Speaking of "Faune" -- and don't worry, we'll get to "Rite of Spring" in a bit! -- this would be a good time to turn to Herve Nisic's 26-minute film, "Revoir Nijinsky," featured in this exhibit. Here we get some material that's a rave for fans and scholars alike: First, there's tape of Paris Opera Ballet star Charles Jude -- Nureyev's longtime friend and protege -- being taught the Faune in 1976 by Massine, who was to succeed Nijinsky at the Ballets Russes. Then, we are in the year 2000 -- and Jude is teaching the movement, particularly the hunching of the back, the angling of the elbows, and the positioning of the Faune's fingers -- to his own dancers at the company of the Opera of Bordeaux.
Following this, we get into the real nitty-gritty regarding those specifically placed fingers, with an interview with Ann Hutchinson Guest, a co-founder of the Dance Notation Bureau and doyen of Labanotation, who recalls, demonstrating on her own hands, how Nijinsky's wife, Romola, asked her to decipher Nijinsky's own notation for "Faune."
First, there was, surprisingly, little that had to be decoded in Nijinsky's homemade version of notation. "For the Nymph," Guest explains,"the hands were: finger, slightly bent; other times quite angular; the range of difference in the hands and feet -- all these were in the notation."




By Paul Ben-Itzak

Copyright 2000 The Dance Insider

retour au sommaire des textes et critiques