Vaslav Nijinsky

(click to enlarge)
Nijinsky in Spectre de la rose. (credit: Courtesy of the Dance Collection, the New York Public Library at Lincoln Center, Roger Pryor Dodge Collection)

(born March 12, 1890, Kiev, Ukraine, Russian Empire — died April 8, 1950, London, Eng.) Russian ballet dancer. After early lessons from his parents, famous dancers with their own company, he and his sister, Bronislava Nijinska, trained further in St. Petersburg, and he joined the Mariinsky Theatre company in 1907. With his spectacular leaps and unrivaled grace, he was an immediate success, dancing leading roles in Giselle, Swan Lake, and Sleeping Beauty, often with Anna Pavlova and Tamara Karsavina. In 1909 he joined the new Ballets Russes, and he created many roles in Michel Fokine's ballets, including Carnaval, Les Sylphides, Le Spectre de la rose, Petrushka, and Daphnis and Chloe. In 1912 – 13 he choreographed The Afternoon of a Faun, Jeux, and The Rite of Spring, all of which caused scandals. His marriage in 1913 led to his dismissal from the company by his mentor, Sergey Diaghilev. He continued to perform but with less success. His intensifying mental illness led to his retirement in 1919, and he lived mostly in mental institutions in Switzerland, France, and England until his death. His status as a legend is unequaled in the history of dance.

For more information on Vaslav Nijinsky, visit Britannica.com.

The ballet dancer Vaslav Nijinsky (1890-1953) electrified his audiences with a virtuosity directly related to the characterizations he forged by the genius of his imagination. Although his dancing and choreographic career was short, he remains a symbol of human artistic achievement.

Vaslav Nijinsky was born in Kiev, Ukraine, on March 12, 1890 (some sources say 1888, others 1899). The Nijinsky children accompanied their Polishborn, academy-trained mother and father, Eleonora and Thomas, on the tours that featured their parents' character dances in Russian opera houses, concert halls, summer theaters, and circuses.

Vaslav's sister, Bronislava, younger by three years, had kept notes almost from the time she could write. She worked closely with Vaslav during the years he was the dazzling star of Diaghilev's Ballets Russes and she a member of the company (she was later to choreograph numerous distinguished ballets, among them Les Noces - 1923 - and Les Biches - 1924). A brother, Stanislas, two years older than Vaslav, succumbed to mental illness in early adolescence.

In her book, Early Memoirs (1981), Bronislava describes the young Vaslav as lively, mischievous, and adventurous. He would stand on the knobs of a door and swing side to side with it, and could bounce just as high and forcefully as a rubber ball, and would sneak off to a nearby gypsy camp to enjoy and imitate the action he saw there.

Introduction to the Ballet

At the age of ten Vaslav was brought to the Imperial Ballet School in St. Petersburg by his parents. He was auditioned and accepted for both academic and ballet training. He was soon recognized as "remarkable" by his ballet teacher, N. Legat, although he was considered not very bright academically, except in geometry. Diaghilev's scenic artist, Alexandre Benois, in his Reminiscenses of the Russian Ballet writes of Nijinsky a few years later as being "a short, rather thick-set little fellow with the most ordinary colourless face."

In 1908 Vaslav was graduated from the Imperial School with honors and a few months later was partnering leading ballerinas on the stage of the Imperial Theatre in St. Petersburg. It was at this time that he met Sergei Diaghilev, 18 years his senior, and became his protegé and lover. In the summer of 1909 Diaghilev brought a group of Russian dancers to Paris for a brief season, with Vaslav dancing the lead roles in the Fokine ballets Pavillon d'Armide, Les Sylphides, Prince Igor, and Cleopatre. The response to the company was spectacular, the success of Nijinsky dazzling. Again on leave for a season in 1910, the troupe brought Scheherazade and Carnavalto Paris. The company with its brilliant music, decor, and dance was wildly acclaimed, and Nijinsky was adored. Back in St. Petersburg, Nijinsky was dismissed from the Imperial Theatre when he refused to wear trunks over his tights in an appearance with Tamara Karsavina in Giselle. Diaghilev then determined to set up a permanent company in the West.

From 1911 through 1913 the Diaghilev Ballets Russes was met with overwhelming enthusiasm throughout Europe. Nijinsky danced Le Spectre de la Rose and, encouraged by Diaghilev, made his first attempt at choreography with L'apres-midi d'un Faune. In 1913, still as lead dancer, he also choreographed Le Sacre du Printemps and Jeux, both controversial and breaking the molds of classic ballet. His dancing remained extraordinary. Marie Rambert, who worked with Nijinsky in the Jaques-Dalcroze method, made vital comment about his dancing in Quicksilver (1972): " … One is often asked whether his jump was really as high as it is always described. To that I answer: I don't know how far from the ground it was, but I know it was near the stars. Who would watch the floor when he danced? He transported you at once into higher spheres with the sheer ecstacy of his flight."

Marriage Brings Dismissal from Ballets Russes

Sergei Diaghilev had a fierce fear of the sea and when later in 1913 the company left for a tour of South America he did not accompany it. On the boat trip Nijinsky became interested in a young Hungarian heiress, Romola, who was in the corps de ballet, and when they landed in Buenos Aires they were married.

Upon receiving the news of the marriage Diaghilev cabled Vaslav Nijinsky to inform him that he was dismissed from the company. Severed from his personal and professional ties with the ballet, the importance of Nijinsky as dancer and choreographer went into decline.

While he was active as a ballet dancer he electrified his audiences with protean performances and a virtuosity that was never exhibitionistic, but always related to the characterizations he forged by the genius of his creative imagination. As choreographer, also briefly, he provided a daring and exotic breakthrough into the 20th century.

His dancing was seen by relatively few audiences during the brief nine years of his professional dance activity, and there are no moving pictures of him. But there are photographs, and they are telling. Is it the same dancer who looks so unreal in The Spectre of the Rose, that grovels as the straw puppet in Petrouchka, that portrays the patrician Albrecht of Giselle and the sensuous harem slave of Scheherazade, the earthy Greek sculpture-come-to-life in Afternoon of a Faun? Each has a different weight, stance, movement, style.

Edwin Denby conveyed his keen observations of accents, counterforces, and relationships of body parts and assists us in seeing the nuance of the artist's superb gift of communication in his Notes on Nijinsky Photographs, which first appeared in an illustrated monograph edited by Paul Magriel (1946).

Mental Illness Ends Professional Life

In the spring of 1914 Nijinsky made an unsuccessful attempt to start his own company, and signs of mental illness began to appear. From 1914 to 1916 he was interred as a civilian prisoner of war in Austro-Hungary, his wife's country. In 1916 he rejoined the Diaghilev company and went with it to the United States with only tepid success. He tried another tour soon after with his own company, choreographing and dancing the lead role of Til Eulgenspiegel. There was still another brief tour in South America. Then came the end of his professional life.

He and Romola went to Switzerland, and for the next decade there was constant shifting from one clinic to another in the hope of finding a cure. Attempts to bring back his memory and interest in ballet were also futile. For the more than half of his life that remained - he died at the age of 60 - his mind and body were engulfed by a mental disease identified as schizophrenia. There was not a day of respite.

Romola Nijinsky's Life of Nijinsky, assisted by Lincoln Kirstein (1933), blames much on Diaghilev. Kirstein, who had never seen Nijinsky dance, was inspired by the photos. It was with Romola Nijinsky's help that he met George Balanchine, who then arranged to bring him to the United States. There was much scandal and controversy over the homosexual relationship with Diaghilev. Was it a Svengali situation? Was it that the artist needed the support of the sponsor? Would there have been no breakdown had there been no break with Diaghilev?

The Diary of Vaslav Nijinsky (1968), edited by Romola Nijinsky, includes drawings made during the years in mental institutions and has painful-to-read recitations of what is called "Reflections on Life, Death, and Feelings" in which Vaslav identifies himself with God and calls out for peace and love.

Vaslav Nijinsky died in 1953 and is buried in Paris. Romola died in 1978. Daughter Kyra Nijinsky, born in 1914, painted many dance portraits of Vaslav, although she never saw her father dance. Daughter Tamara, born in 1920, worked with puppets.

Further Reading

Most of what we know about Nijinsky comes from the vast literature, diverse and often controversial, that perpetuates the legend of his greatness. Some of this was written by those who knew him, much by those who never saw him dance but fell in love with the legend and were inspired to investigate and share their discoveries. Nijinsky by Vera Krasovskaya (1974) includes additional background information with emphasis on the Russian elements of the dancer's life and training. Nijinsky by Richard Buckle (1971) provides a comprehensive account of casts, dates, descriptions, and details of negotiations based on definitive research and information from those who worked closely with him. The Denby essay is reprinted in the outsize Nijinsky Dancing, a compilation of over 100 photographs with brilliant text and commentary by Lincoln Kirstein (1975).

Additional Sources

Buckle, Richard., Nijinsky, Harmondsworth etc.: Penguin, 1975.

Nijinsky, New York: Schirmer books, 1979.

Nijinsky, Romola de Pulszky., Nijinsky and The last years of Nijinsky, New York: Simon and Schuster, 1980.

Ostwald, Peter F., Vaslav Nijinsky: a leap into madness, Secaucus, NJ: Carol Pub. Group, 1996.

Parker, Derek., Nijinsky: god of the dance, Wellingborough, Northamptonshire, England: Equation; New York, N.Y.: Distributed by Sterling Pub. Co., 1988.

Nijinsky, Vaslav (b Kiev, 12 Mar. 1889, d London, 8 Apr. 1950). Russian dancer and choreographer. The most famous dancer of Diaghilev's Ballets Russes and one of the towering figures of 20th-century ballet. He was the son of the Polish dancers Eleonora Bereda and Foma Nijinsky, and the brother of the choreographer Bronislava Nijinska. He studied at the Imperial Theatre School in St Petersburg (1898-1907), a student of Nikolai and Sergei Legat, and joined the Maryinsky Theatre upon graduation. Immediately successful, he partnered the company's top ballerinas—Kschessinska, Preobrajenska, and Karsavina—in his first season. There he was befriended by Diaghilev, who saw in the young dancer not only a potential lover but also someone to star in his Paris seasons of the Ballets Russes. Nijinsky enjoyed enormous public acclaim in Paris in Fokine's ballets. He created roles in his Cléopâtre, Les Sylphides, Scheherazade, Spectre de la rose, Narcisse, Petrushka, Le Dieu bleu, and Daphnis and Chloe. Audiences went wild for his amazing virtuosity (he could execute entrechats huit and was even known to do an entrechat dix), his exceptional elevation, and his exotic stage charisma. His versatility was impressive: he could be savagely sexual as the Golden Slave in Scheherazade, or dreamily romantic as the spirit in Spectre de la rose. In 1911 he was forced to leave the Maryinsky following a scandal over his costume for Giselle (a scandal some claimed was masterminded by Diaghilev). Now free to devote his energies to Diaghilev full-time, Nijinsky became not only the main attraction of the Ballets Russes, but also its choreographer, at Diaghilev's urging. The resulting ballets were among the most controversial in the entire history of ballet: L'Après-midi d'un faune (1912), Jeux (1913), and Le Sacre du printemps (1913). His choreography was a revolutionary break with tradition; like Fokine, his movements were moulded to reflect the different scenarios. In L'Après-midi d'un faune, steps were seen in profile like Greek friezes; in Le Sacre du printemps, the language of the body was turned in on itself, the dance was flat-footed and convulsive. The brazen modernity of his ballets, and the overt eroticism of Faune, provoked strong reactions from his audiences, but his notoriety was short-lived. While on tour in South America in 1913 Nijinsky married the Hungarian dancer Romola de Pulszky, an act which so infuriated Diaghilev that he immediately sacked Nijinsky. The break between the young dancer and his older impresario-lover marked the beginning of Nijinsky's decline into mental illness. He did attempt to launch a company of his own in 1914 but it failed after just two weeks at the Palace Theatre in London. When the First World War broke out he was in Budapest where he was interned as a Russian. In 1916 Diaghilev secured his release and Nijinsky joined the Ballets Russes for a North American tour, for which he choreographed Till Eulenspiegel. But signs of schizophrenia were already becoming evident. After several subsequent tours with the Ballets Russes, he moved to Switzerland in 1918 and entered a sanatorium in 1919. His last public performance was given on 19 Jan. 1919 in a St Moritz hotel ballroom; it was a solo recital called Marriage with God. The rest of his life was spent in and out of mental hospitals as his family travelled around Europe. He never danced again, although during his long confinement he worked on a system of dance notation. In 1947 his family moved to London, where he died of renal failure. He was buried in Montmartre cemetery. He was one of the greatest artists ballet has ever produced, a dancer of exceptional ability and magnetism. As a choreographer his contribution has recently been re-evaluated and he is now considered one of the forerunners of 20th-century modernism. Herbert Ross made a film about his life in 1980, while Béjart choreographed a ballet about him (see Nijinsky, clown de Dieu). The Diaries of Vaslav Nijinsky, written over a six-week period in 1919, were published in English in 1936 in a version heavily edited by Romola Nijinsky. In 1999 the unexpurgated version, edited by Joan Acocella, was published as The Diary of Vaslav Nijinsky.

(1889 - 1950), Russian dancer and choreographer.

The most famous Russian male dancer, Vaslav Fomich Nijinsky was also a choreographer, though madness cut short his career. Nijinsky, like his colleague Anna Pavlova, achieved international fame through his appearances with Sergei Diagilev's Ballets Russes in Paris, beginning in 1909. Trained at the Imperial Theater School in St. Petersburg, Nijinsky joined the Imperial Ballet in 1907, but left the troupe in 1911, his international career already well established. Onstage, Nijinsky's somewhat sturdy frame became a lithe instrument of unprecedented lightness and elevation. Noted for seemingly effortless leaps, Nijinsky's photographs also reveal the dancer's uncanny ability to transform himself from role to role. Nijinsky's first choreography, for L'Après-midi d'un Faune (1912), to Debussy's music, scandalized Paris with its eroticism, though the ballet's true innovation lay in its turn from the virtuosity for which Nijinsky had become famous. Nijinsky's choreography for Igor Stravinsky's Le Sacre du printemps (1913) went even farther in demonstrating the choreographer's disdain for the niceties of ballet convention and his embrace of primitivism. Asymmetrical and unlovely, the work was dropped from the Ballets Russes repertory after some nine performances.

Nijinsky, once the lover of Diagilev, married in 1913 and was dismissed from Diagilev's company. After itinerant and often unsuccessful performances during World War I, Nijinsky was diagnosed a schizophrenic in 1919. The remaining years of the great dancer's life were spent mostly in sanitoriums.

Bibliography

Buckle, Richard. (1971). Nijinsky. New York: Simon and Schuster.

Nijinsky, Vaslav. (1999). The Diary of Vaslav Nijinsky, tr. Kyril Fitz Lyon; ed. Joan Acocella. New York: Farrar, Strauss and Giroux.

Ostwald, Peter. (1991). Vaslav Nijinsky: A Leap into Madness. New York: Carol.

—TIM SCHOLL

A Russian ballet dancer, widely considered to have been one of the best male dancers of the twentieth century.

For other uses, see Nijinsky (disambiguation).

Vaslav Nijinsky as Vayou in Nikolai Legat's revival of Marius Petipa's The Talisman, St. Petersburg, 1910

Vaslav Nijinsky (French transcription; Polish: Wacław Niżyński; Russian: Вацлав Фомич Нижинский / Vatslav Fomich Nizhinskiy; March 12, 1890 - April 8, 1950) was a Russian ballet dancer and choreographer of Polish descent. Nijinsky was one of the most gifted dancers in history, and he grew to be celebrated for his virtuosity and for the depth and intensity of his characterizations. He could perform en pointe, a rare skill among male dancers at the time (Albright, 2004) and his ability to perform seemingly gravity-defying leaps was also legendary. The choreographer Bronislava Nijinska was his sister.

Contents 1 Biography 2 Legacy 3 In plays 4 In film 5 References 6 Sources 7 External links

Biography

Vaslav Nijinsky in Sheherazade.

Vaslav Nijinsky was born in Kiev, Ukraine, the son of ethnic Poles, dancers Tomasz Niżyński and Eleonora Bereda. Nijinsky was christened in Warsaw, and considered himself to be a Pole despite difficulties in properly speaking the language as a result of his childhood in Russia's interior where his parents worked.^[1] In a letter to the Polish Opera star Reszke, Nijinsky wrote "My mother gave me milk and the Polish language, which is why I am a Pole. (...) I can not speak it well because I was not allowed to speak it". Polish was purportedly also the only language the famed ballet star would ever pray in.^[1]

In 1900 Nijinsky joined the Imperial Ballet School, where he studied under Enrico Cecchetti, Nicholas Legat, and Pavel Gerdt. At 18 years old he was given a string of leads. In 1910, the company's Prima ballerina assoluta Mathilde Kschessinskaya selected Nijinsky to dance in a revival of Marius Petipa's Le Talisman, during which Nijinsky created a sensation in the role of the Wind God Vayou.

A turning point for Nijinsky was his meeting Sergei Diaghilev, a celebrated and highly innovative producer of ballet and opera as well as art exhibitions, who concentrated on promoting Russian visual and musical art abroad,^[2] particularly in Paris. Nijinsky and Diaghilev became lovers for a time ^[3][4], and Diaghilev was heavily involved in directing and managing Nijinsky's career. In 1909 Diaghilev took a company of Russian opera and ballet stars to Paris featuring Nijinsky and Anna Pavlova. The season of colorful Russian ballets and operas, works mostly new to the West, was a great success. It led Diaghilev to create his famous company Les Ballets Russes with choreographer Michel Fokine and designer Léon Bakst. The Paris seasons of the Ballets Russes were an artistic and social sensation; setting trends in art, dance, music and fashion for the next decade.

Nijinsky's unique talent showed in Fokine's pieces such as Le Pavillon d'Armide (music by Nikolai Tcherepnin), Cleopatra (music by Anton Arensky and other Russian composers) and a divertissement La Fète. His expressive execution of a pas de deux from The Sleeping Beauty (Tchaikovsky) was a tremendous success; in 1910 he performed in Giselle, and Fokine’s ballets Carnaval and Scheherazade (based on the orchestral suite by Rimsky-Korsakov). His partnership with Tamara Karsavina, also of the Mariinsky Theatre, was legendary, and they have been called the "most exemplary artists of the time". ^[5]

Then Nijinsky went back to the Mariinsky Theatre, but was dismissed for appearing on-stage during a performance as Albrecht in Giselle wearing tights without the modesty trunks obligatory for male dancers in the company. The Dowager Empress Maria Feodorovna complained that his appearance was obscene, and he was dismissed. It is probable that the scandal was arranged by Diaghilev in order that Nijinsky could be free to appear with his company, in the west, where many of his projects now centered around him^{[citation needed]}. He danced lead roles in Fokine's new productions Le Spectre de la Rose (Weber), and Igor Stravinsky's Petrushka, in which his impersonation of a lovelorn puppet was widely hailed.^{[citation needed]}

Nijinsky took the creative reins and choreographed ballets, which slew boundaries and stirred controversy. His ballets were L'après-midi d'un faune (The Afternoon of a Faun, based on Claude Debussy's Prélude à l'après-midi d'un faune) (1912), Jeux (1913), Till Eulenspiegel (1916). In Le Sacre du Printemps (The Rite of Spring, with music by Stravinsky) (1913), Nijinsky created choreography that exceeded the limits of traditional ballet and propriety. For the first time, his audiences were experiencing the futuristic, new direction of modern dance. The radically angular movements expressed the heart of Stravinsky's radically modern score. Unfortunately, Nijinsky's new trends in dance caused a riotous reaction at the Théâtre de Champs-Elysées when they premiered in Paris. As the title character in L'après-midi d'un faune the final tableau (or scene), during which he mimed masturbation with the scarf of a nymph, caused a scandal; he was accused by half of Paris of obscenity,^{[citation needed]} but defended by such artists as Auguste Rodin, Odilon Redon and Proust.

Tombstone of Vaslav Nijinsky in Cimetière de Montmartre in Paris. The statue, donated by Serge Lifar, shows Nijinsky as the puppet Petrouchka.

In 1913 the Ballets Russes toured South America. Diaghilev did not make this journey, because of a superstitious fear that he would die on the ocean if he ever sailed. Free from supervision, Nijinsky became acquainted with Romola Pulszky, a Hungarian countess. An ardent fan of Nijinsky, she took up ballet and used her family connections to get close to him. Despite her efforts to attract him, Nijinsky initially appeared unaware of her interest. Finally, on board the ship on tour to South America she succeeded in engaging his affections.

They were married in Buenos Aires. When the company returned to Europe Diaghilev is reported to have flown into a rage, culminating in Nijinsky's dismissal. Nijinsky tried in vain to create his own troupe, but a crucial London engagement failed due to administrative problems.

During World War I Nijinsky was interned in Hungary. Diaghilev succeeded in getting Nijinsky out for a North American tour in 1916. During this time, Nijinsky choreographed and danced the leading role in Till Eulenspiegel. However, it was around this time in his life that signs of his schizophrenia were becoming apparent to members of the company.

Nijinsky had a nervous breakdown in 1919, and his career effectively ended. He was diagnosed with schizophrenia and taken to Switzerland by his wife, where he was treated unsuccessfully by psychiatrist Eugene Bleuler. He spent the rest of his life in and out of psychiatric hospitals and asylums. Nijinsky died in a London clinic on April 8, 1950 and was buried in London until 1953 when his body was moved to Cimetière de Montmartre, Paris, France beside the graves of Gaetano Vestris, Theophile Gautier, and Emma Livry.

After his death, a medical examiner hoping to account for Nijinsky's amazing leaps, cut open Nijinsky's feet to see if the bones or formations were any different from the feet of an average male. Disappointed, he discovered nothing unusual.

Legacy

Nijinsky's daughter Kyra married the Ukrainian conductor Igor Markevich, and they had a son named Vaslav. The marriage ended in divorce.

Nijinsky's Diary was written during the six weeks he spent in Switzerland before being committed to the asylum. Obscure and confused, it is obviously the work of a schizophrenic, but in many ways reflects a loving nature^{[citation needed]}, combining elements of autobiography with appeals for compassion toward the less fortunate, and for vegetarianism and animal rights. Nijinsky writes of the importance of feeling as opposed to reliance on reason and logic alone, and he denounces the practice of art criticism as being nothing more than a way for those who practice it to indulge their own egos rather than focusing on what the artist was trying to say. The diary also contains bitter and conflicted thoughts regarding his relationship with Diaghilev.

As a dancer Nijinsky was clearly extraordinary for his time. Towards the end of her life his dance partner Karsavina suggested that any young dancer out of the Royal Ballet School could now perform the technical feats with which he astonished his contemporaries. His main talent was probably as much in his charisma and skill in mime and characterization as strictly technical ability (Stanislas Idzikowski could leap as high and as far). In epicene roles such as the god in Le Dieu Bleu, the rose in Spectre or the favourite slave in Scheherezade he was unsurpassed.^{[citation needed]}

Nijinsky is immortalized in numerous still photographs, many of which were made by E.O. Hoppé, who extensively photographed the Ballets Russes London seasons between 1909 and 1921. However no film exists of Nijinsky dancing. Diaghilev never allowed the Ballets Russes to be filmed. He felt that the quality of film at the time could never capture the artistry of his dancers and that the reputation of the company would suffer if people saw it only in short jerky films.^[6]

Wikimedia Commons has media related to: Vaslav Nijinsky

In plays

• Nijinsky: God's Mad Clown (1986) by Glenn J. Blumstein.^[7]
• Chinchilla (1977) by Robert David MacDonald.
• Niżyński (2005) by Waldemar Zawodzinski.^[8]

In film

• Nijinsky (uncompleted film, 1970)

The screenplay was written by Edward Albee. The film was to be directed by Tony Richardson and star Rudolph Nureyev as Nijinsky, Claude Jade as Romola and Paul Scofield as Diaghilev, but producers Albert R. Broccoli and Harry Saltzman canceled the project.

• Nijinsky (1980)

Directed by Herbert Ross, starring George de la Pena as Nijinsky, Leslie Browne as Romola, Alan Bates as Diaghilev and Jeremy Irons as Fokine. Romola Nijinsky had a writing credit for the film.

• The Diaries of Vaslav Nijinsky (2001)

Directed and written by Paul Cox. The screenplay was based directly on Nijinsky's diaries and read over related imagery. The subject matter included his work, his sickness, and his relationships with Diaghilev as well as his wife.

• Nijinsky 1912 (2008)

By Christian Comte

References

This article includes a list of references, related reading or external links, but its sources remain unclear because it lacks inline citations. Please improve this article by introducing more precise citations where appropriate. (April 2009)

1. ^ ^{a b} Sarzyński, Piotr (2000), "Popołudnie fauna", Polityka (Poland) (19 (2244)), 2000-05-06, http://www.polityka.pl/archive/do/registry/secure/showArticle?id=3351676, retrieved 2009-05-25 
2. ^ http://www.groningermuseum.nl/index.php?id=1260
3. ^ Edinburgh Forum
4. ^ glbtq.com
5. ^ http://74.54.115.114/node/1255
6. ^ Buckle, Richard Nijinsky (1971).
7. ^ Glenn Blumstein (1988). Nijinsky, God's mad clown. S. French. ISBN 0573619247. http://www.amazon.com/dp/0573619247. 
8. ^ Stefan Jaracz Theatre in Łodz, Poland (in Polish). Retrieved on 2009-04-19.

Sources

• Albright, Daniel (2004). "Modernism and Music: An Anthology of Sources", p. 19. University of Chicago Press. ISBN 0-226-01267-0.
• Bergamini, John (1969) "The Tragic Dynasty: A History of the Romanovs," pg. 430. Konecky and Konecky. ISBN 1-56852-160-X
• Buckle, Richard (1971) "Nijinsky"
• Buckle, Richard (1979) "Diaghilev
• Kopelson, Kevin (1997) The Queer Afterlife of Vaslav Nijinsky. Stanford University Press. ISBN 0-8047-2950-6
• Nijinsky, Waslaw (1999-01). The Diary of Vaslav Nijinsky: Unexpurgated Edition. Farrar Straus Giroux. ISBN 0374139210. http://www.amazon.com/dp/0374139210. 
• Parker, Derek (1988) "Nijinsky: God of the Dance"

External links

Wikiquote has a collection of quotations related to: Vaslav Nijinsky

• Vaslav Nijinsky: Creating A New Artistic Era Vaslav, New York Public Library.
• The Diaries of Vaslav Nijinsky (2001) at the Internet Movie Database
• Nijinsky: Unfinshed Project (1970) at the Internet Movie Database
• http://www.newyorker.com/talk/2009/06/29/090629ta_talk_acocella

v • d • e Ballet General information History of ballet · Ballet timeline · Glossary of ballet · List of ballets · Ballet music · Ballet company · Ballet Portal Ballet by genre Classical ballet · Contemporary ballet · Neoclassical ballet · Character dance Ballet by region British ballet  · French ballet  · Italian ballet  · Russian ballet  · Ballet technique Balanchine method · Cecchetti method · Vaganova method · En pointe  · Royal Academy of Dance Ballet apparel Ballet shoes · Pointe shoes · Tutu

v • d • e Kievan Rus' Grand Duchy of Moscow Tsardom of Russia Russian Empire Soviet Union Russian Federation Lists of Russians Leaders · before 1168 · 1168-1917 · 1917-1991 · 1991-present · Prime Ministers · Metropolitans and Patriarchs Foreign Ministers · Field Marshals · Cosmonauts · Explorers · Inventors · Architects · Artists Ballet dancers · Opera singers · Composers · Philosophers · Playwrights · Poets · Novelists

This entry is from Wikipedia, the leading user-contributed encyclopedia. It may not have been reviewed by professional editors (see full disclaimer)