摘要：The aim of this study is to clarify what was Vaslav Nijinsky's intentions for his first choreographic work, L'Après-midi d'un Faune, through the analysis of his words on the work. Vaslav Nijinsky [1889? - 1950] is a Russian dancer and choreographer in the early 20th century, and he was a member of Sergei Diaghilev’s Ballets Russes. His Faune has some strong characteristics: two-dimensional symbolization, sexual representation, and angular forms and gestures. However, his choreographic intentions of the work has not been thoroughly researched. By further analyzing his words, it became clear that Nijinsky tried to harmonize the classical attitudes of the ancient bas-reliefs and the aesthetical movements of the Greek-Roman mythological characters in the Faune. Also, he was very interested in pure forms and gestures of ancient Greek sculptures, and he tried to incorporate them into his work. Considering his aesthetic interests and the contemporary art movements, it is concluded that he attempted to demonstrate purely plastic dancing body in the Faune by adopting angular forms and two-dimensional symbolization from the theory of the art of Cubism.
