大阪市立大学看護短期大学部紀要 第 4 巻 (2002.3)

On 7%eMoo r'sPavane:VariationsontheThemeofOthello 1)

Asako HIROTA OsakaCityUniversityCollegeofNursing

ABSTY uCr

JoseLimdn'sballet 乃eMoor 'SPzzvane isbasedon W llliamShakespeare'splay Othello. An alyzingtheballet B'omthechoreographicpo int sofviewcangiveusmanyhintsforthehiddenmeaningsinthereadingofthe play･InthisthesisIwillexplainthecharacteristicsofthechoreographyoftheballetinthefirstplace. m enI wulexaminethetextofShakespearetocomparethetwostylesofartisdcfor m, banetandliterature. Through theanalysisIwillfindoutwhattheballettellsus.IwillshowwhatJosdLimdnwouldhketoexpressinhis ballet ,fromanalyzingthechoreographyandreadinghisessayonhischoreographiccredo.

Keywords:ballet,play ,Shakespeare,JosiLimdn ,literature

Purcell(1659-1695) , whowasoneofthegreatest composersoftheBaroqueperiodandoneofthegreatest

乃eMoor 'sPavane isabanetin1ac t,choreographedby ofallEnglishcomposers. 6' Thoughheisachoreographer JoseLimdn(190 8-1972).2) T hemusicwascomposedby ofmodemballe t, LimdnusesthemusicoftheBaroque HenryPurcellandarrangedbySimonSadoff.The period.Itsformalelemen tsseemtoembodyandexpress costumeswerecreatedbyPauline Lawrence. 3) Itwasfirst thetensionsinthestory. presentedbyJosdLimdnandCompanyattheConnecdcut Thedanceopensasthetwocouples,facingeachother , College Am ericanDanceFestiv al, PalmerAuditorium , joinhandstobeginthePavanC.Pavaneisoriginallya

New London , Connecticut , August17 , 1949. 4) The statelycourtdanceinsimpledupletime;especially principalSthenwereJose Li mdnastheMoor ,BettyJones popularinItaly ,France ,andSpainduringthe16 th and17 th astheMoor'swife , LucasHovingashisfriend , and centuries.Theceremomiousdigni ty ,splendorandgrave PaulineKonerashis B iend'swife. prideinherentinthestepsandmusicofthePavaneare Subtitled Van'ationsonthe 乃 eme of Othello ,itisbased suggestedbyi tsname ,whichisderived&omthe la tin onWilliamShakespeare'splay Othello. Tbereareonly ♪Gu6 meaning "apeacock." 乃 n edancebringstoone･s fourprincipalsintheballet-0theuo , Desdemona , Iago , mindallthemetaphorssuggestiveofthatstatelyand andEmilia,CalledheretheMoor ,hiswife ,theh･iend,and pompousfow l.Itsorigincanbeb･acedtotheformaland hiswife.Hereallsubplots,ornon-essendalsofthatstor y, austerecourtlifeofinquisitionalSpain ,andthereforewe areeliminated , andinastatelyquadrille , thefour mustinevitablyaddtoitscharacteristics tha tofasomber principalsdanceaminuetoflove , corrmdeship.jealousy religiousmood.ThePavaneneverbecamemuchmore inflamed ,betray al, death ,anddiscovery.5) thanasimplewalking , wi th slightvariations.Itwas

ThestoryunfoldsthroughStylizedgestures , facial dancedinaslowtempo ,byonecoupleormanycouples. 8) expressions ,and也espatialpattemingof血edancers. A s Theircos山mesareEuropeanclo血esof血eearly dramaticepisodesalternatewiththestatelyPavane , seventeenthcentury.Emilia'sdressandDesdemona'Sare eleganceandcontrolarejuxtaposedwithpassionate simil ar, onlydifferentincolor.0thello'sandIago'Sare intensi ty, buildingthetensiontoitsinevitableclimax.In alsoveⅣmuchalike;onlyOthello'shandsandface thisthesisIwillexaminetheballetandShakespeare'stext indicatehise血nicbackground.Asfara§血emusic , to丘ndoutwhat血ebamettellsus. costumes , andthedancingstyleareconcerned , 乃e Moor 'S Pavane isintendedtostartallmannersof Elizabe th anfurbelows.Buttherestrainedandelegant style , emblematicofpropersocialfor m, isperiodically Tocreatethisballet Li mdnusesthemusicbyllenry intemptedbypassionateencountersbetween血ecouples

-3- 大阪市立大学看護短期大学部紀要 第 4 巻 (2002･3) andbetween血etwomenandtwowomen. shecanno t. EmiliaappearSwi th thehandkerchiefinher ThefourprincipalsstartdancingthePavaneina handanddancesslowlyin G minor･Shespinsandskips quadrille;thegravemusicopensinA-minor･Inn e wit h thehandkerchief , tossingitcontentedlyintheair･ Moor 'sPavane twocouplesmovesidebysideandhandin pressedbyherhusbandforit , shehandsthe handwithsimplewalkingsteppatternsfoⅣard , handkerchieftoherhusband.TheMoorandhiswife backward,orsideways.Inthebeginning ,thetwocouples dancetogether･Hefindsoutthathiswifehaslostthe -othelloandDesdemona , IagoandEmilia-seem handkerchief , andgrievesitover. Wh entheMoor's Blendandhiswifejoininwi th thehandkerchief,thefour symme bicalas if theywereinamirTOr･･Wideningand ● pnncipalsretumtothePavanesymme bicallyinquadrille narrowingthecircle ,thetwomenfaceeachotherandrise ● ononelegasthetwowomenbowlow･ Wh enOthello wi th morejumplngandturningsteps･ presentsDesdemonawi血alacehandkerchief ,whichis Iagosuddenlyproducesthehandkerchief･Heflingsit shakespeare'swell-knownsymboloftheirmutual atothello ,whowhipsawayfromtheevidenceinhorTOr･ devotion ,thetwocouplesmakeupafoursome.Othello Tensionsmounting , thefourreturnoncemoretothe andDesdemonadancein血eblissoflove , whileI喝 0, wheelofthePavaneand血encrosseachotheron shtheringaround them ,urgesEmiliatolookatthem･ diagonallines. n emusicturnstoD-minorandbecomesmorerapid Abroken-heartedOthelloandthoroughlybewildered andintense. T hePavaneisabandoned.Iagothengrabs Desdemonaemergeintotheforegroundslowly.The ontotheMoor'sshouldersandshiftshisheadkomsideto Mooris fix inganintense , lovinggazeonher.She side,as はwhisperingineachear.Hiseyescloudedwith collapsesbackwardinhisarms , asi f inpleading displeasure ,0theuoflingsIagooffwi th awhipofhishead･ surrender.He ,deeplyso rrowing,cradlesandrocksher , Nowtheydanceindiagonallineswi th thetwocouples hisadoringgazeneverleavingherte rri fiedface.n e facingandcrossingthrougheachother. othercouplesteps in kont , andasEmiliaslowlyliftsher AsOthello血endanceswi 血 血eaccusedDesdemona , legherskirtfunctionsasascreenhidingtheinevitable Iagoinsinuateshimselfbetweenthem.Nex t,Iagoand b･agedy.Othellos trangleshiswifewithhisbarehands･ Em山acomealiveasOthelloandDesdemonaarestiu. Steppingdownstage , thefriendandhiswifeveilthe lagobendsEmiliainaseriesofasymmetricalposes , murder , 血endrawasideinhorrorastheMoor manipulatingherbalanceinano ff {enterposition. despairinglyrevealshiswife'sbody. A li feless TbemusicturnstoD-major,whenthetwowomencome Desdemonaliesontheground ,herdisconsolatemurderer forthandtheydanceintimatelyadmiringthe bentoverher , grieving.Emilia , suddenlyawareofthe

handkerchief. A s血eirhusb a ndscomein ,血efわurseem ho汀ibleconsequencesofherdeed , producesthe sy mmeけi cal exceptforthehandkerchiefDesdemonais handkerchief.Othelloreahzeswi th bottomiessdespair holding. T hefriend'Sw i fese izesthehandkerchiefwhenit thathehasbeendeceived.Alooming ,t ragiCfigure , he isaccidentallydropped. pullslagoandEmiliatowardhiminfury. b owingitis,of ThemusicturnsagaintoD-minorandthetwowomen course,toolate ,hefallsoverthedeadbody,embracingit standunmovingatthesideofthestageasthehiendtells ina futi le ,impassionedpleaforforgivenessastheothers theMoorslanderoustalesabouthiswife.n eMoor's kneellifelesslyunmoving.HeliftSthehandkerchiefhigh disbeliefb･anslatesintoastylizedfightbetweenthetwo abovehisheadandatlastkiushimselfwithasword. 9) As men. Tbeyaltemateincounterpointedjumps. As one 0thelloflingsthesworddown , bothIagoandEmilia , goesup ,theothercomesdown,as if theyareengagedina Swingingahand&omuphightodownlow ,bowdown. courtexchangeof "yes ,"" no ,"` `yes ,"" no.'' Theythenpull Nowtheyareratherlikestagemanager s thancharacters eachotherintoweightylunges , forwardandbackward. intheplay.EvenIago ,whohasbeenthemostinfluential Thevillaincrawlsbackupandattacheshimselfto character , isnomoreappealing.Atlastwehavetolook

Othello'sshoulders. Li kealeech , heridesonOtheuo's onlyattheMoorasa tragicandgreatcharacter. backastheMoorsbidesacrossthestage.Othelloagain Thisistheoudineoftheballe t. Wh atLimdn'swork

shakeshim off andIagore treat s,crawlingbackwardalong impressesusmostmustbethesymme吋 ofthefわur thefloor. Wh ilefigh血gtheMoorbeginstobelievethe persons.Theimpressionofsymmebymaycome , ina wordsofhisBlend.AsthepercussionsbikesOthello way , &omformal , austereandsolerrmmoodofPavanC. makesafataldecision. Sometimesthetwocouples-OthelloandDesdemona, TheMoorraiseshisonearm uphigh,while IagoandEmilia-dancesymmetrically.Andatother DesdemonaDiestoputherhandtogetherwithhi s,but dmesthetwomendancesymmebically,andsodothetwo

-4- 大阪市立大学看護短期大学部紀要 第 4 巻 (2002.3) women･Wealsof ee lfomalitythroughthedancemusic , thattheyowetheirbeautytopainting ･.ll) Fromhis whichservesasasけucturewithinwhichtheplotandthe aWlrmative , proverbialtone ,weknowthathehasa fim characters'emotionsaregivenaformal , understated notionofwomen･mi§speechofIagoasawholesaysof expression. m enhowwastheballetborn?Iwillseekthe womenwhoarenotsoyoungandbeau ti ful ,andwhoare sourceofitinthetextofShakespeare. probablymiddl e-agedandhavenograce.Wecannotbut feelthatIagohaseveryconfldencethatwomenwill becomewhathesaysofthem･Forallhiscleverness,Iago failstounderstandwomen.Hethinksofwomenassex ⅠnShakespeare'stext , OthelloandDesdemonaare objectsandnothingmore. husbandandwife , andsoareIagoandEmilia.Besides ThespeechabovebyIago ,Ithink,iscomparabletothe OthelloandIagoareageneralandanancient , while speechbelowbyEmnia: DesdemonaandEmiliaarewivestotheprincipalandthe accessory. n atisanapparentconnectionofthefour ButIdothinkitistheirhusbands'faults personsindramatiSpersonae ,butisthatthesameonthe Ifwivesdofall.Saythattheyslacktheirdudes personal , psychologicallevel?Let usprobethe An dpourourtreasuresintoforeignlaps; relationshipbetweenthefourpersonsinthetextof Orelsebreakoutinpeevishjealousies , ● Shakespeare. Thowlngres traintuponus;OrSaytheysbikeus , As theballetshows ,0thelloandIagoareinsomeways Orscantourformerhavingindespite , oppositesorcomplementaries,yetcuriouslyalikeatthe Wh y,wehavegalls:andthoughwehavesomegrace sametime.OthelloandIagosufferkomthesame Yethavewesomerevenge.Lethusbandsknow temperament,jealousyandenvy. n eyareprofessional Theirwiveshavesenselikethem:theysee , and soldierswhotaketheirwivesabroadonactiveservice,feel smel l, beb'ayedbythem , killthem , andthusine鮎ctdestroy An dhavetheirpalatesbothforsweetandsour themselves.Bothareoutsiders ,OthelloasaMoor ,Iago Ashusbandshave. Wh atisitthattheydo asamalcontentwithagrudgeagainstprivilege;both Wh entheychangeusforothers?Isitsport? standapar t &omtheirfellowmen , andbothWanttobe Ithinkitis. An ddo th affecdonbreedit? accepted. Ithinkitdoth.Is'thiltythatthuserrs? Duringthewholeplay , Iagoisabsorbedinwreaking Itissotoo. A ndhavenotwe曲 ctions? vengeanceonOthello,so tha tthereislitdeconversation Desiresforsport?and h il ty, asmenhave? betweenlagoandEmuiaashusbandandwife.Wedonot Thenletthemuseuswell:elseletthemknow , knowkomtheirconversationwhattheirrelationshipasa Theillswedo ,血eiriusinstmctusso. marriedcoupleislike.NeverthelessIago'sconception (4.3.85102) aboutwomenandEmilia'saboutmenareverysimilar. Forinstmce: InaseriesofconversationbetweenDesdemonaand EmiliathesubjectmustbeOthello.Buthereitisclear ⅠAGO thatshereferstoherownmarriage. An dconceming Comeon,comeon,youarepicturesoutofdoors , hers,shegeneralizesthenotionofthemarriagetoapply Bellsinyourparlours ,wildca tsinyourkitchens , toanymmandwoman.F irngoi ff thesuppositions( ``say - '') Saintsinyourinjuries ,devilsbeingoffended , andthequesdons ("Isit‥. ?", ``havenot‥. ?'' ,etc.)many Playersinyourhousewifer y,andhousewivesin... timesandansweringbyherse lf, shealsohasasfirm Yourbeds! notionofmenandwomenasherhusbandhas.Itis DESDEMONA probable血atherhusband'svenomoustonguehasmadea O, 丘eupon 血ee,slanderer! good-naturedladyabadwife.Asfarasthetwospeeches (2. 1.lo g-13)10) aboveareconcemed ,weknow血atlagoandEmiliaare husbandandwiLewhoareexperiencedandknoweach Inthisscene ,Iagoisgenerallytalkingslanderoustalesof othertoowelltoobservetheirbadhabits.Concemingthe women.Hesayswomenare ``picturesoutofdoors'' , factthatVenicewasthepleasurecapitalofEurope , probablymeaning , asHonigmannsuggests ,' prettyas especiallyinitssexualtolerance ,12) weknowthatIagoand pictures , whenyouputonyourbestclo血estogoou t.' EmiliaareanaverageVenedancouple. Kittredgealsofindsintheword "pictures"`asuggesdon ThespeechbelowbyEmiliaalsoshowsthesimilarity

-5- 大阪市立大学看護短期大学部紀要 第 4 巻 (2002･3)

she'S血･amedashli tful betweenlagoandEndiaoftheirviewoftheothersex: As theBeeelements: (2.3.3387) TISnotaye ar OrtwoShowsusaman･ Theyare al lbutstomachs,andweallbutfood: Iagosayssheismadeasgenerousastheunrestrained T heyeatushunger ly ,andwhentheyarefull element s, whicharetheretobeused･Iagoherepaysan Theybelchus. indirecttributeto血edep血ofDesdemona'slovefわr othello.Butnotethatheisnotjustanenviouspersonbut (3.4.10 4-7) ● thatheisademi-devil.Iagoadmit s thatheisgolngtOuse

Althoughtheydonotspeaktoeachothersooften , they hergoodnesstoenmeshO血elloandCassioaswellas haveaverysimilarimageofarelationshipbetween her.Iagoknowssuchgoodnessasherisexcep血nal husbandandwife. exceptO血ello'S. Butreadthespeechesabovecarefully , andwecannot IagoandEmiliaarecomparabletoeachotherintheir onlyfindoutthatlagoandEmiliarefertotheirown conceptofmanandwoman , whilesoareOthelloand marriageandthemarriageingeneralbutalso that they DesdemonaevenfromIago'spointofview.Atthesame cheekilyincludesOthelloandDesdemonainsecre t･Look timetherearegreatdisparidesbetweenthetwocouples･ atthefirstexb･act(2.1.109-13)ofIago'sspeech. Wh enhe Thoughheadmitstheirvirtues , Iagohasconfidence says"comeon , comeon ," IagourgesEmiliatospeak enoughtospoilthemaltogether.Forallthedisparities , more.nereforethenextword "you"rderstoEmiliaas Iagosayslikethis: mighthavebeenexpected.Thenashemakesthelistof theaspectsofwom an, hereferstowomeningenera l･ An d NowIdolovehertoo , asDesdemonarepliestowhathehassaid ,weknowthat Notoutofabsolutelust-thoughperadventure hehasimplicitlyandcheekilyreferredtoDesdemona! Istandaccountantforasgreatasin- K nowingitorwi血out･knowing it, heincludesDesdemona Butpardyledtodietmyrevenge , inhislistofnotoriousaspectsofwoman. For tha tIdosuspectthelustyMoor Interes血glyenoughasimi1arthingishappeninginthe Ha血leapedintomyseat ,血e血oughtwhereof secondextract(4.3.8 5-102)ofEmilia'sspeech.Inthe DothlikeapoisonousmineralgnawmyinWards... beginningofthespeechEmiliaisthinkingofOtheno ,but An dnothingc an orshallcontentmysoul ● thenitissoonclearthatshereferstoherownmamage. TillIamevenedwith hi m, wifeforwife... Butatthesametimebyusingthewords"we"and"us" , Or,failingso,yetthatIputtheMoor sherefersnotonlytoherselfandwomeningeneralbut Atleastintoajealousysos trong alsotoDesdemonabeyonddoub t. m atjudgementcannotcure; Inthethirdexb･act(3.4.100 ･7 )wecanalso丘ndtheword (2.1.289-3 00) L'they ",whichnotonlymeansmeningeneralbutalso

includesOthello. Wh etherDesdemonabelieves itornot , Iago'sjealousyisaragingtormen t. 13 )me imageofthe Emihahasa fir mnodonofmenwhichhasnoexception. poisonousmineralconvincesonebyitsforceand

InanotherpartoftheplayIagopraisesOthello: vividness. 14) IagolovesDesdemona ,not ,hetensus ,"out ofabsolutelust''butpartlytofeedhisrevenge ,eitherby TheMoor ,howbeitthatIendurehimnot , cuckoldingOthelloorgettingsomeoneelsetodoitfor Isofaconst ant ,loving,noblenature , him.IagoisjealousofOthello'ssuccesswithDesdemona , A ndldare也inkhe'llprovetoDesdemona aswellasofhissupposedseductionofEmilia.Weknow Amostdearhusband. 血atitisbefわreO仇euoplungesintojealousythatlago (2.1.2869) feelssb･ongjealousyhimsemBesidesweknow血omthe word"evened''¢97)比atlagowishestomountto血e ThoughhehatesOthello , headmitsOthello'snobility. levelofOthellohimse lf, otherwisehewantsOthelloto Besides , 血oughO血elloandDesdemonaareaMoorand plungebelowhim. As itisasoliloquy ,wemayconsider awhiteladyandhavedisparityinappearance,Iagothinks , thatwhathesaysistrueor,atleast ,thathethinkstobe "he'1lprovetoDesdemona/Amostdearhusband."Iago true.IagofeelsjealousytoOthello , sothathewants isalsolavishinpraisingDesdemona･. Othellotobejealousasheis.For anthe vir tuesofOthello and Desdemona , komIago'Sangletheyshouldbe poisonedtobemixedwithjealousyandlechery.

-6- 大阪市立大学看護短期 大学部紀要 第 4 巻 (2002.3)

EmiliaisbynatureaBiendlyandkindperson. Wh en Forbetterorforworse , Iagowantstobeonanequal wehearEmiliatellIagoofthepersonwhoissupposedto foo血gwith0thello. As aresult ,everyprotagonistisat abusetheMoortosuspectDesdemona: themercyoflago'ss trongdesires.Ithinkthatitishis sb'ongwillthatmakesupthesymmeby.Ifthiswerea Iwulbehanged ifsomeetemalVil1ain comedy ･ thesymmetrywouldbecelebratedinhappy Somebusyandinsinuatingrogue , ● marriage. Wh atmakesthisatragedy ,however,isthefact Somecogglng,COZemingslave,togetsomeoffice , thatlagoremainsunawareofthedes trucdvenatureofhis Havenotdevisedthisslander ,I'llbehangedelse! desires.Sointhisballetthesymmebyhasnotended (4.2.132-5) happilybutinsteadreacheddestmction. However deteminedandsmartIagomaybe ,hiswil l, beingwicked , weknowthatsheisabsolutelyDesdemona'shiend. Cannotachievethehappyhamony. Thustheformalityof Ironicallyenbugh , Shedoesnotknowthepersonsheis thePavaneisperiodicallyinterrupted･,thisispartly cursingisherhusbasnd. becausethedisparitybetweenthetwocouplescannot becomeextinctandpardybecausedifferencesbetween o 且euponthem!Somesuchsquirehewas theprincipalandtheaccessoryorbetweenthetwoladies n atturnedyourwittheseamysidewithout cannotbemingledaltogether. 血dmadeyoutosuspectmewi 血 血eMoor. Farfromanassemblywhobearacloseresemblance (4.2.147-9) betweeneachother ,theprotagonistscanbepresentedas fouropposingpolesofhumannature-Iago'ssinister Hereweknow血atsheevenperceivesherhusbandis treacheryispittedagainstOthello'smajesticdignity; jealousofherwi th theMoor.Evensoshedoesnotutterly Desdemona'sunstainedinnocenceiscounterbalancedby knowthattheLsquire'(usedcontemptuouslyherea sOED Emiha'scomplicityintheplo t. Inspiteoftheformalityof 1dsuggests)isherhusbandhimself. Wh enwehearher thePavane ,theopposingnatureofeachperson'sprivate Say: dramamakesitselfappearastheformalitycollapses.It wouldhavebeenironicfわrlagoifhehadonlyseen TheMoor'sabusedbysomemostvillainousknave , Othello'smajesticdignitystandoutbecauseofhis Somebasenotoriousknave,somescurvyfellow. conspiracy.Thealterna也onbetweenthecourdyformality 0 heaven,thatsuchcompanionsthou'dstunfold of血ePavaneandtheunderlyingprivatedramasisa An dputineveryhonesthandawhip compositionaldevicethatisakeytotragedyasseenby Tolashtherascalsnakedthroughtheworld Limdn. Evenfromtheeasttoth'west Thetensionbetweentheaccessiontosymmetryandthe (4.2.141-6) inabilitytoreachsym ebyisamostfascinatingelemen t. TheendoftheballetisasurpriseforusbecauseOthello's wefeelsb･ongironythatsheburstsoutintoastormof deathaloneishighlightedandtherest , suchasEmilia's abuseatherhusbandwi血Outknowing血a t. Shehas dea th ,Iago'scapture,etc. ,arecompletelyabandoned.We complicityinherhusband'scrimewithoutknowingtha t. knowthatthisisaballetcreatedbyLimdnandthatthisis adistillationoftheessenceof Othello asseenbyLimdn. Ⅳ

Limdn'sballe t,asIhavedescribedinchapterⅡinthis thesis ,i mpressesuswithsymmebyoftheprotagonists , Wrihgin theWashingtonPost ofJoseLimdn'swork buttheballetdoesnot ai m onlyattha t. Theかagilityof afterhisdeathin1972,JeanBattey ewissaid:"PerhapsL thissymmeby , whichisevidentthroughouttheballet , hisbest-knownworkis 乃eMoor 'sPavane ,hisconception needstobeemphasizedhere.Interestinglyenough ,we oftheShakespeareanb･agedyofOthello....ErieBentley canfindthiskagilitynotonlyintheballet ,butalsointhe oncesaidthatofalltheworkscreatedonthe Am erican textitself. As Ihaveshowninsomeex tractsinthe stagetheonehewouldchooseaboveallotherstosend chapter Ⅲ above , wecanseethis&agilityinthe abroadasashowcaseofourartwouldbe 乃eMoor 's connecdonbetweenmenandwomen , betweenhusband pavane. "15) Itisalitdebitsurprisingtoknowthat ne ● andwife ,betweenthepnncipalandaccessor y,orbetween Moor 'S Pzzvane isthoughttobeashowcaseof Am erican indmate かiends. art, becausetheballethasanunderstated , restrained

ー7- 大阪市立大学看護短期大学部紀要 第 4 巻 (2002･3) moodandthereisnovividimageof Am ericaasin ,for seemstohavemadeusimaginehimasOthello.Itisnot ●● example ,GeorgeBalanchine's StanandStn'PCS･ surpnslngtOhdthenameofShakespeareinhislistof Let usheresurveyhischoreographiccareer･ ar tistswhocarryweightonhim:"Ireachfordemons . Describinghimselfas"ei血er血emostatheisticof saint s, marty rs, apostates , fools , andotherimpassioned catholicsorthemostCatholicofatheists ." Li mdnwas visions.Igoforinspirationandins trucdontotheartists ofteninspiredbyBiblicalthemes一 乃eTrtzitor ,basedon whorevealthepassionofmantome. Wh oexemplify thebetrayalofJesus; 7urelsaTime , basedonthe supremeartisdcdisciphneandimpeccableform:toBach ･ Michelangelo , Shakespeare , Goya , Schonberg ･ Picasso ･ Bibhcal tex t"toeverythingthereisaseason I ,andatimeto everypurposeunderheaven ,'' and 乃eExiles , adance orozco :･hecontinued. 22) aboutAdamandEve ,b ringtofindcomiortanddignity Healsosays:"Ideploretheardstwhomakesofhisarta aftertheirexpulsionh･omparadise. A Chweog和♪hic withdrawal&omtheb･availofhistime:whosterirlZeSand OHering tothemusicofBachwashis tributetohis dehumanizesitintoemptyformalism;whorenouncesthe mentor ,DorisHumphrey.Wecanfindoutthathewas visionofmanasperfectible,a 'goldenimpossibilit y: and originallyameditadvechoreographerandthathewas makeshimintotheshabbyscarecrowofthebeatniks; thinkingaboutthemajestyofthehumanspi rit. whoforgetsthattheardst'Sfunctionisperpetuallytobe Limdnsaysofhimsel f, "Ⅰviewmyseはasadiscipleand thevoiceandconscienceofhis血e. ･･23) wecan丘ndout followeroflsadoraDuncanandofthe Am ericanimpetus thathedeploresformalism. Wh enweknowthis ,wec an asexempliBedbyDorisHumphreyandMarthaGraham , saythat 乃eMoor 's Pavane is , 血omtheveryfirs t,an andbytheirvisionofthedanceasanartcapableofthe ironicalwork.ActuallytheformalityofthePavaneis sublimityoftragedyandtheDionysianecstasies :･16) In periOdicanybrokenbyacomplexdisbibutionofweigh t･ hc t, Limdnenmuedinmodemdancecl a ssesatHumphrey- m i§isnotonlyb∝auseofthefactthatLimdn'slarge WeidmanS山dio , whereDorisHumphreyandCharles buildrequiredhimtofindawaytocon tro lhislimbsand weidmanwereteaching. ln ALterherownperforming hisweightwithinatechniquethatwasdesignedfor careerended , Humphreybecameartisticdirectorof smauerandsupplerbodies. Practicauyhehadtodevisea Limdn'scompany(untilherdeathin 1958) wi thLi mdnits seriesofexercisesthatisolatedthedifferentbodyparts choreographer. Thiscompany'scharacterisdcstylewasa anddevelopedcontroloftheweightwithineach.Itisalso moresculpturalone ,leadingtoaheroicanddignifiedbut tme血atlaterhisteachingof血ismorecomplex

stillexpressivemanner .18) disbibutionofweightaddedanother technicaldimension

Inaddidon ,heexplains ,"ItwasDorisHumphreywho totheHumphrey-Weidmanstyle. 24) Butitisinthecourse firsttaughtmethatmanisthefittestsubjectfor ofcollapsingtheformalitythatwecanseeLimdn's choreography. A ndMarthaGraham continues originalmovementandhisoriginalthough t. m erehis triumphandytoprovethathispassions , grandeurs , and credoismadevisible.

vicesaretheingredientsofFeatdance , greattheatre , and Meetinghisownbuild ,hiscredoaboutdance ,whichis

greatart. "19) InthisrespectLimdnissurelyinthe direcdyinthestre a m of Am ericanmodemdance ,must genealogyof Am eriCanchoreographersashesaysof havemadehimheadforShakespeare's O thello.Though himself.Buthowabouthisbest-knownwork ,7%eMoor's itisinnosenseamimedversionoftheplay,itisaform al, Ravane? Isitperhapsoneoftheshowcasesof Am eriCan StylizedaccountoftheOthellostor y, inwhichthedrama ballet? emergesfullyandcarefullyindancetermswi th noresort Hedeclared ,"I by tocomposeworksthatareinvolved tomutegestures. T hepiecerepresentsadisdlladonof wi th man'sbasictragedyandthegrandeurofhisspi rit.I Limdn'suseofdramaandcharacterthroughtheironical wanttodigbeneathemptyformalisms , displaysof way. Thisballetseemstobetooabsb･actandclassictobe technical vir tuosit y, andtheslicksurface;toprobethe calledadramadcballe t. Itisratheraballetthatwould humanendtyforthepowerful ,Oftencrudebeautyofthe representIago'simpossibilitytobeonanequalfooting

ges turethatspeaksofman･shumanity. "20) shakespeare･s withO血elloandbreakupofhumanconnection.But Othello mightbearightworkforhiscredotoexpressin throughthedifficultyinhumanconnection , weare hisballe t. Besidesum(inhadlarge , powe血lbuild intendedtokeepoureyesonthenobilityandgreatness of himself.Hewasoversixfeettall. Probablyheknewthat Othello,whichhadnottakennoticesomuchwith out hewassuitabletoactOthello.Hecametobeknownfor Iago'sstrongdesire. thenatural,animal-likegraceofhisdancingandforthe dignityandeleganceofhisbearing.21)Hisoriginalbea ring

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N(yItES Consideringherspeechinanasserdvetone,Sheprobably knowswhatjealouspersonislike血･om herown 1)Ihaveseen 7%eMoor 'S Pavane inavideocassetteof experienceoflivingwithherhusbandformanyyears. KirDVBalletHShakespeareDanceTrilogy( Tokyo: 14) KennethMuired. , Othello 'vr heNewPenguin Shinshokan , 1997). In血evideocassette , A ndres Shakespeare''(Harmondswor仇:PenguinBooks W illiamsdancesastheMoor , Sve tlanaSmilnovaas 1968) ,19. hiswise ,NikitaDolgushinasthefriend ,andGabriela 15) BalanchineandMason 259. Komlevaashiswife. 16) JoseLimdn ,"Li mdn'sChoreographicCredo '' ,Ballet & 2)JoseLimdnwasa Mexican Am ericandancer , ModernDance ,ed.Jack An derson(Hightstown ,NJ:A choreographerandteacher. 乃eMoor 's Pavane is DanceHorizonsBook , PrincetonBookCompany consideredJoseLimdn'ssignatureworkand Publisher s, 1992) , 200 ー201. Rpt.ofJose Li mdn ,``An rhasterpiece.In 1950 ,Jos6 Li mdnreceiveda Dance Am ericanAccent ," TheModernDance.･Seven Magazine Awardfor 7%eMoor 'sPavane. StatementsofBelie f, ed.SelmaJeanneCohen 3) Jos6Limdnmarriedherin 1942. (Middletown , Conn.:WesleyanUniversityPress , 4)Asforthestagehistoryoftheballet 77 ieMoor 's 1966) ,23-24. Pavane , seeS.J.Cohen , ed. , International 17) Cohen 197. EncyclopediaofDance (Oxford:OxfordUniversity 18) JohnPercival ,ModernBallet (bndon:studioviSta I Press ,1998) ,458. dutton ,1970) ,76. 5)GeorgeBalanchineandFrancisMason ,101 Ston'esof 19) A nderson 20 1. GreatBallots (Newyork: An chorBooksDoubleday , 20) 血 derson 200. 1989) ,258. 21) Cohen 197. 6)StanleySadie,ed. ,乃eNewGr10VeDictiona ryOfMusic 22) A nderson 200. andMusician s( London:Macmillan ,1980). 23) An derson 200-20 1. 7) レuisHorst , Pye-ClassicDanceForm s(NewYork:A 24) Cohen 197. DanceHorizonsRepublicadon ,1937),7116. 8)Horst 12. 9)NancyReynolds & SusanReimer-Torn , Dance Classics.･AVl'cwer 's GuidetotheBest- LovedBallets andModernDances (Chicago:acappellabooks , 1991),25 4-9. 10) Referencesto Othello aretoE. A J.Honigmanned. , Othello "T he A rden Shakespeare" (Le ndon: Roudedge ,1997). ll) Honigmann 169. 12) Honigmmn9. 13) Iagoalsosuspec tsCassioofseducinghiswife:

ForIfearCassiowithmynightcaptoo- (2.1.305)

HeavenknowswhetherwhatIagosuspectsbetrueorno t. EvensoitseemsprobablethatIagoisbynatureajealous person.Emiliaco血ms血esupposidon:

Butjealoussoulswillnotbeansweredso: Theyarenoteverjealousf♭rthecause , Butjealousforthey'rejealous.Itisamonster Begotuponitse lf, bornonitself. (3.4.159 -62)

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