5 6 pointe shoes. "We actually went to old markets and paint studios," Hatley recalled. "At one of the paint studios, we took a well-used paint table and gave them money to buy a new one." The entire exhibit was illuminated by theatrical luminaires as well as general lighting, to remind us that Diaghilev himself supervised the lighting of the ballets. "As a collection, the V&A is concerned about process. It's very much a V&A style of exhibition: [discovering the] process and [seeing] beautiful things," Pritchard said. Turning the next corner brought an intake of breath to see the actual drop cloth from the 1926 revival of The Firebird. Sketches, costumes, and 7 © ADAGP, Paris and DACS, London 2010 5 Design by Natalia Goncharova for the set of The Firebird (1926). 6 Stage backcloth by Natalia Goncharova for the Wedding Scene in The Firebird (1926). 7 Front cloth used for Le Train Bleu after a painting by Pablo Picasso (1924). spring 2011 theatre design & technology 17