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1	"Allkonstverket i Svenska Baletten - en analys av verket som inte är" Rahm, Linda January 2015 (has links) This essay is an attempt to analyze, understand and reconstruct the Swedish Ballet's last work Relâche (1924) based on Richard Wagner's term Gesamtkunstwerk. Gesamtkunstverk in this case above allmeans the cross-border collaboration of artists and art forms in between, which leads according to Wagnerto a whole which is presented here as The Gesamtkunstwerk. The purpose of this essay is to take part in a work that literally no longer exist, and to try to understand itscultural-historical value. All that remains from the Swedish Ballet, is everything but the dance itself. Still we can take part of the Ballet through the artistic synthesis through innumerable collaborations shown in the sets, costumes, posters and musical compositions. I will in the analysis based on four points, try to find the tones indicating that the work is, on the basis of Wagner's definition, a Gesamtkunstwerk. The essay is also an attempt to show the innovation of this Company and to provide redress to which, according to me, is too forgotten in Swedish historiography. The thesis shows both the Swedish Ballet's historical background which includes previous works built by the same principles of collaboration presented. In this section I will also address something, according to me, important; The Swedish homophobia, mainly in the tabloids during the period in which the essay deals with, and the consequences for the company in question. Then I will analyze Relâche on the basis of the four theses, which, according to my investigation shows that the work is a Gesamtkunstwerk. The Gesamtkunstwerk The Swedish Ballet Paris Modern dance Modern art Francis Picabia Erik Satie Jean Börlin Richard Wagner
2	Svenska baletten i Paris - Allkonstverk som "performativa manifest" / Les Ballet Suédois - the total work of art as a "performatized manifesto" Sjölin, Nils January 2022 (has links) This thesis aims to investigate Les Ballet Suédois (1920-1925) and their ambition to create total works of art (Gesamtkunstwerk), a term made famous by the composer Richard Wagner (1813-1883). With regards to modern research into total works of art as expressions of the social or political visions of the avant-garde, this thesis applies theoretical concepts of intermediality and performativity to discern how the company cooperated with members of the Parisian avant-garde. Their joint mission was to regenerate society by uniting the arts and constructing ballets designed as total works of art that conveyed the ideas of the collaborating artists, commonly expressed in written manifestos during this era. In analyzing three works: Dårhuset/Maison de Fous, Världens Skapelse/La Création du Monde, and Relâche, it was revealed that staging total works of art was a common pursuit among artists of the avant-garde. The unique function of the Ballet Suédois was to transgress the ideas of the avant-garde into corporeal, temporal, intermedial manifestations of their radical collaborators. The results showed that Ballet Suédois functioned as enablers that performatized aesthetic, social and political ideas to the stage and, in manifesting the manifestos, had a unique function within the Parisian avant-garde of the early 1920s. Ballet Suédois Svenska baletten Gesamtkunstwerk Total Work of Art allkonstverk Intermediality Performativity Fernand Léger Francis Picabia Jean Börlin Rolf de Maré Paris Modernism Paris. Svenska baletten i Paris allkonstverk intermedialitet performativitet Fernand Léger Francis Picabia Jean Börlin Rolf de Maré Paris Modernism Art History Konstvetenskap
3	Tanztheater und filmische Ästhetik. Cineastische Einflüsse und Gestaltungsweisen in den Kompositionen für die Ballets Suédois 1920–1925 Kolb, Fabian 29 October 2020 (has links) The central role that avant-garde music and dance theatre played in the interplay and synthesis of the arts and media in the 1920s, particularly in Paris, is well known. However, the creative potential of ballet has hardly been recognized in its manifold relationships with film and cinematic-inspired expression. The extent to which especially ballet music interacted with the latest cinematographic principles and techniques and referred to cinematic aesthetics in a variety of ways can instructively be seen regarding the productions of the Ballets Suédois. This is discussed in this article with an exemplary look at Les Mariés de la Tour Eiffel (1921), Within the Quota (1923), Skating Rink (1922) and Relâche (1924). By that it becomes clear that the transmedia inclusion of cinematographic ideas not only inspired the vocabulary of avant-garde dance and modern choreography, but was also distinctively reflected in the conception and composition of film-affected music. info:eu-repo/classification/ddc/780 ddc:780

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