Abstract

Nearly 200 choreographers have taken the score and storyline from the original Le Sacre du printemps, created in 1913, in order to add their version to its rich history. Very few have been successful at balancing the relationship between the music and the movement; the main critique being that the music overpowered the movement. However, year after year a handful of choreographers attempt it, often using it to challenge themselves as artists, and for my Senior Independent Study I decided to join their ranks. I attempted to remain self reflective of my creative process while researching three important versions of Le sacre du printemps and choreographing my version to see how it affected my artistic choices. I asked myself: how does being self reflective of the creative process while I am in the midst of it, and also simultaneously researching for it, affect my creative process; and, what are the stories of three versions of Le Sacre du printemps and what is the story of my version of Le Sacre du printemps? My story ended up being that of a choreographer who uses research not as the main guide for her vision, but as a supplement to her gut instincts which are based in personal experiences (Meany 1).

Advisor

Wilmot, Alyssa Lee

Department

Theatre and Dance

Disciplines

Dance

Publication Date

2011

Degree Granted

Bachelor of Arts

Document Type

Senior Independent Study Thesis

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© Copyright 2011 Lindsay Phillips