The rite of spring: in the script the marks of the archive and of the repertoire

Abstract

This paper analyzes five versions of the dance performance The Rite of Spring from the perspective of performance studies from the concepts of archive, repertoire, script (TAYLOR, 2013) and movience (ZUMTHOR, 2010; 2014). I demonstrate that the choreographic variations as they change in the staging reinforce the dimensions of archive and repertoire present in every performance. The criterion chosen as a guiding thread in the analysis of the scripts is the distinction between choreographers who follow and those who do not follow the script, i.e., the Libretto of the Sagration of Spring written by Stravinsky. And secondly, the investigation of aspects of these performances that can be identified as markers of movement in the scripts by articulating the sources of information from both the archive and the repertoire. The analyses of the five choreographies, made in this article, were made from video recordings, the artists' blogs, interpretations by dance historians, and texts with the impressions of spectators who wrote in newspapers on the occasion of the work's premiere in 1913.