German rites

A history of Le Sacre du Printemps on the German stage

Bibliographic Data

ID11211073
AuthorsSusan M Manning (0000-0001-6331-2923, Northwestern University, corresponding author), Susan Manning
Year1991
Volume14
Issue2-3
Pages129-158
Publication date1991-01-01
Peer ReviewedYes
Open AccessNo
TypeARTICLE
VenueDance Chronicle (JOURNAL)
Journal identifiersISSN: 0147-2526 • E-ISSN: 1532-4257
PublisherInforma UK Limited (PUBLISHER • GB)
DOI10.1080/01472529108569064
OpenAlexW1994989257
LanguageEN
Citations received4

In the catalogue raisonne of The Rite of Spring, compiled by Joan Acocella and Lynn Garafola in 1987, nearly one-third of the productions of Stravinsky's ballet had their premiere on the German stage.1 To be exact, thirteen of the forty-four Rites they list were staged in Germany, and since the original publication of the catalogue three more versions have been mounted. In addition, two versions previously overlooked have surfaced, bringing the number of German Rites I now know of (in early 1991) to eighteen.2 What is the import of this profusion of German Rites? Or, differently phrased, does the proliferation carry any significance at all? To write stage history is to confront both questions. Perhaps the myriad German Rites simply reflects the happenstance of random events, in which case its history on the German stage would read like an annotated catalogue raisonne. Stage history often competes with biography as the most predictable genre of performance scholarship, and many a stage history simply documents the vagaries of production-who staged what when and where. In this essay I am determined to avoid such a chronicle. Eschewing the recitation of production details for their own sake, I pursue and risk a speculative argument

Archaeology · Art · Art history · German · Stage (stratigraphy) · Diversity and Impact of Dance · History · Musicology and Musical Analysis · Theater, Performance, and Music History

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