Artist Picasso's Birthday Oct. 25, 1881

Parade was Picasso’s first collaboration with the Ballets Russes and in a letter sent to a friend, Jean Cocteau the librettist said “Picasso amazes me every day, to live near him is a lesson in nobility and hard work” (Rothschild 49).

Picasso’s studio in Rome had a little crate that held the model of "Parade" with its trees and houses, and on a table were the painted characters: the Chinaman, Managers, American girl, and horse.

Cocteau described his friend’s unusual artistic process: “A badly drawn figure of Picasso is the result of endless well-drawn figures he erases, corrects, covers over, and which serves him as a foundation. In opposition to all schools he seems to end his work with a sketch.” The audiences were amazed by the first ballet to have cubist costumes, sets, and choreography.

Picasso's Parade Ballet Costumes

Parade is a realistic ballet in one scene, based on a theme by Jean Cocteau. The music was done by Erik Satie, choreography by Massine, curtain, décor and costumes designed by Pablo Picasso. The first performance of Parade was at Theatre du Chatelet in Paris on May 18, 1917.

Cocteau says that the first draft of the Parade ballet was a brief ballet project called David, something he had sketched out in 1914. The ballet was to take place in front of the entrance booth of a traveling fair. David was never written, but Cocteau’s first contact with Erik Satie was in 1915, with his collaboration with Picasso beginning the following year.

Diaghilev met Picasso in the spring of 1916 when a mutual friend, Mme. Eugenia Errazuriz brought him to Picasso’s studio. It was then that Diaghilev commissioned Picasso to do the mise-en-scene for Parade. Both Picasso and Cocteau left for Rome in February of 1917, where Diaghilev’s Ballets Russes was dancing. There they met and worked with Massine.

Among the costumes Picasso designed was a horse, initially with a mannequin-rider. During the dress rehearsal, the rider fell off of the horse causing the audience to laugh, so it was removed for the remaining performances. The costume for the American Girl, which Picasso had not sketched, was actually bought the day before at a sporting goods store. The costume for the Female Acrobat that Massine had added at the last minute was made of hand-painted spiral designs Picasso painted directly onto Lydia Lopoukhova’s legs.

After a three year absence, Diaghilev’s Ballets Russes returned to Paris’s Theatre du Chatelet with Parade, a pioneer Cubist theatrical spectacular. Satie and Cocteau often disagreed regarding the noises that Cocteau wanted added to Satie’s scores. But, Cocteau was over ruled by Diaghilev and they were left out.

When the curtain went down on Parade, the audience was violent and contradictory. It was acclaimed by many intellectuals, but the public didn’t like it. It was well ahead of its time and was never added to the regular repertoire of the Ballets Russes.

In 1923, when Diaghilev wanted to restage the ballet, he asked Picasso to touch up the curtain which had been taken over by mildew. Picasso refused saying that it resembled the deteriorated frescoes of Pompeii and should remain that way!

Read "DIAGHILEV And the Ballets Russes" by Boris Kochno, 1970.

Picasso; Ballets Russes Artist, Died April 8, 1973

Parade was Picasso's first collaboration with the Ballets Russes and in a letter sent to a friend, Jean Cocteau the librettist said "Picasso amazes me every day, to live near him is a lesson in nobility and hard work" (Rothschild 49). Picasso's studio in Rome had a little crate that held the model of "Parade" with its trees and houses, and on a table were the painted characters: the Chinaman, Managers, American girl, and horse. Cocteau described his friend's unusual artistic process: "A badly drawn figure of Picasso is the result of endless well-drawn figures he erases, corrects, covers over, and which serves him as a foundation. In opposition to all schools he seems to end his work with a sketch." The audiences were amazed by the first ballet to have cubist costumes, sets, and choreography. After World War I, Picasso made a number of important associations and relationships with figures associated with Serge Diaghilev's Ballets Russes. Among his friends during this period were Jean Cocteau, Jean Hugo, Juan Gris and others.

In the summer of 1918, Picasso married Olga Khokhlova, a ballerina with Sergei Diaghilev’s troupe, for whom Picasso was designing a ballet, Parade, in Rome; and they spent their honeymoon in the villa near Biarritz of the glamorous Chilean art patron Eugenia Errázuriz. Khokhlova introduced Picasso to high society, formal dinner parties, and all the social niceties attendant on the life of the rich in 1920s Paris. The two had a son, Paulo, who would grow up to be a dissolute motorcycle racer and chauffeur to his father. Khokhlova’s insistence on social propriety clashed with Picasso’s bohemian tendencies and the two lived in a state of constant conflict. During the same period that Picasso collaborated with Diaghilev’s troup, he and Igor Stravinsky collaborated on Pulcinella in 1920.

Sonia: Picasso Was My Godfather

Dear Balletomanes:

December 17, 2009 marked the birthday of someone truly special, Sonia Wojcikowska. Who is Sonia, you ask? Sonia is the daughter of two of Diaghilev's original Ballets Russes dancers, Helena Antonova (photo with shawl) and Leon Wojcikowski (portrait below), and she was the God-daughter of Picasso. Sonia was an accomplished ballerina, who was a member of the Ballets Russes.

I myself only met Sonia once, and she left quite an impression. I am told that these days, she prefers to watch the New York Yankees, a big fan I understand - good taste. Apparently, due to some difficult times, Sonia chooses not to share her memories of her Ballets Russes years. While I respect that, as they are her stories to tell or not tell, it is a shame for us, as hers are stories that will now never be told, a book we'd like to read, but one she doesn't want to write.

Sonia was born December 17, 1919. Sonia was educated at the Lycee Jules Ferrier school in Paris under Lubov Egorova. Sonia started her career as a little girl in a walk-on part in Diaghilev’s Ballets Russes production of Petrouchka holding the hand of Enrico Cecchetti. Sonia’s parents, Helena Antonova and Leon Wojcikowski, were both stars of Diaghilev’s Ballets Russes company. Sonia’s godfather was Pablo Picasso.

At 9, Sonia sang the part of Chaliapin’s grand-daughter in Opera La Sirene, (The Mermaid) at Paris Opera. Later she sang two Spanish songs off-stage for Leonide Massine’s Three Cornered Hat. When Sonia was thirteen she danced with her mother at the Paris Opera with Les Ballets Ida Rubinstein. Sonia danced many of her mother's roles. (Her father told her once that he could not tell them apart.) By replacing Nathalie Krassovska in Rubinstein's company Sonia danced her first solo in Mikhail Fokine's Diane de Poitiers.

If you scroll down on my Russian Ballet History website Blog page, there is a copy of a Dance Magazine article on Sonia from June, 1963. Click here to read it!

Sonia joined Mme. Egorova’s Ballet de la Jeunesse at 14 years of age. She later became a soloist with the Original Ballet Russse in 1938. Sonia first came to the United States on the Normandie to dance in the World’s Fair in 1939. In 1940 she became a soloist with Ballet Theatre, now American Ballet Theatre in New York City. Sonia also had a part in the original “Oklahoma” and was the “Foxhole Ballerina” for the troops in WWII. Sonia became a US citizen in 1949. She married violinist Joska de Barbary and still resides in New York City. She is 90 years old this year, or more appropriately 90 years young!


Curtsy, Bow, Acknowledge the Orchestra,


Stacey