Relevant bibliographies by topics / Vaslav Nijinsky

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  2. Dissertations / Theses
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  4. Book chapters

Academic literature on the topic 'Vaslav Nijinsky'

Author: Grafiati
Published: 4 June 2021
Last updated: 25 April 2022

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Journal articles on the topic "Vaslav Nijinsky"

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Martin, Kathryn. "The Spirit of Vaslav Nijinsky." Journal of Illustration 7, no. 1 (August 1, 2020): 129–45. http://dx.doi.org/10.1386/jill_00028_1.

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The Spirit of Vaslav Nijinsky is a short comic created in 2016, telling the story of the famed ballet star who, in 1919, suffered a mental breakdown that resulted in a diagnosis of schizophrenia. Before his breakdown, Vaslav Nijinsky was known as ‘The God of Dance’, and regarded as the greatest male ballet star of his generation. His success as a ballet dancer paired with the details of his later life often associates him with the stereotype of a genius artist succumbing to madness. The nature of live art means the majority of Nijinsky’s work no longer survives intact, with only snippets of static documentation and ephemera left in the wake of performances hinting at his genius. However, in the lead up to his diagnosis, Nijinsky left two concrete bodies of work that are now regarded as important in the field of mental health history. First are a series of abstract drawings, and second are a collection of notebooks now known as The Diary of Vaslav Nijinsky. Both are fascinating documents on the subject of mental illness and served as the main inspiration for the narrative of the comic. The story of Nijinsky’s life and career has become the stuff of legend because of his enigmatic quality as a historical figure. This article explores the ephemera and historical documentation associated with this fascinating yet intangible artist, and how they inspired the content, process and aesthetic of The Spirit of Vaslav Nijinsky.
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Laginaf, Masara. "Vaslav Nijinsky (1889–1950)." British Journal of Psychiatry 204, no. 3 (March 2014): 221. http://dx.doi.org/10.1192/bjp.bp.112.123455.

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Phillips, Ian. "Vaslav Nijinsky: dancing with madness." Lancet 356, no. 9248 (December 2000): 2201. http://dx.doi.org/10.1016/s0140-6736(05)67282-0.

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Sommerlad, A. "The Diary of Vaslav Nijinsky." BMJ 345, sep26 3 (September 26, 2012): e6495-e6495. http://dx.doi.org/10.1136/bmj.e6495.

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Nijinsky, Vaslav, Joan Acocella, and Kyril FitzLyon. "The Diary of Vaslav Nijinsky." Missouri Review 21, no. 3 (1998): 109–34. http://dx.doi.org/10.1353/mis.1998.0012.

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Argyrides, Patty. "‘Choreopiscopally’: James Joyce's ‘Nausicaa’ and Vaslav Nijinsky's The Afternoon of a Faun." Modernist Cultures 17, no. 1 (February 2022): 27–53. http://dx.doi.org/10.3366/mod.2022.0358.

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One striking commonality between Vaslav Nijinsky's The Afternoon of a Faun (1912) and the ‘Nausicaa’ chapter in James Joyce's Ulysses (1922) is that both culminate with masturbation scenes and were met with similar reactions – outrage and censorship. Upon closer consideration, the similarities between Faun and Ulysses reach far beyond the climactic solos of Leopold Bloom and Nijinsky as the Faun. In Ulysses, Joyce choreographs the words on the page, the fictional bodies of his characters’ movements through Dublin, and elicits embodied responses from his readers. Using ‘Nausicaa’ and Faun as my case study, I reveal the significant parallels between Nijinsky and Joyce as they both present their vision of modernity through the body. As a former dancer, I understand, physically the innovation to the form of ballet Nijinsky sought after. My methodology therefore combines my embodied knowledge of ballet along with an analysis of literature.
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CHESSICK, RICHARD D. "Vaslav Nijinsky: A Leap Into Madness." American Journal of Psychiatry 148, no. 12 (December 1991): 1740–41. http://dx.doi.org/10.1176/ajp.148.12.1740.

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Crisp, Clement, Joan Acocella, and Kyril Fitzlyon. "The Diary of Vaslav Nijinsky: Unexpurgated Edition." Dance Research: The Journal of the Society for Dance Research 18, no. 1 (2000): 112. http://dx.doi.org/10.2307/1291017.

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Horowitz, Katie. "Satyriasis: the pornographic afterlife of Vaslav Nijinsky." Porn Studies 3, no. 1 (December 16, 2015): 3–19. http://dx.doi.org/10.1080/23268743.2015.1108222.

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Crisp, Clement. "Joan Acocella (ed.), The Diary of Vaslav Nijinsky." Dance Research 18, no. 1 (April 2000): 112. http://dx.doi.org/10.3366/1291017.

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Dissertations / Theses on the topic "Vaslav Nijinsky"

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Pérez, Wilson Simón. "Modernismos en disputa la emergencia de la danza moderna bajo la tensión : |técnica y naturalismo en Loïe Fuller, Isadora Duncan y Vaslav Nijinsky." Tesis, Universidad de Chile, 2018. http://repositorio.uchile.cl/handle/2250/168356.

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Tesis para optar al grado de magíster en artes con mención en teoría e historia del arte
El presente trabajo de tesis busca abordar los tránsitos y tensiones claves del surgimiento del modernismo en danza, bajo la óptica de la tensión tecnológica (entendida como proceso de modernización) y el naturalismo como visión contra-moderna. De esta forma las tensiones que se expresan en el punto de inflexión del cambio de siglo permean la constitución de una nueva forma de entender la disciplina de la danza. La emergencia de la danza moderna está antecedida por una serie de fenómenos que son los que interesa observar y discutir. ¿Cuáles son las condiciones de posibilidad que dan cuenta de la emergencia del modernismo en Danza? Colocando en el centro de la investigación las nociones de técnica, naturalismo, modernismo, y el cómo la obra y pensamiento en Vaslav Nijinsky, Isadora Duncan y LoÏe Fuller pueden dar cuento de ello.
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Levine, Sarah. "The Birth of Tragedy out of the Spirit of Dance: Nietzschean Transitions in Nijinsky's Ballets." Digital Archive @ GSU, 2012. http://digitalarchive.gsu.edu/rs_theses/37.

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This project compares the career of the early 20th century ballet dancer, Vaslav Nijinsky, to Friedrich Nietzsche’s theory of the tragic arts. In The Birth of Tragedy (1872) and elsewhere, Nietzsche argues that artists play the central role in communal mythmaking and religious renewal; he prescribes the healing work of the “tragic artist” to save modernity from the decadence and nihilism he identifies in scientism, historicism, and Christianity. As a dancer, and especially as a choreographer for the Ballets Russes (1912-1913), Nijinsky staged a kinetic response to modern culture that not only displayed shared concerns with Nietzsche, but also, as I argue, allow him to be interpreted as Nietzsche’s archetypical tragic artist. By juxtaposing the philologist-philosopher and dancer-choreographer as artists, I situate the emergence of Modern Art as a nascent movement still bound to Romanticism even while rebelling against it, and as an attempt to reinterpret art in a mythic (and thoroughly modern) context.
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Moulinier, Ann-Gaël. "Journaux intimes de la folie : étude différentielle de l'écriture du sujet dans l'hystérie et la schizophrénie à partir des écrits de Mary Barnes et de Vaslav Nijinski." Phd thesis, Université Rennes 2, 2010. http://tel.archives-ouvertes.fr/tel-00506069.

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Cette thèse explore la topologie de l'inconscient, afin de déterminer comment se constitue l'écriture du sujet, à travers la perspective lacanienne du nouage des registres réel, symbolique et imaginaire. L'auteur présente une analyse différentielle, à partir de l'autobiographie de Mary Barnes et du journal intime de Nijinski. Si dans l'hystérie de M. Barnes le symptôme, vécu comme un voyage initiatique par le sujet, tient fermement les trois registres ensemble et que dans la schizophrénie de V. Nijinski, il existe un nouage de type sinthomatique tel que l'a exposé J. Lacan dans le Séminaire XXIII, qui se trouve saboté par l'arrêt de la danse, l'écriture, dans la névrose comme dans la psychose, peut être envisagée comme l'effet du mouvement rétrograde imposé par le désir lui-même. Ce travail, enfin, vise à continuer la conception lacanienne de la topologie des psychoses
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Roques, Suzanne. "La représentation de l'oeuvre paradigme artistique de l'enseignement de la danse : analyse comparé de quatre chorégraphies du Sacre du Printemps d'Igor Stravinsky : Vaslav Nijinsky(1913), Maurice Béjart(1959), Pina Bausch(1975), Martha Graham(1984)." Nice, 2003. http://www.theses.fr/2003NICE2007.

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Depuis sa création en 1913, Le Sacre du Printemps d'Igor Stravinsky a inspiré de nombreux chorégraphes soucieux d'exprimer l'âme de cette puissante musique. Les métamorphoses du rituel reflètent les diverses aspirations profondes de l'homme. Ce précieux patrimoine retrace les grandes étapes historiques et esthétiques de la danse contemporaine. Quatre chorégraphies sont choisies pour comprendre la genèse des oeuvres dans le contexte culturel de l'époque. Notre analyse tente de révéler les figures de l'altérité à l'aide des paramètres fondamentaux du mouvement dansé. Des notions de création et d'éducation artistique, découlent la conception de modèles pluridisciplinaires qui fondent l'enseignement de la danse
Since its creation in 1913, Igor Stravinsky's Le Sacre du Printemps has inspired many choreographers, keen to express the soul of this powerful piece of music. The rite's metamorphose illustrate Man's deep desires. This precious heritage relates the major historical and aesthetic stages in contemporary dance. Four choreographies have been chosen to explain the genesis of the works in their cultural context. This analysis aims to reveal the representations of otherness by the means of the essential factors of the danced movement. The notions of creation and artistic education involve the construction of pluridisciplinary models upon which dance teaching is based
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Benn, Sophie Luhman. "La Methode graphique: Dance, Notation, and Media, 1852-1912." Case Western Reserve University School of Graduate Studies / OhioLINK, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=case1623408754116016.

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Raffinot, Louis. "L'image du geste dans les psychoses à partir de l'analyse psychanalytique des Cahiers de Vaslav Nijinski." Thesis, Université de Paris (2019-....), 2019. http://www.theses.fr/2019UNIP7044.

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Cette thèse s’organise autour d’une réflexion sur la portée psychanalytique de la notion de « geste ». Nous l’avons envisagée aussi bien à travers une conception métapsychologique comme dans sa portée clinique. Le geste, que nous avons voulu clairement différencier de la gestuelle, donne ainsi lieu à un questionnement théorique sur son rapport au corps, et à un autre clinique lié à son incidence et son utilité dans la clinique des psychoses. En théorie, le geste devait s’organiser autour de la problématique du corps pour que s’esquisse une conception de ses fonctions et des implications métapsychologiques de sa structure, permettant in fine la différenciation entre le geste et sa manifestation éventuelle à travers des images — l’image du geste. Nous avons questionné la portée pratique et clinique de cette conception du geste par l’analyse psychanalytique d’un texte délirant, les Cahiers du chorégraphe-danseur Vaslav Nijinski, mais également par la présentation du cas d’une patiente schizophrène
This thesis is organized around a reflection on the psychoanalytic scope of the notion of "gesture". We have envisioned it both through a metapsychological conception and in its clinical scope. The gesture, which we wanted to clearly differentiate from body movements, thus gives rise to a theoretical questioning of its relationship to the body, and to another clinic related to its incidence and usefulness in the clinic of psychoses. In theory, the gesture had to be organized around the problem of the body in order to sketch a conception of its functions and the metapsychological implications of its structure, ultimately allowing the differentiation between the gesture and its eventual manifestation through images — the image of the gesture. We questioned the practical and clinical significance of this conception of the gesture by the psychoanalytic analysis of a delirious text, the Diary of the choreographer-dancer Vaslav Nijinski, but also by the presentation of the case of a schizophrenic patient
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Haitzinger, Nicole. "Games: Jeux. Sergei Tcherepnin trifft auf Vaslav Nijinsky: Zur künstlerischen Modellierung des Gegenwartsmenschen." 2017. https://slub.qucosa.de/id/qucosa%3A35588.

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Der Beitrag befasst sich mit Sergei Tcherepnins Sound-Installation „Games“, die 2016 im Rahmen der Ausstellung „Kunst-Musik-Tanz. Staging the Derra de Moroda Dance Archives“ im Museum der Moderne Salzburg zu sehen war. In Auseinandersetzung mit Vaslav Nijinskys Ballett „Jeux“ von 1913 und seinem Referenzrahmen des homme moderne entwickelt Tcherepnin eine neue Modellierung des homme contemporain. Dabei greift er Genderfragen ebenso auf wie den Kult des Sportiven oder das Verschwinden von künstlerischen Gattungsgrenzen.
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Books on the topic "Vaslav Nijinsky"

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Nijinsky, Vaslav. The diary of Vaslav Nijinsky. London: Allen Lane, 1999.

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Nijinsky, Vaslav. The diary of Vaslav Nijinsky. Urbana: University of Illinois Press, 2006.

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Ross, Acocella Joan, ed. The diary of Vaslav Nijinsky. New York: Farrar, Straus and Giroux, 1999.

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Nijinsky, Vaslav. The diary of Vaslav Nijinsky. London: Quartet Encounters, 1991.

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Ostwald, Peter F. Vaslav Nijinsky: A leap into madness. London: Robson Books, 2002.

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Ostwald, Peter F. Vaslav Nijinsky: A leap into madness. London: Robson, 1991.

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Ostwald, Peter F. Vaslav Nijinsky: A leap into madness. New York, NY: Carol Pub. Group, 1991.

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The queer afterlife of Vaslav Nijinsky. Stanford, Calif: Stanford University Press, 1997.

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Vaslav Nijinsky: A leap into madness. London: Robson, 1991.

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Dancing genius: The stardom of Vaslav Nijinsky. Houndmills, Basingstoke, Hampshire: Palgrave Macmillan, 2014.

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Book chapters on the topic "Vaslav Nijinsky"

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"Nijinsky, Vaslav Fomich (1889–1950)." In Encyclopedia of Lesbian and Gay Histories and Cultures, 1057–66. Garland Science, 2003. http://dx.doi.org/10.4324/9780203487884-124.

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Garafola, Lynn. "Nijinska’s Apprenticeship." In La Nijinska, 1–30. Oxford University Press, 2022. http://dx.doi.org/10.1093/oso/9780197603901.003.0001.

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After completing her training in 1908, Nijinska becomes a member of St. Petersburg’s Imperial Ballet, where she dances in works by Marius Petipa, Lev Ivanov, and others. The following year she takes part in the inaugural season of Diaghilev’s Ballets Russes in Paris, rising in the next four years from a member of the corps to a valued company soloist and performing a wide range of classical and character roles in Michel Fokine’s new ballets. She has a complicated relationship with her brother Vaslav Nijinsky. When he resigns from the Imperial Ballet to work full-time for the Ballets Russes, she follows. She plays a key role in the genesis of his first ballet, L’Après-midi d’un Faune, which awakens her desire to choreograph, and was the original Chosen Maiden in his Rite of Spring, a modernist landmark. Her failed romance with the singer Fedor Chaliapin, linked to the budding awareness of herself as a creative artist, becomes a theme of her diaries for the next twenty-five years. In 1912 she marries the dancer Alexander Kochetovsky and the following year gives birth to her daughter, Irina. Her pregnancy infuriates her brother, and he drops her from the cast of The Rite of Spring. When Nijinsky is dismissed from the Ballets Russes after his marriage, she resigns from the company and becomes both the ballerina and ballet mistress of his Saison Nijinsky in London. In 1914 she returns to Russia where she spends World War I and the Revolution.
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Burt, Ramsay. "Alone into the World: Reflections on Solos from 1919 by Vaslav Nijinsky and Mary Wigman." In On Stage Alone, 31–52. University Press of Florida, 2012. http://dx.doi.org/10.5744/florida/9780813040257.003.0003.

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Franko, Mark. "The Critical Reception of Serge Lifar (1929–1939)." In The Fascist Turn in the Dance of Serge Lifar, 54–108. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780197503324.003.0003.

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Chapter 2 analyzes the critical reception of Serge Lifar at the Paris Opera during the 1930s. Evidence is presented of Lifar’s poor critical reception at the start of the decade and the characteristics of his dancing are analyzed in relation to the developing ideals of neoclassical ballet. The analysis reveals a gradual drift in critical language toward a fascist conception of Lifar’s dancing body as a polarity machine. This vision of Lifar is put forward with respect to the double level of artistic activity demanded of the dance artist who, as choreographer, is the contemplative painter of compositions, but who as dancer is the sculptor whose artistic material is his own body. Lifar seemed to embody by turns both the Apollonian and Dionysian sides of Nietzsche’s influential argument on the origin of tragedy. The chapter also covers the debate over the meaning of neoclassicism in French ballet during the 1930s and the role Lifar played in this debate both as an object of discussion and an interlocutor. Critics include Russian émigrés under the influence of Akim Volynsky: André Levinson, Julia Sazonova, and André Schaïkevitch and their French compeers Roger Lannes and Maurice Brillant. Arguing for a formalist and idealist conception of balletic neoclassicism, the Russo-French school used the work of Serge Lifar as their main example. This chapter also explores in depth André Levinson’s change of heart concerning Lifar and the relation of Lifar to Vaslav Nijinsky in Levinson’s criticism.
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"Postmoderne Grenzräume und Endräume in der Gegenwartslyrik: Bewegungen ins Dazwischen und 337 ins Nichts in Frank Bidarts The War of Vaslav Nijinsky." In Raum und Bewegung in der Literatur, 355–70. transcript-Verlag, 2009. http://dx.doi.org/10.14361/9783839411360-017.

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Dietrich, René. "Postmoderne Grenzräume und Endräume in der Gegenwartslyrik: Bewegungen ins Dazwischen und 337 ins Nichts in Frank Bidarts The War of Vaslav Nijinsky." In Raum und Bewegung in der Literatur, 355–70. transcript Verlag, 2009. http://dx.doi.org/10.1515/9783839411360-017.

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"Die Ballets Russes und die Tanzavantgarden um 1900: Zur medialen Repräsentation von Anna Pawlowa, Ida Rubinstein und Vaslav Nijinsky im Kontext der Körperästhetik des freien Tanzes." In Europäische Avantgarden um 1900, 279–303. Brill | Fink, 2021. http://dx.doi.org/10.30965/9783846770580_014.

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Cadar, Ana Carolina. "Dancing Body and Artistic Creation." In Advances in Media, Entertainment, and the Arts, 136–59. IGI Global, 2021. http://dx.doi.org/10.4018/978-1-7998-4261-3.ch007.

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This chapter aimed to explore, through the framework of Freudian and Lacanian psychoanalytical theories, Vaslav Nijinsky's particular usage of his artistic creations. The history of Nijinsky's revolutionary talent and his mental health decline was the focus of this chapter. Nijinsky's formation as a dancer and his unique talent, and the specificities of his original subversive pieces were addressed. What can Nijinsky's trajectory teach about the artistry of sublimation and the use of the body in dance? Findings were contrasted with data from Maricela Sulbaran Zerpa's research concerning dancers and their relationship with their bodies alongside some contemporary testimonies of dancers.
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Atkinson, Paul, and Michelle Duffy. "The Amplification of Affect: Tension, Intensity and Form in Modern Dance." In Modernism and Affect. Edinburgh University Press, 2015. http://dx.doi.org/10.3366/edinburgh/9780748693252.003.0006.

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In Chapter 5 affect is considered as corporeal tension and intensity in two modernist works by the Ballets Russes, Léonide Massine’s Parade (1917) and Vaslav Nijinsky’s L’après-midi d’un faune (1912). Following Massumi’s theory of affect as an autonomous intensity and Susan Langer’s similarly transcorporeal notion of a “continuum of feeling,” the chapter explores forms of dance in which affect is grounded in the material gestures of the body and located in the tensions required to create these abstract forms. Feeling was not suppressed in avant-garde dance but rather depersonalised and de-psychologised, following a different logic from the model of emotion as self-expression that dominated classical ballet in the nineteenth century.
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Ruprecht, Lucia. "Prologue." In Gestural Imaginaries, 1–22. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190659370.003.0001.

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The Prologue investigates The Rite of Spring in a triangular reading. It juxtaposes an analysis of Vaslav Nijinsky’s choreography with two signature texts on the piece, which are also key documents of early twentieth-century gestural theory: Theodor W. Adorno’s chapter on Stravinsky in his 1949 Philosophie der neuen Musik (Philosophy of New Music), and Jacques Rivière’s 1913 essay entitled “Le Sacre du printemps.” Sacre is considered a primal scene of modernist gesturality, as the moment at which the revolutionary power and conceptual reach of gesture become discernible. The Prologue carves out a theory of gesture that defines the gestural as a form of interruption of the flows of music and movement. Gesture is associated with a punctuating and punctuated energy that is considered as an aesthetic strategy of productive impairment that not only manifests, but also critically exposes the primitivism which is Sacre’s signature trait.
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