In 2016 the Festival “Diaghilev. P.S.” continued the cycle of scientific conferences “In Diaghilev’s circle”. After bringing to light the issue of philanthropy and patronage of Ballets Russes in 2015, that time we suggested our members to examine methods and tools used skillfully by Sergei Diaghilev striving for success and global recognition of the Ballets Russes. How to influence media, manipulate public opinion, create new fashion trends and, ultimately, determine the course of development of the theatrical world for decades to come?

Even at the time of working on the magazine “World of Art” (Mir Iskusstva) and organizing of art exhibitions in St. Petersburg, Diaghilev used to face the power of public opinion and personal attitude of certain influential persons. It seems that the first serious lesson for him was the ideological conflict expressed in the debate through the press with respected critic Vladimir Stasov – an advocate of the principle of utilitarianism in art.

While taking a big load on himself of preparation of his first exhibitions ranging from selection and hanging of paintings to creation of exhibition catalogue with scientific articles and accurate attribution of works, Diaghilev never forgot about the press. Its representatives were invited not only to previews, but also on lavish banquets with the artists in order to highlight the event in the newspapers the next day.

An audience response was for Diaghilev even more crucial than favored journalists. There impresario primarily sought to ensure the support of the most influential representatives of the higher circles, trendsetters, whose tastes and preferences became then generally accepted. Beyond all doubt, an amazing talent to enchant, prepossess and fascinate was part of the Diaghilev’s strategy.

Sophisticated public arrangement on the previews of “Scheherazade” and “The Rite of Spring” later caused a definite response of the society and the press that consequently led to the establishment of new movements in choreography. The history of the Ballets Russes is full with such examples. Today, almost a century later, with our modern knowledge in public mind control technologies we are able to analyze and evaluate Diaghilev’s techniques. Will historical experience of the Ballets Russes be in handy today in adopting new ideas, trends and criteria of visual and performing arts?

For further details please contact:
diaghilev-ps@bk.ru
fax (812) 314-77-46
tel. (812) 314-53-45
Coordinator: Alexandra Shtarkman