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Ritual Design in the New Dance: Nijinsky's Le Sacre Du Printemps

Ritual Design in the New Dance: Nijinsky's Le Sacre Du Printemps : NIJINSKY'S LE SACREDU PRINTEMPS MillicentHodson Nijinsky's choreography for Le Sacre du Printempsanticipated in the early years of this century what has lately been regarded as novel and even unique. It bears closer resemblance to certain postmodern dances of the last decade than to anything that has happened choreographically since 1913, the year of its premiere. Critics at the time described Le Sacre in terms that would serve as well for many recent works. Reports such as Casalogna's from the Theatre des Champs-Elysees sound like some by Sally Banes from the Brooklyn Academy of Music: 'At first the groups sketch simplistic movements with their feet close together - they beat out the musical rhythms in place by trampling,' and then 'the masses execute diversely controlled movements as a group'. Current evaluations of Le Sacre by ballet historians create, often inadvertently, an arc in time between the new dance of Nijinksy's era and our own. Lincoln Kirstein, for example, has explained that Nijinsky was 'building kinetic blocks mortared with intervals of shifting action.'2 Such is the method of much postmodern dance, not only the geometrical constructs of Lucinda Childs, with her minimal movements performed on a grid, but also http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Dance Research Edinburgh University Press

Ritual Design in the New Dance: Nijinsky's Le Sacre Du Printemps

Dance Research , Volume 3 (2): 35 – Oct 1, 1985

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Publisher
Edinburgh University Press
Copyright
©© 1985 Society for Dance Research
ISSN
0264-2875
eISSN
1750-0095
DOI
10.2307/1290556
Publisher site
See Article on Publisher Site

Abstract

: NIJINSKY'S LE SACREDU PRINTEMPS MillicentHodson Nijinsky's choreography for Le Sacre du Printempsanticipated in the early years of this century what has lately been regarded as novel and even unique. It bears closer resemblance to certain postmodern dances of the last decade than to anything that has happened choreographically since 1913, the year of its premiere. Critics at the time described Le Sacre in terms that would serve as well for many recent works. Reports such as Casalogna's from the Theatre des Champs-Elysees sound like some by Sally Banes from the Brooklyn Academy of Music: 'At first the groups sketch simplistic movements with their feet close together - they beat out the musical rhythms in place by trampling,' and then 'the masses execute diversely controlled movements as a group'. Current evaluations of Le Sacre by ballet historians create, often inadvertently, an arc in time between the new dance of Nijinksy's era and our own. Lincoln Kirstein, for example, has explained that Nijinsky was 'building kinetic blocks mortared with intervals of shifting action.'2 Such is the method of much postmodern dance, not only the geometrical constructs of Lucinda Childs, with her minimal movements performed on a grid, but also

Journal

Dance ResearchEdinburgh University Press

Published: Oct 1, 1985

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