. The art of Nijinsky . rred wholesale to a three-dimensional stage, thus abandoning the plastic convention which, on urn or frieze, was so beautifully adapted to the effect desired. Some 65 E NIJINSKY dances of Isadora Duncan showed a truerfeeling for just how much of the Grecianplastic manner could be rightly transferredfrom the flat to the round. But on alarge scale it has been left for Nijinskyto imagine a classic scene which is equallyvital in feeling and true to the traditionon which it is founded. , I am quite aware that the actual pro-cess of change from one attitude to anotherhas in t
. The art of Nijinsky . rred wholesale to a three-dimensional stage, thus abandoning the plastic convention which, on urn or frieze, was so beautifully adapted to the effect desired. Some 65 E NIJINSKY dances of Isadora Duncan showed a truerfeeling for just how much of the Grecianplastic manner could be rightly transferredfrom the flat to the round. But on alarge scale it has been left for Nijinskyto imagine a classic scene which is equallyvital in feeling and true to the traditionon which it is founded. , I am quite aware that the actual pro-cess of change from one attitude to anotherhas in this ballet been the subject ofcriticism. The Greek convention, it issaid, was such as to suggest movement ;and to make use of it in actual combina-tion with movement is an artistic sole-cism. Better a series of static scenes ortableaux than this hybrid lapse from onestatic pose into another. Such argument,however, appears to be a little on thedanger side of the pedantic, if only because the idea behind this ballet is 66. ?^ [. j H:!- •, <•?*• .»*? . ^^:m W
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Keywords: ., bookcentury1900, bookdecade1910, bookidcu3192401929, bookyear1913
