《牧神の午後》（1912 年）におけるヴァーツラフ・ニジンスキーの創作の意図
2018 年 2018 巻 41 号 p. 1-11
詳細
2018 年 2018 巻 41 号 p. 1-11
The aim of this study is to clarify what was Vaslav Nijinsky's intentions for his first choreographic
work, L'Après-midi d'un Faune, through the analysis of his words on the work.
Vaslav Nijinsky [1889? - 1950] is a Russian dancer and choreographer in the early 20th century,
and he was a member of Sergei Diaghilev’s Ballets Russes. His Faune has some strong characteristics:
two-dimensional symbolization, sexual representation, and angular forms and gestures. However, his
choreographic intentions of the work has not been thoroughly researched.
By further analyzing his words, it became clear that Nijinsky tried to harmonize the classical
attitudes of the ancient bas-reliefs and the aesthetical movements of the Greek-Roman mythological
characters in the Faune. Also, he was very interested in pure forms and gestures of ancient Greek
sculptures, and he tried to incorporate them into his work. Considering his aesthetic interests and the
contemporary art movements, it is concluded that he attempted to demonstrate purely plastic dancing
body in the Faune by adopting angular forms and two-dimensional symbolization from the theory of
the art of Cubism.
