Etonne-moi: Cocteau-Satie-Picasso

Châtelet in Paris. This is Parade, one of the classics of the Ballets Russes, a successful company directed by Serge Diaghilev that brought together some of the most audacious artists of the moment: the still young, but already controversial poet Jean Cocteau; a mature but equally revolutionary Erik...

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Autor principal: Cozzo, Laura Valeria
Formato: Artículo revista
Lenguaje:Español
Publicado: Centro de Investigaciones de la Facultad de Lenguas (CIFAL), Facultad de Lenguas, Universidad Nacional de Córdoba. Avenida Enrique Barros s/n, Ciudad Universitaria. Córdoba, Argentina. Correo electrónico: revistacylc@lenguas.unc.edu.ar 2021
Materias:
Cocteau
Satie
Picasso
ballet
avant-garde
vanguardias
Acceso en línea:https://revistas.unc.edu.ar/index.php/CultyLit/article/view/35762
Aporte de:
Revista de Culturas y Literaturas Comparadas de Universidad Nacional de Córdoba
id I10-R337-article-35762
record_format ojs
spelling I10-R337-article-357622021-11-30T15:55:45Z Etonne-moi: Cocteau-Satie-Picasso Cozzo, Laura Valeria Cocteau Satie Picasso ballet avant-garde Cocteau Satie Picasso ballet vanguardias Châtelet in Paris. This is Parade, one of the classics of the Ballets Russes, a successful company directed by Serge Diaghilev that brought together some of the most audacious artists of the moment: the still young, but already controversial poet Jean Cocteau; a mature but equally revolutionary Erik Satie; and Pablo Picasso, searching in those times for a neorealist style that would renew his art. Once the shock has been overcome, it is undeniable that it is the first modern ballet in its entirety, which accounts for the experimental and visionary capacity of the artistic expressions residing in the City of Light and that would be a great stimulus for subsequent forays into the world. artistic from all points of view, plastic, musical, narrative, and choreographic. Guillaume Apollinaire defined it as "une sorte de surréalisme", thus coining the term with which the most radical movement that has been erected against all canonized reality will be identified. The objective of our work will be to observe what made Parade unique: its conception, the process for its realization and its repercussions, especially the traces it will leave in the history of the performing arts. Hace un siglo, el 18 de mayo de 1917, subió a escena en el Théâtre du Châtelet de París un espectáculo sorprendente. Se trata de Parade, uno de los clásicos de los Ballets Russes, exitosa compañía dirigida por Serge Diaghilev que reunió en este caso a algunos de los artistas más audaces del momento: el aún joven, pero ya polémico poeta Jean Cocteau; un Erik Satie maduro, pero igualmente revolucionario; y Pablo Picasso, en busca en esos tiempos de un estilo neorrealista que renueve su arte. Superado el shock, es innegable que se trata del primer ballet moderno en su totalidad, que da cuenta de la capacidad experimental y visionaria de las expresiones artísticas residentes en la Ciudad de la Luz y que resultarían un gran estímulo para las incursiones posteriores en el mundo artístico desde todos los puntos de vista, plástico, musical, narrativo y coreográfico. Guillaume Apollinaire lo definió como “une sorte de surréalisme”, acuñando así el término con el que se identificará el movimiento más radical que se haya erigido contra toda realidad canonizada. El objetivo de nuestro trabajo será observar qué volvió único a Parade: su concepción, el proceso para su realización y sus repercusiones, sobre todo las huellas que dejará en la historia de las artes escénicas. Centro de Investigaciones de la Facultad de Lenguas (CIFAL), Facultad de Lenguas, Universidad Nacional de Córdoba. Avenida Enrique Barros s/n, Ciudad Universitaria. Córdoba, Argentina. Correo electrónico: revistacylc@lenguas.unc.edu.ar 2021-11-30 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion application/pdf text/html https://revistas.unc.edu.ar/index.php/CultyLit/article/view/35762 Revista de Culturas y Literaturas Comparadas; Núm. 11 (2021): Número especial: Cruzando fronteras 2591-3883 1852-4737 spa https://revistas.unc.edu.ar/index.php/CultyLit/article/view/35762/35893 https://revistas.unc.edu.ar/index.php/CultyLit/article/view/35762/35894 http://creativecommons.org/licenses/by-nc-nd/4.0
institution Universidad Nacional de Córdoba
institution_str I-10
repository_str R-337
container_title_str Revista de Culturas y Literaturas Comparadas
language Español
format Artículo revista
topic Cocteau
Satie
Picasso
ballet
avant-garde
Cocteau
Satie
Picasso
ballet
vanguardias
spellingShingle Cocteau
Satie
Picasso
ballet
avant-garde
Cocteau
Satie
Picasso
ballet
vanguardias
Cozzo, Laura Valeria
Etonne-moi: Cocteau-Satie-Picasso
topic_facet Cocteau
Satie
Picasso
ballet
avant-garde
Cocteau
Satie
Picasso
ballet
vanguardias
author Cozzo, Laura Valeria
author_facet Cozzo, Laura Valeria
author_sort Cozzo, Laura Valeria
title Etonne-moi: Cocteau-Satie-Picasso
title_short Etonne-moi: Cocteau-Satie-Picasso
title_full Etonne-moi: Cocteau-Satie-Picasso
title_fullStr Etonne-moi: Cocteau-Satie-Picasso
title_full_unstemmed Etonne-moi: Cocteau-Satie-Picasso
title_sort etonne-moi: cocteau-satie-picasso
description Châtelet in Paris. This is Parade, one of the classics of the Ballets Russes, a successful company directed by Serge Diaghilev that brought together some of the most audacious artists of the moment: the still young, but already controversial poet Jean Cocteau; a mature but equally revolutionary Erik Satie; and Pablo Picasso, searching in those times for a neorealist style that would renew his art. Once the shock has been overcome, it is undeniable that it is the first modern ballet in its entirety, which accounts for the experimental and visionary capacity of the artistic expressions residing in the City of Light and that would be a great stimulus for subsequent forays into the world. artistic from all points of view, plastic, musical, narrative, and choreographic. Guillaume Apollinaire defined it as "une sorte de surréalisme", thus coining the term with which the most radical movement that has been erected against all canonized reality will be identified. The objective of our work will be to observe what made Parade unique: its conception, the process for its realization and its repercussions, especially the traces it will leave in the history of the performing arts.
publisher Centro de Investigaciones de la Facultad de Lenguas (CIFAL), Facultad de Lenguas, Universidad Nacional de Córdoba. Avenida Enrique Barros s/n, Ciudad Universitaria. Córdoba, Argentina. Correo electrónico: revistacylc@lenguas.unc.edu.ar
publishDate 2021
url https://revistas.unc.edu.ar/index.php/CultyLit/article/view/35762
work_keys_str_mv AT cozzolauravaleria etonnemoicocteausatiepicasso
first_indexed 2024-09-03T21:19:23Z
last_indexed 2024-09-03T21:19:23Z
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