This article focuses on the last moments of Le Sacre du printemps, which opened in Paris on 29 May 1913 at the Théâtre des Champs-Élysées. Concentrating on the discourse of the creative practice that brought these moments into being, it seeks to add to our understanding of Le Sacre from the evidence of those most intimately involved with this first production. Analysis of Le Sacre demonstrates the equal viability of a great variety of readings of the work. Such readings are enabled by analysis, which regards any aspect of a creative work and its best interpretation as happily unfixed and unstable. It has sometimes been accepted that the job of critics and theorists is to fix interpretations of creative works and to demonstrate conveniently closed theses about them. Creative artists are not always willing to join their critical colleagues. This was certainly the case with Le Sacre. By reading the final seven seconds of its Danse sacrale through the accounts of the work’s primary creators – composer Igor Stravinsky, designer Nicholas Roerich, and their creative intimates – this article highlights an engrossing instability of intention and interpretation. It questions the idea that Le Sacre is a sacrificial ritual in the light of how Stravinsky himself considered his work in terms of coronation and consecration.

中文翻译：

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谁看到她死了？解开 Le Sa​​cre du Printemps 中的 Danse sacrale

这篇文章着重于最后时刻春天的圣礼，于 1913 年 5 月 29 日在巴黎的香榭丽舍剧院开幕。专注于使这些时刻成为现实的创造性实践的话语，它试图增加我们对圣礼来自与第一部作品最密切相关的人的证据。分析圣礼展示了对作品的多种解读的同等可行性。这样的阅读是通过分析来实现的，分析认为创造性作品的任何方面及其最佳解释都是愉快的不固定和不稳定的。有时人们认为，批评家和理论家的工作是确定对创造性作品的解释，并方便地证明关于它们的封闭论点。有创造力的艺术家并不总是愿意加入他们批判的同事的行列。这肯定是这种情况圣乐。通过阅读它的最后七秒神圣舞蹈通过作品的主要创作者——作曲家伊戈尔·斯特拉文斯基、设计师尼古拉斯·罗里奇和他们的创意伙伴——的叙述，这篇文章突出了意图和解释的引人入胜的不稳定性。它质疑这样的想法圣礼鉴于斯特拉文斯基本人如何从加冕和奉献的角度考虑他的作品，这是一种祭祀仪式。