The premiere at the Théâtre des Champs Élysées in Paris on 29 May 1913 of The Rite of Spring Scenes from Pagan Russia was a quintessential ‘total work of art’. An interdisciplinary, international one-day conference was organized by Dr Claire O’Mahony (University of Oxford) in May 2013 which examined the cross-fertilizations between ballet and design in the creation of the original production as well its critical reception and global legacies up to the 2013 centenary productions. Fifteen scholars from universities around the globe investigated both the continuity and ruptures with the traditions of choreographic, visual, musical and literary cultures it provoked. Most of them agreed to have podcasts recorded which form this series.
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| # | Episode Title | Description | People | Date | |
|---|---|---|---|---|---|
| 9 | Creative Commons | Mapping Nijinsky’s Cross - Cultural Legacy: Min Tanaka’ s Le Sacré du Printemps (1987) | Igor Stravinsky’s Le Sacre du printemps is arguably the most influential score composed for dance in the last century. | Lucy Weir | 05 Dec 2014 |
| 8 | The Chosen One: Massine’s Choreographic Rite of Passage | Seven years after the succès de scandale of the Stravinsky-Nijinsky-Roerich ballet Le Sacre du printemps, Serge Diaghilev decided to revive the ballet with new choreography by his young protégé, Léonide Massine. | Lisa Fusillo | 05 Dec 2014 | |
| 7 | The Spanish Reception of The Rite of Spring : Ballet, Music, Fine Arts (1913-33) | This study analyses the reception of The Rite of Spring in the Spanish cultural networks. Although the ballet was only performed in 1913, three years before the first visit of Diaghilev’s Ballets Russes to Spain, its influence became notorious among some | Idoia Murga Castro | 05 Dec 2014 | |
| 6 | D H Lawrence’s Rite | In a notable scene from Women in Love (1920), D. H. Lawrence draws attention to the popularity of Diaghilev’s enterprise as representative of the avant garde in the arts in contemporary Britain. | Sue Jones | 05 Dec 2014 | |
| 5 | Creative Commons | A Bardic Rite? Designing the Savoy Shakespeare’s A Midsummer Night’s Dream | For a few nights in March 1914 if contemplating buying a theatre ticket in London, there was a brief chance when one could have seen Nijinsky dance at the Palace Theatre one night and the next the new Shakespeare’s A Midsummer Night’s Dream at the | Claire O'Mahony | 05 Dec 2014 |
| 4 | Creative Commons | Divining the 1920s: Precious Body Image in Vaslav Nijinsky’s 1913 Ballets | This paper examines the ways in which dancers’ body image in Vaslav Nijinsky’s 1913 ballets The Rite of Spring and Jeux looked forward to 1920s developments in ballet and fashion. | Katerina Pantelides | 05 Dec 2014 |
| 3 | Creative Commons | Disruption in Continuity: The Use of Ornament in The Rite of Spring | Vaslav Nijinsky’s choreography for the Rite of Spring was structured by movement patterns based on simple geometrical forms – such as circles, triangles, lines and angles – which his dancers incorporated with their bodies and limbs. | Alexander Schwan | 05 Dec 2014 |
| 2 | A Century of Rites : The Making of an Avant - Garde Tradition | A historiography of a century of productions of the Rite of Spring. | Lynn Garafola | 05 Dec 2014 | |
| 1 | Creative Commons | Prehistoric Ballets: L’Après Midi d’un Faune as precursor of The Rite of Spring | On the 29th of May 1912, exactly a year earlier than the premiere of The Rite of Spring, Sergei Diaghilev’s Ballets Russes had scandalized Parisian audiences with the first performance of another | Nicoletta Momigliano | 05 Dec 2014 |