Modernism on level restores Serge Diaghilev?s Ballets Russes to its principal position within the Parisian artwork global of the 1910s and Twenties. in the course of these years, the Ballets Russes? level served as a dynamic discussion board for the interplay of creative genres - dance, track and portray - in a mixed-media shape encouraged through Richard Wagner?s Gesamtkunstwerk (total paintings of art). This interdisciplinary research combines a extensive background of Diaghilev?s troupe with shut readings of 4 ballets designed via canonical modernist artists: Pablo Picasso, Sonia Delaunay, Henri Matisse, and Giorgio de Chirico. Experimental either in inspiration and shape, those productions redefine our realizing of the interconnected worlds of the visible and acting arts, elite tradition and mass leisure in Paris among the 2 global wars. This quantity lines the ways that artists operating with the Ballets Russes tailored painterly types to the temporal, 3-dimensional and corporeal medium of ballet. studying interactions between units, costumes, choreography, and musical accompaniment, the publication establishes what the Ballets Russes' productions gave the look of and the way audiences reacted to them. Juliet Bellow brings dance to endure upon modernist artwork background as greater than a resource of images or decoration: she spotlights a fancy discussion between paintings types that didn't avoid yet quite improved artists? interrogation of the boundaries of medium.