Abstract on the topic:

afternoon rest faun (ballet)

Plan:

Introduction

• 1 History of creation
• 2 Plot
• 3 Choreography
• 4 Reaction of the public and critics
Notes
Literature

Introduction

"Afternoon of a Faun" - one-act ballet, which premiered on May 29, 1912 at the Chatelet Theater in Paris as part of the screenings of Diaghilev's Ballets Russes. The choreographer and main performer was Vaslav Nijinsky, the scenery and costumes were created by Leon Bakst. As musical accompaniment Claude Debussy's symphonic poem "Prelude to the Afternoon of a Faun" was used. The music and ballet are based on Stéphane Mallarme's eclogue The Afternoon of a Faun.

1. History of creation

The creation of the ballet on the antique theme of Nijinsky was probably inspired by Diaghilev. During a trip to Greece in 1910, he was impressed by the images on antique amphoras and infected Nijinsky with his enthusiasm. The choice of music settled on the prelude to "Afternoon of a Faun" by Claude Debussy. Nijinsky at first found the music too soft and not sharp enough for the choreography he presented, but relented at Diaghilev's urging. While visiting the Louvre with Leon Bakst, Nijinsky was inspired by Greek ceramics made in the red-figure vase painting technique. In particular, he was struck by the Attic craters depicting satyrs chasing nymphs and plots from the Iliad. He made some sketches that could give ideas for the choreography. At the end of 1910, in St. Petersburg, Nijinsky and his sister experimented with sketches. Preparatory work continued in Paris until 1911. The first rehearsals took place in Berlin in January 1912.

2. Plot

Georges Barbier, Nijinsky as a Faun, 1913

The plot of the ballet is not an adaptation of Mallarme's eclogue, but a scene preceding the events described in it. The faun wakes up, admires the grapes, plays the flute ... Suddenly a group of nymphs appears, then the second one accompanies the main nymph. She dances holding a long scarf in her hands. The faun, attracted by the dances of the nymphs, rushes towards them, but they scatter in fright. Only the main nymph hesitates, after the pas de deux she runs away, dropping her scarf at the feet of the faun. He picks it up, carries it to his lair on a rock, and, sitting on a light cloth, indulges in love languor.

3. Choreography

A feature of Nijinsky's choreography was a break with the classical tradition. He proposed a new vision of the dance, built on frontal and profile poses, borrowed from the figures of ancient Greek vase painting. Nijinsky in the ballet performed only one jump, which symbolized the crossing of the stream where the nymphs bathe. The characters in Bakst's costumes lined up on the stage in such a way that it gave the impression that it was an ancient Greek frieze. The nymphs, dressed in long tunics of white muslin, danced barefoot, their toes dyed red. The part of the main nymph was danced by Lidia Nelidova. As for Nijinsky, the costume and make-up completely changed the dancer. The artist emphasized the slantness of his eyes, made his mouth heavier to show the animal nature of the faun. He was wearing cream-colored tights with scattered dark brown spots. For the first time, a man appeared on stage so openly naked: no caftans, camisoles or pants. Leotards were complemented only by a small ponytail, vine, clasping the waist, and a wicker cap of golden hair with two golden horns.

4. Reaction of the public and critics

Nijinsky's first work impressed the public, which was not accustomed to choreography based on profile poses and angular movements. Many reproached the ballet for obscenity. So Gaston Calmette, editor and owner of the newspaper Le Figaro, removed an article from a critic who sympathized with the Russian Ballet and replaced it with his own text, where he sharply condemned the Faun:

However, Parisian artistic circles perceived the ballet in a completely different light. The newspaper Le matin published an article by Auguste Rodin, who attended both the dress rehearsal and the premiere, praising Nijinsky's talent:

Notes

1. Israel Vladimirovich Nestiev Diaghilev and the musical theater of the 20th century - books.google.ru/books?id=g7YuAAAAMAAJ&source=gbs_navlinks_s. - Music, 1994. - S. 215.
2. Bronislava Nijinska Early memories. - Moscow: Artist, director, theater, 1999. - S. 89, 120. - ISBN 9785873340330
3. 1 2 Serge Lifar Diaghilev and with Diaghilev. - Routledge, 1998. - ISBN 5969700223

Literature

• Baron Adolf de Meyer, Jennifer Dunning L "Après-midi d" un faune: Vaslav Nijinsky, 1912. - Dance Books, 1983. - ISBN 0903102781

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"Afternoon of a Faun"- one-act ballet, which premiered May 291912 in Theater Chatelet in paris within the shows Russian Ballets Diaghilev. Choreographer and main performer Vaslav Nijinsky, scenery and costumes created Leon Bakst. Used as musical accompaniment symphonic poemClaude Debussy« Prelude to the Afternoon of a Faun". Music and ballet are based on eclogueStephen Mallarme« Afternoon of a Faun».

History of creation

Nijinsky was probably inspired to create a ballet on an antique theme Diaghilev. During a trip to Greece in 1910 he was impressed by the images on antique amphorae and infected Nijinsky with his enthusiasm. The choice of music settled on the prelude to "Afternoon of a Faun" Claude Debussy. Nijinsky at first found the music too soft and not sharp enough for the choreography he presented, but relented at Diaghilev's urging. During the visit Louvre With Leon Bakst, Nijinsky was inspired by Greek ceramics made in the technique red-figure vase painting. He was especially struck Atticcraters depicting satyrs haunting nymphs and scenes from " Iliad". He made some sketches that could give ideas for the choreography. In the end 1910 in St. Petersburg Nijinsky with sister experimented with sketches . Preparatory work continued in paris before 1911. The first rehearsals took place in Berlin in January 1912.

Georges Barbier,Nijinsky as a faun 1913

The plot of the ballet is not an adaptation of Mallarme's eclogue, but a scene preceding the events described in it. Faun wakes up, admires the grapes, plays the flute ... Suddenly a group appears nymphs, then the second which accompanies the main nymph. She dances holding a long scarf in her hands. The faun, attracted by the dances of the nymphs, rushes towards them, but they scatter in fright. Only the main nymph hesitates, after the duet she runs away, dropping her scarf at the feet of the faun. He picks it up, carries it to his lair on a rock, and, sitting on a light cloth, indulges in love languor.

Choreography

A feature of Nijinsky's choreography was a break with the classical tradition. He proposed a new vision of the dance, built on frontal and profile poses, borrowed from the figures of ancient Greek vase painting. Nijinsky in the ballet performed only one jump, which symbolized the crossing of the stream where the nymphs bathe. The characters in Bakst's costumes lined up on the stage in such a way that it seemed as if it was an ancient Greek frieze. The nymphs, dressed in long tunics of white muslin, danced barefoot, their toes dyed red. Danced the part of the main nymph Lydia Nelidova. As for Nijinsky, the costume and make-up completely changed the dancer. The artist emphasized the slantness of his eyes, made his mouth heavier to show the animal nature of the faun. It had tights cream color with scattered dark brown spots. For the first time, a man appeared on stage so openly naked: no caftans, camisoles or pants. The tights were complemented only by a small ponytail, a vine wrapped around the waist, and a wicker cap of golden hair with two golden horns.

Mezzo TV channel announced the broadcast on June 20 at 11:50 (Moscow time) of Claude Debussy's prelude "Afternoon of a Faun" (`Prélude à l`après-midi d`un faune`). At the conductor's stand Herbert von Karajan (recorded in 1978).

For unknown reasons, the Russian media announced the broadcast of ... the ballet "Afternoon of a Faun" with Nikolai Tsiskaridze in main party: http:// tv. yandex. ru/213/program/419241/event/42083788

Apparently, the public tension around his upcoming 06/30/2013 deductions from the troupe affected Bolshoi Theater, to which even Anna Netrebko already reacted violently, angrily declaring that “everyone should be fired from the Bolshoi!” ...

See related articles -

Minister of Culture Vladimir Medinsky advised Iksanov on how to “correctly” fire Tsiskaridze: http://rublev-museum.livejournal.com/405149.html

About the lost manhood the main symbol of the empire:

Pain for the Big: http://rublev-museum.livejournal.com/239401.html

The article “Corsair from the yacht Eclipse (video): Abramovich and Zhukova in the Bolshoi” banned on Ekho Moskvy: http://rublev-museum.livejournal.com/401560.html

However, what will be broadcast on Mezzo is actually Claude Debussy. Prélude à l "après-midi d" un faune. Orchestra Philharmonique de Berlin, Herbert von Karajan (direction). Enregistré en 1978 a la Philharmonie de Berlin

Recall that this world-famous prelude was written according to the eclogue of the same name by S. Mallarme (1892-1894):

Ainsi, quand des raisins j'ai sucé la clarté,
Pour bannir un regret par ma feinte ecarte,

Rieur, j'élève au ciel d'été la grappe vide
Et, soufflant dans ses peaux lumineuses, avide
D'ivresse, jusqu'au soir je regarde au travers.

So, sucking moisture from golden berries,

To pretend to hide the annoyance of funny tears,

Instantly, to the summer sky, a mocker, an empty bunch

Rising, I blow into the transparent husk

And so until the evening I look through, intoxicated ...

The eclogue "Afternoon of a Faun" was intended for the famous French actor Coquelin Sr. - for recitation, illustrated by dances. Debussy, who got acquainted with the eclogue in 1886, decided to supplement the reading with a three-part composition: prelude, interlude and finale (paraphrase). However, the meaning of the poem was completely exhausted already in the prelude, without requiring continuation. Hearing it for the first time in the author's performance on the piano, Mallarme was delighted: “I did not expect anything like this! This music continues the mood of my poem and complements it more vividly than colors. Your illustration of the Faun not only does not discord with my text, on the contrary, it exceeds it with nostalgia, amazing sensitivity, dreaminess and richness.

The premiere took place on December 22, 1894 in Paris, at a concert National Society directed by Gustave Dore. As the conductor later recalled, already during the performance he suddenly felt that the listeners were completely captivated by this music, and immediately after the end it was played again. This was Debussy's first real success.

In 1912, the organizer of the Russian Seasons in Paris, S. Diaghilev, drew attention to the music of The Afternoon of a Faun, who sought to replenish the repertoire of his troupe. It already contained such works as Tcherepnin's "Pavilion of Armida", Arensky's "Cleopatra" ("Egyptian Nights"), Stravinsky's "Firebird" and "Petrushka". With an organization based on the Russian seasons of the Russian ballet troupe Diaghilev in 1911, the issue of a new original repertoire became even more acute. It was decided to stage the one-act ballet The Afternoon of a Faun, where the choreographer and performer of the role of the Faun was the outstanding dancer Vaslav Nijinsky (1889, according to other sources 1890-1950), who did not like the composer at all, who called Nijinsky a young savage and vicious genius.

The solution of the ballet was original, the scenery and costumes were created by Leon Bakst. While visiting the Louvre with Leon Bakst, Nijinsky was inspired by Greek ceramics made in the technique of red-figure vase painting. In particular, he was struck by the Attic craters depicting satyrs chasing nymphs and plots from the Iliad. He made some sketches that could give ideas for the choreography. Strict selection of movements dominated in dances: plastic reproduced antique bas-reliefs and painting on vases. Some poses were held for a long time. Nijinsky limited the scene to the proscenium, subordinating all the movements of both the Faun and the nymphs to an angular pattern. The "grassroots" plasticity prevailed, occasionally as if exploding with wild jumps. Pantomime, common in ballets, was absent: everything was absorbed by the dance, peculiar, almost devoid of grace, subordinate to imagery. The last gesture of the Faun, falling on the veil forgotten by the nymph and dying in languor, shocked the audience.

At the premiere, which took place on April 29, 1912 at the Châtelet theater in Paris, "half of those present whistled, half clapped wildly," the critic testifies. A rumor spread that the Paris police would ban the performance of the ballet as obscene. In defense of the truly brilliant performance of Nijinsky, in particular, Rodin spoke. “Never was Nijinsky's behavior so significant as in his last role. No jumps - only posturing and gestures of semi-conscious bestiality. He lies down, leans on his elbow, walks on half-bent legs, straightens up, moves forward, then retreats, his movements, now slow, now jerky, angular<...> Complete harmony facial expressions and plastics of the body, accurately expressing what the mind suggests<...>He can be mistaken for a statue when, when the curtain is raised, he lies to his full height on a rock, raising one knee and holding a flute to his lips. And nothing can be more shocking than his last gesture in the finale, when he falls on a forgotten coverlet, kisses and passionately clings to it, ”wrote the sculptor. Since the performance was a "scandal success", the audience poured into the next performances. In the history of ballet, The Afternoon of a Faun remained as the first daring attempt of a kind of choreographer and marked the beginning of limitless experiments in the 20th century.

Characters:
Faun
Elder nymph
nymphs
The action takes place in ancient Greece in mythical times.

Premier of the Bolshoi Theater Nikolai Tsiskaridze is a regular participant in the Russian Seasons of the 21st Century project, initiated by charitable foundation them. Marisa Liepa, SAV Entertainment and the Kremlin Ballet Theatre. The new seasons are designed to revive the once-famous productions of the legendary enterprise of Sergei Diaghilev - "Russian Seasons" of the 20th century.

Nikolai Tsiskaridze said about this choreographic and cultural project and about his attitude to Vaslav Nijinsky: “when the idea arose that everything could be done, as it was drawn by Bakst and done by Diaghilev, I gladly agreed to start all over again and try to return to this wonderful performance. As for the ballet "Afternoon of a Faun", then of the Russian dancers, no one has ever danced it in its entirety, in full performance, in Russia - I will be the first».

In 2007 took place creative evening artist on the stage of the Moscow Academic Musical Theater named after K.S. Stanislavsky and Vl.I. Nemirovich-Danchenko, where he performed in the ballet "Afternoon of a Faun" to the music of C. Debussy (choreography after V. Nijinsky; Nymph - soloist musical theater Tatiana Chernobrovkina). In 2010, Nikolai Tsiskaridze showed The Afternoon of a Faun in Paris on the stage of the Champs-Elysees Theatre, in 2011 - on the stage of the London Coliseum Theater. The plasticity and expressiveness of N. Tsiskaridze's talent is especially visible in the frozen shots of the ballet.

Broadcast online : http://tuchkatv.ru/158-mezzo.html

Posted on Jun. 19th, 2013 at 03:56 am | | | |

Symphonic Prelude

"Fan's Afternoon"

O. Renoir. None dramatic conflict or struggle, plot or dynamic development of action - only the world of nature with a variety of its colors and images.

Mallarme's work attracted Debussy primarily because of its vivid picturesqueness. mythological creature dreaming on a hot day about beautiful nymphs.

The genre to which Stéphane Malarmé addressed did not attract contemporary poets. This is an eclogue dialogue between the characters of ancient bucolic poetry. Action, or rather inaction, takes place on the shores of the Aegean Sea, where the midday sun mercilessly burns and Pan's flute murmurs measuredly. This midday languor is broken by the frightened exclamations of the bathing dryads, to whom the shaggy patron of the shepherds creeps up ...

At the core musical composition lies, in essence, only one melodic image of "languor", built on "creeping" chromatic intonations. For his orchestral incarnation, Debussy used almost all the time the same specific instrumental timbre - a flute in a low register. The image is static, which corresponds to the composer's intention andjustified by the nature of the image itself.Only in a small middle part (three-part composition) during a new diatonic theme, string group orchestra general character becomes more stressful.The reprise ends with the gradually disappearing theme of "languishing".

"Faun" was performed in 1894, after which Debussy the composer was talked about in the wide musical circles of Paris. And in 1912, Vaslav Nijinsky staged "Faun" in the form of a choreographic picture.

After the first performance of The Afternoon of a Faun, Debussy received a letter from Stéphane Mallarmé: “Your illustration of the Faun not only does not discord with my text, on the contrary, it exceeds it with nostalgia, amazing sensitivity, dreaminess and richness.”