Diaghilev and Prokofiev: Return to Emotion

Diaghilev would often look at past art and then do the opposite. He playfully abandoned plot, elaborate costumes, emotional expression, and even meaning, but reinstating them whenever he felt like it - this was his undogmatic approach to modernism. In this final lecture, we will focus on one of the best-preserved Diaghilev productions, The Prodigal Son, a strikingly beautiful ballet by Prokofiev/Balanchine/Rouault. It could have been a new beginning, but it became Diaghilev's final word whe...