Exoticism in Design Lecture and Diaghilev exhibition at the V&A

Diaghilev and the Golden Age of the Ballets Russes, 1909-1929

 

Ballets Russes dancers in an on-stage dance class, 1928. V&A Theatre & Performance Archive

When I first walked into the exhibition, most of things were set in properly well made glass cabinets covered by all red walls. I thought this was a bit similar to what I had expected although I barely knew about Diaghilev and his work. While reading his profile and his achievement along with the his inspiration and concept of the work, I said to myself 'how exotic can this be!?'  Then, as I walked into the main room, I was stunned by all those uniquely modern, colorful, and exotic costumes. This explains why the Ballets Russes was considered as the exotics back in 1900s. Colors of every detail and part of the costumes worn by dancers were sprightly vivid. 

Zobeide in Fokine’s ballet Schéhérazade (1910), designed by Bakst

Serge Diaghilev's achievement was sensational that reawakened people's perspectives and interests towards ballet. Russian dramatic history and the 'exotic' races appealed the public powerfully.  He was adept at reshaping a range of subjects for Western European audiences.

Set Design

Set design for 'The Firebird'

Natalia Goncharova

For Diaghilev Ballets Russes

1926

Museum no. S.1911-1986

Backcloth design for the finalé of the 1926 revival of Michel Fokine`s ballet 'The Firebird'

This exhibition was too impressive to forget...