had moved on from such historical spectacles and the costumes, like Aurora, entered another long period of slumber and obscurity.” [National Gallery of Australia at www.nga.gov.au]
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Jaey Gajera gets fitted for the ace Designer Aslam Khan outfit he will be flaunting on the ramp as KF Ultra Show Stopper at Chandigarh Fashion Week.
#Model #Fashion #Bollywood #Chandigarh #Style #ShowStopper #AslamKhan #FashionofIndia #LifeStyle #Glamour — with Jaey Gajera and Jaey Gajera at Taj Hotel, Chandigarh.
New Movement Collective: Collapse, A Period Drama
New Movement Collective (NMC) premieres their new work 'Collapse - a period drama' at the Royal Festival Hall, Southbank Centre. 30 July-6 August 2016.
Choreography, concept + performance: New Movement Collective
Sculpture, design + film: Scanlab Projects
Composer + cello: Oliver Coates
Lighting design: Zeynep Kepekli
Performers: Clemmie Sveaas, Patricia Okenwa, Alexander Whitley, Jonathan Goddard, Joe Walkling, Renaud Wiser
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