Timeline – a few rites in chronological order

1909 Les Sylphides (Chopiniana), Paris premiere of the Ballets Russes

1912 Afternoon of a Faun, World Premiere in Paris, Théâtre du Châtelet, May 29 (movement reconstructed from Nijinsky’s notebooks by Ann Hutchinson Guest and Claudia Jeschke, late 1980s)

1913 Premiere, Весна Священная (Le Sacre du Printemps), World Premier in Paris

1975 Pina Bausch, Le Sacre du Printemps

1990 Min Tanaka, Le Sacre du Printemps, premiere at Paris Opera

1993 Marie Chouinard, Le Sacre du Printemps, created at Centre national des arts, Ottawa

1999 Carlotta Ikeda/Compagnie Ariadone, Haru No Saïten – Un sacre du printemps, premiere at the Théâtre de la Bastille, Paris

2001 Angelin Preljocaj, The Rite of Spring, a Franco-German co-production joining the dancers of the Ballet Preljocaj with those of the Berlin Staatsoper, with Daniel Barenboïm directing Igor Stravinsky’s score

2007 Stijn Celis, Rite, Bern Ballet (this date is unclear. Celis was artistic director of Bern Ballet from 2004-2007, but elsewhere he is listed as having created this version in 2009, although Cedarlake Dance which also performs this version in repertory records their premiere as 2008.)

2007 Xavier Le Roy, Le Sacre du Printemps

2009 Philharmonia Orchestra, RE-RITE, interactive digital installation capturing an orchestral performance on 29 cameras and arraying them on a forest of flat panel screens. Premiere London

2011 Rennie Harris: Heaven, Philadelphia

2012 Stijn Celis, Le Sacre du Printemps, Les Grands Ballets Canadiens de Montreal

THIS TIMELINE IS A JUST A FRACTION OF THE HUNDREDS OF RITE REVISIONS SINCE 1913. For more complete listing, please refer to Stravinsky the Global Dancer.

PLEASE ADD YOUR FAVORITES (and your corrections) by posting a comment below. Please include what you like about any Rite you’ve seen.

Thank you!

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§ 5 Responses to Timeline – a few rites in chronological order

  • The Benjamins says:

    Paul Taylor Le Sacre, 1980.

    • therites says:

      Thank you for adding this to the list. A couple months ago I met a dancer who had performed Pina Bausch’s version during the same years that his wife was performing Paul Taylor’s version. I would love to see a duet in which they each perform their roles in those wildly different works, but simultaneously on the same stage.

      What images rest with you from this Paul Taylor version?

  • Molissa Fenley, State of Darkness, 1988

    • therites says:

      Thanks for the suggestion, Alyssa. I recently heard a wonderful presentation comparing Molissa’s performance with those of the two different dancers she taught it to. Same choreography: strikingly different performances.

      I’m curious what grabs you about this piece.

      • Alyssa says:

        From http://www.ballet-dance.com/forum/viewtopic.php?f=13&t=29784&start=0&sid=e113aaffff5310a0eceeb10c42d8d24d&view=print

        Choreographer and performer Molissa Fenley’s intensely dynamic solo, State of Darkness (1988) is set to Stravinsky’s The Rite of Spring. Commissioned by the American Dance Festival in North Carolina in 1988, State of Darkness was first performed by Fenley herself, who received a New York Dance and Performance Award
        (The Bessies) in choreography for her work. Peter Boal received a Bessie Performance award for his revival performance of State of Darkness in 2000.

        “Just when I thought Molissa Fenley’s dancing in her modern solos couldn’t be beat, Peter Boal’s tour de force in State of Darkness nailed me to my chair. It was a triple whammy: Fenley’s gripping choreography set to Stravinsky’s Rite of Spring, plus Boal’s powerhouse performance.” – Sharon McDaniel, The Palm Beach Post

        Ms. Fenley comments about choreographing and performing in State of Darkness: “I called the work State of Darkness for precisely the reason that I didn’t follow the original scenario of The Rite of Spring. I followed an inner, intuitive voice that understood the music. I knew there was the possibility for one person to take on the varying states of the music. State of Darkness – which had many passages choreographed around the idea of fear, entering into the shadows, delighting in an animal presence, shifting from being extremely powerful to being totally out of control – is a dialogue with the music, a very direct give and take from score to choreography. The dance was choreographed with belief in the ‘rightness’ of it, belief in the truth of the body in music. Yes, I would pray to ‘my buddy, Igor’ that I would make it through each performance, able to withstand and transcend the stamina and endurance necessary. One friend said to me before a performance, ‘I can’t believe that you have to climb that mountain each time,’ but I was addicted to it, to the challenge and great reward. At the last crash of the music, where, in The Rite of Spring scenario, the Chosen One is killed, this modern woman steps out into the light: intact, strong and alive.”

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