Nijinsky
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Acknowledgements
This book began with an article about the Ballets Russes that I hoped to write but never did, so the first people I want to thank won’t have any idea why: Charlotte Sinclair of Vogue; Elinor Hughes and Tim Morley, who, promoting the Diaghilev exhibition at the Victoria and Albert Museum in 2010, encouraged my growing interest in Nijinsky even though I couldn’t find anyone to commission me to write about him; and Deirdre Fernand, who unwittingly gave me the final push when she suggested that despite my being neither a dance critic nor a dancer, writing a book about ballet need not be an impossible dream.
Many people helped and advised me while I worked on the book. I am grateful to the staffs of the British Library; the library of the Victoria and Albert Museum and its Theatre Collection at Blythe House; Bob Kosovsky and Amy Schwegel of the New York Public Library, music and dance divisions respectively; Tom Clark; Fiona Porter; Pieter Symonds and Arike Oke of the Rambert Ballet Company and Ann Stewart, whom I met through them, as well as Marc Farah, for putting me in touch with Pieter in the first place. Nuala Herbert gave me a valuable insight into the Rite of Spring and Pell Mountain lent me Russian books that I could not have seen elsewhere. My father, John Moore, stepfather, Josh Miller, and Lady Bateman read the book in draft and supplied me with important corrections.
Living in Simon and Lucy Harrison’s house while I wrote the book gave me the gift of a study with a door I could close behind me. And Haydee Dullas ensured that I never worried about my children when I was thinking about Nijinsky. Most of all, though, I am indebted to my husband, whose unfailing love and support make everything possible; work is the least of it.
Grateful thanks are due to Andrew Franklin, Daniel Crewe, Penny Daniel, Valentina Zanca and everyone at else Profile Books as well as Jane Robertson, who negotiated my typescript, and with all of whom it has been a delight to work at every stage. Pryor Dodge of the Dodge Collection, and Dr Hans-Michael Shäfer of the Neumeier Foundation provided most of the exquisite photographs and drawings which illuminate the book. Andrew Kidd has been (as expected) the best of agents: I hope there will be many more projects like this in our future together.
One of the greatest pleasures of this book was working again with the late Peter
Carson, who commissioned it and continued to edit and support it even after retiring. I count myself immensely privileged to have been one of his writers.
List of Illustrations
INTERIOR ILLUSTRATIONS
Frontispiece: Nijinsky in Le Spectre de la Rose by Valentine Hugo (Paris, 1912). Sketch: Stiftung John Neumeier – Dance Collection.
Nijinsky and Karsavina in Le Carnaval by Ernst Oppler (Berlin, c. 1910, printed 1921). Sketch: Stiftung John Neumeier – Dance Collection
Nijinsky backstage after a performance of Le Spectre de la Rose, by Jean Cocteau (Paris, 1913). Sketch: Stiftung John Neumeier – Dance Collection
Pen-and-ink drawing by Emile Antoine Bourdelle, Nijinski in Le Carnaval, (Paris, c. 1910), located in Musee Bourdelle Sketch: © Roger-Viollet/TopFoto
Nijinsky and the Nymphs in Afternoon of a Faun, by Ernest Oppler (Berlin, 1912). Sketch: Stiftung John Neumeier – Dance Collection
PLATES
1. Nijinsky in the dress uniform of the Imperial Theatre School, c. 1900. Photo: Roger Pryor Dodge Collection
2. Nijinsky and Anna Pavlova in the first version of La Pavillion d’Armide, 1907. Photo: Roger Pryor Dodge Collection
3. Nijinsky in Paris, 1909. Photo: Roger Pryor Dodge Collection
4. Publicity stills for the ‘Danse Siamoise’, by Druet, Paris, 1910. Photo: Roger Pryor Dodge Collection
5. Igor Stravinsky and Nijinsky, by Bert, 1911. Photo: Roger Pryor Dodge Collection
6. Bronia Nijinska, Ludmilla Schollar and Kobelev, in costume for Petrushka, 1911. Photo: © 2004 TopFoto/Fotomas
7. Nijinsky as the Rose, c. 1911. Photo: © RIA Novosti/Alamy
8. Nijinsky as the Faun by Bert, 1912. Photo: Roger Pryor Dodge Collection
9. Playing Daphnis et Chloë, Maurice Ravel with Nijinsky in Paris, 1912. Photo: © The Granger Collection/TopFoto
10. Tamara Karsavina, Ludmilla Schollar and Nijinsky in Jeux, 1913. Photo: Roger Pryor Dodge Collection
11. A formal portrait taken in New York in 1916. Photo: Bibliothèque musée de l’Opéra – Fonds Kochno: Album portraits N – Album 2, planche 12 Nijinsky
12. Nijinsky seated by a piano, New York, 1916. Photo: Roger Pryor Dodge Collection
13. Nijinsky applying makeup to one of the dancers in Till Eulenspiegel, New York, 1916. Photo: Roger Pryor Dodge Collection
14. Vaslav Nijinsky with Romola and two-year-old Kyra in New York, 1916. Photo: Roger Pryor Dodge Collection
15. Nijinsky leaping during visit by Romola and Serge Lifar, 1939. Photo: Roger Pryor Dodge Collection
16. Nijinsky with Romola in a hotel in Egham, Surrey, 5 December 1947. Photo: © 1999 Topham Picturepoint
While every effort has been made to contact copyright-holders of illustrations, the author and publishers would be grateful for information about any illustrations where they have been unable to trace them, and would be glad to make amendments in further editions.
Index
Page references for footnotes are followed by f, those for endnotes by n
A
À la recherche du temps perdu (Proust) 53, 68
Acis and Galatea 27–8
Acocella, Joan 201, 205, 209, 210, 221, 259
Acton, Harold 248
Adler, Alfred 229, 251
Afanasyev, Alexander 127
Aga Khan 105–6
Alba, Duke of 182
Alexander III 10
Alexandrinsky Theatre 19, 20
Alfonso, King of Spain 177, 182, 193
Ansermet, Ernest 214
Apollo 79
Aprèsmidi d’un faune, L’ 72, 81–2, 90, 99–104, 116, 129, 173, 271n
and beauty 134
Bronia 222
Chaplin 188
Karsavina 122
Lifar 222, 231
premiere 3, 109–10
Rambert 242
reaction 111–13, 249–50, 274n
rehearsals 106, 108–9
Armida’s Pavilion see Pavillon d’Armide, Le
Ashton, Frederick 234
Asseo, Bertha 202, 204
Astruc, Gabriel
Le Chabanais 67
and Diaghilev 71, 84
and Fokine 77
and Karsavina 68
Larue’s 66
Le Sacre du printemps 142
Théâtre des Champs-Elysées 122, 137–8, 150
Théâtre du Châtelet 54–5, 57
in Vaslav’s diary 206
Auric, Georges 215f
Avon 154–5, 156–9
Avril, Jane 250
B
Babich, Grigory 26, 263n
Bach, Johann Sebastian 155, 204
Bakst, Léon
and Aga Khan 105
L’Aprèsmidi d’un faune 100, 101, 102, 106, 108, 109, 113
ballets 116
Le Chabanais 67
Cléopatra 59–60
and Diaghilev 214
and Duncan 23
and Fokine 100
Jeux 3, 115, 122
La Légende de Joseph 125
Mavra 216
Mir iskusstva 41
Petrushka 91
Prince Igor 60–1
Le Sacre du printemps 144, 145, 150
Saison Russe 52, 55, 66
Schéhérazade 77
The Sleeping Princess 216
Le Spectre de la rose 85–6
and Vaslav 80, 82
Vaslav’s dismissal 173
Vaslav’s marriage 163, 175
Venice 80
Bakunin, Mikhail 24
Balanchine, George 79, 227, 234, 243, 246, 252
Ballet Rambert 242
Ballets Russes
L’Aprèsmidi d’un faune 99–113
Bronia 171–2 307
Budapest 105, 119–20
Cologne 119
Diaghilev 37, 44, 47, 81, 84, 215, 241, 242
Fokine 108, 151, 152, 165
Jeux 121–4
La Légende de Joseph 177–8
London 95–6, 104, 213
and mental illness 213
Monte Carlo 105–6, 120
Paris 44, 47, 48, 52–69, 71, 76–9
Petrushka 81, 89–95
rehearsals 120 rivalries 227, 241, 244
Le Sacre du printemps 1–5, 122
salon performances 68–9
South American tour 152, 154–62, 167–9, 191, 194–7
Spain 191–4
Spanish tours 213
Le Spectre de la rose 85–9
United States tour 182–91
Vaslav joins 48–9, 81
Vaslav’s dismissal 168, 169, 178–9
Bar Harbor 185–6
Barbier, George 257
Barcelona 194
Bard, Wilkie 174
Basil, Colonel de 227
Baton, Madame 158, 159
Baton, René-Emmanuel 155, 158, 159
Bayreuth 117
Beaton, Cecil 72
Beaumont, Cyril 257
on Lifar 222
and Power 232
Le Spectre de la rose 86
on Vaslav 103, 174–6, 249, 258
Vaslav’s funeral 234
Beecham, Sir Thomas 95, 151
Belle au bois dormant, La see Sleeping Princess, The
Bellevue 218, 226, 229–31
Benois, Alexandre
L’Aprèsmidi d’un faune 112–13
on ballet 45
Ballets Russes 55–6, 61, 84, 241, 244
and Diaghilev 40, 41, 42, 73, 77, 91, 99
Diaghilev’s death 225
and Duncan 23
and Fokine 99, 100
Giselle 82, 83
Mariinsky Theatre 19
Paris 59f, 66
Le Pavillon d’Armide 38–9, 48
Petrushka 81, 89, 90, 91, 92, 93, 126
Schéhérazade 77
The Sleeping Princess 216
Le Spectre de la rose 86
and Stravinsky 74
and Vaslav 39, 46, 104
/> Vaslav’s marriage 160, 166
and Zuikov 63
Bereda, Eleonora see Nijinska, Eleonora
Bereda, Stephanie 7
Berlin 76, 246
Bernays, Edward 186
Berners, Lord 215f
Bernhardt, Sarah 32, 94, 247
Bibesco, Emmanuel 69
Biches, Les 217, 218
Binswanger, Ludwig and Otto 226, 229, 230
Bleuler, Eugen 201, 212–13
Blue Bird 45, 46, 57
Boisen, Anton 251
Bolm, Adolph 58
Imperial Theatres 48, 84
Polovtsian Dances 57, 59f
and Romola 105, 119, 120, 145, 159, 162
Vaslav’s marriage 159, 160
Bonnard, Pierre 54
Botkin, Sergey 44
Bourdelle, Antoine 137
Bourman, Anatole 251
Bloody Sunday riots 25–6
Imperial Theatre School 228, 263n
and Lvov 35, 265n
and Vaslav 33, 186, 228, 253
Bournonvilles 17
Braque, Georges 215f
Brianza, Carlotta 11
Bruhn, Erik 211
Bryusov, Valery 94
Buckle, Richard 199, 239
L’Aprèsmidi d’un faune 102
Carnaval 75
Jeux 123
and Romola 239
on Vaslav 94, 247–8, 249
Vaslav’s funeral 234
Budapest 105, 119–20, 180–2, 223, 232
Buenos Aires 160–2, 195–6
Bull, Deborah 65
Burt, A. 267n
Butt, Alfred 172, 173, 175
C
Cahusac, Hector 116
Calmette, Gaston 111
Calvocoressi, Michel 55, 72–3, 80, 120
Carlsbad 72
Carnaval 75, 77, 79, 173
Casati, Marchesa 73
Casement, Roger 247
Cecchetti, Enrico 17, 36
and Aga Khan 105
Ballets Russes 84
birth 7
Blue Bird 46
and Massine 177
and Pavlova 33
Petrushka 90
and Romola 119, 120, 145, 147, 148
Le Sacre du printemps 139–40
Le Spectre de la rose 86
and Vaslav 36, 62, 250
and Vaslav’s parents 11, 14
Cézanne, Paul 112, 134
Chabanais, Le 67
Chagall, Marc 82
Chaliapin, Fyodor 19, 49
Chanel, Coco 222, 224–5
Chansons de Bilitis, Les (Louÿs) 249
Chaplin, Charlie 12, 188–9, 250