MALLARMÉ, DEBUSSY ILI NIJINSKY: MONOLOG, IMPROVIZACIJA, PRELID I IGRA FAUNA?
MALLARMÉ, DEBUSSY OR NIJINSKY: MONOLOGUE, IMPROVISATION, PRELUDE AND/OR DANCE OF FAUN?

Summary/Abstract: The source of originality of the orchestral work Prélude à l'aprés-midi d'un faune (1892–1894), with which the French composer, Claude Debussy (1862–1918), initiated a new chapter in the history of music, creating a new movement – impressionism, should be sought not only inside, but also outside the boundaries of music – in the impressionist painting and in the symbolist poetry, due to the fact that this piece of music had been based on the literary work, the eclogue Lʼaprès-midi dʼun faune (1876), written by Stéphane Mallarmé (1842–1898). Through the prism of very specific chronological overview – from the creation of the first version of Mallarmé’s eclogue, through its finale version and Debussy’s first ideas for musicalization of the poet’s work, to orchestral (program) composition, which would alternatively become music for the ballet of the same name, Lʼaprès-midi dʼun faune (1912), being staged in the production of Sergei Diaghliev and the Ballets Russes (Rus. Русский балет), choreographed by Vaslav Nijinsky – in this paper a specific media triad is presented, whose productive interpolation testify about interdependent elements presented in Debussy’s music, as well as in Mallarmé’s poetry and in Nijinsky’s ballet.

• Details
• Contents