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Composer Igor Stravinsky and choreographer Vaslav Nijinsky, Russian comrades, worked together to bring a very different and new ballet to a Parisian audienceN"The Rite of Spring"Nand rioting filled the streets! Full color.
Vaslav Nijinsky was unique as a dancer, interpretive artist, and choreographic pioneer. His breathtaking performances with the Ballet Russe from 1909 to 1913 took Western Europe by storm. His avant-garde choreography for The Afternoon of the Faune and The Rite of Spring provoked riots when performed and are now regarded as the foundation of modern dance.Through his liaison with the great impresario Diaghilev, he worked with the artistic elite of the time. During the fabulous Diaghilev years he lived in an atmosphere of perpetual hysteria, glamor, and intrigue. Then, in 1913, he married a Hungarian aristocrat, Romola de Pulszky, and was abruptly dismissed from the Ballet Russe. Five years later, he was declared insane. The fabulous career as the greatest dancer who ever lived was over.Drawing on countless people who knew and worked with Nijinsky, Richard Buckle has written the definitive biography of the legendary dancer.
'He achieves the miraculous,' the sculptor Auguste Rodin wrote of dancer Vaslav Nijinsky. 'He embodies all the beauty of classical frescoes and statues'. Like so many since, Rodin recognised that in Nijinsky classical ballet had one of the greatest and most original artists of the twentieth century, in any genre. Immersed in the world of dance from his childhood, he found his natural home in the Imperial Theatre and the Ballets Russes, he had a powerful sponsor in Sergei Diaghilev - until a dramatic and public failure ended his career and set him on a route to madness. As a dancer, he was acclaimed as godlike for his extraordinary grace and elevation, but the opening of Stravinsky's The Rite of Spring saw furious brawls between admirers of his radically unballetic choreography and horrified traditionalists. Nijinsky's story has lost none of its power to shock, fascinate and move. Adored and reviled in his lifetime, his phenomenal talent was shadowed by schizophrenia and an intense but destructive relationship with his lover, Diaghilev. 'I am alive' he wrote in his diary, 'and so I suffer'. In the first biography for forty years, Lucy Moore examines a career defined by two forces - inspired performance and an equally headline-grabbing talent for controversy, which tells us much about both genius and madness. This is the full story of one of the greatest figures of the twentieth century, comparable to the work of Rosamund Bartlett or Sjeng Scheijen.
An illustrated biography of Vaslav Nijinsky, this volume tells the story of how he became known as the greatest male dancer of the early 20th century. With his ability to perform en pointe, or on his toes as classical ballerinas dance, Nijinsky possessed talents many male dancers of the time did not. Toward the end of his career, he choreographed his own ballets.
The intoxicating story of one of the greatest dancers in the history of ballet?and the paradox of his profound genius and descent into madness. Vaslav Nijinsky was unique as a dancer, interpretive artist, and choreographic pioneer. His breathtaking performances with the Ballet Russe from 1909 to 1913 took Western Europe by storm. His avant-garde choreography for The Afternoon of the Faune and The Rite of Spring provoked riots when performed and are now regarded as the foundation of modern dance. Through his liaison with the great impresario Diaghilev, he worked with the artistic elite of the time. During the fabulous Diaghilev years he lived in an atmosphere of perpetual hysteria, glamor, and intrigue. Then, in 1913, he married a Hungarian aristocrat, Romola de Pulszky, and was abruptly dismissed from the Ballet Russe. Five years later, he was declared insane. The fabulous career as the greatest dancer who ever lived was over. Drawing on countless people who knew and worked with Nijinsky, Richard Buckle has written the definitive biography of the legendary dancer.
It was there that on the stage of a theatre for me undistinguishable-through a mass of unimportant plasterwork-from an esplanade of the forest, I saw for the first and last time, Nijinsky. We had already reached the third year of the war; he himself had just escaped from a concentration camp, and for me, the acute accents of the little orchestra which under Ansermet's baton was addressing the backcloth through the curtain wave mingled simultaneously on that strange Antarctic shore, with the noise of the! ocean flinging its prodigious fireworks against the breakwater of Beira Mar, and that of the ever present cannonade over there. l was like someone who is about to enter a ballroom from the outside, throws his cigar one way, and casts a final glance the other way towards the horizon where a dreadful moon is spreading its blaze behind a curtain of poisoned vapours. The storm had thrown up between Capocabana and the Sugarloaf the gaily-painted vessel of the Russian Ballets, and I was invited to take my ticket like those one-time emigrants going to applaud some exile from the Royal Opera on a chance stage of Coblenz or Spa. Nijinsky appeared. Romola Nijiski
A tragic story of a cultural icon—dance prodigy, sex symbol, LGBTQ+ pioneer—this compelling work of narrative nonfiction chronicles a life of obsessive artistry and celebrity of Vaslav Nijinsky. With one grand leap off the stage at the 1909 premiere of the Ballets Russes's inaugural season, Nijinsky became an overnight sensation and the century's first superstar, in the days before moving pictures brought popular culture to the masses. Perhaps the greatest dancer of the twentieth century, Nijinsky captured audiences with his sheer animal magnetism and incredible skill. He was also half of the most famous (and openly gay) couple of the Edwardian era: his relationship with Serge Diaghilev, artistic director and architect of the Ballets Russes, pushed boundaries in a time when homosexuality and bisexuality were rarely discussed. Nijinsky's life was tumultuous--after marrying a female groupie he hardly knew, he was kicked out of the Ballets Russes and placed under house arrest during World War I. Unable to work as he once did, his mental health deteriorated, and he spent three decades in and out of institutions. Biographical narrative is interspersed with spotlights on the ballets the dancer popularized: classic masterworks such as Afternoon of a Faun, The Firebird, and of course, the shockingly original Rite of Spring, which caused the audience to riot at its premiere. Illustrated with elegant, intimate portraits as well as archival art and photographs.