Villaescusa 1 Vivienne Villaescusa Dance 460 Professor Caroline Prohosky 12 December 2013 Revealing the Genius of Vaslav Nijinsky

Vaslav Nijinskya name immortalized since the past two centuries as the greatest male dancer of his time and one who changed the worlds perspective of men ballet dancers in his, and the following, eras. Described with words such as genius, Nijinsky was undeniably remarkable. Though many critics have sung his praises, what was it that made Nijinskys dancing so brilliantly unforgettable? To compare, there are not many who have received praise to the extent he has. Though part of his success may be credited to good fortune, it appears that the combination of nearly un-humanly perfect technique, natural ability, impeccable acting and being graced with good genetics, and family ties, and the brevity of his career, which all led to the legend of Nijinsky. In some sense, Nijinsky was simply lucky. If there was a lottery for individuals to draw a time period to be born in, Vaslav won the jackpot. The ballet world in which Nijinsky entered, as a boy, was one where women were idolized in their dancing. Men, however, were not so prestigiously recognized and often overlooked. Coming into this setting, Nijinsky was at the right place at the right time. Male dancers had long ago conceded first place to the ballerinas (Krasovskaya 20). Though this may make it sound as if Nijinsky was to arrive on scene at one of the worst times possible, the setup of societys view made Nijinsky seem like a contrasting concept and a breath of fresh air that caught the audiences attention. This set up would lead to a change in perspective of male dancers when Nijinskys stardom began to bloom.

Villaescusa 2 As mentioned previously, danseurs were often seen as the accompaniment of ballerinas to make the females shine. However, Nijinsky disturbed tradition: he demonstrated that the male dancer could compete with the female and could even eclipse it (Krasovskaya 35). His impact with history is well summed up in a quote from the book Nijinsky: God of the Dance, saying, [Vaslav Nijinsky] is still one of the best known names in a field of art which before him was, in the West, dominated almost entirely by women (Parker 1). In an era of dazzling ballerina princesses, Nijinsky proved himself a king. He would not simply stand on the sidelines; he would shine on his own. Nijinsky was skilled in the technical mastery of ballet. In regards to leaps, pirouettes and entrechats, there were no other dancers that compared (Art of Nijinsky 16). However, let us uncover the core of what many consider technique. Within ballet, and arguably any dance genre, balance is an important factor within dance. In fact, it is even said that balance is the crux of technique, and this was a crux Vaslav appears to have mastered (Magriel 18). Continuing, to read passages of Nijinsky dancing one is very easily able to picture the brilliant dance in motion. When he moves he does not blur the center of weight in his body; one feels it as clearly as if he were standing at rest, one can follow its course clearly as it floats about the stage through the dance (Magriel 18). Nijinskys technique, within dancing, amazed audiences from a range of backgrounds. After a particularly difficult leap or toss of the legs or arms, it is a marvel to observe how, without an instants pause to regain his poise, he rhythmically glides into the succeeding gesture (Magriel 7). Though his technique appeared natural, as if little effort was taken to accomplish the feats that he performed, it is keenly stated that, a more intimate observer must realize that behind this the effect produced depends on his

Villaescusa 3 supreme command of his muscles (Magriel 7). Nijinskys technique was precise and he worked hard at school to develop that talent. Though some may say that talent is something one must work towards, and is not born with, Nijinsky contradicted that philosophy as a dancing prodigy. Even as a child, Vaslav showed skill at a young age (Art of Nijinsky 9). He was admitted, at an earlier age than is usual, to advanced ballet classes (Parker 30). Beyond technique, Nijinsky was referred to as a natural genius ( Art of Nijinsky 16). It appears, from many sources, that Nijinsky had a quality about him that others can only label as magical or unique. Though no one seems to say where this magic comes from, or to pinpoint exactly what this magic is, perhaps it the inability to trace this quality that make Vaslav an enigma, and therefore admired. The book, Art of Nijinsky descriptively writes, But about Nijinskys dancing there is something altogether uniquean exotic quality which cannot be measured or referred to any standard of purely technical excellence (Whitworth 24-25). Blending in his natural ability with this magical quality, Krasovskava states, Nijinsky [had] a magical, natural aptitude for dance (Krasovskaya 9). Can this mystical quality Nijinsky possessed be repeated? It is a hard question to answer, but to replicate this magic seems, in some sense, unachievable, since no one seems to know what this magic exactly is or where it comes from. However, it is evident that this gift which Vaslav Nijinsky had contributed greatly to his success. Along with the fortunate timing of his career and a born natural ability, Vasalv had an incredible gift for acting. It was said of him, The audience does not see him as a professional dancer, or as a professional charmer. He disappears completely and instead there is an imaginary being in his place (Magriel 20). Nijinsky was evidently able to take on a role so convincingly

Villaescusa 4 that it seemed to be his true identity. Having a variety of unique roles in his dancing career, it was cleverly written that, Nijinskys art is as many-sided as a circle, in regard to acting, and that he made every role appear as if it was his favorite (Whitworth 22). While an outsider may not realize the great importance for a dancer to be not only technical but emotionally persuasive through their actions, acting is a skill often overlooked by dancers. Skimming through the variety of lists of roles taken on by Nijinsky, and thumbing through photos from the book Nijinsky by Paul Magriel, it seems quite remarkable the versatility that Vaslav possessed. Persisting, if anyone can describe themselves as a born a dancer, Vaslav can lay claim to that title. Nijinsky came from a family of dancers with his mother, Elanora, and father, Thomas Nijinsky, whom both were dancers (Parker 19). On and the evening of his birth, his mother was performing an hour before his delivery (Nijinsky 21). Nijinksys name is often associated with is legendary leaps (Parker 1). And it is possible that this legendary trait was likely inherited from his father, who is pictured as, an excellent acrobat, [who] had a superb ballon (Nijinsky 19). Perhaps this characteristic is due to the similarities in body shapes of the two men. It was said of Vaslav Nijinsky that his physical frame included, "muscular development of hip and thigh [though, giving] the impression of being very slight in build. His body is slim as a boys. His arms are delicate. His wrists and ankles almost dainty (Whitworth 25-26). It has been suggested by Romola, Nijinskys wife, that Vaslav inherited quite a lot of dancing traits from his father. Thomas Nijinsky is described as a perfect classical dancer, a master technician, and, according to Vaslav, surpass[ing] him even in technique parts (Nijinsky 19).

Villaescusa 5 Perhaps the most compelling of reasons for Nijinsky being called genius is the contradiction of his insanity. Vaslavs dancing career was a relatively short one and his decline came about gradually (Krasovskaya 333). Around 1917 he began having a fear of persecution in everything he did, and would occasionally become despondent (Krasovskaya 333). Towards the climax of his disease, in which Nijinsky was only 30 years old and no longer able to perform, the attraction toward insanity was more powerful than his love of people or love of art. And, as he prepared himself for his last performance, Nijinsky ceased to resist (Krasovskaya 340; 343). It seems that Nijinsky and his wife led a quiet life once his disease, now thought to be schizophrenia, set in. During these courses of events, his insanity was kept largely a secret from the public. With his death, all traces of this bleak part of his life seemed to disappear and only the good memories left. It was only later, with his death that Vaslav would become immortalized. After Nijinskys second, physical, death, his fame as a dancer returned. His legendary leap immediately became the subject of memoirs. The poets of Romanticism had dreamed of such a flight (Krasovskaya 352). It seems evident that part of the reasoning for Nijinskys esteemed life was due to the short career of Nijinsky. Like a shooting star flashing through the sky, Nijinskys career was greatly appreciated during that swift, brilliant phase, and once he had burned out at his fullest, only pleasant memories were left, as the scene again turned dark. As I have attempted to uncover the genius that composed Vaslav Nijinsky, it seems evident that it was more than one element that created this legendary performer. To find a dancer to equal his talent would be a difficult, perhaps impossible one. Nijinsky was truly a collection of

Villaescusa 6 well-fitting puzzle pieces, with the saying, the whole is greater than the sum of the parts being an accurate description. His inherited physical build and body structure allowed him an advantage unable to be duplicated by others, his gift for embodying characters made him believable and able to connect with his audience, and his natural ability seems an indescribable gift not easily replicated. Furthermore, his technical skill level seems unable to be surpassed and the timing of his career perfection. It is aptly stated that, Nijinskys achievements become all the more remarkable when one remembers that he is working with an imperfect physical medium ( Magriel 7) Within Nijinskys genius, he was also human To admire Nijinsky is not to admire one element of his life, or one skill, but the combination of what he was. His features seem to melt together in an imprint of his legend not soon to be erased. Vaslav Nijinsky was mortally immortal, Vaslav Nijinsky was genius, Vaslav Nijinsky will not soon be forgotten.

Villaescusa 7 Work-Cited: Krasovskaya, Vera. Nijinsky. 10. New York: Schirmer Books, 1974. Print. Magriel, Paul. Nijinsky. London: Adam and Charles Black, 1946. Print. Nijinsky, Romola. Nijinsky. New York: The Universal Library, 1934. Print. Parker, Derek. Nijinsky: God of the Dance. 2. Frome and London: Butler & Tanner Ltd, 1988. Print. Whitworth, Geoffrey. The Art of Nijinsky. London: Ballantvne, Hanson & Co., 1913. Print.