Pina Bauschs Inszenierung Le Sacre du Printemps. Eine Fallanalyse zur Soziologie symbolischer Formen und ritueller Ordnungen

2015 ◽  
pp. 233-250
Author(s):  
Jürgen Raab ◽  
Hans-Georg Soeffner
Keyword(s):  
Le Sacre Du Printemps

Marie Rambert and Nijinsky's Le Sacre Du Printemps

2001 ◽  
Vol 19 (1) ◽  
pp. 3-10
Author(s):  
Clement Crisp
Keyword(s):  
Le Sacre Du Printemps

The Spanish Reception of Le Sacre du Printemps (1913–1936)

2018 ◽  
Vol 36 (1) ◽  
pp. 48-66
Author(s):  
Idoia Murga Castro
Keyword(s):  
Nineteenth Century ◽  
Civil War ◽  
Spanish Civil War ◽  
Original Work ◽  
Silver Age ◽  
Avant Garde ◽  
Ballets Russes ◽  
Rite Of Spring ◽  
Le Sacre Du Printemps ◽  
Cultural Expansion

Centenary celebrations are being held between 2016 and 2018 to mark the first consecutive tours of Diaghilev's Ballets Russes in Spain. This study analyses the Spanish reception of Le Sacre du Printemps (The Rite of Spring) (1913), one of its most avant-garde pieces. Although the original work was never performed in Spain as a complete ballet, its influence was felt deeply in the work of certain Spanish choreographers, composers, painters and intellectuals during the so-called Silver Age, the period of modernisation and cultural expansion which extended from the end of the nineteenth century to the beginning of the Spanish Civil War.

Copy Rites

2021 ◽  
pp. 580-594
Author(s):  
Rachana Vajjhala
Keyword(s):  
Original Choreography ◽  
Dance Performance ◽  
Basic Assumptions ◽  
Theatrical Space ◽  
Extensive Documentation ◽  
Rite Of Spring ◽  
Le Sacre Du Printemps ◽  
Basic Constituent

This chapter considers two contemporary versions of The Rite of Spring: Xavier Le Roy’s Le Sacre du Printemps and Jérôme Bel’s self-titled production. Because there is relatively extensive documentation of Nijinsky’s original choreography for the Rite, so-called reconstructions are widely known and available. But Le Roy and Bel seek to reimagine the ballet completely. Le Roy loosely “conducts” the score as it is piped out of speakers placed among the audience, thus inverting the traditional spatial and artistic dimensions of theatrical space. Bel drastically denudes his Rite, with naked dancers, a nearly bare stage, and a flimsy monophonic rendition of the gargantuan score. He embarks on a subcutaneous exploration of a dance performance to discover its most basic constituent parts. In reworking the ballet’s “original” materials, these artists expose some basic assumptions about music and dance as media, both as performance acts and as objects of study.

Récit de travail sur Le Sacre du printemps

2007 ◽  
Vol 20 (2) ◽  
pp. 22 ◽  
Author(s):  
Xavier Le Roy
Keyword(s):  
Le Sacre Du Printemps
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