Diaghilev and Prokofiev: Return to Emotion
- Extra Reading
Diaghilev would often look at past art and then do the opposite. He playfully abandoned plot, elaborate costumes, emotional expression, and even meaning, but reinstating them whenever he felt like it – this was his undogmatic approach to modernism.
In this final lecture, we will focus on one of the best-preserved Diaghilev productions, The Prodigal Son, a strikingly beautiful ballet by Prokofiev/Balanchine/Rouault. It could have been a new beginning, but it became Diaghilev’s final word when he died in the summer of 1929.
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