Victoria and Albert Museum

The world’s greatest museum of art and design

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10.00 to 17.45 daily
10.00 to 22.00 Fridays

Archive

Costume design by Léon Bakst for Papillon in Le Carnaval a ballet included in the first performance by the Ballets Russes in London in 1911.V&A Images On the eve of 2011 it is appropriate to remind readers of this blog that the year includes two particularly significant centenaries. Nijinsky as Albrecht in Giselle Act II Photo Bert (V&A Images) 6...
Serge Lifar and Alexandra Danilova as Apollo and Terpsichore in Apollon musagète, 1928. Photo Sacha, V&A images One of the on-going complaints about the exhibition (well there have to be some!) is the lack or absence of material on Apollon musagète which, I will happily acknowledge, was one of the greatest creations of Diaghilev’s Ballets Russes. Also there are...
Carlotta Brianza as Carabosse with her entourage of rats in the opening scene of The Sleeping Princess 1921 @ V&A Images Following on from the entry A treat on screen and the interest aroused in the footage of Lydia Lopokova and the failure to film The Sleeping Princess in colour and with synchronised music described by Henry Miller in The Guardian here is a little more about...
As I continue to get so many requests for information about Richard Buckle’s The Diaghilev Exhibition at Forbes House exhibition I thought I’d share with you a few further images of that memorable display because it is so different from Diaghilev and the Golden Age of the Ballets Russes 1909-1929. Gallery 1 showed the three large posters now in our exhibition –...
I am still getting complains why don’t we include film of Nijinsky dancing in the exhibition. My response is if I’d found such film, unless it was truly ghastly, I’d have included it. However on the film front Henry Miller has an interesting article on the guardian’s film blog: http://www.guardian.co.uk/film/filmblog/2010/dec/22/diaghilev-ballets-russes-british-cinema...
Design by Léon Bakst for Felicita in The Good-Humoured Ladies (1917) V&A images Happy Christmas! Its taken me a long time to notice that on the Christmas Tree in the Sackler Centre (the V&A’s home of L&I) many of the ‘presents’ include copies of the famous poster image of Vaslav Nijinsky as the Spirit of the rose. Does this mean that...
Postcard showing photograph by Bassano of Tamara Karsavina and Adolph Bolm in The Firebird It is so satisfying when everything links up. I go to the Canaletto at the National Gallery and cannot escape the fact that Venice was Diaghilev’s favourite city. I see The Glasgow Boys at the Royal Academy and I am aware that it was the World of Art Group led by Diaghilev who introduced...
There are certain questions one gets asked several times and one of these is why is the start of the exhibition red? The simple answer is it is theatrical. Red is a colour associate with theatre, often curtains and fittings are red in the theatre and all designers know that a liberal use of red onstage is likely to win a round of applause! There is nothing political about its choice. From early...
Ted (left) and Paul with a big foot and the signature Last week, as I dashed off to New York, two of the flymen who worked at the July 1968 Ballets Russes auction at the Scala Theatre, London, visited the exhibition and Anna (who helped on the exhibition as it took shape) took the opportunity to chat to them. Ted Murphy and Paul Beecham have had long careers in the theatre with Ted now...
[video:http://vimeo.com/16726957 width:600 height:338]http://vimeo.com/16726957Now that there is only three and a half weeks left to catch this exhibition I thought we’d go back to the beginning and show you the video made at the opening! (Apologies for the hideous opening image.) Its fascinating too to recall the changes that have been introduced since September. More seating has been...
There is now less than a month to go to see the Diaghilev and the Golden Age of the Ballets Russes 1909-1929 exhibition and its good to find that we are still getting (mostly) favourable reviews of the exhibition and the book. The book has now been reprinted and those towers of copies in the V&A bookshop restored! The Shop is still full of souvenirs a few of which have been discounted...
As the V&A is currently more or less barricaded by road works making it a dangerous place to reach, the entrance along the South Kensington Tunnel has been opened early for staff, meaning we may enter through the Sackler Centre (the heart of Learning & Interpretation). To my delight I was greeted at 8am on a gloomy morning by wonderfully cheerful banners produced by the Blue Train project...

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