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We will trace the musical, visual and choreographical consequences of this new trend through several later Diaghilev ballets: Parade (Satie/Picasso), Chout (Prokofiev/Larionov), Le Pas d’Acier (Prokofiev/Yakulov).
In 2018 the Bar Council and Specialist Bar Associations acknowledged the issue and a “Retention of Women at the Bar’ survey was launched. It’s time to look at the results and test how the legal profession has responded to the challenge.
Diaghilev found that the Oriental style that had been cultivated by Russian composers was a perfect match for the Parisians’ love of exoticism, and he started to commission new ballets for this market niche.
2019 marks 100 years since the Sex Disqualification (Removal) Act 1919 when a woman was recognised as a ‘person’ in law. This groundbreaking Act enabled women to be awarded university degrees and to enter professions such as law and medicine from which they had been barred.
In this lecture we follow his early years, when he published The World of Art, a provocative Russian journal, exhibited Russian visual art in Paris, and then brought Russian music there, culminating in his production of Musorgsky’s opera Boris Godunov.