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her hair and just had on new toe shoes and a new clean practice dress and came into the studio to preen and practice. Moncion noted that Le Clercq's version of the character "was never innocent", while some later interpretations are. While the ballet had also been interpreted as a commentary on dancers' narcissism, Robbins was resistant with this idea as "The mirror is the dancers' work tool." Despite the various interpretations, the performance by Le Clercq and
Moncion is generally deemed closest to Robbins' ideas.
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for the audience to watch - they are sort of looking in - but when it's straight front, I think something more arresting happens." Le Clercq recalled that
Robbins completed the ballet quicker than his other works she was familiar with. She also said that she was given very few acting notes from Robbins. The costumes were designed by
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The ballet is set on a summer day, in a dance studio. The man lies asleep on the floor, before a woman enters and starts warming up at the barre. The two then start dancing together, while looking at themselves in the mirror, which is in fact the audience. At the end of the ballet, the man kisses the
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Robbins was unsure whether the mirror of the dance studio should be straight front, where the audience would be at, or at the side, right-angled to the audience. He made both versions, and chose to use the straight front version. He explained, "When the dancers' attention is to the side, it's easier
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Author Nancy
Reynolds noted that different ballerinas interpret the role differently, some "do it very literally, very realistically" and some "are totally, eerily removed." Le Clercq stated that her interpretation "was removed." Robbins said of the woman, "I always thought the girl had just washed
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wrote that the ballet is "deliberately devoid of flashy steps or complicated lifts; spare and poetic'. Moncion noted that the choreography referenced the poem, "the gestures he used were evocative of
Mallarmé's faun - such as pushing through the reeds on a hot humid afternoon." Le Clercq noted that
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while watching themselves in the mirror, and as
Robbins described, he "was struck by the way they were watching that couple over there doing a love dance and totally unaware of the proximity and possible sexuality of their physical encounter." Robbins also read a translation of Mallarmé's poem.
279:, in a ballet class, who "suddenly began to stretch his body in a very odd way, almost like he was trying to get something out of it. And I thought how animalistic it was... he didn't know what he was doing, and that sort of stuck in my head." Another source of inspiration was watching
321:. Johnson later stated that he believed it was Balanchine who rejected his casting, because the role would have led to him joining the company permanently. Jowitt also noted that perhaps Robbins was just experimenting with Johnson. Robbins ultimately chose the Dominican-born
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For New York City Ballet's 1953 season, Robbins decided to choreograph to the
Debussy score. Robbins explained that he was inspired by various factors, including his fascination with the Nijinsky ballet. He was inspired by watching
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Robbins decided to set the ballet in a dance studio, rather than a Greek setting like the
Nijinsky ballet. He removed the nymph attendants, and instead have two young dancers meeting in the studio.
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In 2020, during the New York City Ballet's digital spring season, which replaced the canceled repertory season caused by the COVID-19 pandemic, the company released an archival video of
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was
Robbins' first choice for portraying the female role. When Robbins began working on the ballet, Le Clercq was still on her honeymoon. Robbins original choice for the male role was
341:. She then conceived the idea of using white silk as the wall. Instead of the French title used in both the poem and the score, Robbins gave the ballet a stripped-down English title,
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prevented him from appearing as a guest artist. Robbins also considered
Johnson, who attended the School of American Ballet, and had previously danced in Robbins'
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and Greg
Lawrence both speculated that it was due to the all-white New York City Ballet's reservation about having an interracial couple performing a romantic
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had their respective company premieres of the ballet in 1991, 2000 and 2006 respectively. Other ballet companies that had danced
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as a guest artist. He had one rehearsal with Le Clercq but was not cast. In their respective biographies on Robbins, authors
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966:"Live From Studio 8H: An Evening Of Jerome Robbins' Ballets With Members of the New York City Ballet (TV)"
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381:. The ballet continues to be a mainstay in the New York City Ballet's repertory. Between 1958 and 1961,
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389:-funded tours. During these tours, John Jones, a black dancer, was paired with Wilma Curley, and later
305:, who was not a member of the company. However, miscommunication between Miller and company co-founder
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833:""Taking America's Story to the World": Touring Jerome Robbins's Ballets: U.S.A. During the Cold War"
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163:. The ballet features two young dancers meeting at a rehearsal studio. Robbins was influenced by
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Au, Susan (1998). "Afternoon of a Faun". In Dorris, George E.; Cohen, Selma Jeanne (eds.).
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and premiered in 1912. This ballet was scandalous due to its overtly sexual nature.
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In 1980, the ballet was among several of Robbins' work that was filmed for
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is an amateur silent black-and-white film that was shot from the side.
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many of her natural gestures were incorporated to the choreography.
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woman on her cheek. She then leaves, while he returns to his sleep.
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made versions of the ballet in 1922 and 1935 respectively. In 1940,
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1016:"Week 4 of New York City Ballet's six-week digital spring season"
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337:. Robbins showed Rosenthal a drawing of dancers in a studio by
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soon after it was founded, as both a dancer and choreographer.
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was performed by Ballets: USA, Robbins' company, during their
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has since been performed by various other ballet companies.
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Repertory in Review: 40 Years of the New York City Ballet
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Jowitt, Deborah (2006). "From Après-midi to Afternoon".
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to the same score, and his own observation of dancers.
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874:Craine, Debra; Mackrell, Judith (August 19, 2010).
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688:Jerome Robbins: His Life, His Theater, His Dance
516:was included on a Royal Ballet DVD, danced by
404:first performed the ballet in 1971, featuring
400:has been performed by other ballet companies.
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472:The only footage of Le Clercq and Moncion in
416:made their debut of the ballet in 1978, with
259:made a parody of the Nijinsky ballet, titled
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1398:(1949), "based on an idea by Jerome Robbins"
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275:, then a seventeen-year-old student at the
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938:Panov, Valery; Sivashinsky, Terry (2013).
902:"Afternoon of a Faun (Australian context)"
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776:Dance with Demons: The Life Jerome Robbins
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606:Somewhere: The Life of Jerome Robbins
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1041:on the New York City Ballet website
919:Sulcas, Roslyn (October 25, 2005).
564:International Encyclopedia of Dance
377:premiered on May 14, 1953, at the
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480:Canadian Broadcasting Corporation
218:Prélude à l'après-midi d'un faune
160:Prélude à l'après-midi d'un faune
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830:Pricket, Stacey (August 2020).
349:Choreography and interpretation
1441:New York City Ballet repertory
877:The Oxford Dictionary of Dance
803:Anderson, Zoë (May 29, 2015).
773:Lawrence, Greg (May 7, 2001).
379:City Center of Music and Drama
263:. In 1948, Robbins joined the
190:City Center of Music and Drama
83:City Center of Music and Drama
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603:Vaill, Amanda (May 6, 2008).
921:"Dreamy Faun, Daring Apollo"
806:The Ballet Lover's Companion
325:, for his "animal" quality.
184:The ballet was made for the
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486:, featuring Le Clercq and
208:Background and development
1431:Ballets by Jerome Robbins
850:10.1017/S0149767720000145
454:National Ballet of Canada
422:Norwegian National Ballet
277:School of American Ballet
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1451:Fauns in popular culture
733:Reynolds, Nancy (1977).
685:Jowitt, Deborah (2004).
482:filmed a performance of
16:Ballet by Jerome Robbins
1217:The Goldberg Variations
1203:Gershwin Piano Concerto
1091:2 and 3 Part Inventions
460:. Robbins also allowed
458:Dance Theatre of Harlem
442:American Ballet Theatre
228:L'après-midi d'un faune
170:L'après-midi d'un faune
91:Original ballet company
1287:N.Y. Export: Opus Jazz
995:Royal Opera House shop
970:Paley Center For Media
838:Dance Research Journal
1426:1953 ballet premieres
1350:West Side Story Suite
1154:Dances at a Gathering
420:and Gary Norman. The
414:The Australian Ballet
72:14 May 1953
941:Scene from the Wings
809:. pp. 245–246.
739:. pp. 147–149.
430:San Francisco Ballet
393:, both white women.
265:New York City Ballet
186:New York City Ballet
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38:and Galina Panov in
1456:Mythology in ballet
1294:Opus 19/The Dreamer
1098:Afternoon of a Faun
1038:Afternoon of A Faun
514:Afternoon of a Faun
499:Live from Studio 8H
484:Afternoon of a Faun
474:Afternoon of a Faun
446:Royal Danish Ballet
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398:Afternoon of a Faun
383:Afternoon of a Faun
375:Afternoon of a Faun
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202:Afternoon of a Faun
147:neoclassical ballet
142:Afternoon of a Faun
133:Neoclassical ballet
40:Afternoon of a Faun
24:Afternoon of a Faun
908:. January 1, 2010.
438:Paris Opera Ballet
299:Tanaquil Le Clercq
249:Kasyan Goleizovsky
235:'s encounter with
194:Tanaquil Le Clercq
119:Tanaquil Le Clercq
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1329:A Suite of Dances
1315:Requiem Canticles
1224:I'm Old Fashioned
1112:Antique Epigraphs
574:978-0-19-512308-1
488:Jacques d'Amboise
406:Antoinette Sibley
396:Since the 1970s,
323:Francisco Moncion
307:George Balanchine
223:Stéphane Mallarmé
198:Francisco Moncion
165:Stéphane Mallarmé
149:choreographed by
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647:(1): 21–25.
644:
640:
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563:
526:
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511:
509:performing.
498:
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473:
471:
462:Valery Panov
436:include the
433:
418:Marilyn Rowe
397:
395:
382:
374:
373:
370:Performances
364:
359:Amanda Vaill
356:
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261:PM of a Faun
260:
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139:
39:
18:
1395:On the Town
1259:Ives, Songs
1147:The Concert
1126:Brandenburg
975:February 5,
844:(2): 4–25.
507:Ib Andersen
468:Videography
339:Paul Cadmus
319:pas de deux
303:Buzz Miller
253:Serge Lifar
179:1912 ballet
115:Created for
1420:Categories
1231:In G Major
1168:Fancy Free
535:References
518:Sarah Lamb
497:'s series
231:, about a
76:1953-05-14
1368:Peter Pan
1343:Watermill
1336:Tricolore
1280:Les Noces
1252:Interplay
1105:Andantino
1020:Gramilano
858:221469122
653:0966-6346
641:Dance Now
512:In 2016,
391:Kay Mazzo
290:Swan Lake
1360:Musicals
1133:The Cage
1000:July 27,
225:'s poem
167:'s poem
68:Premiere
1175:Fanfare
1083:Ballets
501:, with
357:Author
311:Ballade
74: (
42:in 1977
1406:(1961)
1371:(1954)
1161:Dybbuk
948:
884:
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613:
571:
424:, the
285:adagio
237:nymphs
101:Design
36:Valery
1387:Films
1273:Moves
906:Trove
854:S2CID
287:from
145:is a
129:Genre
58:Music
1002:2020
977:2022
946:ISBN
882:ISBN
811:ISBN
781:ISBN
741:ISBN
693:ISBN
649:ISSN
611:ISBN
569:ISBN
520:and
505:and
456:and
428:and
408:and
251:and
233:faun
196:and
846:doi
495:NBC
215:'s
177:'s
157:'s
153:to
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78:)
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