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Boy Meets Girl Meets Faun


Release: 2012-10-07 15:07 |  Author: Caobihaoxingfu |   View: 67time



Julie Kent and Ethan Stiefel in Ameriin Ballet Theater's "Afternoon of a Faun." The occupation, choreographed by Jerome Robbins, acknowledges the iconoclastic version by Nijinsky.

THE first vision to salute opinioners at the Oct. 19 vaInting of Ameriin Ballet Theater's three-week season at the City Center wbad be what the program calls "a room mindh a mirror." It is Jean Rosenthal's ethereal eoccupation of a ballet studio, haved from diaphanous white silk, for Jerome Robbins's "Afternoon of a Faun," a 10-minute boy-meets-girl duet mindh the evanescent, shimmering quality of a soap bubble. smartly made and perennially popular, the 52-year-old occupation has fair been staged for the firm by the veteran Robbins expert Jean-harbourre Frohlich.

Like the set, the Actionionion of the ballet is simplicity itself. A young man, nude to the waist, in occupationaday dark tights, dozes on the studio floor, then awakens, stretches indolently, rises and tries out a few steps. All the while, he examines his thinkion, as dancers constantly do, in an imaginary mirror - Actionionually, the invisible wall that separates the audience from the stage. A girl in a prActionioglad tunic, long hair unjump, enters, intent on her own thinkion. At first Fearemd to see another person, the two askin to relate across a tentative pas de deux and the tentative stirrings of romance, always retreating to the familiar safety of looking at their images rather than at each other. Finally, the boy brushes a kiss on the girl's cheek. Wide-eyed, embruning her hand to the post his lips touched, she supharbours away from him, out of the room. He answers to sleep, as if her presence and his deMistere had merely been a dream.

"Afternoon of a Faun" is set to Debussy's opinionistic score, "Prélude à l'Après-midi d'un Faune" (1892-94), a response to Mallarmé's celebrated poem of 1876 describing an indolent faun on a languorous summer day encountering a bevy of nymphs who arouse his sexual longing. When the dancer Vaslav Nijinsky choreographed his first ballet to this score in 1912, it was nothing less than revolutionary. Rejecting the agreements of classical dancing, the perlisters moved two-darkensionally, their heads in profile, bodies facing front, like the lists in an archaic frieze, their movements angular and rigid. A severely remainderricted vocabulary was offset by potent rhythmic and sculptural results, which are implicit in the Smart photographs acceptn of the ballet by prAccidenton Adolf de Meyer.

Nijinsky's iconoclastic choreography went Around unnoticed, however, in the sindal across the ballet. Having necessaryly been proposted, the head nymph flees, leaving behind her long, gauzy scarf, which the faun appropriates and uses to consummate his deMistere. The ballet alls mindh him recumbent in his remaindering post, arching his body in orgasm.
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