Transition in dance was not a revolt but a gradual development. A good example of this is “L’aprés- midi d’un Faun” as created by Fokine and Nijinski, in which actual positions were changed. The whole body movements were used in a way drastically opposed to the accepted ballet form. For example, the arms and body movements were distorted to indicate the Faun characteristics. Nevertheless, she definitely brought the dancer out of the status of an exclusively interpretive dance artist to that of a creative artist. Progression from the impersonal to the personal form of dance is no revolt. It is growth, an evolutionary change.
50-55 years Dutch National Ballet | The impersonal to the personal dance