One or Two Voices? Dance and Music in the Ballets Russes
Identifieur interne : 000C73 ( Istex/Corpus ); précédent : 000C72; suivant : 000C74One or Two Voices? Dance and Music in the Ballets Russes
Auteurs : Stephanie JordanSource :
- Experiment [ 1084-4945 ] ; 2011.
English descriptors
- Teeft :
- Absolute austerity, Arlene croce, Ballets russes, Boosey hawkes music publishers, Bronislava nijinska, Chester music, Chief nymph, Choreography, Christopher newton, Dalcroze, Dalcroze approach, Dalcroze school, Dance books, Dance rhythm, Dancing times, Diaghilev, Diaghilev period, Elbow steps, Horizontal pyramid, Igor stravinsky, Impressionistic music, Jean cocteau, Jordan, Jordan experiment, Many years, Marie rambert, Metrical structure, Michel fokine, Music visualization, Nijinska, Nijinsky, Noces, Nouvelle revue, Original passage, Printemps, Royal ballet, Russian ballet, Sacre, Same time, Shovel step, Shovel step right, Solo soprano, Unison group, Wagnerian concept.
Abstract
Abstract One of the most important aesthetic innovations of Diaghilev’s Ballets Russes was its shifting relations between music and dance. At first, the guiding principle was synaesthesia, linked to the Wagnerian concept of Gesamtkunstwerk but at the same time there were moves towards independence between the two media. Ballets by Fokine, Nijinsky and Massine are discussed here, followed by a range of examples from Nijinska’s Les Noces (Stravinsky, 1923) that demonstrate the new contrapuntal developments with the highest degree of sophistication
Url:
DOI: 10.1163/221173011X611860
Links to Exploration step
ISTEX:63027F06BBE91298D2A1DFF4D10EFA92EF02D9D0Le document en format XML
<record><TEI wicri:istexFullTextTei="biblStruct"><teiHeader><fileDesc><titleStmt><title>One or Two Voices? Dance and Music in the Ballets Russes</title><author wicri:is="90%"><name sortKey="Jordan, Stephanie" sort="Jordan, Stephanie" uniqKey="Jordan S" first="Stephanie" last="Jordan">Stephanie Jordan</name><affiliation><mods:affiliation>University of Roehampton, London</mods:affiliation></affiliation><affiliation><mods:affiliation>E-mail: S.Jordan@roehampton.ac.uk</mods:affiliation></affiliation></author></titleStmt><publicationStmt><idno type="wicri:source">ISTEX</idno><idno type="RBID">ISTEX:63027F06BBE91298D2A1DFF4D10EFA92EF02D9D0</idno><date when="2011" year="2011">2011</date><idno type="doi">10.1163/221173011X611860</idno><idno type="url">https://api.istex.fr/document/63027F06BBE91298D2A1DFF4D10EFA92EF02D9D0/fulltext/pdf</idno><idno type="wicri:Area/Istex/Corpus">000C73</idno><idno type="wicri:explorRef" wicri:stream="Istex" wicri:step="Corpus" wicri:corpus="ISTEX">000C73</idno></publicationStmt><sourceDesc><biblStruct><analytic><title level="a">One or Two Voices? Dance and Music in the Ballets Russes</title><author wicri:is="90%"><name sortKey="Jordan, Stephanie" sort="Jordan, Stephanie" uniqKey="Jordan S" first="Stephanie" last="Jordan">Stephanie Jordan</name><affiliation><mods:affiliation>University of Roehampton, London</mods:affiliation></affiliation><affiliation><mods:affiliation>E-mail: S.Jordan@roehampton.ac.uk</mods:affiliation></affiliation></author></analytic><monogr></monogr><series><title level="j">Experiment</title><title level="j" type="sub">A Journal of Russian Culture</title><title level="j" type="abbrev">EXPT</title><idno type="ISSN">1084-4945</idno><idno type="eISSN">2211-730X</idno><imprint><publisher>Brill</publisher><pubPlace>Netherlands</pubPlace><date type="published" when="2011">2011</date><biblScope unit="volume">17</biblScope><biblScope unit="issue">1</biblScope><biblScope unit="page" from="125">125</biblScope><biblScope unit="page" to="139">139</biblScope></imprint><idno type="ISSN">1084-4945</idno></series></biblStruct></sourceDesc><seriesStmt><idno type="ISSN">1084-4945</idno></seriesStmt></fileDesc><profileDesc><textClass><keywords scheme="Teeft" xml:lang="en"><term>Absolute austerity</term><term>Arlene croce</term><term>Ballets russes</term><term>Boosey hawkes music publishers</term><term>Bronislava nijinska</term><term>Chester music</term><term>Chief nymph</term><term>Choreography</term><term>Christopher newton</term><term>Dalcroze</term><term>Dalcroze approach</term><term>Dalcroze school</term><term>Dance books</term><term>Dance rhythm</term><term>Dancing times</term><term>Diaghilev</term><term>Diaghilev period</term><term>Elbow steps</term><term>Horizontal pyramid</term><term>Igor stravinsky</term><term>Impressionistic music</term><term>Jean cocteau</term><term>Jordan</term><term>Jordan experiment</term><term>Many years</term><term>Marie rambert</term><term>Metrical structure</term><term>Michel fokine</term><term>Music visualization</term><term>Nijinska</term><term>Nijinsky</term><term>Noces</term><term>Nouvelle revue</term><term>Original passage</term><term>Printemps</term><term>Royal ballet</term><term>Russian ballet</term><term>Sacre</term><term>Same time</term><term>Shovel step</term><term>Shovel step right</term><term>Solo soprano</term><term>Unison group</term><term>Wagnerian concept</term></keywords></textClass><langUsage><language ident="en">en</language></langUsage></profileDesc></teiHeader><front><div type="abstract">Abstract One of the most important aesthetic innovations of Diaghilev’s Ballets Russes was its shifting relations between music and dance. At first, the guiding principle was synaesthesia, linked to the Wagnerian concept of Gesamtkunstwerk but at the same time there were moves towards independence between the two media. Ballets by Fokine, Nijinsky and Massine are discussed here, followed by a range of examples from Nijinska’s Les Noces (Stravinsky, 1923) that demonstrate the new contrapuntal developments with the highest degree of sophistication</div></front></TEI><istex><corpusName>brill-journals</corpusName><keywords><teeft><json:string>noces</json:string><json:string>nijinska</json:string><json:string>jordan experiment</json:string><json:string>chester music</json:string><json:string>diaghilev</json:string><json:string>dalcroze</json:string><json:string>igor stravinsky</json:string><json:string>sacre</json:string><json:string>nijinsky</json:string><json:string>same time</json:string><json:string>printemps</json:string><json:string>royal ballet</json:string><json:string>original passage</json:string><json:string>jordan</json:string><json:string>nouvelle revue</json:string><json:string>horizontal pyramid</json:string><json:string>marie rambert</json:string><json:string>music visualization</json:string><json:string>dalcroze school</json:string><json:string>jean cocteau</json:string><json:string>dance books</json:string><json:string>dalcroze approach</json:string><json:string>ballets russes</json:string><json:string>diaghilev period</json:string><json:string>boosey hawkes music publishers</json:string><json:string>impressionistic music</json:string><json:string>absolute austerity</json:string><json:string>many years</json:string><json:string>chief nymph</json:string><json:string>wagnerian concept</json:string><json:string>dancing times</json:string><json:string>bronislava nijinska</json:string><json:string>dance rhythm</json:string><json:string>unison group</json:string><json:string>russian ballet</json:string><json:string>christopher newton</json:string><json:string>michel fokine</json:string><json:string>arlene croce</json:string><json:string>solo soprano</json:string><json:string>shovel step</json:string><json:string>shovel step right</json:string><json:string>elbow steps</json:string><json:string>metrical structure</json:string><json:string>choreography</json:string></teeft></keywords><author><json:item><name>Stephanie Jordan</name><affiliations><json:string>University of Roehampton, London</json:string><json:string>E-mail: S.Jordan@roehampton.ac.uk</json:string></affiliations></json:item></author><subject><json:item><lang><json:string>eng</json:string></lang><value>choreomusical relations</value></json:item><json:item><lang><json:string>eng</json:string></lang><value>music visualization</value></json:item><json:item><lang><json:string>eng</json:string></lang><value>structural counterpoint</value></json:item><json:item><lang><json:string>eng</json:string></lang><value>Le Sacre du printemps</value></json:item><json:item><lang><json:string>eng</json:string></lang><value>L’Après-midi d’un faune</value></json:item><json:item><lang><json:string>eng</json:string></lang><value>Les Noces</value></json:item></subject><arkIstex>ark:/67375/JKT-0L8CTDGM-G</arkIstex><language><json:string>eng</json:string></language><originalGenre><json:string>other</json:string></originalGenre><abstract>Abstract One of the most important aesthetic innovations of Diaghilev’s Ballets Russes was its shifting relations between music and dance. At first, the guiding principle was synaesthesia, linked to the Wagnerian concept of Gesamtkunstwerk but at the same time there were moves towards independence between the two media. Ballets by Fokine, Nijinsky and Massine are discussed here, followed by a range of examples from Nijinska’s Les Noces (Stravinsky, 1923) that demonstrate the new contrapuntal developments with the highest degree of sophistication</abstract><qualityIndicators><score>7.195</score><pdfWordCount>4223</pdfWordCount><pdfCharCount>25107</pdfCharCount><pdfVersion>1.3</pdfVersion><pdfPageCount>15</pdfPageCount><pdfPageSize>453.6 x 680.4 pts</pdfPageSize><refBibsNative>false</refBibsNative><abstractWordCount>81</abstractWordCount><abstractCharCount>551</abstractCharCount><keywordCount>6</keywordCount></qualityIndicators><title>One or Two Voices? Dance and Music in the Ballets Russes</title><genre><json:string>other</json:string></genre><host><title>Experiment</title><language><json:string>unknown</json:string></language><issn><json:string>1084-4945</json:string></issn><eissn><json:string>2211-730X</json:string></eissn><volume>17</volume><issue>1</issue><pages><first>125</first><last>139</last></pages><genre><json:string>journal</json:string></genre><subject><json:item><value>Essays</value></json:item></subject></host><namedEntities><unitex><date><json:string>1974</json:string><json:string>2011</json:string><json:string>1923</json:string><json:string>during the twentieth century</json:string><json:string>1920s</json:string><json:string>1920</json:string><json:string>the nineteenth century</json:string><json:string>1937</json:string><json:string>1910s</json:string></date><geogName></geogName><orgName><json:string>An International Conference</json:string><json:string>Chester Music Ltd., London</json:string><json:string>Chester Music Ltd.</json:string><json:string>Jordan / Experiment</json:string><json:string>Jordan, Stravinsky Dances</json:string><json:string>Roehampton University</json:string><json:string>Jordan, Moving Music</json:string></orgName><orgName_funder></orgName_funder><orgName_provider></orgName_provider><persName><json:string>Henry Cope</json:string><json:string>Sergei Taneev</json:string><json:string>La Saison</json:string><json:string>Jean Cocteau</json:string><json:string>Michel Fokine</json:string><json:string>George Balanchine</json:string><json:string>Emile Vuillermoz</json:string><json:string>Spring Rounds</json:string><json:string>André Bauchant</json:string><json:string>Minna Lederman</json:string><json:string>Igor Stravinsky</json:string><json:string>La Boutique</json:string><json:string>André Levinson</json:string><json:string>An Autobiography</json:string><json:string>Emile JaquesDalcroze</json:string><json:string>Judy Kinberg</json:string><json:string>Jean M. Serafetinides</json:string><json:string>Massine Sacre</json:string><json:string>Thomas Grimm</json:string><json:string>Isadora Duncan</json:string><json:string>Nijinsky</json:string><json:string>C. W. Beaumont</json:string><json:string>Phyllis Hartnoll</json:string><json:string>Millicent Hodson</json:string><json:string>Marie Rambert</json:string><json:string>Cyril W. Beaumont</json:string><json:string>Robert Craft</json:string><json:string>Natalia Goncharova</json:string><json:string>Edwin Evans</json:string><json:string>Richard Buckle</json:string><json:string>W. A. Propert</json:string><json:string>Ted Shawn</json:string><json:string>Léonide Massine</json:string><json:string>Louise Varèse</json:string><json:string>Lynn Garafola</json:string><json:string>Boris de Schloezer</json:string><json:string>Lydia Sokolova</json:string><json:string>Joan Lawson</json:string><json:string>Stephen Walsh</json:string><json:string>Barry Hyams</json:string><json:string>Charles Tenroc</json:string><json:string>Fedor Lopukhov</json:string><json:string>Christopher Newton</json:string><json:string>Robert Rubens</json:string><json:string>Arlene Croce</json:string><json:string>La Tribuna</json:string><json:string>Irina Nijinska</json:string><json:string>Rambert</json:string><json:string>Maria Gorshkova</json:string></persName><placeName><json:string>Leiden</json:string><json:string>Europe</json:string><json:string>Los Angeles</json:string><json:string>York</json:string><json:string>St. Denis</json:string></placeName><ref_url></ref_url><ref_bibl><json:string>London: Macmillan, 1968</json:string><json:string>London: Faber and Faber, 1962</json:string><json:string>New York: Da Capo Press, 1975</json:string><json:string>[1936]</json:string><json:string>[12]</json:string><json:string>Geneva: Edition Minkofff, 1980</json:string><json:string>[1918]</json:string><json:string>London: Dance Books, 2000</json:string><json:string>London: Calder & Boyars, 1975</json:string><json:string>Paris: Editions de la Sirène, 1918</json:string><json:string>New York: Dance Horizons, 1982</json:string><json:string>Duke University, 1995</json:string><json:string>London: John Murray, 1960</json:string><json:string>[115]</json:string><json:string>London: Jonathan Cape, 2000</json:string><json:string>London: Macmillan, 1972</json:string><json:string>New York: Oxford University Press, 1989</json:string><json:string>New York: Vendome Press, 1987</json:string><json:string>[1949]</json:string><json:string>London: Dance Books, 1973</json:string><json:string>[114]</json:string><json:string>London: Weidenfeld & Nicolson, 1979</json:string><json:string>London: Bodley Head, 1921</json:string><json:string>Stravinsky, 1923</json:string><json:string>[13]</json:string></ref_bibl><bibl></bibl></unitex></namedEntities><ark><json:string>ark:/67375/JKT-0L8CTDGM-G</json:string></ark><categories><wos></wos><scienceMetrix></scienceMetrix><scopus><json:string>1 - Social Sciences</json:string><json:string>2 - Arts and Humanities</json:string><json:string>3 - Visual Arts and Performing Arts</json:string><json:string>1 - Social Sciences</json:string><json:string>2 - Social Sciences</json:string><json:string>3 - Cultural Studies</json:string></scopus><inist><json:string>1 - sciences humaines et sociales</json:string></inist></categories><publicationDate>2011</publicationDate><copyrightDate>2011</copyrightDate><doi><json:string>10.1163/221173011X611860</json:string></doi><id>63027F06BBE91298D2A1DFF4D10EFA92EF02D9D0</id><score>1</score><fulltext><json:item><extension>pdf</extension><original>true</original><mimetype>application/pdf</mimetype><uri>https://api.istex.fr/document/63027F06BBE91298D2A1DFF4D10EFA92EF02D9D0/fulltext/pdf</uri></json:item><json:item><extension>zip</extension><original>false</original><mimetype>application/zip</mimetype><uri>https://api.istex.fr/document/63027F06BBE91298D2A1DFF4D10EFA92EF02D9D0/fulltext/zip</uri></json:item><istex:fulltextTEI uri="https://api.istex.fr/document/63027F06BBE91298D2A1DFF4D10EFA92EF02D9D0/fulltext/tei"><teiHeader><fileDesc><titleStmt><title level="a">One or Two Voices? Dance and Music in the Ballets Russes</title><respStmt><resp>Références bibliographiques récupérées via GROBID</resp><name resp="ISTEX-API">ISTEX-API (INIST-CNRS)</name></respStmt></titleStmt><publicationStmt><authority>ISTEX</authority><publisher scheme="https://publisher-list.data.istex.fr">Brill</publisher><pubPlace>Netherlands</pubPlace><availability><licence><p>© Koninklijke Brill NV, Leiden, The Netherlands</p></licence><p scheme="https://loaded-corpus.data.istex.fr/ark:/67375/XBH-56W3KPD5-3">brill-journals</p></availability><date>2011</date></publicationStmt><notesStmt><note type="other" scheme="https://content-type.data.istex.fr/ark:/67375/XTP-7474895G-0">other</note><note type="journal" scheme="https://publication-type.data.istex.fr/ark:/67375/JMC-0GLKJH51-B">journal</note></notesStmt><sourceDesc><biblStruct type="inbook"><analytic><title level="a">One or Two Voices? Dance and Music in the Ballets Russes</title><author xml:id="author-0000"><persName><forename type="first">Stephanie</forename><surname>Jordan</surname></persName><email>S.Jordan@roehampton.ac.uk</email><affiliation>University of Roehampton, London</affiliation></author><idno type="istex">63027F06BBE91298D2A1DFF4D10EFA92EF02D9D0</idno><idno type="ark">ark:/67375/JKT-0L8CTDGM-G</idno><idno type="DOI">10.1163/221173011X611860</idno><idno type="href">2211730X_017_01_S10_text.pdf</idno></analytic><monogr><title level="j">Experiment</title><title level="j" type="sub">A Journal of Russian Culture</title><title level="j" type="abbrev">EXPT</title><idno type="pISSN">1084-4945</idno><idno type="eISSN">2211-730X</idno><imprint><publisher>Brill</publisher><pubPlace>Netherlands</pubPlace><date type="published" when="2011"></date><biblScope unit="volume">17</biblScope><biblScope unit="issue">1</biblScope><biblScope unit="page" from="125">125</biblScope><biblScope unit="page" to="139">139</biblScope></imprint></monogr></biblStruct></sourceDesc></fileDesc><profileDesc><creation><date>2011</date></creation><langUsage><language ident="en">en</language></langUsage><abstract><p>Abstract One of the most important aesthetic innovations of Diaghilev’s Ballets Russes was its shifting relations between music and dance. At first, the guiding principle was synaesthesia, linked to the Wagnerian concept of Gesamtkunstwerk but at the same time there were moves towards independence between the two media. Ballets by Fokine, Nijinsky and Massine are discussed here, followed by a range of examples from Nijinska’s Les Noces (Stravinsky, 1923) that demonstrate the new contrapuntal developments with the highest degree of sophistication</p></abstract><textClass><keywords scheme="keyword"><list><head>keywords</head><item><term>choreomusical relations</term></item><item><term>music visualization</term></item><item><term>structural counterpoint</term></item><item><term>Le Sacre du printemps</term></item><item><term>L’Après-midi d’un faune</term></item><item><term>Les Noces</term></item></list></keywords></textClass><textClass><keywords scheme="Journal Subject"><list><head></head><item><term>Essays</term></item></list></keywords></textClass></profileDesc><revisionDesc><change when="2011">Created</change><change when="2011">Published</change><change xml:id="refBibs-istex" who="#ISTEX-API" when="2017-10-2">References added</change></revisionDesc></teiHeader></istex:fulltextTEI><json:item><extension>txt</extension><original>false</original><mimetype>text/plain</mimetype><uri>https://api.istex.fr/document/63027F06BBE91298D2A1DFF4D10EFA92EF02D9D0/fulltext/txt</uri></json:item></fulltext><metadata><istex:metadataXml wicri:clean="corpus brill-journals not found" wicri:toSee="no header"><istex:xmlDeclaration>version="1.0" encoding="UTF-8"</istex:xmlDeclaration><istex:docType PUBLIC="-//NLM//DTD Journal Publishing DTD v2.3 20070202//EN" URI="http://dtd.nlm.nih.gov/publishing/2.3/journalpublishing.dtd" name="istex:docType"></istex:docType><istex:document><article article-type="other">
<front>
<journal-meta>
<journal-id journal-id-type="e-issn">2211730X</journal-id>
<journal-title>Experiment</journal-title>
<journal-subtitle>A Journal of Russian Culture</journal-subtitle>
<abbrev-journal-title>EXPT</abbrev-journal-title>
<issn pub-type="ppub">1084-4945</issn>
<issn pub-type="epub">2211-730X</issn>
<publisher>
<publisher-name>Brill</publisher-name>
<publisher-loc>Netherlands</publisher-loc>
</publisher>
</journal-meta>
<article-meta>
<article-id pub-id-type="doi">10.1163/221173011X611860</article-id>
<article-categories>
<subj-group>
<subject>Essays</subject>
</subj-group>
</article-categories>
<title-group>
<article-title>One or Two Voices? Dance and Music in the Ballets Russes</article-title>
</title-group>
<contrib-group>
<contrib contrib-type="author">
<name>
<surname>Jordan</surname>
<given-names>Stephanie</given-names>
</name>
<aff>
<institution>University of Roehampton</institution>
<addr-line>London</addr-line>
<email>S.Jordan@roehampton.ac.uk</email>
</aff>
</contrib>
</contrib-group>
<pub-date pub-type="epub">
<year>2011</year>
</pub-date>
<volume>17</volume>
<issue>1</issue>
<fpage>125</fpage>
<lpage>139</lpage>
<permissions>
<copyright-statement>© Koninklijke Brill NV, Leiden, The Netherlands</copyright-statement>
<copyright-year>2011</copyright-year>
<copyright-holder>Koninklijke Brill NV, Leiden, The Netherlands</copyright-holder>
</permissions>
<self-uri content-type="pdf" xlink:href="2211730X_017_01_S10_text.pdf"></self-uri>
<abstract>
<sec>
<title><bold>Abstract</bold></title>
<p>One of the most important aesthetic innovations of Diaghilev’s Ballets Russes was its shifting relations between music and dance. At first, the guiding principle was synaesthesia, linked to the Wagnerian concept of Gesamtkunstwerk but at the same time there were moves towards independence between the two media. Ballets by Fokine, Nijinsky and Massine are discussed here, followed by a range of examples from Nijinska’s <italic>Les Noces</italic> (Stravinsky, 1923) that demonstrate the new contrapuntal developments with the highest degree of sophistication</p>
</sec>
</abstract>
<kwd-group>
<kwd>choreomusical relations</kwd>
<kwd>music visualization</kwd>
<kwd>structural counterpoint</kwd>
<kwd><italic>Le Sacre du printemps</italic></kwd>
<kwd><italic>L’Après-midi d’un faune</italic></kwd>
<kwd><italic>Les Noces</italic></kwd>
</kwd-group>
</article-meta>
</front>
<body>
<p>Mention Sergei Diaghilev’s Ballets Russes and music comes to mind immediately. In fact, the Diaghilev period represents a point in dance history when musical function and style became a focus of debate. Furthermore, shifting relations between music and dance constitute one of the most important aesthetic innovations of Diaghilev’s pioneering company.</p>
<p>At first, the guiding principle was artistic synaesthesia, linked to the Wagnerian concept of the <italic>Gesamtkunstwerk</italic>. This is now well-known as a major aesthetic force behind the early Diaghilev company, an ideal of fusion and collaboration (whatever that really meant in practice and theory). But we come across similar principles outside Diaghilev’s company in the work of, for instance, the Swiss music pedagogue Emile Jaques-Dalcroze, founder of the music/movement eurhythmics system that informed Nijinsky’s <italic>Sacre du Printemps</italic> (1913). Jaques-Dalcroze developed a list of structural equivalents between music and dance and his work was highly influential, as much as it was disparaged—within dance circles—as a kind of gymnastic activity. There was also Fedor Lopukhov, the Russian ballet choreographer—now celebrated for his <italic>Dance Symphony</italic> of 1923 (to Beethoven’s Fourth Symphony) in which George Balanchine danced–who developed a theory of dance modeled on music. The American modern dance pioneers introduced close relations as well: Isadora Duncan (highly influential in Europe, promoting the <italic>Geist</italic> or spirit of the music as the basis for dance) and Ruth St. Denis and Ted Shawn, through their so-called “music visualizations.”</p>
<p>Within the early Ballets Russes, Michel Fokine provides a good example of synaesthesia in <italic>Les Sylphides</italic> (1909, Chopin—orchestrated by Alexander Glazunov, Igor Stravinsky, and Sergei Taneev). Here, not only do the choreographic phrases relate squarely to the music, with the steps bringing out musical detail very regularly, but the dancer signals the relationship stylistically. The dancer lets the audience know that the music prompts performance of the dance, an interpretative stage beyond the actual steps. Referring to this ballet, Fokine urged the dancers: “Please listen to the music, let it tell you what to do. Let it carry you in its arms.”<xref ref-type="fn" rid="FN1"><sup>1)</sup></xref> The style of <italic>Les Sylphides</italic> is a style of listening and responding to, or echoing, the music, dancing to the “call of the note.”<xref ref-type="fn" rid="FN2"><sup>2)</sup></xref></p>
<p>But the influence was never more strongly felt than with Nijinsky and his <italic>Sacre</italic>, partly because he was assisted in devising the choreography by Marie Rambert, who came from the Dalcroze School. The overwhelming emphasis of observers at the time was on how close the <italic>Sacre</italic> choreography was to the music, and in a harder, more mechanical manner than <italic>Les Sylphides</italic>. Jean Cocteau, for instance, proposed that: “The fault lay in the parallelism of the music and the movements in their lack of <italic>play</italic>, of counterpoint. Here we had the proof that the same chord often repeated tires the ear less than the frequent repetition of the same gesture tires the eye.”<xref ref-type="fn" rid="FN3"><sup>3)</sup></xref> The Russian critic André Levinson perceived the domination of rhythm in the piece as a negative sign of the Dalcroze influence, referring to the movement as “schematic gymnastics” and observing the device of “walking the notes.”<xref ref-type="fn" rid="FN4"><sup>4)</sup></xref></p>
<p>Some critics noticed other links in <italic>Sacre</italic> between orchestration and the costume color and arrangement of dancers, W. A. Propert, for instance: “The scarlet groups would instantly dominate the stage in some passage of horns and trumpets, while violins or flutes carried the sense of white or grey.”<xref ref-type="fn" rid="FN5"><sup>5)</sup></xref> The London <italic>Times</italic> critic Henry Cope Colles commented on the transition passage between the Ritual of Abduction and Spring Rounds: the “dancers thin out into a straggling line, while the orchestra dwindles to a trill on the flutes; then a little tune begins in the woodwind two octaves apart, and two groups of three people detach themselves from either end of the line to begin a little dance that exactly suits the music.”<xref ref-type="fn" rid="FN6"><sup>6)</sup></xref> The French critic Emile Vuillermoz also made the interesting observation that the Dalcroze approach sometimes meant responding to the look of the score, the underlying metrical structure of strong beats of the bar, which contemporary music often suppressed from hearing through syncopation. The Dalcroze approach thereby contradicted the surface rhythms actually heard:</p>
<disp-quote><p>When will people realize that Dalcroze students receive a special “metrical” training? Their aim is to find the “strong beats” hiding in the melodic underbrush. What good can this do for dancers who have been instructed to visualize modern rhythms that actually contradict the bar-line and will soon want to get rid of it?<xref ref-type="fn" rid="FN7"><sup>7)</sup></xref></p></disp-quote>
<fig id="f1-701125">
<label>Fig. 13.</label>
<caption><title><italic>Le Sacre du printemps</italic>, The Augurs of Spring (Hodson/Nijinsky). © 1912, 1921 Hawkes & Son (London) Ltd. Reproduced by permission of Boosey & Hawkes Music Publishers Limited, London.</title></caption>
<graphic xlink:href="2211730X_017_01_S10_i0001.jpg" alt-version="yes"></graphic>
</fig>
<p>The Augurs of Spring section of Millicent Hodson’s 1987 reconstruction of Nijinsky’s choreography exemplifies this Dalcrozian approach (from [13]).<xref ref-type="fn" rid="FN8"><sup>8)</sup></xref> We see a strong downbeat, every four quavers (in bars of 2/4; 4 dance counts) in a shunt forwards of the feet. At the same time, we see the famous, irregular syncopations in the upper body, lying at various places within the metrical structure, most often not on the down- or strong beats (Fig. 13).</p>
<p>It is intriguing then that, just as the synaesthesia movement was flourishing, something oppositional was also beginning to stir. Now, relationships between music and dance could encompass counterpoint alongside models of synthesis and music visualization. We only have to look <italic>back</italic> at Nijinsky’s <italic>L’Après-midi d’un Faune</italic> of 1912, set to the existing score by Debussy (the Prelude), for an example.</p>
<p>This ballet was already a breakthrough in terms of its new two-dimensional movement, with the Faun and nymphs moving as if in grooves across the stage, feet parallel, hips and faces towards the wings, upper bodies twisted towards the audience. Frequently alluded to, both at the time of the premiere and later, are the disjunctive relationships between music and dance. Nijinsky had already noted in an interview prior to the premiere that his choreography would not adhere “very tightly to the music.”<xref ref-type="fn" rid="FN9"><sup>9)</sup></xref> At that time, fresh from the Dalcroze school, Rambert was, not surprisingly, shocked by “the discrepancy between the impressionistic music of Debussy and Nijinsky’s absolute austerity of style.”<xref ref-type="fn" rid="FN10"><sup>10)</sup></xref> Many years later, the critic Richard Buckle was able to assess the work within the historical tradition of relations between music and dance, observing a brand new freedom of relationship, that “a step had been taken which might lead to dancing without any musical accompaniment at all.”<xref ref-type="fn" rid="FN11"><sup>11)</sup></xref></p>
<p>In fact, the freedom of relationship is not at all casual, as the precise timing in Nijinsky’s notation demonstrates. Walking nearly always fits the pulse. Yet the effect is free, and it is revealing that the dancer Lydia Sokolova (one of the nymphs encountered by the Faun) remembers the feeling of walking across the music.<xref ref-type="fn" rid="FN12"><sup>12)</sup></xref> Then, there are the nervous, jerky starts of the Faun—a sudden stretch of the neck indicating alertness, a rapid body twist, a thrust of the arms forwards—and the sharp shock when the chief nymph drops her veil. None of these “moments” relates to a stressed, staccato moment in the music, and, certainly, the single jump in the ballet, which occurs in the duet with the chief nymph, appears from nowhere. So, here there is a sense of movement autonomy, the body not needing to be driven or motorized by music. Yet, at other times, there are scurries to musical scurries, repetitions to musical repetitions, the work mixing harmonious relationships with disjunction.</p>
<p>But there was another kind of counterpoint also at work. <italic>Faune</italic> was seen to stretch the boundaries of aesthetic coherence, as Rambert observed, “an absolute austerity of style” opposing “impressionistic music.” Debussy himself was most unhappy with this disparity, provoked by Nijinsky’s “marionettes . . . figures cut from pasteboard . . . a performance whose characters move like those on Greek or Etruscan vases, ungracefully, rigidly. . . . So profound a dissonance can know no resolution.”<xref ref-type="fn" rid="FN13"><sup>13)</sup></xref></p>
<p>We are referring here to two different aesthetics. Debussy’s work was bound up with artistic movements of the nineteenth century, particularly Symbolism, and to some extent the related pre-Raphaelite and Art Nouveau movements. The much younger Nijinsky developed his artistic sensibility at a time of critical change in the arts, thus situating himself securely within twentieth-century tradition. Interviewed before the premiere, Nijinsky and Diaghilev came straight out with the explanation that <italic>Faune</italic> was Cubist theory applied to choreography.<xref ref-type="fn" rid="FN14"><sup>14)</sup></xref></p>
<p>Whether this aesthetic disjunction came about partly by chance is another question: after all, Nijinsky would have worked with a relatively percussive piano rehearsal score. Of course, today, few tend to remark upon the disjunction as they did in those early years. But it is important that we are taking ourselves back in time and noting what was crucial then: a strong impression of difference.</p>
<p>Returning to structural/rhythmic counterpoint, we look again at <italic>Sacre</italic>, but at the version that Léonide Massine created in 1920. This was the first reworking of the Stravinsky score, and the composer originally applauded it. By then, he had denounced the Nijinsky version as “subjected to the tyranny of the bar.”<xref ref-type="fn" rid="FN15"><sup>15)</sup></xref> Many years later, Massine recalled that he had been at pains to avoid Nijinsky’s mistakes and had suggested an element of counterpoint to the composer: “I can throw a bridge over certain pages of your score and do my own rhythms. . . . Stravinsky approved and urged me to begin work at once.”<xref ref-type="fn" rid="FN16"><sup>16)</sup></xref> There is evidence in fact to suggest that the 1920 Massine <italic>Sacre</italic> contained far more counterpoint than the version of it that we see performed today.</p>
<p>We might muse now on the notion of an independent subjectivity beginning to emerge from music. This relates to the purely musical idea of different “voices” in polyphony, which is highlighted when dance is added to music, by the fact of two sensual planes (the two media) in interaction. We might now sense an emerging dialogue experienced by the dancer, who is no longer “with” the music, or “called” by it to be with it, but who answers as an independent force. This does not imply any fierce incompatibility or contest, nevertheless, such structural counterpoint does introduce a new interdependent kind of relationship and implications for meaning.</p>
<p>It is appropriate at this point to examine the extraordinary contrapuntal sophistication within Nijinska’s <italic>Les Noces</italic> of 1923. The story of Nijinska’s clarity of conception and argument with Diaghilev over <italic>Les Noces</italic> is well known and of how Nijinska disagreed strongly over Natalia Goncharova’s designs, which were then heavy, ground-trailing, very colorful, and very Russian. Nijinska sought stark, plain designs, and a highly restrained dance performance manner, with a complete absence of facial expression. Nijinska also had very clear musical ideas of her own. At the same time, she interrogated music as a sophisticated complement to her choreography and used its forms, structures, and rhythmic principles as a model for her new, non-narrative, interdependent forms of choreographic construction. In an article in <italic>The Dancing Times</italic> in 1937 she claimed that <italic>Les Noces</italic> was a choreographic concerto.<xref ref-type="fn" rid="FN17"><sup>17)</sup></xref> As regards rhythmic relations between music and dance, from the outset, Nijinska subscribed to the notion of an independent, but complementary, line of choreography: she wanted the choreography to have its own “voice.”<xref ref-type="fn" rid="FN18"><sup>18)</sup></xref></p>
<p>Let us turn to some examples from <italic>Les Noces</italic> that illustrate the variety of method. First, in Tableau 1, At the Bride’s House, during the central Allegro section, there is a passage where the dance follows a background 2/4 bass ostinato in the piano part, and not the irregular barring in the score that matches the foreground vocal line (from [12]: 2/8, 3/8, 2/8, 4/8, 2/8, 3/8, 4/8, etc.) (Fig. 14). This is a typical strategy for Stravinsky, and Nijinska’s approach is cunning: she follows the underpart so that one hardly notices the metrical connection between music and dance. The movement articulates the crotchet beat of the bass line: there is one sharp movement articulating each beat, with hardly any decoration to disturb the plainness, flat-footed steps, isolated arm gestures, and jumps on and around one spot. Significantly, dancers tend not to notice the connection between music and dance either. Christopher Newton, who is now responsible for staging the work for the Royal Ballet, has described the movement as “seeming to go on relentlessly regardless of what the music is doing.”<xref ref-type="fn" rid="FN19"><sup>19)</sup></xref></p>
<fig id="f2-701125">
<label>Fig. 14.</label>
<caption><title><italic>Les Noces</italic>, Tableau 1, “allegro,” unison group. © 1922, 2006 Chester Music Ltd. Reproduced by permission of Chester Music Ltd., London.</title></caption>
<graphic xlink:href="2211730X_017_01_S10_i0002.jpg" alt-version="yes"></graphic>
</fig>
<p>Another example from Tableau 4, The Wedding Feast (at [114]), illustrates the opposite strategy. It is the point where two groups of men and women occupy separate sides of the stage in two horizontal pyramid formations, and it is a passage of movement for the women that is analyzed here. In this passage, the musical score barring (3/4) does not tell us how the music sounds, except for the background bass part on the piano, which later (at [115]) disappears entirely (Fig. 15). Nijinska chooses to follow the look of the score with dance units of 6 counts (2 bars) or 9 counts (3 bars), and, of course, in these reverse circumstances, she again guarantees structural independence between what you see and hear. The women bend over to one side, to the other, and then engage in four “shovel” steps with sickle-shaped arms (to each side, counted in pairs, each of which constitutes 6 counts). One notices how the dancers soon seem to lag behind the dominant, heard musical structure (the choral and piano parts elide and shift in relation to each other and the bar-line), a somewhat labored effect that draws attention to their effort to push up from the earth, until coming back into synchronisation with the chorus in the eighth bar. Later, the women start an “elbow step,” a bourrée, and drop with the elbow leading the body into a twist, four 3-count units moving to the left, and the same to the right. Nothing in the music confirms the dance rhythm (except the written meter). The women are disconnected, literally, as if mesmerized, moving softly in their own world.</p>
<p>These are just two examples of Nijinska’s ingenuity in engaging with Stravinsky’s score, and, though not discussed in the dance literature, they exemplify some of the most intricate and sophisticated rhythmic interactions between dance and music that I have ever come across. Crucially, however, it is only when music and dance are put <italic>together</italic> that the complication and interest emerges. Interactivity is essential. Nijinska takes the irregularity already existing in the music a stage further. It is these choreomusical aspects that generate the unassailable force and unleashed (Dionysian) charge, the “body” in <italic>Les Noces</italic>, a feature of the music highlighted through dance, triumphant against the implacable bound-ness and facelessness of its protagonists. This is surely what Arlene Croce was talking about when she marveled at the Royal Ballet production’s unforgettable “combination of wildness and precision.”<xref ref-type="fn" rid="FN20"><sup>20)</sup></xref></p>
<fig id="f3-701125">
<label>Fig. 15.</label>
<caption><title><italic>Les Noces</italic>, Tableau 4, women in horizontal pyramid. © 1922, 2006 Chester Music Ltd. Reproduced by permission of Chester Music Ltd., London.</title></caption>
<graphic xlink:href="2211730X_017_01_S10_i0003.jpg" alt-version="yes"></graphic>
<graphic xlink:href="2211730X_017_01_S10_i0004.jpg" alt-version="yes"></graphic>
</fig>
<p>Boris de Schloezer proved highly appreciative of the choreography as well as remarkably perceptive and forward-thinking about what was really going on choreomusically. In an insightful article in the Russian publication <italic>Zveno</italic> [Link] titled “On the Occasion of <italic>Les Noces</italic>: A New Form of Synthetic Art,” he debated what he saw as a “new” lack of parallelism between music and the visual aspects of dance and design. He observed that this lack manifested itself in two ways. First he noted dynamic disparity, and, although quick to recognize the formalism and abstract leanings of both music and dance, he could not but describe this in terms of feeling and emotional tone:</p>
<disp-quote><p>The critics wondered: what is the relation between these gloomy, pale colours, these monotonous, almost monk-like costumes and the bright, powerful, driven, dynamic music of Stravinsky? . . . An ordinary “translation,” “embodiment” of music into movement was not found in <italic>Les Noces</italic>. Here is exactly where its idiosyncrasy lies: there is a motion in the music and at the same time, the group on stage, dressed in brown and white moving in front of a grey screen, is calm.<xref ref-type="fn" rid="FN21"><sup>21)</sup></xref></p></disp-quote>
<p>But de Schloezer also recognized a discrepancy at the more detailed level of rhythm. In <italic>La Nouvelle Revue française</italic>, he wrote in further detail about the new independence of choreography, noting the impact of this on contemporary audiences:</p>
<disp-quote><p>Music is at the root of things, but the dance that takes inspiration from it, becomes imbued with it, suddenly detaches itself in order to develop according to its own terms. There is an intimate correlation between dance and music, but not at the level of particularity or detail. This absence of parallelism which sometimes even leads to a kind of discordance, to effects of contradiction, confuses many people who are used to the slavish translation of music through gesture and pose. Nevertheless, there is a link between the two elements, and it is rhythm that creates it.<xref ref-type="fn" rid="FN22"><sup>22)</sup></xref></p></disp-quote>
<p>Here, in the spirit of experiment, de Schloezer dares to ask for even more independence than Nijinska gives him:</p>
<disp-quote><p>. . . Nijinska builds her movement construction with a freedom that I would only fault for not reaching its maximum potential. Indeed, the only criticism that I can make of the choreographer is that in a few instances she succumbs to the temptation of literal translation.<xref ref-type="fn" rid="FN23"><sup>23)</sup></xref></p></disp-quote>
<p>But what did Stravinsky think about all this? Even though he sometimes went into print strongly approving Nijinska’s production and her talent as a choreographer, on other occasions he reminds us of his own, very different earlier conception of the staging. In his <italic>Autobiography</italic>, for instance, his reserved tone betrays disappointment:</p>
<disp-quote><p>I must say that the stage production of <italic>Les Noces</italic>, though obviously one of talent, did not correspond with my original plan. I had pictured to myself something quite different.</p>
<p>According to my idea, the spectacle should have been a <italic>divertissement</italic>, and that is what I wanted to call it. . . . I wanted all my instrumental apparatus to be visible side by side with the actors or dancers, making it, so to speak, a participant in the whole theatrical action. . . . The fact that the artists in the scene would uniformly wear costumes of a Russian character while the musicians would be in evening dress not only did not embarrass me, but, on the contrary, was perfectly in keeping with my idea of a <italic>divertissement</italic> of the masquerade type.<xref ref-type="fn" rid="FN24"><sup>24)</sup></xref></p></disp-quote>
<p>The notion of divertissement and masquerade suggests a more colorful, playful, and “rough” kind of theatricality than what Nijinska produced. Today, however, with the ascendancy of her work as a masterpiece, we have become so used to hearing the <italic>Noces</italic> score through Nijinska that we have been programmed to think that her production has to be what Stravinsky intended. We consider perfect the match between her austere, monochrome visualization and the “homogeneous”<xref ref-type="fn" rid="FN25"><sup>25)</sup></xref> black and white and metal musical scoring rendered to us in Stravinsky’s prescribed dry manner. We forget, too, that Stravinsky actually created the score during his period of “bucolic modernism,”<xref ref-type="fn" rid="FN26"><sup>26)</sup></xref> and that the text, assembled from folk sources by the composer himself, was a wild, sometimes bawdy, James Joycean collage of nonsense prattle that led semantically in multiple directions.</p>
<p>Nijinska, as any choreographer would, invites us to hear the score in “her” way, erasing from consciousness those aspects, especially textual aspects, that might prompt Stravinsky’s masquerade style of theatricality. Anyway, for all we know, perhaps she was secretly glad to be devising a production primarily for non-Russian-speaking non-Russians, although for some who did know about Stravinsky’s conception and understood the Russian, there might well have been a sense of semantic unease. Certainly, the old values of the <italic>Gesamtkunstwerk</italic> and synaesthesia are brought into question in such circumstances.</p>
<p>It is well-known that some Diaghilev ballets took the concept of disjunction into other directions, touched by early Surrealism and early cinema. So we have the collage structures of <italic>Parade</italic> (1917), and, in the late 1910s and 1920s, the time-traveling ballets that looked to the present and past simultaneously. Even the original Balanchine <italic>Apollo</italic> (1928), designed by André Bauchant, mixed nineteenth-century tutus with Isadora Duncan-style tunics, with allusions to French eighteenth-century Classicism in the chariot on the backcloth.<xref ref-type="fn" rid="FN27"><sup>27)</sup></xref> Meanwhile, Stravinsky’s score pays homage to Tchaikovsky. Thus, media elements are more and more objects for use, and existing music—whether arranged Italian baroque within Stravinsky’s <italic>Pulcinella</italic> (1920), or Rossini in <italic>La Boutique Fantasque</italic> (1919, arr. Respighi), or Domenico Scarlatti in <italic>The Good-Humoured Ladies</italic> (1917, arr. Tommasini)—is engaged for reference, as opportunity for temporal dislocation rather than straightforward, “current,” homogenous expression.</p>
<p>Far less frequently discussed is the revolution in structural treatment emphasized here, that other, more secret mode of interdependence and dialogue between music and dance. And the concept of interactivity is essential: music and dance as separate media working <italic>together</italic> to create a particular charge within dance theater.<xref ref-type="fn" rid="FN28"><sup>28)</sup></xref></p>
<sec id="B10.1163_221173011X611860_001" sec-type="head1">
<title><bold>Musical Examples</bold></title>
<p>Ex. 1 <italic>Le Sacre du printemps</italic>, The Augurs of Spring (Hodson/Nijinsky). © 1912, 1921 Hawkes & Son (London) Ltd. Reproduced by permission of Boosey & Hawkes Music Publishers Limited, London.</p>
<p>Ex. 2 <italic>Les Noces</italic>, Tableau 1, “allegro,” unison group. © 1922, 2006 Chester Music Ltd. Reproduced by permission of Chester Music Ltd., London.</p>
<p>Ex. 3 <italic>Les Noces</italic>, Tableau 4, women in horizontal pyramid. © 1922, 2006 Chester Music Ltd. Reproduced by permission of Chester Music Ltd., London.</p>
</sec>
</body>
<back>
<fn-group>
<fn id="FN1"><p><sup>1)</sup> Michel Fokine, “Conversations with Edwin Evans (1923-24),” quoted by Joan Lawson, <italic>A History of Ballet and Its Makers</italic> (London: Dance Books, 1973), p. 102.</p></fn>
<fn id="FN2"><p><sup>2)</sup> Maria Gorshkova, quoted by Lawson, p. 97.</p></fn>
<fn id="FN3"><p><sup>3)</sup> Jean Cocteau, “<italic>Le Sacre du printemps</italic>,” in <italic>Stravinsky in the Theatre</italic> [1949], ed. Minna Lederman (New York: Da Capo Press, 1975), p. 18, trans. Louise Varèse from <italic>Le Coq et L’Arlequin</italic> (Paris: Editions de la Sirène, 1918).</p></fn>
<fn id="FN4"><p><sup>4)</sup> André Levinson, <italic>Ballet Old and New</italic> [1918], trans. Susan Cook Summer (New York: Dance Horizons, 1982), p. 55.</p></fn>
<fn id="FN5"><p><sup>5)</sup> W. A. Propert, <italic>The Russian Ballet in Western Europe, 1909-1920</italic> (London: Bodley Head, 1921), p. 79.</p></fn>
<fn id="FN6"><p><sup>6)</sup> Henry Cope Colles, “The Fusion of Music and Dancing: Le Sacre du Printemps,” <italic>The Times</italic> (London) 26 July 1913, p. 8; in <italic>Igor Stravinsky,</italic> “<italic>Le Sacre du printemps</italic>”: <italic>Dossier de Presse</italic>, ed. François Lesure (Geneva: Edition Minkoff, 1980), p. 67. On the point of “matching” orchestration, see also Cyril W. Beaumont, <italic>Bookseller at the Ballet: Memoirs 1891 to 1929</italic> (London: C. W. Beaumont, 1975), p. 137.</p></fn>
<fn id="FN7"><p><sup>7)</sup> Emile Vuillermoz, “La Saison russe au Théâtre des Champs-Elysées,” <italic>S.I.M.</italic>, 15 June 1913 (author’s translation). The original passage reads: “Quand donc s’aperçevra-t-on que les élèves de Dalcroze acquièrent une culture spécialement ‘métrique’: ils sont dressés à dénicher les ‘temps forts’ blottis dans les broussailles mélodiques. Quels services ce flair particulier peut-il rendre à des danseurs chargés d’extérioriser la rythmique moderne qui, précisément, méprise la barre de mesure et exigera bientôt sa suppression?”</p></fn>
<fn id="FN8"><p><sup>8)</sup> For a recording of Millicent Hodson’s Joffrey Ballet reconstruction, see <italic>The Search for Nijinsky’s “Rite of Spring</italic>,” directed and produced by Thomas Grimm and Judy Kinberg, WNET/New York and Danmarks Radio, 1989.</p></fn>
<fn id="FN9"><p><sup>9)</sup> Quoted by Charles Tenroc, “Nijinsky va faire dans <italic>l’Après-Midi d’un Faune</italic> des essais de chorégraphe cubiste,” <italic>Comoedia</italic> (Paris), 18 April 1912, p. 4.</p></fn>
<fn id="FN10"><p><sup>10)</sup> Marie Rambert, <italic>Quicksilver: An Autobiography</italic> (London: Macmillan, 1972), p. 54.</p></fn>
<fn id="FN11"><p><sup>11)</sup> Richard Buckle, <italic>Diaghilev</italic> (London: Weidenfeld & Nicolson, 1979), p. 185.</p></fn>
<fn id="FN12"><p><sup>12)</sup> Lydia Sokolova, <italic>Dancing for Diaghilev</italic>, ed. Richard Buckle (London: John Murray, 1960), p. 40.</p></fn>
<fn id="FN13"><p><sup>13)</sup> Interview in <italic>La Tribuna</italic>, quoted by Jean-Michel Nectoux in <italic>Afternoon of a Faun: Mallarmé, Debussy, Nijinsky</italic>, ed. Nectoux (New York: Vendome Press, 1987), p. 35.</p></fn>
<fn id="FN14"><p><sup>14)</sup> Quoted by Tenroc, p. 4.</p></fn>
<fn id="FN15"><p><sup>15)</sup> “Interview with Stravinsky,” <italic>The Observer</italic>, 3 July 1921, in Lesure, ed., <italic>Igor Stravinsky</italic>, p. 77.</p></fn>
<fn id="FN16"><p><sup>16)</sup> Léonide Massine, quoted in Barry Hyams, “Dance: Another Spring for Stravinsky’s Revolutionary Rite,” <italic>The Los Angeles Times</italic>, 29 May 1977, p. 66; Léonide Massine, <italic>My Life in Ballet</italic>, ed. Phyllis Hartnoll and Robert Rubens (London: Macmillan, 1968), p. 152.</p></fn>
<fn id="FN17"><p><sup>17)</sup> Bronislava Nijinska, “Reflections About the Production of <italic>Les Biches</italic> and <italic>Hamlet</italic> in Markova-Dolin Ballets,” trans. Lydia Lopokova, <italic>The Dancing Times</italic>, 27 February 1937, p. 618.</p></fn>
<fn id="FN18"><p><sup>18)</sup> Bronislava Nijinska, “Creation of <italic>Les Noces</italic>,” trans. and introd. Jean M. Serafetinides and Irina Nijinska, <italic>Dance Magazine</italic>, December 1974, p. 61.</p></fn>
<fn id="FN19"><p><sup>19)</sup> Christopher Newton, lecture-demonstration with dancers from The Royal Ballet, <italic>Sound Moves: An International Conference on Music and Dance</italic>, Roehampton University, 6 November 2005.</p></fn>
<fn id="FN20"><p><sup>20)</sup> Arlene Croce, “Dancing,” <italic>The New Yorker</italic>, 17 July 1989, p. 86.</p></fn>
<fn id="FN21"><p><sup>21)</sup> Boris de Schloezer, “On the Occasion of <italic>Les Noces</italic>: A New Form of Synthetic Art,” <italic>Zveno</italic>, 24, undated, trans. Penka Kouneva, in Drue Fergison, “<italic>Les Noces</italic>: A Microhistory of the Paris 1923 Production,” Ph.D. dissertation, Duke University, 1995, pp. 451-52.</p></fn>
<fn id="FN22"><p><sup>22)</sup> Boris de Schloezer, “La Saison musicale,” <italic>La Nouvelle Revue française</italic>, 1 August 1923, p. 247 (author’s translation). The original passage reads: “C’est la musique qui est à la racine des choses; mais la danse qui s’en inspire, qui s’en pénètre, s’en détache aussitôt pour se développer selon sa nature propre. Il y a corrélation intime entre la danse et la musique; mais non dans le particulier, non dans le détail. Cette absence de parallélisme qui aboutit même parfois à une sorte de désaccord, à des effets de contraste, dérouta maints spectateurs habitués à la traduction servile de la musique par le geste et l’attitude. Il y a pourtant ici un lien entre les deux éléments: c’est le rythme qui l’établit.”</p></fn>
<fn id="FN23"><p><sup>23)</sup> Ibid. The original passage reads: “. . . la Nijinska construit son édifice plastique avec une liberté à laquelle je reprocherais seulement de n’être pas absolue: en effet, l’unique critique que je puisse faire au chorégraphe, c’est d’avoir cédé en de rares instants à la tentation de la traduction littérale.”</p></fn>
<fn id="FN24"><p><sup>24)</sup> Igor Stravinsky, <italic>An Autobiography</italic> [1936] (London: Calder & Boyars, 1975), p. 106.</p></fn>
<fn id="FN25"><p><sup>25)</sup> Igor Stravinsky and Robert Craft, <italic>Expositions and Developments</italic> (London: Faber and Faber, 1962), p. 118.</p></fn>
<fn id="FN26"><p><sup>26)</sup> Stephen Walsh, <italic>Igor Stravinsky: A Creative Spring</italic> (London: Jonathan Cape, 2000), p. 366.</p></fn>
<fn id="FN27"><p><sup>27)</sup> Lynn Garafola, <italic>Diaghilev’s Ballets Russes</italic> (New York: Oxford University Press, 1989), p. 140.</p></fn>
<fn id="FN28"><p><sup>28)</sup> For further information on Stravinsky’s ballets, see Jordan, <italic>Stravinsky Dances: Re-visions across a Century</italic>; on musical developments from the Diaghilev period and later during the twentieth century, see Jordan, <italic>Moving Music: Dialogues with Music in Twentieth-Century Ballet</italic> (London: Dance Books, 2000), Chapter 1.</p></fn>
</fn-group>
</back>
</article>
</istex:document></istex:metadataXml><mods version="3.6"><titleInfo><title>One or Two Voices? Dance and Music in the Ballets Russes</title></titleInfo><titleInfo type="alternative" contentType="CDATA"><title>One or Two Voices? Dance and Music in the Ballets Russes</title></titleInfo><name type="personal"><namePart type="given">Stephanie</namePart><namePart type="family">Jordan</namePart><affiliation>University of Roehampton, London</affiliation><affiliation>E-mail: S.Jordan@roehampton.ac.uk</affiliation></name><typeOfResource>text</typeOfResource><genre type="other" displayLabel="other" authority="ISTEX" authorityURI="https://content-type.data.istex.fr" valueURI="https://content-type.data.istex.fr/ark:/67375/XTP-7474895G-0">other</genre><originInfo><publisher>Brill</publisher><place><placeTerm type="text">Netherlands</placeTerm></place><dateIssued encoding="w3cdtf">2011</dateIssued><dateCreated encoding="w3cdtf">2011</dateCreated><copyrightDate encoding="w3cdtf">2011</copyrightDate></originInfo><language><languageTerm type="code" authority="iso639-2b">eng</languageTerm><languageTerm type="code" authority="rfc3066">en</languageTerm></language><abstract>Abstract One of the most important aesthetic innovations of Diaghilev’s Ballets Russes was its shifting relations between music and dance. At first, the guiding principle was synaesthesia, linked to the Wagnerian concept of Gesamtkunstwerk but at the same time there were moves towards independence between the two media. Ballets by Fokine, Nijinsky and Massine are discussed here, followed by a range of examples from Nijinska’s Les Noces (Stravinsky, 1923) that demonstrate the new contrapuntal developments with the highest degree of sophistication</abstract><subject><genre>keywords</genre><topic>choreomusical relations</topic><topic>music visualization</topic><topic>structural counterpoint</topic><topic>Le Sacre du printemps</topic><topic>L’Après-midi d’un faune</topic><topic>Les Noces</topic></subject><relatedItem type="host"><titleInfo><title>Experiment</title><subTitle>A Journal of Russian Culture</subTitle></titleInfo><titleInfo type="abbreviated"><title>EXPT</title></titleInfo><genre type="journal" authority="ISTEX" authorityURI="https://publication-type.data.istex.fr" valueURI="https://publication-type.data.istex.fr/ark:/67375/JMC-0GLKJH51-B">journal</genre><subject><topic>Essays</topic></subject><identifier type="ISSN">1084-4945</identifier><identifier type="eISSN">2211-730X</identifier><part><date>2011</date><detail type="volume"><caption>vol.</caption><number>17</number></detail><detail type="issue"><caption>no.</caption><number>1</number></detail><extent unit="pages"><start>125</start><end>139</end></extent></part></relatedItem><identifier type="istex">63027F06BBE91298D2A1DFF4D10EFA92EF02D9D0</identifier><identifier type="ark">ark:/67375/JKT-0L8CTDGM-G</identifier><identifier type="DOI">10.1163/221173011X611860</identifier><identifier type="href">2211730X_017_01_S10_text.pdf</identifier><accessCondition type="use and reproduction" contentType="copyright">© Koninklijke Brill NV, Leiden, The Netherlands</accessCondition><recordInfo><recordContentSource authority="ISTEX" authorityURI="https://loaded-corpus.data.istex.fr" valueURI="https://loaded-corpus.data.istex.fr/ark:/67375/XBH-56W3KPD5-3">brill-journals</recordContentSource><recordOrigin>© Koninklijke Brill NV, Leiden, The Netherlands</recordOrigin></recordInfo></mods><json:item><extension>json</extension><original>false</original><mimetype>application/json</mimetype><uri>https://api.istex.fr/document/63027F06BBE91298D2A1DFF4D10EFA92EF02D9D0/metadata/json</uri></json:item></metadata><annexes><json:item><extension>jpeg</extension><original>true</original><mimetype>image/jpeg</mimetype><uri>https://api.istex.fr/document/63027F06BBE91298D2A1DFF4D10EFA92EF02D9D0/annexes/jpeg</uri></json:item></annexes><serie></serie></istex></record>Pour manipuler ce document sous Unix (Dilib)
EXPLOR_STEP=$WICRI_ROOT/Wicri/Musique/explor/DebussyV1/Data/Istex/Corpus
HfdSelect -h $EXPLOR_STEP/biblio.hfd -nk 000C73 | SxmlIndent | more
Ou
HfdSelect -h $EXPLOR_AREA/Data/Istex/Corpus/biblio.hfd -nk 000C73 | SxmlIndent | more
Pour mettre un lien sur cette page dans le réseau Wicri
{{Explor lien
|wiki= Wicri/Musique
|area= DebussyV1
|flux= Istex
|étape= Corpus
|type= RBID
|clé= ISTEX:63027F06BBE91298D2A1DFF4D10EFA92EF02D9D0
|texte= One or Two Voices? Dance and Music in the Ballets Russes
}}
| This area was generated with Dilib version V0.6.33. |  |