in 1912 shocked the Vaslav Nijinsky of the parisian bourgeoisie with its scandalous ”A fauns afternoon,” choreographed for the Russian ballet. Thanks to their way to break with the conventions of a depiction of a fauns (half man half animals) sexual conquests is usually called the first modern dance.
In the French legendary dancer and choreographer Frédéric Gies ”Queens of the fauns”, it is instead a two-fauner. And instead of Nijinskys animal costume so wear Gies and Elizabeth Ward slime translucent plastic or silicone.
is replaced with experimental techno, but like with Nijinsky, guideth not the dance. Initially halvligger, as in the model, supporting international caving on one forearm. As well as was expected on the desire.
Then follows a complex assembled sequence of the material downloaded from both the Nijinskys choreography, wings and often two-dimensional. Mixed with elements of classical ballet and technodans. This is lust, but no nymphs to conquer.
the Dance establishes instead a place , which desire and request goes in more than one direction. Sometimes start one with a movement and the others follow, then stop, reverse direction, and then come in unison again. All the time pendlandes between the two kortväggarna. Towards the end is broken. They are coming together closer and dance as one body, with closed eyes.
since in any case, twenty years back, has been an explicit will to make up with the dancing body's different layers of meaning, is the strength of the ”Queens of the fauns” to show how, not only the body and its appearance, but also the choreography in and of itself, can break and create new begärstrukturer.
”Queens of the fauns” is not a modernized set of Nijinskys masterpiece, but uses it as historical material, to explore what is physically possible in day when the issue of sexual conquest, more than a hundred years later, looks very different from the Nijinskys days.