Afternoon of a Faun
Portrait of Alicia Markova and Milorad Miscovitch, in L'apres-midi d'un faune Abstract/medium: 1 photographic print : gelatin silver. Photo: Carl Van Vechten
QUICK F A C T S
- ✦ Afternoon of a Faun was first choreographed in 1912 by Vaslav Nijinsky for the Ballets Russes.
✦ A later reinterpretation was created in 1953 by Jerome Robbins for New York City Ballet.
✦ Music: Prélude à l'après-midi d'un faune by Claude Debussy.
✦ Other notable reinterpretations include a 2006 ballet version by Tim Rushton.
✦ The work also inspired the 2013 documentary Afternoon of a Faun: Tanaquil Le Clercq by Nancy Buirski.
✦ In 2019, James Lasdun published the novel Afternoon of a Faun.
Maenad left, faun (Nijinsky) right, arms hooked. Photograph 1912 by Adolf de Meyer from the 1914 book "Nijinsky: L'Apres-midi d'un Faune"
S U M M A R Y
The ballet shocked audiences with its unusual movements, stylized poses, and sensual themes, becoming one of the most controversial and influential works in ballet history. In 1912, Vaslav Nijinsky created the first ballet set to Debussy’s music for the Ballets Russes. Claude Debussy’s Prélude à l'après-midi d'un faune was inspired by a symbolist poem by Stéphane Mallarmé about a faun encountering a group of nymphs, a subject connected to Greek mythology.
Galina Panov and Valery Panov performing Afternoon of a Faun during the Israel Festival at Mann Auditorium in Tel Aviv, 1977. photo: Yaakov Saar.
Vaslav Nijinsky and Flore Revalles in Afternoon of a Faun, photographed by Karl Struss, January 1917. Public domain.
In 1953, Jerome Robbins created his own version of Afternoon of a Faun for New York City Ballet. Inspired partly by watching dancers rehearse Nijinsky’s ballet, Robbins transformed the story into something completely different. Instead of mythological creatures in a forest, his ballet takes place in a dance studio where two young dancers meet and perform while gazing at themselves in a mirror. In reality, the “mirror” is the audience watching them.
The original Robbins production starred Tanaquil Le Clercq and Francisco Moncion. Over the years, other choreographers have continued to reinterpret the ballet, including a 2006 version by Tim Rushton created for Johan Kobborg. One of the most fascinating things about Afternoon of a Faun is how differently each choreographer reimagines the music, atmosphere, and emotional meaning of the work.
Olga Khokhlova of the Ballets Russes, photographed in the early twentieth century.
E N C O R E
✦ On Today’s Stage — Afternoon of a Faun continues to appear in both historical reconstructions and modern reinterpretations, with choreographers repeatedly returning to its dreamlike atmosphere and groundbreaking movement style.
✦ Iconic Interpreters — Vaslav Nijinsky’s original performance became one of the most legendary in ballet history, while Tanaquil Le Clercq and Francisco Moncion helped define Jerome Robbins’s intimate 1953 reinterpretation.
✦ Legacy — Afternoon of a Faun transformed the future of modern ballet through its stylized movement, symbolism, and psychological atmosphere. From Nijinsky’s controversial original ballet to Robbins’ reflective studio interpretation, the work continues to inspire choreographers, filmmakers, writers, and dancers across generations.