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Nijinsky Kindle Edition
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.
- LanguageEnglish
- PublisherPegasus Books
- Publication dateNovember 15, 2021
- File size1787 KB
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Product details
- ASIN : B09FR56SHB
- Publisher : Pegasus Books (November 15, 2021)
- Publication date : November 15, 2021
- Language : English
- File size : 1787 KB
- Text-to-Speech : Enabled
- Screen Reader : Supported
- Enhanced typesetting : Enabled
- X-Ray : Not Enabled
- Word Wise : Enabled
- Sticky notes : On Kindle Scribe
- Print length : 827 pages
- Best Sellers Rank: #1,663,580 in Kindle Store (See Top 100 in Kindle Store)
- #120 in Classical Dance
- #571 in Dancer Biographies
- #4,992 in Biographies of Actors & Entertainers
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"The London season ended on Saturday, 9 December 1911, with Karsavina and Nijinsky dancing 'Carnival', 'Les Sylphides', 'Le Spectre de la rose' and 'Scheherazade' -- some evening!
"After the first three ballets, there had been 'thunderous applause', but on this electric evening the drama of 'Scheherazade' almost overwhelmed the spectators . . .
"There was a pause, then came the roar from the gallery like a boom of a distant gun . . .
"The audience from the front row of the stalls to the dark mass of enthusiasts standing at the back of the gallery applauded, cheered, and waved handkerchiefs for fully twenty minutes."
Of course, there's more to the story. Much more. Indeed, the whole book is worth reading -- cover to cover -- every single page. But first! I wanted to show you the view from the top of Mount Nijinsky @ pp. 256-57.
This book will take you up that mountain -- hover -- then gently bring you back home.
Your guide -- your Sherpa -- is the best in the business : Richard Buckle.
PS: Did I misplace the true summit of Mount Nijinsky? Was the true summit really in London on 9 December 1911, as described above (pp. 256-57)? Or was the true summit actually in Paris on 29 May 1913, at the premiere of 'Le Sacre du pretemps' (pp. 346-63)?
In a flash the answer comes to me. The wisdom of King Solomon! Two women claimed the same baby. Which one was the true mother? King Solomon offered to give each woman half a baby. The woman who said, "No! Give the whole baby to the other woman," was the true mother.
Here, the question is which of two mountaintops is the true summit of Mount Nijinsky? The answer to that question depends on who is the true Nijinsky: Nijinsky the dancer? or Nijinsky the choreographer?
I'm no King Solomon, but my gut tells me that the true Nijinsky was a dancer -- not a choreographer.
Choreography be damned! Choreography came into Nijinsky's mind as an adult. But dancing was in his blood from the very beginning of his life. He was born to dance. Lived to dance. Loved to dance -- leaping high in the air, pausing up there, disappearing, leaving us gasping, wondering, dreaming . . . to this very day.
So, yes, indeed, Nijinsky's summit AS A CHOREOGRAPHER may very well have been the premiere of 'Le Sacre du pretemps' in Paris on 29 May 1913 (pp. 346-63). But! more important!! -- much more important!!! -- was Nijinsky's summit AS A DANCER in his performance with Tamara Karsavina in London on 9 December 1911 (pp. 256-57).
This thing is tedious in the extreme. Author Buckle makes it clear that he's done a lot of research and interviews. But he makes the mistake of throwing every irrelevant side item into the mix for hundreds of pages on end, and thus completely losing sight of his subject matter: Nijinsky.
Here's a sample of the awfully written text re the Russian company's first appearance in Paris:
Politics and the foreign service were well-represented. In the centre box Pichon, the Foreign Minister, and Nelidov, the Russian Ambassador, sat together with their wives. Also present were MM Barthou, Minister of Works (who would be assassinated with King Alexander of Yugoslavia) with his wife; Doumergue, Minister of Education; Caillaux, Finance Minister, with this wife (who was to kill Calmette, the editor of 'Figaro" in 1914); Dujardin-Beaumetz, Under-Secretary of State for the Fine Arts, who established the Conservatoire in the rue de Madrid; and d'Estournelles de Constant, who had played a part in the Franco-Russian trade pact of 1903.
In the boxes were Mme Greffuhle, who had given a dinner for the company at the Hotel Crillon a few nights before, Mme de Chevigne and her daughter Mme Bischoffsheim, Mme Madeleine Lemaire, who had a salon, painted roses and was to be partly Proust's Mme Verdurin and partly Mme de Villeparisis, Princesse Alexandre de Chimay, Proust's dear friend and sister of Anna de Noailles, and the blue-stocking Mme Bulteau, the latter's great friend, who also had a literary salon....
Do you get the idea? The book goes on like this forever. There's never a break from this tedium. As I said above, I'm only half-way through. After this point, I'm going to be forced to skim through to try to find some actual information about NIJINSKY himself---allegedly the subject of this book. (Which is why I bought the book to begin with!)
Two stars is being kind.
With such characters as Mata Hari, Isadora Duncan, Stravinsky and Ravel, one would expect some tawdry details of the artists who shared the stage with the great Nijinsky. Nothing doing! Even the love affair between Nijinsky and Diaghilev is left to innuendo and subscript.
I have since ordered Nijinsky's diary, hoping to quench my thirst for more about the artist and less about the art.