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Journal articles on the topic 'Vaslav Nijinsky'

Author: Grafiati

Published: 4 June 2021

Last updated: 25 April 2022

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1

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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3

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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6

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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8

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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9

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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10

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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11

Bortoluzzi, Amanda. "Os Faunos de Nijinsky: As (Re) Interpretações de L’Après-Midi D’um Faune." Em Tempo de Histórias 1, no. 34 (November 10, 2019): 19–38. http://dx.doi.org/10.26512/emtempos.v1i34.28163.

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Com música por Claude Debussy, design de Liev Bakst e coreografia de Vaslav Nijinsky, L'Après-midi d'un Faune estreou, no palco do Théâtre du Châtelet, em Paris, no dia 29 de maio de 1912, com grande polêmica. Retratando a história do encontro de um Fauno com um grupo de ninfas por meio de movimentos marcados e uma posição-base pouco convencional para o ballet clássico Ã época, o primeiro trabalho como coreógrafo do aclamado "deus da dança" foi imerso nas controvérsias que levariam o espetáculo, e a personagem do Fauno, a serem vistos como sinônimo do nome Vaslav Nijinsky. Enquanto única coreografia do bailarino russo a sobreviver os quase setenta anos entre sua estreia e a reconstrução feita na década de 1980, L'Après-midi d'un Faune viveu na memória. Este trabalho busca refletir se essa diz mais respeito Ã coreografia em si ou ao coreógrafo.

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Mello, Regina Lara Silveira, Rogério Pereira Dos Santos, and Thais Amaral. "RITUAL SAGRADO: A DANÇA EM MARTHA GRAHAM E PINA BAUSCH." Pontos de Interrogação — Revista de Crítica Cultural 6, no. 1 (February 12, 2017): 125. http://dx.doi.org/10.30620/p.i..v6i1.3228.

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A dança é meio de expressão. Na Antiguidade, incorporada como entretenimento e no século XV tem seu status e técnica ampliados para, finalmente, descobrir-se como linguagem artística que reflete seu tempo a partir dos processos iniciados no século XX. Por intermédio das experimentações de Vaslav Nijinsky, aliadas às quebras de paradigmas promovidas por Isadora Duncan, a dança liberta-se da narrativa para descobrir o corpo. Este artigo recupera um momento decisivo da dança, com a coreografia de Nijinsky para A Sagração da Primavera e seu reflexo na criação de Martha Graham e Pina Bausch.

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LEONHARDT, NIC. "‘From the Land of the White Elephant through the Gay Cities of Europe and America’: Re-routing the World Tour of the Boosra Mahin Siamese Theatre Troupe (1900)." Theatre Research International 40, no. 2 (June 2, 2015): 140–55. http://dx.doi.org/10.1017/s0307883315000024.

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Bangkok, Singapore, Paris, Vienna, Berlin, St Petersburg – some thirty performers of the Boosra Mahin Siamese Theatrical Troupe toured the world in 1900. Daily newspapers enthusiastically reported on the unprecedented shows of the performers ‘from the land of the white elephant’. After they disappeared from the map of theatre history, in 2010 Thai choreographer Pichet Klunchun ‘revives’ the troupe in his performance Nijinsky Siam. He follows their October 1900 St Petersburg show – the very performance attended by choreographer Mikhail Fokine and costume designer Léon Bakst, who later worked closely with Vaslav Nijinsky. In 1910, Nijinsky's La danse siamoise/Siamese Dance premiered at the Marinsky Theatre, St Petersburg. This article follows the routes of the Boosra Mahin Troupe on the basis of selected primary sources and from a global-historical perspective. In tracing the Boosra Mahin Troupe and their tours, the article not only maps their manifold routings and reroutings, but also advocates for the need for a global theatre historiography that puts past cultural entanglements and connected performance histories centre stage.

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Johnson, Robert. "Bronislava Nijinska and the Spirit of Modernism." Experiment 17, no. 1 (2011): 264–90. http://dx.doi.org/10.1163/221173011x611950.

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Abstract No one should make judgments about ballets that no longer exist. Choreographer Bronislava Nijinska's surviving masterpieces offer sufficient proof of a a brilliant and varied imagination, inspired by her classical training; by the example of her brother, Vaslav Nijinsky; and by contemporary developments in the visual arts.

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Muller, Patrick. "The Queer Afterlife of Vaslav Nijinsky. By Kevin Kopelson." Iowa Journal of Cultural Studies 2000, no. 19 (2000): 77–78. http://dx.doi.org/10.17077/2168-569x.1339.

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16

Berrol, Cynthia F. "Discourse: Trudi Schoop and Vaslav Nijinsky, and dance as healer." Body, Movement and Dance in Psychotherapy 7, no. 3 (August 2012): 185–99. http://dx.doi.org/10.1080/17432979.2011.633101.

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Archer, Kenneth, and Millicent Hodson. "SACRE 1913." Experiment 20, no. 1 (October 27, 2014): 31–47. http://dx.doi.org/10.1163/2211730x-12341258.

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Shamanic designs used by painter and archaeologist Nicholas Roerich on the costumes for the original Rite of Spring (1913) apparently shaped the ground patterns of the choreography by Vaslav Nijinsky. Dance detectives Kenneth Archer and Millicent Hodson demonstrate how they discovered these dance and design correspondences in the course of reconstructing the lost Rite for the Joffrey Ballet in 1987 and for other companies worldwide since that time.

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18

Machado, María Inés, and Julieta De Battista. "El cuerpo danzante en la invención del lazo social: el caso Nijinsky." Revista Latinoamericana de Psicopatologia Fundamental 22, no. 4 (December 2019): 938–64. http://dx.doi.org/10.1590/1415-4714.2019v22n4p938.14.

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Este artículo investiga el problema de las condiciones de posibilidad de los lazos sociales en el caso de sujetos psicóticos. Desde el marco teórico del psicoanálisis lacaniano interroga la tesis del “fuera de discurso” de las psicosis. Desde un punto de vista metodológico, procede por construcción y análisis del caso del bailarín Vaslav Nijinsky a partir de sus cuadernos autobiográficos, de su biografía y de distintos testimonios. El análisis de este caso nos permite concluir que el armado de un cuerpo a través de la danza fue posibilitado por la función del “nombrar para” que Lacan describe en 1974 y que sustituye al funcionamiento metafórico del Nombre-del-Padre. La constitución de un cuerpo danzante y su ejercicio actuaron en Nijinsky como causa del deseo del poderoso representante Diaghilev, quien lo transformó en una estrella, ovacionada para el público.

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Järvinen, Hanna. "Dancing without Space – On Nijinsky'sL'Après-midi d'un Faune(1912)." Dance Research 27, no. 1 (May 2009): 28–64. http://dx.doi.org/10.3366/e0264287509000243.

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Three-dimensional theatrical space is often taken for granted as a precondition of dance. Already in 1912, the choreographer Vaslav Nijinsky provoked much discussion with a work that seemingly turned the performance into a moving, two-dimensional picture. L'Après-midi d'un Faune has achieved notoriety because of the objections some contemporary critics raised against the ‘immoral’ behaviour of the principal character, but I argue the style of the work brought about an important shift in how dancing was conceptualised as something composed by a choreographic author.

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Souza, Elisa Teixeira de. "François Delsarte e a Dança Moderna: um encontro na expressividade corporal." Revista Brasileira de Estudos da Presença 2, no. 2 (December 2012): 428–56. http://dx.doi.org/10.1590/2237-266030315.

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RESUMO Este estudo aborda o sistema de François Delsarte para a expressividade corporal, chamado Estética Aplicada. Apresenta dados relacionados à trajetória de François Delsarte, como origem, formação e fundamentação teórica. Discute as leis da expressividade gestual formuladas por Delsarte - a Lei da Trindade, a Lei da Correspondência e as Nove Leis do Movimento - bem como sua difusão e utilização na dança moderna, incluindo nessa discussão nomes de precursores da dança moderna como Isadora Duncan, Ruth Saint Denis, Ted Shawn, Vaslav Nijinsky, Rudolf Laban e Mary Wigman.

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Järvinen, Hanna. "Comedy Ballet as Social Commentary:Till Eulenspiegel(1916)." Dance Research 32, no. 2 (November 2014): 144–84. http://dx.doi.org/10.3366/drs.2014.0105.

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In 1916, during the American tours of the Ballets Russes company, Vaslav Nijinsky created a choreography to Richard Strauss's tone poem Till Eulenspiegels lustische Streiche, nach alter Schelmenweise, in Rondo Form (1894–1895). Only performed during the tour, the work was long deemed a failure or an indication of the choreographer's approaching insanity. Tracing the reviews and other contemporary materials, this article asks what can be known of a past performance and rehearsal practice – and what our interpretations of the past reveal of present-day concerns and assumptions about dance as an art form.

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22

Hilger, Horst. "Kostümentwurf von Léon Bakst zum Ballett „L’Après-midi d’un faune“ für Vaslav Nijinsky." WLBforum 20, no. 2 (October 15, 2018): 42–43. http://dx.doi.org/10.53458/wlbf.v20i2.222.

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Der russisch-französische Maler und Bühnenbildner Léon Bakst (eigentlich: Leib-Chaim Israilewitsch Rosenberg), der am 9. Mai 1866 in Grodno (heute: Weißrussland) geboren und am 27. Dezember 1924 in Rueil-Malmaison (Frankreich) gestorben ist, zählt zu den größten und besten Kostüm- und Bühnenbildnern, die die Ballett-Welt kennt.

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ji-won Lee. "The Psychoanalytical Approach and Expression Shown on The Rite of Spring by Vaslav Nijinsky." Korean Journal of Dance Studies 66, no. 4 (October 2017): 53–71. http://dx.doi.org/10.16877/kjds.66.4.201710.53.

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Stachura-Bogusławska, Anna. "Igor Stravinsky and Vaslav Nijinsky – artists and visionaries on the threshold of a new era." Prace Naukowe Akademii im. Jana Długosza w Częstochowie. Edukacja Muzyczna 10 (2015): 221–43. http://dx.doi.org/10.16926/em.2015.10.12.

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Ansbacher, Heinz L. "Alfred Adler's Description of the Case of Vaslav Nijinsky in Light of Current Diagnostic Standards." Archives of General Psychiatry 50, no. 8 (August 1, 1993): 669. http://dx.doi.org/10.1001/archpsyc.1993.01820200087010.

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kim in sook. "Vaslav Nijinsky 「L'apres midi d' un Faune」Propensity to Primitivism - Based On Laban Movement Analysis -." Korean Journal of Dance Studies 27, no. 27 (August 2009): 25–51. http://dx.doi.org/10.16877/kjds.27.27.200908.25.

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Feggetter, Graeme. "Vaslav Nijinsky. A Leap Into Madness. By Peter Ostwald. London: Robson Books. 1991. 372 pp. £17.95." British Journal of Psychiatry 160, no. 2 (February 1992): 290–91. http://dx.doi.org/10.1192/s0007125000035959.

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Yaghen-Vial, Nafia Marianne Laurence Bahena. "Un caso para la clínica de las psicosis: Vaslav Nijinsky. Un caso paradigmático de la investidura narcisista del cuerpo y del devenir psicótico." Revista Latinoamericana de Psicopatologia Fundamental 2, no. 4 (December 1999): 143–58. http://dx.doi.org/10.1590/1415-47141999004009.

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Este articulo subraya la trascendencia de la obra del dios de la danza quien revolucionó la visión que se tenia de la técnica clásica del ballet para convertirse en el padre de la danza moderna. Nuestro análisis parte desde el núcleo familiar en donde se gesta la locura, al mismo tiempo que es un punto de partida para comprender la transmisión de la danza como un espacio de contención y sublimación de los impulsos de muerte en Nijinsky. Asimismo se aborda su único testimonio escrito en estado delirante. Finalmente se hace mención a la hospitalización.

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Clayton, Michelle. "Modernism's Moving Bodies." Modernist Cultures 9, no. 1 (May 2014): 27–45. http://dx.doi.org/10.3366/mod.2014.0072.

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This article explores the movements of modernist bodies across Europe and the Americas in the early twentieth century. Arguing that scholarship is still insufficiently attuned to the diversity and porousness of art-forms and languages that actually characterized the period, the essay tracks the movement of dancers through an expansive Western circuit, showcasing their involvement in unsuspected forms of circulation, collaboration, and cultural exchange. Focusing in particular on Tórtola Valencia, Vaslav Nijinsky, and Charlie Chaplin, the article demonstrates the cross-cultural movements implied in their own performances and tours; but it balances this interest in the modernist traveler with a focus on the figure designated by Mary Louise Pratt as the ‘travelee’, the one who is visited. Collecting responses in multiple languages and art-forms from ‘travelees’ in the spaces through which these performers passed, it is argued, allows scholars to configure new maps of cultural modernity.

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Foster, Andrew. "A Directory of Diaghilev Dancers." Dance Research 37, no. 2 (November 2019): 181–205. http://dx.doi.org/10.3366/drs.2019.0272.

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Serge Diaghilev's Ballets Russes came to an end with his death in 1929, but it has since been an endless source of fascination and inspiration for dancers, dance historians and fans. It would seem that every aspect of the Ballets Russes has been exhaustively explored and documented – from the art, the music and the choreography, to the personalities who created them. The names of Anna Pavlova, Tamara Karsavina and Vaslav Nijinsky are legendary, and many others (Michel Fokine, George Balanchine, Ninette De Valois, Marie Rambert) went on to influence and define the art of ballet for much of the 20th century. But what of the hundreds of dancers who actually gave life and form to the Ballets Russes? Who were they? Where did they come from? How long did they spend with the company? The following listing of more than 400 performers is a comprehensive record of the dancing artists who performed with Diaghilev's Ballets Russes.

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Fortuna, Victoria. "Dancing Argentine Modernity: Imagined Indigenous Bodies on the Buenos Aires Concert Stage (1915–1966)." Dance Research Journal 48, no. 2 (August 2016): 44–60. http://dx.doi.org/10.1017/s0149767716000206.

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This article argues that the unrealized balletCaaporá(1915), conceived for choreography by Vaslav Nijinsky, and Oscar Araiz'sLa consagración de la primavera(1966,The Rite of Spring) fundamentally shaped the establishment and reimagination of concert dance as a site of modernity in Argentina. Both works danced modernity through imagined pre-Columbian indigenous myths choreographed in Euro-American concert dance forms. In Argentina, “unmarked” ballet and modern dance forms signaled a universalized cultural advancement aligned with the West, while indigenous myths staged “marked” Latin American origins that held racial difference at a distance from the modern present.CaaporáandConsagraciónnegotiated the “marked” and the “unmarked” toward different ends. WhileCaaporástrove to “Argentinize” European ballet at the turn of the century,Consagraciónmarked the move to claim concert dance as Argentine at midcentury. By focusing on the role of indigenism in these two works, this article contributes to scholarship on the modernist negotiation of the marked and unmarked in Latin American concert dance as a strategy for staging—and transcending—the nation.

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Järvinen, Hanna. "Failed Impressions: Diaghilev's Ballets Russes in America, 1916." Dance Research Journal 42, no. 2 (2010): 77–108. http://dx.doi.org/10.1017/s0149767700001042.

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In 1916 the Russian impresario Sergei Diaghilev (1872–1929) took the Ballets Russes out of war-torn Europe for a tour across the North American continent. The tour was scheduled to run from January to April 1916, with short seasons in New York at the beginning and the end. As it turned out, the company returned for a second tour that ran from late September to January 1917, during which time, however, Diaghilev's former lover and principal star dancer, Vaslav Nijinsky (1889–1950), replaced him as director.In this article I discuss the cultural differences at the heart of the Ballets Russes' failure to conquer America in 1916–1917, and why that failure had to be edited out of history. Specifically, I look at three aspects of the publicity and critical reception: elitism, patriotism, and modernism. The publicists of the company both misunderstood and underestimated their audience, but in dance research, their prejudices have been taken for granted. The “eye-witness accounts” of Diaghilev's employees and the histories of the company written in the first half of the twentieth century have largely gone unquestioned since, but contemporary primary sources of the North American tours tell a different story. By contrasting the first tour with the second, which received less publicity and better reviews, I emphasize the practical experience of touring in the New World and how differently American critics evaluated the achievements of the two Russian directors of the company—Diaghilev (for the first tour) and Nijinsky (for the second).

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Engelhardt, Molly. "THEREALBAYADÈRE MEETS THE BALLERINA ON THE WESTERN STAGE." Victorian Literature and Culture 42, no. 3 (June 6, 2014): 509–34. http://dx.doi.org/10.1017/s1060150314000126.

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The oriental ballet is typicallyassociated with modern dance, Russia, and the nonpareil dancers Vaslav Nijinsky, Michel Fokine, Anna Pavlova, and Ruth St. Denis. One of the most excerpted of all classical ballets and considered the first example of the abstract form in modern dance is the “Kingdom of the Shades” sequence in Marius Petipa'sLa Bayadère, featuring thirty-two ghosts of Hindu temple dancers dressed in white entering the stage one by one with a simple arabesque cambre. What people often forget is thatLa Bayadèrewas a huge sensation in Europe during the romantic ballet years – the 1830s and 40s – 50 plus years before the Ballets Russes and a full generation before Petipa's 1877 production, which most assume to be the ballet's original. This and other grand operas and ballets of its kind –Lalla Rookh,Les Orientales,Le Corsair,La Peri,La Paquita,Revolt of the Harem– took romanticism beyond the pale in terms of visual extravagance; elaborate water systems were installed to depict bathing scenes and shipwrecks, and live horses and elephants brought onto the stage to add verisimilitude to the Eastern spectacle.

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Raev, Ada. "Georg Kolbe: Russian Impressions." Experiment 23, no. 1 (October 11, 2017): 267–85. http://dx.doi.org/10.1163/2211730x-12341315.

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Abstract The article describes German sculptor Georg Kolbe’s two direct engagements with Russia and its culture in the early twentieth century. The first, brief but fruitful, encounter, in 1912, the same year that Kolbe’s bronze sculpture Tänzerin (Female Dancer) was purchased by the National Gallery, was with Diaghilev’s Ballets Russes, who had returned for a second visit to Berlin. Kolbe received Vaslav Nijinsky and Tamara Karsavina in his studio; photographs and drawings of the two star dancers served as inspiration for works such as Tänzer (Dancer) and the Heinrich Heine monument in Frankfurt am Main, and also strengthened Kolbe’s interest in modern dance. The second opportunity came in 1932, when Kolbe, as a successful and established sculptor, was invited to tour the Soviet Union. In 1933, Kolbe published a brief account of his travels under the title “In einem anderen Land” (In another country); his observations, enriched with picturesque details, convey a feeling of empathy for the host country and its inhabitants. Only once does Kolbe admit to a certain discomfort with regard to the atmosphere in the Stalinist Soviet Union.

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Gaiser Casey, Carrie. "Dancing Genius: The Stardom of Vaslav Nijinsky by Hanna Järvinen , 2014. New York: Palgrave Macmillan. 325 pp., notes, bibliography, index. $95.00 cloth." Dance Research Journal 48, no. 2 (August 2016): 116–19. http://dx.doi.org/10.1017/s0149767716000140.

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McGinness, John. "Vaslav Nijinsky's Notes for Jeux." Musical Quarterly 88, no. 4 (December 1, 2005): 556–89. http://dx.doi.org/10.1093/musqtl/gdk004.

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Seznec, Jean-Christophe. "Les arcanes d’un intérêt biographique : l’exemple de Vaslav Nijinski." Annales Médico-psychologiques, revue psychiatrique 179, no. 7 (September 2021): 612–16. http://dx.doi.org/10.1016/j.amp.2021.07.002.

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Järvinen, Hanna. "Critical Silence: The Unseemly Games of Love in Jeux (1913)." Dance Research 27, no. 2 (November 2009): 199–226. http://dx.doi.org/10.3366/e0264287509000292.

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Following my article on Vaslav Nijinsky's L'Après-midi d'un Faune (1912), I turn my attention to Jeux, the first of Nijinsky's two choreographies for the 1913 season of the Ballets Russes. Made to a commissioned score by Claude Debussy, Jeux (Games) dealt with the chance meeting of three sporty young people in a twilit garden or park. Based on contemporary responses and the choreographer's notations to Debussy's manuscript score, I discuss how Jeux addressed modern life and what in this disconcerted the audiences of the Ballets Russes. Although the work disappeared after only one season, I argue it brings to the fore questions of canonisity and success that are still relevant in our discourse of art, today.

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Jackson, Naomi, Ann Hutchinson Guest, Claudia Jeschke, and Jill Beck. "Nijinsky's Faune Restored: A Study of Vaslav Nijinsky's 1915 Dance Score "L'Apres-Midi d'un Faune" and His Dance Notation System." Dance Research Journal 26, no. 2 (1994): 36. http://dx.doi.org/10.2307/1477917.

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Jover, F. "Les affres de la création de l’espace : les carnets à dessin de Nijinski." European Psychiatry 28, S2 (November 2013): 37. http://dx.doi.org/10.1016/j.eurpsy.2013.09.092.

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La carrière fulgurante du danseur Vaslav Nijinski a duré dix ans de 1908 à 1917. Surnommé le « Dieu bondissant », il a quitté la scène publique pour un dernier saut dans la maladie à l’âge de 28 ans. Son histoire s’est mêlée à celle de la psychiatrie dont il va rencontrer les grands noms, A. Adler, M. Sakel, L. Binswanger et E. Bleuler qui va diagnostiquer « …une confusion mentale de nature schizophrénique avec une légère excitation maniaque… ». Le soir de sa dernière représentation en janvier 1919 au grand hôtel de St-Moritz devant 200 personnes Nijinski débute la rédaction de ses cahiers et confie à sa femme Romola qu’il veut montrer « les affres de la création, la souffrance endurée par l’artiste en train de travailler ». Parallèlement, il réalise des carnets à dessin avec le projet d’une nouvelle cotation chorégraphique. Ce faire-œuvre testamentaire de sa vie d’artiste avant de s’enfermer dans un long silence représente un manifeste de sa vaine habitation du monde face à la désorganisation psychotique et ses tentatives pour le reconstruire. Confronté à une modification du Sentir qu’il s’efforce d’endiguer par la rédaction de ce qu’il nomme « le livre du sentiment », il nous laisse son mystérieux catalogue à dessins, à la fois magnifique et effrayant, des transcriptions picturales d’une présence accablée par la proximité du monde et de ses objets hallucinatoires qui viennent le prendre au corps et dont il ne peut prendre distance.

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Seznec, J. C. "Vaslav Nijinski : de la danse à la schizophrénie, parcours à travers l’histoire de l’art et de la psychiatrie." Annales Médico-psychologiques, revue psychiatrique 160, no. 2 (March 2002): 158–65. http://dx.doi.org/10.1016/s0003-4487(02)00145-2.

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"The diary of Vaslav Nijinsky." Choice Reviews Online 37, no. 02 (October 1, 1999): 37–0849. http://dx.doi.org/10.5860/choice.37-0849.

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"The queer afterlife of Vaslav Nijinsky." Choice Reviews Online 36, no. 04 (December 1, 1998): 36–2111. http://dx.doi.org/10.5860/choice.36-2111.

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"Vaslav Nijinsky: a leap into madness." Choice Reviews Online 28, no. 11 (July 1, 1991): 28–6171. http://dx.doi.org/10.5860/choice.28-6171.

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Meyer, Sandra. "A (i)mobilidade na obra de Nijinsky: uma ação intempestiva." Cena, no. 9 (August 25, 2011). http://dx.doi.org/10.22456/2236-3254.22204.

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O artigo propõe uma reflexão sobre a obra de Vaslav Nijinsky (1890-1950) enquanto ação intempestiva, destacando a ação deste no seu tempo e a forma com que inseriu a dança noutro regime de temporalidade ao utilizar a imobilidade como estratégia de composição. Este artigo analisa a questão da imobilidade em duas das três marcantes obras de Nijinsky: “A tarde de um fauno” [L'après-midi d'un faune, 1912] e “Jogo” [Jeux, 1913].

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Orte, Peter. "The Diaries of Waslaw Nijinsky and the Absence of the Work." Poljarnyj vestnik 19 (November 15, 2016). http://dx.doi.org/10.7557/6.3793.

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This article attempts to think through the possibility of a purely affective text in relation to the book as it reads The Diary of Vaslav Nijinsky. The Diary’s autobiographical status is problematized, the first edition having been heavily edited to produce a more conventional literary work; the unexpurgated edition, while restoring the text’s integrity, heightens the sense of the book as the absence of its author. I argue that the interest of Nijinsky’s text lies not in the record of his daily thoughts and activities, as in a diary—an apparently straightforward autobiographical genre—nor in the memoires of a famous individual, i.e. the famous dancer Nijinsky’s recollections of his life and times to be preserved for the future. The interest is rather expressed by Nijinsky’s “de-facement” and his singular writing of «чувство», or “feeling.” Through comparisons with Tolstoy, as well as the texts of philosophers Maurice Blanchot and Brian Masumi, Nijinsky’s writing is shown to involve an experience that is ruinous to both the subject as a form of expression and the form of the work as a unified whole, an experience inscribed in Nijinsky’s trace of “feeling,” which is comparable to Blanchot’s notion of “the absence of the work”.

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Misler, Nicoletta. "The Electric Body." 28 | 2019, no. 1 (December 11, 2019). http://dx.doi.org/10.30687/va/2385-2720/2019/01/005.

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The relationship between the discovery and application of electricity and the human body in the 19th and 20th centuries is complex and multifaceted. Used to stimulate nervous and muscular reactions in the fields of medicine and biology or to record the more intimate movements of the body (cf. the electrocardiogram), electricity established the basis of what today we might call the modern electric – or digital – body. Another aspect, hitherto little explored, is that of the relationship between the electric body and the aesthetics of movement in dance. Visionary choreographers – those who anticipated ‘modern dance’ – such as Vaslav Nijinsky realised that the involuntary movements, often spasmodic and out of control, which electric stimuli could incite (Luigi Galvani comes to mind), could also suggest totally new ideas to the dancer. On the other hand, this kind of movement, syncopated, spasmodic and often uncontrollable, also elicited somewhat morbid analogies with mental disease – a field of research as much ambiguous and equivocal as the new European dance itself wherein hysteria mingled with ecstasy and schizophrenia with emancipation from all conventions. The focus of this essay is on Nijinsky’s choreographic concepts vis-à-vis ecstatic or ‘lunatic’ movement, for his, indeed, was a modern ‘electric body’.

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Sgourev, Stoyan V. "Categorical Bifurcation: The Rite of Spring at the Threshold of Modernism." Cultural Sociology, October 20, 2020, 174997552096236. http://dx.doi.org/10.1177/1749975520962361.

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Pursuing a new theoretical link between sociology of culture and ‘categorization’ research, the article articulates the process whereby new categories emerge through bifurcation of pre-existing categories. The contribution is in conceptualizing and documenting the underlying interaction of endogenous and exogeneous factors. The assumption is that bifurcation is likely to occur where and when individual practices of contrast maximization interact with the internal tendency toward dichotomization. This form of interaction is instrumental in identifying and explaining ‘thresholds’ in cultural change. The framework is illustrated with the archetype of ‘modern ballet’ – The Rite of Spring, choreographed by Vaslav Nijinsky, staged in 1913. By reversing the codes of ‘classical’ ballet, centered on elegance, lightness and flow, the Rite redefined movement, codifying a language of tension, interruption and constraint. It marked the key moment when a critical part of the audience interpreted ‘bad’ ballet as ‘new’ ballet. The analysis draws parallels with bifurcation processes in physics and system dynamics.

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"Nijinsky's Faune restored: a study of Vaslav Nijinsky's 1915 dance score, L'apres-midi d'un faune and his dance notation system: revealed, translated into labanotation and annotated." Choice Reviews Online 30, no. 03 (November 1, 1992): 30–1409. http://dx.doi.org/10.5860/choice.30-1409.

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