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Ida Rubinstein (1885–1960) was a mystery; variously viewed as a Hebrew princess, a queen of mime and a female dandy in the guise of a dancer, she performed both on and off the stage of high society in the early 1900s, making her mark on the international public and contributing to changing attitudes about women, art and dance movement aesthetics. Virtually untrained as a dancer, but mistress of the seductive gesture learned from the West (but honed in the East), Rubinstein knew just how to capture the Western eye, and she spent a fortune playing to it. The luxury of extreme wealth certainly helped open the doors to her artistic fame, and she was fortunate to be included in the sensational triumphs of the Ballets Russes as it was received by a sophisticated and enthusiastic Parisian audience. In this paper, I examine the sources from which Rubinstein received the inspiration and training that led to her artistic successes and discuss the context of her approaches to movement, gesture and spectacle. Overall, I reflect upon the various ways in which her Jewishness and privileged upbringing in the twilight of Imperial Russia affected (or did not affect) her decadent lifestyle and enhanced and/or limited aspects of her remarkable career as a dance performer, producer and influential patron of the arts. To what extent was she seen to “perform” the Jewess with its stereotyped roles of temptress and exotic other, reflecting the fin de siècle figure of la belle Juive with its powerful collapsing of distance between staged representation and real life?

As the nineteenth century gave way to the twentieth, a short-lived but extraordinary cultural phenomenon spread throughout Europe and the United States-\"Salomania.\" The term was coined when biblical bad girl Salome was resurrected from the Old Testament and reborn on the modern stage in Oscar Wilde's 1893 playSalomeand in Richard Strauss's 1905 opera based on it. Salome quickly came to embody the turn-of-the-century concept of the femme fatale. She and the striptease Wilde created for her, \"The Dance of the Seven Veils,\" soon captivated the popular imagination in performances on stages high and low, from the Metropolitan Opera to the Ziegfeld Follies.This book details for the first time the Salomania craze and four remarkable women who personified Salome and performed her seductive dance: Maud Allan, a Canadian modern dancer; Mata Hari, a Dutch spy; Ida Rubinstein, a Russian heiress; and French novelist Colette. Toni Bentley masterfully weaves the stories of these women together, showing how each embraced the persona of the femme fatale and transformed the misogynist idea of a dangerously sexual woman into a form of personal liberation. Bentley explores how Salome became a pop icon in Europe and America, how the real women who played her influenced the beginnings of modern dance, and how her striptease became in the twentieth century an act of glamorous empowerment and unlikely feminism.Sisters of Salomeis a dramatic account of an ancient myth played out onstage and in real life, at the fascinating edge where sex and art, desire and decency, merge.

Contributeurs : Agnese Bezzera, Pierre Brunel, Joël Huthwohl, Graciane Laussucq Dhiriart, Pascal Lécroart, Sophie Lesiewicz et Dominique Palmé.

The dancer Ida Rubinstein originally envisaged that Bolero would be performed lustily upon table tops in the bordellos that Ravel...

\"Diaghilev never did premieres in Moscow, always in Paris,\" said Mr. Liepa, smiling. He brims with stories of the impresario and his dancers, and confesses to having \"wanted to live in the world of Scheherazade\" ever since seeing pictures of the original production in books in childhood. Like Diaghilev, Mr. Liepa said, he is constantly on a search for money. And while the creative result of this latest ballet cannot compare with the novelty of Stravinsky's music or the stunning folk-ballet dance of \"The Rite of Spring\" and \"Firebird,\" Ms. Liepa was almost liquid on stage, evoking [Mikhail Fokine]'s dance movements down to her fingertips. Mikhail Lobukhin of the Bolshoi Theater was breathtakingly light as Fokine, then menacing and tortured as Cleopatra's sometime lover Amoun. Pavel Kaplevich's sets echoed the sculpted quality of the originals. The elegant costumes, by Yekaterina Kotova, recalled those of Leon Bakst. As the conversation ended, Mr. Liepa greeted Georgi Isaakyan, a Moscow director with whom he plans to mark the 2013 centenary of Diaghilev at the Champs Elysees with \"The Golden Cockerel.\" \"Look, this theater is really linked to Diaghilev,\" Mr. Liepa exulted. \"The phantoms really live!\"

The life of colourful classical dancer is to be staged 54 years after her death. Nick Smurthwaite speaks to the show's creators and discovers her life of scandal and intrigue - including an exile at the Ritz.

They were the leading lights of Serge Diaghilev's company, Ballets Russes - and now, 100 years on, dance companies around the world are marking the centenary of that tumultuous first Paris season. Scottish Ballet is creating a new version of the 1911 piece Petrushka, the Royal and the English National Ballet are presenting programmes of Diaghilev repertory, and London's Sadler's Wells has commissioned four works, inspired by the Ballets Russes. It's an unprecedented act of homage, and fitting for the company that changed ballet from decorative entertainment to an avant-garde art form. For Alistair Spalding, artistic director of Sadler's Wells, Diaghilev's achievements still dwarf anything today: \"You look at photos of all those great [people] he gathered together, and there is such an aura about them. These days, if you approach any major artist about a project, they'll say, 'OK, I could do that in about 2013.' Back then, the world was so much smaller. But Diaghilev was still the one who came along and made the magic.\" [Javier de Frutos] has already choreographed four versions of The Rite of Spring, and two of Les Noces (another Stravinsky score for Diaghilev). \"Every time I research a new work, even if it's nothing to do with Diaghilev,\" he says, \"I find that something associated with him comes up.\" He sees Diaghilev as the greatest role model: \"He would have sold his soul to create new work for the company. He had the charisma to make anyone do anything for him, and he wasn't bothered by political correctness. Those were the glory days when people would sleep with you to get a job. And some of the best slept with Diaghilev\" *

Pero no hay lugar para vislumbrar que esa mujer pudiera estar en esa actitud mientras lo que suena es el Bolero de Ravel. Paradojas de la vida, dieciocho años después de aquella pintura, sería esa misma [Ida Rubinstein] quien le encomendaría a Ravel un ballet para estrenarlo con su compañía. Lo que no habría de intuir la coreógrafa, bailarina, actriz y empresaria era que la obra en cuestión sería, precisamente, el Bolero, esa pieza reiterativa, hipnótica y magistral a la que el mismo compositor, en una humorada, habría de referir como \"una obra para orquesta sin música\".