Vaslav or Vatslav Fomich Nijinsky (12 March 1889/18908 April 1950) was a Russian ballet dancer and choreographer of Polish ancestry.Vaslav Nijinsky He is regarded as the greatest male dancer of the early 20th century. He is often associated with the Ballets Russes and its impresario Sergei Diaghilev, for which he choreographed such influential ballets as L'après-midi d'un faune (1912), Le Sacre du Printemps (1913), Jeux (1913), and Till Eulenspiegel (1916). He was celebrated for his virtuosity and for the depth and intensity of his characterizations. He could dance en pointe, a rare skill among male dancers at the time, and was admired for his seemingly gravity-defying leaps.
Biography
Vaslav Nijinsky was born in 1889 or 1890 in Kiev, Russian Empire (now Ukraine), as Wacław Niżyński, to ethnic Polish parents, touring dancers Tomasz Niżyński (born 7 March 1862) and Eleanora Bereda (born 28 December 1856). Nijinsky was christened in Warsaw. He identified himself as Polish although he grew up in the interior of Russia with his parents and he had difficulty speaking Polish.
Eleanora, along with her two brothers and two sisters, was orphaned while still a child. She started to earn a living as an extra in Warsaw's Grand Theatre Ballet (Polish: Teatr Wielki), becoming a full member of the company at age thirteen. In 1868 her talent was spotted and she moved to Kiev as a solo dancer. Tomasz Niżyński also attended the Wielki Theatre school, becoming a soloist there. At age 18 he accepted a soloist contract with the Odessa Theatre. The two met, married in May 1884 and settled into a career with the traveling Setov opera company. Tomasz was premier danseur, and Eleanora a soloist. Eleanora continued to tour and dance while having three children, sons Stanislav (born 29 December 1886 in Tiflis) and Vaslav; and daughter Bronislava ('Bronia', born 8 January 1891 in Minsk). She had depression, which may have been a genetic vulnerability shared in a different form by her son Vaslav. Both boys received training from their father and appeared in an amateur Hopak production in Odessa in 1894.
After Josef Setov died about 1894, the company disbanded. Thomas attempted to run his own company, but was not successful. He and his family became itinerant dancers, the children appearing in the Christmas show at Nizhny Novgorod. In 1897 Thomas and Eleanora separated after Thomas had fallen in love with another dancer, Rumiantseva, while touring in Finland. Eleanora moved to 20 Mokhovaya Street in St Petersburg with her children. She persuaded a friend from the Wielki Theatre, Victor Stanislas Gillert, who was at the time teaching at the Imperial Ballet School, to help get Vaslav into the school. He arranged for the noted teacher Enrico Cecchetti to sponsor the application. Bronia entered the school two years after Vaslav. Their elder brother Stanislav had had a fall from a window when young and seemed to have suffered some brain damage. Vaslav and Bronia, just two years apart, became very close as they grew. As he got older, Stanislav became increasingly mentally unstable and would have fierce tantrums. He was admitted to an asylum for the insane in 1902.
Imperial Ballet School
In 1900, Nijinsky joined the Imperial Ballet School, where he initially studied dance under Sergei Legat and his brother Nikolai. He studied mime under Pavel Gerdt; all three men were principal dancers at the Imperial Russian Ballet. At the end of the one year probationary period, his teachers agreed upon Nijinsky's exceptional dancing ability and he was confirmed as a boarder at the school. He appeared in supporting parts in classical ballets such as Faust, as a mouse in The Nutcracker, a page in Sleeping Beauty and Swan Lake, and won the Didelot scholarship. During his first year, his academic studies had covered work he had already done, so his relatively poor results had not been so much noted. He did well in subjects which interested him, but not otherwise.
In 1902 he was warned that only the excellence of his dancing had prevented his expulsion from the school for poor results. This laxity was compounded through his school years by Nijinsky's frequently being chosen as an extra in various productions, forcing him to be away from classrooms for rehearsals and to spend nights at performances. He was teased for being Polish, and nicknamed "Japonczek" for his faintly Japanese looks at a time Russia was at war with Japan. Some classmates were envious and resented his outstanding dancing ability. In 1901 one of the class deliberately caused him to fall, leading to his concussion and being in a coma for four days.
became his teacher in 1902, and awarded him the highest grade he had ever given to a student. He was given student parts in command performances in front of the Tsar of Paquita, The Nutcracker and The Little Humpbacked Horse. In music he studied piano, flute, balalaika and accordion, receiving good marks. He had a good ability to hear and play music on the piano, though his sight reading was relatively poor. Against this, his behaviour was sometimes boisterous and wild, resulting in his expulsion from the school in 1903 for an incident involving students shooting at the hats of passers-by with catapults while being driven to the Mariinsky Theatre in carriages. He was readmitted to the school as a non-resident after a sound beating and restored to his previous position after a month's probation.
In 1904, at the age of 14, Nijinsky was selected by the great choreographer Marius Petipa to dance a principal role in what proved to be the choreographer's last ballet, La Romance d'un Bouton de rose et d'un Papillon. The work was never performed due to the outbreak of the Russo-Japanese War.
On Sunday, 9 January 1905, Nijinsky was caught in the Bloody Sunday massacre in St. Petersburg, where a group of petitioners led by Father Gapon attempted to present their petition to the Czar. Soldiers fired upon the crowd, leading to an estimated 1000 casualties. Nijinsky was caught in the crowd on Nevsky Prospect and propelled toward the Winter Palace. Imperial cavalry troops charged the crowd, leaving him with a head wound. The following day, he returned to the scene with a friend whose sister was missing. She was never found.
Nijinsky became calmer and more serious as he grew older, but continued to struggle to make friends, something which would persist throughout his life. His reserve and apparent dullness made him unappealing to others except when he danced.
The 1905 annual student show included a pas de deux from The Persian Market, danced by Nijinsky and Sofia Fedorova. Oboukhov amended the dance to show off Nijinsky's abilities, drawing gasps and then spontaneous applause in the middle of the performance with his first jump.
In 1906, he danced in the Mariinsky production of Mozart's Don Giovanni, in a ballet sequence choreographed by Michel Fokine. He was congratulated by the director of the Imperial Ballet and offered a place in the company although he was a year from graduation. Nijinsky chose to continue his studies. He tried his hand at choreography, with a children's opera, Cinderella, with music by another student, Boris Asafyev. At Christmas, he played the King of the Mice in The Nutcracker. At his graduation performance in April 1907, he partnered Elizaveta Gerdt, in a pas de deux choreographed by Fokine. He was congratulated by prima ballerina Mathilde Kschessinska of the Imperial Ballet, who invited him to partner her. His future career with the Imperial Ballet was guaranteed to begin at the mid-rank level of coryphée, rather than in the corps de ballet. He graduated second in his class, with top marks in dancing, art and music.
Early career Nijinsky spent his summer after graduation rehearsing and then performing at Krasnoe Selo in a makeshift theatre with an audience mainly of army officers. These performances frequently included members of the Imperial family and other nobility, whose support and interest were essential to a career. Each dancer who performed before the Tsar received a gold watch inscribed with the Imperial Eagle. Buoyed by Nijinsky's salary, his new earnings from giving dance classes, and his sister Bronia's employment with the ballet company, the family moved to a larger flat on Torgovaya Ulitsa. The new season at the Mariinsky theatre began in September 1907, with Nijinsky employed as coryphée (instead of in the corps de ballet) on a salary of 780 roubles per year.
He appeared with Sedova, Lydia Kyasht and Karsavina. Kchessinska partnered him in La fille mal gardée, where he succeeded in an atypical role for him involving humour and flirtation. Designer Alexandre Benois proposed a ballet based upon Le Pavillon d'Armide, choreographed by Fokine to music by Nikolai Tcherepnin. Nijinsky had a minor role, but it allowed him to show off his technical abilities with leaps and pirouettes. The partnership of Fokine, Benois and Nijinsky was repeated throughout his career. Shortly after, he upstaged his own performance, appearing in the Bluebird pas de deux from the Sleeping Beauty, partnering Lydia Kyasht. The Mariinsky audience was deeply familiar with the piece, but exploded with enthusiasm for his performance and his appearing to fly, an effect he continued to have on audiences with the piece during his career.
In subsequent years, Nijinsky was given several soloist roles at the Mariinsky. In 1910, Mathilde Kschessinska selected Nijinsky to dance in a revival of Petipa's Le Talisman. Nijinsky created a sensation in the role of the Wind God Vayou.
Ballets Russes
A turning point for Nijinsky was his meeting the Russian Sergei Diaghilev, a celebrated and highly innovative producer of ballet and opera, as well as art exhibitions. He concentrated on promoting Russian visual and musical art abroad, particularly in Paris. The 1908 season of colorful Russian ballets and operas, works mostly new to the West, was a great success, leading him to plan a new tour for 1909 with a new name for his company, the now famous Ballets Russes. He worked closely with choreographer Michel Fokine and artist Léon Bakst, and later with other contemporary artists and composers. Nijinsky and Diaghilev became lovers for a time,Edinburgh Forum and Diaghilev was deeply involved in directing and managing Nijinsky's career. Nijinsky became the company's star male dancer, causing an enormous stir amongst audiences whenever he performed. In ordinary life, he appeared unremarkable and was withdrawn in conversation. At the same time, the Ballets Russes gave Nijinsky the chance to expand his art and experiment with dance and choreography; he created new directions for male dancers while becoming internationally famous.
1909 opening season During the winter of 1908/9, Diaghilev started planning for the 1909 Paris tour of opera and ballet. He collected a team including designers Alexandre Benois and Léon Bakst, painters Nicholas Roerich and Konstantin Korovin, composers Alexander Glazunov and Nikolai Tcherepnin, regisseurs and Alexander Sanine and other ballet enthusiasts. As a friend and as a leading dancer, Nijinsky was part of the group. His sister wrote that he felt intimidated by the illustrious and aristocratic company. Fokine was asked to start rehearsals for the existing Le Pavillon d'Armide and for Les Sylphides, an expanded version of his Chopiniana. Fokine favoured expanding the existing Une Nuit d'Egypte for a ballet.