“Expressive dance” on the stage: The rite of spring by I. Stravinsky – M. Wigman
Abstract
The Rite of Spring is still one of the most popular scores among choreographers. In 1957, the author’s version of this score was presented by Mary Wigman (Marie Wiegmann) — one of the pioneers of German expressive dance. Wigman actively introduced themes of violence, death, despair, and pain emphasized naturalism of the experiences associated with them into the themes of choreographic art. She argued for the liberation of dance from the dictates of music and for the separation of dance from the obligatory following of entertainment and aesthetic tasks. Thus, Wigman created her own dance religion in Europe. Wigman turned to Stravinsky’s score at the age of 71. In 2013, the reconstruction of this performance was carried out. The analysis of Wigman’s production based on comparison with the content of the libretto, with the musical concept and with the choreographic solution of the Dyagilev’s performance of 1913. Analysis allows to see that Wigman subordinated her artistic ideology to the laws of theatrical perception and relied on the traditional expressive possibilities of dance in synthesis with the content of the score.
About the Author
O. V. Gryzunova
Vaganova Ballet Academy
Russian Federation
Russian Federation
Gryzunova O. V. — Cand. Sci. (Arts), Assistant Professor
2. Rossi St., St. Petersburg, 191023
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Review
For citations:
Gryzunova O.V. “Expressive dance” on the stage: The rite of spring by I. Stravinsky – M. Wigman. Bulletin of Vaganova Ballet Academy. 2022;(1):24-38. (In Russ.)
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