The Exploration of the Rite of Spring Costumes

Greenshields #1 The research for this paper was based off a question that came to, while re-visiting the history and celebrating the one hundredth anniversary of Vaslav Nijinsky’s creation of Le Sacre du Printemps, The Right of Spring that premiered in 1913. This question in mind has many dimensions when asked, to compare the relationship between the costumes of Nijinsky’s The Right of Spring and Pina Bausch interpretation of the score. When researching both ballets in relationship to the costumes that were represented in each version it becomes unclear of the real reasons behind the choices that Nijinsky and Bausch made to develop the style, design and visual effect of the costumes; Questioning whether there was a specific initial inspiration for the designs or perhaps it was the style in the time period when both individual ballets premiered and was influenced by fashion and society.
Beginning to study where it all began in the early 1900’s with Nijinsky’s development of The Right of Spring the focus is on the involvement of individuals who took part in the creation and development process of the original costumes. This can be narrowed down to Nicholas Roerich as the designer, Igor Stravinsky who potentially provided inspiration for Roerich’s designs and finally Nijinsky himself. To look at and discover how Roerich was inspired and where the root of his designs developed from other than Nijinsky’s vision, if any, brings this piece of writing one step closer to clearly answering the question of not only where the costumes initiated from but also how they compare to later ballet costume creations.
Speaking of other ballet costumes, there will be research done on Pina Bausch’s 1975 interpretation of The Right of Spring with regard to her costumes in comparison to Nijinsky’s

Greenshields #2 costumes. The hopes are to gain a

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