winter Diaghilev produced it and other ballets in "full dress" even though scenery was not used. Her own ballet creations Nijinska earned her credits as the sole choreographer for nine works at Ballets Russes during the 1920s. All but one were set to modern musical compositions: three by Igor Stravinsky (two ballets, Renard, Noces, and an opera, Mavra); three by contemporary French composers, Francis Poulenc (Biches), Georges Auric (Fâcheux), and Darius Milhaus (Train Bleu); one by a contemporary English composer, Constant Lambert (from the Shakespeare play); and, one by Modest Mussorgsky (Nuit, an opera). One work employed baroque music (Tentations). Le Renard [The Fox] [Baika] (1922) Nijinska's first ballet in her tentative new position as choreographer for Ballets Russes was Le Renard, described as a "burlesque ballet with song". Igor Stravinsky composed the music, which was for small orchestra and four singers. Stravinsky also wrote the libretto, i.e., the lyrics. Originally commissioned by a friend of Diaghilev in 1915, it was not publicly performed until 1922. The principal dancers were: Nijinska (as the Fox), Stanislas Idzikowski (as the Cock), Jean Jazvinsky and Micel Federov (as the Cat, and the Goat). Costumes and sets by Michel Larionov were in a type of radical, modernist style with a "primitive quality". The plot comes from "Russian preliterary theater" sourced in "a tradition of itinerant folk entertainers" impersonating buffoons and animals. Across Europe, late medieval tales of Reynard the Fox were popular. Here, the Fox (a con-artist) works to trick the Cock (a wealthy peasant) in order to literally eat him, but the Cock is saved by the Cat and Goat. "Disguised first as a nun, then as a beggar, the fox embodies criticism of both social and clerical orders." Baika was the original Russian title of Le Renard. Nijinska's choreography tended modern. She "juxtaposed movements of animal grace with odd gestures and grotesque postures." The ballet was narrated by singers off stage. Larionov's visual design included simple animal masks for the dancers; the name of each character, e.g., "Goat", was written in large letters on the dance costume. In her memoirs, Nijinska discusses Fokine's innovative "Dance of the Fauns" (1905). There in the background the many "fauns looked like animals". The young boys who danced them once "tumbled head over heels" which was not in keeping with 'classical ballet' techniques. Yet Fokine claimed the result conformed to the "animal characteristics of the dance."