nity to work as a choreographer came in 1912. At that time, Diaghilev made the decision to reject the traditions of classical ballet in favor of a more modernistic approach. This required Diaghilev to part ways with Michel Fokine, who was then the main choreographer for the Ballets Russes. Specifically, Diaghilev envisioned a new type of dance which "forsook the dancing traditions of Russian ballet that Fokine never intended to give up" (Roslavleva, 1966, p. 182). Diaghilev decided that Nijinsky would be the best replacement for Fokine. One of the reasons for this decision was the fact that Diaghilev saw Nijinsky as a young artist who could be shaped to his own vision (Buckle, 1979, p. 182). The first work choreographed by Nijinsky was L'Apres Midi D'Un Faune. Although Diaghilev wanted to shape Nijinsky to his own choreographic vision, it has been noted that he was somewhat limited in his ability to do this. In particular, although Diaghilev had great skill as an entrepreneur, "he had never learned the secrets of the body, which only a dancer knows" (p. 184). Despite this fact, there were certain ways in which Diaghilev had a strong influence on the choreography of L'Apres Midi D'Un Faune. Specifically, Diaghilev played a role in creating the stiff, angular movements which were seen in the dance. Diaghilev, along with Leon Bakst (the scenery and costume designer for the work), wanted a ballet which would bring to mind the two-dimensional frieze-like images seen on ancient Greek vases (Garafola, 1989, p. 52). In order to inspire Nijinsky, Diaghilev took the dancer to the Louvre museum and introduced him to the frieze styles of ancient Egypt and Assyria, as well as those of ancient Greece (Ostwald, 1991, p. 55).
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