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Maestro: Enrico Cecchetti and Diaghilev's Ballets Russes

Melonie B. Murray

Open publisher page 3 citations

Abstract

With a few notable exceptions, the literature in ballet history generally discusses Enrico Cecchetti solely as a ballet teacher, ignoring his contributions as a performer, and even as a ballet master, to ballet history. During his affiliation with Diaghilev's Ballets Russes from 1911 until 1928, Cecchetti played a significant role, as a performer and a teacher, in the development of Diaghilev's Ballets Russes along three trajectories: as a virtuosic dancer who raised the standard for male dancing, as an exceptional mime artist who inspired choreographers and dancers alike, and as a ballet master who created a solid corps de ballet from a group of dancers with diverse training and backgrounds.

About this research paper

What this paper is about

With a few notable exceptions, the literature in ballet history generally discusses Enrico Cecchetti solely as a ballet teacher, ignoring his contributions as a performer, and even as a ballet master, to ballet history. During his affiliation with Diaghilev's Ballets Russes from 1911 until 1928, Cecchetti played a significant role, as a performer and a teacher, in the development of Diaghilev's Ballets Russes along three trajectories: as a virtuosic dancer who raised the standard for male dancing, as an exceptional mime artist who inspired choreographers and dancers alike, and as a ballet master who created a solid corps de ballet from a group of dancers with diverse training and backgrounds.

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OpenAlex reports 3 citations for this work. Citation counts describe recorded attention and do not establish research quality.

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Available abstract

With a few notable exceptions, the literature in ballet history generally discusses Enrico Cecchetti solely as a ballet teacher, ignoring his contributions as a performer, and even as a ballet master, to ballet history. During his affiliation with Diaghilev's Ballets Russes from 1911 until 1928, Cecchetti played a significant role, as a performer and a teacher, in the development of Diaghilev's Ballets Russes along three trajectories: as a virtuosic dancer who raised the standard for male dancing, as an exceptional mime artist who inspired choreographers and dancers alike, and as a ballet master who created a solid corps de ballet from a group of dancers with diverse training and backgrounds.

Key concepts: Ballet, Classical ballet, Performing arts, Art, Dance, Ballet dancer, Art history, Visual arts

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