Belle-époque Paris witnessed the emergence of a vibrant and diverse dance scene, one that crystallized around the Ballets Russes, the Russian dance company formed by impresario Sergey Diaghilev. The company has long served as a convenient turning point in the history of dance, celebrated for its revolutionary choreography and innovative productions. This book presents a fresh slant on this much-told history. Focusing on the relation between music and dance, Davinia Caddy approaches the Ballets Russes with a wide-angled lens that embraces not just the choreographic, but also the cultural, political, theatrical and aesthetic contexts in which the company made its name. In addition, Caddy examines and interprets contemporary French dance practices, throwing new light on some of the most important debates and discourses of the day.

Long treated as peripheral to music history, dance has become prominent within musicological research, as a prime and popular subject for an increasing number of books, articles, conference papers and special symposiums. Despite this growing interest, there remains no thorough-going critical examination of the ways in which musicologists might engage with dance, thinking not only about specific repertoires or genres, but about fundamental commonalities between the two, including embodiment, agency, subjectivity and consciousness. This volume begins to fill this gap. Ten chapters illustrate a range of conceptual, historical and interpretive approaches that advance the interdisciplinary study of music and dance. This methodological eclecticism is a defining feature of the volume, integrating insights from critical theory, film and cultural studies, the visual arts, phenomenology, cultural anthropology and literary criticism into the study of music and dance.

Long treated as peripheral to music history, dance has become prominent within musicological research, as a prime and popular subject for an increasing number of books, articles, conference papers and special symposiums. Despite this growing interest, there remains no thorough-going critical examination of the ways in which musicologists might engage with dance, thinking not only about specific repertoires or genres, but about fundamental commonalities between the two, including embodiment, agency, subjectivity and consciousness. This volume begins to fill this gap. Ten chapters illustrate a range of conceptual, historical and interpretive approaches that advance the interdisciplinary study of music and dance. This methodological eclecticism is a defining feature of the volume, integrating insights from critical theory, film and cultural studies, the visual arts, phenomenology, cultural anthropology and literary criticism into the study of music and dance.

A Companion not only to the historic, path-breaking ballet production by Diaghilev, Nijinsky, Roerich and Stravinsky that premiered in Paris in 1913, but also to its legacy across the centuries. The newly commissioned essays will guide students and ballet-goers as they encounter this fascinating work and enable them to navigate the complex artistic currents it set in motion, intertwining music, theatrical ballet and modern dance with the wider world of ideas. The book embraces The Rite of Spring as a spectrum of creative possibility that has impacted the arts, politics, gender, race and national identity, and even popular culture, from the 1910s to the present day. It distils an enormous body of literature, sharing insights from the very latest research while inviting readers to rethink standard scholarly narratives, and brings together contributions from specialists across multiple disciplines: music history, theory and analysis, dance and theatre studies, art history, Russian history, and European modernism.

A Companion not only to the historic, path-breaking ballet production by Diaghilev, Nijinsky, Roerich and Stravinsky that premiered in Paris in 1913, but also to its legacy across the centuries. The newly commissioned essays will guide students and ballet-goers as they encounter this fascinating work and enable them to navigate the complex artistic currents it set in motion, intertwining music, theatrical ballet and modern dance with the wider world of ideas. The book embraces The Rite of Spring as a spectrum of creative possibility that has impacted the arts, politics, gender, race and national identity, and even popular culture, from the 1910s to the present day. It distils an enormous body of literature, sharing insights from the very latest research while inviting readers to rethink standard scholarly narratives, and brings together contributions from specialists across multiple disciplines: music history, theory and analysis, dance and theatre studies, art history, Russian history, and European modernism.

Long treated as peripheral to music history, dance has become prominent within musicological research, as a prime and popular subject for an increasing number of books, articles, conference papers and special symposiums. Despite this growing interest, there remains no thorough-going critical examination of the ways in which musicologists might engage with dance, thinking not only about specific repertoires or genres, but about fundamental commonalities between the two, including embodiment, agency, subjectivity and consciousness. This volume begins to fill this gap. Ten chapters illustrate a range of conceptual, historical and interpretive approaches that advance the interdisciplinary study of music and dance. This methodological eclecticism is a defining feature of the volume, integrating insights from critical theory, film and cultural studies, the visual arts, phenomenology, cultural anthropology and literary criticism into the study of music and dance.

Long treated as peripheral to music history, dance has become prominent within musicological research, as a prime and popular subject for an increasing number of books, articles, conference papers and special symposiums. Despite this growing interest, there remains no thorough-going critical examination of the ways in which musicologists might engage with dance, thinking not only about specific repertoires or genres, but about fundamental commonalities between the two, including embodiment, agency, subjectivity and consciousness. This volume begins to fill this gap. Ten chapters illustrate a range of conceptual, historical and interpretive approaches that advance the interdisciplinary study of music and dance. This methodological eclecticism is a defining feature of the volume, integrating insights from critical theory, film and cultural studies, the visual arts, phenomenology, cultural anthropology and literary criticism into the study of music and dance.

Belle-époque Paris witnessed the emergence of a vibrant and diverse dance scene, one that crystallized around the Ballets Russes, the Russian dance company formed by impresario Sergey Diaghilev. The company has long served as a convenient turning point in the history of dance, celebrated for its revolutionary choreography and innovative productions. This book presents a fresh slant on this much-told history. Focusing on the relation between music and dance, Davinia Caddy approaches the Ballets Russes with a wide-angled lens that embraces not just the choreographic, but also the cultural, political, theatrical and aesthetic contexts in which the company made its name. In addition, Caddy examines and interprets contemporary French dance practices, throwing new light on some of the most important debates and discourses of the day.

Long treated as peripheral to music history, dance has become prominent within musicological research, as a prime and popular subject for an increasing number of books, articles, conference papers and special symposiums. Despite this growing interest, there remains no thorough-going critical examination of the ways in which musicologists might engage with dance, thinking not only about specific repertoires or genres, but about fundamental commonalities between the two, including embodiment, agency, subjectivity and consciousness. This volume begins to fill this gap. Ten chapters illustrate a range of conceptual, historical and interpretive approaches that advance the interdisciplinary study of music and dance. This methodological eclecticism is a defining feature of the volume, integrating insights from critical theory, film and cultural studies, the visual arts, phenomenology, cultural anthropology and literary criticism into the study of music and dance.

Long treated as peripheral to music history, dance has become prominent within musicological research, as a prime and popular subject for an increasing number of books, articles, conference papers and special symposiums. Despite this growing interest, there remains no thorough-going critical examination of the ways in which musicologists might engage with dance, thinking not only about specific repertoires or genres, but about fundamental commonalities between the two, including embodiment, agency, subjectivity and consciousness. This volume begins to fill this gap. Ten chapters illustrate a range of conceptual, historical and interpretive approaches that advance the interdisciplinary study of music and dance. This methodological eclecticism is a defining feature of the volume, integrating insights from critical theory, film and cultural studies, the visual arts, phenomenology, cultural anthropology and literary criticism into the study of music and dance.

A Companion not only to the historic, path-breaking ballet production by Diaghilev, Nijinsky, Roerich and Stravinsky that premiered in Paris in 1913, but also to its legacy across the centuries. The newly commissioned essays will guide students and ballet-goers as they encounter this fascinating work and enable them to navigate the complex artistic currents it set in motion, intertwining music, theatrical ballet and modern dance with the wider world of ideas. The book embraces The Rite of Spring as a spectrum of creative possibility that has impacted the arts, politics, gender, race and national identity, and even popular culture, from the 1910s to the present day. It distils an enormous body of literature, sharing insights from the very latest research while inviting readers to rethink standard scholarly narratives, and brings together contributions from specialists across multiple disciplines: music history, theory and analysis, dance and theatre studies, art history, Russian history, and European modernism.

A Companion not only to the historic, path-breaking ballet production by Diaghilev, Nijinsky, Roerich and Stravinsky that premiered in Paris in 1913, but also to its legacy across the centuries. The newly commissioned essays will guide students and ballet-goers as they encounter this fascinating work and enable them to navigate the complex artistic currents it set in motion, intertwining music, theatrical ballet and modern dance with the wider world of ideas. The book embraces The Rite of Spring as a spectrum of creative possibility that has impacted the arts, politics, gender, race and national identity, and even popular culture, from the 1910s to the present day. It distils an enormous body of literature, sharing insights from the very latest research while inviting readers to rethink standard scholarly narratives, and brings together contributions from specialists across multiple disciplines: music history, theory and analysis, dance and theatre studies, art history, Russian history, and European modernism.

Long treated as peripheral to music history, dance has become prominent within musicological research, as a prime and popular subject for an increasing number of books, articles, conference papers and special symposiums. Despite this growing interest, there remains no thorough-going critical examination of the ways in which musicologists might engage with dance, thinking not only about specific repertoires or genres, but about fundamental commonalities between the two, including embodiment, agency, subjectivity and consciousness. This volume begins to fill this gap. Ten chapters illustrate a range of conceptual, historical and interpretive approaches that advance the interdisciplinary study of music and dance. This methodological eclecticism is a defining feature of the volume, integrating insights from critical theory, film and cultural studies, the visual arts, phenomenology, cultural anthropology and literary criticism into the study of music and dance.

Long treated as peripheral to music history, dance has become prominent within musicological research, as a prime and popular subject for an increasing number of books, articles, conference papers and special symposiums. Despite this growing interest, there remains no thorough-going critical examination of the ways in which musicologists might engage with dance, thinking not only about specific repertoires or genres, but about fundamental commonalities between the two, including embodiment, agency, subjectivity and consciousness. This volume begins to fill this gap. Ten chapters illustrate a range of conceptual, historical and interpretive approaches that advance the interdisciplinary study of music and dance. This methodological eclecticism is a defining feature of the volume, integrating insights from critical theory, film and cultural studies, the visual arts, phenomenology, cultural anthropology and literary criticism into the study of music and dance.