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executes his only jump in the ballet across an imagined stream issuing from a waterfall shown on the backdrop. The music becomes louder as the nymph becomes more enthusiastic. It subsides again as they link arms, but she breaks away and exits flat footed to the left. The faun watches her go in disappointment before smiling, then he turns back to her discarded veil. To a solo violin backed by horns, flute, and clarinet, the faun throws back his head and bares his teeth. Laughing, he takes the veil. He examines it with great delight as the harp and the flute repeat the opening melody.
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282:. In addition to Fokine, all the different specialists for the new ballet company had also come from the Imperial Russian Ballet company. Initially, the Ballets Russes took advantage of the 3 months summer break when the Imperial ballet closed and its staff were free to do other things. The Ballets Russes used this time to stage their own ballets and operas in Paris. Diaghilev began looking around for an alternative to the style which Fokine customarily delivered before deciding to allow his senior male dancer, Vaslav Nijinsky, to try his hand at choreography.
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they move in and out, kneeling and rising with their elbows turned out from their sides as they keep their hands pointed at their waists or to the sky. Violins accompany an increase in tempo as the faun descends from his mound. The pair of nymphs depart to the left of the stage carrying one of the discarded veils while the first three nymphs carry off a second veil to the left. The music changes to a soulful clarinet solo. The sixth nymph who has been left isolated centre stage suddenly notices the faun behind her and runs off to the left, hands in air.
556:, also carried a front page article on the ballet. Calmette denounced the ballet after declining to publish the favourable report of his normal theatre critic, Robert Brussel. Calmette wrote that the ballet was not artful, imaginative, nor meaningful. He then goes on to criticize the choreography of the faun as being "filthy" and "indecent", which he argued deservedly incited the booing at the initial showings. Calmette was much more complimentary about Nijinsky's other performances that were part of the same evening's schedule as the showing of the
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choreography felt completely unnatural to them which lengthened the time they needed for training. By this time, Nijinsky had fully devised what he wanted each dancer to do, so he could focus on training them without having to work on developing the ballet at the same time. The general view amongst the dancers was that he was mad and the ballet was doomed to failure. Even
Diaghilev started to have doubts and asked Nijinsky whether there might be changes to the difficult choreography. In response to this, Nijinsky threatened to resign.
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nymph breaks off and she too retires. The faun is now alone. He nods his head over the veil and returns to his mound. A cello and flute carry the tune with the harp continuing in the background. The faun holds the veil to his face before spreading it on the ground and lowering his body onto it with his head tucked in and arms to his sides. Soft horns and a harp accompany a final flute passage as his body tenses and curls back, head rising, before relaxing back onto the veil.
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notes that
Nijinsky ignored the gap in ability between the dancers he directed and his artistic vision for the choreography. Nijinsky had difficulty accepting the limitations of others, expecting them to be able to perform as well as he could. Bronislava acted as his guinea-pig, trying out dances and positions. She describes the experience as feeling as though Nijinsky were a sculptor and she the clay which he positioned through each step.
404:, Grigoriev, was let into the secret in early 1912. In March of the same year, rehearsals began with other members of the company. Fokine, who now knew about the project, resented the loss of rehearsal time for his own productions. He attacked Nijinsky's incompetence at getting across his own ideas, claimed he only had the job because he was Diaghilev's lover, and announced his intention to resign which confirmed Diaghilev's fears.
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stylised and angular, but are also suggestive of the movements of an animal. The flute music is then joined by horns and a rippling harp. As the flute tune repeats for the third time, three nymphs walk on from the left of the stage with synchronised, stylised movements. Then, two more nymphs, moving in unison but differently from the first group, join the other dancers onstage.
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703:, which the orchestra of the Vienna Opera House initially refused to play because they disliked the music. The company returned to London, where the response was completely different and both ballets were well-received. During its first performance, there was some hissing in the audience, but the majority favoured it, and it received an encore once again.
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government commission to report. The Paris police attended the second night of the ballet because of its alleged obscenity, but took no action after they saw the public's support. The ending of the ballet may have been temporarily amended to be more proper. Tickets to all performances were sold out, and
Parisians clamoured to obtain them by any means.
235:. The work had an overtly erotic subtext beneath its façade of Greek antiquity and ended with a scene of graphic sexual desire. This led to a controversial reception from both audience and critics, and the quality of the ballet was debated widely through multiple news reviews. The piece also led to the dissolution of a partnership between Nijinsky and
615:. In this ballet, Fokine choreographed the hero to lie down in a comparable manner upon a woman. However, Fokine found some points to compliment in the ballet, including the use of pauses by the dancers where traditionally there would have been continuous movement, as well as the juxtaposition of angular choreography with the very fluid music.
644:. The company was sharply divided into two factions by the quarrel, some supporting Nijinsky and some Fokine. The final result consisted of Fokine leaving the company on bad terms with Nijinsky regardless of the fact that the partnership between Nijinsky as dancer and Fokine as choreographer had been enormously successful for them both.
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chords as the three nymphs return from stage left to challenge the faun who falls back from their advance. The music changes with an oboe taking up the tune as the nymphs turn back offstage again with their hands in the air. The faun examines the veil, holding it in the air against his head until the
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The faun and the last nymph are alone on stage as the music changes with a new air of excitement from the woodwind section which builds along with the violins and the harp. The faun approaches the nymph with bursts of movement, and the two dance around each other in a standoffish courting display. He
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to music from two flutes and a harp. These instruments are joined by strings as the music progresses while a sixth nymph walks to centre stage and holds a pose before joining the pair. The six nymphs freeze when the last nymph enters with a mechanical walk across the stage as she lets her outer veils
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The faun remains motionless as the first six nymphs enter, but then he follows the progress of the last nymph with his eyes. A clarinet starts to play as his head begins to move, and he rises to his feet as a cello joins in. The six nymphs have begun to bathe the new arrival. Accompanied by an oboe,
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Vaslav
Nijinsky was an exceptional dancer but not an exceptional teacher. Nijinsky's sister notes in her memoir that, throughout the development of all his ballets, he had difficulty explaining to others what he needed them to do and operated through demonstration rather than explanation. Bronislava
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that was tailored into long pleated tunics and decorated with stencilled patterns in blue or rust red. Some tunics had checkered borders and others had wavy lines or leaves. The nymphs had little makeup, except that their eyes were painted in pale pink. They wore tight wigs of golden rope which hung
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was accused of attacking the
Ballets Russes because they opposed France's political policy to ally with Russia, and that they represented an opening to smear all things Russian. The Russian ambassador became involved, French politicians signed petitions, and the President and Prime Minister asked a
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The ballet starts with the sound of a flute as the curtain rises to show the faun lying on his mound. The faun is supporting himself with his left arm while his right holds a flute to his lips. He then eats from first one and then another bunch of grapes, holding them to his face. The movements are
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and flutes accompany the pair of nymphs as they enter from stage left. They again challenge the faun with flapping arms, and are followed by the lagging sixth nymph who dances the same challenge just as the pair turn to leave. The faun falls back, exchanging stares with the nymphs before the last
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designed the stage setting which was more impressionist than representational. The splashes of muted greys, browns, and greens on the backcloth mirrored the fluid music, suggesting the scene rather than defining it precisely. It was hung at the line of the second wings rather than the back of the
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who was an innovative theatre producer and director that had introduced concepts like two-dimensionality, stylized postures, a narrow stage, and pauses and pacing to emphasise significant moments into his productions. Bakst, Nijinsky, and
Diaghilev transferred these concepts to a ballet format in
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In another letter that
Diaghilev submitted, Auguste Rodin wrote that Nijinsky's acting and attention to detail over the movements of his body worked wonderfully to convey the character and mind of the faun. Rodin noticed the antique forms of the frescoes and other art in Nijinsky's display. The
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Nijinsky and his sister performed the partially developed work for
Diaghilev and Bakst in St. Petersburg at the start of 1911. From the beginning, the ballet's development was kept secret until Diaghilev was ready to stage it, because he feared it would offend Fokine. The company was relying on
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The dancers' costumes were designed to stand out against the muted background. Nijinsky wore a cream body suit with brown piebald patches to represent the coat of an animal. His faun costume was completed with the addition of a short tail, a belt of vine leaves, and a cap of woven golden hair
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The 12-minute ballet required 90 rehearsals. This led to the reduction of time Fokine received with the dancers which was the basis for many of his complaints. All the dancers suffered the same difficulties
Bronislava had reported in trying to adapt to the strange new movements. Nijinsky's
420:. As the focus of attention passes from one group to another, dancers take a stylised pose, as might be seen on an ancient vase, and become still. The music is suggestive of a languorous summer's day in an exotic clime, and the dancers move steadily and languorously to match.
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said, "The miracle of the thing lies with
Nijinsky – the fabulous Nijinsky, the peerless dancer, who as the faun does no dancing." Capell goes on to praise his acting as well as the single leap which he deems an "illumination" of the faun's dichotomy between man and animal.
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fall to reveal a short golden garment beneath. The nymphs all begin to move. The tableau on the stage consists of a group of three, a group of two, and a single nymph who either dances with the pair to balance the scene or strikes poses at variance to the pair.
507:, a French impresario who assisted Diaghilev with finance, publicity, and bookings, came on stage and announced that the ballet would be repeated. This time, there was some applause before the audience was presented champagne and caviar in the theatre foyer.
482:, the first English dancer in the Ballets Russes, described Nijinsky's performance as "thrilling." She highlighted his powerful, animalistic movements in his handling of the nymph's veil, and lauded his acting during this visceral scene.
587:, a friend of Mallarmé, suggested how much the author of the original poem on which the ballet had been based would have approved: "more than anyone, he would have appreciated this wonderful evocation of his thoughts."
318:. Nijinsky's aim was to reproduce the stylised look of the ancient artworks on the stage. In his portrayal of the faun, Nijinsky managed to reproduce exactly the figure of a satyr shown on Greek vases in the Louvre.
690:, the King of Portugal, and sundry dignitaries. Diaghilev reported to Astruc that this showing was a "huge success" which resulted in ten encores without protest. Serge Gregoriev, who had just resigned from the
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described Nijinsky's performance as "extraordinarily expressive," and complimented the ballet on its ability to appeal to the audience in a way the public had never seen a ballet do before. Writing in the
337:, was used for the orchestral music. After the summer season in Paris, Nijinsky returned to St Petersburg for the new Russian season. There, he began work on the choreography with the help of his sister,
539:, where he praised the ballet and supported articles by Louis Vuillemain and Louis Schneider. Vuillemain wrote that this ballet had the most pleasing acting, dancing, and music he had ever seen before.
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525:. On the opening night, the ballet was met with a mixture of applause and booing, and again it was repeated. After the repeated performance, the audience applauded, and the sculptor,
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produced shortly after the original performance of the ballet. This reconstructed version is often presented alongside Nijinsky's other works or repertoire from the Ballets Russes.
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Fokine for other ballets that were also in production, and thought that he might walk out if his position as undisputed choreographer to the company was challenged. The
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Gaston Calmette editorial, cited in Buckle, Nijinsky, p.242. Buckle suggests Calmette was seeking to imply Nijinsky was showing bulging genitalia when seen in profile.
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737:, who had danced the faun in the last years of the Diaghilev company and whom Nijinsky taught, reproduced the ballet for Rambert's company. Rambert Ballet revived
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to join Diaghilev full-time as stage manager, was more sanguine, reporting that "faun fell flat," but he confirmed the overall success of the German tour.
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376:. Nijinsky's ears were extended with wax to look more pronounced and pointed while his makeup was designed to make his face appear more animal. The
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Papermac (Macmillan Publishers Ltd), London, 1983, pp. 62–63. Rambert states that she had a film of her company performing the work at that time.
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and Claudia Jeschke reconstructed the ballet from Nijinsky's own notebooks, his dance notation, and the photographs of the dancers that Baron
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lies upon. From there, it was green to the back of the stage. Baskt organized the lighting to emphasise the flattened look of the dance.
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down in long strands. The Faun and senior nymph wore golden sandals while the rest of the dancers had bare white feet with rouged toes.
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Telegram from Diaghilev to Astruc, 12 December 1912, from the Astruc papers held in New York Library, cited in Buckle, Nijinsky p. 267
329:, a French poet, explained the Mallarmé poem to Nijinsky who spoke little French, and helped develop an outline for the ballet's acts.
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for the first time in London. In the autumn, a German tour began at the Stadt-Theater in Cologne on 30 October before moving to the
521:. The faun was danced by Vaslav Nijinsky, senior nymph by Nelidova, and Bronislava Nijinska danced the 6th nymph. The conductor was
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carried a review by Schneider where he applauded Nijinsky's ability to accurately adapt his choreography to Debussy's composition.
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who commented in his book that the ballet becomes “meaningless, if given, as sometimes happens, without the essential nymphs.”
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choreographed most of the dances that the company performed. Fokine had originally worked as a choreographer with the
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In 1931, shortly after the death of Diaghilev, when some of his dancers settled in London, the Rambert Ballet took
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Menelaus intending to strike Helen is struck by her beauty instead. Louvre museum, Campana collection acquired 1861
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Much of the movement takes place with groups of dancers passing each other in parallel lines, as if in a moving
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In spring 1913, the ballet was performed in Vienna, where it again had a cool reception, though not so bad as
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designed by Léon Bakst, the dancers were presented as part of a large tableau, a staging reminiscent of an
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danced the faun as part of a Homage to Diaghilev in a mixed bill of ballets. Then, in the late 1980s,
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On 28 May 1912, an invited audience attended the dress rehearsal. There was silence as it finished.
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in the London season immediately following its Paris appearance. Instead, the company premiered
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Nijinsky as the faun. Taken by Baron de Meyer who published a book of photographs of the ballet
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is considered one of the first modern ballets and proved to be as controversial as Nijinsky's
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at Wikimedia Commons, including illustrations by Léon Bakst and photographs by Adolf de Meyer
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only received two performances even though it was considered a success by critics such as
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and proceeds to flirt with and chase them, was deliberately archaic. In the original
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Programme booklet for Nureyev Festival, London Coliseum June 27 to July 23, 1983.
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L'après-midi d'un faune : Nijinsky, 1912 : thirty-three photographs
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Eds Crisp C, Sainsbury A, Williams P. Scholar Press, 1976 & 1981, p27-28.
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on 29 May 1912. Nijinsky danced the main part himself. The ballet is set to
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artist expressed the feeling that Nijinsky was a sculptor's "ideal model."
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Beaumont, Cyril W. Complete Book of Ballets. London, Putnam, 1949, p. 798.
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This article is about the Nijinsky ballet. For musical composition by
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The Ballets Russes and Beyond: Music and Dance in Belle-Époque Paris
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The Ballets Russes and Beyond: Music and Dance in Belle-Époque Paris
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The Ballets Russes and Beyond: Music and Dance in Belle-Époque Paris
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Diaghilev responded to Calmette by forwarding letters of support to
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The dispute over the ballet spread, taking on a political tone.
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Diaghilev, Nijinsky, and Bakst developed the original idea for
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stage to deliberately narrow the performance space. The stage
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At the Nureyev Festival at the London Coliseum in July 1983,
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917:(1 ed.). New York: Holt, Rinehart and Winston. p.
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for several years. The reproduction met with criticism from
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surrounding two golden horns which gave the impression of a
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A pastiche of the ballet forms part of the music video for
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is partly explainable by his own difficulties in preparing
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The ballet was developed as a possible new production for
223:. They often moved across the stage in profile as if on a
190:. Both the music and the ballet were inspired by the poem
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in Berlin on 11 December. The Berlin programme included
1399:. Wellingborough, England: Thorsons Publishing Group.
1217:. Part 3 : The Legacy, 1 Spreading the Word, in:
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by Davinia Caddy, Cambridge university press pp. 72–73
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by Davinia Caddy, Cambridge university press pp. 72–73
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which they published the following day. The painter,
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The style of the 12-minute ballet, in which a young
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A Sunday Afternoon on the Island of La Grande Jatte
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462:The faun starts to lie down on the nymph's veil
1081:31 May 1912, cited in Buckle, Nijinsky, p. 243
656:One of the designs by Bakst for nymph costumes
1456:
352:was black as far back as the mound which the
8:
4371:
4360:
1561:
1550:
1504:
1493:
546:A strikingly different response appeared in
529:who was in the audience, stood up to cheer.
1632:
1433:Video of Rudolf Nureyev dancing Nijinsky's
1249:Chaplin, Lita Grey; Vance, Jeffrey (1998).
1058:
1056:
960:
958:
956:
895:
893:
891:
850:
848:
628:, which was to premiere the week following
3640:
2295:
1689:
1463:
1449:
1441:
1364:: CS1 maint: location missing publisher (
648:Further performances by the Ballets Russes
571:Cartoon by Daniel de Losques published in
35:
4733:Adaptations of works by Stéphane Mallarmé
297:. The artwork on ancient Greek vases and
1427:L'après-midi d'un faune (Ballets Russes)
1221:. Faber and Faber, London, 1997, p. 314.
535:published a long article by its editor,
231:was presented in bare feet and rejected
1252:Wife of the Life of the Party: A Memoir
844:
4708:Ballets to the music of Claude Debussy
1357:
636:; instead it was postponed to 8 June.
4297:Six Characters in Search of an Author
725:Later performances by other companies
660:The Ballets Russes chose not to show
7:
1330:Vaslav Nijinsky, a leap into madness
1190:Ballet Rambert: 50 years on and on.
3499:Nude Descending a Staircase, No. 2
1018:Troisième série des Ballets Russes
913:Bronislava Nijinska, early memoirs
27:. For other ballets and uses, see
14:
1180:Buckle, Nijinsky pp. 271, 274–275
335:Prélude à l'après-midi d'un faune
187:Prélude à l'après-midi d'un faune
172:, and was first performed in the
25:Prélude à l'après-midi d'un faune
4679:
4678:
1420:
44:
686:which was performed before the
513:was premiered on 29 May at the
164:) is a ballet choreographed by
4713:Ballets designed by Léon Bakst
4446:Grosvenor School of Modern Art
4439:Fourth dimension in literature
1313:. Cambridge university press.
1203:Quicksilver: an autobiography.
1111:Buckle, Nijinsky, pp. 244–245
1:
4728:Fall for Dance 2009 repertory
973:Buckle, Nijinsky, pp. 239–240
909:Nijinska, Bronislava (1981).
1332:. London: Robson Books Ltd.
779:, Nijinsky as the Faun, 1913
4539:List of avant-garde artists
3523:The Cabinet of Dr. Caligari
1380:. London: Dance Books Ltd.
1016:Commedia, 30 May 1912, p.2
820:also performing, including
560:. He applauded Nijinsky in
305:, which they viewed in the
221:ancient Greek vase painting
4759:
4723:Ballets Russes productions
4703:Ballets by Vaslav Nijinsky
4397:Classical Hollywood cinema
1397:Nijinsky: God of the Dance
50:Programme illustration by
18:
4660:
3475:Les Demoiselles d'Avignon
1033:Le Théâtre, 1 June 1912,
43:
4738:Fauns in popular culture
2260:The Master and Margarita
1120:Buckle, Nijinsky, p. 246
1102:Buckle, Nijinsky, p. 244
834:List of ballets by title
4546:List of modernist poets
4432:Fourth dimension in art
3615:Meshes of the Afternoon
1435:L'Après-midi d'un faune
1352:L'après-midi d'un faune
1328:Ostwald, Peter (1991).
1305:Caddy, Davinia (2012).
964:Buckle, Nijinsky p. 239
899:Buckle, Nijinsky p. 238
874:L'Après-midi d'un faune
731:L'Après-midi d'un faune
511:The Afternoon of a Faun
466:The woodwind brings in
295:The Afternoon of a Faun
280:Imperial Russian Ballet
243:L'Après-midi d'un Faune
193:L'Après-midi d'un faune
162:L'Après-midi d'un faune
157:The Afternoon of a Faun
116:Original ballet company
85:L'Après-midi d'un faune
39:L'Après-midi d'un faune
4630:Second Viennese School
4372:
4361:
2272:The Sound and the Fury
2176:In Search of Lost Time
1633:
1562:
1551:
1505:
1494:
1395:Parker, Derek (1988).
780:
657:
618:Fokine's animosity to
576:
495:
463:
435:
368:
290:
161:
4718:1912 ballet premieres
4609:Reactionary modernism
4532:List of art movements
1290:. The Trinity Press.
1219:Speaking of Diaghilev
983:Dancing for Diaghilev
872:Jean-Michel Nectoux,
786:, the second wife of
775:
733:into its repertoire.
680:New Royal opera House
655:
570:
562:Le Spectre de la Rose
499:Premiere and reaction
493:
461:
426:
367:for the stage setting
362:
288:
254:Le Sacre du printemps
4453:Hanshinkan Modernism
4309:The Threepenny Opera
4225:Pelléas et Mélisande
809:I Want to Break Free
758:Ann Hutchinson Guest
552:, where the editor,
442:They perform a long
431:locks arms with the
4743:Mythology in ballet
4511:International Style
4261:Afternoon of a Faun
3547:Battleship Potemkin
3451:Mont Sainte-Victoir
863:Garafola, pp. 54–55
537:Gaston de Pawlowski
515:Théâtre du Châtelet
339:Bronislava Nijinska
333:'s symphonic poem,
274:'s Ballets Russes.
233:classical formalism
174:Théâtre du Châtelet
104:Théâtre du Châtelet
29:Afternoon of a Faun
4390:Buddhist modernism
4347:American modernism
4273:The Rite of Spring
2248:The Sun Also Rises
2224:The Magic Mountain
1037:, pp4-9 quoted in
1035:Les Ballets Russes
994:Parker pp. 123–125
941:Parker pp. 119–121
781:
658:
577:
496:
464:
436:
369:
311:Vsevolod Meyerhold
291:
184:'s symphonic poem
16:Ballet by Nijinsky
4690:
4689:
4418:Experimental film
4334:
4333:
4321:Waiting for Godot
3628:
3627:
2285:
2284:
2188:The Metamorphosis
1425:Media related to
1339:978-0-86051-711-5
1320:978-1-107-01440-4
854:Ostwald pp. 55–56
784:Lita Grey Chaplin
692:Mariinsky Theatre
625:Daphnis and Chloe
198:Stéphane Mallarmé
153:
152:
90:Stéphane Mallarmé
4750:
4682:
4681:
4653:
4651:Vulgar modernism
4646:
4644:Underground film
4639:
4632:
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4604:
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4497:
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4476:
4469:
4467:Hippie modernism
4462:
4455:
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4385:
4383:Bloomsbury Group
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3577:
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3571:Un Chien Andalou
3565:
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3535:Ballet Mécanique
3529:
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3463:The Starry Night
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2792:Toulouse-Lautrec
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2012:
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1553:Der Blaue Reiter
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1201:Rambert, Marie.
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852:
822:Jeremy Sheffield
818:the Royal Ballet
735:Leon Woizikovsky
272:Sergei Diaghilev
148:Sergei Diaghilev
111:
110:
48:
36:
4758:
4757:
4753:
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4748:
4747:
4693:
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4656:
4649:
4642:
4637:Structural film
4635:
4628:
4621:
4614:
4607:
4600:
4593:
4588:New Objectivity
4586:
4579:
4574:Neo-romanticism
4572:
4567:Neo-primitivism
4565:
4558:
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4213:Verklärte Nacht
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2085:
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2066:Lowell (Robert)
2064:
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2050:
2043:
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2029:
2022:
2015:
2008:
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1994:
1987:
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1394:
1388:
1374:de Meyer, Adolf
1372:
1356:
1348:de Meyer, Adolf
1346:
1340:
1327:
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1304:
1298:
1280:Buckle, Richard
1278:
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1138:Gregoriev p. 76
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1065:, 30 May 1912,
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846:
842:
830:
814:Freddie Mercury
788:Charlie Chaplin
770:
762:Adolph de Meyer
727:
716:, music critic
667:L'Oiseau de feu
650:
554:Gaston Calmette
501:
488:
414:
391:
324:
268:
263:
166:Vaslav Nijinsky
102:
101:
99:
64:Vaslav Nijinsky
55:
32:
17:
12:
11:
5:
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4605:
4598:
4595:Poetic realism
4591:
4584:
4577:
4570:
4563:
4556:
4549:
4542:
4535:
4528:
4525:Late modernity
4521:
4518:Late modernism
4514:
4507:
4500:
4499:
4498:
4491:
4484:
4470:
4463:
4460:High modernism
4456:
4449:
4442:
4435:
4428:
4421:
4414:
4407:
4404:Degenerate art
4400:
4393:
4386:
4379:
4374:Ballets Russes
4368:
4357:
4350:
4342:
4340:
4336:
4335:
4332:
4331:
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4328:
4316:
4304:
4292:
4280:
4268:
4256:
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4196:
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4110:
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4075:
4068:
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4044:
4042:
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4027:
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4013:
4006:
3999:
3992:
3985:
3978:
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3929:
3922:
3915:
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3893:
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3797:
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3494:
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3409:
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3304:
3297:
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3276:
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3259:
3253:
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3235:
3228:
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3214:
3207:
3200:
3193:
3186:
3179:
3172:
3165:
3158:
3151:
3144:
3137:
3130:
3127:Ray (Satyajit)
3123:
3120:Ray (Nicholas)
3116:
3109:
3102:
3095:
3088:
3081:
3074:
3067:
3060:
3053:
3046:
3039:
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3025:
3018:
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2293:
2287:
2286:
2283:
2282:
2280:
2279:
2267:
2255:
2243:
2231:
2219:
2212:The Waste Land
2207:
2195:
2183:
2170:
2168:
2164:
2163:
2161:
2160:
2153:
2146:
2139:
2132:
2125:
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2104:
2097:
2090:
2083:
2076:
2069:
2062:
2055:
2048:
2041:
2034:
2027:
2020:
2013:
2006:
1999:
1992:
1985:
1978:
1971:
1964:
1956:
1954:
1948:
1947:
1945:
1944:
1937:
1930:
1923:
1916:
1909:
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1895:
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1600:
1599:
1585:
1578:
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1576:
1569:
1558:
1540:
1533:
1526:
1523:Constructivism
1519:
1512:
1501:
1490:
1482:
1480:
1476:
1475:
1470:
1468:
1467:
1460:
1453:
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1416:
1415:External links
1413:
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1386:
1370:
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1319:
1302:
1296:
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1241:
1232:
1223:
1215:Drummond, John
1207:
1194:
1182:
1173:
1169:The Daily Mail
1161:
1149:
1147:Grigoriev p.78
1140:
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841:
838:
837:
836:
829:
826:
806:s 1984 single
777:George Barbier
769:
766:
754:dance notation
750:Rudolf Nureyev
743:Cyril Beaumont
726:
723:
718:Richard Capell
649:
646:
523:Pierre Monteux
505:Gabriel Astruc
500:
497:
487:
484:
480:Lydia Sokolova
413:
410:
390:
387:
331:Claude Debussy
323:
320:
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211:meets several
182:Claude Debussy
170:Ballets Russes
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139:Woodland glade
137:
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127:
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120:Ballets Russes
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81:
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74:Claude Debussy
71:
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66:
61:
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54:for the ballet
49:
41:
40:
21:Claude Debussy
15:
13:
10:
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4:
3:
2:
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4714:
4711:
4709:
4706:
4704:
4701:
4700:
4698:
4685:
4675:
4674:
4673:Postmodernism
4668:
4667:
4659:
4652:
4648:
4645:
4641:
4638:
4634:
4631:
4627:
4624:
4620:
4617:
4616:Metamodernism
4613:
4610:
4606:
4603:
4599:
4596:
4592:
4589:
4585:
4582:
4581:New Hollywood
4578:
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4474:Impressionism
4471:
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3309:
3308:Hundertwasser
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2018:
2014:
2011:
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1685:Literary arts
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1626:Neoplasticism
1623:
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1597:
1593:
1592:
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1589:Functionalism
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1579:
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1570:
1566:
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1548:
1547:
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1544:Expressionism
1541:
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1534:
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1527:
1524:
1520:
1517:
1516:Ashcan School
1513:
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1406:1-85336-032-5
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1387:0-903102-78-1
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603:Michel Fokine
600:
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575:, 30 May 1912
574:
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527:Auguste Rodin
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307:Louvre museum
304:
301:and Assyrian
300:
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283:
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276:Michel Fokine
273:
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237:Michel Fokine
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60:Choreographer
58:
53:
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37:
34:
30:
26:
22:
4671:
4664:
4411:Ecomodernism
4319:
4307:
4295:
4283:
4271:
4260:
4259:
4249:The Firebird
4247:
4235:
4223:
4211:
4199:
4187:
3613:
3603:Citizen Kane
3601:
3592:Fallingwater
3582:Villa Savoye
3569:
3557:
3545:
3533:
3521:
3511:Black Square
3509:
3497:
3485:
3473:
3461:
3449:
3437:
3329:Le Corbusier
3257:Architecture
2270:
2258:
2246:
2236:Mrs Dalloway
2234:
2222:
2210:
2198:
2186:
2174:
2059:Lowell (Amy)
1434:
1396:
1377:
1351:
1329:
1308:
1297:0297-00452-2
1285:
1273:Bibliography
1251:
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937:
912:
904:
885:Ostwald p.67
881:
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756:specialists
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738:
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585:Odilon Redon
580:
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532:
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509:
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486:Performances
478:
465:
453:
449:
441:
437:
415:
412:Choreography
406:
399:
396:
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389:Difficulties
370:
363:A design by
343:
327:Jean Cocteau
325:
315:
294:
292:
269:
252:
246:
242:
241:
206:
191:
185:
156:
155:
154:
83:
33:
4666:Romanticism
4623:Remodernism
4504:Incoherents
4363:Avant-garde
4354:Armory Show
3961:Maeterlinck
3864:Villa-Lobos
3850:Szymanowski
3829:Stockhausen
3766:Lutosławski
3491:(1909–1910)
2291:Visual arts
2264:(1928–1940)
2180:(1913–1927)
1703:Apollinaire
1667:Synchromism
1507:Art Nouveau
1067:Un Faux Pas
1007:pp. 241–242
473:cor anglais
380:wore white
322:Development
251:(1913) and
217:scenography
144:Created for
100:29 May 1912
4697:Categories
4553:Maximalism
4488:Literature
4163:Wiesenthal
4065:Cunningham
4058:Balanchine
4038:Witkiewicz
4010:Strindberg
3996:Pirandello
3968:Mayakovsky
3843:Stravinsky
3815:Schoenberg
3634:Performing
3559:Metropolis
3350:Mendelsohn
3155:Rossellini
3148:Richardson
2959:Fassbinder
2945:Eisenstein
2882:Cassavetes
2638:Modigliani
2512:Goncharova
2498:Giacometti
1892:Dos Passos
1694:Literature
1653:Surrealism
1564:Die Brücke
1020:quoted in
928:003020951X
840:References
713:Daily Mail
612:Tannhäuser
541:Le Théâtre
365:Léon Bakst
350:floorcloth
345:Léon Bakst
266:Conception
225:bas relief
202:Léon Bakst
130:Léon Bakst
52:Léon Bakst
4602:Pulp noir
4560:Modernity
4425:Film noir
4149:St. Denis
4072:Diaghilev
3808:Schaeffer
3731:Hindemith
3710:Dutilleux
3682:Boulanger
3487:The Dance
3183:Tarkovsky
3176:Sternberg
3008:Hitchcock
2924:Dovzhenko
2840:Antonioni
2785:Stieglitz
2624:Metzinger
2575:Kokoschka
2554:Kandinsky
1968:Aldington
1961:Akhmatova
1878:Marinetti
1871:Mansfield
1822:Hemingway
1660:Symbolism
1479:Movements
1472:Modernism
1360:cite book
1157:The Times
1091:Le Figaro
1079:Le Figaro
1063:Le Figaro
793:Sunnyside
768:Other art
706:The Times
700:Petrushka
642:Le Figaro
596:Le Figaro
581:Le Figaro
573:Le Figaro
549:Le Figaro
444:arabesque
401:régisseur
160:(French:
4684:Category
4285:Fountain
4189:Don Juan
4128:Nijinsky
4024:Wedekind
4003:Piscator
3898:Anderson
3822:Scriabin
3738:Honegger
3399:Sullivan
3385:Saarinen
3378:Rietveld
3371:Niemeyer
3343:Melnikov
3273:Bunshaft
3204:Truffaut
3169:Sjöström
3113:Pudovkin
3085:Minnelli
3050:Kurosawa
3043:Kuleshov
2973:Flaherty
2799:Vuillard
2778:Steichen
2736:Rousseau
2701:Pissarro
2680:O'Keeffe
2645:Mondrian
2596:Malevich
2589:Magritte
2561:Kirchner
2505:van Gogh
2456:Doesburg
2435:Delaunay
2428:Delaunay
2351:Brâncuși
2337:Boccioni
2300:Painting
2150:Williams
2073:Mallarmé
1989:Cendrars
1899:Platonov
1857:Lawrence
1850:Koestler
1787:Flaubert
1780:Faulkner
1745:Bulgakov
1674:Tonalism
1635:De Stijl
1619:Lettrism
1605:Futurism
1496:Art Deco
1376:(1983).
1354:. Paris.
1350:(1914).
1286:Nijinsky
1282:(1971).
1005:Nijinsky
1003:Buckle,
828:See also
672:Narcisse
533:Commedia
468:staccato
303:frescoes
299:Egyptian
261:Creation
257:(1913).
168:for the
96:Premiere
80:Based on
4339:Related
4201:Ubu Roi
4156:Tamiris
4142:Sokolow
4121:Massine
3989:Osborne
3982:O'Neill
3975:O'Casey
3933:Chekhov
3919:Beckett
3905:Anouilh
3889:Theatre
3836:Strauss
3794:Russolo
3773:Milhaud
3752:Janáček
3724:Górecki
3717:Feldman
3703:Debussy
3696:Copland
3654:Antheil
3392:Steiner
3315:Johnson
3294:Guimard
3287:Gropius
3134:Resnais
3036:Kubrick
2966:Fellini
2952:Epstein
2938:Edwards
2903:Cocteau
2889:Chaplin
2861:Bresson
2854:Bergman
2833:Aldrich
2826:Akerman
2771:Soutine
2743:Schiele
2694:Picasso
2687:Picabia
2617:Matisse
2491:Gauguin
2463:Duchamp
2421:Kooning
2400:Claudel
2393:Chirico
2386:Chagall
2379:Cézanne
2372:Cassatt
2344:Bonnard
2330:Bellows
2323:Balthus
2200:Ulysses
2122:Stevens
2115:Seferis
1934:Unamuno
1773:Forster
1752:Chekhov
1717:Beckett
1646:Orphism
1612:Imagism
1596:Bauhaus
1582:Fauvism
1487:Acmeism
876:, p. 18
638:Daphnis
634:Daphnis
374:circlet
136:Setting
4325:(1953)
4313:(1928)
4301:(1921)
4289:(1917)
4277:(1913)
4265:(1912)
4253:(1910)
4241:(1905)
4237:Salome
4229:(1902)
4217:(1899)
4205:(1896)
4193:(1888)
4170:Wigman
4100:Graham
4093:Fuller
4086:Fokine
4079:Duncan
4031:Wilder
4017:Toller
3954:Kaiser
3926:Brecht
3912:Artaud
3871:Webern
3857:Varèse
3787:Partch
3759:Ligeti
3689:Boulez
3661:Bartók
3619:(1943)
3607:(1941)
3595:(1936)
3585:(1931)
3575:(1929)
3563:(1927)
3551:(1925)
3539:(1923)
3527:(1920)
3515:(1915)
3503:(1912)
3479:(1907)
3467:(1889)
3455:(1887)
3443:(1886)
3420:Wright
3406:Tatlin
3364:Neutra
3266:Breuer
3232:Welles
3218:Vertov
3141:Renoir
3092:Murnau
3078:Marker
3071:Lupino
3029:Keaton
3015:Hubley
3001:Godard
2987:Fuller
2931:Dreyer
2910:Dassin
2868:Buñuel
2764:Sisley
2757:Signac
2750:Seurat
2722:Renoir
2540:Hopper
2442:Demuth
2365:Calder
2358:Braque
2309:Albers
2276:(1929)
2252:(1926)
2240:(1925)
2228:(1924)
2216:(1922)
2204:(1922)
2192:(1915)
2143:Valéry
2129:Thomas
2094:Pessoa
2038:George
2031:Elytis
2024:Éluard
2010:Desnos
1982:Cavafy
1952:Poetry
1913:Proust
1906:Porter
1808:Hamsun
1766:Döblin
1759:Conrad
1731:Breton
1710:Barnes
1530:Cubism
1403:
1384:
1336:
1317:
1294:
1259:
925:
688:Kaiser
676:Thamar
674:, and
418:frieze
382:muslin
378:nymphs
229:ballet
227:. The
213:nymphs
126:Design
23:, see
4495:Post-
4481:Music
4180:Works
4135:Shawn
4114:Laban
4049:Dance
3947:Jarry
3940:Ibsen
3878:Weill
3801:Satie
3675:Berio
3645:Music
3430:Works
3357:Nervi
3301:Horta
3280:Gaudí
3239:Wiene
3211:Varda
3197:Trnka
3106:Pabst
3064:Losey
3022:Jones
2994:Gance
2917:Deren
2896:Clair
2875:Carné
2847:Avery
2729:Rodin
2715:Redon
2673:Nolde
2666:Munch
2659:Moore
2652:Monet
2603:Manet
2582:Léger
2547:Kahlo
2526:Grosz
2484:Ernst
2477:Ensor
2414:Degas
2167:Works
2157:Yeats
2136:Tzara
2108:Rilke
2101:Pound
2080:Moore
2052:Lorca
2045:Jacob
2017:Eliot
1996:Crane
1975:Auden
1941:Woolf
1927:Svevo
1920:Stein
1885:Musil
1843:Kafka
1836:Joyce
1829:Hesse
1815:Hašek
1738:Broch
1573:Music
802:Queen
519:Paris
433:nymph
178:Paris
108:Paris
70:Music
4107:Holm
3780:Nono
3745:Ives
3668:Berg
3636:arts
3413:Mies
3336:Loos
3322:Kahn
3246:Wood
3225:Vigo
3190:Tati
3162:Sirk
3057:Lang
2980:Ford
2817:Film
2806:Wood
2631:Miró
2610:Marc
2568:Klee
2533:Höch
2519:Gris
2470:Dufy
2407:Dalí
2087:Owen
2003:H.D.
1864:Mann
1801:Gide
1794:Ford
1724:Bely
1537:Dada
1401:ISBN
1382:ISBN
1366:link
1334:ISBN
1315:ISBN
1292:ISBN
1257:ISBN
923:ISBN
739:Faun
684:Faun
662:Faun
630:Faun
620:Faun
607:Faun
558:Faun
429:Faun
427:The
354:Faun
316:Faun
248:Jeux
209:faun
3099:Ozu
2708:Ray
2449:Dix
2316:Arp
919:316
517:in
196:by
176:in
106:in
88:by
4699::
4663:←
1362:}}
1358:{{
1055:^
955:^
921:.
890:^
847:^
812:.
670:,
204:.
4676:→
1464:e
1457:t
1450:v
1409:.
1390:.
1368:)
1342:.
1323:.
1300:.
1265:.
931:.
804:'
31:.
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