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Diaghilev seemed to be the nemesis of traditional ballet, but he was ready to draw on the rigorous classical schooling of his dancers whenever it suited him.
This lecture examines the fascination surrounding works that are left unfinished at their composers’ deaths. It also looks at the urge that certain of us have to complete these uncompleted works, however unwisely and however unbidden.
We will trace the musical, visual and choreographical consequences of this new trend through several later Diaghilev ballets: Parade (Satie/Picasso), Chout (Prokofiev/Larionov), Le Pas d’Acier (Prokofiev/Yakulov).
Diaghilev found that the Oriental style that had been cultivated by Russian composers was a perfect match for the Parisians’ love of exoticism, and he started to commission new ballets for this market niche.
This illustrated lecture and book launch will attempt to answer these questions by outlining his mathematical life, labours and legacy in the context of Victorian Oxford.
2019 marks 100 years since the Sex Disqualification (Removal) Act 1919 when a woman was recognised as a ‘person’ in law. This groundbreaking Act enabled women to be awarded university degrees and to enter professions such as law and medicine from which they had been barred.