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and made instead a rapturous dance for two lovers, set to music by Pugni. Diana is seen as the beautiful goddess of the moon and the hunt, usually wearing a wispy red chiton and carrying a small golden bow; Actaeon is portrayed as a strong, handsome, mortal youth, clad in a short chiton or loincloth.
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Actaeon, out on a hunt, stumbled upon
Artemis while she was bathing at a spring. Outraged and embarrassed that he had seen her naked, she punished him by destroying his power of speech and turning him into a stag, with antlers and a shaggy coat. In deer form, he was torn to pieces by his own hunting
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when the mortal man unwittingly stumbles upon the scene. The nymphs scream in surprise and attempt to cover Diana, who, in a fit of embarrassed fury, splashes water upon
Actaeon. He is transformed into a deer with a dappled hide and long antlers, robbed of his ability to speak, and thereafter
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told of a poetic encounter in which Diana (or Selene, another name for the moon goddess) looked down upon the sleeping youth, descended to earth, kissed him, and fell in love. In a production mounted in the early twentieth century, Anna
Pavlova was among those who danced Diana, and
127:. The latter actually shows the transformation still in progress; like many depictions the head is shown transformed, but most of the body remains human. Less often Actaeon is fully transformed when caught by his dogs. The story was popular on Italian Renaissance
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Diane and
Actaeon's myth has also deeply inspired the French film/theatre director, writer and visual artist Jean Michel Bruyère and his collective LFKs, who produced a series of 600 shorts and "medium" films, an interactive 360° installation,
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for Diana and
Actaeon, joining the names of the modest Roman goddess and the hapless Greek hunter. She included a few spectacular "stag leaps" for the male dancer, but she largely abandoned the well-known story of Actaeon in creating this
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The story became very popular in the
Renaissance. The most common scene shown was Actaeon surprising Diana, but his transformation and his death were also sometimes shown.
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was based on the Greek myth of
Artemis (predecessor to the Roman Diana), in her aspect of virgin goddess of the hunt, and Actaeon, a Theban hero. According to Ovid's
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for dancers portraying Diana, the Roman goddess of the moon, the hunt, and chastity; Endymion, a beautiful shepherd, and a Satyr. This
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promptly flees in fear. It is not long, however, before his own hounds track him down and kill him, failing to recognize their master.
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245:, then Balanchivadze, also danced the role of the Satyr, with Lydia Ivanova as Diana and Nicholas Efimov as Endymion.
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214:, premiered in 1868 by the Imperial Russian Ballet in Saint Petersburg. Based on a story told by Herodotus in his
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for the Kirov Ballet in
Leningrad, as the company and the city were then known. She created a new, bravura
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66:, goddess of the hunt. The latter is nude and enjoying a bath in a spring with help from her escort of
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George
Balanchine Foundation, "Roles Performed by Balanchine" at Balanchine Catalogue online,
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translated and edited by Lynn
Garafola, "Studies in Dance History," vol. 3.1 (Spring, 1992).
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At the premiere, Diana was danced by Galina Ulanova and Actaeon by Vaktang Chabukiani.
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for the Maryinsky Ballet, as the Imperial Russian Ballet had come to be called. This
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the myth is retold by the visual artist and filmmaker via avenues of his own design.
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translated by Robin Waterfield (New York: Oxford University Press, 2008).
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Terry Smith. 10 August 2012. University of Chicago Press. p. 173-81, 186
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503:"Diana and Actaeon pas de deux," American Ballet Theatre website,
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and an accompanying traveling art exhibition originating at the
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lie in two earlier ballet productions. The first of these was
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edited by Norma Lorre Goodrich (New York: Plume Books, 1995).
337:"A Lighter Matthew Barney Goes Back to School, and Back Home"
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painted the first two scenes in two of his greatest late
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50:. The tale recounts the fate of a young hunter named
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The story in the Metamorphosis, via Project Gutenberg
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172:(2000) all about the myth of Diana and Actaeon.
168:(from 2008 to 2016) and an outdoor performance,
457:Movement and Metaphor: Four Centuries of Ballet
433:(New York: Holt, Rinehart, and Winston, 1983).
272:dogs, whipped into a raging fury by Artemis.
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549:Paintings formerly in the Orleans Collection
505:https://www.abt.org/ballet/diana-and-acteon/
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418:Bulfinch's Mythology: The Age of Fable,
392:The Concise Oxford Dictionary of Ballet
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218:this four-act ballet, choreographed by
455:Lincoln Kirstein, "La Esmeralda," in
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248:In 1886, Petipa incorporated a new
431:Bronislava Nijinska: Early Memoirs
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259:, into his production of Pugni's
494:Kirstein, "La Esmeralda" (1970).
394:(Oxford University Press, 1976).
241:appeared as the Satyr. In 1917,
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335:Farago, Jason (21 March 2019).
211:Tsar Kandavl or Le Roi Candaule
375:The STRP Festival of eindhoven
204:created for a 1935 version of
198:Diana and Actaeon Pas de Deux,
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483:Agrippina Iakovlevna Vaganova
470:The Diaries of Marius Petipa,
185:The Transformation of Actaeon
507:. Retrieved 10 October 2021.
446:. Retrieved 5 February 2015.
279:staged a new production of
154:Yale University Art Gallery
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81:Diana and Actaeon (Titian)
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459:(New York: Pitman, 1970).
369:The Scattering of the Son
354:What Is Contemporary Art?
62:, known to the Romans as
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54:, who was a grandson of
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170:Une Brutalité pastorale
85:Diana and Actaeon basin
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444:http://balanchine.org
429:Bronislava Nijinska,
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166:La Dispersion du Fils
148:of the U.S. state of
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79:Further information:
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124:The Death of Actaeon
16:Classical Greek myth
310:Book III, vs. 138ff
196:The origins of the
485:(Leningrad, 1989).
481:Vera Krasovskaya,
341:The New York Times
277:Agrippina Vaganova
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146:Sawtooth Mountains
113:Philip II of Spain
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534:Diana (mythology)
416:Thomas Bulfinch,
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181:Jean Mignon
144:set in the
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216:Histories,
275:In 1935,
179:Print by
129:maiolica
141:Redoubt
109:poesies
60:Artemis
52:Actaeon
321:Ovid.
192:Ballet
105:Titian
68:nymphs
56:Cadmus
30:Titian
150:Idaho
115:, in
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