Browsing by Subject "Nijinsky, Vaslav"

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  • Järvinen, Hanna (2013)
    Even a century after the premiere of Le Sacre du Printemps, Russian contemporary sources offer a wealth of material on the Ballets Russes and particularly on Nijinsky's 1913 choreography that are rarely read and never really analyzed in detail. This paper will give an overview of some of these sources and their varied but generally positive discussion on Nijinsky's work in order to argue that these informed Russian spectators perceived Sacre in a manner that contests how this work has been represented in dance history.
  • Järvinen, Hanna (2014)
    In 1916, during the American tours of the Ballets Russes company, Vaslav Nijinsky created a choreography to Richard Strauss's tone poem Till Eulenspiegels lustische Streiche, nach alter Schelmenweise, in Rondo Form (1894-1895). Only performed during the tour, the work was long deemed a failure or an indication of the choreographer's approaching insanity. Tracing the reviews and other contemporary materials, this article asks what can be known of a past performance and rehearsal practice - and what our interpretations of the past reveal of present-day concerns and assumptions about dance as an art form.
  • Järvinen, Hanna (2009)
    Following my article on Vaslav Nijinsky's L' Aprè s-midi d' un Faune (1912), I turn my attention to Jeux, the first of Nijinsky's two choreographies for the 1913 season of the Ballets Russes. Made to a commissioned score by Claude Debussy, Jeux (Games) dealt with the chance meeting of three sporty young people in a twilit garden or park. Based on contemporary responses and the choreographer's notations to Debussy's manuscript score, I discuss how Jeux addressed modern life and what in this disconcerted the audiences of the Ballets Russes. Although the work disappeared after only one season, I argue it brings to the fore questions of canonisity and success that are still relevant in our discourse of art, today.
  • Järvinen, Hanna (2009)
    Three-dimensional theatrical space is often taken for granted as a precondition of dance. Already in 1912, the choreographer Vaslav Nijinsky provoked much discussion with a work that seemingly turned the performance into a moving, two-dimensional picture. L’Après-midi d’un Faune has achieved notoriety because of the objections some contemporary critics raised against the ‘immoral’ behaviour of the principal character, but I argue the style of the work brought about an important shift in how dancing was conceptualised as something composed by a choreographic author.