In 1944, Théodore created the set and costumes for Petrushka, composed by his father and played at the Zurich Stadttheater. This ballet, put on in 1911, in Paris (with Nijinski in the title role), tells the story of a Shrovetide fair and three puppets. The set, created by Théodore 30 years later, shows a fete in a village square, on the outskirts of a town. Not so much a trompe l’oeil as a trompe-l’esprit, an expression Strawinsky borrowed from Cocteau to refer to his stage sets. Philippe Kaenel

“A feast in a brilliantly lit up hall” is how Lubicz-Milosz described Don Miguel’s banquet in Miguel Mañara which was put on by Compagnons de Romandie at the Grand Théâtre in Geneva. Strawinsky’s set design for this play, belonging to a Catholic repertoire (he had converted to Catho-licism in 1940), was la-vish, baroque, colourful, and ‘anecdotic’. It stood out from the modern theatre practices, found in Geneva and other parts of Europe and influenced by a certain Adolphe Appia. Philippe Kaenel