Secret of the Russian Ballet by Carl Van Vechten

Irony certainly directed the workings of fate when it was decreed, in this age of individualism, that the group-spirit should dominate the movements of the theatre, an institution in which, not so many years ago, the individual reigned, his head crowned with bays. Democracy has two effects: it strengthens the individual and it gives him the power to join with other individuals in fostering the growth of his ideals. Thus Max Reinhardt, distinctly individual though he may be, has made his impression through his artists, his actors, and his musicians. So has Stanislawsky of Moscow, who in one instance solicited the services of Gordon Craig. The Irish Theatre movement, which developed so great a genius as Synge and many lesser, but still important, writers, such as T. C. Murray and St. John Ervine, was essentially conceived in the group-spirit. But more than any of these, the most brilliant movement in the theatre of our time, the Russian Ballet (I am referring specifically to the organization under the direction of Serge de Diaghilew) has relied to an extraordinary degree on the group for its effect -- one which, on modern art, music, dancing, stage decorations, and women's fashions, can scarcely be overestimated. I have heard it said, not altogether as a jest, that the Russian Ballet has had an influence on European politics.

There are still many people, however, who have never seen the performances of the Russian Ballet, who think of it only as an aggregation of virtuosi, much after the manner of one of Mr. Grau's all-star casts in _Les Huguenots_. It is true that the names of Nijinsky, Karsavina, Fokine, Miassine, Bolm, and Fokina have inevitably awakened the same sort of magic sympathy that the names of Nordica, Melba, Calvé and the de Rezskes once evoked. The misunderstanding has followed in natural sequence. Nevertheless -- and this is said without any desire to depreciate the value of the Russian stars -- it is fortunate that the ideal of the producers of these mimed dramas is aimed higher than at the exploitation of individual talent. Their ultimate goals are cohesiveness and general pictorial effect. And this fact makes it possible for the Ballet to give representative performances with or without the aid of any particular dancer. In the summer of 1914, for example, in the absence of the superlative Nijinsky, the Russians made very lovely productions of Rimsky-Korsakow's _The Golden Cock_ and Richard Strauss's _The Legend of Joseph_.