The Exploration of the Rite of Spring Costumes

Greenshields 1 The research for this radical was base off a question that came to, while re-visiting the hi history and celebrating the ace cardinal-hundredth anniversary of Vaslav Nijinskys creation of Le Sacre du Printemps, The even up of cringe that premiered in 1913. This question in mind has many dimensions when asked, to comp ar the relationship amongst the gussy ups of Nijinskys The Right of ring and Pina Bausch interpretation of the induce.When researching both ballets in relationship to the garbs that were represented in each version it becomes un communicate of the real reasons hobo the choices that Nijinsky and Bausch made to develop the title, stick out and visual effect of the costumes Questioning whether there was a specific initial inspiration for the designs or perhaps it was the style in the beat period when both individualist ballets premiered and was influenced by mode and society.Beginning to study where it all began in the proterozoic 1900s w ith Nijinskys increment of The Right of Spring the focus is on the involvement of individuals who took part in the creation and development process of the original costumes. This give notice be change down to Nicholas Roerich as the designer, Igor Stravinsky who potentially provided inspiration for Roerichs designs and finally Nijinsky himself.To encounter at and discover how Roerich was shake and where the root of his designs substantial from other than Nijinskys vision, if any, brings this magic spell of writing one step closer to clearly reply the question of not tho where the costumes initiated from precisely overly how they compare to afterwards ballet costume creations. Speaking of other ballet costumes, there go forth be research done on Pina Bauschs 1975 interpretation of The Right of Spring with regard to her costumes in comparison to NijinskysGreenshields 2 costumes. The hopes are to straighten out a strong visual and rational go outing of the development th e styles give up gone through and the reasons for the advancement in ballet costumes. Having the opportunity to view for such(prenominal) a uniquely creative woman like Bausch, who had such an impact on the dance and stage dancing world, will cede this paper to go beyond a simple comparison between the costumes themselves only if will allow further exploration of questions concerning how and why they developed into what they did.The tinge of the time period potentially having an influence in the designs of Nijinskys and Roerich costumes also implies to Bauschs costumes as well, which will coincide with the overall change that the implementation ware came to since the early 1900s to 1975. Exploring the relationship between Nijinskys in The eucharist of Spring costumes in 1913, to Pina Bausch costumes in 1975 it is visually clear to stick point the distinct aspects each costume possesses.The challenging part of this instal of writing is going to be discussing how multiple costume creations come about(predicate) from the same score, how such opposite but equally meaningful costumes can represent a similar story line in different eras, and overall where the inspiration came from, if inspired from anything or anyone at all for the costume designs in both Nijinskys and Bauschs versions of The Right of Spring. Nijinsky hired Nicholas Roerich to supporter with the creations and designs for his costumes due to his outstanding and miraculous art work and the international constitution he had developed for himself over the previous years.They began their collaboration for The Right of Spring in the early 1900s, a few years before the 1913 premier. Roerich was approach with a big commitment when he was asked to create and design the costumes that would annoy or break Nijinskys piece Greenshields 3 of artistic work. Roerich authoritative this task and immediately began consulting with Stravinsky, Diaghilev and of course Nijinsky to create what would soon to be the to the highest degree unappealing costumes during this time for the future world renowned ballet.Other ballets being produced during the early 1900s began to present their terpsichoreans in more redbrick daytime ballet attire Clothes began to be more simple, leotards were worn and eventually the tutu (Wagner). Nijinskys vision and Roerichs designs completely went against the modern ballet look with the use of unflattering over sized material that covered the dancers limit and alignment, some even referred to them looking like potato sacks or taters (essortment Your semen for Knowledge ).One aspect of early 19th century ballet costumes that Nijinsky and Roerich grasped was the major power to use a novelty of color and designs in the creation of the costumes, which they did real well. Roerichs costumes were very unique in the way he employ intricate patterns mixed with a variety of shapes and colors. H is designs were said to be inspired by Stravinskys brilliant and century marking score he developed specifically for Nijinskys ballet and hindquartersed up by The Princess Maria Tenishevas collection that also overhauled initiate Roerichs work.In the case of Roerichs costume designs, the initial inspirations become evident only we are still left with uncertainty as to why such foreign and unpleasant costumes came from such experienced, intelligent artists. In 1975, Pina Bausch the legendary dancer and choreographer had completed choreographing and premiering her own interpretation of Stravinskys score and Nijinskys story line to produce her own The Rite of Spring.Bausch was known for her elaborate and further fetch setting and images one sees on stage and in accompaniment her interpretation of the Rite of Spring involved Greenshields 4 the dancers performing with a layer of dirt over the stage making the movement and choreography more difficult to perform as the piece progresses (Mackrell). Comparing Bausch costumes that were knowing b y Rolf Borzik to Nijinsky and Roerich designs it is evident that Bausch incorporated some aspects of the original costumes but developed them into a more modern day look.Bausch kept the lengthiness of the costumes but use a lighter material on the females and had the males dance shirtless to allow the dancers body and alignment to be visible. The material that Bausch had the females run down was so thin that as the dancers became more vigorous the material became expose with remnants of soil ground in. This making the costumes and choreography appeal more earthier and grounded in a natural way as opposed to Nijinskys, where he used thick, busy yet clean material with long braided laissez passer dresses to portray that earthy look.Bausch also eliminated color for all the other performers costumes leave off the virgin, who wore red to signify the importance of the sacrifice. This was well thought out on her part for there was more focus on the virgin during the initial scene of th e sacrifice and portrayed the characters in a modern day light with having the red dress be the focal point with sunglasses of beige white and black subtly surrounding the red.While researching Pina Bausch and the creation of her costumes it became clear as to why she made changes from Nijinskys original costumes while producing her own. She plain made the costumes more appealing to modern day society Russian Ballet had a wide effect, a remarkable influence on fashion (Spencer 149-162), which happened to correspond and enhance the look of the movement and choreography on the dancers body.Unfortunately there lacked evidence on what or who inspired Bausch or Borzik to create these modern day costumes, Greenshields 5 which interfered in tell where the costume designs were inspired from but helped with the overall understanding of the relationship between Nijinskys and Bauschs The Right of Spring costumes. This may be a realization for some that artists in a develo flagstoneg world ar e capable of adapting to the changes and progress in society.Taking a moment to step back and look at both the costumes from an outside perspective it is noticeable that each design gives off a completely different vibe from one another by the use of unique fabric, colors, shapes and patterns. There has been an enormous organic evolution in the dance wear from the 1900s until now, and both Nijinskys and Bauschs versions of the ballet are just two examples of the development it experienced in the 1900s alone. After this period, costumes and dance wear in general proceed on this course of instruction of development and grew into an enormous selection and an endless variety of designs to base any genera of costumes off of.One feature of costumes in general that continue through the decades of development is the ability to incorporate meaning and implication into the design of the outfit. Both ballets previously talked about in this essay present conditional relation within their c ostumes through the shapes and intricate patterns inspired by Stravinsky that Roerich used on Nijinskys costumes and the use of a single solid color signifying the implication of the sacrificial virgin in Bauschs interpretation. Some of the figures thus organize came to have symbolical meanings (Royce 192-212).This is a tactic still used in the performing arts today to help the audience fully understand the directors vision and or to signify something of importance that may influence how one sees the performance. The research for this piece of writing has uncovered many discoveries regarding a costume comparison between Nijinskys and Pina Bauschs versions of The Right of Spring. It Greenshields 6 has looked deeper into pin pointing inspirations that have influenced the design and creativity of the costumes, as well as etermining the significance that stage costumes portray. This essay also spends a great deal of time picking apart and examining the relationship between Nijinskys 1 913 ballet with Bauschs interpretation done in 1975. It looks at the development of The Right of Spring costume designs during 1913-1975 and discusses the continual development it had to todays generation as it continues to expand. As a student of Social Work with dance as a minor, the research inquiries in this essay have aspects that will help me in both of my career options.What triggers my attention the most is the idea of a constantly developing world that will influence any individual practicing their profession in todays society. This reading is most accommodating to me in the dance stream, as any artist would know that it is highly important to keep others and more importantly yourself in tune with modern day aspects of the dance world. Although not every performance or piece of artistic work needs to incorporate current day trends, it is essential to learn about the developments that have happened or that are taking daub to expand your knowledge and create the best work available to you.Not only will this be useful to me throughout my dance life, it has also taught me to be aware of the developments and changes that are taking place day to day which will enhance my role as a critical social worker. other important aspect of the research I uncovered that will be beneficial to me as a dance student is the overall primer coat knowledge I gained on Vaslav Nijinsky, Nicolas Roerich and Pina Bausch.Nijinsky and Bausch especially, as I could now homely educate others on their separate versions of The Right of Spring focusing on the history and creations of the Greenshields 7 costumes. Having focused on two very sacred dancers and choreographers who impacted the dance world in one way or another it will help me in whatever career path I choose from the initial information gathered or whether it be from the messages behind the facts there will always be useful information to me as an individual who studied dance.Bibliography 1. Right of Spring by Igor S travinsky. essortment Your source for Knowledge . 2011 n. page. Print. . 2. Kant, Marion. The Cambridge Companion to Ballet. Cambridge Cambridge University Press, 2007. 3. Kelly, Thomas. Milestones of the Millennium. Milestones of the Millennium. (1999) n. page. Print. http//www. npr. org/programs/specials/milestones/991110. motm. riteofspring. html. 4. Kirstein, Lincoln. Four Centuries of Ballet Fifty Masterworks.New York Dover Publications, 1984. 5. Mackrell, Judith. The Guardian. Guardian. (2008) n. page. Print. . 6. Rerikh, Nikolai? Konstantinovich, and Cordier & Ekstrom. Nicholas Roerich Decors and Costumes for Diaghilevs Ballets Russes, and Russian Operas. New York Cordier Ekstrom, 1974. 7. Royce, Anya Peterson. The Anthropology of Dance. Canada Fitzhenry Whiteside Limited, 1977. 192-212. Print. 8. Spencer, Charles. The solid ground of Serge Diaghilev. England Paul Elek, London, Limited , 1974. 49-162. Print. 9. Taruskin, Richard. Stravinsky and the Russian Traditions A biography of the Works through Mavra. Berkeley University of California Press, 1996. 10. Thomas, Michael. A Riotous Premiere Igor Stravinsky The Rite of Spring. San Francisco symphony guardianship Score . N. p. , n. d. Web. http//www. keepingscore. org/sites/default/files/swf/stravinsky/full. 11. Wagner, Christopher. diachronic Boys Clothing. Historical Boys Clothing. (2002) n. page. Print. . 4. Kirstein, Lincoln. Four Centuries of Ballet Fifty Masterworks.New York Dover Publications, 1984. 5. Mackrell, Judith. The Guardian. Guardian. (2008) n. page. Print. . 6. Rerikh, Nikolai? Konstantinovich, and Cordier & Ekstrom. Nicholas Roerich Decors and Costumes for Diaghilevs Ballets Russes, and Russian Operas. New York Cordier Ekstrom, 1974. 7. Royce, Anya Peterson. The Anthropology of Dance. Canada Fitzhenry Whiteside Limited, 1977. 192-212. Print. 8. Spencer, Charles. The World of Serge Diaghilev. England Paul Elek, London, Limited , 1974. 49-162. Print. 9. Taruskin, Richard . Stravinsky and the Russian Traditions A Biography of the Works Through Mavra. Berkeley University of California Press, 1996. 10. Thomas, Michael. A Riotous Premiere Igor Stravinsky The Rite of Spring. San Francisco symphony Keeping Score . N. p. , n. d. Web. http//www. keepingscore. org/sites/default/files/swf/stravinsky/full. 11. Wagner, Christopher. Historical Boys Clothing. Historical Boys Clothing. (2002) n. page. Print.