Bronislava Nijinska - Bronislava Nijinska
Bronislawa Nijinska | |
|---|---|
Bronisláva Fomínichna Nijínsskaya | |
 | |
| Tug'ilgan | Bronislava Niżyska 1891 yil 8-yanvar |
| O'ldi | 1972 yil 21 fevral (81 yosh) |
| Kasb | Balet raqqosasi, xoreograf, balet o'qituvchisi |
| Turmush o'rtoqlar | Aleksandr Kochetovskiy Nikolay Singaevskiy |
| Bolalar | Leo Kochetovskiy, Irina Nijinska |
| Qarindoshlar | Vaslav Nijinskiy (aka) Kyra Nijinskiy (jiyan) |
| Mukofotlar | Milliy raqs muzeyi janob va xonim Kornelius Vanderbilt Uitni Shon-sharaf zali, 1994 |
Bronislava Nijinska (/ˌbrɒnɪˈslɑːvənɪˈ(d)ʒɪnskə/; Polsha: Bronislava Niżyska [brɔɲiˈswava ɲiˈʐɨj̃ska]; Ruscha: Bronisláva Fomínichna Nijínsskaya, romanlashtirilgan: Bronisláva Fomínična Nižínskaja; Belorussiya: Branislava Nijinskaya, romanlashtirilgan: Branislava Nijynskaya; 1891 yil 8-yanvar [O.S. 1890 yil 27 dekabr] - 1972 yil 21 fevral) a Polsha balet raqqosasi va innovatsion xoreograf. U sayohat qiluvchi, professional raqqosalar oilasida voyaga yetdi.[1]
Uning shaxsiy faoliyati boshlandi Sankt-Peterburg. Tez orada u qo'shildi Ruslar baletlari muvaffaqiyatga erishishga intilgan Parij. U urush davridagi qiyinchiliklarga duch keldi Petrograd va inqilobiy turbulentlik Kiev. Frantsiyada yana 1920-yillarda uning asarlari uchun jamoatchilik e'tirofi tezda paydo bo'ldi. Keyin u Evropada va Amerikada muvaffaqiyatlarini davom ettirdi. Nijinska 19-asrdan ajralib chiqqan keng harakatlarda kashshof rol o'ynadi klassik balet. Uning zamonaviy shakllar, qadamlar va harakatni kiritishi va minimalist hikoyasi yo'lni tayyorladi kelajakdagi ishlar.[2]
Uydagi jiddiy mashg'ulotlardan so'ng u Rossiya poytaxtidagi to'qqizta davlat balet maktabiga o'qishga kirdi. 1908 yilda u "Imperatorlik teatrlari rassomi" ni tugatdi. 1910 yilda Parijda a'zo bo'lganida erta yutuq paydo bo'ldi Diagilev Balet ruslari. Nijinska o'zining raqsi uchun Papillon rolini yaratdi Karnaval, tomonidan yozilgan va dizaynlashtirilgan balet Mishel Fokin.[3]
U taniqli akasiga yordam berdi Vaslav Nijinskiy u o'zining bahsli xoreografiyasini ishlab chiqqanda L'Après-midi d'un faune 1912 yilda Parijda "Balles Russes" ning premyerasi bo'lib o'tgan. Shu singari, u unga 1913 yilgi baletni yaratishda yordam bergan Le Sacre du Printemps.
U buyuk urush, inqilob va fuqarolar urushi davrida Petrograd va Kievda o'z san'atini rivojlantirdi. Teatrlarda chiqish paytida u o'zining birinchi xoreografiyalarini loyihalashtirish va sahnalashtirish uchun mustaqil ravishda ishladi. Nijinska Kievda ilg'or yo'nalishdagi balet maktabini boshladi. U harakat san'ati to'g'risida yozganlarini nashr etdi.[4] 1921 yilda u Rossiya hokimiyatidan qochib ketdi.
"Ballets Russes" ga qo'shilib, Diaghilev uni Frantsiyada joylashgan ushbu nufuzli kompaniyaning xoreografi etib tayinladi. Nijinska gullab-yashnab, zamonaviy musiqaga bir nechta mashhur, zamonaviy baletlarni yaratdi. 1923 yilda, tomonidan hisob bilan Igor Stravinskiy u o'zining taniqli asarini xoreografiya qildi Les Noces [Nikoh to'yi].[5]
1925 yildan boshlab u turli xil kompaniyalar va joylar bilan Evropa va Amerikada baletlarni ishlab chiqardi va o'rnatdi. Ular orasida: Teatr Kolon, Ida Rubinshteyn, Parijdagi Opera, Vassily de Bazil, Maks Reynxardt, Markova-Dolin, "Polonaz" balet, Balet teatri, Gollivud kassasi, Jeykobning yostig'i, Serj Denham, Markis de Kuevas va boshqalar. kompaniyalar.
1939 yilda urush tufayli u Parijdan Los-Anjelesga ko'chib o'tdi. Nijinska xoreografiyada va badiiy rahbar sifatida ishlashni davom ettirdi. U o'z studiyasida dars bergan. 1960-yillarda Qirollik baleti Londonda u o'zining "Ballets Russes" davridagi asarlarini qayta tikladi. U Dastlabki xotiralar, ingliz tiliga tarjima qilingan, o'limidan keyin nashr etilgan.[6]
Hayotning boshlang'ich davri
Bronislava Nijinska polshalik raqqoslar Tomash [Foma] Nijinskiyning uchinchi farzandi edi.[7] va Eleonora Nijinska (qizning ismi Bereda), ular o'sha paytda Rossiyaning viloyatida sayohatchilar edi. Bronislava yilda tug'ilgan Minsk, ammo uchta bola ham suvga cho'mgan Varshava.[8] U singlisi edi Vaslav Nijinskiy, dunyoga taniqli balet yulduzi.
Raqqoslar oilasi
Ularning har bir ota-onasi Varshavada raqsga tushishni boshlashgan Teatr Uelki (Katta teatr). Keyinchalik ular uchrashganda, ularning barchasi Setov truppasi bilan balet mutaxassisi bo'lgan Kiev. Truppa bilan ular o'sha paytdagi Rossiya imperiyasining viloyat markazlarida chiqish qildilar. Ular turmushga chiqdilar Boku. Tomasz [ruscha: Foma] Nijinskiy, besh yoshga yosh edi bosh danseur va baletmeyster. Uning rafiqasi Eleonora Bareda, etti yoshida etim bo'lib, katta opasining orqasidan baletda yurgan va keyin u raqsga tushgan birinchi solist.[9][10][11]
Ota Tomasz [Foma] Nijinskiy baletmeysterlik mahoratidan foydalanib, o'zining o'nlab raqqosalardan iborat kichik truppasini va talabalarni boshqarish uchun kelgan. U balet yaratdi pantomima, sirk-teatrlarida Polsha va Rossiya musiqalaridan foydalangan holda namoyish etildi. 1896 yilda u sahnalashtirgan Baxchisaray favvorasi, 1823 yilgi she'rdan Pushkin.[12] Onasi Eleonora qo'lga olingan malika rolini raqsga tushirdi.[13][14] Tomasz "juda muvaffaqiyatli ikkita balet" ni xoreografiya qildi, ikkinchisi Zaporozbeskaya Tcharovnitza. Nijinska shuni anglatadiki, ularning kichik truppasi gullab-yashnagan, ammo bu shubha ostiga olingan.[15] Tomasz shoulari uchun teatrlarni ijaraga olishdan tashqari, musiqiy va raqs bilan xursand bo'lish paytida patronlar ovqatlanadigan mashhur tungi joylar bo'lgan Kafe Chantants bilan shartnoma tuzdi. Oilaviy hayot ishda va uyda rassomlar tomonidan o'ralgan. Uning otasi "rassomlar, yozuvchilar, aktyorlar va musiqachilar bilan birga bo'lishni yaxshi ko'rardi". Afrikalik amerikalik ikki musaffo raqqos Jekson va Jonson ularning uylariga tashrif buyurishdi va Nijinskaga birinchi darslarini berishdi.[16]
va Bronislava Nijinska,
tomonidan haykaltaroshlik Giennadij Jersov,
The Katta teatr, Varshava
Ilgari Tomasz oilaviy majburiyatlari tufayli raqs takliflarini rad etib, imkoniyatlarni unutgan edi.[17] 1897 yilda Sankt-Peterburg yaqinida Eleonora va Tomasz so'nggi marta birgalikda sahnada raqsga tushishdi. Keyin u raqqosa sifatida yolg'iz davom etdi. Finlyandiyaga safaridan oldin u boshqa raqqosa bilan aloqada bo'lgan. Oxir-oqibat bu uning xotinidan butunlay ajralishiga olib keldi. Farzandlari bilan munosabatlari yomonlashdi; u ularni kamdan-kam ko'rgan.[18][19][20]
Eleonora oilaning Sankt-Peterburgda doimiy yashash joyini tashkil etdi. Bir necha yillar davomida u uchta bolasini boqish paytida doimiy ravishda yo'lda yurish bilan kurashgan. U ijaraga olgan katta kvartirani ochdi pensiya. Bronislava (Broni) uning ukasi Vaslav (yoki Vatsa) achchiqlanib, ko'p yillar o'tgach, onasi boshidan kechirgan azoblari tufayli otasiga qarshi bo'lganligini yozadi.[21][22]
Uning ukasi Vatsa
"Vaslav [Vatsa] tabiatan juda jonli va sarguzasht bola edi". Uning kitobida Dastlabki xotiralar Nijinska 22 yoshga to'lgan yosh Vatsaning sarguzashtlari haqida yozadi. Sahnada raqsga tushgan va doimiy ravishda gastrol safarlarida bo'lgan onasi va otasi bilan birga bo'lgan bolalar kundalik hayotda dahshatli munosabat va jismoniy kuchga ega bo'lishdi. Ikkala ota-onalar farzandlarining sport bilan shug'ullanishini rag'batlantirdilar va noto'g'ri xatti-harakatlarni qoralash bilan birga, jazolashmadi. Qiziqish Vatsani tez-tez yangi bo'lib turadigan mahallalarini o'rganishga, ba'zan esa ota-onalarning chegaralarini kesib o'tishga undadi. Uning jasurligi va tomlardagi jasurligi Bronini hayratga soldi.
Vatsa ko'tarilishni qanday yaxshi ko'rardi! U har doim daraxtning tepasida, baland tirgakda, belanchakda yoki uyimizning tomida bo'lganida, men uning yuzida shafqatsiz zavqni, uning tanasini yerdan balandda his qilishdan zavqlanishini, havoda osilganligini payqadim. .
Vatsa oilaviy teatr hayoti olib borgan turli shahar va shaharlarning g'alati ko'chalarini o'rganib chiqdi. Yo'lda u tanasini mashq qilar edi. Bu ajoyib kuch va muvozanat vositasiga aylandi. U qo'rqmasdan, erkinligidan zavqlanar edi. Uning fikri tanasi ergashgan yoki aksincha, innovatsion burilishlarni amalga oshirdi. Ko'pincha Broni birga taklif qilinardi. Vatsaning sarguzashtlaridan u ham raqsga g'ayrioddiy tarzda tayyorlangan tanaga ega bo'ldi.[23]
Bolalikdagi raqs qobiliyatlari
Sankt-Peterburg, 1900 yil
Uning ota-onasi nafaqat sahnada raqsga tushishgan, balki kattalarga bal zalida raqs qilishni o'rgatgan va bolalar uchun maxsus raqs darslari o'tkazgan. Dastlab ular qizlariga folklor raqslari: polyak, venger, italyan va rus tillarida ko'rsatma berishdi. U har xil raqs qadamlari bilan birgalikda baletni o'rgandi. U otasidan "gaplashadigan do'kon" va sirk artistlari bilan savdo-sotiq mahoratiga ega bo'lgan ba'zi akrobatika usullarini oldi. Keyinchalik u xoreografik asarlarida ushbu boy tajribadan foydalana oldi.[24][25]
Broni Nijinska o'zining akalari bilan Rojdestvo bayramida o'zining teatr debyutini o'tkazganida to'rt yoshda emas edi. Nijniy Novgorod.[26] U har doim sahnada, bolalar kontsertlarida yoki kattalar sahnasida qisqa chiqishlarni yaxshi bilar edi. Uning xolasi Stepha, onasining katta singlisi, spektakldan nafaqaga chiqqan, ammo raqsda dars berardi Vilno; u Broniga yordam berdi. Ota-onasi bilan raqqoslar unga dars yoki maslahatlar berishardi. Ota-onalari ajralib ketganidan keyin uning ukasi Vaslav Nijinskiy kirdi Imperatorlik teatr maktabi. Taxminan to'qqiz yoshida Broni mashhur bilan balet darslarini boshladi Enriko Cecchetti. U tezda uning mahoratini tan oldi.[27]
Imperatorlik teatr maktabi
1900 yilda Bronislava Nijinska xuddi shu davlat tomonidan homiylik san'ati maktabiga qabul qilindi. Uning ukasi Vaslav unga ikki yil oldin kirgan edi. Joylashgan Sankt Peterburg, u ko'p yillik dasturni taklif qildi. Vaslavni qabul qilishda bo'lgani kabi, onasi ham baletga aloqador turli xil odamlardan, shu jumladan Stanilas Gillert va Tsekettidan yordam so'radi. Kirish imtihonida 214 nafar nomzod ishtirok etib, o'zlarining raqs qobiliyatlarini namoyish etishga tayyor edilar. Afsonaviy baletmeyster Marius Petipa Cecchetti va singari sinovlarda qatnashdi Legat. O'n ikki qiz qabul qilindi.[28]
Bronislava 1908 yilda raqsda ham, akademik mavzularda ham yutuqlari uchun "Birinchi mukofot" ni qo'lga kiritdi. O'sha yili etti ayol maktabni tamomlagan. Diplomidan tashqari u "Imperatorlik teatri rassomi" sifatida qabul qilindi. Bu uning moliyaviy xavfsizligi va professional raqqosaning imtiyozli hayotini ta'minlagan hukumat rasmiyligi edi.[29][30]
Vaslav Nijinskiydan, uning ukasi
"Ballets Russes" dagi ta'siri
Ehtimol, uning ukasi Vaslav Nijinskiy Bronislava Nijinskaga va uning faoliyatiga eng katta ta'sir ko'rsatgan.[31] Nijinskaning xotirasida bir necha bor u Vaslavning yoshligidanoq uning qiziquvchanligiga ergashganligini tasvirlaydi. Uning raqs mahorati maktabda maqtalgan va bir nechta musiqa asboblarini o'rgangan bo'lsa-da, u o'zining past akademik ko'rsatkichlarini qayd etdi; u buni uning qiziqmasligi va sabrsizligi bilan izohlaydi. Buning o'rniga u mahallalarni o'rganishga va jismoniy imkoniyatlarini sinab ko'rishga jur'at eta boshladi. Bu uning ajoyib raqqosa bo'lishiga hissa qo'shdi. Mariinskiy teatrida u tezda ko'tarildi va "Balets Russes" da deyarli bir kechada mashhur bo'ldi. Ko'p o'tmay Vaslav yulduzcha raqqosasi rolini ijro etdi.[32][33]
Uning shogirdi sifatida u raqs haqidagi tubdan yangi g'oyalarini biladigan va unga ta'sir ko'rsatadigan birinchi odam bo'ldi va klassik balet an'analariga qat'iy stilize qilingan harakat o'rnini bosmoqchi edi.[34]
U balet uchun yangi Moviy Qush rolini yaratishda o'zining yangiliklarini tasvirlaydi Uyqudagi malika 1907 yilda: qanday qilib u cheklov kostyumini o'zgartirdi va harakatlarga energiya berdi. Nijinskiy yaratganida L'Après-midi d'un Faune [Faun tushdan keyin] 1912 yilda u Nijinskadan maxfiy ravishda mashq qilish uchun, uning tanasi bilan qadamlarni ta'rifini ta'qib qilish uchun foydalangan.[35][36]
U xuddi shunday yaratishda unga yordam berdi Le Sacre du Printemps [Bahor marosimi]. Ammo homiladorligi tufayli Nijinska Tanlangan qiz rolidan voz kechdi.[37] Ammo professor Garafola buni akasi uni qizlik rolidan "haydab chiqarishi" sifatida tavsiflaydi Marosim.[38][39] Shunga qaramay, Baer yozadi:
Bronislave Nijinska tez-tez taniqli Vaslav Nijinskiyning singlisi sifatida tanilgan bo'lsa-da, u o'ziga xos yirik rassom va yigirmanchi asr baletining rivojlanishida muhim rol o'ynagan. ... U yigirmanchi asr baletining buyuk novatorlaridan biri sifatida u san'atni o'zgartirdi.[40]
- Uning 1913 yilgi Diagilev bilan tanaffusi
Uning ukasi to'satdan turmushga chiqqanida, Diaghilev "Ballets Russes" dagi lavozimini tugatdi. Bronislava Nijinska u bilan birdamlikda kompaniyani tark etdi.
1913 yil Janubiy Amerikadagi "Ballets Russes" safari davomida Vaslav Nijinskiy uylandi Romola de Pulski. Bu kompaniyada va gastrol safarlaridagi balet voqealarida tortishuvlarni keltirib chiqardi. Nijinska o'z xotiralarida tushuntirganidek, Vaslav o'zini juda tutib turardi va o'zidan tashqari, raqs dunyosida ozgina ishonchli va hatto yaqin hamkasblari bor edi. U turmushga chiqqanida, u sayohatda yolg'iz yosh yigit edi. U yolg'iz edi, chunki uning homiladorligi uni Evropada saqlab qoldi.[41][42]
Nijinskaning taxmin qilishicha, parda ortida biznes qarorlari turtki bo'lgan voqealar bo'lgan. Nijinskiydan xalos bo'lish bilan Diaghilev moliyalashtirish va xoreograf Fokinning kompaniyaga qaytishini ta'minladi. Tanaffusda hissiy izlar va xiyonat hissi paydo bo'ldi.[43] Diaghilev Vaslavni sentyabr oyidagi turmushidan tashqari boshqa sabablarga ko'ra ishdan bo'shatdi: balet dizayni bo'yicha badiiy janjallar, harbiy loyiha maqomi va qarzlarni to'lashni talab qilish.[44][45][46]
'Saison Nijinsky' 1914 va undan keyin
1914 yil boshida Vaslav Nijinskiy o'z-o'zidan Londonda yangi balet kompaniyasini ochdi: Saison Nijinskiy. Bronislava o'z yordamini taklif qildi, ammo premyerasiga tayyorgarlik ko'rish uchun ozgina vaqt borligini bilib oldi. Vaslav a da ochish uchun shartnoma imzolagan edi raqs zali, London saroyi teatri, to'rt yarim hafta ichida (2 mart). Nijinska tezda Rossiyaga aktyorlar tarkibini jalb qilish uchun qaytib kelishga qaror qildi, ammo Varshava tajribali raqqosalarni topdi. U boshqalar bilan akasining innovatsion xoreografiyasini tushuntirdi. U mashqlarni boshqargan, chunki musiqachilar va partiyalar, to'plamlar va liboslar tartibga solingan.[47]
Nijinskaning o'zi, masalan, Vaslav bilan birga ijro etishi kerak edi Le Spectre de la atirgul. Uning kutilgan premyerasi olqishlandi. Vaslavning ajoyib raqslari uzoq vaqt qarsaklar ostida o'tdi. Ikki hafta davomida ijro etganidan so'ng, biznes mojarosi kelib chiqdi. Bu Nijinskiy kasal bo'lib, bir necha kun davomida ijro eta olmaganida paydo bo'ldi. Bu teatr egasini boshqargan Alfred Butt kompaniyaning mavsumini bekor qilish. Nijinskiy raqqoslariga pul to'lashga muvaffaq bo'ldi.[48][49] Ba'zilar kompaniyaning qulashini Vaslavning yaqinda uylangani va "Ballets Russes" dan ishdan bo'shatilishidan keyin kuchaygan notinch emotsional tendentsiyalari bilan bog'lashdi.[50]
- 1921 yilda birlashdi
Birodar va opa-singil etti yil davomida ajralib turdilar, avval Birinchi Jahon urushi, keyin Rossiya inqilobi, so'ngra Rossiya fuqarolar urushi. Aloqa uchun juda oz imkoniyat bor edi, chunki pochta xizmati avval tartibsiz bo'lib, keyin to'xtatildi. 1921 yilda ular yana Vena shahrida uchrashdilar, u erda qisqa vaqt birga bo'lishdi.[51][52]
Raqqos sifatida martaba
Sankt-Peterburgdagi imperator baleti: 1908–1911
1908 yilda Nijinska qabul qilindi Imperial balet (keyinchalik Mariinsky baleti va keyinchalik Kirov baleti deb ham tanilgan). U akasining izidan yurdi.[53] In corps de balet uning birinchi yili, u ijro etdi Mishel Fokin "s Les Sylphides. Uning qarashlari va rahbarligi ostida u Fokinning ushbu usta haqidagi xoreografik qarashlarini bevosita engib o'tishga muvaffaq bo'ldi. Ammo u ham, uning ukasi Nijinskiy ham 1909 va 1910 yil yozlarida Rossiyani tark etish uchun tark etishdi Diagilev kompaniyasi Parijda.[54]
Nijinska Mariinsky baletida uch yil davomida raqsga tushdi. Shunga qaramay, Diagilevning "Balet Russes" asarlarida olingan o'sish va tushunchalar, keyinchalik balet dunyosida kutilmaganda inqilob qilgani Mariinskiy teatri darajasidan oshib ketdi. Keyin, to'satdan, u teatri akasi Vaslavni ishdan bo'shatgandan so'ng, iste'foga chiqishga majbur bo'ldi, chunki uning Parijdagi yulduzli chiqishlari balet olamida sarlavhalar paydo bo'lgan edi. Natijada, Nijinska "Imperatorlik teatrlarining rassomi" unvoniga va unga tegishli daromadga nisbatan huquqlaridan mahrum qilindi.[55][56]
Diaghilev & Parijdagi balet ruslari: 1909-1913
Nijinska paydo bo'ldi Sergey Pavlovich Diaghilev Parijning birinchi ikki mavsumi, 1909 va 1910 yil. Mariinskiyni tark etgach, u o'zining yangi tashkil etilgan kompaniyasining doimiy a'zosi bo'ldi. Ruslar baletlari. 1912 yilda u boshqa raqqosa Aleksandr Kochetovskiyga uylanib, qizlarini dunyoga keltirdi Irina 1913 yilda.[57]
Bu erda dastlab Nijinska raqsga tushgan corps de balet, masalan, ichida Oqqush ko'li (Czardas), yilda Les Sylphides (Mazurka) va Le Spectre de la Rose. U professional sahnada rivojlanib borgan sari uni ko'tarishdi va oxir-oqibat muhim qismlarga ega bo'lishdi. Uning akasi uni Papillon [kapalak] rolida mashq qilgan Fokin "s Karnaval (1909). Qisman oyoqlari va qo'llari tezlashtirilgan holda muvofiqlashtirilgan ritmda chayqalib raqsga tushishdi prestissimo temp, u Perrotdan qochib ketdi, o'ynadi pantomima tomonidan Vsevolod Meyerxold.[58] Balerina qo'g'irchog'ining roli Petruchka (1912) ham o'zgartirildi. Qo'g'irchoqning fe'l-atvorini teatrdan o'zgartirib, a tutu ko'cha kiyimlarida reallikka, Nijinska rolni zamonaviylashtirdi. U shuningdek, klassik baletning odatiy ko'rinishiga qaytish o'rniga doimiy ravishda xarakterini saqlab qoldi. Boshqalar qatori Bayadere Enivrining soxta-hind raqsi Le Dieu bleu u shunday qildi, lekin unga g'amxo'rlik qilmadi. U mashhur baletda odalisk sifatida kurashdi va o'sdi Scherazade.[59][60][61]
1912 yilda ishlab chiqarilgan Kleopatre, u dastlab Bacchanale-ni raqsga tushirdi (Vera Fokinning o'rnini egalladi). Keyin u rollarni almashtirdi, mukofotlandi Karsavina Ta-Horning roli. "Karsavina rolni oyoq barmoqlari bilan raqsga tushirdi, lekin men uni yalang oyoqlarda raqsga olardim." U suyuq korpusdan foydalangan. Ta-Xor uchun u boshqa rassomlardan raqs san'ati uchun ham, dramatik talqini uchun ham maqtovlar oldi. Keyingi yil u akasinikida ijro etdi Jeux (O'yinlar). Nijinska akasi Vaslavga balet yaratilishida yordam berdi Le Sacre du printemps 1913 yilda namoyish etilgan (Bahor marosimi). Ayniqsa, Tanlangan qiz rolida u Nijinskiyning harakat va pozlar haqidagi ko'rsatmalariga diqqat bilan amal qiladi, chunki balet xoreografiyasi asta-sekin rivojlanib boradi. Ammo homiladorlikdan xabardor bo'lganida, u akasidan g'azablanib, uning ochilish marosimini o'tkazib yuborishi kerakligini aytdi.[62][63]
1914 yilda u raqsga tushdi Saison Nijinskiy (yuqoridagi bo'limga qarang).
Petrogradda Sasha bilan va Kievda: 1915-1921
Saison Nijinskiydan keyin Bronislava Rossiyaga qaytdi. U balet faoliyatini danseuse sifatida davom ettirdi, eri Sasha danseur sifatida. Urush va undan keyin inqilob paytida u klassikada bo'lgani kabi eksperimental ishlarda ham sahnaga chiqdi. Petrogradda 1915 yilgi teatr dasturida "Davlat baletining prima-balerinasi-Bronislava Nijinskaning baleti" berilgan. Dasturda Chaykovskiy, Mususskiy va Borodinning musiqalari bor edi. U o'zining xoreografiyasida, Le Poupee yoki Tabatierrda va Kuzgi qo'shiqda ijro etdi. Uning raqs tushunchasini maqtashdi.[64]
Kiyevda raqsdan tashqari u o'zining balet maktabini tashkil etdi va xoreografiya dasturlarini boshladi.[65] U tunikalarda kiyingan holda yakka holda raqsga tushdi, masalan, Etudes (Liszt), Mefisto Valse (Liszt), Nokturnes (Shopin), Prelyudiyalar (Shopin), Qo'rquv yoki dahshat (sukutda, Exter kostyumi) va kompaniya chiqishlarida, masalan. , O'n ikkinchi Rapsodiya (Litst), Jinlar (Therepnine), Mart Funebre (Shopin).[66] 1921 yilda u Rossiyani tark etdi, qaytib kelmadi.
Diaghilevning "Rossiyadagi baletlari": 1921-1925 va 1926
Parijdagi "Russes" baletlariga qo'shilib, Nijinska dastlab Diaghilevning yomon yulduzli 1921 yil Londonda qayta tiklanishida ishlagan. Petipa klassik Uyqudagi malika. Garchi pul yo'qotadigan bo'lsa-da, u mashhur edi va yaxshi ishlab chiqilgan va raqsga tushgan. Nijinska Hummingbird Fairy va Pierette rollarini ijro etdi, ular uchun u "yuqori tanqidiy maqtov" oldi.[67]
1922 yilda Diaghilevning shaxsiy iltimosiga binoan u bosh rolni ijro etdi Nijinskiy "s L'Après-midi d'un Faune uning Parijdagi tiklanishi paytida.[68][69] U 1912 yilgi premerasi uchun akasiga xoreografiya masalalarida yordam bergan. "Vaslav meni o'zining namunasi sifatida ishlatib, o'zining Faunasini yaratmoqda. Men u shakllantirayotgan loy bo'lagiga o'xshayman ..."[70] Ammo bu ko'rinish uning yangi, "ikkinchi martaba" sifatida ishlashiga aniq yordamchi bo'lib qoldi xoreograf.[71]
1921 yildan 1924 yilgacha, 1926 yilgacha "Balets Russes" bilan Nijinska o'zining ko'plab raqs dizaynlarida taniqli rollarni ijro etdi. Shunga ko'ra, u Lilac Fairy rolini ijro etdi Uyqudagi go'zallik (1921), tulki Le Renar (1922), styuardessa sifatida Les Biches (1924), Lizandr singari Les Fâcheux (1924) va Tennischi sifatida Le Train Bleu (1924).[72][73]
Evropa va Amerikada: 1925-1934
Keyinchalik, o'z balet kompaniyalari va boshqalar uchun u o'zining ixtirolari rollarida raqsga tushdi: yilda Muqaddas etudlar, Ekskursiya, Le Gignolva Toz tog'ida tun (barchasi 1925); Colon teatri uchun Estudios Religiosos (1926); unda Capricio Espagnole 1931 yilda Rimskiy-Korsakofga; va 1934 yilgi baletda Hamlet har bir Liszt: bosh rol.[74] U 1930-yillarda Evropa va Amerika qit'alarida namoyish etdi.
Nijinska qirq yoshga kirganida, uning ijrochilik faoliyati tugashiga oz qoldi. Uning bezovtaligiga sabab bo'lgan va uning ijrochilik san'atining yopilishini tezlashtirgan narsa uning jarohati edi Axilles tendoni 1933 yilda Buenos-Ayresdagi Kolon teatrida bo'lganida azob chekdi.[75]
Baholashlar, tanqidlar
Uning raqqosa sifatlari, albatta, taniqli xoreografiyadan ajralib turadi. Bir nechta professional hamkasblarning sharhlari Nyu-York balet tanqidchisi va muallifi tomonidan to'plandi Lin Garafola:
"U juda kuchli raqqosa edi va bir xonim uchun juda sport bilan raqsga tushdi va katta sakrab tushdi", deb sharhladi Frederik Franklin, raqqosa va balet ustasi. "U aql bovar qilmaydigan chidamliligiga ega edi va hech qachon charchamasdi", - deb esladi Anatole Vilzak, ko'plab etuk xoreografiyalarida asosiy raqqosa edi.[76] Ingliz raqqosasi Lidiya Sokolova Makiyajning etishmasligini ta'kidlab, u o'zini "eng ayolsiz ayol" deb o'ylardi, ammo uning fe'l-atvorida hech qanday erkalik yo'q edi. Yupqa, ammo juda kuchli, uning qo'llari va oyoqlarida temir mushaklari bor edi va juda rivojlangan buzoq mushaklari Vaslavnikiga o'xshardi; u xuddi shu tarzda sakrash va havoda pauza qilish uslubiga ega edi. " Alicia Markova, a prima balerina absoluta Britaniyaning Nijinska "g'alati birlashma, bu dahshatli kuch va shu bilan birga yumshoqlik bor" degan xulosaga keldi.[77][78]
Bastakor Igor Stravinskiy, uning musiqasi bilan u bir nechta yaxshi xoreografik asarlar yaratgan holda, "Bronislava Nijinska, taniqli raqqosaning singlisi [o'zi] juda badiiy tabiatga ega bo'lgan ajoyib raqqosa" deb yozgan.[79] Uning akasi Vaslavga ko'p oylar davomida 1913 yilgi baletning mashaqqatli dizaynida yordam bergandan keyin Le Sacre du Printemps (musiqasi Stravinskiy), u homilador bo'lishini aniqladi. Keyin u qurbonlik uchun qiz rolini ijro etish uchun sahnaga chiqa olmadi. Bundan hafsalasi pir bo'lgan Vaslav unga qarab qichqirdi: "Sizni o'rnini bosadigan hech kim yo'q. Bu raqsni siz faqatgina siz ijro eta olasiz, faqat siz, Broniya va boshqa hech kim yo'q!"[80][81][82]
Nensi Van Norman Baer Nijinska haqidagi kitobida shunday yozadi: "1911 yildan 1913 yilgacha [ukasi] Nijinskiy Shuhrat ko'tarilishda davom etdi, Nijinska kuchli va iste'dodli raqqosa sifatida paydo bo'ldi. "[83] Muallif va tanqidchi Robert Greskovich uning sovg'alari haqida umumiy tushunchani tasvirlab beradi: "Uning san'atining go'zalligi va namunasi hech qaerda yo'q. Pavlova va Spessivtseva Bronislava Nijinska (1891-1972) uning o'rniga xoreograf sifatida o'z belgisini ko'rsata boshladi. "[84]
Shunga qaramay, Nijinska raqqosa sifatida chindan ham ustun bo'lgan bo'lishi kerak. Faqatgina yosh talaba bo'lganida, uning raqs maydonchasidagi mahoratini eng yaxshi mutaxassislar tan olishgan. "Agar Marius Petipa uni ma'qullab boshiga qoqdi va Enriko Cecchetti uni sakkiz yoshida oldiga va o'rtasiga o'z sinfida ikkita prima balerinasi o'rtasida joylashtirdi, u yaxshi edi ".[85] 1914 yilgi Buyuk urushgacha uning akasining afsonaviy raqs mahorati o'ziga xos xususiyatlarini soya solgan edi. Yillar o'tib, ammo Dancing Times u haqida 1921 yilgi "Balets Russes" spektaklida yozgan Uyqudagi malika:
Nijinska ... menga butun kompaniyaning eng ko'p qirrali raqqosasi sifatida murojaat qiladi. Uning klassik raqamlaridagi texnikasi tanqidga sazovor emas ... va demi-charactère raqslaridagi mimikasi va shaxsiyati eng ishonchli.[86]
Uning dastlabki imzosi qattiq "virility" edi. "Uning o'z rollari sakrashlar va zarbalar bilan to'ldirilgan edi." Ko'p vaqt o'tgach, Nijinska o'zining kuch-qudratini hissiy ta'sir bilan "kutilmagan darajada ta'sirchan" birlashtirish uchun tayyorladi. Unga sahnada harakatlanish oqimi yoqdi.[87]
Xoreograf sifatida
"Nijinska hayoti davomida yetmishdan ortiq balet, shuningdek ko'plab filmlar, operalar va boshqa sahna asarlari uchun raqslar ketma-ketligini xoreografiya qilgan." Uning xoreografiyalarining izohli, xronologik katalogi Nensi Van Norman Baer tomonidan Nijinska haqidagi kitobida keltirilgan.[88][89] Uning xoreografiya san'atidagi dastlabki tajribasi ukasi Vaslav Nijinskiyga "Balets Russes" uchun xoreografik asarlarida yordam berishni o'z ichiga olgan. Keyin u o'zi tomonidan yaratilgan turli xil qadamlarning dastlabki bosqichlarini sinab ko'rdi.[90]
Urush va inqilob davrida "ruslarda"
Birinchi Jahon urushi boshlanganda Nijinska va uning eri, qizi va onasi Sharqiy front. Uning ukasi Vaslav g'arbiy qismida, oxir-oqibat Avstriyada edi.[91] Bu yerda "ruslar" o'z ichiga oladi Ukraina va uning poytaxti Kiev.[92]
Yigirmanchi asrning boshlarida rus badiiy dunyosi ko'pincha innovatsion va eksperimental edi. "Oktyabr inqilobidan oldin rus san'ati inqilobiy marksizmdan yiroq edi". Shunday qilib, bastakor Igor Stravinskiy Urushgacha bo'lgan san'at va undan keyingi konservativ zanjirlar o'rtasida aniq ajralib turardi kamzul oxir-oqibat Kommunistik partiya.[93][94] Urushda tug'ilgan 1917 yilgi inqilobdan keyin bir necha yil davomida Rossiya betartiblikda edi va ko'plab rassomlar Sovet siyosatchilari va ularning totalitar ideallaridan mustaqil ravishda bir oz mustaqil ravishda ishlashga muvaffaq bo'lishdi.[95][96]
Petrograd, uning birinchi xoreografiyalari 1914-1915
Birinchi Jahon urushi boshlanishida Nijinska, uning eri Aleksandr Kochtovskiy ("Sasha", 1912 yilda turmushga chiqqan) va ularning qizi Nina Petrogradga (o'sha paytda Rossiya poytaxtining yangi nomi) qaytib kelishgan. Nijinska bu shaharni azaldan o'z uyi deb bilgan; bu u erda oxirgi marta yashashi edi. U baletga o'qitish bo'yicha ish topdi Cecchetti talabalar.[97] Bronislava va Aleksandr "Balets Russes" ning sobiq hamkasblari bilan uchrashib, ular bilan birga raqsga tushganligi haqida gazeta xabarlari xabar beradi. Kiritilgan edi Mishel Fokin va Tamara Karsavina va shuningdek, Bolshoyniki Mixail Mordkin.[98]
Ikkalasi ham Petrograd xususiy opera teatrining etakchi raqqosalariga aylanishdi. 1915 yilda Nijinska o'zining birinchi xoreografiyasini yaratdi: Le Poupée [Qo'g'irchoq] (yoki La Tabatière) va Kuzgi qo'shiq. Ushbu asarlar uning "Narodniy dom" teatridagi yakkaxon chiqishlari uchun edi.[99]
U yigirma besh yoshda edi. 1915 yilgi dasturda u "taniqli prima-balerin-davlat baletining rassomi" deb ta'riflangan. Uning raqs ijodi uchun musiqa Kuzgi qo'shiq tomonidan edi Pyotr Ilyich Chaykovskiy va uchun Qo'g'irchoq tomonidan Anatoliy Liadov. Ushbu dasturda "Narodniy dom" da (Xalq uyi) ijro etilgan "Balets Russes" dan Mishel Fokine tomonidan xoreografiya qilingan baletlar ham Nijinska va uning eri tomonidan raqsga olingan. Uning xoreografiyasi Kuzgi qo'shiq, uning ikkita yakka o'zi "qanchalik muhim" bo'lsa, "Fokinega qarzdor edi".[100]
Kiev 1915–1921, uning "Ekol de Mouvement"
1915 yil avgustda oila ko'chib o'tdi Kiev. Nijinskaning eri 'Sasha' Kochtovskiy Davlat opera teatrida baletmeyster bo'ldi. U erda ikkalasi ham operalar uchun balet sahnalarida, raqslar va baletlarni sahnalashtirishda ishladilar. 1917 yilda Nijinska bir nechta muassasalarda dars berishni boshladi: Davlat musiqa konservatoriyasi, Markaziy davlat balet studiyasi, Yiddish madaniy markazi drama studiyasi va Ukraina drama maktabi.[101][102] 1919 yilda, ularning o'g'li Leon tug'ilgandan so'ng, uning Harakat maktabi ochilgandan so'ng, eri Sasha oilani tark etdi va yolg'iz sayohat qildi Odessa.[103]
Xoreografiya bo'yicha risola
Nijinskaning zamonaviy balet haqidagi "nazariy taxminlari" aftidan kristallana boshladi. 1917 yildan keyin Moskvada qisqa vaqt qolish paytida Oktyabr inqilobi, Nijinska o'zining risolasini boshladi: Harakat maktabi (xoreografiya nazariyasi).[104] U 1920 yilda nashr etilgan, ammo u Kievda yaratgan ko'plab raqs materiallari singari avlodlar uchun yo'qolgan. Uning yagona qoldig'i, uning mashq daftarlaridan birida "qirib tashlangan" topilgan 100 betlik "qo'lyozma" dir.[105][106]
Ammo 1930 yilda nashr etilgan qisqa inshoda u o'zining asosiy g'oyalarini qayta ko'rib chiqdi: "Harakat va harakat maktabi to'g'risida".[107][108] Nijinska yozadi:[109]
Xuddi 1. Ovoz musiqa materialidir; va 2. Rang - bu rasm materialidir; shuning uchun 3. Harakat raqs materialini tashkil qiladi. ... Harakat harakati doimiy bo'lishi kerak, aks holda uning hayoti uzilib qoladi. ... Xoreografiyada o'tish harakat bo'lishi kerak. ... [T] uning pozitsiyasi [a] harakat natijasida hosil bo'lgan natija. ... [C] xoreografik harakat o'ziga xos organik mavjudotga (har bir tarkibida turlicha), o'z nafasi va ritmiga ega bo'lishi kerak. ... [Rassom] o'z raqsining harakatini kuylaydi [shunday qilib] tomoshabin ... uning harakati ohangini ko'zlari bilan eshitadi ... Rassom [raqs] uning harakatini mukammal ko'rishi va bilishi kerak. butun tabiat, harakatni o'z san'atining materiali sifatida ishlashi kerak. ... [C] lassik raqsi faqat alohida o'rgatadi pas- harakatlar. Fikrlash va pozitsiyalar orasida harakat qilishning siri [harakat] ...
N. V. N. Baer ko'milgan narsalarni kuzatadi neoklassik Nijinskaning o'sha paytdagi radikal raqs nazariyasi, "harakat maktabi", ya'ni balet an'analarini ag'darish emas zamonaviy raqs, ammo shunga qaramay, harakatning mutlaqo yangi usullari. "Aynan shu inshoda u raqs qadamlarining mumtoz so'z boyligini kengaytirishga asoslangan yangi ifoda vositalarini qidirishni hujjatlashtirgan."[110][111]
Dizayner Exter bilan hamkorlik
1917 yilda Nijinska vizual rassom bilan uchrashdi Aleksandra Exter (1882-1949) yilda Moskva. Exter kompaniyasining zamonaviy dizaynlari konstruktivist g'oyalar. Ikkalasi zamonaviy san'at va teatr haqidagi fikrlarini almashdilar. Shunday qilib, "Exter" to'plamlari va kostyumlarini loyihalash bilan turli xil raqs loyihalarida uzoq va samarali hamkorlik boshlandi. Yaratilgan mehnat munosabatlari 1920-yillarga qadar davom etdi, ularning har biri mustaqil ravishda Rossiyani tark etib, Parijga ko'chib o'tdilar.[112][113]
Urushdan oldin Exter G'arbiy Evropada yashagan, u erda u qo'shilgan "kubist va futurist Ommabop yangiliklarni ishlab chiqaruvchi doiralar ". Urush boshlanganda Rossiyaga qaytib, Exter dastlab Moskvaga joylashdi Aleksandr Tairov uning Kamerniy [palatasi] teatrida u "drama, harakat va dizaynning" sintetik teatr "deb nomlangan dinamik birlashishini yaratishga intilgan". 1918 yilda Kievga ko'chib o'tgach, Exter badiiy studiyani ochdi, u Kievning ko'tarilgan ko'plab rassomlari uchun salonga aylandi.[114][115][116]
Shuningdek, Exter qo'shilgan Nijinskaning raqs maktabida badiiy munozaralar bo'lib o'tdi. Ularning g'oyalari bir-biriga mos va bir-birini qo'llab-quvvatladi. Kurator / muallif Nensi Van Norman Baerning yozishicha, ular "yaqin badiiy sheriklar" va "tezkor do'stlar" ga aylanishgan.[117][118]
Exterdan tashqari, Les Kurbas (1887-1937) Nijinska bilan ishlagan. Kabi Ukraina teatri ishlab chiqaruvchi va film rejissyor, Kurbas Kiyevning etakchi san'at arbobi va mahalliy ijro targ'ibotchisi bo'lgan. They entered into a "complementary and deep" collaboration, sharing studio space, movement classes, dancer-actors, and theatrical discussions.[119][120][121]
Her ballet school and its productions
In February 1919 in Kiev, she opened her dance school called L'Ecole de Mouvement [School of Movement]. This was shortly after giving birth to her son Léon.[122] Her school's philosophy was to focus on preparing dancers to work with innovative choreographers. Among ideas she taught her students: flowing movement, free use of the torso, and a quickness in linking steps.[123] She wanted her students ready for cutting-edge ballets, like those she had assisted her brother in designing, e.g., Le Sacre va Faune.[124] As she stated in her Kiev-era treatise/essay "On Movement and the school of movement":
"Today's ballet schools do not give the dancer the necessary training to work with choreographic innovators. Even the Ballet Russes ... did not create a school to parallel its innovations in the theater." [86/87] Yet historically, regarding Vigano, Noverre, Vestris, Didelot, Taglioni, Coralli, Petipa: "the danse d'ecole absorbed all the achievements of these choreographers. ... [They] did not destroy the school with their innovations, but only enriched it." [87][125]
Under the aegis of this school she staged concerts with her own choreographed solo dances. Included were "her first plotless ballet compositions": Mefisto Valse (1919) va Twelfth Rhapsody (1920) music by Liszt, and Nokturn (1919) va Marche Funèbre (1920), music by Chopin. These solo dances may be "the first abstract ballets" of the 20th century.[126]
In many of her productions her students danced for the public, among whom Serj Lifar was the most outstanding. Accordingly, she began to receive broad recognition as a choreographer. Then, invited by the Ministry of Arts, Nijinska mounted a full theatrical production of the Chaykovskiy balet Oqqush ko'li. She adapted the classic Petipa va Ivanov choreography of 1895. Her success involved trimming the ballet's difficulty to fit the level of her weaker students. The performance was held at Kiev's State Opera Theater.[127][128][129]
Reasons for leaving Kiev
It had been reported in the literature that Nijinska and family left Kiev in 1921 in order to visit her brother Vaslav Nijinsky in Vienna, after learning of his deteriorating health.[130][131][132][133] Yet she learned about her brother in 1920, when the Rossiya fuqarolar urushi prevented travel.[134][135][136]
Based on recent research, however, Prof. Garafola describes a different and suppressed reason. The Cheka, as the notorious Soviet security police was then called, in early 1921 stepped up its harassment of her and her students. Her artistic independence was confronted and by April L'Ecole de Mouvement yopilgan edi.[137]
The school "had given her a new life and an identity of her own as a modern artist. It was her child, the home of her imagination, a community of friends and devoted followers, the catalyst and expression of her creativity. In the weeks that followed [its closing] she quietly made plans to leave.[138]
She traveled west out of Kiev under false pretenses, assisted by other dancers. She'd taken her two children, Irina aged seven and Leon aged two, and her mother of sixty-four years. After she bribed the Soviet border guards, they waded across the Bug daryosi ichiga Polsha, arriving in early May, 1921.[139][140][141][142][143]
Several weeks later in Vienna the four travelers visited her brother Vaslav, uning xotini Romola va ularning farzandlari Kyra and Tamara. His health, however, had deteriorated since 1914, their last meeting. Once widely-celebrated as the "god of dance" he had not performed since 1917. Despite such sadness, the family was reunited.[144][145] Broni found income by working at a cabaret in Vienna.[146] At this point Diaghilev sent her an invitation; he included train fare. Her two children she entrusted to her mother's care. Nijinska then departed for Paris to rejoin Ballets Russes.[147][148]
Diaghilev's 'Ballets Russes' in Paris and Monte Carlo 1921–1925
The company staged ballets for twenty years, starting with its 1909 opening of La Saison Russe in Paris, and ending in 1929 when its founder Sergey Diagilev vafot etdi. He had directed the company's operations: both the business and the theatrical (music, choreography, dance, decor and costumes).[149][150][151] He chiefly worked with five choreographers, more or less in sequence: Fokine (1909-1912, 1914), Nijinsky (1912-1913, 1917), Massine (1915–1920, 1925-1928), Nijinska (1921-1925, 1926), Balanchine (1925-1929). Diaghilev's "successive phases" are described as: "reform (Fokine), modernism (Nijinsky and Massine), and ... constructivism and neoclassicism (Nijinska and Balanchine)."[152] The early twenties were Nijinska's time at the helm.[153][154][155][156]
Originally started in Russia by an arts impresario to function as an "exporter of Imperial culture" (initially the ballet productions in Paris), it happened that the company never performed in Russia. By 1918 less than half its dancers were Russian, 18 out of 39. 12 were Polish. The rest were four Italians, two Spaniards, two English women, and a Belgian. The company's ambivalent and attenuated connection to Russia had not survived the 1914–1918 war, the 1917 revolutions, and the Fuqarolar urushi. In 1922 for financial reasons it relocated its base of operations from Paris to Monte-Karlo.[157]
Her initial choreographic work, and derivations
In 1921 Diaghilev asked Nijinska to return to Ballet Russes, chiefly for her choreography. He had become aware of her recent work in Kiev, especially that she had staged the Petipa -Ivanov klassik Oqqush ko'li, tomonidan musiqa Chaykovskiy. He had re-engaged her "because" of this demonstration of her abilities.[158] As well as ballet mistress and a principal dancer, she was in line to be the Company's first and only female choreographer.[159] Yet Diaghilev as ever was also cautious. Partly to test the quality of her work, and partly because of his company's financial condition, he first gave Nijinska major tasks in his on-going ballet productions.[160][161][162]
Uyqudagi malika, dastlab La Belle au bois harakatsiz (1921)
As theatrical events unfolded in late 1921, Ballets Russes was confronted with a severe financial crisis. The immediate cause was its lavish London production of the celebrated klassik Uyqudagi go'zallik originally staged in 1890 in Saint Petersburg. Its 1921 version had been renamed Uyqudagi malika apparently because, as Diaghilev wryly observed, following the urush the role of titled princess had become a rarity.[163][164]
The ballet was "one of the great Petipa classics from the old Imperial Russian repertory". La Belle au bois harakatsiz [The beauty in woods asleep] was taken from a French ertak of that name by Charlz Perro. Music was specially composed for it by Pyotr Ilyich Chaykovskiy. Diaghilev extravagantly revived the entire production of Petipa's three-act ballet. Leon Bakst designed the sets which "were of surpassing grandeur and magnificence and no expense was spared ..."[165][166][167]
Although the main choreographic credit remained with Petipa, the "Additional choreography by Bronislava Nijinska" was recognized.[168] Her most memorable contribution: to the grand divertissement in Act III she added the rousing hopak for the 'Three Ivans' (Les trois Ivans); it "became one of the most popular numbers".[169][170] Nijinska designed a half-dozen other, well-crafted choreographic pieces (e.g., "The Marquises", "Blue Beard", "Schéhérazade", "Variations of Prince Charming").[171][172] She made other alterations to the ballet,[173] and led its rehearsals.[174] As a principal dancer, she took roles as the Hummingbird Fairy, the Lilac Fairy, and Pierrette.[175] She choreographed a new version of the so-called "finger" variation for herself as the Hummingbird Fairy.
In 1921 in London the key for Diaghilev at Ballets Russes was her mastery of dance, staging and design. Uyqudagi malika production "became a proving ground of Nijinska's choreographic talent. She acquitted herself admirably."[176]
Diaghilev's earlier had, post-war, committed the company to revive the 1890 Russian classic. It was a bold decision which incurred a large financial risk. He aimed for excellence, a show of the tradition's high production values whatever the expense. Ko'rgandan keyin Uyqudagi malika many theater critics were skeptical, disappointed by the apparent retreat from an experimental approach previously associated with Ballets Russes. Diaghilev's traditional classic, however, did prove very popular with London's growing audience for ballet, for whom it became an artistic learning experience that boded well for future London dance performances.[177] Yet in late 1921 the London aficionados still small numbers meant that they could not purchase enough tickets to cover its great expense. After a run of several months, attendance began to fall. By early 1922 the truly brilliant production had become a colossal, money-losing disaster.[178][179][180]
Nijinska arrived in mid-1921 at the Ballets Russes company. She had come from the harsh realities and creative ferment of 'Russia in revolution'. Her own artistic tastes then clearly favored the experimental Ballets Russes of pre-war days, when Diaghilev was "searching for the creation of a new ballet ..." Yet in 1921 Uyqudagi malika was the focus at Ballets Russes, and her first assignment. She wrote later that Diaghilev's extravagant revival then "seemed to me an absurdity, a dropping into the past".[181] No doubt Nijinska felt the stress resulting from the cultural-artistic dissonance: "I started my first work full of protest against myself."[182][183]
Over the course of her career, however, Nijinska neither remained a radical champion of rebel experiments, nor did she ever accept as timeless perfection the inherited balletic tradition. While strongly favoring new ideas about the art of movement, eventually she chose to take a o'rta yo'l: traditional art reconciled with radical innovation, and vice versa.[184][185][186]
Aurora's Wedding, yoki Le Marriage de la Belle au bois dormant (1922)
After a run of several months, mounting financial pressures had forced the closure of the lavish London production of Uyqudagi malika. In an attempt to recoup his investment Diaghilev then asked Stravinsky and Nijinsky to collaborate in creating from its three acts a shorter version.[187] Together they reworked the dance and music to salvage "a one-act ballet, which he called Aurora's Wedding." It proved very popular and became an enduring commercial success, remaining in the repertory of Ballet Russes companies for decades.[188][189][190][191]
Aurora's Wedding premiered in Paris at the Théâtre National de l'Opéra in May 1922. Since the costumes and decor for the London production had been impounded by creditors, those used were by Benoit from a 1909 production of another ballet, as well as new by Gontcharova. Asosiy raqqoslar edi Vera Trefilova as Princess Aurora and Per Vladimirov as Prince Charming. With Petipa Nijinska shared the choreographic credit.[192][193]
La Fête Merveilleuse [The Marvelous Festival] (1923)
Itself largely excerpted from her Aurora's Wedding, the "gala benefit pageant" La Fête was performed by Ballets Russes in the Oynalar zali at the Palace of Versailles. The gala played to the post-war French taste for theatrical revivals from the 18th-century Qadimgi rejim.[194] The well-heeled audience of aristocrats and art patrons came from all over Europe and from America.[195] Staged by Nijinska, Tchaikovsky's music was reorchestrated by Stravinsky, and the costumes were by Xuan Gris.[196]
Les Contes de Fées [Stories of the fairies] (1925)
Les Contes de Fées was another spin-off from Uyqudagi malika, drawn from fairy tales in Aurora's Wedding (originally in Act III of La Belle au bois harakatsiz). It premiered at Monte Carlo in February 1925. That winter Diaghilev produced it and other ballets in "full dress" even though scenery was not used.[197][198]
Her own ballet creations
Nijinska earned her credits as the sole choreographer for nine works at Ballets Russes during the 1920s.[199] All but one were set to modern musical compositions: three by Igor Stravinsky (two ballets, Renard, Noces, and an opera, Mavra); three by contemporary French composers, Francis Poulenc (Biches), Georges Auric (Fâcheux), and Darius Milhaus (Bleu poyezdi); one by a contemporary English composer, Constant Lambert (from the Shakespeare play); and, one by Modest Mussorgsky (Yo'q, an opera). One work employed barokko musiqa (Tentations).
Le Renar [The Fox] [Baika] (1922)
Nijinska's first ballet in her tentative new position as choreographer for Ballets Russes was Le Renar, described as a "burlesque ballet with song". Igor Stravinskiy composed the music, which was for small orchestra and four singers. Stravinsky also wrote the libretto, i.e., the lyrics. Originally commissioned by a friend of Diaghilev in 1915, it was not publicly performed until 1922.[200][201]
The principal dancers were: Nijinska (as the Fox), Stanislas Idzikowski (as the Cock), Jean Jazvinsky and Micel Federov (as the Cat, and the Goat). Costumes and sets by Michel Larionov were in a type of radical, modernist style with a "primitive quality".[202][203]
The plot comes from "Russian preliterary theater" sourced in "a tradition of itinerant folk entertainers" impersonating buffoons and animals. Across Europe, late medieval tales of Reynard Tulki mashhur edi. Here, the Fox (a rassom ) works to trick the Cock (a wealthy peasant) in order to literally eat him, but the Cock is saved by the Cat and Goat. "Disguised first as a nun, then as a beggar, the fox embodies criticism of both social and clerical orders."[204] Bayka was the original Russian title of Le Renar.[205]
Nijinska's choreography tended modern. She "juxtaposed movements of animal grace with odd gestures and grotesque postures." The ballet was narrated by singers off stage. Larionov's visual design included simple animal masks for the dancers; the name of each character, e.g., "Goat", was written in large letters on the dance costume.[206]
In her memoirs, Nijinska discusses Fokin 's innovative "Dance of the Fauns" (1905). There in the background the many "fauns looked like animals". The young boys who danced them once "tumbled head over heels" which was not in keeping with 'classical ballet' techniques. Yet Fokine claimed the result conformed to the "animal characteristics of the dance." Nijinska then comments:
I, who always spoke against the use of acrobatics in the ballet, made use of somersaults in my very first ballet, Stravinsky's Le Renar (1922). But there was no contradiction. I did not use those steps as a trick but to achieve an artistic aim.[207]
Garchi Le Renar was ill-received and seldom performed, Stravinsky's harsh music and the childlike costumes were suspected. Yet the ballet had "impeccable avant-garde credentials."[208] "Diaghilev was pleased with Nijinska's work and engaged her as the permanent choreographer for his company."[209] Stravinsky, too, was pleased. He wrote in his 1936 Chronicles of my life:
I still deeply regret that the production [Le Renard] which gave me the greatest satisfaction ... has never been revived. Nijinska had admirably seized the spirit of mountebank buffoonery. She displayed such a wealth of ingenuity, so many fine points, so much satirical verve, that the effect was irresistible.[210][211][212]
The premiere of this burlesque ballet also inspired an interesting social event. It was "a first night supper party for Le Renar", planned by Sydney Schiff as a kind of "modernist summit". Invited were "Proust and Joyce in literature, Stravinsky in music, Picasso in painting." Garafola comments that only in these years of Diaghilev "would ballet stand so close to the avangard."[213]
Mavra (1922)
An "opéra bouffe" with music by Stravinsky, it was first performed at the Théâtre National de l'Opéra in Paris, June 1922. The lyric book by Boris Kochno followed a poem by Pushkin, 'A small house in Kolomna'.[214] "The one-act opera did not require any dances, but Diaghilev asked Nijinska to stage the movement of the four singers."[215][216]
Les Noces [The Wedding] [Svadebka] (1923)
Nijinska created the ballet Les Noces ['The Wedding' [original title Les Noces Villageoise, in Russian Svadebka]) from the music and libretto by Igor Stravinskiy, music commissioned ten years earlier by Diaghilev. In four tableaux, the 24-minute ballet depicts in abstract fashion events surrounding a peasant marriage: the blessing of the Bride, the blessing of the Groom, the Bride's departure from her parental home, and the wedding celebration. Dancers first learning the steps often meet some difficulty with the intense group movements of the choreography. "When you are truly moving together your individuality is really evident."[217] The light-hearted sense of folk dance was abandoned. A realism of revolution has seasoned Nijinska's sober observations of tradition and society, yet there slumbers a vision. The collective mood of predestination is countered by hints at a peasant's wit of survival. After first seeing it, H. G. Uells yozgan:
Balet Les Noces is "a rendering in sound and vision of the peasant soul, in its gravity, in its deliberate and simple-minded intricacy, in its subtly varied rhythms, in its deep undercurrents of excitement ..."[218]
Stravinsky's idea for the score evolved during war, revolution, and exile. His libretto conveys ancient and set patterns, yet his music uses staccato rhythms and a vocal overlay of upheaval. Left little expressed is the wedding as a reassuring joy. The tone of the work is darker, more anxious, conjuring a "deeply moving evocation" of the ceremony. Nijinska translated it to dance, enbodying in the ballet a tragic sense, the fate of both tradition and revolution. Although his lyrics were taken from a collection of Russian folk songs (the Sobranniye Piesni of Kireievsky),[219] the text is arranged in an unorthodox manner.
The composer told Robert Kraft The dirijyor that the text for Les Noces "might be compared to one of those scenes in Uliss in which the reader seems to be overhearing scraps of conversation without the connecting thread of discourse."[220] The voices of the singers are disconnected from the characters they represent; and Stravinsky claims to have selected phrases for their "typicality" or commonality.[220] "Stravinsky's composition, while fluid and layered, at times becomes overtly jarring.[221] In form it is a kantata, the "music accompanying his choral and solo singers came from an orchestra of percussion, dominated by four pianos."[222][223]
Dance writer Robert Johnson claimed[224]that Stravinsky's text for Les Noces manifests his interest in psychology and a collective unconscious of the type posited by Karl Jung. Accordingly, the contrast between a musical "cell" and its elaboration in the score for Les Noces represents a dialog between profane time (chronos) and sacred time (kairos ) bilan belgilanadi Mircha Eliade.[225] Nevertheless, Stravinsky described his conception of the ballet's mise-en-scène as a "masquerade" or "divertissement.,"[226] whose effect would be comic. Nijinska rejected this concept, and it is her somber vision of the ballet that ultimately prevailed.[224]
The minimalist visual designs, both the costumes and the sets, were by Natalya Goncharova, the color scheme being "earthen gold, blue-grey, and black."[227]Yet "the fanciful, colorful costumes she first proposed struck Nijinska as wrong". Then Goncharova modified her designs to resemble the style of clothes worn by dancers to rehearsals. Balanchin 's practical dance clothes for performances "can trace precedents back to Noces." In the end, Goncharova's sparse sets and costume design are now "inseparable from the ballet's musical and movement elements."[228][229] When Nijinska worked on Les Noces:
I was still breathing the air of Russia, a Russia throbbing with excitement and intense feeling. All the vivid images of the harsh realities of the Revolution were still part of me and filled my whole being.[232]
Nijinska researched ethnological studies of peasant customs in Russia. Yet in boldly translating to the ballet stage, she seems mostly to follow Stravinsky's modern score. She directed the women to dance en pointe, in order to elongate their silhouettes and resemble Rossiya ikonkalari.[233] The beating sounds of the pointes jabbing the board demonstrates strength (not the ethereal effect previously associated with en pointe). Nijinska's groupings of women move largely in unison. The corps often faces square to the audience, a departure from the "epaulement" found in classical works, which softens the look by angling the shoulders. Toward the end of scene one, the women handle extremely long braids of the bride's hair, greatly exaggerated in thickness, as if the women were "sailors taking up the mooring lines of a boat." The whole piece, tethered to an ancient folk tradition, has an overwhelming sense of a controlled conformity.[234][235]
Her choreography reflected Nijinska's interest in modernist abstraction.[224] Corporeal forms like the "cart" that takes the Bride from her parental home, and the "cathedral" grouping at the ballet's end, have been abstracted, as also such gestures as the braiding of hair, and the sobbing. The appearance of pyramidal and triangular structures that represent "spiritual striving" furthers this interest in abstraction. It may show the influence of painter Vasili Kandinskiy. He had presented the so-called "Program for the Institute of Artistic Culture," his proposed master plan for the arts, including dance, in Moscow in June of 1920.[236]
An iconic pose from Les Noces has the heads of the women dancers, i.e., the bridesmaids, as if stacked up.[237] Author Jennifer Homans, in defining the ballet's fojia, comments:
In one of the ballet's most poignant and telling images, the women dutifully pile their faces like bricks on top of one another, forming an abstract, pyramid structure ... The bride sets her face on the top and rests her head despondently in her hands. We see both the individuals (those faces) and their submission to authority and the group ...[238]
Dance critic Janice Berman writes that Nijinska viewed the wedding celebration from her perspective as a woman: "Nijinska was obviously a feminist; the solemnity of the nuptials derives not only from the sanctity of married love, but from its downside---a loss of freedom, particularly for the bride. She loses not only her long, long braids, but also her privacy, her right to dream. The bride's last reverie, after all, comes before the ceremony; she leans her head on her hands, atop a table formed by eight of her friends. After the nuptials,another dreamer takes the bride's place."[239] Also, the critic Johnson points out that Les Noces is filled with images of dreamers.[224]
"Les Noces was Nijinska's answer to Sacre," a creative continuation of her brother's work,[240][241][242] here "a reenactment of a Russian peasant wedding." The ballet movement of the ceremony reflected "not a joyous occasion but a foreboding social ritual." Dance critic André Levinson in his harsh 1923 review called her choreography "Marxist" in which the individual was swallowed up by the masses.[243] Nijinska, however, escaped from her brother's nihilism by following Stravinsky's lead "through the formal beauty and discipline of the Pravoslav liturgiyasi." Nonetheless the ballet remained "a modern tragedy, a complicated and very Russian drama that celebrated authority" yet showed its "brutal effect on the lives of individuals."[244][245]
Dance academic and critic Lynn Garafola, in discussing the ballet scene in the early 1920s, identifies a major competitor to Diaghilev's Ballets Russes. She characterizes Balet suédois (Swedish ballet) led by Rolf de Maré as a company that had "largely succeeded in edging Diaghilev to the sidelines of avangard Paris." Yet Garafola mentions her admiration for the 1922 ballet Le Renar (see above) created by Nijinska for Ballets Russes. She continues:
[I]t was only in 1923 that Diaghilev staged a modernist masterpiece that transcended the best of his rival's offerings. Les Noces, probably the greatest dance work of the decade, teamed three of his closest Russian collaborators: Stravinsky, his 'first son', as composer; Natalia Goncharova, as designer; and Bronislava Nijinska, as choreographer.[246]
"Bronislava Nijinska's Les noces [grew] out of boldness of conception without regard for precedent or consequences," wrote Jon Martin, raqs tanqidchisi The New York Times.[247] Nijinska herself wrote about Noces: "I was informed as a choreographer [by my brother's ballets] Jeux va Le Sacre du Printemps. The unconscious art of those ballets inspired my initial work."[248]
Les Tentations de la Bergère [Temptations of the shepherdess] (1924)
This one-act ballet featured barokko musiqa tomonidan tuzilgan Mishel de Montekler (1667–1737), which was recently orchestrated by Anri Kasadesus. The sets, costumes, and curtain were by Xuan Gris.[249][250] Muqobil nom L'Amour Vainqueur [Love Victorious]. It opened in Monte Carlo.
In the mid-1920s "a significant part of the Ballet Russes repertory turned away from modernism and themes of contemporary life." Bunga kiritilgan Les Tentations de la Bergère va balet Les Fâcheux, also choreographed by Nijinska.[251] These were "two works produced by the Ballets Russes during the 1920s that focused on themes related to eighteenth-century France. These productions were rooted in France's post-World War I fascination with bygone monarchies and court life."[252][253]
Les Biches [The Does (or 'the girls')] (1924), also called Uy partiyasi
A one-act ballet Les Biches ['Les Demoiselles' was once a proposed alternate title][254] depicts a contemporary house party for singles, with music to 'entertain' by Frensis Polen. 'Fashionable' scenery and costumes were by cubist painter Mari Laurensin, shuningdek, frantsuzcha. Poulenc's commissioned music for ballet, which originally included sung lyrics, was a "wonderful chameleon of a score", that was "mischievous, mysterious, now sentimental, now jazzy, now Mozartian ..."[255][256]
Dance writer Robert Johnson comments that beneath this ballet's sun-washed, Riviera setting lie "shadowy scenes painted by Watteau: the Parc des Biches where Louis XIV trysted, and the forest where voluptuous courtiers rediscovered Cythera, the isle of love... . From the opening notes of Poulenc's overture, significantly scored for flutes and woodwinds, we find ourselves in this bois of ancient gallantry."[257] Poulence described the section titled "Jeux" as, "a kind of hunting game, very Lui Kvatorze."[258]
Its January 1924 opening at the Théâtre de Monte Carlo featured "La Nijinska herself" in the cast and, among others, a minor role for Ninette de Valois (she later became director at Sadler quduqlari ). Frantsiya chempioni Les Biches signifies "the girls" or female deer (the plural of doe), which was "1920s terminology for young women; [it] celebrates ballet women as chic young ladies."[259][260] Several English-speaking ballet companies changed the title, e.g., Uy partiyasi yoki G'azallar.[261]
"Although Diaghilev to Poulenc praised Nijinska to the heavens ... [he] feared she might be unresponsive to the Latin charm of the Poulenc score." Her first three choreographies for Ballet Russe had been composed by Stravinsky (Renard, Mavra, Noces). Yet "Poulenc and Nijinska had taken to each other enormously ..." During rehearsals, Poulenc remarked that "Nijinska is really a genius" and her choreography's "pas de deux is so beautiful that all the dancers insist on watching it. I am enchanted." Diaghilev concluded:
Poulenc is enthusiastic about Bronya's (Nijinska's) choreography, and they get along excellently together. The choreography has delighted and astonished me. But then, this good woman, intemperate and antisocial as she is, does belong to the Nijinsky family.[262][263]
The ballet's plot is unspecified. According to Poulenc, an atmosphere of "wantoness" prevails. Apropos of the ballet's ambiguity, Richard Buckle asks, "Have the three athletes who enter this whispering world of women just dropped in from the beach, or are they customers?...It is so delightful not to know." Les Biches was intended to be a modern "fête galante," and in some ways a commentary on Michel Fokine's ballet Les Sylphides.[257]
Nijinska took the role of the hostess of the house party. The hostess is "a lady no longer young, but very wealthy and elegant." Her guests are younger: twelve women in pink and three men dressed as athletes wearing ribbon-like sashes. Additional featured characters include La Garçonne, aka La dame en bleu, an androgynous figure sometimes described as a "page-boy"; and two women in gray dresses who appear to be a couple. The ballet has eight parts, each with a different dance music. The young guests flirt, appear to take no notice, or play dance games in a setting filled with social satire and ambiguous sexuality. The hostess, dressed in yellow, brandishes a cigarette holder as if posing for an advertisement. Balanchine comments that she seems driven to remain in motion, her hands, her desperate dance: she is unable to image herself alone and still.[264][265] Nijinska "was 'powerful' and 'strange,' a dancer 'intoxicated with rhythm, ... racing against the most breathless 'prestos' of the orchestra." In this role of the yellow-clad hostess, Nijinska
flew round the stage, performing amazing contortions of her body, beating her feet, sliding backwards and forwards, screwing her face into an abandoned attitude on the sofa. She danced as the mood took her and was brilliant.[266][267]
Dance writer Richard Shead appraised Les Biches as "a perfect synthesis of music, dance, and design ..." He situated it in the aftermath of the radical experimentalism of her brother Vaslav Nijinskiy, whose innovations had challenged the classical ballet canons:
The great strength of Nijinska's choreography was its inventiveness, together with the fact that it remained essentially klassik. It is easier to see now than it can have been in the 1920s that the future of choreography lay in classicism but in a classicism which was capable of being extended, varied, distorted even, without departing in any fundamental sense from the mainstream vocabulary of classical dance. Nijinska achieved this in Les Biches; Balanchin was to do so latter ...[268][269][270]
Following World War I, Diaghilev found it advisable to produce a French-themed work neo-classical in style.[271] Yet the Nijinska's dance vocabulary of Les Biches is not entirely academic; it blends virtuosic classroom steps, exposed lines and pointe work with body building poses, sporting images and references to popular dance forms. Ushbu munosabatda, Les Biches is "the fountainhead of neoclassicism in dance."[257] Ga binoan Irina Nijinska, the choreographer's daughter, the famous gesture of La Garçonne upon entering, with one hand held flattened to the side of her face, and the gesture of the female corps de ballet, with one hand raised while resting on an elbow, are both military salutes that Nijinska has abstracted through a technique like Cubism.[257]
Yilda Les Biches, yozadi Lin Garafola, Nijinska's choreography "cracked open the gender codes of classical style, transforming a piece of twenties chic into a critique of sexual mores."[272][273] According to Robert Johnson, "loves of various kinds are portrayed and accepted here seeingly without prejudice." Nijinska has turned the tables, making the ballet's three male athletes the object of a libidinous female gaze. "Nijinska has seized the power to frame the discussion about sex."[257][274]
Marie Laurencin's decor, according to Garafola, had "the same ambiguous blend of innocence and corruption" as the ballet. It opens in a flood of pink light that is "voluptuously feminine". A host of taboos are explored: "narcissism, voyeurism, female sexual power, castration, sapphism". Garafola a few pages earlier mentions the career importance of her years in Kiev "fired by the Revolution's brave new art".[275][276] On one level Les Biches appears to creatively conflate the sexual experimentation of post-war Paris and Kiev.[277][278] Yet Nijinska herself apparently remained somewhat of a skeptic.[279][280][281]
Garafola comments that Diaghilev disapproved of the ballet's pessimism, its sour look at gender relations. Portrayed was a femininity "only skin-deep, a subterfuge applied like make-up, a construction elaborated over time by men, not an innate female property." The customary "male bravura dance" is here exposed as pretentious. The ballet "divorces the appearance of love from its reality." Les Biches, deya taxmin qilmoqda Garafola, Nijinskaning "an'anaviy ayollik namoyishlari bilan bezovtalanishi" ni oshkor qilish deb talqin qilinishi mumkin.[282][283][284][285]
Balanchin, Nijinskaning "Balets Russes" da xoreograf sifatida davom etishi unga iltifot ko'rsatdi Les Biches uni "Diagilev davrining mashhur baleti" deb ta'riflagan. U bir necha bor qayta tiklandi, deya davom etdi u va "tanqidiy va ommabop ma'qullash" bilan uchrashdi.[286] "Monte Karlo va Parij tomoshabinlari ... buni yaxshi ko'rishardi." "Les Biches juda yoqdi. "[287][288] "Birinchi kuni kechasi parda tushishidan oldin hamma bilar edi Les Biches zarba bo'ldi. "[289]
Les Fâcheux [Majnun yoki zerikishlar] (1924)
tomonidan Mignard (taxminan 1658).
fr: Les Fâcheux dastlab frantsuzlar tomonidan yozilgan uch aktli balet komediyasi edi dramaturg, libretist va sahna nomi bilan tanilgan aktyor Molier (1622–1673). Barokko musiqasi bilan 1661 yilda ochilgan Per Bom va Jan-Batist Lulli.[290][291] Syujetsiz personajlar paydo bo'ladi, monolog qiladi, keyin qaytib kelmaslik uchun chiqing. "Molyerning qahramoni Eraste xonimning sevgisiga borishga ketayotganda unga doimo yaxshi niyatli tuynuklar to'sqinlik qiladi."[292] "Balets Russes" uchun qabul qilingan ushbu musiqa Jorj Aurik tomonidan yaratilgan, u tomonidan dekorativ dekoratsiya yaratilgan Jorj Braque,[293] libretto Jan Kokto Moliyerdan keyin Nijinskaning xoreografiyasi.[294][295]
Nijinska XVII asrning parigi va kiyimlarini kiyib, Lisandrning erkak rolini raqsga tushirdi. Anton Dolin L'Egégant barokko davriga yaqinlashish uchun raqsga tushganda va uning ijrosi shov-shuvga sabab bo'ldi. "Uning xoreografiyasi uslublarni modernizatsiya qilgan davrdagi uslub va pozitsiyalarni o'z ichiga oladi." Brakning liboslari "Louis XIV" edi. Ammo asl musiqa yo'qolgan edi, shuning uchun Auric zamonaviy kompozitsiya bilan o'tmishni uyg'otishi mumkin edi.[296]
Jorj Aurik frantsuz bastakorlari bilan bog'langan Frensis Polen, Darius Milxaud va Artur Xonegger, deb nomlangan guruhning bir qismi Les Olti. Frantsuz yozuvchisi Jan Kokto ushbu guruhga she'riyat va rassomchilikni o'z ichiga olgan san'atga yangicha yondoshish vakili sifatida murojaat qildi. Balet suédois 1920-yillarning boshlarida Les Six a'zolariga uning raqslari uchun musiqa yaratishni buyurdi. "Russes" baletlari ham unga ergashdi. 1920 yillarning ba'zi musiqa tanqidchilari Les Six asarlarini rad etishdi musiquette. Ammo hozirgi tanqidchi Lin Garafola kabi balet jonlanishida ko'radi Les Fâcheux o'zlarining musiqalarini "g'ayrioddiy kuylar va kundalik hayotni tasvirlashda" "xushchaqchaqlik va tazelik" ishlatadilar. Garafola "musiqaning xoreografiya bilan bog'liq mustaqilligini" qadrlaydi.[297][298]
Balet Russes raqqosasi Lidiya Lopokova ammo, Nijinskaning baleti haqida Les Fâcheux va shunga o'xshash asarlar, bu silliq va professional deb sharhladi, lekin hech narsa yoki hech kim uni qo'zg'atmadi. U juda sodda va she'riyat bilan mavhum g'oyalarsiz juda eskirgan baletlarni orzu qilardi. "Mass va Nijinska xoreografiyasi juda aqlli bo'lgani uchun juda aqlli ", deb his qildi u.[299][300][301]
La Nuit sur le Mont chauve [Toz tog'dagi kecha] (1924)
Balet premyerasi 1924 yil aprel oyida Monte-Karloda asosiy raqqoslar ishtirokida bo'lib o'tdi Lidiya Sokolova va Mishel Fedorov. Nijinskaning xoreografiyasi musiqa ostida yaratilgan Oddiy Mussorgskiy. Balet uchun ba'zi dizaynlar "tanani" qayta tiklaydigan ", uning tabiiy shaklini o'zgartiradigan kostyumlar bilan" tajriba o'tkazdi. Uchun Toz tog'ida tun, Nijinskaning eskizlari "cho'zilgan, kamonga o'xshash shakllarni namoyish etadi". Tomonidan ishlab chiqilgan kostyumlar Aleksandra Exter "shakl bilan o'ynagan" va "jins bilan o'ynagan".[302]
Nijinska individual raqqosdan ko'ra ansamblni ta'kidladi. Bu erda odatdagidek solist emas, balki "uning korpus baletidan markaziy figura sifatida ixtirochilik bilan foydalanishi" edi. Umumiy effekt "raqqosalarning harakatini birlashtirishga imkon berdi ... ular butun balet harakatlarini ifoda etishga qodir bo'lgan haykaltarosh shaxsga aylanishdi". Ekter shuningdek, "raqqoslarni shaxsiylashtirdi, ularni bir xil kulrang kostyumlarda kiydirdi". Shunga qaramay, "Nijinskaning xoreografiyasining me'moriy pozalari kostyumlarga o'ziga xos shakl berdi".[303]
Uning 1867 yilgi "simfonik she'ri" uchun La Nuit sur le Mont chauve Mussorgskiy jodugarlar aytganidek shanba kuni tomonidan ilhomlangan Nikolay Gogol uning ichida Aziz Yuhanno arafasi hikoya. Biroq, bastakor bir necha bor qayta ko'rib chiqdi va oxir-oqibat tugallanmagan operasining III aktiga musiqani kiritdi, Sorochintsy yarmarka [Sorochintsidagi yarmarka]. U 1881 yilda vafot etishidan oldin bir necha yil davomida ishladi. Musogorgskiyning o'zi Gogolning hikoyasi asosida opera librettosini yozdi. bir xil ism. Uning balet sahnalari shu tariqa "kal tog'dagi tunni" ifodalagan. Musiqa tomonidan qayta tashkil etilgan Rimskiy-Korsakov.[304][305]
Le Train Bleu [Moviy poyezd] (1924)
Balet Le poezd ko'k "raqsga tushgan operetta" deb nomlangan. Darius Milxaud balet librettosi bilan musiqa bastalagan Jan Kokto, shoir va kinorejissyor. Raqqosalarning shkafi tomonidan ishlab chiqilgan 'Koko' Chanel; u "davrning cho'milish kiyimlari" ni o'z ichiga olgan. Manzaralar haykaltarosh tomonidan yaratilgan Anri Laurens. Aktyorlar tarkibi: kelishgan bola (Anton Dolin ), cho'milish kamari (Lidiya Sokolova ), golfchi (Leon Voyzikovski) va tennischi (Nijinska).[306][307]
Cocteau libretto yupqa syujetga ega. Uning sarlavhasi haqiqiyga ishora qiladi Bleu poyezdi manzili bo'lgan Kot-d'Azur, zamonaviy kurort zonasi, xususan Monte-Karlo. "Moviy poyezd beau monde Parijdan janubga qarab ... "dedi Diaghilev, - birinchi nuqta Le train bleu "Stsenariy" plyajda bo'lib o'tdi, u erda zavq oluvchilar o'zlarini tanitdilar. "Qisman" akrobatik stunitslar "bilan" o'zini ko'rsatadigan "yoshlar ilhomlanib, balet" aqlli asar edi. moda haqida plage"[plyaj].[308][309]
Nijinska raqs tili orqali o'ziga xos muhit yaratdi, u burchakli va geometrik harakatlarni namoyish qildi va raqslarni interfaol guruhlar sifatida tashkil etdi, bu golf, tennis va plyajdagi ko'ngilochar o'yinlar kabi tasvirlar.[310]
ning Adashgan o'g'il.
Sportga bo'lgan mashhur ehtiros Koktoni birinchi marta "plyaj baleti" ni tasavvur qilishiga olib keldi. Ushbu asar, shuningdek, "akrobatika tomoshabinlarni hayratga solgan va quvontirgan" sportchi Anton Dolin uchun mukofot rolini taqdim etdi. Ammo u kompaniyani tark etgach, rolga qodir bo'lgan hech kim topilmadi va bu baletning tushishiga sabab bo'ldi.[311]
Ehtimol, Nijinska va librettist Kokto o'rtasidagi hamkorlik buzilganida balet zarar ko'rgan. Garafola yozishicha, bahsli masalalar quyidagilarni o'z ichiga olgan: (a) jins, Kokto "ayollarga xiralashgan qarashni" uyg'otadi ga qarshi Nijinskaning an'anaviy ayollikdan bezovtalanishi; b) Koktoning hikoyasi va imo-ishora usuli oyatlar "mavhum balet" (Kokto raqs o'rnini bosishni ma'qul ko'rdi pantomima, lekin Nijinska hech qanday nayrangbozlikdan mamnun edi balet); va, (c) o'zgaruvchan raqs estetikasi (Koktoning akrobatikani raqsga nisbatan ulgurji afzalligi, lekin Nijinska uchun bir qator nozik hukmlarni yaratgan). So'nggi daqiqada o'zgarishlar kiritildi. Nijinskaning xoreografiyasi tomoshabinlar uchun plyaj baletining murakkab ko'rinishini taqdim etishga muvaffaq bo'ldi. Garafola bu erda "faqat Nijinskada texnik (texnik raqs) tili va urf-odatlaridan istehzo bilan kurashish mumkin edi", deb taklif qiladi.[312][313]
Le train bleu 1933 yilgi baletni kutgan Plyaj. "Mass Xijeografiya, xuddi Nijinska singari, tuzilgan balet doirasidagi sport motivlari va turli xil raqs iboralarini stilizatsiyalash edi. "Ikkala jazz harakatlaridagi sport raqslari sahnalari.[314] Yarim asr o'tgach, Nijinskaning 1924 yilgi xoreografiyasi qayta tiklandi va tiklandi.[315]
"Théâtre Chorégraphiques Nijinska", Angliya va Parij 1925 yil
Diagilevdan chiqib, uning raqs kompaniyasini boshlang
1925 yil yanvarda Nijinskaning "Balet Russes" dan ketishi belgilandi. Qisman u oxir-oqibat Diagilev Koktoni yoniga o'tkazganida boshiga tushgan qayg'u tufayli tark etdi. Le Train Bleu. U o'z kompaniyasini boshqarishni xohladi. Yana bir sabab, 1924 yilda dinamikaning kelishi edi Jorj Balanxin (1904-1983), Sovet Ittifoqining eksperimental raqs guruhi bilan. Diaghilev uning namoyish etilgan iste'dodini tan oldi va uni "Balets Russes" jamoasiga jalb qildi. Nijinska tomonidan bo'shatilgan xoreograf lavozimini Balanchin to'ldirdi.[316]
1925 yilda Nijinska o'zining balet kompaniyasini yaratish uchun etarli mablag 'topdi: Théâtre Chorégraphiques Nijinska. Bu o'n bitta raqqosa ishlaydigan kamerali ansambl edi. Rossiya avangard tasviriy rassomi Aleksandra Exter kostyumlar va to'plamlarni ishlab chiqdi. Nijinska birinchi marta Exter bilan Kievda urush va inqilob paytida tanishgan. Bu Nijinska "Balets Russes" uchun xoreograf sifatida davom etgan professional munosabatlar edi. Nensi Van Doren Baer ularning hamkorliklarini, "vizual va kinetikaning eng dramatik sintezi" ni yuqori baholadi.[317][318]
Nijinska o'zining kompaniyasi uchun oltita qisqa baletni xoreografiya qildi va beshtasida raqsga tushdi. 1925 yil yoz mavsumida (avgust-oktyabr) uning balet kompaniyasi o'n beshta ingliz kurort shaharlari va viloyat shaharlarini aylanib chiqdi. Keyin u Parijda, xalqaro ko'rgazmada va gala-dastur uchun tanlovlar o'tkazdi.[319][320] "Har qanday me'yorga ko'ra, Thétre Chorégiques raqs, xoreografiya, musiqa va eng yuqori darajadagi kostyumlar dizaynini taklif qildi."[321]
Muqaddas etudlar, mavhum balet [Bax]
Rossiyadan tashqarida ko'rilgan uning birinchi mavhum baleti, to J. S. Bax Birinchi va Beshinchi Brandenberg kontsertlari, shuningdek, uning musiqasiga o'rnatilgan birinchi balet edi.[322][323][324] Raqqoslar bir xil tunikalar va ipakdan yasalgan paltoslar kiyib, haloga o'xshash bosh kiyimlarini kiyishgan. "Externing" bir jinsli "kostyumlari o'z davrida inqilobiy edi." Shunga qaramay, hisobotlarga ko'ra, ularning sodda va qattiq dizayni "xoreografiyaning keng oqim harakati va ajoyib ritmlariga beqiyos qo'shilib, samoviy uyg'unlikda harakat qilayotgan androgin jonzotlarni nazarda tutadi".
Ipak "baletning efir sifatini oshirdi. Pushti va yorqin to'q sariq rangli paltoslar raqqoslarning elkalariga qo'yilgan bambuk tayoqchalarga to'g'ri osilgan edi. .... "Baer qo'shimcha ravishda kuzatadi," Nijinska raqqosalarning darajalari, guruhlari va yuzlarini o'zgartirib, harakatlanuvchi va kesishgan rang tekisliklaridan iborat tasviriy kompozitsiyani yaratdi. " Les Noces, Nijinska raqsga chaqirdi en pointe "tananing chizig'ini uzaytirish va stilize qilish uchun".[325]
Uning qisqa, mavhum Bax baleti "u eng ko'p g'amxo'rlik qilgan" asarlardan biri edi. U xoreografiyani qayta ishlashni davom ettirdi va uni turli xil shakllarda va turli nomlar bilan taqdim etdi: 1926 yilda Teatr Kolon uchun; 1931 yildagi "Nijinska" baletlari uchun 1930 yillar davomida sahnalashtirilgan; va 1940 yilda Gollivud Bowlida.[326]
Besh qisqa zamonaviy asar, to'rtta divertissement
- men. Ekskursiya (yoki Sport va turistik balet revu).
Nijinska "zamonaviy harakat turlarini o'z mavzusi sifatida oldi", musiqasi Frensis Poulens, kostyumlari va Exter tomonidan o'rnatildi. "Velosipedda uchish, uchish, otda yurish, aravada haydash ... barchasi raqsga aylandi." Bu baletning zamonaviy hayotga, uning ukasi Vaslav Nijinskiyga ergashishini yanada yorqinroq ko'rsatdi Jeux 1913 yil va uning Les Biches va Le Train Bleu 1924 yil[327]
- II. Jazz.
Musiqa edi Igor Stravinskiy 1918 yilgi kompozitsiya Ragtime. Bastakor buni yozadi "o'sha paytlarda mening jazzga bo'lgan ishtiyoqimdan dalolat berdi ... meni haqiqatan ham mashhur jozibasi, yangiligi va yangi ritmi bilan maftun etdi. ..."[328] Externing kostyumlari 1897 yilda Rossiyada namoyish etilgan Afrikain. 1921 yilda Exter o'zining "o'zaro bog'liqlik, zichlik, ritmizatsiya va rang konstruktsiyasiga o'tishga qiziqishi haqida yozgan edi ... "Ammo Nininskaning xoreografiyasi yo'qoldi.[329] Bolaligida u va uning ukasi Vaslav ota-onalarining uy mehmonlari bo'lgan ikki sayohat qilayotgan afroamerikalik raqs ijrochilari bilan do'stlikni rivojlantirishgan.[330]
- iii. Yo'lda. Yapon pantomimi.
A asosida Kabuki musiqa bilan hikoya Leyton Lukas, va Exter tomonidan kostyumlar. Nensi Van Norman Baer yakka o'zi ishlab chiqqan deb taxmin qilmoqda Qo'rquv 1919 yilda Kievda Nijinskiy tomonidan ishlab chiqilgan va raqsga olingan va samuray jangchisining dinamik harakatlaridan ilhomlangan. Muhokamada Nijinska o'zining ilk xoreografik asarlariga Yaponiyaning ta'sirini eslatib o'tadi, bu manbalardan biri 1911 yilda sotib olingan bosma nashrlar to'plamidir.[331]
- iv. Le Gignol
Bosh rol - bu frantsuz qo'g'irchoq teatri xarakteri bo'lib, u barcha qo'g'irchoq teatrlari uchun ham nom bo'ldi. Musiqa muallifi Jozef Lanner. Keyinchalik 1926 yilda Buenos-Ayresdagi Kolon teatrida ijro etildi.[332]
- v. Toz tog'ida tun.
Uning "Ballets Russes" uchun 1924 yilda yozgan asarining qisqartirilgan versiyasi. "Xuddi shunday Muqaddas etudlar va Les Noces, Nijinska balet-aksiyani ifodalash uchun individual raqqosalarni ishlatish o'rniga ansamblga tayandi. "[333]
- To'rt divertissement.
Musiqiy snuff box yakkaxonning takrorlanishi edi La Poupée birinchi bo'lib Kievda Nijinska tomonidan raqsga tushgan. Trepak u edi Uch Ivan u Diagilev uchun xoreografiya qilgan Uyqudagi malika Londonda. The Mazurka Shopen dan edi Les Sylphides. Polovetsian raqslari butun kompaniya uchun ansambl edi.[334]
Balet kompaniyalari va namunali baletlari 1926–1930
Nijinska xoreografiya, raqs va rejissyorlik faoliyatini davom ettirdi, Evropa, Janubiy Amerika va Qo'shma Shtatlardagi balet kompaniyalari va muassasalarida ishladi.[335][336]
Parijdagi "Théâtre de l'Opéra": Bien-Aime [yoki Azizim]
1928 yilda sahnalashtirilgan bir aktli balet, musiqa muallifi Shubert va Liszt, libretto va dekor Benua. Ida Rubinshteyn va Vilzak ushbu Nijinska xoreografiyasida raqsga tushishdi. Uning ingichka syujetida fortepianoda shoir, uning ketgan Muse va uning yoshligi haqida eslaydi. Balet 1937 yilda Markova-Dolan kompaniyasi tomonidan tiklangan. Balet teatri Nyu-York shahrida Nijinskaning Amerika premerasini 1941/1942 yillarda namoyish etishini tashkil qildi.[337]
Shuningdek, Parij operasida, 1924 yilda Nijinska baletni xoreografiya qildi La Rencontres [Uchrashuvlar], libretto Kochno, musiqa muallifi Sauget. Edip Sfinks bilan sirkda uchrashadi.[338]
Monte-Karloda Diagilevning "Balet Russes": Romeo va Juliet
Ning yangi versiyasi Romeo va Juliet tomonidan musiqa bilan Doimiy Lambert Premyerasi 1926 yilda bo'lib o'tdi. Balet taassurot qoldirdi Mass, keyinchalik Londonda kim ko'rgan. "Nijinskaning xoreografiyasi Shekspir o'yinining zamonaviyligini eng zamonaviy so'zlar bilan ifodalashga qoyil qolgan urinish edi". Yakunda etakchi raqqosalar Karsavina va Lifar, haqiqiy hayotda sevuvchilar, "samolyotda uchib ketishdi". Maks Ernst dizayn ishlarini olib borgan, Balanchin an entr'acte. "Menimcha, bu balet o'z vaqtidan ancha ilgariroq edi", deb yozgan keyinchalik Massin.[339][340]
Buenos-Ayresdagi "Kolon teatri": Estudio Religioso, opera uchun xoreografiyalar
Kolon teatrida.
1926 yilda Nijinska xoreografiya direktori va bosh raqqosa bo'ldi Kolon teatri (Kolumb teatri). Uning Buenos-Ayres kompaniyasi bilan faol aloqasi 1946 yilgacha davom etadi.[341] O'n yil oldin, 1913 yilda "rasslar" baletlari Buenos-Ayres, Montevideo va Rio-de-Janeyroda gastrollarda bo'lgan, ammo Nijinska bolaligida u erga bormagan. Nijinskiy uning ukasi qildi.[342] 1926 yilda u Argentinada yangi tashkil etilgan balet tashkilotida "tajribasiz, ammo g'ayratli raqqosalar guruhini" topdi. Adolph Bolm.[343][344]
Nijinska sahnalashtirdi Un Estudio Religioso tomonidan musiqa Bax 1926 yilda u xoreografiyasidan rivojlangan Muqaddas etudlar 1925 yil. Colon teatrida u ishni to'liq kompaniya taqdimotiga qadar kengaytira oldi.[345] U birinchi marta urush va inqilob paytida Kievda ishlab chiqqan innovatsion g'oyalariga asoslandi. Bax ikkala baletida ham libretto, syujet yo'q edi.
Ushbu mavhum balet musiqa ma'naviyatidan ilhomlanib, oltitadan iborat bo'lib xoreografiya qilindi Brandenburg kontsertlari va musiqasiga o'rnatilgan birinchi balet edi J. S. Bax.[346][347]
1926 va 1927 yillarda Buenos-Ayres teatri uchun Nijinska o'n besh opera, shu jumladan Bize uchun raqs sahnalarini yaratdi. Karmen, Vagnerniki Tanxauzer, Verdi Aida va Traviata, Stravinskiyniki Le Rossignol, Rimskiy-Korsakovnikiga tegishli Tsar Saltan, Massenet Tayva Gounodniki Faust.[348] 1927 yilda Teatr Kolon uchun Nijinska tomonidan yaratilgan balet xoreografiyasini boshqargan Fokin "Russes" baletlari uchun: Ravelniki Daphnis va Chloë va Stravinskiyniki Petrouchka.[349]
Parijdagi "Ida Rubinshteyn baleti": Bolero, La Valse, Le Baiser de la Fée
Raqqos Ida Rubinshteyn 1928 yilda balet kompaniyasini tashkil qildi, uning xoreografi Bronislava Nijinska deb nomlandi. Rubinshteyn tezda tartibga keltirdi Moris Ravel uning yangi raqs korxonasi uchun musiqa yaratish. Omad yoki dahoga ko'ra Ravelning asarlaridan biri darhol mashhur bo'lib ketdi va mashhur bo'ldi. Bugungi kungacha shunday saqlanib kelmoqda: uning Bolero.[350]
Rubinshteyn uchun Nijinska original Boléro baletini xoreografiya qildi. Unda u har xil individual raqqoslar bilan o'ralgan katta dumaloq platforma atrofida atrof-muhit sahnasini yaratdi, ular navbatma-navbat ko'zlarini ushlab turadilar. Ba'zida yon tomonga bir nechta raqs tushish va e'tiborni tortish boshlanadi. Ammo balet-aksiya har doim markazga qaytadi. Ilhomlangan dramatik harakatlar Ispaniya raqsi hali qisqartirilgan, kamaytirilgan, stilize qilingan.[351][352]
Rubinshteynning o'zi "Ballets Russes" kompaniyasining dastlabki yillarida Diagilev uchun raqsga tushgan edi. 1910 yilgi baletda Scherazade (Ravel musiqasi bilan adashtirmaslik kerak) u va Vaslav Nijinskiy (Nijinskaning ukasi) ikkalasida ham bosh rollar bo'lgan. Ular Nijinskaning "hayratga soladigan" deb nomlangan sahnasida birgalikda raqsga tushishdi.[353][354] Baletda Rubinshteyn va Nijinskiy ham sherik bo'lishgan Kleopatre bir yil oldin Parijda "Balet Russes" uchun. Rubinshteyn bosh rolni o'ynagan. Balet "1909 yilgi mavsumning qochib ketgan yutug'i bo'lib, uni bir kecha yulduziga aylantirdi".[355]
Hozir Parijda yashovchi Rubinshteyn o'z kompaniyasiga Nijinska tomonidan xoreografiya qilingan boshqa baletni ijro etish uchun rahbarlik qildi, musiqasi Maurice Ravelniki La valse. Monte-Karloda 1929 yilda ochilgan.[356][357][358]
Balet versiyasi Le Baiser de la Fée [Peri o'pishi] Ida Rubinshteyn so'raganida paydo bo'lgan Igor Stravinskiy Bronislava Nijinska tomonidan xoreografiya qilinadigan musiqa yaratish. Bu 1928 yilda sahnalashtirilgan bo'lar edi. "G'oyasi shundaki, men musiqa ilhomlanib biron bir asar yaratishim kerak edi Chaykovskiy, "deb yozgan Stravinskiy. U tanlagan mavzu uchun Xans Kristian Andersen ning "dahshatli" ertagi Muzli qiz, unga ijobiy aylantirib qo'ydi: "Peri tug'ilish paytida bolasiga sehrli o'pishini muhrlaydi ... Yigirma yil o'tib ... u halokatli o'pishni takrorlaydi va uni o'zi bilan katta baxt-saodatda yashashga olib boradi. ... "Stravinskiy bu voqeaning ertakini shunday deb tushundi Muse uning o'pishi Chaykovskiyning musiqasini ilhomlantiruvchi "sehrli iz" bilan tamg'alagan. Nijinska xoreografiyani yaratdi.[359][360]
Bastakor Stravinskiy 1928 yilda Parijdagi Opera-da baletning birinchi namoyishi uchun orkestrni boshqargan. Le Baiser de la Fée boshqa Evropa poytaxtlarida va 1933 yilda Buenos-Ayresdagi Kolon teatrida o'ynagan. 1935 yilda Eshton Londonda o'ynagan yangi versiyasini xoreografiya qildi va 1937 yilda Balanchin buni Nyu-Yorkda o'ynagan versiya uchun qildi.[361][362][363]
"Opéra Russe à Parij": Capriccio Espagnol [Rimskiy-Korsakov]
Ushbu "Opéra Russe à Paris" balet kompaniyasi 1925 yilda rus qo'shiqchisi va uning eri, frantsuz bastakorining jiyani tomonidan tashkil etilgan. Massenet. Kompaniyaning direktori va taniqli vakili edi Vasili de Basil (sobiq Vasiliy Voskresenskiy, rus) Tadbirkor va, ehtimol, bir marta Kazak ofitser). Beri Sergey Diagilev 1929 yilda vafot etdi, so'ngra uning "Balet Russlari" qulashi bilan Evropa balet dunyosida noqulay bo'shliq yashadi.[364]
Nijinska 1930 yilda de Basil boshchiligidagi "Opèra Russe à Parij" ga qo'shildi. U bir nechta taniqli operalarda "balet ketma-ketligini xoreografiya qilishi" kerak edi.[365] Shuningdek, u "opera oqshomlari bilan almashinadigan barcha balet oqshomlari uchun asarlar yaratishi" kerak edi. Natijada u baletni yaratdi Capriccio Espagnol rus bastakori tomonidan Nikolay Rimskiy-Korsakov. Bundan tashqari, u avvalgi bir necha balet asarlarini sahnalashtirgan (Les Noces va Les Biches) va boshqalar Ruslar baletlari Diagilev davridagi tarif.
1931 yilda u "Ballets Nijinska" kompaniyasini ochish uchun de Basilning "g'ayrioddiy saxiy" taklifini rad etdi. U ilgari ish holatini uzoqroq saqlab tursa-da, u mustaqil ravishda loyihalarni amalga oshirishni xohladi.[366] 1934 va 1935 yillarda u yana de Basilning kompaniyasi bilan ishlaydi.
Rene Blum (frantsuz siyosatchisining ukasi Leon Blum ) keyin "balet fasllarini uyushtirgan Monte-Karlo kazino "1931 yilda u de Basil bilan balet operatsiyalarini birlashtirish to'g'risida muzokaralar boshladi, shuning uchun naissant kompaniyasi""Russes de Monte Carlo" baletlari '. De Basildan "raqqoslar, repertuar, dekoratsiya va liboslar" va Blumdan "teatr va uning binolari va moddiy yordami" keladi. 1932 yil yanvar oyida shartnoma imzolandi. "Boshidan boshlab de Basil shunday harakat qildi impresario."[367][368] Biroq, ko'p o'tmay, Blum va de Basil o'zaro kelishmovchiliklarga duch kelishdi va 1936 yilda bo'linib, har biri o'z kompaniyasini tashkil qildi.[369] Keyinchalik 1940-yillarda Nijinska asarlarini sahnalashtirdi Blum yarmining vorisi, keyin Sergey Denham tomonidan boshqariladi.[370]
Uning raqs kompaniyalari 1931-1932, 1932-1934
O'ttizinchi yillarning boshlarida Nijinska bir nechta balet kompaniyalarini tashkil qildi va ularga rahbarlik qildi. Ammo 1934 yilda uning boshqa birovning fuqarolik-huquqiy nizosida aybsiz chalkashib ketishi bilan bog'liq baxtsizlik asosiy savdo mol-mulkini yo'qotishiga olib keldi. Ushbu muvaffaqiyatsizlik uni boshqa raqs kompaniyalarining takliflarini qabul qilishga olib keldi.[371] Uning xoreografiyadagi ishi davom etdi, ammo boshqa kompaniyalar va teatrlarda, ba'zida "erkin" ish bilan shug'ullangan.[372][373]
Parijdagi "Ballets Nijinska": Etude-Bax, Opéra-Comique uchun xoreografiyalar
1931 yilda "Opera Russe à Parij" (yuqoriga qarang) uchun raqs asarlarini sahnalashtirayotganda, Nijinska mustaqil ravishda o'zining "Balet Nijinska" nomi ostida faoliyat yuritgan. Bu erda u teatrda namoyish etilgan balet asarlarini xoreografiya qildi Opéra-Comique Parijdan,[374] yoki da Théâtre des Champs-Elysées, u erda u "Opera Russe" homiyligida va avtonom tarzda "Balet Nijinska" sifatida ishlagan.[375]
1931 yilda uning kompaniyasi sahnalashtirdi Etude-Bax Aleksandr Exterdan keyin Boris Belinskiyning dekorasi va liboslari bilan. Bu uning 1925 yilgi yangi versiyasi edi Muqaddas etudlar va uning 1926 y Un Estudio Religioso.[376][377]
'Théâtre de la Danse Nijinska' Parijda: O'zgarishlar [Betxoven], Hamlet [Liszt]
1932 yildan 1934 yilgacha Nijinska o'zining Parijdagi "Ter de la Danse" kompaniyasini boshqargan. Yangi balet O'zgarishlar tomonidan musiqadan ilhomlanib, 1932 yilda sahnalashtirilgan Lyudvig van Betxoven (uning kompozitsiyalari to'plami). Raqqosalar qiyin mavzuni ta'qib qildilar: xalqlar taqdiridagi oqim (klassik Yunoniston, Aleksandr I boshchiligidagi Rossiya, Frantsiya dastlabki Ikkinchi imperiya davrida). Xoreografiya asosan ansambl raqslari va pantomimadan iborat bo'lib, kostyum va dekoratsiya bilan bezatilgan Jorj Annenkov.[378]
1934 yilda u xoreografiya bilan shug'ullanadi Hamlet, Shekspir asari asosida o'ynash, Vengriya bastakori musiqasida ijro etilgan Frants Liss. Nijinska bosh rolni o'ynagan. "Ammo uning xoreografiyasi Shekspir syujetini takrorlash o'rniga, fojianing qiynalgan personajlari hissiyotlarini ta'kidladi."[379] Nijinska "qahramonlarning har biri uchun uchta jihatni" o'ylab topdi. "Haqiqiy belgi" dan tashqari, uning ruhi va uning taqdirini ifodalovchi "alohida yunon xori" singari raqqoslar guruhlari tomonidan "o'ynagan" belgilar mavjud edi.[380] Sakkiz yildan keyin yana biri Hamlet tomonidan yaratilgan balet Robert Xellmann tomonidan musiqa Chaykovskiy, shuningdek Londonda sahnalashtirilgan, shuningdek asl syujetga ergashmagan.[381]
Shuningdek, 1920-yillarning o'rtalarida uning ikkita ajoyib baletlari namoyish etildi, Les Biches (a.k.a.) Uy partiyasi) 1932 yilda va 1933 yilda Les Noces [Nikoh to'yi]. Nijinskaning Theatre de la Danse balet mavsumlarini Parij va Barselonada o'tkazdi, Frantsiya va Italiyani tomosha qildi.[382] Théâtre du Châteletdagi kompaniyaning 1934 yilgi mavsumida baletlar namoyish etildi Etude-Bach, La Princesse Cygne, Les Biches, Bolero, Les Comediens Jaloux, va Le Baiser de la Fée.[383]
1934 yilda Nijinska o'zining raqs kompaniyasiga qo'shildi Vasili de Basil kompaniyasi Russe-de-Monte-Karlo baleti.
1934 yilgi Opera va Balet fasllari uchun u rejissyorlik qildi Monte-Karlo uning repertuaridagi chiqishlarida birlashgan kompaniyalarning mahsulotlarini.[384] Keyinchalik 1934 yilda uning "Théâtre de la Danse" kompaniyasi kostyumlari va to'plamlarini yo'qotdi, chunki "Opera Russe à Parij" ning to'lanmagan rassomlari foydasiga ular ushbu sud tortishuvida xatoga yo'l qo'yishdi. 1937 yilgacha Nijinska ularni qayta tiklay olmadi.[385]
Balet kompaniyalari va namunali baletlari 1935–1938
de Basilning "Russes de Monte Carlo baletlari": Les Cent Baisers
Nijinska xoreograf Les Cent Baisers [Yuz o'pish] 1935 yilda de Basil kompaniyasi uchun. Ushbu aktyorli balet ingliz-frantsuz bastakori tomonidan sozlangan Frederik Alfred d'Erlanger. Londonda ochilgan Kovent Garden.[386][387]
The libretto tomonidan Boris Kochno adabiy ertakni kuzatib bordi "Cho'chqachi va malika" tomonidan yaratilgan Xans Kristian Andersen. Bu erda niqoblangan shahzoda mag'rur malika bilan shug'ullanadi. Nijinskaning xoreografiyasi u yana biri hisoblanadi klassik. Shunga qaramay, u odatdagi akademik qadamlardan nozik o'zgarishlarni o'z ichiga olgan Irina Baronova malika rolini kim raqsga tushirdi. Bu asarga Sharqning o'ziga xos tuyg'usini berdi. Shahzoda o'ynagan Devid Lichin.[388][389]
Maks Raynxardtning Gollivuddagi filmi: Yoz kechasi tushi
Jan Muir va Oliviya de Havilland.
1934 yilda Maks Raynxardt Nijinskadan Los-Anjelesga sayohat qilishni va 1935 yilgi filmi uchun raqs sahnalarini xoreografiya qilishni iltimos qildi Yoz kechasi tushi. Bu Gollivuddagi dam olish edi Uilyam Shekspir komediya, musiqa bilan Feliks Mendelson. Musiqaning katta qismi olingan uning ikkita kompozitsiyasi bu Shekspir pyesasi haqida. Birinchisi, Mendelsonning 1826 y konsert uverturasi, ikkinchisi uning 1842 y tasodifiy musiqa, uverturani o'z ichiga olgan.[390][391] Ko'rinishidan Los-Anjeles Nijinska bilan kelishgan, chunki u bir necha yil o'tgach uni doimiy yashash joyiga aylantiradi. 1934 yilda u raqslarni yaratdi.
Nijinskaning tasodifiy xoreografiyasi Yoz kechasi tushi (1935) ana shu dabdabali suratga olingan filmdagi hamma narsalar singari xayoliy va sehrli edi. "[392]
Sankt-Peterburgdagi bitta aktli balet sifatida Yoz kechasi tushi tomonidan "birinchi xoreografiya qilingan Marius Petipa 1876 yilda "va 1902 yilda tomonidan Mixail Fokine, Mendelsonning 1842 yilgi musiqasi ostida. Boshqa versiyalar keyinchalik Terpis (Berlin 1927), Balanchin (Nyu-York 1962), Eshton (London 1964) va Spoerli (Bazle 1975) tomonidan sahnalashtirilgan.[393] 1906 yil 26 martda Imperator Teatr maktabida Fokine xoreografiyasini sahnalashtirish Nijinska uchun ayniqsa unutilmas edi. U nafaqat unda raqsga tushgan, balki bu sana uzoq vaqt yo'q bo'lganidan keyin otasining tashrifini belgilagan.[394]
1935 yilgi film Nijinskaning Maks Raynxardt ishidagi birinchi ishi emas edi. Taniqli impresario Amaliyoti Evropa teatrlarida turli xil ijro san'atlarini namoyish etish edi. 1931 yilda Berlindagi Reinhardt uchun Nijinska balet sahnalarini yaratdi Offenbax opera Xofmanning ertaklari.[395]
Buenos-Ayresdagi Kolon teatri: Le Baiser de la Fée, Opera xoreografiyalari
Nijinska 1933 yilda Teatr Kolon teatrida o'zining baletini namoyish etgan edi Le Baiser de la Fée U birinchi marta 1928 yilda Ida Rubinshteynning kompaniyasi uchun sahnalashtirgan [Peri o'pishi].[396] Bunga asoslangan edi Xans Kristian Andersen ertak Muzli qiz. Shunga qaramay, ertakni qayta tiklashda musiqa bastakori Igor Stravinskiy dahshatli qizni samarali Musaga aylantirib, Andersenning go'zal ayol qiyofasida yashiringan muzli qiz o'zlarining o'limiga olib boradigan yigitlarni jalb qilgan asl hikoyasini o'zgartirib yubordi.[397] 1937 yilda Nijinska reproduktsiya uchun Buenos-Ayresga qaytib keldi Le Baiser de la Fée Stravinskiy festivalida.[398]
Balet xoreografiyasi u Teatr Kolon teatrida o'ynagan opera asarlarida raqs sahnalari uchun yaratdi. Shunga ko'ra, Nijinska turli xil bastakorlarning musiqalari bilan ishlagan, masalan, Musorgskiy, Verdi, de Falla va Vagner.[399]
Londonda "Markova-Dolin baleti" va Yamayka; (Markova keyinroq: Kuzgi qo'shiq)
Nijinska uni 1924 yilda takrorladi Les Biches 1937 yilda Markova-Dolin truppasi tomonidan namoyish etilganligi uchun. "1937 yil davomida olti oy davomida truppa Nijinskaning huzurida ijodiy quvvatlandi, u sahnalashtirishdan tashqari mashq va mashg'ulotlarni o'z zimmasiga oldi. Les Biches va La-Bien-Aime."[400]
Alicia Markova etakchi ingliz balerinasi edi. 1935 yilda u tark etdi Vik-Uels balet kompaniyasi Ninette de Valois, u erda u klassik rollarda ustun bo'lgan. U "Bronislava Nijinskiy bosh xoreograf sifatida" Markova-Dolin "kompaniyasini (1935-1938) tashkil etish" uchun ketgan. Irlandiyalik raqqosa Anton Dolin 1921 yilda "Balets Russes" bilan bo'lgan, keyinchalik Nijinskaning 1924 yildagi "kelishgan suzuvchisi" bo'lgan. Le Train Bleu. 1930-yillarda u Markovaning tez-tez raqs sherigiga aylandi. 1940 yilda u qo'shildi Amerika balet teatri.[401][402]
Urushdan so'ng, Markova-Dolin kompaniyasi uchun Nijinska xoreografiya qildi Fantaziya, Shubert va Litst musiqasi. 1947 yilda Uord teatrida ochilgan bitta aktyorli balet, Kingston, Yamayka. Kostyumlar va dekorni asosiy raqqoslar: Bettina Rozay va Anton Dolin Roze Shogel egallagan.[403]
1930-yillarda Nijinska Alicia Markovaga baletda "ijodiy mashg'ulotlar" berdi, shu bilan birga uning xoreografiya raqslarida ko'rsatmalar berildi. Xususan, u Markovaga Kievdan o'zining dastlabki asarini o'rgatdi: Kuzgi qo'shiq Chaykovskiy musiqasiga. Dastlab Nijinska uni yalangoyoq kiyib raqsga tushgan edi ko'ylak o'z dizayni bilan. 1953 yilda Markova ushbu yakkaxon baletni estrada namoyishi uchun ijro etdi NBC televizor.[404][405][406]
Varshavadagi "Polonais" baleti: Shopin kontserti, La Légende de Cracovie
1937 yilda Nijinskadan yangi tiklangan Balet Polski, aka Les Ballets Polonais va Polsha baleti uchun badiiy rahbar va xoreograf bo'lishni so'rashdi. Buning tiklanishida milliy balet Polshaning raqs merosini rivojlantirish, yangi balet mutaxassislarini tayyorlash va xalqaro miqyosda ijro etish asosiy maqsadlaridan biri. U 3 yillik shartnoma imzoladi. Kompaniyaning 1937-1938 yillardagi debyut mavsumi uchun u beshta yangi balet yaratdi, shu jumladan Shopin kontserti, Le Chant de la Terre, Apollon va la Belle, Le Rappelva La Légende de Cracovie.[407]
Beshta 1937 yil noyabr oyida Parijdagi Mogador Teratta ko'rgazmasi doirasida ochilgan. Ko'rgazma yaxshi kutib olindi, Polonais baletiga ijro uchun Gran-pri va Nijinskaga xoreografiya uchun Gran-pri berildi. Keyin kompaniya o'z balet dasturlarini London, Berlin va Varshavada namoyish qildi va Germaniyaning boshqa ko'plab shaharlarida va Polshada gastrollarda bo'ldi.[408][409]
Nijinska o'zi chizgan milliy raqslarni o'rganish uchun Polshaning Vilna shahrida o'tkazilgan folklor festivalida qatnashdi Le Chant de la Terre (Pieśń o ziemi naszej).[410] Shuningdek, u polshalik rassom Zofja Stryjenskaning rasmlaridan ilhom oldi. "Birinchi sahna" Kichik shanba "quyosh va olovga sig'inishning bahorgi marosimlarini tasvirladi ... Ikkinchi sahnada slavyan to'yining urf-odatlari namoyish etildi. bayramchilar "yovvoyi Mazurkalarni va dunyodagi shtamplarni [qadamlarini] murakkab ritmlar va ... havoda sakrashlar bilan raqsga tushishdi." ... "Hosil" ning so'nggi sahnasida mavsumni o'rab turgan marosimlarning kuchli xoreografik tasvirlari bor edi. hosil ».[410] Ushbu qudratli avj pallasida "raqslarning xanjarlari, kavisli o'roqlarni katta yoy harakatlari bilan ishlatib, sahna bo'ylab diagonal bilan o'yilgan".[410]
Uning baletida Apollon va la Belle (Apolo i dziewczyna),
"Nijinska zukkolik bilan Apollonning tsivilizatsiyasini beshta davrda kuzatgan. Har asrda Nijinskaning" Apollon "si o'zining hamkasbi Dionisiyadagi yer elementiga ayol qiyofasida duch keladi."[410] "Dastur yozuvlari Apollonning qadimgi Yunoniston xudosidan tortib to zamonaviy plyajdagi sportchisigacha bo'lgan mujassamlanishini tasvirlaydi. Birinchi sahnada Apollon - bu samoviy aravachidir, u erga onalik va ayollik xususiyatidan kuch va maqsad olish uchun tushishi kerak. Apollon ixtirochilik va ba'zan kulgili mujassamlashning ketma-ket sahnalari O'rta asr monaxi, XIX asr shoiri Lui XIV va nihoyat zamonaviy atletizm chempioni qiyofasida yana paydo bo'ladi. "[410]
Le Rappel (Wezwanie) "o'n sakkizinchi asrning Venadagi bal zalida boshlanadi, u erda millatsizlikka uchragan yosh qutb o'zi topgan zamonaviy jamiyatdan zavqlanmoqda. Ammo ko'r odamning buffi o'yinida qo'lga kiritgan yosh ayol polshalik va vatanparvar va u eslaydi uni sodda odob-axloq qoidalariga va o'zlarining mahalliy qishloqlarining namoyishkorona raqslariga. ,,, Katta korpus de balet, raqslarning ikki turiga zid bo'lgan Vena va Polsha polvonlarini qo'llab-quvvatlaydi. "[411]
The Shopin kontserti "hech qanday syujetga ergashmaydi, lekin musiqaning o'zgaruvchan kayfiyatini aks ettirishga harakat qiladi."[412] Baerning ta'kidlashicha, baletda Nijinskaning 1921 yilda "Rossiyani tark etishda boshidan kechirgan sog'inch, xayrlashish va qayg'u hissi" aks etgan.[413] Haqida Shopin kontserti (keyinchalik 1944 yilda ijro etilgan), raqs tanqidchisi Edvard Denbi bu haqda "g'alati go'zal ... chunki u ko'zga aniq va klassik, ammo hissiyotida keskin va romantik".[414]
Mme Nijinskaning ko'pgina asarlari singari asarning tuzilishi rasmiy qarama-qarshiliklarga asoslanadi: fonda haykallarning og'irligiga o'xshab ko'rinadigan qat'iy shaxssiz guruhlar yoki raqqoslar guruhlari; birinchi o'rinda, yakka solistlar tomonidan amalga oshiriladigan tez o'qli parvozlar. Biror kishi ularning engilligi va erkinligini ularning og'irligi ko'tarilgani sababli qadrlaydi, go'yo guruhning cheklovlari solistni ozod qilish uchun tramplin edi.[415]
Nijinska ham sahnalashtirdi La Légend de Krakovi, Mixal Kondrackining musiqasiga "yuqori darajadagi yangi balet". Syujetda bu "O'rta asrlarning polyakcha o'zgarishi Faust Xoreografiyada u o'zining "taniqli guruh me'morchiligini" ishlatgan, ammo ayni paytda ochiq rollarni ijro etgan belgilar raqsi rivojlanish.[416] Frantsuz tanqidchisi Pyer Mikaut ta'riflaganidek, "Les héros et ses compagnons composaient leurs danses avec des éléments de folklor et avec des danses traditionalelles polonaises, telles que la Cracovienne. Mais pas va raqamlar étaient déformés, outrés, fortement accentués en burlesque, devenaient une sorte de gesticulation frénétique et d'ailleurs ifodali. "[417]
Parijga Gran-pri sovrindori bo'lgan turdan so'ng Nijinska o'z rahbariyatidan "to'satdan ozod qilindi". Katta ehtimol bilan uning ishdan bo'shatilishining sababi "truppaning moliyaviy hujjatlarini to'liq oshkor qilishni talab qilganligi". Qo'shni davlatlarning harbiy hujumi xavfi ortib borayotganligi sababli, Polsha hukumati o'z mablag'larining bir qismini Amerikaga yashirin yo'naltirishga intilgan edi. "Xarakterli jihati shundaki, Nijinska siyosat yoki fitna bilan shug'ullanishdan bosh tortgan bo'lar edi."[418][419] Uning o'rnini egalladi Leon Voytsikovskiy.
1916 yildan beri "Russes" baletlari bilan Leon Voyzikovskiy (1899-1975) Nijinskaning asosiy rollarida rol o'ynagan Les Noces, Les Bichesva Le Train Bleu (Golfer sifatida).[420][421] 1939 yilda u "Polonais" baletini Nyu-Yorkdagi Butunjahon ko'rgazmasi. "Kompaniya Varshavaga Germaniyaning 1939 yil 1 sentyabrda Polshani bosib olishidan bir kun oldin qaytib keldi va bundan buyon hech narsa eshitilmadi."[422]
Voyzikovskiyning o'zi urush paytida Amerikada ish topdi.[423] Keyinchalik u Diijilev uchun Nijinskaning xoreografiyasini tiklashda yordam berdi Ruslar baletlari.[424] Hali Nijinska uchun Polshani bosib olishdan oldin "uni ishdan bo'shatish shoki" va "yaqinlashib kelayotgan urush chuqur tushkunlikni keltirib chiqardi".[425]
Balet kompaniyalari va namunali baletlari 1939-1950 yillar
Nijinska va uning oilasi Londonda Ikkinchi Jahon urushi fashistlar va Sovet Ittifoqining Polshaga bostirib kirishi bilan boshlanganda (1939 yil sentyabr). U "yangi filmda raqslar ketma-ketligini birgalikda suratga olish uchun shartnoma tuzdi, Baletdagi o'q, "ammo urush tufayli bekor qilindi. Yaxshiyamki, promouterning taklifi de Basil ularga Qo'shma Shtatlarga qaytib borishga imkon berdi. Oxir-oqibat u Los-Anjelesda yangi qarorgoh tashkil etdi.[426]
Nyu-Yorkdagi "Balet teatri": La Fille Mal Gardée Dauberval
Nijinska 1939 yilda 18-asrning "rustik va kulgili" ikki aktyorli baletini xoreografiya qila boshladi, Jan Dauberval "s La fille mal gardée ['Noto'g'ri qarovchi qiz' yoki 'foydasiz ehtiyot choralari']. Ning ochilish mavsumi uchun Balet teatri (hozirda ABT), u 1940 yil yanvar oyida Nyu-Yorkda eskisida ochilgan Markaz teatri Rokfeller Plazasida.[427][428][429][430]
La Fille Mal Gardée Ehtimol, "zamonaviy repertuardagi eng qadimgi balet" dir, uning "kulgili vaziyatlari, shubhasiz, uning saqlanib qolishida mas'ul".[431] Jan Dauberval libretto va birinchi xoreografiyani yozgan, asl musiqasi mashhur frantsuz qo'shiqlarining aralashmasi bo'lgan. Premer soat Bordoning Buyuk Teratri 1789 yilda komediya "tezda Evropa bosqichlarini aylanib chiqdi". Keyinchalik 1864 yilda Taglioni Berlinda ishlab chiqarilgan birinchi kompozitsion musiqa tomonidan qabul qilingan Hertel, u 1885 yilda qabul qilingan Petipa va Ivanov Sankt-Peterburgdagi Maryinski teatri uchun.[432][433]
Dauberval's plot follows a lively rural romance, the lovers being "the mind-of-her-own Lise and the hard-to-resist Colas". They are challenged by Lise's mother the widow Simone, who prefers Allain, a wealthy but dull suitor.[434]
"In America the most important production was Nijinska's for Ballet Theatre in 1940."[435] Lucia Chase had invited her to mount her own version, which incorporated decor from Mordkin (his company had merged with Ballet Theatre). Nijinska took to revising Petipa's Russian version of La Fille Mal Gardée and staged the ballet with Irina Baronova and Dimitri Romanoff. This 1940 staging was soon revived, once as The Wayward Daughter, with later versions by Romanoff, and in 1946 by Alexandra Balashova. Eventually it entered the repertory of the Grand Balet du Markis de Cuevas.[436][437][438][439]
Twenty years later in London, Nijinska's former student Frederik Eshton ning Qirollik baleti staged it. He refashioned the Dauberval libretto, wrote his choreography to Hertel's music as modified by Lanchbery, and provided a revised decor. The result was a popular, and declared a "substantial work".[440][441]
Also for Ballet Theatre, in 1951 Nijinska choreographed and staged the Shumann kontserti, musiqa muallifi Robert Shumann, bilan Alisiya Alonso va Igor Youskevich as principal dancers. The music's romantic mood frames the abstract ballet in three movements. The couple is joined by a corps de balet o'g'il va qiz bolalar.[442][443] In 1945 Nijinska had choreographed Uchrashuv tomonidan musiqa bilan Sergey Raxmaninoff (1873-1943), with principal dancers Lucia Chase and Dimitri Romanoff. Both were staged for Ballet Theatre at the Metropolitan Opera House in New York City.[444]
"Hollywood Bowl": Bolero, Shopin kontserti, Etude-Bax; va Yoqubning yostig'i
Later in 1940 she staged three short ballets for a performance at the Gollivud kubogi. For the program with the Los-Anjeles filarmonik orkestri she selected favorites from among her prior choreographies: Ravel's Bolero (premiered with Rubinstein in 1932, revised), the Shopin kontserti (from 1937 with the Polish Ballet), and Etude-Bax (originally 'Holy Etudes' done for her own company in 1925, revisions). The event drew an audience of 22,000,[445][446][447] and featured dancers Mariya Tallchief va Cyd Charisse.
Nijinska revived Etude-Bax va Shopin kontserti again, in 1942, at the Yoqubning yostiqcha raqsi festivali in the Berkshires.[448] There the cast included dancers Nina Youshkevich, Marina Svetlova, and Nikita Tallin; esa Ann Hutchinson Guest danced in the corps.
Nyu-Yorkdagi Denham boshchiligidagi "Russe de Monte Carlo" baleti: Qorqiz.
Nijinska choreographed Qorqiz in 1942 with music by Glazunov, for 'Ballet Russe de Monte Carlo' under Serge Denham as Artistic Director. Qorqiz drew on Russian folklore. The maiden, the Frost King's daughter, would melt in the sun's heat if she fell in love with a mortal man. The choreography "did not open any new avenues of artistic exploration." Yet critic Edvin Denbi notes that "by preserving just enough independence of rhythm in relation to the sugary Glazounoff score [her groupings and dance phrases] keep a certain acid edge."[449][450][451]
.Ni qayta ko'rib chiqish Shopin kontserti was staged by Nijinska also in 1942. Originally written in 1937 for the award-winning Polish Ballet, the influential Nyu-York Tayms raqs tanqidchisi Jon Martin ranked it highly. Yet he considered Chopin (and Tchaikovsky) as no longer current. In 1943 Nijinska choreographed the Qadimgi Rossiya ballet, music by Tchaikovsky, with memorable visual designs by her theater colleague Nathalie Gontcharova.[452][453][454]
For Denham's company Nijinska and Balanchin "were well-known choreographers on whom he could call." It was, however, "not Nijinska but another woman-an American-who revitalized the Ballets Russes in 1942. Agnes de Mille [did it with her] Rodeo ..."[455]
Nyu-Yorkdagi "Ballet International": Ko'rgazmadagi rasmlar
During the 1940s and into the 1950s, Nijinska served as the balet ma'shuqasi for the International Ballet, later known variously, e.g., the Grand Balet du Markis de Cuevas.[456] The company played chiefly in Europe and the Mediterranean until 1961.[457]
In 1944 for an opening at the International Theater in New York she choreographed Ko'rgazmadagi rasmlar, an 1874 suite of piano pieces by Oddiy Mussorgskiy, later orchestrated by Moris Ravel, and by Ivan Boutnikov. Mussorgsky wrote no ballet music, but two of his compositions inspired Nijinska: Toz tog'ida tun (Ballets Russes 1924), and here Rasmlar.[458]
Costumes and decor were by Boris Aronson. Aronson was an apprentice of Aleksandra Ekster, Nijinska's designer in Kiev and Paris.[459] Evidently Nijinska was the first to choreograph Rasmlar. The next ballet to this music was staged by Erika Hanka at the Vena davlat operasi (1947), and then by Lopokov at the Katta in Moscow (1963).[460]
In 1952 also for Marquis de Cuevas' Grand Ballet de Monte Carlo, Nijinska choreographed Rondo Capriccioso. Composed in 1863 by Sent-San, it was originally crafted for the virtuoso violinist Pablo de Sarasate. The 1952 ballet by Nijinska opened in Paris at the Théâtre de l'Empire, with principal dancers Rosella Hightower va George Skibine.[461]
Balet kompaniyalari: uning 1960-1971 yillardagi dastlabki xoreografiyalarining tiklanishi
Nyu-Yorkdagi "Grand Ballet du Markis de Cuevas": Uyqudagi go'zallik
1960 yilda Cuevas Ballet produced a revision of Uyqudagi go'zallik, which was to have been staged by Nijinska. She was familiar with the ballet from Diagilev 's production of 1921.[462] For it she had created several popular dances. In 1922 she and Stravinskiy abbreviated it into the successful one-act ballet Avroraning to'yi.[463][464]
Long associated with the Cuevas company as ballet mistress, Nijinska began to craft her choreographic revision. A conflict, however, developed over the ballet which involved artistic issues. In discussions she declined to compromise. Nijinska withdrew from the company. Robert Xellmann then came into the process. A dancer, he had also staged ballets, and had long partnered with Fonteyn, ya'ni Qirollik baleti 's post-war Uyqudagi go'zallik.[465] In the end the Cuevas company gave its choreographic credit to both, as Nijinska-Helpmann.[466][467][468]
Londonning "Qirollik baleti": Les Biches va Les Noces
1964 yilda Frederik Eshton ning Qirollik baleti asked Nijinska to stage a revival of her ballet Les Biches (1924) da Kovent bog'lari. Ashton had been resident choreographer for The Royal Ballet since 1935. Then becoming also an associate director in 1952, he was appointed the Royal Ballet's director in 1963.[469]
Nijinska first mentored Ashton's career from when he was a young ballet student. In 1928 in Paris she'd been the choreographer for Ida Rubenshteyn, where he'd become a dancer in the company. He performed in several of choreographed works by Nijinska under her guidance. Ashton consider her a beneficial influence in the development of ballet. More specifically, her choreography had informed his own progress in that art.[470][471] The staging of the revived Les Biches went well. Two years later, Ashton asked her to return to London and stage her Les Noces (1923) on his company.[472][473]
These 1964 London productions, according to dance critic Horst Koegler, "confirmed her reputation as one of the formative choreographers of the 20th century."[474] In 1934 Ashton had expressed his own opinion:
Her achievements have proved to me time and again that through the medium of classical ballet any emotion may be expressed. She might be called the architect of dancing, building her work brick by brick into the amazing structures that result in masterpieces like Les Noces.[475]
Boshqa sahnalashtirishlar: Brahms Variations, Le Nikoh d'Aurore, Shopin kontserti
Following these London events, Nijinska "was repeatedly invited to revive several of her ballets". U sahnalashtirdi Les Biches in Rome in 1969, and in Florence and Washington in 1970. Also Les Biches, va ning qayta ishlangan versiyasi Shopin kontserti va Brahms Variations, for the Center Ballet of Buffalo in 1969.[476]
Les Noces was staged in 1971 in Venice, where during a rehearsal at the Teatro Fenice, she celebrated her eightieth birthday onstage.[477] "Between 1968 and 1972, Nijinska saw performances of Les Biches, Les Noces, Brahms Variations, Le Nikoh d'Auroreva Shopin kontserti for ballet companies in the United States and in Europe."[478]
Irina Nijinskaning keyingi jonlanishlari va boshqalar
After her death in 1972, her daughter Irina Nijinska (1913-1991) continued this work. A growing number of performances of her mother's early ballets were performed. Several entered into the current repertoire of dance companies. Included were works first produced by Ballets Russes.
Irina, a dancer in her own right,[479] had been helping her mother for many years, at her ballet school and as her rehearsal assistant.[480] During the 1970s and 1980s, Irina advanced her legacy. She edited and translated Dastlabki xotiralar and saw it to publication. In the theatrical world Irina Nijinska associated with ballet companies to facilitate revivals of the choreographies.[481] Les Noces va Les Biches increasingly appeared on stage.[482][483]
Among others, Irina brought Les Noces ga The Paris Opera Ballet,[484] and "Rondo Capriccioso" to the Harlem raqs teatri. In collaboration with a dance historian, the French Riviera comedy "Le Train Bleu" was reconstructed; then it was staged by the Oklend baleti.[485][486] In 1981 the Dance Theatre of Harlem under Artur Mitchell "produced an entire Nijinska evening".[487][488] After Irina's passing in 1991, the Nijinska revivals continued.[489][490]
Balerina Nina Youshkevich, a Nijinska dancer (e.g., at the Jacob's Pillow Dance Festival in 1942), revived Bolero for the Oakland Ballet in 1995.[491][492][493][494][495][496][497][498] She also staged Shopin kontserti for students at Goucher College in Maryland that same year.[499][500]
Tanqidchilar, akademiklar va uning sharhlari
Instead, she preferred the pre-war Diaghilev who had been "searching for the creation of a new ballet ..." Hence regarding Uyqudagi malika Nijinska recalled the paradox that "I started my first work full of protest against myself."[501][502] "Because she stemmed from the academic ballet tradition, Bronislava Nijinska is often called a Neo-Classicist. But her choreography also has an affinity to such styles of modern art as Cubism, Constructivism and Expressionism."[503] Over the course of her career Nijinska, in her effort to augment classical ballet with new ideas about the art of movement, neither crossed over to champion a newly fashioned modernity, nor did she accept as timelessly classic the inherited ballet tradition.[504][505][506][507] She declined her brother Nijinsky's turn to zamonaviy raqs. Instead, following the new insights into movement, she initiated "what would be called neoclassical choreography".[508] She eventually came to admire Petipa's work, while pruning its "nondance elements". A "renewable legacy was at the heart of Nijinska's classicism".[509] As "one of the twentieth-century ballet's great innovators ... her repertoire introduced a new classicism that made dance a medium of modern art expression."[510] U Les Noces (1923) bridged the contemporary tensions "between primitivism and mechanization, exoticism and neoclassicism, Russianess and cosmopolitanism, Soviet and émigré. ... The ability of Les Noces to negotiate so many different boundaries ... accounts in no small measure for its timely, as well as timeless success."[511]
1940 yildan Los-Anjelesda joylashgan
After the start in 1939 of World War II in Europe, Nijinska and her family moved to New York in that October, then to Los Angeles in 1940. "Bronislava Nijinska did not understand Americans, or they her. She was almost deaf by the time she reached the United States, and life (exile, her brother's madness, her son's death) had let her down badly."[512]
Yet she continued as a ballet mistress and guest choreographer, work that continued into the 1960s (see section above). In Los Angeles she began to teach ballet in a private studio, and she opened her own school in 1941. Her daughter Irina Nijinska would run the school in her absence.[513] Bronislava became a citizen of the United States in 1949.[514][515]
Raqsga o'rgatish
Throughout her career, starting earlier than her 1919 'L'Ecolé de Mouvement' in Kiev, Nijinska had taught dance. A ballet role to her colleagues she'd demonstrate, or to the cast her newly created choreographies. In 1922 she had started teaching at Ballets Russes, taking over from Enriko Cecchetti.[516][517] Among her earlier students: Serj Lifar in revolutionary Kiev; Anton Dolin, Lidiya Sokolova, Frederik Eshton, Alicia Markova, Irina Baronova, Devid Lichin in interwar Europe; Lucia Chase Nyu-Yorkda.[518][519][520] U tinglash in the 1930s were conducted in the form of a short class.[521]
In 1935 rehearsals for Les Cent Baisers, choreographer Nijinska coached the youthful Irina Baronova in her leading role as the Princess. Already relatively widely experienced in ballet performance, Baronova was developing rapidly into a modern classical ballerina. According to author Vicente García-Márquez, however, Nijinska was key.
Working with Nijinska was a turning point in her artistic growth. Before she had never had the opportunity for careful dissection of her roles. Nijinska's approach ... gave the sixteen-year-old Baronova the self-awareness she needed to probe into herself and bring forth her full potential.[522]
In New York Nijinska was invited to come teach in Hollywood. She eventually opened her own ballet studio there in 1941. Required to travel afar to pursue her choreographic work, she frequently left her daughter Irina Nijinska in charge.[523] At her Hollywood studio (soon relocated to Beverly Hills), students included the prima ballerinas Maria Tallchief and Marjori Tallchief (sisters), as well as Cyd Charisse, and later Allegra Kent.
Mariya Tallchief (1925-2013) studied with Nijinska, "all through my high school years". Everyone, recalled Tallchief, was in awe of her. "She jumped and flashed around the studio. I was under her spell." Despite "luminous green eyes" she dressed very plainly. Her husband translated. "Madame say when you sleep, sleep like a ballerina. Even on street waiting for bus, stand like a ballerina." Yet "Madame Nijinska rarely spoke. She didn't have to. She had incredible personal magnetism". From her "I first learned that the dancer's soul is in the middle of the body". Qachon Ballets Russes de Monte Carlo came to perform in Los Angeles, the ballet dancers came to Madame to take lessons. "And the biggest star of all, Aleksandra Danilova, gave Nijinska roses when she entered the studio".[524][525][526]
Allegra Kent (born 1937) recalls starting ballet lessons in 1949 when she was twelve. Madame Nijinska was a "nice-looking woman in black lounge pajamas with a long cigarette holder". She counted time "ras, va, tri" in Russian. "Her husband was simultaneously translating everything she said into English." Because of her commanding presence in classes, "The world began and ended right there in that moment." After a year with her daughter Irina Nijinska, Kent studied with 'Madame' herself. She learned "not to fear competing with men" and that "the light look of dance was merely the surface of a sculpture-there was a mixture of steel and quicksilver at the heart."[527]
Unda ishlang Xotiralar
The last year of her life Nijinska devoted to finishing memoirs about her early life. She had notebooks of her writings and had kept theatrical programs throughout her career. A manuscript of 180,000 words was left completed. Following her death in early 1972, Bronislava Nijinska's daughter Irina Nijinska was named her literary executor. Then she and Jean Rawlingson edited and translated the Russian manuscript into English. They edited the text, and saw it through to publication. Kitob Dastlabki xotiralar appeared in 1981. These writings describe in detail her early years traveling in provincial Russia with her dancer parents, her brother Vaslav's development as a dancer, her schooling and first years as a professional in the Diaghilev era of Russian ballet, and her work assisting her brother in his choreography.[528] During her life, she had published a book and several articles on ballet.[529][530]
"The full autobiographical story of her own career, however, is contained in another set of her memoirs, continuing from the 1914 close of [her Dastlabki xotiralar]."[531] She also left a set of notebooks on ballet and other writings, which remain unpublished.[532][533] Dance historian and critic Lynn Garafola is said to be currently working on a biography of Bronislava Nijinska.[534]
Boshqalar tomonidan ta'riflanganidek
Margaret Severn, a dancer who did both vedvil va klassik, was for a time in 1931 a leading dancer in Nijinska's Paris-based company. Sometimes she'd abbreviate Nijinska as "Nij". Later she wrote an article from her notes at the time:
"I was very favorably impressed with [Nijinska] personality. She is somewhat crazy, of course, but really a great artist. I could tell from the little she showed, and she had a marvelous technique herself. So I would simply adore to be in the company ..." "Nij arranged a very short but very snappy little dance for me in the 'Variations'. ... [T]his half minute is quite likely to bring the house down. ... The dance is one of the most brilliant and most difficult concoctions I have ever seen."[535]
Lidiya Sokolova, an English ballerina, performed in Ballets Russes from 1913 to 1929. Circa 1920 she married Leon Voyzikovskiy, also a dancer in the company. Her memoirs were edited by Richard Buck and published in London in 1960.
"Bronislava Nijinska, known as Bronia, was very like her brother Vaslav Nijinskiy. She was blonde and wore her straight hair screwed into a tight little roll. She had pale eyes and pouting lips, wore no makeup at all and had not shaved off her eyebrows as most of us had in those days. ... Bronia was obstinate and once she had made up her mind nothing in the world would move her. She was brilliantly clever and inventive. No music seemed to present any difficulties for her, but her style of movement was even more pronounced and idiosyncratic than that of Mass, and she was not an easy person to work for in class or at rehearsal ... Her system of training seemed to depend more on improvisation than on traditional methods of technique ... [T]o watch her devise a sequence of steps and movements for one of her ballets was most interesting. I liked her, in spite of her moodiness and lack of humor."[536] "There were two of us in the company whom Diaghilev could always make cry whenever he wished, Nijinska and myself."[537]
As one of the three Russian bolalar balerinalari o'spirin Irina Baronova worked with Nijinska the choreographer in the mid-1930s. She later described the experience.
The ideas were clear from the very beginning; and even though there was obviously a prearranged structure, once she was in the studio she involved the dancers in the creative process. ... Her choreography seemed to flow spontaneously. Even when she was improvising, she always projected the conviction that she knew her ultimate goals, for she was precise and direct in her explanations.[538]
Shaxsiy, oilaviy hayot
Ona va ota
After her parents separated, Vaslav had turned against his father Tomasz [Foma] Nijinsky, because of his infidelity. Bronislava, however, remained attached to her absent father, who visited from time to time. She followed his career, championing his times of subsequent success in ballet. With Tomasz her mother eventually reached some understanding. In 1912 her father died in Russia. Her oldest brother Stanislav (Stassik), by a doctor's instructions placed in a sanitariums since 1902, died in Russia in 1918.[539][540]
In 1921 Nijinska with her mother Eleanora Bereda Nijinska and her two children left Russia, a perilous undertaking. They made their way to Austria, to meet her brother, his wife, and children. Nijinska then rejoined Ruslar baletlari, chiefly in Paris and Monte Carlo, until 1925. Thereafter she worked independently, often on tour. Throughout Bronislava remained close to her mother the retired dancer whom she called "Mamusia". She wrote her when away and shared her thoughts when near. She cared for her when ill, until she died in 1932.[541][542][543]
Uning ukasi Vaslav
During her early years and into her mid-twenties, Bronislava Nijinsky was under the strong influence of her older brother Vaslav Nijinskiy, whose brilliance became widely celebrated. Both Vatsa and Broni were trained from the start by their dancer parents. She learned from her brother's example, as he preceded her in their childhood adventures, in ballet school, and then on the stage. When Nijinsky came to design his first choreographies, Nijinska as a ballet dancer assisted, following his detailed instructions as he tried out new steps and innovative poses. Her 1912 marriage, however, shook the artistic "bond between the brother and sister". Bronia nonetheless continued her sibling loyalty. She showed her support for Vaslav's career, especially during his 1914 production of Season Nijinsky Londonda.[544][545][546][547]
In 1913 Vaslav married Romola de Pulski suddenly while in Argentina. It was a confounding surprise to his mother and sister. In 1917 his ballet career ended in confusion and controversy. Thereafter he lived with Romola and their children in Switzerland for many years. He died in Sussex, UK, in 1950. Vaslav was survived by his wife and by Kyra and Tamara, their two daughters; and by Tamara's daughter, and by Kyra's son Vaslav Markevitch. In 1931 Kyra had danced in her aunt Bronia's company 'Ballets Nijinska'.[548][549][550]
Nikohlar, bolalar
Nijinska married twice. Her first husband, Alexandre Kochetovsky, was a fellow dancer for Ballet Russes. She calls him 'Sasha' in her Dastlabki xotiralar.[551] Married in London in 1912, they soon left for Russia. She gave birth to two children: their daughter Irina Nijinska in 1913 in Saint Petersburg (called 'Irushka'), and Leon Kochetovsky, their son in 1919 in Kiev (called 'Levushka'). Their marriage had entered difficult times, first during war and then in revolution. They continuously had worked together in dance productions. After Leon was born, Bronia and Sasha separated. He moved to Odessa. In 1921 Nijinska left Soviet Russia with her children and her mother. After meeting again briefly in 1921 in London, they were divorced in 1924.[552][553][554][555] Their son Leon was killed in a traffic accident in 1935. Their daughter Irina, who'd become a ballet dancer, was seriously injured in that 1935 traffic collision.[556][557] In 1946 Irina married Gibbs S. Raetz, and they had two children, Natalie and George. After her mother's death in 1972, she edited her Xotiralar and managed revivals of her ballets. Irina died in 1991.[558][559]
A love of her life, but whom she did not marry, was also a theatrical personality, the Russian opera singer va taniqli basso, Feodor Chaliapin (1873–1938). Their career paths had crossed several times, but for a romance to blossom their circumstances worked against them.[560][561] Yet their strong artistic link and mutual admiration continued. He remained a treasured source of her musical and theatrical inspiration.[562][563][564]
Nijinska's second marriage in 1924 was to Nicholas Singaevsky (called 'Kolya'). A few years her junior, he'd been a former student and dancer at the 'Ecole de Mouvement' she had founded in Kiev following the Russian revolution. He, too, had left Russia. They met again as exiles in Monte Carlo. He became associated with Ballets Russes as a dancer. They were married in 1924.[565][566] During their four decades together, he often worked in production and management, acting as her business partner in staging her various ballet productions and other projects. In America he also translated for her, especially when she taught at the ballet studio. He died in Los Angeles, California, in 1968, four years before her.[567][568]
Bronislava Nijinska died on February 21, 1972, in Pacific Palisades, California, after suffering a heart attack. She was 81.[569] She was survived by her daughter, son-in-law, and two grandchildren.[570]
Shuningdek qarang
- Category:Ballets by Bronislava Nijinska
- Rossiyalik balet raqqosalari ro'yxati
- Polsha milliy baleti
Bibliografiya
Birlamchi
- Bronislava Nijinska, "On Movement and the School of Movement" from her choreographic notebooks 1919-1925, as translated from Russian original by Anya Lem and Thelwall Proctor, edited by Joan Ross Acocella and Lynn Garafola, matn in Baer (1986), pp. 85–87 [cf. p. 88,nn1+3], , and apparently in Balet sharhi, 13/4 (Winter 1986), [cited by Garafola (1989), p. 203,n10]. An "abbreviated and highly revised version" [according to Baer (1986), p. 88,n3] in Schrifttanz, Wien 1930. Also: edited by Valerie Preston-Dunlop and Susanne Lahusen in Schrifttanz: A view of German dance in the Weimar Republic (London: Dance Books 1990) [cited by Garafola (1989), p. 203,n7].
- Bronislava Nijinska, "Reflections about the production of Les Biches va Hamlet in Markova-Dolin ballets", translated by Lidiya Lopokova uchun Dancing Times (Feb. 1937), p. 617, [cited by Baer (1986), p. 103].
- Bronislava Nijinska, "Creation of Les Noces", translated by Jean M. Serafetinides and Irina Nijinska, for Raqs jurnali, (Dec. 1974) v.48/no.12, pp. 558–61, [cited by Baer (1986), p. 103].
- Bronislava Nijinska, "The Triumph of Petipa", in A. Nekhendzi, ed., Marius Petipa. Materialny, Vospominania, Stat'i (Leningrad: Leningrad State Theater Museum, no date), v.I, p. 317, [cited by Garafola (2005), p. 203,n3].
- Bronislava Nijinska, Dastlabki xotiralar (New York: Holt Rinehart Winston 1981; reprint 1992, Duke University), translated and edited by Irina Nijinska and Jean Rawlinson, with an Introduction by and in consultation with Anna Kisselgoff.
- Irina Nijinska, "Bronislava Nijinska: Highlights of Choreographic Career" at pp. 519–523 in Nijinska (1981).
- Holly Brubach, "A Life in Dance", book review of Nijinska's Dastlabki xotiralar, yilda The New York Times, Sep 20, 1981. Accessed 2017-04-28.
- Nancy Van Norman Baer, Bronislava Nijinska. A dancer's legacy (Fine Arts Museum of San Francisco 1986).
- Maqolalar
- Joan Acocella, "Nijinsky/Nijinska Revivals: The Rite Stuff," in Amerikadagi san'at, October 1991, pp. 128-137 and 167-171.
- Jek Anderson, "Preserving Nijinska's Ballets. A family affair" yilda The New York Times, August 18, 1991". Accessed 2017-04-28.
- Jack Anderson, "Irina Nijinska, 77, champion of her mother's work, is dead", yilda The New York Times, July 4, 1991'. Acc'd 2018-1-18.
- Jack Anderson, "Dance: Spoleto Festival: Nijinska's 'Les Noces'", yilda The New York Times, June 5, 1982. Accessed 2017-6-28,
- Jack Anderson, "La Nijinska" in Dancing Times (April 1972).
- Jek Anderson. "The Fabulous Career of Bronislava Nijinska" in Raqs jurnali, August 1963, pp. 40-46.
- Lisa C.Arkin. "Bronislava Nijinska and the Polish Ballet, 1937-1938: Missing Chapter of the Legacy," in Dance Research Journal, 24/2, (Fall 1992), pp.1-16.
- Nancy Van Norman Baer (NVB), "Bronislava Nijinska" at pp. 214–220 in Carnes, editor, Invisible Giants: Fifty Americans... (Oxford University 2002).
- R. C. Elwood, "Nijinska, Bronislava (1891–1972)", in Anne Commire, ed., Jahon tarixidagi ayollar (Gale 2002). Acc'd 2017-04-29.
- Drue Fergison, "Bringing Les Noces to the Stage" in Garafola and Baer (1999).
- Lin Garafola, "An amazon of the avant-garde: Bronislava Nijinska in revolutionary Russia" yilda Raqs tadqiqotlari (2011/2012), vol.29, pp. 109–166.
- Lynn Garafola, "Choreography by Nijinska" at pp. 194–204 in her Legacies of twentieth-century dance (2005).
- Ruth Eleanor Howard, "Nijinska Visits America: The Sister of the Great Nijinsky Is Interviewed," in The American Dancer, July 1935.
- Robert Jonson. "Ritual and Abstraction in Nijinska's Les Noces, "ichida The Dance Chronicle, Vol. 10, Number 2, 1987, pp. 147-169.
- Robert Johnson, "Go Russes, Young Man," in Ballet Review, 37.4, Winter 2009/10, pp. 34-42.
- Anna Kisselgoff, "Nijinska, in her time, was a ballet avant gardist" yilda The New York Times, May 11, 1986. Accessed 2017-04-28.
- Anna Kisselgoff, "Dance: The 1923 Nijinska-Stravinsky 'Les Noces'", The New York Times, Dec. 15, 1984. Accessed 2017-6-28.
- Anna Kisselgoff, "Bronislava Nijinska is dead at 81", obituar in The New York Times, February 23, 1972. Accessed 2017-04-28.
- Valeri Louson, "Bronislava Nijinska - 'downright difficult and determined'", at Dancelines website (2011). Accessed 2017-04-28.
- Dawn Lille, "Dance: Nijinska, Stravinsky, Les Noces, Juilliard" yilda Art Times Journal (May/June 2011). Accessed 2017-04-28.
- Maureen E. Maryanski, "Bronislava Nijinska (1891–1972)", yilda Dance Heritage Coalition, 2013. Accessed 2017-04-28.
- Carmen Paris & Javier Bayo, "Nijinska, Bronislava (1891-1972)", in MCNBiografías. Accessed 2018-4-6.
- Maria Ratanova, "The choreographic avant-garde in Kyiv 1916-1921: Bronislava Nijinska & her Ecole de Mouvement" in Makaryk & Tkacz (2010).
- Octavio Roca, "Passion, Possession in Stunning Bolero, Oakland revives steamy Nijinska ballet", yilda SF darvozasi, Oct. 23, 1995. Accessed 2018-1-18.
- Margaret Severn, "Dancing with Nijinska" in Raqs xronikasi (1988), reprinted at pp. 690–697 in Gottlieb (2008).
- Steve Shelokhonov, "Bronslava Nijinska Biography" IMDb da. Accessed 2017-04-28.
- Nekrologiya: "Irina Nijinska; Restaged historic ballets" yilda Los-Anjeles Tayms, July 6, 1991. Accessed 2018-3-15.
- Dance Heritage Coalition, Bronislava Nijinska books and articles. Accessed 2017-04-28.
- OAV
- The Paris Opera Ballet, Paris dances Diaghilev (Elektra Nonsuch 1991), VHS [includes Les Noces).
- The Paris Opera Ballet, Pikasso va raqs (Kultur 1994), DVD (includes Le Train Bleu).
- Joffrey Ballet, "Les Noces" (The Wedding), [program] premier: Oct 6, 1989, Washington, D.C. Accessed 2017-6-28.
- Kongress kutubxonasi, Bronislava Nijinska Collection. Accessed 2017-04-28.
- Unedited photographs, including of Nijinska's Les Noces (brown and white costumes), at Google (n.d.).
- Lin Garafola, "Bronislava Nijinska: A choreographer's journey", audio of lecture (1:13:47) at the National Gallery of Art, July 7, 2013. Accessed 2017-04-28.
- Alison Gibson, prodyuser, Nijinska: Raqsda afsona, KQED-TV, 1990 yilgi Emmi mukofoti.
Ikkilamchi
- Jek Anderson, Yagona va yagona. Russe-de-Monte-Karlo baleti (Nyu-York: Dance Horizons 1981).
- Jorj Balanxin, Balanchinning ajoyib baletlar haqidagi to'liq hikoyalari (Nyu-York: Ikki karra 1954).
- Aleksandr Bland, Qirollik baleti. Birinchi 50 yil (Nyu-York: Threshold / Doubleday 1981), oldinga Ninette de Valois.
- Meri Klark va Klement Crisp, Balet. Tasvirlangan tarix (London: A & C Black 1973; rev'd 1992, Hamish Hamilton, London).
- Agnes de Mille, Raqs kitobi (London: Pol Xemlin 1963).
- Agnes de Mille, Portret galereyasi (Boston: Houghton, Mifflin 1990).
- Mishel Fokin, Balet ustasining xotiralari (Boston: Little, Brown 1961), Vitale Fokine tomonidan tarjima qilingan.
- Lin Garafola, Yigirmanchi asr raqsi meroslari (Ueslian universiteti 2005).
- Lin Garafola, Diaghilevning "Ruslar baletlari" (Oksford universiteti 1989 yil, Da Capo Press-ni qayta nashr eting).
- Vinsente Gartsiya-Markes, Balet ruslari. Polkovnik de Basilning "Russes de Monte Carlo" baletlari 1932–1952 (NY: Knopf 1990).
- Robert Gottlib, Jorj Balanxin. Balet ishlab chiqaruvchisi (Nyu-York: Harper Perennial 2004).
- Robert Greskovich, Balet. To'liq qo'llanma ([NY: Hyperion 1998], London: Robert Hale 2000).
- Arnold L. Xaskell Valter Nouvel bilan, Diaghileff. Uning badiiy va shaxsiy hayoti (Nyu-York: Simon va Shuster 1935).
- Jennifer Xomans, Apollonning farishtalari. Balet tarixi (Nyu-York: Random House 2010).
- Allegra Kent, Bir paytlar raqqosa. Tarjimai hol (Nyu-York: Sent-Martin matbuoti 1997 yil).
- Boris Kochno, Diaghilev va ruslar baletlari (Nyu-York: Harper va Row 1970).
- Jon Martin, Raqs. Raqs haqida hikoya rasmlarda va matnlarda bayon qilingan (Nyu-York: Tudor 1946),
- Jon Martin, Zamonaviy raqs (Nyu-York: A. S. Barns 1933, qayta nashr: Dance Horizons, Nyu-York 1990).
- Leonid massasi, Mening baletdagi hayotim (London: Makmillan 1968).
- Lyusi Mur, Nijinskiy (London: Profil kitoblari 2013, 2014).
- Romola Nijinskiy, Nijinskiy (Nyu-York: Simon va Shuster 1934, Pocket Books-ni qayta nashr etish 1972).
- Piter Ostvald, Vaslav Nijinskiy. Jinnilikka sakrash (Nyu-York: Layl Styuart 1991).
- Nensi Reynolds va Malkolm Makkormik, Ruxsat etilgan ballar yo'q. Yigirmanchi asrda raqs (Yel universiteti 2003).
- Lidiya Sokolova, Diagilev uchun raqs. Xotiralar ... (London: Jon Murray 1960, San-Frantsisko 1989 yilda qayta nashr qilingan), Richard Buck, tahrir.
- Igor Stravinskiy, Chroniques de ma vie (Parij 1935), tarjima. kabi Stravinskiy: tarjimai hol (NY: Simon & Schuster 1936).
- Igor Stravinskiy, Musiqa she'riyati (1940; London: Geoffrey Cumberlege 1947).
- Vikki Vulf, Vorteksdagi raqs: Ida Rubinshteyn haqidagi hikoya (Routledge 2001).
- Villi Apel va boshq., Garvard musiqa lug'ati (Garvard universiteti 1944, 2-tahr. 1969, 1972).
- Lin Garafola va Nensi Van Norman Baer, muharrirlar, Balet ruslari va uning dunyosi (Yel universiteti 1999).
- Robert Gottlib, muharriri, O'qish raqsi (Nyu-York: Pantheon 2008).
- Xorst Koegler, Oksford baletining qisqacha lug'ati ([1972], Oksford universiteti 1977).
- Irena Rima Makarik va Virlana Tkach, muharrirlar, Kiyevdagi modernizm: quvonchli tajriba (Toronto universiteti 2010).
- Maqolalar
- Joan Acocella, "Nijinskiy sirlari" yilda Nyu-York kitoblarining sharhi, 1999 yil 14-yanvar. Kirish 2017-05-11.
- Aleksandr Benois, "Balet Russesning kelib chiqishi to'g'risida" (1944), Kochnoda (1970), 2-21 betlar.
- Marina Xars, "San'atkorning taqdiri haqida" Peri o'pishi "baletini qayta ko'rib chiqish", yilda Nyu-York Tayms, 7-fevral, 2017-yil. Acc-6 2017-6-28.
- Lorna Sanders, "Les Noces (Svadebka / To'y)" Dancing Times, jild 95 (2004 yil oktyabr), 48-53 betlar.
- Mariya Tallchief Larri Kaplan bilan, "Mariya Tallchief. Amerikaning Prima-balerinasi" yilda Washington Post, 1997. Kirish 2017-04-28.
- Devid Vaughan, "Klassitsizm va neoklassitsizm" Garafola va Baerda (1999).
- Nijinskadan ilhomlangan
- Eva Stachniak, Tanlangan qiz (Penguen Random House 2017) [tarixiy roman].
- Keyt Uestbruk, "Nijinska palatasi", K W Recordings, 2006 yil [audio].
Adabiyotlar
- ^ Baer (2003), p. 214.
- ^ Greskovich (2000), 78-79 betlar.
- ^ Baer (1986), 23-bet.
- ^ Elvud (2002).
- ^ Kisselgoff (1972).
- ^ Nijinska (1981), tahrirlovchining so'z boshi, xix – xxiv-bet.
- ^ Tomasz - rus tilidagi "Foma". Nijinska (1981), p. 538.
- ^ Quyidagi "Kiyevdan ketish sabablari" bo'limiga qarang. Uning Polshadan suvga cho'mish to'g'risidagi guvohnomasi uning Sovet Rossiyasidan muvaffaqiyatli qochishiga yordam berdi.
- ^ Nijinska (1981), 3-8 betlar (onasi), 9-11 (otasi), 11-12 (nikoh), 12-13 (tug'ilish. Uchta bolani suvga cho'mdirish), 11 va 14 (baletmeyster, saflar)
- ^ Romola Nijinskiy (1934, 1972), 16-bet: Ota "kelishgan, qorong'i, temperamentli, baland bo'yli va shuhratparast" edi. Romolaning so'zlariga ko'ra, uning oilasida to'rt avlod davomida "raqs va texnika san'ati [otadan bolaga o'tib kelgan]".
- ^ Koegler (1977), 384, 385 betlar (Eleonora va Foma).
- ^ Xomans (2010), 350-352 betlar, 350-iqtibos. Bakchisaray favvoralari 1934 yilda qayta tiklangan (libretto, musiqa, xoreografiya) taniqli kelajakka ega edi. "Bu aniqlovchi sotsialistik realistik ishlab chiqarish va eng muvaffaqiyatli va bardoshli bo'lgan. dram-baletlar hech qachon yaratilmagan: uni Kirov (Maryinski) baleti bugungi kunda ham ijro etib kelmoqda. "Libretto Mariya, Polsha qirolisi Girei tomonidan asirga olingan Qrim xoni haqida hikoya qiladi. Haramning rashkchi raqibi Zarema uni o'ldiradi. Keyin Xon" ko'z yoshlari favvorasini "o'rnatadi. "Mariya xotirasiga.
- ^ Nijinska (1981), 35-bet, 40-41, 447 (Favvoralar uning otasi tomonidan ishlab chiqarilgan).
- ^ Koegler (1977), p.204. 1934 yilgi mashhur Sovet ishlab chiqarishi Favvoralar. Koegler shunday yozadi: "Xuddi shu mavzuning oldingi versiyasi sarlavha ostida Rashk qurboni 1892 yilda Kievda Foma Nijinskiy (Vaslavning otasi) tomonidan. "
- ^ Avokella (1999), oiladagi pul muammolari.
- ^ Nijinska (1981), 22-23 bet (Tomasz raqs guruhi), 25-26 (tap raqqosalari tashrif buyurishadi), 35, 40-41, 447 (Favvoralar), 44, 55-56 (Tomasz xoreograf sifatida), 23, 44, 246 (moliyaviy muvaffaqiyat, keyinchalik qashshoqroq), 46-47 (rassomlar bilan o'ralgan, 46-so'z).
- ^ Romola Nijinskiy (1934, 1972), 16, 24–25-betlar: Imperial teatrga qo'shilmaslik otaning bosh fojiasi edi. Rus tilida o'qitish kerak edi.
- ^ Nijinska (1981, 44 (unutilgan imkoniyatlar); 56-57, 58, 92, 93 (ota-onalar alohida).
- ^ Baer (2002), p. 214 (ota-onalar alohida).
- ^ Romola Nijinskiy (1934, 1972), 20-21 betlar, ota-onalar alohida, Tomaszning yangi munosabatlari.
- ^ Nijinska (1981, 59, 60 (Eleonora oilasini Sankt-Peterburgga ko'chiradi); 159-164 (otasining tashrifi); 57, 85, 190-192 (Vaslav achchiq, 1907 yilda otasi bilan Bronining xatini buzadi); 418 (otaning tashabbusi) 1912 yilda onasi bilan yarashish uchun); 444 (Nijinskaning o'z nikohi, aybdorligi); 447-448 (otasining o'limi).
- ^ Romola Nijinskiy (1934, 1972), 21–22-betlar, Eleonora xona va taxta boshqaradi.
- ^ Nijinska (1981), p. 75 (ochilish so'zi), 53-54 betlar (ota-onalar jazolamaydilar); 39, 51-52 betlar (tomlar tomlari, 51-raqamdagi iqtibos), 31-33 (sirka kirib ketish), 42-43 (oilaviy do'stlar sirkining aktyorlari sifatida), 39, 50 (qushlar dunyosi), 36-39 ( shahar ko'chalarini o'rganish), 41 (hokisorlik, salto), 51 (tepada belanchak ustida), 50, 52-53 (lo'lilar va ularning otlari bilan sarguzashtlar).
- ^ Makarik va Tkacz. (2010).
- ^ Nijinska (1981), p. 41: "Bu akrobatikalarni tsirkdan yig'ish, xoreografiyamda menga foydali bo'ldi." Cf. 25-26 betlar.
- ^ Baer (1986), 16-bet (debyut).
- ^ Nijinska (1981), 18-19, 20, 26-betlar (ota-onalar raqsga o'rgatgan); 41 (aralash raqs va BNning keyingi xoreografiyasi); 25-28, 33-34, 42-43 (bolalar debyuti, spektakllar); 6, 33, 43-44, 85 (Stefa xola); 19, 22, 28/42, 31 (Louis Chalif, Mariya Giuri, Vladimir Dourov, Mixail Lentovskiydan raqs bo'yicha maslahatlar); 90-91, 94-95 (Cecchetti).
- ^ Nijinska (1981), 94-96 betlar (imtihon, qabul, Petipa), 74 (tarafdorlar).
- ^ Baer (2002), 214–215 betlar (Birinchi mukofot).
- ^ Nijinska (1981), 235–236 betlar (bitiruv, Birinchi mukofot).
- ^ Voyaga etmaganlarning oldingi ta'siri haqida yuqoridagi "Uning ukasi Vatsa" bo'limiga qarang.
- ^ Baer (2002), p. 215.
- ^ Nijinska (1981).
- ^ Baer (2002), p. 215 (iqtibos).
- ^ Nijinska (1981), 207–210 betlar (Vaslavning Moviy qush roli); 315-316 (uning ijodi) Faune yashirincha).
- ^ Sanders (2004).
- ^ Nijinska (1981), 448-450, 452, 557-463 betlar (Le Sacre), 461-463 (homiladorlik va tanlangan qiz kabi chiqish).
- ^ Garafola (2013), audio 1: 18-2: 43 da, uylangani va keyin homilador bo'lgani uchun chiqarib yuborilgan.
- ^ Staxniak (2017), Nijinska homiladorligiga munosabat bildiradimi: "Mening tanam, mening asbobim mendan yiroqlashayaptimi? Endi Vaslav hozirgacha mening eng yaxshi raqsimni yaratgan bo'lsa-chi? Men unga ko'proq ishlashim kerak har qachongidan ham ko'proq? " (p.191) U Vaslavga aytganda, u karaxt bo'lib qoldi: "Hech kim sizni o'rnini bosa olmaydi. Bu sizning raqsingiz. Siz bor Tanlangan qiz. "Tez orada u undan:" Qanday qilib menga buni qila olar eding? "deb so'raydi. Keyin u:" Siz boshqalar singari odamsiz. Xoin. "(193-bet)
- ^ Baer (2002), p. 214 (iqtibos), p. 220 (tirnoq).
- ^ Nijinska (1981), 472-476, 478-480, 481-485, 488-489 (yana Vaslavning nikohi).
- ^ Ostvald (1991), 83-95 betlar (Romola, nikoh).
- ^ Shunga qaramay, Diaghilev unga va uning ishiga qoyil qolishni davom ettirdi va baletda unga imkoniyat yaratdi. Nijinska (1981), 490, 491 betlar; hali qarang 494. Oxir oqibat u uni qaytarib yollaydi. Quyidagi 1921 yil "Uning dastlabki xoreografiyasi ..." bo'limiga qarang.
- ^ Nijinska (1981), uning ukasi Vaslav Nijinskiy: 478-480 betlar (uning nikohi), 480-482 (harbiy chaqirish), 482 (badiiy janjallar, Fokine), 482-448 (tanaffus), 486-487 (qarzdorlik) ; Bronislava Nijinska: 488-494 (Diagilev bilan birinchi tanaffusi).
- ^ Garafola (1989), 73-bet. Fokine va Diaghilevning to'yidan keyin Nijinskiyni ishdan bo'shatish.
- ^ Mur (2013,2014), 171-172 betlar (Nijinskiyning turmushga chiqishi va ishdan bo'shatilishi, Diaghilev va Nijinska).
- ^ Stachniak (2017), 225-226-betlar.
- ^ Elvud (2002).
- ^ Nijinska (1981), 498–508 betlar, "Saison Nijinskiy" bobi.
- ^ Ostvald (1991), 110-116 betlar.
- ^ Nijinska (1981), s.512: "etti yil davomida", p.514: qisqa vaqt ichida birlashdi.
- ^ Quyida, quyidagi bo'limlarga qarang: "Kievni tark etish sabablari" va "Oila: nikoh, bolalar".
- ^ Sanders (2004).
- ^ Garafola (1989).
- ^ Kisselgoff (1972).
- ^ Nijinska (1981). Onasi buni dahshatli xato deb o'ylardi.
- ^ Baer (2002), 215-216-betlar.
- ^ Baer (1986), 23-bet: "u Fokine tomonidan chizilgan xoreografiyani" to'ldirdi ", tanasini burchak ostida sakrab, aylana shaklidagi sakrash tezligini oshirdi".
- ^ Nijinska (1981), 284-288 betlar (Karnaval), 309 (ko'tarilgan coryphée ), 335 (Scherazade), 343 (Mazurka), 407 & 459 (raqs rollari), 411 (Czardas), 422-426 (Petruchka), 432 (Le Dieu bleu).
- ^ Kisselgoff (1972), qayta Karnaval va Petruchka.
- ^ Koegler (1977), s.385.
- ^ Nijinska (1981), 407-bet, 410-411 (Kleopatra); 448-450, 457-463 (Bahor marosimlari).
- ^ Stachniak (2017).
- ^ Garafola (2005), 194-bet (iqtibos).
- ^ "Xoreograf sifatida" bo'limiga qarang.
- ^ Baer (1986), 20-21, 73-betlar (Petrograd va Kievdagi raqs unvonlari).
- ^ Baer (1986), s.28 (iqtibos).
- ^ Kochno (1970), p. 81.
- ^ Baer (1986), 30-bet, 70-bet.
Nijinska faun rolini o'rgatishni boshlaganida Leon Voyzikovskiy, Diaghilevga Nijinskiy shunchalik eslatilgandiki, u: "Broniya, sen faun rolini o'ynashing kerak", dedi. (30-bet)
- ^ Nijinska (1981), 315-316 betlar, 316-taklif.
- ^ Elvud (2002).
- ^ Baer (1986), 74-75-betlar.
- ^ Garafola (1989), 408-411 betlar.
- ^ Baer (1986), 29-44 va 74-75 betlar (rollar; 49-57 & 75, 78, 64 & 79 (uning kompaniyalari uchun).
- ^ Baer (1986), p. 71 (jarohat).
- ^ Baer (1986), 74-77 betlar: "Balets Russes" uchun Vilzak, "Teatr Kolon", Ida Rubinshteyn.
- ^ Garafola (2005), 199-200 bet (to'rtta tirnoq).
- ^ Harss (2017): Garafola hozirda Nijinska tarjimai holi ustida ishlamoqda.
- ^ Stravinskiy (1936), 160-bet (iqtibos).
- ^ Nijinska (1981), 462-bet (iqtibos).
- ^ Ostvald (1991), 68-69 betlar (iqtibos).
- ^ Stachniak (2017), 190-195-betlar, Vaslavdan iqtiboslar: 193, 194. Nijinska homiladorligini aniqlagandan so'ng, muallif birinchi bo'lib ko'p narsalarni o'ylayotganini tasavvur qiladi, ular orasida "mening tanam, mening vositam mendan uzoqlashtirilmoqda". Endi, Vaslav mening eng yaxshi raqsimni endigina yaratganida "(191-bet).
- ^ Baer (1986), 16-bet (iqtibos).
- ^ Greskovich (2000), 78-bet (iqtibos).
- ^ Brubach (1981), iqtibos.
- ^ Baer (1986) da keltirilgan, s.28 matn, 17-bet uchun 46-betda.
- ^ Garafola (2005), 200-bet (iqtiboslar).
- ^ Baer (1986), 73-81-betlarda (85 ta balet ro'yxati); 82-84-betlarda xoreografiya qilingan Nijinska operalarining shu kabi katalogi bilan (48 ta opera ro'yxati); 73-raqamli taklif.
- ^ Cf. Irina Nijinska (1981), 519–523-betlar («diqqatga sazovor joylar»: 63 ta asar, shu jumladan bir nechta jonlanishlar).
- ^ Ninjinska (1981), masalan, 404-406 betlar (Faune), 449–450 (Sacre).
- ^ Nijinska (1981), 512-514 betlar.
- ^ Cf., Makaryk va Tkacz (2010) urushdan keyingi Kievda san'at.
- ^ Stravinskiy (1940, 1947), 103-bet (iqtibos); 98-118-betlarda rus sovet musiqasini muhokama qilish.
- ^ Gerbert Markuz, Sovet marksizmi (Kolumbiya universiteti 1958, Vint 1961 ni qayta nashr eting). Sovet san'at qatag'onining mafkuraviy muhokamasi, 110-120-betlar.
- ^ Xomanlar (2010), 321–327 betlar. Qisman ishontirish qobiliyatlari tufayli Anatoliy Lunacharskiy, noqulay Sovet rahbarlari dastlab san'atga noaniq pas berishdi. Davomida Rossiya fuqarolar urushi (1917-1922) ular qanday san'atdan tashviqot uchun foydalanganlar.
- ^ Cf. odatda Nijinska 1914-1921 yillarda Petrograd, Kiev (va Moskva) da: Garafola (2011/2012).
- ^ Baer (1986), 18-bet.
- ^ Garafola (2011), s.112.
- ^ Baer (2002), p. 216.
- ^ Garafola (2005), 194-195 betlar, 194 da (tirnoq). Kuzgi qo'shiqlar xoreografiya yo'qolmadi. 1930-yillarda Nijinska buni o'rgatgan Alicia Markova 1953 yilda televizor uchun balet ijro etgan.
- ^ Baer (2002), s.216 (Kiev).
- ^ Garafola (2011), 109-bet (Kiev).
- ^ Stachniak (2017), 276-bet (o'g'li), 277 (maktab), 279-281 (er).
- ^ Baer (1986), 18-bet: Nijinskaning Moskvada bo'lgan davrida u birinchi bo'lib risolasini yozishni boshladi. Do'sti uni o'qituvchilar tarkibiga tayinlash uchun murojaat qildi Katta teatr. Uning eri Sasha ham Moskvaga kelgan va ular qisqa vaqt ichida "Yar" Moskvadagi kabareda chiqish qilishgan.
- ^ Garafola (2011/2012), 199-bet. Nashr qilingan, yo'qolgan. 100 betlik qo'lyozma (1919 y.) Huquqiga ega edi Maktab va harakat teatri.
- ^ Ratanova (2010), 316-318 betlar: Nijinskaning inshosi. Bu erda Rossiya fuqarolar urushi uni bosib chiqarishga to'sqinlik qilganligi aytilgan (316-bet).
- ^ Garafola (1989), s.123: "taxminlar" so'zi; risola yo'qolgan, ammo boshqa bir insho uni takrorlaydi; Inglizcha tarjima.
- ^ Garafola (2005), 1930 yilda nashr etilgan insho (s.198, uning manbasi bo'yicha 203-bet, n7) va uning boshqa nashri, xuddi shu inglizcha nom bilan tarjima qilingan (p.203, p.993, n10).
- ^ Nijinska (1919-1925). Uning 1930 yilgi insho matni Baerda topilgan (1986), 85-87 betlar (inglizcha tarjima). Bu erda takliflar 85-betdan olingan. Qolgan insholarning aksariyati (86-87-betlar) uning "harakat maktabi" ni o'sha paytdagi balet dunyosi va hozirgi amaliyot bilan bog'laydi.
- ^ Baer (2002), 216-bet (iqtibos).
- ^ Cf., Makaryk and Tkacz (2010), s.361, 1918 yildagi Nijinska daftaridan iqtibos keltirgan holda: "Hamma narsadan avval teatr shunchaki ko'ngil ochish bo'lmasligi kerak. U ruhning ma'rifatiga asoslangan bo'lishi kerak."
- ^ Garafola (2005), 70-71 betlar.
- ^ Ratanova (2010), 214-215 betlar.
- ^ Baer (1986), 19-bet (Moskva teatri yangiliklari).
- ^ Makarik va Tkach (2010), Aleksandr Externing kariyerasini 170-176-betlarda, Dimitro Horbachovning maqolasida, 170-195-betlar.
- ^ Ratanova (2012), s.213 (Exter).
- ^ Baer (1986), p.19 (iqtiboslar, Kiev).
- ^ Garafola (1989), 112 bet, 122–123 (Exter).
- ^ Makaryk va Tkacz (2010), 5-betda, 298 (iqtibos), 446 (Les Kurbas).
- ^ Ratanova (2010), 318-319 betlar (Les Kurbas).
- ^ Garafola (2011/2012), 146-148 betlar (Les Kurbas).
- ^ Baer (2002), s.216: maktab, o'g'li Lion.
- ^ Sanders (2004).
- ^ Baer (1986), s.21: uning maktabining maqsadlari.
- ^ Nijinska (1919-1925), Baerda tarjima (1986), 85-87-betlar, 86-87-raqamli so'zlar.
- ^ Baer (2002), p.216 (yakkaxon raqslar, iqtiboslar).
- ^ Baer (1986), 20-21 bet: maktab kontsertlari, xoreografiya yakka raqslari uchun tan olinishi, Oqqush ko'li sahnalashtirilgan.
- ^ Garafola (2005), 124-bet: Oqqush ko'li u "Maryinskiyda o'rgangan" versiyasi.
- ^ Cf. Makaryk va Tkacz (2010), rangli plitalar 10 va 11, quyidagi 24-bet: rasmlar Vadim Meller Nijinskaning xoreografiyalarida Qo'rquv (1919) va Mefisto Valse (1919).
- ^ Nijinska (1981), 513-514 betlar.
- ^ Baer (1986), 21-bet.
- ^ Garafola (1989), 124-bet.
- ^ Ostvald (1991), s.262.
- ^ Ostvald (1991), 198-199 betlar:
[L] inqilobdan keyingi Rossiyada [chidab bo'lmas darajada ayanchli] edi. O'sha yillar ochlik, yoqilg'i tanqisligi ... va ulgurji siyosiy terrorizm edi. Ko'plab rassomlar qochishga harakat qilishdi (Nijinskiyning singlisi 1921 yilda), qamoqqa tashlangan yoki o'z joniga qasd qilgan.
- ^ Fuqarolar urushi davrida o'lim 10,5 million kishiga to'g'ri keladi. Taisiya Osipova, "Dehqonlar isyonlari", 173-bet Rus jamiyatidagi bolsheviklar. Inqilob va ichki urushlar (Yel universiteti 1997), Vladimir N. Brovkin tomonidan tahrirlangan.
- ^ Nijinska (1981), s.513: Petlura Kievda mustaqil Ukrainani da'vo qilayotgani aniq va "biz bir muncha vaqt ketolmaymiz".
- ^ Garafola (2011/2012), 152-156 betlar: "Ketish yoki ketmaslik" bo'limi. Cheka (1917-1922), uning ketma-ket qotilliklari (152-bet), uning narsalarini qidirish. Uning balet maktabining yopilishi (1921 yil 22 mart va 7 apreldagi kundalik yozuvlari uchun 155-156 betlar). Birodarining sog'lig'i haqidagi xabar bir yil oldin 1920 yil aprelida kelgan (152-bet). 1919-1920 yillar Polsha-Sovet urushi (s.152).
- ^ Garafola (2011/2012), 156-bet (iqtibos). Garafola Nijinskaning 1921 yil 11-fevraldagi kundaligidan quyidagilarni keltiradi: "Bu erda men uchun juda qadrli narsa, lekin nega mening bog'im yopiq? Nega oyog'imda zanjir bor?" (s.153).
- ^ Garafola (2011/2012), 156-bet: uning maktabi haqida blokirovka; va uning oilasining qochishi.
- ^ Nijinska (1981), p.514: "Men Polsha chegarasiga yo'l oldim. Bizning sayohatimiz uzoq va qiyin bo'ldi. Ruxsatnomalar va hujjatlarsiz biz cheka tomonidan hibsga olinish xavfi bor edi."
- ^ Ostwald (1991), s.262: "[A] xavfli poezdda juda hissiy va shikastli sayohat".
- ^ Garafola (2011/2012), p.127: bir necha hafta ichida "suvga cho'mish to'g'risidagi guvohnomasi tufayli unga ... Polsha pasporti berildi".
- ^ Ratanova (2010), s.319:
Keyinchalik uning raqs maktabining bir nechta o'quvchilari Kurbasga qo'shilishdi (298-bet [Tkacz], 318-319).Nijinskaning nazarida, u Kievda qolgan bo'lsa, uning kelajagini taxmin qilish mumkin Kurbas fojiali lot. U 1933 yilda o'z teatridan mahrum qilingan va 1937 yilda qatl etilgan. [...] uning studiyasiga rasmiy tazyiqlar kuchaygan. ... 1921 yil boshida, alamli ikkilanishdan so'ng Nijinska Kiyevdan ketishga va Polsha chegarasidan qochishga qaror qildi.
- ^ Nijinska (1981), 513-515 betlar (Vaslavga tashrif buyurish).
- ^ Ostvald (1991), bet 262-264, 340-341. Venada oilaviy mojarolar bo'lgan. "Romola" "Diagilev Bronislava yozgan" xatini yirtib tashladi "(263-264-betlar).
- ^ Baer (1986), 70-bet (kabare).
- ^ Garafola (1989), 124, 235 betlar ("Balet Russes").
- ^ Baer (1986): uning ikki farzandi onasi bilan qoldi (21-bet), keyingi yil Venada ularni ziyorat qildi (28-bet), 1922 yil oxirida Monte-Karloda yangi uyda oilani birlashtirdi (31-bet); Diaghilevning baletlari "Russes" ga taklifnoma (21-bet).
- ^ Nijinska (1981), s.259: Diaghilevning 1909 yildagi boshlanishi.
- ^ Garafola (1989).
- ^ Reynolds va Makkormik (2003), 44-71 bet (Balets Russes).
- ^ Vaughan (1999), s.156 (iqtibos).
- ^ Haskell (1935), 202, 309 betlar.
- ^ Koegler (19177), 50-bet.
- ^ Greskovich (2000), 74, 78 betlar.
- ^ Cf. García-Markes (1990), s.217: Rossiya bo'yicha xoreograflar: "Petipa, Fokine, Massine, Nijinska va Balanchine".
- ^ Garafola (1989), s.173 ("eksportchi" so'zi), qarang. 165–176 betlar (rus kelib chiqishi, Parijdagi joylar); 96-bet (raqqos millatlari), 238-bet (Monte-Karlo).
- ^ Vaughan (1999), p.156: "chunki" 1919 yilda sahnalashtirilgan Oqqush ko'li.
- ^ Baer (2002), p. 217.
- ^ Baer (1986), 27, 70-betlar.
- ^ Greskovich (2000), 74, 78 betlar.
- ^ Shead (1989), p.113.
- ^ Garafola (1989), qarang. p.117.
- ^ Balanchin (1954), 336-354 betlar (Uyqudagi malika), 349, 352–353 (Avroraning to'yi); Nijinska: 336, 352 da.
- ^ Klark va Krisp (1973, 1992), 119-120-betlar (uchta tirnoq). Cf. 89-bet.
- ^ Garafola (1989), 408-betlar, 342-344, 221-223.
- ^ Baer (1986), bet 27-28, 70, 74.
- ^ Balanchin (1954), 336-bet (yangi kreditlar).
- ^ Haskell (1935), s.295 (iqtibos).
- ^ Garafola (2005), p. 196.
- ^ Baer (1986), p. 74 (Nijinskaning qismlari).
- ^ Cf. Greskovich (2000), p.294: Nijinska bu erda joylashgan nouveau an'anasi "baliq sho'ng'in" deb nomlangan.
- ^ Garafola (2005), 201-202-betlarda keltirilgan.
- ^ Garafola (1989), p. 124: mashg'ulotlar va uning etti yoki sakkizta xoreografik qo'shimchalari ro'yxati Bomont (1921).
- ^ Baer (1986), s.28 (raqs rollari), qarang. 74-bet.
- ^ Baer (1986), 27-bet (iqtibos).
- ^ Garafola (1989), 221-223, 331, 332-333, 342-344 (London va Parijdagi balet asarlari uchun urushdan keyingi jamoatchilik).
- ^ Garafola (1989), 221–223 betlar (1921-1922 yillarda "Balet Russes finansi").
- ^ Baer (1986), p. 28 (moliyaviy muvaffaqiyatsizlik).
- ^ Greskovich (2000), p. 74 (badiiy sifat, ammo pul yo'qotadigan).
- ^ Baer (1986) da keltirilgan Nijinska (1937), 46-bet uchun 27-bet, n13. Baerning ta'kidlashicha, Nijinska "Diaghilevning Imperial Ballet repertuaridan ulug'vor klassikani sahnalashtirish qaroridan qattiq xafa bo'lgan" (27-bet).
- ^ Nijinska (1937), Garafola (1989) da keltirilgan, 124-bet, 435-bet, va Garafola (2005), 2016, 203-204-betlar, n26.
- ^ Ikkala Diagilevning ham 1921 y Uyqudagi malika va Nijinskaning 1919 y Oqqush ko'li Chaykovskiy uchun klassik Petipa baletlari edi. Ikkala fitna ham yovuz sehrlarni o'z ichiga oladi. 1921 yilda Londonda afsun buzildi, sevgi g'olib bo'ldi va shoh saroyi "hokimiyatga qaytdi"; 1919 yilda Kievda falokat ikki sevgilini quvib chiqaradi.
- ^ Nijinska (1919-1925), "Harakat va harakat maktabi to'g'risida" (Baerdagi matn (1986), 85-87 betlar [88-bet uchun, nn1 va 3], uning oxirgi xatboshisi 87-betda.
- ^ Cf. Nijinska (sana yo'q), "Petipa g'alabasi", Garafola tomonidan keltirilgan (2005), p.195 (p.203, n3) va 201-202-betlardagi ko'plab tirnoqlar (p.204, nn27-32).
- ^ Cf. quyidagi bo'lim "Tanqidchilar va akademiklarning sharhlari".
- ^ Garafola (2005), p.201.
- ^ Clarke and Crisp (1973, 1992), 120-121-betlar, 121-so'z. p. 161.
- ^ Greskovik (2000), 78, 90, 290–295, 553 betlar.
- ^ Balanchin (1954), 336, 349 betlar.
- ^ Irina Nijinska (1981), p. 519.
- ^ Baer (1986), 74-bet. Nijinska, shuningdek, Londonda ishlab chiqarilgan har bir raqs rolida o'ynagan.
- ^ Shead (1989), 119-120 betlar.
- ^ Garafola (1989), s.118. Keyingi yil Diagilev Nijinska xoreografiga ega edi Les Tentations va La Fâcheux frantsuz tomoshabinlari uchun.
- ^ Sokolova (1960, 1989), 206-207 betlar, voqea. Sokolova Versalda boshqa raqqosalar bilan birga ijro etdi Avroraning to'yi.
- ^ Baer (1986), 74-bet (iqtibos).
- ^ Garafola (1989), 239-bet (qishki mahsulotlar), 411 (III akt, premer).
- ^ 1960 yilda ishlab chiqarilgan Nijinskaning ishini qayta ko'rib chiqing Uyqudagi go'zallik.
- ^ Sakkiz kishi bu erda ushbu bo'limda muhokama qilinadi. Uchun Romeo va Juliet (1926) pastga qarang.
- ^ Baer (1986), 29-bet (iqtibos), 74.
- ^ Clarke and Crisp (1992), p. 122.
- ^ Baer (1986), 29-30 va 46-betlar, 29-so'z; 74 (raqqoslar); 91 (Larionov ko'rgazmasi: 45-48).
- ^ Garafola (1989), p. 409.
- ^ Baer (1986), 29-bet va 46 (ikkita tirnoq).
- ^ Koegler (1977), p. 438: hikoyalar kelib chiqdi Afanasiev to'plam.
- ^ Baer (1986), 29-30 betlar, 29 da yonma-yon keltirilgan.
- ^ Nijinska (1981), p. 140 (iqtibos re Le Renar va akrobatika). Fokinning 1905 yildagi "Fauns" filmida uning ukasi Nijinskiy hayvonot faunalarini o'ynagan boshqa o'nta "o'g'il talabalar" oldida yakka o'zi raqsga tushgan. Cf. p. 41 yoshda, akrobatika va Nijinskaning otasi.
- ^ Garafola (2005), p. 209 (iqtibos).
- ^ Baer (1986), p.30: yomon qabul qilingan, musiqadan shubha qilingan; Diagilevning takliflari.
- ^ Stravinskiy (1936), 160-161 betlar (iqtibos).
- ^ Baer (1986), 29-30 betlar, Stravinskiyning 29-sonli taklifi.
- ^ Koegler (1977), p. 438: keyingi versiyalari 1929, 1947 va uchtasi 1960 yillarda paydo bo'ldi.
- ^ Garafola (1989), p. 97 (tirnoq)
- ^ Kochno (1970), p. 182.
- ^ Baer (1986), p. 30 (iqtibos).
- ^ Irina Nijinska (1981), p. 519.
- ^ Lill (2011), taklif. Bu erda 2011 yilgi mashg'ulotlarning guruh sahnalari fotosuratlari Juilliard.
- ^ Kochno (1970), s.190: Uellsning taklifi, ko'proq uzunlikda.
- ^ Uayt, Erik Uolter (1966). Stravinskiy: Bastakor va uning asarlari. Berkli: Kaliforniya universiteti matbuoti. p. 213.
- ^ a b Stravinskiy, Igor va Robert Kraft (1962). Ekspozitsiyalar va ishlanmalar. London: Faber va Faber. p. 115.
- ^ Shead (1989), p.10, kim buni zamonaviy bo'lsa ham sharhlaydi Les Noces paydo bo'lishi mumkin, u bu davrning barcha rus musiqalari singari "hayotiyligini uni oziqlantiruvchi xalq an'analaridan kelib chiqadi".
- ^ Greskovich (2000), Stravinskiyning musiqasi: 78, 399-400 betlar (iqtibos).
- ^ Stravinskiy (1935), pp. 163–168: musiqa kompozitsiyasi va balet Les Noces.
- ^ a b v d Jonson, Robert (1987). "Nijinskaning Les Nocesdagi marosim va mavhumlik". Raqs xronikasi. 10 (2): 147–169. doi:10.1080/01472528608568943.
- ^ Eliade, Mircha (1959). Muqaddas va profan. Nyu-York: Harcourt Brace & Co. p. 215.
- ^ Stravinskiy, Igor (1936). Mening hayotim yilnomasi. London: Viktor Gollanch. 174–175 betlar.
- ^ Goncharova, Natalya (1979 yil bahor). "Les Noces" baletining metamorfozi'". Leonardo. 12 (2): 137–143. doi:10.2307/1573841. JSTOR 1573841. S2CID 191378240.
- ^ Greskovich (2000), 78, 399, 400 betlar (Goncharova, ranglar va dizayndagi tirnoqlari 400 da); Balanchinning taklifi va uning "qora-oq" baletlari birinchi marta 1928 yilda ko'rsatilgandi Apollon, p.400.
- ^ Marina Tsvietayeva, Natalya Goncharova (zhizn i tvorchestvo) (Praga 1929); Natalya Goncharova. Retrato de una pintora rusa (Meksika: Ed. Era 2000).
- ^ Xomans (2010), 332-333-betlar, 333-dagi to'rtta tirnoq.
- ^ Shead (1989), 122–123 betlar, biroz boshqacha aytganda.
- ^ Nijinska (1974), Reynolds and McCormick (2003) da keltirilgan, 64-bet [lekin qarang: Baer (1986)].
- ^ Kochno, Boris (1970). Diaghilev va ruslar baletlari. Nyu-York: Harper va Row. p. 189.
- ^ Greskovich (2000), 399, 401, 405-betlar, [48-49] (en pointe); 400, 401-402, 404 (ortiqcha oro bermaylar, dengizchilar 400 dan taklif qilishadi). Muallif balet sahnalarini uzoq tahlil qiladi (399-408-betlar), o'quvchini aksiyani quyidagi orqali kuzatishga taklif qiladi. Les Noces VHSda Parij Diagilevni raqsga tushiradi.
- ^ Shuningdek, Balanchine (1954), 245-246-betlar, to'rtta sahnada balet harakatining qisqacha tavsifini beradi.
- ^ Lindsay, Kennet C. va Peter Vergo nashrlari. (1982). Kandinskiy: San'at bo'yicha to'liq yozuvlar. Boston: G.K. Zal. 455-472 betlar.CS1 maint: qo'shimcha matn: mualliflar ro'yxati (havola)
- ^ Bibliografiyada "Tahrirlanmagan fotosuratlar" havolasini ko'ring, Boshlang'ich: Media.
- ^ Homans (2010), 334-bet ("achchiq" iqtibos). Xomans (338-betda) Nijinskaning ushbu sahnasini Balanchin bilan taqqoslaydi Apollon Musaget 1928 yil "Apollon har bir Musoning boshini birma-bir qo'liga o'raladi va ular sadoqat belgisi sifatida muloyimlik bilan yuzlarini bir-birlarining yelkalariga yotqizadilar".
- ^ Berman, Janice (1989 yil 30-iyun). "Bronislava Nijinskani nishonlash". Yangiliklar kuni.
- ^ Le Sacre du Printemps akasi tomonidan 1913 yilda baletmeyster tomonidan tayyorlangan balet edi Vaslav Nijinskiy bu butparast Rossiyani va qurbonlik qizining raqsini tasvirlaydi. Koegler (1977).
- ^ Greskovich (2000), 78-79-betlar haqida Les Notes va Sacre sharhlar, "[ukasi] zamonaviy raqsga o'xshash baletga qarshi harakat uslubiga aylantirgan narsa, Nijinska keskin, ammo inkor etib bo'lmaydigan balet raqsiga aylantirdi." 400-da: Nijinskiy va Nijinskiyniklar Sacre.
- ^ Garafola (2005), p.197: Sacre va Les Noces.
- ^ Levinson, "Où sont les 'Ballets russes" "(KomediyaGarafola tomonidan muhokama qilingan (1989 yil 18-iyun), 436 ga 126-bet, n68.
- ^ Homans (2010), 333–334 betlar (Sacre va boshqa iqtiboslar).
- ^ Ammo Nijinska katolik sifatida tarbiyalangan, aftidan u polshalik edi. Cf. Nijinska (1981), masalan, 13, 85, 157-158, 254-255-betlar.
- ^ Garafola (2005), p. 109, qayta Les noces.
- ^ Anderson (1981), p. 28, Mass Martinning Jon Martin balet sharhidan iqtibos keltirgan holda Avliyo Frensis.
- ^ Nijinska (1981), 469-bet.
- ^ Klark va Krisp (1973, 1992), p. 123.
- ^ García-Markes (1990), p. 200–201 (Gris kostyumlari keyinchalik 1928 yilgi balet uchun Diaghilev tomonidan ishlatilgan Les Dieux Mendiants).
- ^ Garafola (2005), p. 109 (iqtibos).
- ^ Bronislave Nijinska to'plami: Les tentations de la Bergère (tirnoq).
- ^ Garafola (1989), p. 117: Versaldagi tinchlik konferentsiyasi "Frantsiyaning klassik va monarxist o'tmishiga havas" qildi.
- ^ Kochno (1970), 200, 205-betlar: Poulensning asl bahosi sarlavhasi [yosh xonimlar].
- ^ Shead (1989), s.127 (Poulenc, Laurencin), s.128 (musiqa).
- ^ Baer (1986), 39-bet: Poulensning raqs musiqasi "Chaykovskiy va Motsart, shuningdek, jazz va musiqa zallari shakllariga. Kutilmagan qo'shnilar bugungi kunda ham yangraydi" degan ma'noni anglatadi. Shundan so'ng Diaghilev Poulencni bayram musiqasi uchun imzolagan edi Les Sylphides.
- ^ a b v d e Jonson, Robert (2009-2010 yil qish). "Yuring, Rassga boring". Balet sharhi. 37/4: 32–42.
- ^ Kochno, Boris (1970). Diaghilev va ruslar baletlari. Nyu-York: Harper & Row Publishers. p. 205.
- ^ Greskovich (2000), p. 79 (1920-yillarda keltirilgan).
- ^ Koegler (1977), p. 73 (yosh qizlar, "kichkintoylar").
- ^ Balanchin (1954), 39-bet (ijodkorlar va aktyorlar, Les Biches og'zaki frantsuzcha "qizlar" uchun), 39, 42 (de Valois).
- ^ Kochno (1970), p. 206 (uchta iqtibos: Diagilevning qo'rquvi haqida, Poulencning so'zlari, Diagilevning xulosasi).
- ^ Shead (1989), s.127 ("ulkan" iqtibos).
- ^ Balanchin (1954), 39-42 betlar: 39-40 (iqtibos: sakkiz qism), 40-41 (balet sahnalari), 41 (styuardessa sariq rangda).
- ^ Shead (1989), s.127-128 (belgilar), s.127 ("nafis" iqtibos).
- ^ Garafola (2005), 199-200 bet, birinchi raqs tanqidchisi André Levinson ("kuchli" va "g'alati"), keyin "Balets Russes" raqqosasi Lidiya Sokolova, Nijinskaning energiyasiga qoyil qolgan.
- ^ Baer (1986), 40-bet. Uning qizi Irinaning so'zlariga ko'ra, "Nijinska sahnaga chiqishdan oldin bir stakan shampan ichar edi", keyin o'z-o'zidan raqsga tushdi.
- ^ Shead (1989), 130-bet ("katta kuch" iqtibosi), p. 131 ("mukammal" iqtibos).
- ^ Cf. Baer (1986), s.38 qayta Les Biches: "bejirim atmosfera va nafislik aurasi baletning xoreografiya, musiqa, liboslar va dekor sintezidan kelib chiqadi"; "birinchilardan biri neoklassik baletlar ".
- ^ Nijinska (1981), 445-bet, ukasi Nijinskiynikiga ishora qildi Jeux (1912) neoklassik baletning kashshofi sifatida. Jeux uning ko'zlarini "yangi xoreografik dunyo" ga ochdi (444-bet). Raqslarni yangi qadamlarga yo'naltirish qiyin kechdi, Nijinskiy Jeux va Nijinska keyinroq Les Biches (466-467 betlar).
- ^ Urushdan keyingi Frantsiyadagi kompaniyaning noqulay siyosiy vaziyatining tavsifi uchun Kennet Silverning muhim kitobiga qarang Esprit de Corps. Kumush, Kennet E. (1989). Esprit de Corps: Parijdagi Avangard san'ati va Birinchi Jahon urushi 1914-1925. Prinston: Prinston universiteti matbuoti. 113-125 betlar.
- ^ Garafola (1989), s.129 (iqtibos).
- ^ Qarang: Gerbert Markuz, Sovet marksizmi (Kolumbiya universiteti 1958, Vint 1961 ni qayta nashr eting). Munozarasi Kollontai "inqilobiy jinsiy axloq" va "burjua jamiyatining individualistik axloqi" ga qarshi "rus inqilobining" qahramonlik davrida "boshlang'ich" litsenziyali "jinsiylik" (233-234-betlar). Ko'p o'tmay, Kommunistik diktatura qat'iy repressiv bo'lib, jinsiy erkinlikni yo'q qiladigan "intizomiy, avtoritar axloq" ni tatbiq etdi (235-bet).
- ^ Jonson (2009-2010) shuningdek, La dame en bleu (La Garçonne) ning raqsdagi avtotexnik va keskin sifati dadaist rassomlarning zamonaviy ishlarini aks ettirishi mumkin, deb ta'kidlamoqda. Frensis Pikabiya va Marsel Dyuchamp (masalan, Katta shisha, 1923).
- ^ Garafola (1989), 129-130-betlar (to'rt tirnoq), 122-bet ("otilgan" iqtibos).
- ^ Garafola (2012), 109-166 bet (Kiev).
- ^ Gregori Karleton, Bolsheviklar Rossiyasida jinsiy inqilob (Pitsburg universiteti 2004); Kitoblar sharhi (2006) Anna Tijselling tomonidan H-net.org saytida. "Karleton, shubhasiz, 1910 va 20-yillarda yangi jamiyat rivojlanishi to'g'risida qarama-qarshi bo'lgan jamoat bahslari jinsiy aloqaga to'yinganligini namoyish etadi."
- ^ Qarang: masalan, Sheila Fitspatrik, "Moskvadan Sevgi bilan" Nyu-York sharhi (19.04.2018), 20-asrning 20-yillarida "inqilobiy ozodlikning jinsiy tomoni" to'g'risida (30-bet).
- ^ Qarang: Qarafola (1989), 131-132-betlar. Murakkab jinsiy mavzular va jinsdagi rollarni muhokama qilish Les Biches.
- ^ Garafola (2012), 146-bet. Uning eri Kievda adashadi.
- ^ Stachniak (2017), 322-331 betlar. Kievda uning eri xiyonat qildi, bu ularning ajrashishiga olib keldi.
- ^ Garafola (1989), 129-132 betlar, 131 (to'rt tirnoq), 129 (Diaghilev) & 436, n75 (Kochno).
- ^ Bastakor Poulenc Balet jurnali (2-jild, №4) ushbu baletni tomosha qilishda "umuman hech narsani ko'rmaysiz yoki ... eng yomoni o'qishingiz mumkin. ... [T] bu erda siz buzuqlikni his qilayotgan befarqlik muhiti. ammo begunoh fikrlaydigan qiz buni bilmaydi ". Balanchinda (1954) keltirilgan, 41-42 betlar. Baer (1986), s.38 da keltirilgan.
- ^ Cf. Kochno (1970), 206-207 betlar (divanning "raqsi").
- ^ Arlene Croce, "Doe, bir kiyik, ayol kiyik" Nyu-Yorker (1963 yil 21 mart): Les Biches "qizg'in ayol" sifatida. Baer (1986) tomonidan keltirilgan, 40 va 48-betlar, n107.
- ^ Balanchin (1954), p. 41 (balet muvaffaqiyatidan iqtiboslar).
- ^ Shead (1989), 128-bet ("sevilgan" iqtibos), 137 ("yoqdi" iqtibos), 132 ("Ajablanarlisi, Nijinska bunday balandliklarga boshqa hech qachon yaqinlashmagan").
Tomoshabinlar "o'zlarini va do'stlarini sahnada ko'rishdi va taqqoslash bilan xushomad qilishdi: bunday nafislik ularga tegishli bo'lishi mumkin. Balet ... hayot tarzining badiiy asarga aylanishi va stilizatsiyasi edi. "(128-bet).
- ^ Baer (1986), p.40: "[A] 1925 yilda London tanqidchisi buni da'vo qildi Les Biches"Feminizm [oxir-oqibat] baletni chalg'itdi". "Edith Shackleton Kechki standart.
- ^ Sokolova (1960, 1989), s.217 (iqtibos).
- ^ Greskovich (2000), p. 32.
- ^ Balanchin (1954), p. 442.
- ^ Massin (1968), p. 171 marta Les Fâcheux.
- ^ Klark va Krisp (1992), p. 123.
- ^ Garafola (1989), 254-bet, 410-bet.
- ^ Irina Nijinska (1981), p. 520.
- ^ Baer (1986), 40-41-betlar, 40-so'z.
- ^ Garafola (2005), 50-bet (Les Six), 51 (iqtibos).
- ^ García-Markes (1990), p. 124: Auric 1923 yil Londonda Nijinskaning premyerasida to'rtta pianinodan birini ijro etgan Les Noces.
- ^ Garafola (2005), p. 176 (Lopokova taklifi).
- ^ Cf. Garafola (1989), p. 121 2.
- ^ Koegler (1977), p. 187 yil, baletni "kuchli mimikaga yo'naltirilgan" deb atadi va muvaffaqiyatga erishmasa ham, Diagilev Massinni 1927 yilda yana takrorladi.
- ^ Garafola (2005), p. 199 (uchta tirnoq).
- ^ Baer (1986), p. 56 (to'rt tirnoq).
- ^ Apel (1972), p. 574.
- ^ Garafola (1989), p. 410.
- ^ Klark va Krisp (1992), p. 123 (aktyorlar va raqqoslar).
- ^ Greskovich (2000), 79-bet (Chanelning so'zlari).
- ^ Klark va Krisp (1992), 122, 123 betlar (iqtiboslar). 122 da baletdan olingan sahna surati.
- ^ Garafola (2005), 383-390-betlar: "Izidan yurish Le train bleu".
- ^ Sheloxonov (nd), iqtibos re Le train bleu.
- ^ Shead (1989), 137-bet (sport), 138 (Dolin, repertuaridan tashqari).
- ^ Garafola (1989), 132-134-betlar (bahsli sonlar, "Kokto" iqtibosi, "Faqat Nijinska" iqtibosi).
- ^ Kochno (1970): so'nggi daqiqa.
- ^ García-Markes (1990), p. 74 (Le poezd va Plyaj).
- ^ Quyidagi Irinaning tiklanishi haqidagi bo'limga qarang.
- ^ Garafola (1989), 134-bet.
- ^ Baer (1986), 49-50, 57-betlar (Externing so'zlari). Shuningdek, u Parijdagi "Opéra" baletining mehmon baletmeyster va xoreografiga aylandi va o'z studiyasida dars berdi.
- ^ Garafola (2005), 70-71 betlar, 199 (Alexandra Exter).
- ^ Baer (2002), p. 217.
- ^ Reynolds va Makkormik (2003), 74-bet.
- ^ Baer (1986), 49-50 betlar, 57 (iqtibos). 50-57-betlarda tasvirlangan va 75-betda ko'rsatilgan oltita balet. 56-57-betlarda tasvirlangan to'rtta divertissimentlar. 1925 yilda u ehtimol raqsga tushmagan Yo'lda, s.52.
- ^ Irina Nijinska (1981), p. 520.
- ^ Balanchin (1954), p.526: "menimcha, Bax va Motsartning musiqasi har doim raqsga juda yaqin". Balanchinning o'zi 1940 yilda ishlagan Barokko kontserti Bax musiqasiga. U "raqsga tushgan baldan tashqari va uni ijro etadigan raqqosalardan tashqari" mavzuga ega emas edi "(91-bet).
- ^ Koegler (1977), 36-bet: "Bax".
- ^ Baer (1986), p. 50: takliflar (Externing kostyumlari, rasmli, to'rtta versiyada eng ko'p g'amxo'rlik qilingan); p. 57 (en pointe).
- ^ Irina Nijinska (1981), 520, 522 bet (Nijinskaning Bax baletlari).
- ^ Baer (1986), 50-51 bet, 50 da: iqtiboslar.
- ^ Stravinskiy (1936), 122-123, 129 betlar.
- ^ Baer (1986), 52-bet, 57n18. Exter quote in exhibit catalogue The Avant-Garde in Russia (1981), p. 151, at Los Angeles County Museum of Art.
- ^ Nijinska (1981), pp. 25-26.
- ^ Baer (1986).
- ^ Irina Nijinska (1981), p. 520.
- ^ Baer (1986), p.56 (quote).
- ^ Baer (1986), pp. 56-57 (four divertissements).
- ^ Koegler (1977), p. 385.
- ^ Nijinska [Nižinska] (1981), pp. 320–323.
- ^ Koegler (1977), p. 65.
- ^ Irina Nijinska (1981), pp. 520 (La Rencontres in Paris), 522 (Beloved in NY).
- ^ Massine (1968), pp. 169–170, quotes.
- ^ Irina Nijinska (1981), p. 520.
- ^ Baer (2002), p. 217.
- ^ Nijinska (1981), pp. 473–474, 475.
- ^ Koegler (1977).
- ^ Nijinska (1981).
- ^ Baer (1986), p. 58 (Teatro Colon dancers and Bolm: quote; Studio Religious). Cf. p. 50.
- ^ Irina Nijinska (1981), p. 520 (Kiev, "abstract" quote).
- ^ Cf. Balanchine (1954), who writes that while "Bach had no idea of composing music for a ballet," actually "it seems to me that the music of Bach and Mozart is always very close to dancing" (p. 526). Balanchine in 1940 choreographed a ballet to music by Bach (pp. 91–93). Balanchine adds:
[I]f the dance designer sees in the development of classical dancing a counterpart in the development of music and has studied them both, he will derive continual inspiration from great scores. He will also be careful ... not to stretch the music to accommodate a literary idea ... [and may] present his impression in terms of pure dance (p. 92).
- ^ Baer (1986).
- ^ Cf., Balanchine (1954), pp. 114–117 (Daphne et Chloe ballet), 268–275 (Petrouchka ballet).
- ^ Koegler (1977).
- ^ Woolf (2000).
- ^ See below 'Exterior links' for video.
- ^ Garafola (2005), pp. 158, 159, 181–182 (Ida and Vaslav).
- ^ Nijinska (1981), pp. 292–298 (Sheherazade), Rubinstein and Nijinsky partnered at 297.
- ^ Garafola (2005), p.158 (quote re Kleopatre.
- ^ Irina Nijinska (1981), p. 521.
- ^ Anderson (1991), La Valse is said to take place in a "cursed ballroom".
- ^ Koegler (1977), p.434.
- ^ Balanchine (1954), pp. 26–32, at pp. 31–32 (quotes from Stravinsky; Nijinska).
- ^ Garafola (2005), p. 49 (Stravinsky and Rubinstein).
- ^ Balanchine (1954), p. 32 (performances, versions).
- ^ Greskovic (2000), p. 92 (Ashton, 'eerie').
- ^ See above, 'Teatro Colón'.
- ^ Homans (2010), pp. 338–339: Diaghilev's death "was felt across Europe" and left his colleagues "disoriented and unhinged." Said one, "A part of the world has died with him."
- ^ Rus Ruslan et Lyudmila (Glinka ), the Czech Rusalka (Dvorak ) va Sadko (Rimsky-Korsakov).
- ^ García-Márquez (1990), pp. 4, 5 (her program), 6 (her own company).
- ^ García-Márquez (1990), pp. xi–xii, xvi, 3–6, quotes at 4 (Blum), 5 (de Basil and Blum), and 6 (impresario).
- ^ Cf. Garafola (1989), pp. 376–377.
- ^ Massine (1968), p. 183.
- ^ Koegler (1977).
- ^ Baer (1986), pp. 64–65 (see below).
- ^ Koegler (1977), p. 385.
- ^ Nijinska [Nižinska] (1981), pp. 320–323.
- ^ García-Márquez (1990), pp. 6 (Ballets Nijinska), 319, n12 (repertory of Ballets Nijinska).
- ^ Baer (1986), pp. 62, 71.
- ^ Irina Nijinska (1981), p. 521.
- ^ Baer (1986), p.78: Etude-Bax.
- ^ Baer (1986), pp. 62–65 (her company), pp. 64, 79 (O'zgarishlar).
- ^ Anderson (1991), quote.
- ^ Baer (1986), p. 64 (string of quotes), perhaps influenced her work for Maks Raynxardt "s Xofmanning ertaklari.
- ^ Balanchine (1954), pp. 195–198.
- ^ Irina Nijinska (1981), pp. 521–522.
- ^ Vuillermoz, Emile (June 24, 1934). "Les Premieres". Excelsior.
- ^ García-Márquez (1990). pp. xiii, 51, 111–112.
- ^ Baer (1986), pp. 64–65.
- ^ Irina Nijinska (1981), p. 522.
- ^ Koegler (1977), p. 111.
- ^ Garía-Márquez (1990), pp. 139–147, Baronova at 147.
- ^ Koegler (1977), p.111.
- ^ Nijinska (1981), pp. xix, 453*, 521 (the Warner Brothers film).
- ^ Koegler (1977), p.361 (music for ballet).
- ^ Reynolds and McCormick (2003), P.738 (quote re Nijinska). Reinhardt had already staged the ballet at the Berlin Staatsoper in 1927, choreographed by Maks Terpis, bilan Xarald Kreytsberg kabi Puck (p.97).
- ^ Koegler (1977), p.361 (3 versions).
- ^ Nijinska (1981), p.159 (quote re Petipa, father's visit).
- ^ Irina Nijinska (1981), p. 521 (Reinhardt).
- ^ See above re Nijinska's 1928 Le Baiser de la Fée uchun Ida Rubinshteyn kompaniyasi.
- ^ Koegler (1977), p. 268: 1928 Stravinsky and Nijinska. Fyodor Lopokov had choreographed the eerie narrative ballet in 1927, but to the music of Edvard Grig "s Peer Gint.
- ^ Irina Nijinska (1981), pp. 520–521, 521–522.
- ^ Baer (1986), p. 84.
- ^ Reynolds and McCormick (2003), p.199 (quote).
- ^ de Mille (1990), pp. 26, 27 (quote re Markova, Nijinska); re Dolin, pp. 26, 28.
- ^ Koegler (1977), p.161 (Dolin), pp. 347-348 (Markova).
- ^ Baer (1986), p.81 (Fantaziya).
- ^ Garafola (2005), pp. 194–195, re Kuzgi qo'shiq for NBC television's Ko'rsatuvlar namoyishi.
- ^ Kisselgoff (1986), 'creative sessions'.
- ^ Baer (1986), p.73: Kuzgi qo'shiq (1915).
- ^ Baer (1986), pp. 65, 79-80. The other 3 ballets were Le Chant de la Terre [Song of the Earth], Le Rappelva Apollon va la Belle.
- ^ Irina Nijinska (1981), pp. 521, 522 (Ballet Polonais, prizes, tour).
- ^ Baer (1968), pp. 65, 71 (Grand Prix).
- ^ a b v d e Arkin, Lisa C. (1992 yil kuz). "Bronislava Nijinska and The Polish Ballet, 1937-1938: Missing Chapter of the Legacy". Raqs tadqiqotlari jurnali. 24/2: 1–16. doi:10.2307/1478521. JSTOR 1478521.
- ^ "Covent Garden: The Polish Ballet". The Times. 1937 yil 21-dekabr.
- ^ Koegler (1977), p.118. The music is Chopin's Concerto for Piano and Orchestra in E minor.
- ^ Baer (1986), p.65 (Kontsert quote; Grand Prix).
- ^ Denby quote from his Looking at the Dance (New York 1949), in Baer (1986), p.66.
- ^ Garafola (2005), p.198: Denby quote from article in Raqs yozuvlari (1944).
- ^ Reynolds and McCormick (2003), p.181 (quotes).
- ^ Michaut, Pierre. Le Ballet Contemporain 1929-1950. Paris: Librairies Plon. p. 214.
- ^ Baer (1986), p.66 (two quotes re dismissal, 1939 World's Fair in NY). From interviews Baer heard of conjectures that Nijinska was dismissed because of her life-long familiarity with Russia, now Soviet Russia. [In September 1939 in alliance with the Nazis the Soviets would invade Poland.]
- ^ Cf. Timoti Snyder, Bloodlands. Europe between Hitler and Stalin (New York: Basic Books 2010), p.103. In its 1938 'Polish Operation' committed wholly inside the Soviet Union, the NKVD arrested 143,810 and executed 111,091, mostly of Poles then living in neighboring Russia.
- ^ Koegler (1977), p.574 "Woizikovsky".
- ^ Reynolds and McCormick (2003), p.55, in England in the 1930s Woizikovsky also had danced as the Faune in her brother Nijinsky's choreography.
- ^ Reynolds and McCormick (2003), p.181 (Woizikovsky and NYC, quote re 1939 invasion).
- ^ Koegler (1977), p.574 "Woizikovsky". He returned after the war to his dance career in Europe.
- ^ Garafola (2005), p.385. In the 1970s Woizikovsky was interviewed by dance historian Frank Reis in order to reconstruct her choreography for Le Train Bleu.
- ^ Baer (1986), p.66 (quotes). Baer also mentions the 1938 death of Feodor Chaliapin, a romantic interest who had remained a continuing source of her artistic inspiration.
- ^ Baer (1986) pp. 66 (London, film [based on Keril Brams novel], de Basil, America), 71 (relocates). Baer's lists 85 of her original ballets at pp. 73-81, the last one being Rondo Capriccioso in 1952 to music by Sent-San. Listed incidentally at p.100 are revivals of earlier works, Bolero (1954), Les Biches (1964) va Les Noces (1966).
- ^ Irina Nijinska (1982), p.522 (La Fille).
- ^ Baer (1986), p.66 (to U.S. in 1939, ABT's La Fille).
- ^ Greskovic (2000), pp. 409-434 (La Fille), 409 ("rustic" quote). Its original title: The Ballet of the Straw, or It's only a Short Step from Bad to Good. At pp. 116, 119: Ballet Theater starts, absorbing the Mordkin Ballet; renamed ABT in 1956.
- ^ Anderson (1986), p.49-50: how Dauberval created the entertaining story, but his choreography has been forgotten.
- ^ Balanchine (1954), pp. 143–149 (La Fille), at 143 ("comic" quote), 148 ("oldest" quote). Nininska at pp. 143, 148. In Russia as Useless Precautions 148-149 betlar.
- ^ Koegler (1977), pp. 195-196 (La Fille), at 196 ("quickly" quote, Taglioni, Petipa and Ivanov).
- ^ Balanchine (1954), pp. 148-149: Dauberval called "father of comic ballet', the coveted lead 'Lise' danced by Fanni Elssler (1810-1884) and by Anna Pavlova (1881-1931).
- ^ Grekovic (2000), pp. 409-434, at 409 (Lise and Colas quote).
- ^ Koegler (1977), p.196 ("America" quote).
- ^ Baer (1986), p.66: Chase, p.80: Mordkin; p.72: Nijinska active at Cuevas company throughout the 1950s.
- ^ Martin (1946), p.48: Nijinska's with Baronova and Romanoff, photo.
- ^ Koegler (1977), p.196: ABT (and Chase, p.114); 1946 by Balashova (of Bolshoi Ballet) for Cuevas, p.39; Cuevas and Nijinska, p.138.
- ^ Nijinska (1981), p.246: Nijinska had danced in La Fille at the Maryinsky in Saint Petersburg from 1908.
- ^ Homans (2010), pp. 435-437, 436 ("work" quote). Ashton's 1960 Le Fille was "a huge success" (p.437).
- ^ Grekovic (2000), pp. 409-412 (Nijinska p.409, Russian version called Bo'shliqqa qarshi ehtiyot choralari p.411, Ashton pp. 411-412). At pp. 412-434: scene by scene review of Ashton's La Fille per commercial video. It drew on a "rich historical lineage" (p.409).
- ^ Balanchine (1954), pp. 329-330 (description of Nijinska's choreography for Schumann Concerto).
- ^ Koegler (1977), p.471, Nijinska's ballet in 1951 re Schumann's Piano Concerto in A Minor.
- ^ Baer (1986), p.81 (Schumann, and Rendezvous).
- ^ Irina Nijinska (1981), p. 522 (Hollywood Bowl).
- ^ Baer (1986) pp. 75, 77, 79 (ballets at Hollywood Bowl).
- ^ Tallchief (1997), who describes her participation in the performance; see "Teaching" subsection below.
- ^ "Mme. Nijinska Directs Jacob's Pillow Ballet". Berkshir oqshom burguti. 1942 yil 3 sentyabr.
- ^ Massine (1968), p. 74 (Russian folklore: Frost King).
- ^ Anderson (1981), pp. 77, 77-78, 79 (Qorqiz: Anderson quote and Denby quote at 79).
- ^ Irina Nijinska (1981), p.522.
- ^ Baer (1986), pp. 72, 80.
- ^ Anderson (1981), pp. 78, 82-83 (Shopin kontserti: Martin at 82-83); pp. 87-88, 290 (Qadimgi Rossiya).
- ^ Goncharova worked on Nijinska's 1923 Les Noces (yuqoriga qarang).
- ^ Anderson (1981), p.273 (quote re Denham), p.79 (quote per de Mille's Rodeo.
- ^ Elwood (2002): Cuevas company, Nijinska as ballet mistress.
- ^ de Mille (1990), pp. 118-126. The company lasted until the passing of its founder, the Marquis (pp. 118-119, 125); Nijinska and Cuevas company (p.119).
- ^ Koegler (1977), p.375: Mussorgsky, Kecha va Rasmlar ballets by Nijinska; p,385: as ballet mistress at Cuevas.
- ^ Baer (1986), p.80: Rasmlar (NYC 1944), Aronson; pp. 19, 20, 49, 50, 52, 53, 56, 57: Nijinska and Exter in Kiev and Paris.
- ^ Koegler (1977), p.415: Nijinska's, Hanka's, and Bolshoi's ballets for Mussorgsky's Rasmlar. Keyinchalik a tosh tomonidan ishlab chiqarish Emerson, Leyk va Palmer opened, released as their 1971 album Ko'rgazmadagi rasmlar.
- ^ Baer (1986), p.81: Saint-Saëns.
- ^ Ballets Russes then performed Petipa 's classic 1890 three-act ballet, music by Tchaikovsky, renamed for London Uyqudagi malika.
- ^ Irina Nijinska (1981), pp. 519, 522–523.
- ^ See Diaghilev's Ballets Russes section above.
- ^ Fonteyn, Tarjimai hol (New York: Knopf 1976), re Helpmann: pp. 123, 125 (partner), 79-80 (stager).
- ^ García-Márquez (1990).
- ^ Koegler (1977), p.138 (Cuevas: "Nijinska-Helpmann" 1960), p.253 (Helpmann "collaborated with Nijinska" 1960), p.385 (Nijinska: 1921 Malika, ballet mistress).
- ^ Balanchine (1954), pp. 336-354, at 337: Fonteyn and Helpmann, NYC 1949.
- ^ Koegler (1977), p. 28.
- ^ Kisselgoff (1972).
- ^ Garafola (2005), p. 200 (Ida Rubenstein).
- ^ Bland (1981).
- ^ Clarke and Crisp (1992), pp. 161–162.
- ^ Koegler (1977), p. 385 (quote).
- ^ Kisselgoff (1972), quote.
- ^ Barnes, Clive (August 3, 1969). "The Re-emergence of La Nijinska". The New York Times.
- ^ Irina Nijinska (1982), p. 523 (quote).
- ^ Baer (2002), pp. 219-220.
- ^ Anderson (1991'), Irina Nijinska's career.
- ^ Anderson (1991"): after her mother's death Irina continued, e.g., to revive the ballets, until Irina's own passing at age 77.
- ^ "Editors' Foreword" in Nijinska (1981), at pp. xxi–xxii (Irina as literary executor, her work re Dastlabki xotiralar and ballet revivals).
- ^ E.g., Anderson (1982), re the Oakland Ballet's revival production of Les Noces.
- ^ Cf. Lille (2011), Les Noces da Juilliard.
- ^ Greskovic (2000), re The Paris Opera Ballet: pp. 390 (video), 399 (Irina).
- ^ Anderson (1991"): ballet revivals, reconstructions. Original dates: Le Train (1924) va Rondo (1952). When Irina died, in progress were plans for Bolero (1928).
- ^ Baer (2002), p.220, besides companies of Paris, Harlem, and Oakland: the Joffrey balet.
- ^ Reynolds and McCormick (2003), pp. 556-557 (quote). Included were "Nijinska's two demanding masterpieces Les Noces va Les Biches" plus Rondo Capriccioso.
- ^ See above, "Ballet companies: revivals ...".
- ^ Roca (1995), Nijinska's Bolero revived by Oakland Ballet.
- ^ See below "External links" re Nijinska ballet revivals on youtube.com, and "Bibliography" at end of "Primary" listings: two videos.
- ^ Hunt, Merilin (1995 yil oktyabr). "Nijinska Revival Continues: Restoring a Lost Work, Nina Youshkevitch stages 'Bolero' for Oakland Ballet". Raqs jurnali: 74–77.
- ^ Ulrich, Allan (1995-1996 yil qish). "San-Fransisko yangilanishi". Dance International: 32–33.
- ^ Murphy, Ann (October 22, 1995). "Bit of Brilliance evident in 'Bolero'". Oakland Tribune.
- ^ Roca, Octavio (October 23, 1995). "Passion, Possession In Stunning 'Bolero'". San-Fransisko xronikasi.
- ^ Ulrich, Alan (October 21, 1995). "'Bolero Ispaniyaning shahvoniyligini qaytadan yaratmoqda ". San-Fransisko imtihonchisi.
- ^ Taylor, Robert (October 19, 1995). "'Bolero qaytadi ". Oakland Tribune.
- ^ Ulrich, Alan (October 18, 1995). "'Bolero - avvalgidek: Oakland balet sahnalari rekonstruksiya qilingan ish ". San-Fransisko imtihonchisi.
- ^ Felciano, Rita (1996 yil qish). "San-Frantsisko hisoboti: individual ovozlar". Dance View: 27–28.
- ^ Jonson, Robert (1995 yil yoz). "Reviving Nijinska". Dance View: 12–14.
- ^ Jekson, Jorj (1995 yil yoz). "Ijroda". Dance View: 15–16.
- ^ Nijinska, "Reflections ...", an essay later translated for Dancing Times (Feb. 1937, p.617), quoted by Garafola (1989) at p.124,n62, per p.435, and by Garafola (2005), p.201,n26, per pp. 203-204.
- ^ Garafola (1989) and (2005).
- ^ Anderson (1991"), quote.
- ^ Nijinska (1930), last paragraph, p.88 in Baer (1986).
- ^ Baer (1986).
- ^ Nijinska, "The Triumph of Petipa" (no date), referenced by Garafola (2005), pp. 195,n3 and 201-202,nn27-32 per p.204.
- ^ Garafola (2005).
- ^ Greskovic (2000), pp. 78-79 (quote).
- ^ Garafola (2005), p.202 (quotes).
- ^ Baer (1986), p.68 (quote).
- ^ Fergison (1999), p.187 (quote).
- ^ Baer (2002), p. 214 (quote from Joan Acocella ); fuqarolik.
- ^ Obituary (1991).
- ^ Baer (1986), pp. 66-67 (New York, Los Angeles, teaching, Irina).
- ^ Irina Nijinska (1982), pp. 522-523.
- ^ Sokolova (1960, 1989), p.229.
- ^ Cf. Garafola (1989), p.435,n61.
- ^ Sokolova (1960, 1989), re Dolin p.213; re Sokolova p.226 and cf. pp. 216, 79, 74, 68, 66.
- ^ Koegler (1977), p.114 (Lifar, Ashton, Markova, Chase).
- ^ García-Márquez (1990), p.146 (Baronova); pp. 83, 85 (Lichine).
- ^ Severn (1988), at pp. 691-692 in Gottlieb (2008).
- ^ García-Márquez (1990), p.146 (quote).
- ^ Baer (1986), pp. 60-61.
- ^ Tallchief (1997), ¶¶ 69-94. In 1940 Nijinsky mounted three short ballets at the Gollivud kubogi, which Maria Tallchief describes (¶¶ 86-93). Marjorie Tallchief, ¶¶ 69, 104. Cyd Charisse, ¶ 87.
- ^ Anderson (1981), pp. 212, 220: Tallchief was a Nijinska "portégée" who "enjoyed her protection".
- ^ Gottlieb (2004), p.107: Tallchief studied five years "under the strict tutelage of Bronislava Nijinska," about whom Tallchief said: the likes of her "I had never seen before".
- ^ Kent (1997), pp. 27 (quotes), 28-29 (Irina), 29 and 30 (quotes). Kent noticed that Madame Nijinska, when angry at a student's infraction of her rules, would misdirect her anger at another more timid soul. "After class Madame would explain her tactics" which appeared to be "Russian etiquette or some law of the steppes" (p.30).
- ^ "Editor's Foreword" pp. xix-xxiv, esp. pp. xxii-xxiv, in Nijinska (1981).
- ^ Garafola (1989), p. 123 (1920 book: lost).
- ^ Garafola (2005), pp. 198, 202–204 (writings).
- ^ "Introduction" by Kisselgoff at p. xvi (quote), in Nijinska (1981).
- ^ "Edtior's Foreword" in Nijinska (1981), at pp. xx (writings).
- ^ Baer (1986), pp. 18–21, 89–100: ## 25, 31, 50, 64, 191.
- ^ Harss (2017).
- ^ Servern (1988, 2008), pp. 692 and 695-696 (quotes).
- ^ Sokolova (1960, 1989), pp. 202-203.
- ^ Sokolova (1960, 1989), p.255.
- ^ Quoted in García-Marquez (1990), p.142.
- ^ Nijinska (1981),), pp. 56-57 (parents separate), pp. 190-192 (Vaslav bitter), pp. 159-164 (father's visit), p.418 (some understanding), p.447 (father's death); pp. 109–110 (Stassik in sanatorium 1902).
- ^ Moore (2014), p.199 (Stassik's death).
- ^ Nijinska (1981), pp. 452-453 (with mother in Berlin 1912), pp. 461-462, 492, 494 (her mother and her daughter Irina), p.514 (leaves Russia for Austria).
- ^ Richard Buckle, Nijinskiy (New York: Simon & Schuster 1971), p. 421 (Vaslav's wife receives news of his mother Eleanora's passing).
- ^ Stachniak (2017), p.363: Mamusia's death July 23, 1932, in Paris evidently.
- ^ Moore (2014), pp. 101 (Faune), 132 (Sacre), 217-218 (Bronia's Xotiralar usually "focused on her brother"); pp. 136 ("bonds" quote), 172 (1914 in London).
- ^ Nijinska (1981), where her relations with her brother are continually addressed, until the 1914 'Saison Nijinsky' in London.
- ^ Baer (2002), pp. 214-215.
- ^ Baer (1986), pp. 16-17.
- ^ Nijinska (1981), p.478 (Vatsa weds), pp. 477-487 (circumstances of wedding); pp. 513-515 (1921 family reunion in Austria).
- ^ Moore (2014), p.198 (Vaslav's career ends); pp. 160-161 (Vaslav's marriage), 179 (Kyra), 218-219 (Tamara), 226 (Kyra as dancer), 229 (1937: family), 234 (Vaslav's death), 240-241 (Vaslav's survivors).
- ^ Reynolds and McCormick (2003), p.70 (Kyra married a musician Igor Markevitch, a friend of Diaghilev).
- ^ Nijinska (1981), p. 408 ("Sasha").
- ^ Baer (2002), p. 216 (AK marriage, children), p. 218 (traffic accident 1935).
- ^ Nijinska (1981), pp. 408, 438 (meets AK, marriage); pp. 473–474, 480 (daughter), p. 513 (son), p. 514 (leaves Soviet Russia).
- ^ Stachniak (2017), pp. 229: daughter Irushka, p.348: son Levushka. Sasha visited Bronia in London in 1921, but Bronia soon discovered that he had a pregnant girlfriend; they divorced (pp. 322-331).
- ^ Garafola (2011), p.109: AK died in Houston, Texas, [probably of a heart attack at age 63].
- ^ García-Marquez (1990), p. 135, traffic collision: Leon dies, Irina badly injured.
- ^ Kisselgoff (1972), differs, not in a car, but that Leon "was killed in a motorcycle accident in 1935."
- ^ Anderson (1991'), Irina, her marriage and family.
- ^ See above sections per revivals and Xotiralar.
- ^ Nijinska (1981), e.g., p. 332*, quotes from her own diaries. "The diaries are the soul of my book ... as my love for Chaliapin has been the inspiration for my work for the rest of my life." Description of her inner conflict between entering her first marriage and Chaliapin, at pp. 413-415.
- ^ Shelokhonov (n.d.), re Chaliapin.
- ^ Nijinska (1981). In a 1912 'farewell meeting', described in her diaries (quoted at p .440), Chaliapin came to her tiny dressing room during intermission for a brief moment, and asked, "Bronia, do you love me?" "Yes, I love you forever." Chaliapin is mentioned many times in her Dastlabki xotiralar, especially in quotes from her diary. Cf., following p.484, illustration 129: photo of Nijinska and Chaliapin on stage in Paris, 1932.
- ^ Brubach (1981), ¶16 (Chaliapin).
- ^ Garafola (2011/2012), pp. 142, 150 (Chaliapin).
- ^ Garafola audio re 1924 second marriage.
- ^ Baer (2002), p. 217 (NS marriage).
- ^ "Editor's Foreword" in Nijinska (1981), p.xxi (marriage to Singaevsky).
- ^ Stachniak (2017), "Kolya" Singayevsky: pp. 335-337 (her student from Kiev, finds her in Monte Carlo), pp. 347-349 (marriage), 362 (manages stage promotion and business affairs).
- ^ Editors' Foreword in Ninjinska (1981), p.xxi.
- ^ Anderson (1991'): Irina, who had married in 1946, and her children.
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- Timeline of Life and Work
- Bolero choreographed by Nijinska, youtube.com (Bolero - Maria Alexandrova). 2017-5-19.
- Le train bleu choreographed by Nijinska, youtube.com (Le train bleu - Juan Mtz. de lejarza). 2017-5-19.
- Les Biches by B. Nijinska, youtube.com (Teatro dell'Opera di Roma, Ballets Russes Festival 2014). 2017-8-19.
- Les Noces by Nijinska, youtube.com
(Les Noces - Sladobka: Oakland Ballet). 2017-6-28.
