Ученые записки РАМ имени Гнесиных

M. de Falla’s ballet «The Three-Cornered Hat» in the stage design by P. Picasso (1919)

Автор: ·

Original article
DOI: 10.56620/2227-9997-2023-3-57-65

Mariya V. Rudko

Rimsky-Korsakov Saint-Peterburg State Conservatory, St. Petersburg, Russia,
marybelll@yandex.ru, https://orcid.org/0009-0003-6018-6820
Abstract: The article is devoted to the description of the creative process accompanying the appearance of scenography of Manuel de Falla’s ballet «El sombrero de tres picos» («The Three-Cornered Hat»). The details of events in the center of which the leading figures of 1910th–1920th art (Pablo Picasso, Sergei Diaghilev, Léonide Massine, Tamara Karsavina, Vladimir Polunin) worked and lived, are presented in the article in a panoramic and detailed way. Picasso’s scenography of the «The Three-Cornered Hat» (which implies not only the creation of sketches of scenery, costumes and curtains, but also the painting of portraits of ballet troupe artists, as well as the development of individual sketches of makeup for them) is considered as a single artistic whole and analyzed in a comprehensive manner, in reliance on the interaction of art-historical and theater-historical aspects.

Keywords: P. Picasso, M. de Falla, S. Diaghilev, L. Massine, ballet, scenography, «The three-cornered hat»

For citation: Rudko M. V. M. de Falla’s ballet «The Cocked Hat» in the stage design by P. Picasso (1919). Scholarly papers of the Gnesin Russian Academy of Music. 2023;(3):57-65. DOI: 10.56620/2227-9997-2023-3-57-65

References

Getashvili N. V. Minotavry, favny I nayady. Antichnost’ v tvorchestve Pablo Picasso // Picasso segodnya / otv. red. M. A. Busev [Minotaurs, fauns and naiads. Antiquity in Picasso’s art // Picasso today / ed. by M. Busev]. Moscow: Progress-Traditsiya, 2016. P. 227–271.
Kruchkova V. A. Picasso: ot «Parada» do «Gerniki» (1917–1937) [Picasso: from «Parade» to «Guernica» (1917–1937)]. Moscow: Progress-Traditsiya, 2003. 392 p.
Kucherenko A. L. Ispanskij tanets flamenco: zavoevanie Rossii. Kurs lektsij: uchebnoe posobie [Spanish flamenco dance: the conquest of Russia. Lecture course: training manual]. Moscow: INFRA-M, 2020. 84 p.
Portnova T. V. Hudozhestvennaya sfera deyatel’nosti artistov baleta I horeografov na rubezhe XIX–XX vv. v iskusstvovedcheskom pole izucheniya [The artistic sphere of activity of ballet dancers and choreographers at the turn of the 19th–20th centuries in the field of art studies]. Moscow: Nauchnyj konsul’tant, 2016. 107 p.
Beechey J., Shone R. Picasso in London, 1919: the première of «The three-cornered hat» // The Burlington magazine. 2006, Vol. 148, No. 1243. P. 666–679. — URL: https://burlington.org.uk/archive/article/picasso-in-london-1919-the-premiere-of-the-three-cornered-hat (data obrashcheniya 17.07.2023).
Melville F. Russian orientalist ballet and non-Russian national opera: from Diaghilev to Mirosh­nichenko // Endless inspiration: One thousand and one nights in comparative perspective / ed. O. Elmaz. Piscataway, NJ: Gorgias Press, 2020. P. 323–344.
Navarro A., Eguilaz Á. C. Paralelo Sur. Picasso, Lorca y Le Corbusier del ballet «flamenco» a la máquina de habitar (1919–1976) // Un ballet en el balcón de Europa: Rapansar «El sombrero de tres picos» cien años después [South Parallel. Picasso, Lorca and Le Corbusier from the ballet «flamenco» to the machine to inhabit (1919–1976) // A ballet on the Balcony of Europe: Rapansar «The Hat of three peaks» one hundred years later] / ed. D. G. Mesa, A. M. Moreno, I. M. Castro, E. T. Clemente. Granada: Archivo Manuel de Falla, 2020. P. 207–222.

 

Читайте также: