Os Faunos de Nijinsky: As (Re) Interpretações de L’Après-Midi D’um Faune
With music by Claude Debussy, design by Liev Bakst and choreography by Vaslav Nijinsky, L'Après-midi d'un Faunedebuted, with great controversy, on the stage of the Théâtr...
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| Tipo de recurso: | artículo |
| Estado: | Versión publicada |
| Fecha de publicación: | 2019 |
| País: | Brasil |
| Institución: | Universidade de Brasília (UnB) |
| Repositorio: | Em Tempo de Histórias (Online) |
| Idioma: | portugués |
| OAI Identifier: | oai:ojs.pkp.sfu.ca:article/28163 |
| Acceso en línea: | https://periodicos.unb.br/index.php/emtempos/article/view/28163 |
| Access Level: | acceso abierto |
| Palabra clave: | Fauno. Ballet Russo. Vaslav Nijinsky. Faune. Ballets Russes. Vaslav Nijinsky. |
| Sumario: | With music by Claude Debussy, design by Liev Bakst and choreography by Vaslav Nijinsky, L'Après-midi d'un Faunedebuted, with great controversy, on the stage of the Théâtre du Châtelet, in Paris, on May 29, 1912. Telling the story of a Faun who meets with a group of nymphs through marked movements and an unconventional base position for classical ballet at the time, the first choreography of the acclaimed "dance god" was immersed in thecontroversies that would lead to the spectacle, and the character of the Faun, to be seen as synonymous of the name Vaslav Nijinsky. As the only choreography of the Russian dancer to survive the nearly seventy years between its debut and the reconstruction made in the 1980s, L'Après-midi d'un Faunelived in memory. This work proposes to reflect if this memory is about the choreography itself or the choreographer. |
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