Ultra-Modern Design in "Parade", 1917: Picasso, Satie, Cocteau, Diaghilev

JF Ptak Science Books  Quick Post

One of the great powerhouse collaborations in the history of earlyish modernism came on 8 May 1917, in the performance of the 15-minute operette, Parade.  Spearheaded by Jean Cocteau, the piece used stage and costume designs by Picasso, was scored by Erik Satie, and performed by Diaghilev's Ballets Russes. (It was not received indifferently--there was a major upset in the world of the critics and many hated negative response from the audience, evidently much like that received by Stravinsky's Rite of Spring at its premier seven years earlier, also featuring Diaghilev's Ballets Russes.)

The image below is a maquette of the stage by Picasso:

[Source]

The spirit of this object reminds me of Paul Klee's private puppet theatre productions for his son Felix, which includes this fantastic stage:

 [Source: earlier post on this blog, here.]

Jean Cocteau had this to say about his Parade in the newspapers on the morning of its premier:

"Our wish is that the public may consider Parade as a work which conceals poetry

beneath the coarse outer skin of slapstick. Laughter is natural to Frenchmen: it is

important to keep this in mind and not be afraid to laugh even at this most difficult time.

Laughter is too Latin a weapon to be neglected. Parade bringstogether Erik Satie’s

first orchestral score, Pablo Picasso’s first stage décor, Massine’s first cubist chor

eography, and a poet’s first attempt to express himself without words. It was appropriate..

to do justice for the first time to the true meaning of ‘realism’ in theatrical terms...

The elements ...in Parade create reality—which alone has the power to move us..."

 

 

 

Two of the superb costumes by Picasso:

[The American Manager character, in color]

 

And a clip from Parade:

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