Nijinsky (48 page)

Nicholson, J.,
The Perfect Summer
(London, 2006)

Nijinska, B.,
Early Memoirs
(Durham, NC, 1981)

Nijinsky, R.,
Nijinsky
(London, 1933)

—,
The Last Years of Nijinsky
(London, 1952)

—,
Nijinsky; and, The Last Years of Nijinsky
(London, 1980)

Nijinsky, R. (ed.),
The Diary of Vaslav Nijinsky
(London, 1936)

Nijinsky, T.,
Nijinsky and Romola
(London, 1991)

Nijinsky, V., translated by K. FitzLyon, with an introduction by J. Accocella,
Nijinsky's Diary
(New York, 1999)

Oliveroff, A.,
Flight of the Swan: A Memory of Anna Pavlova
(New York, NY, 1935)

Ostwald, P.,
Vaslav Nijinsky: A Leap into Madness
(London, 1991)

Parker, D.,
Nijinsky
(London, 1988)

Pavlova, A.,
Pages of My Life
(New York, NY, 1947)

Peters, A. K.,
Jean Cocteau and his World
(London, 1987)

Picardie, J.,
Chanel: The Legend and the Life
(London, 2011)

Pritchard, J. (ed.),
Diaghilev and the Golden Age of the Ballets Russes 1909–1929
(London, 2009)

Radiguet, R.,
Count Orgel's Ball
(New York, NY, 1989)

Rambert, M.,
Quicksilver: The Autobiography of Marie Rambert
(London, 1991)

Reiss, F.,
Nijinsky: A Biography
(London, 1960)

Richardson, J.,
A Life of Picasso
, vol. 2,
1907–1917: The Painter of Modern Life
(London, 1996); vol. 3,
The Triumphant Years, 1917–1932
(New York, NY, 2007)

Rose, F.,
Saying Life
(London, 1961)

Ross, A.,
The Rest is Noise
(New York, NY, 2007)

Rubinstein, A.,
My Many Years
(London, 1980)

—,
My Young Years
(London, 1973)

Sandoz, M.,
The Crystal Salt Cellar
(Guildford, 1954)

Scheijen, S.,
Diaghilev
(London, 2009)

— (ed.),
Working for Diaghilev
(Amsterdam, 2004)

Scholl, T.,
From Petipa to Balanchine: Classical Revival and the Modernisation of
Ballet
(London, 1993)

Sennett, R. and J. Cobb,
The Hidden Injuries of Class
(New York, 1972)

Sert, M.,
Two or Three Muses
(London, 1953)

Seymour, M.,
Ottoline Morrell: Life on a Grand Scale
(London, 1998)

Shapcott, T.,
White Stags of Exile
(London, 1984)

Schouvaloff, A.,
The Art of Ballets Russes
(New Haven, CT, 1997)

Siegel, M. B.,
Mirrors and Scrims: The Life and Afterlife of Ballet
(Middletown, CT, 2010)

Sitwell, O.,
Great Morning
(London, 1948)

Sokolova, L.,
Dancing for Diaghilev
(London, 1960)

Sorley, K. W.,
Cyril W. Beaumont
(Alton, 2006)

Spencer, C.,
Léon Bakst
(London, 1978)

Steegmuller, F.,
Cocteau: A Biography
(London, 1970)

Stein, G.,
Selected Writings
, edited by Carl van Vechten (New York, NY, 1962)

Stoneley, P.,
A Queer History of the Ballet
(London, 2007)

Storr, A.,
The Dynamics of Creation
(Harmondsworth, 1976)

Stravinsky, I.,
Stravinsky in Conversation with Robert Craft
(Harmondsworth, 1960)

—,
The Rite of Spring: Sketches 1911–1913
(London, 1969)

—,
An Autobiography
(New York, NY, 1998)

Stravinsky, I. and R. Craft,
Memories and Commentaries
(London, 1960)

Stravinsky, V., and R. Craft,
Stravinsky in Pictures and Documents
(London, 1979)

Tarushkin, R.,
Stravinsky and the Russian Tradition
(Oxford, 1996)

Tuchman, B.,
The Proud Tower
(London, 1997)

Vaill, A.,
Everybody was so Young
(Boston, MA, 1998)

van den Toorn, P. C.,
Stravinsky and the Rite of Spring
(Oxford, 1987)

Van Vechten, C.,
Music after the Great War
(New York, NY, 1915)

Wilson, C.,
The Outsider
(London, 1990)

Wolkonsky, S.,
My Reminiscences
, vol. 2 (London, 1925)

Wright, N.,
Rattigan's Nijinsky
(London, 2011)

This book began with an article about the Ballets Russes that I hoped to write but never did, so the first people I want to thank won't have any idea why: Charlotte Sinclair of
Vogue
; Elinor Hughes and Tim Morley, who, promoting the Diaghilev exhibition at the Victoria and Albert Museum in 2010, encouraged my growing interest in Nijinsky even though I couldn't find anyone to commission me to write about him; and Deirdre Fernand, who unwittingly gave me the final push when she suggested that despite my being neither a dance critic nor a dancer, writing a book about ballet need not be an impossible dream.

Many people helped and advised me while I worked on the book. I am grateful to the staffs of the British Library; the library of the Victoria and Albert Museum and its Theatre Collection at Blythe House; Bob Kosovsky and Amy Schwegel of the New York Public Library, music and dance divisions respectively; Tom Clark; Fiona Porter; Pieter Symonds and Arike Oke of the Rambert Ballet Company and Ann Stewart, whom I met through them, as well as Marc Farah, for putting me in touch with Pieter in the first place. Nuala Herbert gave me a valuable insight into the
Rite of Spring
and Pell Mountain lent me Russian books that I could not have seen elsewhere. My father, John Moore, stepfather, Josh Miller, and Lady Bateman read the book in draft and supplied me with important corrections.

Living in Simon and Lucy Harrison's house while I wrote the book gave me the gift of a study with a door I could close behind me. And Haydee Dullas
ensured that I never worried about my children when I was thinking about Nijinsky. Most of all, though, I am indebted to my husband, whose unfailing love and support make everything possible; work is the least of it.

Grateful thanks are due to Andrew Franklin, Daniel Crewe, Penny Daniel, Valentina Zanca and everyone at else Profile Books as well as Jane Robertson, who negotiated my typescript, and with all of whom it has been a delight to work at every stage. Pryor Dodge of the Dodge Collection, and Dr Hans-Michael Shäfer of the Neumeier Foundation provided most of the exquisite photographs and drawings which illuminate the book. Andrew Kidd has been (as expected) the best of agents: I hope there will be many more projects like this in our future together.

One of the greatest pleasures of this book was working again with the late Peter Carson, who commissioned it and continued to edit and support it even after retiring. I count myself immensely privileged to have been one of his writers.

Frontispiece: Nijinsky in
Le Spectre de la Rose
by Valentine Hugo (Paris, 1912). Sketch: Stiftung John Neumeier – Dance Collection.

Nijinsky and Karsavina in
Le Carnaval
by Ernst Oppler (Berlin,
c
. 1910, printed 1921). Sketch: Stiftung John Neumeier – Dance Collection

Nijinsky backstage after a performance of
Le Spectre de la Rose
, by Jean Cocteau (Paris, 1913). Sketch: Stiftung John Neumeier – Dance Collection

Pen-and-ink drawing by Emile Antoine Bourdelle, Nijinski in
Le Carnaval
, (Paris,
c
. 1910), located in Musee Bourdelle Sketch: © Roger-Viollet/TopFoto

Nijinsky and the Nymphs in
Afternoon of a Faun
, by Ernest Oppler (Berlin, 1912). Sketch: Stiftung John Neumeier – Dance Collection

1. Nijinsky in the dress uniform of the Imperial Theatre School,
c
. 1900. Photo: Roger Pryor Dodge Collection

2. Nijinsky and Anna Pavlova in the first version of
La Pavillion d'Armide
, 1907. Photo: Roger Pryor Dodge Collection

3. Nijinsky in Paris, 1909. Photo: Roger Pryor Dodge Collection

4. Publicity stills for the ‘Danse Siamoise', by Druet, Paris, 1910. Photo: Roger Pryor Dodge Collection

5. Igor Stravinsky and Nijinsky, by Bert, 1911. Photo: Roger Pryor Dodge Collection

6. Bronia Nijinska, Ludmilla Schollar and Kobelev, in costume for Petrushka, 1911. Photo: © 2004 TopFoto/Fotomas

7. Nijinsky as the Rose,
c
. 1911. Photo: © RIA Novosti/Alamy

8. Nijinsky as the Faun by Bert, 1912. Photo: Roger Pryor Dodge Collection

9. Playing
Daphnis et Chloë
, Maurice Ravel with Nijinsky in Paris, 1912. Photo: © The Granger Collection/TopFoto

10. Tamara Karsavina, Ludmilla Schollar and Nijinsky in Jeux, 1913. Photo: Roger Pryor Dodge Collection

11. A formal portrait taken in New York in 1916. Photo: Bibliothèque musée de l'Opéra – Fonds Kochno: Album portraits N – Album 2, planche 12 Nijinsky

12. Nijinsky seated by a piano, New York, 1916. Photo: Roger Pryor Dodge Collection

13. Nijinsky applying makeup to one of the dancers in Till Eulenspiegel, New York, 1916. Photo: Roger Pryor Dodge Collection

14. Vaslav Nijinsky with Romola and two- year-old Kyra in New York, 1916. Photo: Roger Pryor Dodge Collection

15. Nijinsky leaping during visit by Romola and Serge Lifar, 1939. Photo: Roger Pryor Dodge Collection

16. Nijinsky with Romola in a hotel in Egham, Surrey, 5 December 1947. Photo: © 1999 Topham Picturepoint

While every effort has been made to contact copyright-holders of illustrations, the author and publishers would be grateful for information about any illustrations where they have been unable to trace them, and would be glad to make amendments in further editions.

Page references for footnotes are followed by f, those for endnotes by n

A

À la recherche du temps perdu
(Proust)
53
,
68

Acis and Galatea
27
–8

Acocella, Joan
201
,
205
,
209
,
210
,
221
,
259

Acton, Harold
248

Adler, Alfred
229
,
251

Afanasyev, Alexander
127

Aga Khan
105
–6

Alba, Duke of
182

Alexander III
10

Alexandrinsky Theatre
19
,
20

Alfonso, King of Spain
177
,
182
,
193

Ansermet, Ernest
214

Apollo
79

Après-midi d'un faune, L'
72
,
81
–2,
90
,
99
–104,
116
,
129
,
173
,
271
n

and beauty
134

Bronia
222

Chaplin
188

Karsavina
122

Lifar
222
,
231

premiere
3
,
109
–10

Rambert
242

reaction
111
–13,
249
–50,
274
n

rehearsals
106
,
108
–9

Armida's Pavilion see Pavillon d'Armide, Le

Ashton, Frederick
234

Asseo, Bertha
202
,
204

Astruc, Gabriel

Le Chabanais
67

and Diaghilev
71
,
84

and Fokine
77

and Karsavina
68

Larue's
66

Le Sacre du printemps
142

Théâtre des Champs-Elysées
122
,
137
–8,
150

Théâtre du Châtelet
54
–5,
57

in Vaslav's diary
206

Auric, Georges
215
f

Avon
154
–5,
156
–9

Avril, Jane
250

B

Babich, Grigory
26
,
263
n

Bach, Johann Sebastian
155
,
204

Bakst, Léon

and Aga Khan
105

L'Après-midi d'un faune
100
,
101
,
102
,
106
,
108
,
109
,
113

ballets
116

Le Chabanais
67

Cléopatra
59
–60

and Diaghilev
214

and Duncan
23

and Fokine
100

Jeux
3
,
115
,
122

La Légende de Joseph
125

Mavra
216

Mir iskusstva
41

Petrushka
91

Prince Igor
60
–1

Le Sacre du printemps
144
,
145
,
150

Saison Russe
52
,
55
,
66

Schéhérazade
77

The Sleeping Princess
216

Le Spectre de la rose
85
–6

and Vaslav
80
,
82

Vaslav's dismissal
173

Vaslav's marriage
163
,
175

Venice
80

Bakunin, Mikhail
24

Balanchine, George
79
,
227
,
234
,
243
,
246
,
252

Ballet Rambert
242