#Spring Dancers

[x-heesy]

𝙻 𝚘 𝚟 𝚎

„𝚂𝚙𝚛𝚒𝚗𝚐 𝙳𝚊𝚗𝚌𝚎𝚛𝚜“. 𝙿𝚑𝚘𝚝𝚘𝚐𝚛𝚊𝚙𝚑𝚎𝚍 𝚋𝚢 𝙲𝚕𝚎𝚖𝚎𝚗𝚝 𝙼𝚘𝚛𝚊𝚗, 1920

𝙵𝚊𝚋𝚕𝚎𝚜 & 𝙵𝚊𝚒𝚛𝚢𝚝𝚊𝚕𝚎𝚜 - 𝙳𝚎𝚗𝚒𝚣 𝙺𝚞𝚛𝚝𝚎𝚕 𝚁𝚎𝚖𝚒𝚡 𝚋𝚢 𝙽/𝚊, 𝚁𝚘𝚜𝚒𝚗𝚊

[tessawinterbourne]

[mausirot]

ferragamo ss25

[pastasauceandmoms]

[puffofpinknpretty]

[albeitz]

when you remember that denji didnt know that reze was going to the cafe oh they make me so ill

[blackswaneuroparedux]

There is no beauty in Music itself, the beauty is within the listener.

- Igor Stravinsky

“The idea of The Rite of Spring came to me while I was still composing Firebird,” Igor Stravinsky recalled, 45 years after the ballet’s first performance in 1913, in his book Conversations. “I had dreamed of a scene of pagan ritual in which a chosen sacrificial virgin danced herself to death.” If Stravinsky is to be believed, this dream marked the beginning of a process that culminated in the premiere of one of the 20th century’s most important musical works.

Stravinsky’s music was meant to capture the spirit of the scenario, which he had outlined with the help of painter and ethnographer Nikolai Roerich and dancer and choreographer Mikhail Fokine during the spring and summer of 1910. Roerich had filled Stravinsky’s head with tales about all sorts of rituals from ancient Russia – divinations, sacrifices, dances, and so on – involving a variety of characters. The ballet that resulted revolves around the return of spring and the renewal of the earth through the sacrifice of a virgin. In his handwritten version of the story, Stravinsky described The Rite as “a musical choreographic work. It represents pagan Russia and is unified by a single idea: the mystery and the great surge of the creative power of spring….”

Stravinsky completed the score on 29 March 1913, and exactly two months later, the ballet premiered in Paris at the Théâtre des Champs-Élysées, where it caused the famous scandal that ushered in modern music. Nijinsky’s choreography and the wild, unchecked power of Stravinsky’s score were something wholly new. Stravinsky wrote for one of his largest orchestras ever in The Rite of Spring, and he used it with an assurance and confidence one would hardly expect from a composer just out of his twenties and with only two big successes - The Firebird and Petrushka - behind him.

But those two scores, for all of their individuality and accomplishment, did not seem like they were leading to The Rite of Spring. What Stravinsky did was totally unexpected.

The stage action during the ballet’s second half, leading up to the sacrifice, was enough to capture the attention of even that raucous audience at the first performance. Finally quiet, they could hear Stravinsky’s score and watch as Maria Piltz, the dancer who played the sacrificial victim, stood motionless as the ritual unfolded around her, gradually coming to life to perform her dance, with its angular contortions and tortured motions.

What actually happened on that scandalous night will always be a mystery to some degree, because the reports contradict each other. Was it the choreography that annoyed people, or the music? Were the police really called? Was it true that missiles were thrown, and challenges to a duel offered? Were the creators booed at the end, or cheered?

The dancer Dame Marie Rambert remembered that right at the beginning ‘a shout went up in the gallery: “Un docteur!" (Call a doctor!). Somebody else shouted louder, “Un dentiste!" (a dentist!)’. The aristocrat Harry Kessler said that people started to whisper and joke almost immediately. Stravinsky himself was so angry that he stormed out and went backstage to help the dancers keep time.

What is certain is that the audience was shocked - and with good reason. Stravinsky’s score for The Rite of Spring contradicted every rule about what music should be. The sounds are often deliberately harsh, right from opening Lithuanian folk melody, which is played by the bassoon in its highest, most uncomfortable range. The music was cacophonously loud, assaulting the ears with thunderous percussion and shrieking brass. Rhythmically it was complex in a completely unprecedented way. In the ‘Ritual of the Rival Tribes’ the music unfolds in two speeds at once, in a ratio of 3:2. And it makes lavish use of dissonance, i.e. combinations of notes which don’t make normal harmonic sense. ‘The music always goes to the note next to the one you expect,’ wrote one exasperated critic.

Then there was the dance, choreographed by Nijinsky. According to some observers this was what really caused the scandal at the first night. When the curtain rose the audience saw a row of ‘knock-kneed and long-braided Lolitas jumping up and down’ as Stravinsky called them, who seemed to jerk rather than dance. Classical dance aspired upwards, in defiance of gravity, whereas Nijinsky’s dancers seemed pulled down to the earth. Their strange, stamping movements and awkward poses defied every canon of gracefulness.

Both the music and the dance of The Rite of Spring seemed to deny the possibility of human feelings, which for most people is what gives art its meaning. As Stravinsky put it, ‘there are simply no regions for soul-searching in The Rite of Spring’. This is what separates it so decisively from Stravinsky’s hit of 1911, Petrushka. There we’re immersed in a human world, which exudes the very specific cultural ambience of Russia. It’s true that the main characters are puppets, rather than rounded human beings. But they have characters, even if they’re somewhat rudimentary, and at the end there’s even a suggestion that Petrushka might have a soul.

* Pina Bausch's interpretation of Stravinksy's Rite. A masterpiece of modern dance.

[narcissussren]

I wrote a little scene from the ballet au for the sake of writing it in my phone notes, I didn't research for the accurate translation of some phrases, it was just my brain and me for the idea I got

Eren likes Mikasa, but girly pop hasn't realize it, she admires him but has awkward feelings toward him

[blackbirdsnonsense]

Took only ONE DAY for me to get this done once I had all the specials! That's how much this video has planned in my head!

So I REALLY hope people will like, share & comment on it.

[angrybatart]

💤

[sieglinde-freud]

every time this banner rolls around i remember how this is the single greatest thing intsys has ever done for me

[itsallmadonnasfault]

[photo-critter]

Oniya Divine

Like what you see? Buy us a coffee!

[yellow-artz]

Redesigns for 🧪 & 🩰 spring heated wine essence

I had somewhat of a clear idea for spring heated win, longer skirt, getting rid of that stupid ass cape, and adding more jewelry

Margie on the other hand I struggled a lot, I really liked her original design but I’ve seen a lot of people talk about her being too simple. I tried making it more interesting but all that resulted was just giving her a longer robe, I’m sorry I struggled a lot with her <\3

[valkariel]

Colors of Thavnair v.2

» Rework of Colors of Thavnair «

Head: Peacock Hat - colibri pink Body: Thavnairian Bustier - pastel blue Hands: Idealized Dancer’s Armlets - pastel blue Legs: Faerie Tale Princess’s Long Skirt - lotus pink Feet: Idealized Dancer’s Shoes - pastel blue

Earring: Sharlayan Conservator’s Earrings Neck: The Emperor's New Necklace Wrists: The Emperor's New Bracelet Right Ring: The Emperor's New Ring Left Ring: The Emperor's New Ring

Main Hand: Augmented Lunar Envoy’s Tathlums - cherry pink Off Hand: --

Fashion Accessory: -- Minion: -- Location: Faeberry Atelier

Shader: Faeberry Studio