The Exoticism and Orientalism of the Ballets Russes in Scheherazade
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This study endeavors to explore the artistic significance of Orientalism within the creative realm of the Ballets Russes during the twentieth century, with a particular focus on the ballet Scheherazade, premiered in Paris in 1910. In this study, the documents and books written by artists who directly participated in the creation of Scheherazade have been researched. Moreover, the components of the actual work, such as the narrative story of the ballet, characteristics of the female protagonist, stage, and costumes, have been closely analyzed. The analysis focuses on three points: first, the narrative on interracial sexual acts, which had been prohibited in the European society at that time; second, the characteristic nature of the heroine, Zobeide, who was in the middle of the narrative; third, the theatrical scenery and attire of Leon Bakst, which amplified the oriental mood in the works. The analysis revealed that the oriental materials created by Ballets Russes artists were the core theme for expressing their artistic vision and mission, which is different from the ideological Orientalism of romanticism or classicism. The world of the ‘wild East’ superficially shown in Scheherazade was the central theme that Ballets Russes proposed to establish its own modern aesthetics and aesthetic form. Such discussions on the Orientalism and oriental women in Ballets Russes are very important as the latter not only proves the aesthetical value of Russian modernism theatrical arts, which has shown the diversity of Russian arts to the world, but also reminds us of its importance in various academic fields such as dance and painting.
Abstract
This study endeavors to explore the artistic significance of Orientalism within the creative realm of the Ballets Russes during the twentieth century, with a particular focus on the ballet Scheherazade, premiered in Paris in 1910. In this study, the documents and books written by artists who directly participated in the creation of Scheherazade have been researched. Moreover, the components of the actual work, such as the narrative story of the ballet, characteristics of the female protagonist, stage, and costumes, have been closely analyzed. The analysis focuses on three points: first, the narrative on interracial sexual acts, which had been prohibited in the European society at that time; second, the characteristic nature of the heroine, Zobeide, who was in the middle of the narrative; third, the theatrical scenery and attire of Leon Bakst, which amplified the oriental mood in the works. The analysis revealed that the oriental materials created by Ballets Russes artists were the core theme for expressing their artistic vision and mission, which is different from the ideological Orientalism of romanticism or classicism. The world of the ‘wild East’ superficially shown in Scheherazade was the central theme that Ballets Russes proposed to establish its own modern aesthetics and aesthetic form. Such discussions on the Orientalism and oriental women in Ballets Russes are very important as the latter not only proves the aesthetical value of Russian modernism theatrical arts, which has shown the diversity of Russian arts to the world, but also reminds us of its importance in various academic fields such as dance and painting.
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