SACRE 1913

Shamanic Sources & Ultramodern Forms

in Experiment
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Shamanic designs used by painter and archaeologist Nicholas Roerich on the costumes for the original Rite of Spring (1913) apparently shaped the ground patterns of the choreography by Vaslav Nijinsky. Dance detectives Kenneth Archer and Millicent Hodson demonstrate how they discovered these dance and design correspondences in the course of reconstructing the lost Rite for the Joffrey Ballet in 1987 and for other companies worldwide since that time.

SACRE 1913

Shamanic Sources & Ultramodern Forms

in Experiment

References

1

Kenneth Archer“Nicholas Roerich And His Theatrical Designs: A Research Survey,” Dance Research Journal18/2 (Winter 1985-1986) pp. 3-6. The article includes a reproduction of the original design from 1913.

33

S.L.B.“Nijinsky and the Dancing Revolution,” The Sketch (July 23 1913) pg. 96.

Figures

  • View in gallery
    Roundel motif on the chest of the smock for the Maidens in Red (Kenneth Archer, Reconstruction Costume Dossier for Le Sacre du Printemps, 1987).
  • View in gallery
    Mariinsky Maiden in Red with roundels and one of the Young People with the Firewheel motif, “Ritual of Abduction,” Act i, Scene 2.

    photo by kenneth archer, 2012

  • View in gallery
    Firewheel motif on the hem of the Young People’s smock (Kenneth Archer, Reconstruction Costume Dossier for Le Sacre du Printemps, 1987).
  • View in gallery
    Valentine Gross drawing of Tall Women and Maidens in Double Triangle, Spring Rounds, Act i, Scene 3 (Millicent Hodson, Nijinsky’s Crime Against Grace: Reconstruction of the Original Choreography for Le Sacre du Printemps, Pendragon, New York, 1996), p. 69. Gross drawings used by permission of Madame Jean Hugo.
  • View in gallery
    Clash of colors and motifs in the “Tug of War” at the Rome Opera, “Ritual of the Rival Tribes,” Act i, Scene 4.

    photo by shira klasmer, 2007

  • View in gallery
    Square motifs on the midriff of the smock for the Small Maidens in Red (Kenneth Archer, Reconstruction Costume Dossier for Le Sacre du Printemps, 1987).
  • View in gallery
    Focal circle motif on sleeve of the smock for the Young Women in Blue (Kenneth Archer, Reconstruction Costume Dossier for Le Sacre du Printemps, 1987).
  • View in gallery
    Paris Opera Maidens falling around the Chosen One, “Evocation of the Ancestors,” Act ii, Scene 3.

    photo by jacques moatti, 1991

  • View in gallery
    Beatriz Rodriguez of the Joffrey Ballet as the Chosen One, “Sacrificial Dance,” Act ii, Scene 5.

    photo by herbert migdoll, 1987

  • View in gallery
    Daria Pavlenko and Mariinsky Ballet at the Théâtre des Champs-Elysées centenary, Paris, “Sacrificial Dance,” Act ii, Scene 5.

    photo by viacheslav khomyakov, 2013

  • View in gallery
    Bird of power motif on the sleeve of the Young People’s smock (Kenneth Archer, Reconstruction Costume Dossier for Le Sacre du Printemps, 1987).
  • View in gallery
    Nicholas Roerich’s initials for his first name and patronymic among the motifs on the smock for the Young Women in Blue. Kenneth Archer, Reconstruction Costume Dossier for Le Sacre du Printemps, 1987).

Index Card

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