Le sacre du printemps [chapter]

Natalia Smirnova
La compagnie des ballets russes  
This paper situates the original choreography of Sacre as a basis for an ongoing exploration of non-Western themes in modern dance, a persistent fascination with the Orientalist 'Other,' before exploring the versions choreographed by Wigman, Bausch and Graham in chronological order of their first performances. In analysing different interpretations of the same score, two themes become apparent: first, that this piece heralded the birth of Modernism in classical dance performance, and second,
more » ... nce, and second, that the driving anti-classical, antitraditional rhythms that characterise the piece communicate an enduring interest in primitive aesthetics. Accordingly, this discussion takes Nijinsky's Sacre as a starting point in re-evaluating the influence of primitivism and Otherness on contemporary dance, and represents an early indication of the significance of the Saidian, non-Western 'Other' in shaping the evolution of avant-garde dance. Sokolova also recalls that in addition to Nijinsky instructing from the wings, "we could see Diaghilev too, walking up and down, holding his head. We must have been a lovely picture for the audience, racing around, jumping, turning, and wondering when the whole thing was going to collapse." L. Sokolova [ed. Buckle]. 1969. Dancing for Diaghilev: The Memoirs of Lydia Sokolova. London: Murray: 44. 132 Eksteins 1989: 35. 133 Berg 1985: 77. 134 Homans notes that, while Rambert and Nijinsky spoke Polish to one another, and despite her best efforts to make the score more comprehensible, rehearsals for Sacre were largely disastrous.
doi:10.4000/books.editionscnrs.9066 fatcat:2iqdpo2djvbyxlzvqwhjms655u