The Three Ivans in The Sleeping Princess

Diaghilev took an active part in the mise en scène, directing much of it himself, and though what he aimed at primarily was a reconstruction of this ballet in its original form, he was prepared, where it seemed advisable, to introduce fresh matter.  It was hence that Bronislava Nijinska came to take a hand in the choreography.  She had left the company at the same time as her brother, and had returned to Russia, where she had done some productions.  But she happened to arrive in London about the time of our starting rehearsals; and though he had not of course seen any of her compositions, Diaghilev invited her without more ado to arrange some new numbers in The Sleeping Princess.  She did this most successfully, the best know of these numbers being the afterwards celebrated Dance of the Three Ivans.  It was clear even from such modest creations that she was possessed of a certain knowledge and experience; and Diaghilev at once scented in Nijinska a possible choreographer in succession to Massine.

A propos of the Three Ivans, Diaghilev met with some criticism from his friends for introducing such a dance into this ballet at all.  Was not a Russian peasant dance incongruous, they said, at the court of a King of France?  But Diaghilev replied that in a ballet anything was possible; and in the event this dance of Nijinska's turned out one of the most successful in the whole divertissement with which the ballet closed.

Diaghilev Ballet, 1909-1929 by Serge Leonidovich Grigoriev.  1953.  Page 170.