Dancing without Space - On Nijinsky's L'Après-midi d'un Faune (1912) Hanna Järvinen
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ArtículoDetalles de publicación: 2009 Edinburgh: Edinburgh University Press,Descripción: 37 p
En: Dance Research Vol. 27, núm. 1,Summer 2009, p. 28 - 64Resumen: RESUMEN: 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.
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RESUMEN: 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.