Vaclav on a ballet scene. Vaclav Nezhinsky - "God of dance"

18.06.2019

Biography Haruki Murakov Haruki Murakami emphasis

Nizhinsky Vaclav Fomich (1889-1950), an outstanding Russian dancer and choreographer.

Born on February 28 (March 12) 1889 in Kiev in the family of the famous dancers of Thomas (Tomasha) Lavrentievich Nizhinsky and Eleonora Nikolaevna Bedy, who owned their own ballet troupe. Troupe toured in different cities: in Paris, St. Petersburg, Kiev, Minsk, Tiflis, Odessa.

All three children of the Nizhinsky were gifted musically and plastically, had good external data and from an early age they were engaged in a dance. The first lessons of choreography they received from the mother. Father tried her strength and as a balletmaster. For the six-year-old Waclav, his older brother, and the youngest sister of Bronislava, famous for the future of the ballerina and choreographer, he composed Pa-de-Troita - it was the first "performance" of the future genius. After the divorce, the mother settled together with the three children in St. Petersburg.

In 1900-1908 he studied at the St. Petersburg Theater School, where he was engaged in the leadership of N.G. Riegat, M.K. Cucukhov and E.cheketti. Once at the stage of the Mariinsky Theater, quickly became a soloist. Belonged to the pleiad of young dancers who were separated by the innovative ideas of M.M. Fokina. Danced in Fokina Ballet White Slave (Pavilion Armida N.N. Cenepnina, 1907), Youth (Sopenian, 1908), Ebenova Slave (Egyptian Nights A.S.Arensky, 1907), Alberta (Giselle Adana, 1910).

Almost immediately at the end of the school, Nizhinsky invited S.P. Dyagilev to participate in the Ballet Season of 1909, where he had gained a huge success. For the ability to high jumps and long-term elements, he was called a bird-bird, a second valline. Nizhinsky became the discovery of Dyagilev, the first dancer, and then a choreographer troupe (1909-1913, 1916).

In Paris, danced the repertoire, tested on the stage of the Mariinsky Theater, (Armid Pavilion, 1907; Shopenian or Sylphides, 1907; Egyptian Nights or Cleopatra 1909; Giselle, 1910; Swan Lake, 1911), as well as a sievethisment feast to music of Russian composers, 1909; and the party in the new ballets Fokina Carnival Shumanan, 1910; Shehherazada N.A. Rimsky-Korsakov, 1910; Oriental A. Lelzunova, 1910; Vision of Rose K.M. Deber, 1911, in which he struck the Paris public with a fantastic jump in the window; Petrushka I.F. Sadvinsky, 1911; Blue God R.gan, 1912; Daphnis and Chloe M. Irall, 1912.

Encouraged by Dyagilev, Nizhinsky tried his strength as choreographer and secretly from Fokina rehearsed his first ballet - the afternoon rest of the Faun to the music of K. Herbissi (1912). He built his choreography on profile poses borrowed from ancient Greek Vazopysi. Like Dyagilev, Nizhinsky was passionate about the rhythmoplasty and the Euritimik of the Dalcrow, in the aesthetics of which he put in 1913 its next and most significant ballet, Spring sacred. Spring sacred, written by Stravinsky in the atonal system and choreographically built on complex combinations of rhythms, became one of the first expressionist ballets. The ballet was not immediately accepted, and his premiere ended with a scandal, as well as the afternoon rest of Faun, shocked by the public with a final erotic scene. In the same year, the Debussy Games did not have any ballet. For these productions of the Nizhinsky, anti-graduate and confrontation between the familiar grace of classical style was characterized.

The Parisian public fascinated the undoubted dramatic artist talent, its exotic appearance. Nizhinsky turned out to be a bold and originally thoughtful choreographer who opened new ways in the plastic, who returned the male dance for her priority and virtuosity. Nizhinsky was obliged to Dyagilev, who believed and supported him in audacious experiments. The rupture with Dyagilev because of the marriage of Nizhinsky on the unprofessional dancer Romro Pulskaya led to the care of Nizhinsky from the troupe and in fact by the end of his short dizzying career.

The repertoire was made up of producing Nizhinsky and, partly, Fokina (Ghost Rosa, Carnival, Sylphides, which Nizhinsky redid anew). However, the tour was not successful and ended with financial collapse, which resulted in a nervous breakdown and the beginning of the spiritual disease of the artist. Failures pursued him. The First World War of 1914 caught spouses who returned to Petersburg, with a newborn daughter in Budapest, where they were interned before the beginning of 1916. Nizhinsky was painfully worried about both his arrest, and forced creative inaction. Meanwhile, Dyagilev resumed a contract with an artist for the Russian ballet tour in North and South America. April 12, 1916 He danced his corona parties in Petrushka and the vision of roses on the stage of the New York Metropolitan Opera.

In the same year, on October 23, the premiere of the last ballet of Nizhinsky was shown in the New York Theater "Manhattan Opera", Til Uneranspigel R. Straus, in which he fulfilled the main party. The performance created in a feverish hurry, despite a number of interesting finds, failed. The experienced excitements were greatly injured by a weak psyche of Nizhinsky. The fatal role in his fate played passion for the hoody, popular in the emigrant circles of the Russian artistic intelligentsia. Members of the troupe Dyagilev Tolstovy Nemchinov, Kostromsky and Zverev inspired the sinfulness of the acting profession, than aggravated by his illness. In 1917, Nizhinsky finally left the scene and with his family settled in Switzerland.

It became easier for him, he reflected on a new dance recording system, dreamed of his own school, in 1918 he wrote a book of the Diary of Nizhinsky (published in Paris in 1953). However, it was soon placed in the clinic for mentally ill, where he spent the rest of his life. He died on April 11, 1950 in London. In 1953, his body was transported to Paris and buried on the Cemetery of Sacre Cur next to the graves of the legendary dancer of Vestris and the playwright T. Tag, one of the creators of the romantic ballet.

Nizhinsky made a brave breakthrough to the future of ballet art, discovered an later style of expressionism and fundamentally new features of plastics. His creative life was short (only 10 years!), But tense. The personality of Nizhinsky is dedicated to the famous ballet M. Beszhar Nizhinsky, Cloon of God, on the music of P. Alri and P. Tchaikovsky, 1971.

Nizhinsky was the idol of all of Europe. In his dance, the power was combined and ease, he struck the public with his exciting spirits - it seemed to many that the dancer "freezes" in the air. He possessed a wonderful reincarnation gift, outstanding mimic abilities. On the stage, powerful magnetism came from him, although in everyday life he was timid and silent.

Twenty-nine years of his life, Vaclav Nizhinsky belonged to this world. It had a road with Mokhovoy on theatrical to the Imperial Theater School. The granite descent to the Neva, on the steps of which he cried when he was fired from Mariins. Paris, London and Nice, where he danced in the Dyagilev seasons. Dyagilev himself, who climbed his love and freedom, but led to the world glory. Three productions, which started the beginning of the twentieth century.

Then there were thirty years of life in his own world of dreams and fantasies, about which we do not know anything about. Because each schizophrenic is his own.
The most stunned role was, perhaps, was parsley in the ballet of Stravinsky. The tragedy of the rag doll with the human soul felt truly only the twentieth century. People gradually gained freedom, freeing from the end of the illusory and real world, in which their parents lived. But this liberation rushed terrible loneliness, because a person now answered his life himself.
The theme of the carnival, theater, Balagan, the fair turned out to be in demand in the russian life of Russia of the beginning of the twentieth century. Dolls suffering from both people. People who turn into dolls. Both those and others in masks.
In 1905, Alexander Blok wrote a poem "Balabanchik".

"Here is a landfall for fun and glorious children. Watching a girl and boy

On the ladies, kings and devils. "

How nicely all began, what kind of good fairy tale could turn out from this life.

In 1890, the premiere of "Sleeping Beauty" was held on the stage of the Mariinsky Theater with Triumph. It was a sign. For many contemporaries, the reign of Alexander III was associated with the golden sometimes of the Russian Empire.
"Sleeping Beauty" was, perhaps, the last "sorry" the era of classicism in ballet. Solemn music of Tchaikovsky and pompous scenery of Levota with comrades, refined Petipa, combining the best of the French, Italian and Russian ballet schools.

But all this is in the Imperial Theater. For its walls, no 32, nor even 64 Fuete, "twisted" ballet soloist, could not help the cause. Behind the walls there was a completely different life, which the Ballet Theater had to see and accept.

It became possible in 1903, when Petipa left the post of chief balletmaster of Mariins. He gave the theater more than half a century. But by the beginning of the twentieth century, ballet remained, perhaps, the only type of art that is not related to real life. He represented a flower or butterfly on the pin in the collections of the eccentric, which is in the age of electricity and the car wears Camsole and a poured wig, with the departure of a petipa ballet with ten-mile steps began to catch his time.

Initially, it was trying to do Nikolai Gorsky and Nikolai Leat. Then a young dancer and balletmaster Mikhail Fokin appeared. It seems he became those who woke up ballet beauty. Everything was ready for the formulation of a new play called "Russian Seasons" in Paris. Lord, the actors went to the rehearsal. She walked 1907

Actors and performers

Mikhail Mikhailovich Fokin, 27 years old, dancer of the Mariinsky Theater, teacher of theatrical school, balletmaster.

In 1906-1907 Fokin were created "vine", "Euroven", "Chopenian", "Egyptian Nights", "Swan" (more famous as a "dying") and "Armid Pavilion". So the ballot theater went to the eclecticism, when the heroes and plots of all times and peoples appeared on the stage. Focin's highways became artists Alexander Benoit and Lion Bakst, Ballerina Anna Pavlova and Tamara Karsavina, Dancer Vaclav Nizhinsky.

Sergey Pavlovich Dyagilev, 35 years old, Barin, Metzenate, Talent Openproof, Author of Cuddling Projects and in this sense - Wrestler, Player.

In 1898, the art magazine "World of Art" begins to publish the first in Russia. In 1905, organizes a grand historical and artistic exhibition of portraits of the XVIII-XIH century. He organizes the exhibition in Paris in Paris "Russian art from icon painting to the beginning of the twentieth century" on the autumn salon. Soon there are concerts of Russian music, introducing Europe with Glinka, Mussorgsky, Borodin, Rakhmaninov, Roman Corsakov. Aven a year later - the Opera season. Paris heard Fedor Shalyapin. In the same time, the idea of \u200b\u200bscenic synthesis in the ballet was an association of dancers, musicians, choreographers and artists. There was something that was subsequently called "Dyagilev seasons".

Tamara Platonovna Karsavina, 22 years old, is not yet in the rank of ballerina of the imperial theaters, although the ballerinarian parties are already dancing.

Talented, beautiful and smart. The ideal model for Fokina's historical performances. It was at this time that Fokin's passionately in love receives a refusal from her, and Karsavin remains a ghostly dream for him.

Vaclav Fomich Nizhinsky, 17 years old. Just graduated from the theater school and accepted into the troupe of the Mariinsky Theater.

In life, a clumsy and ugly young man with a missing look and often with a half-open mouth. On the scene - graceful handsome man with radiant eyes, striking jumps from jumping and poses, "element and a cylinder", as they wrote in the reviews. Pinocchio doll, becoming a man at the first sounds of overtures.

"And this hellish music sounds, howls a dull bow. The terrible feature grabbed a duct, and flows the cranberry juice."

Eternal slave

In the first season in Mariinsky, Nizhinsky shifted almost in all ballets. Both classic and new focin. He was a partner of Matilda Kshesinskaya, Anna Pavlova, Olga Preobrazhenskaya. He was a romantic young man in Sheophenian, a slave of Cleopatra in the "Egyptian nights", a pack of the sorceress of the armidi in the "Armid Pavilion".
Somehow, quite naturally, the role of the slave and the plot passed behind him into real life. Initially, his master and lover was the representative of "Other St. Petersburg" - Prince Pavel Dmitrievich Lviv. Likhachi, fur coats, night restaurants, expensive gifts appeared in the life of Nizhinsky. And the remaining sense of the used, and then abandoned parsley.

Then he was Dyagilev, who saved him from the paw cynical bohemian, surrounding care and attention, but at the same time he burned down with glass walls. Because Dyagilev always knew what Nizhinsky wants.
Then there was a Romola's wife, who also knew everything too and by 1918. By 1918, it was quite successful "saved" her husband from the heartless world, headal into the nightmare of madness.
But none of them could boast that he knows a person who was near, - Vaclav Nizhinsky. Because Nizhinsky became only in dance, and there he was alone, even if he was passionately hugged a partner at that moment.

Probably because he could be so incredibly dancing that he did not waste himself in everyday life, but only mea smiled and bowed, responding to lush compliments. In something and Dyagilev, and the romola were right, believing that Vaclav was not able to take care of herself. Until now, they cared only about him.

He was born in 1889 in the family of dancers who were struck in Russia with the troupe of stray actors. For the year younger was Bronislav, a little older - Stanislav. Another elder brother got a head injury, as a result of which a mental illness was developed. The family also remembered the terrible flashes of a fury from the father. So it is quite possible, the schizophrenia of Waclav was hereditary.
The father started his other family, and the mother decided to give Waclav with Bronislava for state content in the St. Petersburg ballet school. He was taken only because he jumped beautifully, the other data was unimportant.

From the very beginning of the training of ballet held in performances. They were also incense, and tin soldiers, and pastoral shepherds. Once in the dance "Favnyat" they had to disperse and jump. When everyone has already landed, it turned out that one still flies. Balletmaster (and it was Fokin) put a solo party for the jumpering kid (Nizhinsky). It was their first meeting.
In the School of Nizhinsky teased by the "Japanese" for diagonal eyes, brake for disadvantia, but did not hurt much. The teachers immediately gave to understand who was the main talent here. In high school, he read a lot, but for myself. The surroundings remained in ignorance regarding his mental abilities. The same was with musical activities. He musicated one in an empty class, showing impassable stupidity in the lessons. His loved by his novel was "idiot". Then Vaclav himself will be treated in Saint-Moritz as Prince Myshkin.

Mania Giselle

The first season of the "Russian Ballet" of 1909 was opened in Paris shortly after the completion of the season in Mariinsky. The performances had an unprecedented success. All shook "Polovtsy dances" with the main archer - Fokin, "Cleopatra" with a monstrously seductive go of Rubinstein, "Sylphides" ("Shopenian") with Air Anna Pavlova and "Pavilion Armida", who opened the world of Nizhinsky. Focin's Balete reform that he revived the male dance. Before him, the dances were put exclusively on the ballerina, and the partners were needed only to support them at the right second, help show their talent, beauty, grace. Dancers began to call "crutches".

Fokin was not going to put up with this. First, he himself wanted to dance, and the role of the "crutch" did not suit him. Secondly, he felt that she lost his ballet, practically removing the dancer from the scene. Ballet has become a shrill and fruit-berry, absolutely punish. It was possible to show the characters, only opposing the female dance equal to him for men. In this sense, Nizhinsky was the perfect material for Fokina. From his body, a magnificently dilated in the theater school, it was possible to make any form. He could dance everything that the balletmaster was conceived. And with its own talent to heat every movement.
Old ballet was largely based on a pantomime. This is how it was possible in gesture languages, for example, a message about treason Sherryzad. "Listen (stretch your hand to Shah), just imagine (knock on your forehead) that your queen (indicate it and portray the crown above his head) made love (hug myself with both hands) with a black man (make a fierce grimace and spend your hand before face down, portraying black) ".

At the same ballet Fokine ruler of Persia, his hand on the hilt of his sword, slowly approached the defeated opponent and turned the foot body of a Negro face up. And before that, they grabbed in death dance, and Nizhinsky - "Golden Negro" - expressed all the flour of love and despair in this dance.
Yes, he was again a slave and unwittingly began to think about the responsibility that a person carries, making another to her toy. These Duma poured into a new interpretation of Albert's role in Ballet "Giselle".
Previously, Honor Albert was seduced by a young landscape, "tears" her heart, but was generously forgiven. Albert Nizhinsky was looking for no pleasure, but beauty. He did not want the death of Giselle and did not assume how everything would come out. Albert just managed to see in the girl of the other - a different, but a relative soul. Therefore, he is in such despair, so he is ready to punish himself and follow the jerks (by the generation of his mind) in the madness swamp.

The interpretation fully corresponded to the spirit of the era, captured in poems of the block or in the image of the "Witchcraft Lake" from Chekhov's "Seagulls". But she did not fit the spirit of the Routine of the Imperial Mariinsky Theater. Therefore, having arrived in Petersburg after the Paris Season of 1910 and stanshev "Giselle", Nizhinsky turned out to be dismissed from the theater for speaking in an inappropriate suit. Inappropriate was considered a suit, made according to the sketch of Beno'a: Kolts and Triko without lush pants, an integral accessories of Alberts in the Russian scene of the last decades. Now, Nizhinsky fell into a fastetable dependence on Dyagilev, he was taken by Yuriev's day of return to the imperial scene.

"He will be saved from the black anger with a white hand. Look: lights are approaching on the left ... Can you see torches? See haze? It is true, the queen itself ..."

Blue God

There was a lot of rumors, why did Nizhinsky was fired after all. One of them associated dismissal with the intrigues of Dyagilev himself, which thus acquired a permanent artist. Anyway, now Vaclav belonged only to him. (Dyagilev said once Karsavina: "Why didn't you marry Fokin? Then you both belonged to me").
It was possible to start a permanent troupe with the only star - Nizhinsky. Everything had to work for him: Karsavina (all who did not steal with Mariinsky), invited "stars" (negotiations with Pavlova and Kshesinskaya), a couple of characteristic dancers, the art of Baksta and Benois, the music of famous composers.
The very first performance of 1911 again shook the Paris public. It was the "ghost of a rose" to the music of Karl von Weber "Invitation to Dance". The line was based on the theophily of the Gauthier: "I am a ghost of a rose, which you wore a ball yesterday."

Nizhinsky had to dance not a man and not even a flower, but the aroma of a rose, which reminds the girl's asleep on yesterday's ball. Jean Cockt, frequenter "Seasons", exclaimed that from now on the aroma of roses will be associated with the last Jump of the Nizhinsky, disappearing in the window. Probably, it is this ballet (not even a ballet, and the deployed Pas de Deux of Karsavina and Nizhinsky) allowed critics to correlate seen on stage with impressionism in painting.
The 1911 season could be called the most successful and fruitful. Fokin approached the peak of his balletmaster activity. In addition to the "Ghost Rose", the program was "Sadko" Roman Corsakov, Narcissus Nicholas Cherepnin, "Peri" fields of Duke and Parsley, Igor Stravinsky. Ballets, as always, "from different life": antiquity, east, Russian exotic.
Somehow everything came together in Parsushka: and time, and people. The twentieth century with his main theme of freedom and non-free. "Eternal femininity" (Karsavina ballerina), stupid masculinity (Arap Orlov), the thirst for power (the magician Cheketti) and the "Little Man" (Parsley Nizhinsky) did their choice. Fair dancer, according to Stravinsky, "Suddenly touched from the chain," allowed to look into his soul. The soul of a man who has become a doll, in which so much pain, anger and despair.

The hall walked behind the tragedy of the doll, but no one compared it with the tragedy of Nizhinsky himself. After the performance, he escaped from praise into the dressing room and filmed a layer of a layer of makeup, looking past the mirror. But I came "Focuscript" Dyagilev. He said that it was necessary to disperse, and Lyzhinsky was dining to the Boulogne forest. Parsley turned into a doll again.
Soon they started the rehearsals of the "Blue God", this time from Indian life. Almost all countries were already covered by the "plots", will soon have to be repeated.
At all the views of the "seasons" there was a young person named Romola Pulsk.

"Ah, no, why do you tease me? This is a hell of a touch ... Queen - she goes the middle of a white day, all the garlands of roses are transit ..."

Taming wild beast

In 1912, Dyagilev said that Vaclav should try himself as a choreographer. He suggested thinking over the Symphony Prelude Debussi "Afternoon Recreation of Favna." Fokin put it will not be able. He will satisfy the swollen dance. Yes, it will also require a flock of rams for consuming.
Nizhinsky asked him to play Debussy. And then turned his head into the profile and turned his hand with his palm outward. The man disappeared, the beast appeared, who he himself became music. I wonder if Dyagilev understood, what gives Nizhinsky to the miscarriage? There were no such ballet, they were out of their time, especially in Paris, did not have time to enjoy the exotic "Russian seasons".

The dance lasted only 12 minutes and showed a completely different aesthetics of the ballet theater. Where you can move in two-dimensional space. Where you can forget about the feeding of the feet and step from the heel on the sock. Where you can move not in unison with music, but in pauses. After all, the main thing is not this, but the afternoon, which is obeyed by the young man, and the nymphs, as if coming from the frieze of the temple. And the bedspread, lost by the nymph, and a vague desire, directed by the fawn on this fetish.
The ballet was hijacked, after which they showed the second time. Svarilated even more. But there were those who welcomed the appearance of the "newest" ballet. Among them - Auguste Roden, fiercely defendeding Nizhinsky.
The next premiere of the 1912 season was "Daphnis and Chloe" Fokina. An innocent shepherd rejected the adhesion to the unloved and connected with his chosen one in the apotheosis of an antique dance. Through the scene came a herd of rams.
It was the end of the Fokina era, which lasted so long. Ballet has cattons his time with sevenmile steps.
Then "Games" appeared, supplied by Nizhinsky in the Stylistry of Gajaen, whom he loved very much. The ballet was about modern young people playing tennis, but the same free as Tahiti Islanders.
Then during the 1913 season for Nizhinsky, there was a turn of "Spring sacred" to the music of Stravinsky and in the scenery of Nikolai Roerich. Spring spells broke into the hall. Dance - Vorozhba, Moluba about the awakening of the Forces of Nature, Choice Choices. The hall could not stand this energy. The power of archetypes was too heavy for the audience, not ready for participation in the ritual. The ballet was interrupted several times, the force was withdrawn with fracturing spectators and continued on. It was glory, just not a hunted, but posthumous.

And then Nizhinsky is deadly and in such a state went with a troupe on tour to South America. The vessel was Romola Pulsk, but there was neither Dyagileva nor sober-sober-minded carcass. Romola led an attack on his passion so vigorously that soon the engagement was announced. They married Buenos Aires.

Then Romola began to free her husband from Dyagilev, without understanding that Dyagilev, ballet and life for him were synonyms. In Rio de Janeiro, Nizhinsky refused to speak in the next ballet, Dyagilev considered the contract broken down. Now Nizhinsky could speak only in Music Halls, which he did some time. The path to Petersburg was ordered for him as a person evading military service.
Romola was not to blame. Or was, but only as Albert in "Giselle". She did not think that it would come out. And when I realized that I had done, I sent all the energy to correct the error. She gave birth to Wenceslas of two daughters, whom he loved ... While he learned. She went on a bow to Dyagilev, thinking that the old impressions shook the feelings in the husband lost somewhere. She treated him insulin shock.

Nizhinsky died in 1950

"Girl and boy cry, and a cheerful booban closed .."

Then there were thirty years of life in his own world of dreams and fantasies, about which we do not know anything about. Because each schizophrenic is his own.

The most stunned role was, perhaps, was parsley in the ballet of Stravinsky. The tragedy of the rag doll with the human soul felt truly only the twentieth century. People gradually gained freedom, freeing from the end of the illusory and real world, in which their parents lived. But this liberation rushed terrible loneliness, because a person now answered his life himself.

The theme of the carnival, theater, Balagan, the fair turned out to be in demand in the russian life of Russia of the beginning of the twentieth century. Dolls suffering from both people. People who turn into dolls. Both those and others in masks.

In 1905, Alexander Blok wrote a poem "Balabanchik".

Here is a plagan for fun and glorious children. Looking girl and boy on ladies, kings and devils.

How nicely all began, what kind of good fairy tale could turn out from this life.

Awakening Sleeping Beauty

In 1890, the premiere of "Sleeping Beauty" was held on the stage of the Mariinsky Theater with Triumph. It was a sign. For many contemporaries, the reign of Alexander III was associated with the golden sometimes of the Russian Empire. Her territory has significantly expanded. Industry and trade developed. By 1893, the Franco-Russian Union was finally imposed.

Randomly or not, all this has found its expression in the new ballet. The basis of the libretto was laid the old French tale of Charles Perro. Prince Desire (Dream) wakes up a kiss of the charming Aurora - Russia, which was immersed in a centuries-old dream of ill-wishers and envious in the face of Fairy Karabos. Chairs are crumbling, melted by the power of love. Fabulous heroes and envoys of exotic countries bring their gifts - dancing. Apotheosis.

"Sleeping Beauty" was, perhaps, the last "sorry" the era of classicism in ballet. Solemn music of Tchaikovsky and pompous scenery of Levota with comrades, refined Petipa, combining the best of the French, Italian and Russian ballet schools. It was another dream of strong and rich in Russia, reviving against enemies. It was a call to the heir to the throne (there must be a dream and morning dawn the heir) to continue the case of the Father. It was a call to the subject to read and glorify their kings.

It became possible in 1903, when Petipa left the post of chief balletmaster of Mariins. He gave the theater more than half a century. But by the beginning of the twentieth century, ballet remained, perhaps, the only type of art that is not related to real life. He presented a flower or butterfly on a pin in a collections of an eccentric, which is in the age of electricity and car wears Camsole and a poudled wig.

In the world of ballet, the same thing happened, as if in the world of architecture, God gave a long life Karl Rossi. Then in St. Petersburg, by the beginning of the twentieth century, there would be no single building in the style of eclectic or modern, but the solid streets of the Army of Rossi. Therefore, with the departure of a petipa, the ballet ten-mile steps began to catch his time.

Initially, it was trying to do Nikolai Gorsky and Nikolai Leat. Then a young dancer and balletmaster Mikhail Fokin appeared. It seems he also became a real prince Desire (God with them, with the French), who woke up ballet beauty. Everything was ready for the formulation of a new play called "Russian Seasons" in Paris. Lord, the actors went to the rehearsal. She walked 1907

Actors and performers

Mikhail Mikhailovich Fokin, 27 years old, dancer of the Mariinsky Theater, teacher of theatrical school, balletmaster. I did not approve the "naphthalene" ballet and constantly looking for the exit of the bole energy on the side. I read a lot, fond of painting, musitis. We walked around the Hermitage clock, to revive the theater scene of the paintings, statues, drawings on red-grained vases.

The dream was carried out when in 1906-1907. Fokin were created "vine", "Euroven", "Chopenian", "Egyptian Nights", "Swan" (more famous as a "dying") and "Armid Pavilion". So the ballot theater entered the eclecticism, when the heroes and plots of all times and peoples appeared on the scene.

Artists Alexander Benoit and Lion Bakst, Ballerina Anna Pavlova and Tamara Karsavina, Dancer Vaclav Nyzhinsky, became like-minded fokes.

Sergey Pavlovich Dyagilev, 35 years old, Barin, Metzenate, Talent Openproof, Author of Cuddling Projects and in this sense - Wrestler, Player. In 1898, the art magazine "World of Art" begins to publish the first in Russia. In 1905, organizes a grandiose historical and artistic exhibition of portraits of the XVIII-XIH centuries. To do this, travels around the whole of Russia along and across, collecting portraits of ancestors for remote estates. In essence, Dyagilev opened the Russians and century to his contemporaries.

Then he organizes the exhibition "Russian art from icon painting to the beginning of the twentieth century" on the autumn salon in Paris. Soon there are concerts of Russian music, introducing Europe with Glinka, Mussorgsky, Borodin, Rakhmaninov, Roman Corsakov. Aven a year later - the Opera season. Paris heard Fedor Chaliapina.

At the same time, the idea of \u200b\u200bscenic synthesis in the ballet was an association of dancers, musicians, choreographers and artists. There was something that was subsequently called "Dyagilev seasons".

Tamara Platonovna Karsavina, 22 years old, is not yet in the rank of ballerina of the imperial theaters, although the ballerinarian parties are already dancing. Talented, beautiful and smart. The ideal model for Fokina's historical performances. It was at this time that Fokin's passionately in love receives a refusal from her, and Karsavin remains a ghostly dream for him.

Vaclav Fomich Nizhinsky, 17 years old. Just graduated from the theater school and accepted into the troupe of the Mariinsky Theater. In life, a clumsy and ugly young man with a missing look and often with a half-open mouth. On the scene - graceful handsome man with radiant eyes, striking jumps from jumping and poses, "element and a cylinder", as they wrote in the reviews. Pinocchio doll, becoming a man at the first sounds of overtures.

And this hellish music sounds, howls a sad bow. Scary features grabbed a duct, and flows cranberry juice.

Eternal slave

Somehow, quite naturally, the role of the slave and the plot passed behind him into real life. Initially, his master and lover was the representative of "Other St. Petersburg" - Prince Pavel Dmitrievich Lviv. Likhachi, fur coats, night restaurants, expensive gifts appeared in the life of Nizhinsky. And the remaining sense of the used, and then abandoned parsley.

Then there was a Romola's wife, who also knew everything too and by 1918. By 1918, it was quite successful "saved" her husband from the heartless world, headal into the nightmare of madness.

But none of them could boast that he knows a person who was near, - Vaclav Nizhinsky. Because Nizhinsky became only in dance, and there he was alone, even if he was passionately hugged a partner at that moment.

The father started his other family, and the mother decided to give Waclav with Bronislava for state content in the St. Petersburg ballet school. He was taken only because he jumped beautifully, the other data was unimportant.

In the School of Nizhinsky teased by the "Japanese" for diagonal eyes, brake for disadvantia, but did not hurt much. The teachers immediately gave to understand who was the main talent here. In high school, he read a lot, but for myself. The surroundings remained in ignorance regarding his mental abilities. The same was with musical activities. He musicated one in an empty class, showing impassable stupidity in the lessons. His loved by his novel was "idiot". Then Vaclav himself will be treated in Saint-Moritz as Prince Myshkin.

Mania Giselle

Fokin ballet reform consisted also in the fact that he revived the male dance. Before him, the dances were put exclusively on the ballerina, and the partners were needed only to support them at the right second, help show their talent, beauty, grace. Dancers began to call "crutches".

In this sense, Nizhinsky was the perfect material for Fokin. From his body, a magnificently dilated in the theater school, it was possible to make any form. He could dance everything that the balletmaster was conceived. And with its own talent to heat every movement.

Fokina ballet has not yet been the development of images and characters. They were instant pictures of fictional situations. But the passion and expression transmitted in the dance is how much. Actually, it was all built on it. More passion, more dance, harder movement, big virtuosity.

Old ballet was largely based on a pantomime. This is how it was possible in gesture languages, for example, a message about treason Sherryzad. "Listen (stretch your hand to Shah), just imagine (knock on your forehead) that your queen (indicate it and portray the crown above his head) made love (hug myself with both hands) with a black man (make a fierce grimace and spend your hand before face down, portraying black) ".

Yes, he was again a slave and unwittingly began to think about the responsibility that a person carries, making another to her toy. These Duma poured into a new interpretation of Albert's role in Ballet "Giselle".

Previously, Honor Albert was seduced by a young landscape, "tears" her heart, but was generously forgiven. Albert Nizhinsky was looking for no pleasure, but beauty. He did not want the death of Giselle and did not assume how everything would come out. Albert just managed to see in the girl of the other - a different, but a relative soul. Therefore, he is in such despair, so he is ready to punish himself and follow the jerks (by the generation of his mind) in the madness swamp.

The interpretation fully corresponded to the spirit of the era, captured in poems of the block or in the image of the "Witchcraft Lake" from Chekhov's "Seagulls". But she did not fit the spirit of the Routine of the Imperial Mariinsky Theater. Therefore, having arrived in Petersburg after the Paris Season of 1910 and stanshev "Giselle", Nizhinsky turned out to be dismissed from the theater for speaking in an inappropriate suit. The inappropriate was considered a suit, made on the sketch of Beno'a: Kolts and Triko without lush pants, an integral affiliation of Alberts in the Russian scene of the last decades.

Now Nizhinsky fell into Dyagilev's fortress dependence, he was revealed by Yuriev's day of return to the imperial scene.

It will be saved from the black anger with a white hand. Look: lights are approaching on the left ... Can you see torches? See haze? This is true, the queen itself ...

Blue God

It was possible to start a permanent troupe with the only star - Nizhinsky. Everything had to work for him: Karsavina (all who did not steal with Mariinsky), invited "stars" (negotiations with Pavlova and Kshesinskaya), a couple of characteristic dancers, the art of Baksta and Benois, the music of famous composers.

The very first performance of 1911 again shook the Paris public. It was the "ghost of a rose" to the music of Karl von Weber "Invitation to Dance". The line was based on the theophily of the Gauthier: "I am a ghost of a rose, which you wore a ball yesterday."

The 1911 season could be called the most successful and fruitful. Fokin approached the peak of his balletmaster activity. In addition to the "Ghost Rose", the program was "Sadko" Roman Corsakov, Narcissus Nicholas Cherepnin, "Peri" fields of Duke and Parsley, Igor Stravinsky. Ballets, as always, "from different life": antiquity, east, Russian exotic.

Somehow everything came together in Parsushka: and time, and people. The twentieth century with his main theme of freedom and non-free. "Eternal femininity" (Karsavina ballerina), stupid masculinity (Arap Orlov), the thirst for power (the magician Cheketti) and the "Little Man" (Parsley Nizhinsky) did their choice. Fair dancer, according to Stravinsky, "Suddenly touched from the chain," allowed to look into his soul. The soul of a man who has become a doll, in which so much pain, anger and despair.

Soon they started the rehearsals of the "Blue God", this time from Indian life. Almost all countries were already covered by the "plots", will soon have to be repeated.

At all the views of the "seasons" there was a young person named Romola Pulsk.

Oh, no, why do you tease me? This is a hellish retinue ... Queen - she goes the intention of a white day, all the garlands of roses are transit ...

Taming wild beast

Nizhinsky asked him to play Debussy. And then turned his head into the profile and turned his hand with his palm outward. The man disappeared, the beast appeared, who he himself became music. I wonder if Dyagilev understood, what gives Nizhinsky to the miscarriage? There were no such ballet, they were out of their time, especially in Paris, did not have time to enjoy the exotic "Russian seasons".

The ballet was hijacked, after which they showed the second time. Svarilated even more. But there were those who welcomed the appearance of the "newest" ballet. Among them - Auguste Roden, fiercely defendeding Nizhinsky.

The next premiere of the 1912 season was "Daphnis and Chloe" Fokina. An innocent shepherd rejected the adhesion to the unloved and connected with his chosen one in the apotheosis of an antique dance. Through the scene came a herd of rams.

It was the end of the Fokina era, which lasted so long. Ballet has cattons his time with sevenmile steps.

Then "Games" appeared, supplied by Nizhinsky in the Stylistry of Gajaen, whom he loved very much. The ballet was about modern young people playing tennis, but the same free as Tahiti Islanders.

Then during the 1913 season for Nizhinsky, there was a turn of "Spring sacred" to the music of Stravinsky and in the scenery of Nikolai Roerich. Spring spells broke into the hall. Dance - Vorozhba, Moluba about the awakening of the Forces of Nature, Choice Choices. The hall could not stand this energy. The power of archetypes was too heavy for the audience, not ready for participation in the ritual. The ballet was interrupted several times, the force was withdrawn with fracturing spectators and continued on. It was glory, just not a hunted, but posthumous.

Romola was not to blame. Or was, but only as Albert in "Giselle". She did not think that it would come out. And when I realized that I had done, I sent all the energy to correct the error. She gave birth to Wenceslas of two daughters, whom he loved ... While he learned. She went on a bow to Dyagilev, thinking that the old impressions shook the feelings in the husband lost somewhere. She treated him insulin shock.

Nizhinsky died in 1950

We cried the girl and boy, and closed cheerful female

Followers of Nijinsky are divided into two kinds. The first (and most of them) are dressing the dancers in the trico and under heartbreaking music forcing the torment of love, longing, despair, etc. Second ... It is necessary to simply see with your own eyes of Martha Graham, Rolan Petit or Maurice Bezhar (especially those where you dance Jorge Donn) to understand the subtle thread of continuity that binds them with Nizhinsky, who balancing madness on the verge of madness.

Vaclav Nijinsky's biography should be well acquainted to all fans of art, especially Russian ballet. This is one of the most famous and talented Russian dancers in the beginning of the 20th century, which has become a real innovator of dance. Nizhinsky was the main approach of Russian as a choreographer put the "Afternoon rest of Faun", "Til Unelenshpigel", "Spring Sacred", "Games". With Russia, distributed in 1913, since then he lived in emigration.

Biography dancer

Vaclav Nijinsky classic biography for creative man of his time. He was born in 1889, on March 12, it was born in Kiev. His parents were Polish ballet dancers, so he decided to go on their footsteps. The name of the father of Vaclav Nizhinsky is Tomasla, the mother called Eleonor Bede.

At the time of the birth of Vaclav Eleanor was 33 years old, she was older her husband for five years. Waclav baptized in Catholic Warsaw, he was a second child in the family. Two years later, his parents had a daughter, which was called Bronislav.

From early childhood, the Father acquired all his children to dance, this played a big role in the life of Vaclav Nijinsky, whose biography is the theme of our review. He himself first appeared on stage at a five-year-old, fulfilling a hopak as an entrepreneur on tour in the Odessa Theater.

The parents of Nizhinsky performed in the troupe of Josef Sethov, after his death in 1894, the troupe finally broke up. Tomaste tried to collect his own team, but burned, the enterprise failed, began the long years of the wanders in which the family was interrupted by random earnings.

Vaclav Nijinsky's biography researchers argue that in those years, another boy began to help his father, speaking on holidays and fairs with small but bright and entertainment numbers. For example, reliable information about his speeches in Nizhny Novgorod for Christmas has been preserved.

In 1897, Waclav's father left the family. During the tour in Finland, he fell in love with a young soloist Rumyantsev. The parents of the hero of our article formally divorced. Eleanor, with all three children, went to St. Petersburg, where her friend's buddy Stanislav Gillert lived. It was a famous metropolitan Polish dancer who himself taught in the St. Petersburg ballet school and promised to help the family of Nizhinsky than could.

Ballet education

The elder brother of Vaclav Nizhinsky, whose name was Stanislav, and at home they called Stasik, still in childhood fell out of the window. Since then, his disorders began, as they said, "he was not from this world." Therefore, parents did not learn him anywhere, but the hero of our article, as soon as they got to St. Petersburg, the mother sent to the ballet class. The experience received from the Father helped, accepted it quite easily.

Two years later, his sister Bronislav also entered the same ballet school. It is worth noting that not only Stanislav, but Vaclav, was distinguished by strangeness in the behavior in the family of Nizhinsky. The first manifestations of mental disorders at the Hero of our article were discovered when he studied in a ballet school. He was even sent to the examination in the clinic for mentally ill, but everything cost. Researchers and biographers suggest that most likely the fault was some kind of hereditary disease.

About the problems of Vaclav Nijinsky soon all forgotten, his talent was so indisputable that in a ballet school they decided to close their eyes to some of his oddities. As a result, Vaclav drew the attention of Nikolai Leah's dancer in the recent past, whose views were already considered somewhat outdated at that time, but he was still appreciated and considered with his opinion.

In 1905, Nizhinsky took part in the examination ballet, which was organized for students of his school. Putting his teacher-innovator, who stacked popularity in those years, and it was his first statement as a balletmaster, he decided that he would put "Acyc and Galati". Wenceslaus got the role of Faun, even the same was not a graduate, but in the talent and the level of skill exceeded many who had already ended a ballet school.

The demonstration presentation took place in the Mariinsky Theater on April 10, 1905. The 15-year-old Nizhinsky first appeared on the main Russian stage. All newspapers, who came out the next day, celebrated the amazing talent of young talent. Journalists and theatrical critics wrote that the young artist Nizhinsky struck everyone and was amazing, and after all, he had to be trained in a ballet school for two years, which means that his skill would only appear. All noted his exceptional physical data and talent. Beautiful and smooth movements, the ease with which he performed every dance element. The main thing is that everyone wanted to not stop in development, remembering only a bright welcome, but grew up in a real ballet star.

Speech in the Mariinsky Theater

Talking a brief biography of Vaclav Nizhinsky, it is necessary to mention the period of his work in the Mariinsky Theater. After the triumphal performance of the role of Faun, he was invited to perform constantly in 1906. Career Nizhinsky in this theater turned out to be bright, but short. Already in 1911, he was fired with the scandal. During the ballet "Giselle", he appeared on the stage not in unusual to the public of that time with sharovar, but in the tight trite. Sketches for costumes to the ballet was designed by Beno'a, Nizhinsky was like this approach.

Among the audience in the hall were members of the imperial family, they had a permanent bed in the Mariinsky Theater, they visited almost all the premieres. According to historians, Mary Fedorovna, Mary Fyodorovna, outraged the outfit, most of all. First of all, he seemed to her too frank, she insisted to blame the artist in depraved behavior.

Later, when he began to fulfill the role of Faun in the play, which put himself, he began to blame him again, excessive eroticization. His movements on stage with some viewers seemed similar to masturbation, especially when he supplies the cape left on the shore of the nymph.

Modern experts of art argue that his speeches were much ahead of their time, besides, in the Tsarist Russia, there was a strong influence of the famous Victorian era. But it is worth admitting that the topic of sexuality played a huge role not only in the work of Vaclav Nizhinsky, but also in his mental disorder.

Work at Dyagilev

Almost immediately after graduating from School, Vaclav invited Sergey Dyagilev to work to him, so that young young man took part in his ballet seasons. Already since 1909, he danced Dyagilev. It was there that I got my nickname of a bird of a bird for the ability to make incredibly high jumps.

Dyagille drove the troupe throughout Europe, collecting huge halls. In Paris, they performed from 1907 to 1911 on the main French stage were set "Chopenian, or Sylphides", "Pavilion Armida", "Giselle", "Egyptian Nights, or Cleopatra", "Swan Lake".

In addition to these performances, a divertisment called "Pier" to the music of domestic composers, "Carnival" for the music of Shuman, Petrushka on Straviansky, "Daphnis and Chloe" on Rama, "Suchersada" Roman-Korsakov, "Vision of Roses" Weber. During the last ballet, Vaclav Nyzhinsky was struck by his jump. He just disappeared in the window. Describing to see the French poet and playwright, Jean Cocteo, who collaborated with Dyagilev, argued that it was a jump, denying the laws of equilibrium in the world, a high and curved flight completed the fact that Nizhinsky simply disappeared in the window.

Own sets

The talent of Vaclav Fomich Nizhinsky has always encouraged his main mentor Dyagilev. He was the first to advise the hero of our article to try himself not only as a dancer, but also a choreographer.

In secret from Fokina, Nizhinsky begins to rehearse its first ballet. His choice stops on the production of the "Afternoon rest of Faun" to the music of Debussy. All the choreography Vaclav builds exclusively on profile poses, which borrow from the paintings of the ancient Greek VAZ. Dyagilov infected Nizhinsky by Euritimika and rhythmoplasty, which the latter actively uses in productions.

"The afternoon rest of Faun" comes out in 1912, the next year, Nizhinsky puts his second ballet in the same aesthetics - "Spring Sacred" to the music of Stravinsky. The composer writes the work, as much as possible using dissonance, leaning on the tonality, its choreography is built on complex combinations of rhythms. This setting becomes one of the first expressionist ballets in history.

"Spring sacred" spectators and critics took not immediately, the prime minister turned into a scandal. The public again, as after the ballet "Afternoon rest of Favna," was outraged and shocked by the final erotic scene. Sex's theme Vaclav Fomich Nizhinsky has always paid much attention.

In 1913, he puts another ballet - these are "games" to the music of Debussy, his main distinguishing feature becomes a complete lack of a plot. In all its first productions, Nizhinsky made focus on confrontation with the grace of classical style and anti-granticism of the elegance of the ballet for all admirers of the ballet.

Ballet Vaclav Nizhinsky literally fascinated the French audience. The community seemed ingenious dramatic talent of the artist, as well as its unusual and even exotic appearance. Nizhinsky has always been a bold and nontrivially thoughtful director who opened up new paths and opportunities in plastic for ballet, returned to the male dance lost by that time virtuosity and former priority. At the same time, it is worth recognizing that Vaclav's success is in many respects Sergey Dyagilev, who always believed in him and supported in the most audacious and unexpected experiments.

Personal life dancer

The biography and personal life of Vaclav Nijinsky were always under the closer attention to his fans. Now it is no longer a secret that Nizhinsky was a homosexual. In his youth, he had an intimate relationship with Prince Pavel Dmitrievich Lvov, later, Sergey Dyagilev became his lover.

At the same time, he was officially married. This happened when in 1913 the troupe went on tour to South America. On the ship, he met his fan, Aristocrat from Hungary Romolo Pulskaya. Having reached the destination, they entered into an official marriage in one of the South American countries. It happened on September 10, 1913. Moreover, the marriage was secret, they did not even inform even their relatives.

I found out about what happened from his servant Vasily, who was attached to Nizhinsky to look after him. The personal life of Vaclav Nizhinsky was under constant control. Dyagilev himself on tour in South America did not go. Vasily sent a telegram to his boss, he instantly fell into rabies, deciding to drive a dancer from the troupe. In fact, this episode put an end to his career, which began so dizzy.

The fact is that the relationship between Dyagilev and Vaclav Nizhinsky has been built on complete trust up to this point. The dancer did not sign any contracts with his entrepreneur and did not receive official salary, unlike other artists who worked for Dyagilev. For the Nizhinsky Dyagilev just paid himself everywhere, the dancer did not think about money and his future. That is why it was possible to get rid of his main star without any delay.

A great influence was a personal life on the biography of Waclav Nijinsky. After breaking with Dyagilev, he was without livelihood and without work.

Author's antpuriza

Now Vaclav Nizhinsky, whose photo is presented in this article, was forced to look for options to earn money. He fell into very complex conditions. As a genius of ballet, he did not have a grip of the producer and was never a calculating person. True, proposals for employment appeared almost immediately. But he refused to lead the ballet "Grand Opera" in Paris, deciding to create and promote his own entrepreneurs. He managed to collect the troupe in which 17 people entered, among them was his sister Bronislav with his spouse, who used to dance from Dyagilev, but left the entrepreneur, supporting his brother.

Nizhinsky managed to arrange a contract with the Palace Theater in London. The repertoire included several of its copyright, as well as Fokina ballets, which the hero of our article subjected to a cardinal alteration. It was the "carnival", "Ghost of Rose" and "Sylphides".

But the tour could not be admitted successful, they did not pay off, ending with failure and full financial collapse. These circumstances led to another nervous breakdown, which happened in Nizhinsky, his mental illness began to develop with frightening speed. After the first failure, the failures pursued him one after another. It is possible to learn more about them from the books about Vaclav Nijinsky, who describe his fate and biography. For example, this is the work of Richard Barclay, which is called - "Nizhinsky", memories of the wife of Romol Nizhinsky on the legendary dancer.

Last premiere of Ninjusky

In 1914, Nizhinsky and his spouse Romolians were born daughter. When the First World War began, they returned from St. Petersburg to Budapest. In Hungary, her husband and wife were interned until the occurrence of 1916. Once under arrest, Nizhinsky was very worried, it further aggravated his mental state, he languished from creative idleness.

At this time, Dyagilev, despite the starting war, successfully continued his tour. He resumed a contract with Nizhinsky to go with the "Russian ballet" on speeches in South and North America. On April 12, 1916, the hero of our article returned to the stage of the Dyagilevsky Theater, fulfilling his coronal parties in the productions of "Vision of Rose" and "Parsley". He conquered the audience "Metropolitan-Opera" in New York.

In the same year, the premiere of the Ballet of the Nizhinsky "Til Unelenspigel" was held on the "Manhattan Opera" scene for the music of the Strauss. It turned out to be the last premiere in his creative career, in which he was involved. Nizhinsky traditionally performed the main party. The disadvantage was the fact that the performance was created in a hurry, the deadlines were pressed, the author had a lot of interesting scenic finds, but the resulting resulting in the result.

Rock disease

The excitements and failures of recent years were injured and so unstable mental Nizhinsky. It is believed that his passion to the hoodie was played a special role, which was extremely popular at the time in the creative intelligentsia environment. Members of Dyagileev's troupe who adhered to these ideas, inspired Wenceslas that the acting profession of Sinovna, which further aggravated his illness.

On September 26, 1917, he last went on stage in the "Vision of Rose". After that, settled with his family in Switzerland. Here he gained peace of mind, even began to re-build creative plans, developed a new dance recording system, planned to open his own school. In 1918, the main thoughts outlined in the book, which, called the "Diary of Vaclav Nizhinsky", saw the light in 1953 in Paris.

However, enlightenment was short. He still sent for treatment to the clinic for mentally ill. Doctors set him a diagnosis of schizophrenia. By the end of the life, he remained in various psychiatric clinics, in which he helped with varying success.

In 1945, journalists discovered him in the post-war Vienna, he danced among Soviet soldiers. A great impression on him was a meeting with their compatriots. Long before that, did not talk to Nizhinsky began to communicate with the Poles in his native language. A lot of attempts were made to bring him back to life. In 1928, Dyagilev came to him in the clinic, trying to revive his mind to the dance. He answered Nizhinsky for the production of Petrushka, but Vaclav remained indifferent to what he saw.

After the death of Dyagilev in 1929, such attempts made the wife of a romol dancer. Once she even invited Serge Lifery to the hospital, so that he had to be stanned before her husband. Liminar danced to complete exhaustion for several hours, but all this time, Nizhinsky remained absolutely indifferent to what is happening. Suddenly some power picked up him, he took off, hung in the air in a jump, as he always knew how to do it on stage, and then immediately fell into infamousness. This moment of the second enlightenment managed to capture the photographer Jean Monson. A snapshot is known as the last jump of Vaclav Nijinsky.

Death of genius

Nizhinsky died in London in 1950. It happened on April 11, he was 61 years old. In 1953, his body was transported to Paris, where Montmartre was reburied in the cemetery. There was a grave of another legendary dancer Gaetano Vestza, who spent in the XVIII century, the playwright of Theophily Gautier, who is considered one of the founders of the romantic ballet. On the tombstone of the grave of the Nizhinsky, which is made of gray stone, sits a sad bronze jester with a dowel head.

The identity of Nizhinsky in the history of Russian and world ballet is difficult to underestimate. Critics called him an "eighth miracle of the world." His partners in the scene, among whom were the star of the first magnitude of Matilda Kshesinskaya, Olga Svetivtsi, Anna Pavlova, argued that when he hovered on the stage in his unique fantastic jump, it seemed that a person could defeat the laws of gravity, having mastered the state of weightlessness.

According to the audience, which came to his performances, Nizhinsky managed to achieve absolute internal and external reincarnation on the scene. It was a real breakthrough in the art of ballet, he was the first to opened the style of expressionism, apprusted only many years later. I submitted to the court of viewers fundamentally new plastics features. And all this for an incredibly short creative life, which lasted only about ten years.

In 1971, Nizhinsky dedicated his ballet Maurice Bezhar. Setting under the name "Nizhinsky, Cloon of God" was performed on the music of Peter Tchaikovsky.

Nizhinsky was the main idol of his generation, a dancer who managed to combine ease and strength on the stage, hitting the audience with jumps, from which everyone was captured by the Spirit. On the stage, the most powerful magnetism came from him, while in an ordinary daily life he was a silent and timid man.

In 2011, a bronze sculpture of brother and sisters was installed in the lobby of the Bolshoi Theater in Warsaw - Vaclav and Bronislava of the Nizhinsky in their famous images of Favna and Nymphs in the famous statement of the afternoon rest of Favna.

(1950-04-08 ) (61 years)

Vaclav Fomich Nizhinsky (Polish. Wacław Niżyński; March 12, Kiev, Russian Empire - or April 11, London, United Kingdom) - Russian dancer and choreographer of Polish origin, Novator dance. One of the leading participants of the Russian ballet Dyagilev. Brother dancer Bronislava Nizhinsky. Choreographer Ballets "Spring Sacred", "Afternoon rest of Faun", "Games" and "Til Ulenshpigel".

Biography

Born in Kiev, the second son in the family of Polish ballet dancers - the first issue of Tomash Nizhinsky and soloist Eleonora Berey. Eleonore was 33 and she was five years older than her husband. Captured Waclav in Catholicism in Warsaw. Two years later, the third child was born - Bronislav's daughter. From 1882 to 1894, the parents toured as part of the ballet troupe of Joseph Sethov. Father all children acquired to dance from early childhood. For the first time on stage, Vaclav performed when he was five years old, stalking his hopak as an entrepreneur in the Odessa theater.

After the death of Josef Sethova in 1894, his troupe was broken. The Nizhinsky-Father tried to create his troupe, but soon he struggled, years began the years of difficult wanderings and random earnings. Vaclav probably helped her father, speaking on holidays with small numbers. It is known that he performed in Nizhny Novgorod for Christmas. In 1897, during the tour in Finland, the Nizhinsky-Father loved the other, "the young soloist Rumyantsev. Parents divorced. Eleanor with three children went to St. Petersburg, where each other of her young years, the Polish dancer Stanislav Gillert, was a teacher in the St. Petersburg ballet school. Gillert promised to help her.

The eldest son of the Nizhinsky, Stanislav (Stasik), had fallen from the window in childhood and since then there was a "little not from this world", but a gifted and well-prepared Waclav took a ballet class quite easily. Two years later, his sister, armor and armor came to the same school. Some oddities began to appear at the school and in the character of Waclav, once he even got to inspect the clinic for mentally ill, apparently, some kind of hereditary disease affected. However, the talent of the dancer he was indisputable and quickly paid attention to the teacher, once outstanding, but a little old-fashioned, dancer, N. Leah.

From March 1905, the teacher-innovator of the School, Mikhail Fokin, put the responsible examination ballet for graduates. It was his first ballet as a balletmaster, he chose "Acyc and Galatia". For the role of Favna Fokin invited Nizhinsky, although he was not a graduate. On Sunday, April 10, 1905, a demonstration was held in the Mariinsky Theater, there were reviews in the newspapers - and in all the extraordinary gifts of young Nijinsky were noted:

The graduate of Nizhinsky washed with all: the young artist was hardly 15 years old and to spend two years at school. Especially nice to see such exceptional data. Easyness and element, together with remarkably smooth and beautiful movements - amazing [...] remains to wish that the 15-year-old artist remains in advance, but continued to improve.

From 1906 to January 1911, Nizhinsky performed in the Mariinsky Theater. From the Mariinsky Theater was dismissed with a big scandal at the request of the imperial family, as he spoke in the ballet "Giselle" in a suit, which was unpleasant.

Almost immediately at the end of the school, Nizhinsky invited S. P. Dyagilev to participate in the ballet season, where he had gained tremendous success. For the ability to high jumps and long-term elements, he was called a bird-bird, a second valline.

In Paris, the repertoire was danced, tested on the stage of the Mariinsky Theater, ("Pavilion Armida", 1907; "Sylphides", 1907; "Cleopatra", 1909 (reworked from "Egyptian nights" (1908)); "Giselle", 1910; "Swan Lake ", 1911), as well as the" Pier "divertiment on the music of Russian composers, 1909; and the party in the new ballet for Fokina, "Carnival" to the music of R. Shuman, 1910; Sherryzada N. A. Rimsky-Korsakov, 1910; "Orientali" in the rooms to the music of E. Griga and K. A. Sinding in Orchestra I. F. Stravinsky, 1910; "Vision of Rose" K. M. Weber, 1911, in which he struck the Paris public with a fantastic jump in the window; "Parsley" I. F. Stravinsky, 1911; "Blue God" R. Ana, 1912; "Daphnis and Chloe" M. Ravel, 1912.

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Choreographer

Encouraged by Dyagilev, Nizhinsky tried his hand as choreographer and secretly from Fokina rehearsed his first ballet - "Afternoon rest of Faun" to the music of K. Debussy (1912). He built his choreography on profile poses borrowed from ancient Greek Vazopysi. Like Dyagilev, Nizhinsky was passionate about the rhythmoplasty and euritimics of the Daldcrosis, in the aesthetics of which he put in 1913 its next and most significant ballet, "Spring sacred". Spring Sacred, written by Stravinsky with free use of dissonance, albeit with a support for tonality, and choreographically built on complex combinations of rhythms, became one of the first expressionist ballets. The ballet was not immediately accepted, and his premiere ended with a scandal, as well as the "afternoon rest of Faun," shocked the public with a final erotic scene. In the same year, the "Games" K. Debussy was incubated. For these productions of the Nizhinsky, anti-graduate and confrontation between the familiar grace of classical style was characterized.

Personal life

In Youth, Nizhinsky had an intimate relationship with Prince Pavel Dmitrievich Lvov, and later with Dyagilev. In 1913, after serving the troupe to South American tour, he met a ship with a Hungarian aristocrat and his fan Romol Pulskaya. Sowing ashore, on September 10, 1913, they are secretly from everyone, including family members, got married. Dyagilev, having learned about what happened from the telegrams of his servant of Vasily, pushed after Nizhinsky, fell into rabies and immediately expelled the dancer from the troupe - in fact, it put an end to his short dizzying career. Being a favorite of Dyagilev, Nizhinsky did not sign any contracts with him and did not receive complaints, like other artists - Dyagilev simply paid all his expenses from his pocket. It was this fact that I allowed Impresario to get rid of an objectionable artist without any wires.

Antrepriza

Having left Dyagilev, Nizhinsky turned out to be in difficult conditions. It was necessary to produce livelihoods. Genius dance, he did not possess the abilities of the producer. The offer to head the ballet "Grand Opera" in Paris rejected, deciding to create his own entrepreneurs. It was possible to assemble the troupe from seventeen people (her sister Bronislav with her husband, also left Dyagilev) and conclude a contract with the London Palace Theater. The repertoire was made up of production of Nizhinsky and, partly, - M. Fokina ("Ghost of Rose", "Carnival", "Sylphides", which Nizhinsky redoned anew). However, the tour was not successful and ended with financial collapse, which resulted in a nervous breakdown and the beginning of the spiritual disease of the artist. Failures pursued him.

Last Premiere

Praha Reference

In 1953, his body was transported to Paris and was buried on Montmartre's cemetery next to the graves of the legendary dancer of Veszruis and the playwright T. Gauthier, one of the creators of the romantic ballet. A sad bronze jester sits on his tombstone from gray stone.

The identity value of Nizhinsky

Critics [ who?] They called the Nizhinsky "the eighth miracle of the world", highly appreciating his talent. His partners were Tamara Karsavina, Matilda Kshesinskaya, Anna Pavlova, Olga Svetivtsieva. When he is the Ballet God - hung in a jump over the scene, it seemed that a person was able to become weightless.

He refuted all the laws of equilibrium and turned them out of his legs on his head, he resembles a human figure drawn on the ceiling, it easily feels in airspace ...

Nizhinsky possessed a rare ability of full external and internal reincarnation:

I'm scared, I see the greatest actor in the world.

Capless on the edge of bliss, uncompromising, like a poet, Nizhinsky with the power of not female twisted air pirouette.
Giving birth to the mountain peaks, he, he, the spirit of gravity was called, then squeezed, as the spring, it hung up, lifting the wing.
As if the soul, his magic anthrash, fearlessly broke into the will of fearlessly.
He looked into other Dali, called to him from the unearthly light, and this is a flip-immortal
Rotates the land for many years.

Nizhinsky made a brave breakthrough to the future of ballet art, discovered an later style of expressionism and fundamentally new features of plastics. His creative life was short (ten years old), but tense. The personality of Nizhinsky is devoted to the famous ballet Maurice Bezhar 1971 "Nizhinsky, Cloon God" to the music of Pierre Henri and Peter Ilyich Tchaikovsky.

Nizhinsky was a cumier of his time. In his dance, the power and ease were combined, he struggled to the public with his exciting spirits - it seemed to many that the dancer "hangs" in the air. He possessed a wonderful reincarnation gift, outstanding mimic abilities. On the stage, powerful magnetism came from him, although in everyday life he was timid and silent.

Awards

Memory

The year in Monaco was established Prize NizhinskySupported by ballet artists and choreographers.
As part of the celebration of the 100th anniversary of the Russian Ballets on June 11, 2011, the Bronze sculpture of Waclav and Bronislav Nizhinsky was installed in the warsaw and Bronislav of Nizhinsky in the afternoon of Faun and Nymphs (Sculptor Gennady Ershov).

Image in art

In the theatre

October 8 - "Nizhinsky, Cloon of God", Ballet Maurice Bezhar on the basis of the diaries of Vaclav Nizhinsky (" Ballet of the XX century", Brussels, in the role of Nizhinsky - Jorge Donn).
July 21 - Vaclav, ballet John Neumayer in the scenario plan of the unfulfilled production of Vaclav Nizhinsky using the music chosen by him I. S. Baha ( Hamburg ballet).
1993 - "Nizhinsky" on the play Alexei Burykin (theatrical agency "Bogis", in the role of Nizhinsky Oleg Menshikov).
1999 - "Nizhinsky, Crazy God's clown", play on the play of Glena Blustaine (1986, theater on a small armor, in the role of Nizhinsky Alexander Domogarov).
July 2 - "Nizhinsky", Ballet John Neumayer (Hamburg ballet, in the main role of Jiri Bubenichek).
March 22, 2008 - "Nizhinsky, Crazy God's Clown", play on the play of Glen Blamshene (Puppet theater named after S. V. Obraztov (director and performer of the leading role Andrey Dranny).
April 19, 2008 - NN. (choreographer Rishhard Kalinovski, Lublin Dance Theater)
June 28 - "Pavilion Armida", ballet John Neumayer (Hamburg ballet, in the role of Nizhinsky Otto Bibenichek and Alexander Ryabko).
- "A letter to man", the play of Robert Wilson based on the dancer diaries (as Nizhinsky