1275:, whose father Count Charles Pulszky was a Hungarian politician, and mother Emilia Márkus was a noted actress. In March 1912 the recently engaged Romola was taken to see the Ballets Russes in Budapest by her prospective mother-in-law and was greatly impressed. Nijinsky had not been performing, but she returned the following day and saw him: "An electric shock passed through the entire audience. Intoxicated, entranced, gasping for breath, we followed this superhuman being... the power, the featherweight lightness, the steel-like strength, the suppleness of his movements..." Romola broke off her engagement and began following the Ballets Russes across Europe, attending every performance she could. Nijinsky was difficult to approach, being always accompanied by a 'minder'. However, Romola befriended
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fortunate. Discovering the three notebooks of the diary years later, plus another with letters to a variety of people, his wife published a bowdlerized version of the diary in 1936, translated into
English by Jennifer Mattingly. She deleted about 40 per cent of the diary, especially references to bodily functions, sex, and homosexuality, recasting Nijinsky as an "involuntary homosexual". She also removed some of his more unflattering references to her and others close to their household. She moved sections around, obscuring the "march of events" obvious in the original version and toning down some of the odder portions, including trying to distinguish between sections in which he writes as God and others as himself. (In the original all such sections are written the same.)
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more and more time in his company. The unexpected friendliness was noticed by Baron de
Gunsbourg, an investor in the Ballets Russes, who had been tasked with keeping an eye on the company. Instead of reporting to Diaghilev on what was occurring, Gunsbourg agreed to act on Nijinsky's behalf in presenting a proposal of marriage to Romola. Romola thought a cruel joke was being played on her, and ran off to her cabin crying. However, Nijinsky asked her again, in broken French and mime, and she accepted. Although Gunsbourg had a financial interest in Ballets Russes, he was also interested in forming his own company, and a split between Diaghilev and his star dancer might have presented him with an opportunity.
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change so as to calm the audience, Nijinsky, having expressly banned this, flew into a rage and was discovered half dressed and screaming in his dressing room. He had to be calmed down enough to perform. He jumped on a stagehand who had flirted with Romola ("I had never seen Vaslav like that"). A new program was to be performed for the third week, but a packed house had to be told that
Nijinsky was ill with a high temperature and could not perform. He missed three days, and the management had had enough. The show was cancelled, and Nijinsky was left with a considerable financial loss. Newspapers reported a nervous breakdown. His physical vulnerability had been aggravated by the great stress.
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case of a dancer's own illness, certified by a doctor, was the dancer allowed to miss a performance. Diaghilev also usually dismissed dancers who married. This was perhaps beside the point, since
Nijinsky had never had a contract, nor wages, all his expenses having been paid by Diaghilev. His mother also received an allowance of 500 francs per month (other senior dancers had received 200,000 francs for a six-month season). Fokine was re-employed by Diaghilev as choreographer and premier danseur, accepting on the condition that none of Nijinsky's ballets would be performed.
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that the new central figure in her brother's life showed so little organisational ability; Romola resented the closeness between brother and sister both in their shared language and in ability to work together in dance. The final company had only three experienced dancers: Nijinsky and Bronia plus her husband. Scenery was late, Fokine refused to allow the use of his ballets, there was inadequate time to rehearse, and
Nijinsky became "more and more nervous and distraught". Diaghilev came to the opening night in March 1914.
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keeping a particularly proprietorial eye on
Nijinsky during rehearsals in Russia. They took the travel arrangements and accommodation as confirmation of a relationship. Prince Lvov had visited Nijinsky's mother in St Petersburg, telling her tearfully that he would no longer be taking a special interest in her son, but he advanced a significant sum to Diaghilev towards the tour's expenses. Mavrine was known to have been Diaghilev's lover, but left the tour together with Olga Pedorova shortly after it had begun.
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company, causing another stress for the siblings. Diaghilev did not accompany the South
American tour, claiming he had been told that he would die on the ocean. Others have suggested the reason had more to do with wanting to spend time away from Nijinsky and enjoy a holiday in Venice, "where perhaps adventures with pretty dark-eyed boys awaited him". Nijinsky set sail on a 21-day sea voyage in a state of turmoil and without the people who had been his closest advisers in recent years.
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1286:, who accompanied the troupe coaching the dancers. Nijinsky objected to her taking class with the professionals. Cecchetti warned her against becoming involved with Nijinsky (describing him as "like a sun that pours forth light but never warms"), but Diaghilev's endorsement meant that Nijinsky paid her some attention. Romola took every opportunity to be near Nijinsky, booking train compartments or cabins close to his. She was likely warned that he was homosexual by
985:, Karsavina and Nijinsky were chosen as principal dancers. Fokine insisted that Ida Rubenstein would appear as Cleopatra, and Nijinsky insisted that his sister should have a part. Fokine noted Nijinsky's great ability at learning a dance and precisely what a choreographer wanted. Diaghilev departed for Paris in early 1909 to make arrangements, which were immediately complicated on the day of his return, 22 February 1909, by the death of Grand Duke
1439:, including an orgy between blacks and whites, did not appeal to Americans; and ballet aficionados were calling for Nijinsky. Romola took over negotiations, demanding that Diaghilev pay Nijinsky for the years he had been unpaid by the Ballets Russes before he would dance in New York. This was settled after another week's delay by a down payment of $ 13,000 against the $ 90,000 claimed, plus a fee of $ 1000 for each performance in America.
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Russes and the
Imperial Russian ballet were the pre-eminent ballet companies in the world and uniquely had permanent companies of dancers staging full-scale new productions. Nijinsky now was "an experimental artist. He needed roles that would extend his gifts, and above all, he needed to choreograph. For these things he did need the Ballets Russes, which at that time was the only forward-thinking ballet company in the world."
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Each dancer who performed before the Tsar received a gold watch inscribed with the
Imperial Eagle. Buoyed by Nijinsky's salary, his new earnings from giving dance classes, and his sister Bronia's employment with the ballet company, the family moved to a larger flat on Torgovaya Ulitsa. The new season at the Mariinsky theatre began in September 1907, with Nijinsky employed as coryphée on a salary of 780 roubles per year.
1625:, who photographed the Ballets Russes seasons in London extensively between 1909 and 1921. No film exists of Nijinsky dancing; Diaghilev never allowed the Ballets Russes to be filmed because he felt that the quality of film at the time could never capture the artistry of his dancers. He believed that the reputation of the company would suffer if people saw their performance only in the short, jerky films of the period.
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Inspired by the music and hearing a language from his youth, he started dancing, astounding the men with his skills. Drinking and laughing with them helped him start to speak again. He had maintained long periods of almost absolute silence during his years of illness. His wife Romola had protected them by staying for a time at the border of
Hungary and Austria, trying to keep out of major areas of fighting.
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1279:, who had previously visited her mother, thereby gaining access to the company and backstage. She and Nijinsky shared no common language; she spoke French but he knew only a little, so many of their early conversations involved an interpreter. When first introduced to her, he gained the impression she was a Hungarian prima ballerina and was friendly. Discovering his mistake, he ignored her thereafter.
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made a mistake, but the mistake was irreparable. I had put myself in the hands of someone who did not love me." Romola and Nijinsky did not share accommodations until after the season was safely underway, when she was eventually invited to join him in separate bedrooms in his hotel suite. She "almost cried with thankfulness" that he showed no interest in making love on their wedding night.
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1688:(1990) by Joseph Hölderle (composer) and Juha Vanhakartano (choreographer). The libretto (Juha Vanhakartano) is based on Nijinsky's diary. The two act ballet (1st "Life" / 2nd "Death") was commissioned in 1989 on the occasion of Nijinsky's 100th birthday (1889 or 1890) by the Finnish National Opera and it was premiered on 18 January 1990 at the Finnish National Opera in Helsinki.
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901:, a celebrated and highly innovative producer of ballet and opera, as well as art exhibitions. He concentrated on promoting Russian visual and musical art abroad, particularly in Paris. The 1908 season of colorful Russian ballets and operas, works mostly new to the West, was a great success, leading him to plan a new tour for 1909 with a new name for his company, the now famous
1321:, Argentina; the couple were married on 10 September 1913 and the event was announced to the world's press. Back in Europe, Diaghilev "gave himself to a wild orgy of dissipation...Sobbing shamelessly in Russian despair, he bellowed accusations and recriminations; he cursed Nijinsky's ingratitude, Romola's treachery, and his own stupidity".
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rehearsals and to spend nights at performances. He was teased for being Polish, and nicknamed "Japonczek" for his faintly Japanese looks at a time Russia was at war with Japan. Some classmates were envious and resented his outstanding dancing ability. In 1901 one of the class deliberately caused him to fall, leading to his
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and translated by Kyril FitzLyon. Acocella notes that the diary displays three elements common to schizophrenia: "delusions, disorganized language, and disorganized behavior." It also demonstrates that Nijinsky's thought was showing a "breakdown in selective attention;" his associations would connect
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led to an additional tour of the US being agreed to for the autumn. Kahn did not get on with Diaghilev and insisted Nijinsky should manage the tour. Massine and Diaghilev returned to Europe, leaving Nijinsky to dance and manage a company of more than 100 for a salary of $ 60,000. Nijinsky was also to
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The audience divided between those who had never seen ballet, who objected to the delays necessary for scene changes, and those who had seen Nijinsky before, who generally felt something was lacking ("He no longer danced like a god"). On another night, when the orchestra played music during the scene
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Bronia was still in St Petersburg following the birth of her child, and Nijinsky asked her to be part of his new company. She was glad to do so, being concerned at how well he could cope without his customary supporters. When she arrived, there was friction between her and Romola: Bronia was critical
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The Ballets Russes had lost its most famous and crowd-pulling dancer, but Nijinsky's position was even more difficult. He appears not to have appreciated that his marriage would result in a break with Diaghilev's company, although many others immediately expected this would be the result. The Ballets
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On board ship, Romola had a cabin in first class, which allowed her to keep a watch on Nijinsky's door, while most of the company were exiled to second class. She befriended his masseur and was rewarded with a rundown on his musculature. Determined to take every opportunity, she succeeded in spending
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to sponsor the application. Bronia entered the school two years after Vaslav. Their elder brother Stanislav had had a fall from a window when young and seemed to have suffered some brain damage. Vaslav and Bronia, just two years apart, became very close as they grew. As he got older, Stanislav became
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As the company was due to start performing immediately, the couple had no honeymoon. A few days after the marriage, Nijinsky tried to teach Romola some ballet, but she was not interested. "I asked her to learn dancing because for me dancing was the highest thing in the world", "I realized that I had
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The season of colorful Russian ballets and operas, works mostly new to the West, was a great success. The Paris seasons of the Ballets Russes were an artistic and social sensation; setting trends in art, dance, music and fashion for the next decade. Nijinsky's unique talent showed in Fokine's pieces
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Nijinsky spent his summer after graduation rehearsing and then performing at Krasnoe Selo in a makeshift theatre with an audience mainly of army officers. These performances frequently included members of the Imperial family and other nobility, whose support and interest were essential to a career.
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and accordion, receiving good marks. He had a good ability to hear and play music on the piano, though his sight reading was relatively poor. Against this, his behaviour was sometimes boisterous and wild, resulting in his expulsion from the school in 1903 for an incident involving students shooting
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in St Moritz. The crowd consisted of skiers, hotel guests, wealthy visitors from abroad, war refugees, and assorted social climbers. Bertha Asseo, a family friend, played the piano. Vaslav stood still for a good while before he finally started moving. His dance reflected a wide range of feelings,
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On returning to Paris, Nijinsky anticipated returning to work on new ballets, but Diaghilev did not meet him. Eventually he sent a telegram to Nijinsky informing him that he was no longer employed by the Ballets Russes. Nijinsky had missed a performance in Rio when Romola was ill, and only in the
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The company was to embark on a tour of South America in August 1913. Nijinska, who had always worked closely with her brother and supported him, could not accompany the tour because she had married in July 1912 and become pregnant. In October 1912 their father had died while on tour with his dance
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His second daughter Tamara Nijinsky grew up with her maternal grandmother, never getting to see her father dance. Later she served as executive director of the Vaslav & Romola Nijinsky Foundation, founded by her mother, to preserve art and writing associated with her parents, and her father's
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Nijinsky's diary, which he wrote from January to early March 1919, expressed his great fear of hospitalization and confinement. He filled it with drawings of eyes, as he felt himself under scrutiny, by his wife, a young doctor Frenkel, and others. Finally, Romola arranged a consultation in Zurich
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For the next 30 years, Nijinsky was in and out of psychiatric hospitals and asylums. During 1945, after the end of the war, after Romola had moved with him to Vienna, he encountered a group of Russian soldiers in an encampment, playing traditional folk tunes on a balalaika and other instruments.
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based on the Bible. Aside from Nijinsky's difficulties, Diaghilev came under pressure from financial backers and theatre owners who wanted productions more in the style of previous successful work. Although Diaghilev had become unhappy with Fokine's work, thinking he had lost his originality, he
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was written during the six weeks in 1919 he spent in Switzerland before being committed to the asylum to Zurich. It reflected the decline of his household into chaos. He elevated feeling and action in his writing. It combined elements of autobiography with appeals for compassion toward the less
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Diaghilev started negotiations in October 1914 for Nijinsky to work again for the company, but could not obtain release of the dancer until 1916. The complex negotiations included a prisoner exchange with the United States, and agreement that Nijinsky would dance and choreograph for the Ballets
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Diaghilev and Nijinsky travelled to Paris ahead of the rest of the company. Initially Nijinsky stayed at the Hôtel Daunou. He moved to the Hôtel de Hollande together with Diaghilev and his secretary, Alexis Mavrine, before the arrival of the others. Members of the company had noticed Diaghilev
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Group of supporters and members of the Ballets Russes taken by one of its founders, Nicolas Besobrasov. From left to right, in hat Alexandra Sergueievna Botkina, Pavel Koribut-Kubitovitch, Tamara Karsavina, Vaslav Nijinsky, Igor Stravinsky, Alexandre Benois, Sergei Diaghilev, K Harris. Front,
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In 1902 he was warned that only the excellence of his dancing had prevented his expulsion from the school for poor results. This laxity was compounded through his school years by Nijinsky's frequently being chosen as an extra in various productions, forcing him to be away from classrooms for
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in attendance. His costume, which had been designed by Benois and used in Paris before, caused a scandal, as he danced in tights without the then-common trousers. He refused to apologize and was dismissed from the Imperial Ballet. It is possible that he was not altogether unhappy about this
1244:. Relations between Diaghilev and Nijinsky had deteriorated under the stress of Nijinsky's becoming principal choreographer and his pivotal role in the company's financial success. Diaghilev could not face Nijinsky to tell him personally that he would no longer be choreographing the ballet
1016:, which the company had been granted special permission to use, along with loans of scenery. No sooner had rehearsals started that the permission was withdrawn, disappearing as had the imperial subsidy. Diaghilev managed to raise some money in Russia, but he had to rely significantly on
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to Paris, where high-quality productions such as those of the Imperial Ballet were not known. Nijinsky became the company's star male dancer, causing an enormous stir amongst audiences whenever he performed. In ordinary life, he appeared unremarkable and was withdrawn in conversation.
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premiered. The theme of the ballet, based on pagan myths, was a young maiden who sacrificed herself by dancing until she died. The theme, the difficult and challenging music of Stravinsky, and Nijinsky's choreography, led to a violent uproar; Diaghilev was pleased with the notoriety.
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series. Romola Nijinsky objected to her late husband's being depicted as a homosexual by a writer she believed was homosexual. Rattigan withdrew the work, prohibiting its production in his lifetime. He died in 1977. The play was staged posthumously at Chichester Festival Theatre in
1317:, the couple went straight to buy wedding rings. Adolph Bolm warned Romola against proceeding, saying "It will ruin your life". Gunsbourg hurried to arrange the marriage, getting permission by telegram from Romola's mother. A quick wedding could take place once the ship arrived at
1394:(World War I), Nijinsky was classified as an enemy Russian citizen. He was confined to house arrest in Budapest and could not leave the country. The war made problems for the Ballets Russes too; the company had difficulty recruiting dancers and Fokine returned to Russia.
1020:, who had been arranging theatres and publicity on behalf of the company in France, to also provide finance. Plans to include Opera had to be dropped because of the lack of finances, and logistical difficulties in obtaining necessary scenery at short notice and for free.
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Not only had Nijinsky previously left the Imperial ballet on doubtful terms, but he had not been granted exemption from compulsory military service in Russia, something that was normally given to its dancers. He could find only two offers, one a position with the
530:), becoming a full member of the company at age thirteen. In 1868 her talent was spotted and she moved to Kiev as a solo dancer. Tomasz Niżyński also attended the Wielki Theatre school, becoming a soloist there. At age 18 he accepted a soloist contract with the
854:. Nijinsky had a minor role, but it allowed him to show off his technical abilities with leaps and pirouettes. The partnership of Fokine, Benois and Nijinsky was repeated throughout his career. Shortly after, he upstaged his own performance, appearing in the
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Nijinsky became increasingly mentally unstable with the stresses of having to manage tours himself and deprived of opportunities to dance. After a tour of South America in 1917, and due to travel difficulties imposed by the war, the family settled in
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and played by Mikhail Baryshnikov is a staging of Nijinsky's diaries that chronicle the onset of his schizophrenia in 1919, his isolation, tormented sexuality and spirituality, and preoccupation with erstwhile lover and Ballets Russes founder Sergei
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654:, and won the Didelot scholarship. During his first year, his academic studies had covered work he had already done, so his relatively poor results had not been so much noted. He did well in subjects which interested him, but not otherwise.
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review said, "How ironic that in erasing the real ugliness of his insanity, the old version silenced not only Nijinsky's true voice but the magnificently gifted body from which it came. And how fortunate we are to have them both restored."
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and other ballet enthusiasts. As a friend and as a leading dancer, Nijinsky was part of the group. His sister wrote that he felt intimidated by the illustrious and aristocratic company. Fokine was asked to start rehearsals for the existing
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On 11 June 2011, Poland's first sculpture of the Polish/Russian dancers Vaslav Nijinsky and his sister Bronislava Nijinska was unveiled in the Teatr Wielki's foyer. It portrays them in their roles as the Faun and the Nymph from the ballet
862:, partnering Lydia Kyasht. The Mariinsky audience was deeply familiar with the piece, but exploded with enthusiasm for his performance and his appearing to fly, an effect he continued to have on audiences with the piece during his career.
789:. He was congratulated by the director of the Imperial Ballet and offered a place in the company although he was a year from graduation. Nijinsky chose to continue his studies. He tried his hand at choreography, with a children's opera,
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at the hats of passers-by with catapults while being driven to the Mariinsky Theatre in carriages. He was readmitted to the school as a non-resident after a sound beating and restored to his previous position after a month's probation.
1461:, the conductor, refused to take part in performances because he did not want to be associated with failure. Nijinsky twisted his ankle, postponing the season's opening for a week and his own appearance by two weeks. Rehearsals for
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child) has been left by her mother with a hostile "babysitter," who is distressed by the attention that Nance is paying to a Greek statue of a "naked man". After the babysitter leaves, an apparition of Nijinsky appears, comforting
1219:(1913), Nijinsky created choreography that exceeded the limits of traditional ballet and propriety. The radically angular movements expressed the heart of Stravinsky's radically modern score. Violence broke out in the audience as
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Diaghilev and Nijinsky became lovers; the Ballets Russes gave Nijinsky the chance to expand his art and experiment with dance and choreography; he created new directions for male dancers while becoming internationally famous.
632:. At the end of the one year probationary period, his teachers agreed upon Nijinsky's exceptional dancing ability and he was confirmed as a boarder at the school. He appeared in supporting parts in classical ballets such as
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He was introduced to dance by his parents, who were senior dancers with the travelling Setov opera company, and his early childhood was spent touring with the company. His elder brother, Stanislav, and younger sister,
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created a routine called "Tribute to Vaslav Nijinsky", which he performed in competitions around the world. He earned a perfect 6.0 score for artistic impression in the 2003–2004 Russian National Championship in St.
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Nijinsky became calmer and more serious as he grew older, but continued to make few friends, which continued through his life. His reserve and apparent dullness made him unappealing to others except when he danced.
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After Josef Setov died about 1894, the company disbanded. Thomas attempted to run his own company, but was not successful. He and his family became itinerant dancers, the children appearing in the Christmas show at
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was considered better than Massine's. As the tour progressed, Nijinsky's performances received steady acclaim, although his management was haphazard and contributed to the tour's loss of $ 250,000.
750:, a suite of classic dances performed on the opening night of the Ballets Russes in Paris, May 1909. The company's courier later described the audience's reaction to Nijinsky's performance with
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Nijinsky's work in choreographing ballets had proved controversial. They were time-consuming to rehearse and badly received by critics. Diaghilev asked him to begin preparing a new ballet,
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Romola did not give up. She persuaded Diaghilev that her amorous interests lay with Bolm, that she was rich and interested in supporting ballet. He allowed her to take ballet lessons with
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refers to Nijinsky "...Dancing on hallowed ground/Dancing Nijinsky style/Dancing with the lost and found...". He is also mentioned in the song "Muscle in Plastic" on the same album.
735:. Imperial cavalry troops charged the crowd, leaving him with a head wound. The following day, he returned to the scene with a friend whose sister was missing. She was never found.
455:, under house arrest until 1916. After intervention by Diaghilev and several international leaders, he was allowed to go to New York for an American tour with the Ballets Russes.
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while on tour with the company in South America. The marriage caused a break with Diaghilev, who soon dismissed Nijinsky from the company. The couple had two daughters together,
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from sadness and anger to joyfulness. His strong feelings towards the devastation of the war, and people who did nothing to stop it, were also reflected in his dance.
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in Paris, showing year of birth as 1889. The statue, donated by a Russian group from Perm, without the family's permission, shows Nijinsky in character as the puppet
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The Emilia Markus villa in Budapest; Vaslav Nijinsky lived here with his wife Romola Pulszky and children for a period. After 1920 he was mostly confined to asylums.
1354:, which would not start for more than a year; the other to take a ballet company to London for eight weeks to perform as part of a mixed bill at the Palace Theatre.
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554:, which may have been a genetic vulnerability shared in a different form by her son Vaslav. Both boys received training from their father and appeared in an amateur
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776:. Oboukhov amended the dance to show off Nijinsky's abilities, drawing gasps and then spontaneous applause in the middle of the performance with his first jump.
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became his teacher in 1902, and awarded him the highest grade he had ever given to a student. He was given student parts in command performances in front of the
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1290:, whom Romola befriended and who was also in love with Nijinsky. As a devout Catholic, she prayed for his conversion to heterosexuality. She referred to him as
977:. To round out the program, they needed another ballet. Without sufficient time to compose a new work, they decided on a suite of popular dances, to be called
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1943:. The screenplay was based on Nijinsky's diaries, narrated by Derek Jacobi, with related imagery, including several Leigh Warren Dancers portraying Nijinsky.
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attempted to present their petition to the Czar. Soldiers fired upon the crowd, leading to an estimated 1000 casualties. Nijinsky was caught in the crowd on
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in 1919, asking her mother and stepfather for help in getting Nijinsky there. His fears were realized; he was diagnosed with schizophrenia and committed to
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then we were watching with emotionless faces the innatural grace of Nijinsky. And then his manager fell desperately in love with him and the Russian Ballet
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1512:, where he tried to recover from the stresses of the tour. Also in 1917, Bronia and Vaslav lost their older brother Stanislav, who died in a hospital in
568:. In 1897 Thomas and Eleanora separated after Thomas had fallen in love with another dancer, Rumiantseva, while touring in Finland. Eleanora moved to 20
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of the Imperial Ballet, who invited him to partner her. His future career with the Imperial Ballet was guaranteed to begin at the mid-rank level of
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canceled the project during pre-production. According to Richardson, Saltzman had overextended himself and did not have the funds to make the film.
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Diaghilev accepted the idea of an Egyptian theme, but he required a comprehensive rewrite based on new music, by which Fokine created a new ballet
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poi guardavamo con le facce assenti la grazia innaturale di Nijinsky. E poi di lui si innamorò perdutamente il suo impresario e dei balletti russi
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on 30 September 1917, at age twenty-eight. Rubinstein wept when he saw Nijinsky's confusion that night. It was around this time that signs of his
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Bronislava Nijinska, 'Early Memoirs,' translated and edited by Irena Nijinska and Jean Rawlinson, New York 1981, Holt Rinehart and Winston, p.499
429:, fights broke out in the audience between those who loved and hated this startling new style of ballet and music. Nijinsky originally conceived
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did not go well; Nijinsky's poor communication skills meant that he could not explain to dancers what he wanted. He would explode into rages.
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Eleanora, along with her two brothers and two sisters, was orphaned while still a child. She started to earn a living as an extra in Warsaw's
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During the winter of 1908/9, Diaghilev started planning for the 1909 Paris tour of opera and ballet. He collected a team including designers
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had not been completed, and it had to be improvised during its first performance. It was still well received, and Nijinsky's performance in
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538:, and Eleanora a soloist. Eleanora continued to tour and dance while having three children, sons Stanislav (b. 29 December 1886 in
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358:, the pre-eminent ballet school in the world. In 1907, he graduated and became a member of the Imperial Ballet, starting in the rank of
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pas de deux: "when those two came on, good Lord! I have never seen such a public. You would have thought their seats were on fire."
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in 1919 and committed to a mental asylum. For the next 30 years, he was in and out of institutions, never dancing in public again.
1536:. After a few days, he was transferred to the Bellevue Sanatorium, "a luxurious and humane establishment directed at that time by
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for the 1907 Imperial ballet school student show, and was performed by the new Ballets Russes on its opening night in Paris, 1909.
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considered one of the first modern ballets, caused controversy because of its sexually suggestive final scene. At the premiere of
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1766:(1998) used the death of impresario Sergei Diaghilev as a catalyst to rouse Nijinsky out of a Swiss sanatorium "to pay tribute".
1390:, Austro-Hungary, to his mother-in-law Emilia Markus' house. Their daughter Kyra was born on 19 June 1914. With the start of the
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with her children. She persuaded a friend from the Wielki Theatre, Victor Stanislas Gillert, who was at the time teaching at the
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parents, touring dancers Tomasz Niżyński (b. 7 March 1862) and Eleonora Bereda (b. 28 December 1856). Nijinsky was christened in
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1190:, in the final tableau, he mimed masturbation with the scarf of a nymph, causing a scandal; he was defended by such artists as
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With no alternative employer available, Nijinsky tried to form his own company, but this was not a success. He was interned in
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Nijinsky took the creative reins and choreographed ballets which pushed boundaries and stirred controversy. His ballets were
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that includes a fantastical, non-literal appearance by Nijinsky. In the play, an adult woman named Nance (who is dressed a
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1202:. Nijinsky's new trends in dance caused a riotous reaction at the Théâtre de Champs-Élysées when they premiered in Paris.
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Theatre. The two met, married in May 1884 and settled into a career with the traveling Setov opera company. Tomasz was
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as a flirtatious interaction among three males, although Diaghilev insisted it be danced by one male and two females.
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sent him a caustic telegram, reminding him that he had disapproved some years before when she had appeared there in
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increasingly mentally unstable and would have fierce tantrums. He was admitted to an asylum for the insane in 1902.
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Nijinsky was celebrated for his virtuosity and for the depth and intensity of his characterizations. He could dance
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about an affair between Coco Chanel and Igor Stravinsky. Nijinsky is portrayed in scenes depicting the creation of
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Commissioned by the Polish National Ballet, the sculpture was made in bronze by the well-known Ukrainian sculptor
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On Sunday, 19 January 1919, Vaslav Nijinsky made one last public appearance: a solo improvised performance at the
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Nijinsky arrived in New York on 4 April 1916. The tour had already started in January with a number of problems:
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1794:(2000), a two-act play for six performers, had its world premiere (in Japanese) at Parco Theater in Tokyo with
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refers to Nijinsky: "If you feel blue/ Look through Who's Who/ See La Goulue/ And Nijinsky/ Do the Strandsky."
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1784:(1998) as a monologue spanning the dancer's career; he played the role of Nijinsky and did his own dancing.
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Igor Stravinsky and Robert Craft, Conversations with Igor Stravinsky (London: Faber, 1979), pp. 46–7.
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2753:[Vaslav Nijinsky and Golden Age of Russian Ballet] (in Russian). Diletant Media. 10 January 2018
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1186:(1916). These introduced his audiences to the new direction of modern dance. As the title character in
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although he grew up in the interior of Russia with his parents and he had difficulty speaking Polish.
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3352:(The Internet Theater Magazine of Reviews, Features, Annotated Listings), accessed 1 December 2014
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had become apparent to members of the company, including Bourman. Nijinsky and his wife moved to
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features a song called "My Nijinsky Heart" that is about wanting to bring out the dancer within.
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1969:(2009), documentary on influence of Nijinsky's work on the contemporary American choreographer
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In 1900, Nijinsky joined the Imperial Ballet School, where he initially studied dance under
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of Polish ancestry. He is regarded as the greatest male dancer of the early 20th century.
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In subsequent years, Nijinsky was given several soloist roles at the Mariinsky. In 1910,
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quotes Nijinsky, his peculiar dancing style, and hints to his relation with Diaghilev: "
1516:. Accounts vary as to the cause of death. He had been institutionalized for many years.
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His last professional public performance was during a South American tour, with pianist
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3230:"Cimetière de Montmartre: an abandoned quarry transformed into a stunning necropolis"
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at the Mariinsky Theatre in St. Petersburg for the Imperial Ballet, with the Tsarina
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Kolb, Alexandra (2009) "Nijinsky's Images of Homosexuality: Three Case Studies".
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3797:, Edited by Joan Acocella, Farrar, Straus and Giroux, 1998, online February 1999
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to dance a principal role in what proved to be the choreographer's last ballet,
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1551:, Surrey, England, with his wife. He died from kidney failure at a clinic in
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portrayed Nijinsky in the critically acclaimed solo play in the Netherlands.
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was commissioned to write a play about Nijinsky and Diaghilev for the BBC's
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In 1904, at the age of 14, Nijinsky was selected by the great choreographer
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343:, known to intimates as Bronia, also became dancers; Bronia also became a
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1673:. First performed by the Ballet of the Twentieth Century, Brussels, 1971.
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on 8 April 1950 and was buried in London. In 1953, his body was moved to
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Nijinsky is immortalized in numerous still photographs, many of them by
1248:, but instead asked his sister Bronia Nijinska to deliver the bad news.
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Alexandra Vassilieva. Taken in 1911, three days before the premiere of
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2402:"El cuerpo danzante en la invención del lazo social: el caso Nijinsky"
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development, as he was now free to concentrate on the Ballets Russes.
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807:, in a pas de deux choreographed by Fokine. He was congratulated by
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In 1912, Nijinsky began choreographing original ballets, including
3122:"One hundred years ago: Nijinsky and the origins of schizophrenia"
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1583:, and they had a son named Vaslav. The marriage ended in divorce.
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318:; 12 March 1889/1890 – 8 April 1950) was a Russian
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3264:"Dancing With Madness: Review of 'The Diary of Vaslav Nijinsky'"
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Nijinsky created a sensation in the role of the Wind God Vayou.
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massacre in St. Petersburg, where a group of petitioners led by
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2494:. Vol. 19, no. 2244. Poland (published 6 May 2000).
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as Fokine. Romola Nijinsky had a writing credit for the film.
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2942:, p. 92, citing Romola Nijinsky's biography, 'Nijinsky'
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was considered too sexually explicit and had to be amended;
803:. At his graduation performance in April 1907, he partnered
2991:, by critics in England and the United states, p. 108.
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Machado, María Inés; Battista, Julieta De (December 2019).
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In 1906, he danced in the Mariinsky production of Mozart's
467:. His mental condition deteriorated; he was diagnosed with
264:
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William Walton (10 September 1945). "Nijinsky in Vienna".
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Nijinsky's daughter Kyra married the Ukrainian conductor
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A turning point for Nijinsky was his meeting the Russian
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A verse of the song "Prospettiva Nevskj" from the album
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joined the company as the new attractive young lead for
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The work was never performed due to the outbreak of the
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Emigrants from the Russian Empire to the United Kingdom
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ICONS: The Lesbian and Gay History of the World, Vol. 5
1989:. Nijinsky is played by Polish actor Marek Kossakowski.
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ICONS: The Lesbian and Gay History of the World, Vol. 5
3716:. Wellingborough, England: Thorsons Publishing Group.
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Nijinsky, Waslaw (January 1999). Joan Acocella (ed.).
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On Sunday, 9 January 1905, Nijinsky was caught in the
3211:"From the archives: An obituary of Vaslav Nijinsky".
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Revista Latinoamericana de Psicopatologia Fundamental
1817:(2011), Sagiri Seina performed the title role in the
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selected Nijinsky to dance in a revival of Petipa's
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3811:
Vaslav Nijinsky: Creating A New Artistic Era Vaslav
3478:"Plushenko Nijinsky Best Performance Eleven 6.0s!!"
2221:A verse of the song "Do the Strand" from the album
347:, working closely with him for much of his career.
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3794:The Diary of Vaslav Nijinsky/ Unexpurgated Edition
3655:The Diary of Vaslav Nijinsky: Unexpurgated Edition
3652:
3592:
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2751:"Вацлав Нижинский и "золотой век" русского балета"
2068:: "look at my legs I am the Nijinsky of dreams..."
797:. At Christmas, he played the King of the Mice in
3817:Bridget Lowe, ″At the Autopsy of Vaslav Nijinsky″
3366:[Nijinsky: Between Truth and Fantasies].
3959:People from the Russian Empire of Polish descent
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1386:Romola was pregnant, so the couple returned to
1240:returned to him for two new ballets, including
708:La Romance d'un Bouton de rose et d'un Papillon
604:The middle act was originally choreographed by
19:"Nijinsky" redirects here. For other uses, see
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2061:The Battlefield Where The Moon Says I Love You
1939:(2001), written, shot, edited and directed by
628:; all three men were principal dancers at the
3530:The Tragic Dynasty: A History of the Romanovs
2191:A verse of the song "Dancing" from the album
1774:dancer, portrayed the schizophrenic Nijinsky.
1559:in Paris and reinterred beside the graves of
39:
8:
3508:Modernism and Music: An Anthology of Sources
2252:In 2003, the Russian champion figure skater
2184:wrote the song "Beautiful" for the musical,
836:and Karsavina. Kchessinska partnered him in
491:Vaslav Nijinsky was born in 1889 or 1890 in
3949:Male ballet dancers from the Russian Empire
3929:Emigrants from the Russian Empire to France
3023:Bookseller at the Ballet, Memoirs 1891–1929
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1744:A Cavalier for Milady: A Play in Two Scenes
1702:. First performed by Gauthier Dance at the
1598:In 1995, the first unexpurgated edition of
3395:The Long-Distance Runner: An Autobiography
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1973:. Produced by Lothar Mattner for WDR/ARTE.
1967:Nijinsky & Neumeier Soulmates in Dance
350:At age nine, Nijinsky was accepted at the
49:
27:
3139:
2909:Romola Nijinsky, 'Nijinsky', p. 240.
2876:Romola Nijinsky, 'Nijinsky,' p. 233.
2417:
966:. Fokine favoured expanding the existing
3751:Fedosova, E. M.; Laletin, S. V. (2008).
3480:. YouTube. 27 April 2009. Archived from
2930:, p. 92 quoting Nijinsky's 'diary'.
2459:
1451:prepare two new ballets. Rehearsals for
785:, in a ballet sequence choreographed by
764:The 1905 annual student show included a
3894:Artists' models from the Russian Empire
3625:The Queer Afterlife of Vaslav Nijinsky.
3591:Gold, Arthur; Fitzdale, Robert (1992).
3162:
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3092:
3009:
2987:, p. 104, citing Nesta MacDonald,
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2897:
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2831:Romola Nijinsky, 'Nijinsky,' p. 4.
2819:
2789:
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1811:portrayed Nijinsky in this solo musical
905:. He worked closely with choreographer
16:Russian ballet dancer and choreographer
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2609:
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1815:Nijinsky – The Miraculous God of Dance
850:, choreographed by Fokine to music by
298:[ˈvatsləffɐˈmʲitɕnʲɪˈʐɨnskʲɪj]
3828:The Diaries of Vaslav Nijinsky (2001)
3576:. London: Weidenfeld & Nicolson.
3345:Romola & Nijinsky (Deux Mariages)
1679:(1979) Hamburg Ballet, choreographer
1012:Rehearsals started on 2 April at the
366:, and already taking starring roles.
313:
296:
7:
3954:Male writers from the Russian Empire
3694:Vaslav Nijinsky, A Leap into Madness
2171:. It was cast posthumously in 1912.
1953:. Explores the first performance of
693:. In music he studied piano, flute,
436:In 1913, Nijinsky married Hungarian
3874:20th-century Russian ballet dancers
3839:Nijinsky: Unfinished Project (1970)
2022:"September 1, 1939" (1939) by poet
1959:in Paris. Nijinsky is portrayed by
1867:was written by American playwright
1259:Vaslav Nijinsky, 1912, dancing the
1044:and other Russian composers) and a
662:and being in a coma for four days.
3869:20th-century Polish ballet dancers
3190:Acocella, Joan (14 January 1999).
2419:10.1590/1415-4714.2019v22n4p938.14
2003:. New York: Alfred A. Knopf, 1975.
1981:(2009), a French film directed by
1104:(based on the orchestral suite by
373:, a new ballet company started by
14:
3889:20th-century Russian male writers
3783:Works by or about Vaslav Nijinsky
2852:Romola Nijinsky, 'Nijinsky,' p.13
2167:. Nijinsky was also portrayed by
2081:At the Autopsy of Vaslav Nijinsky
1978:Coco Chanel & Igor Stravinsky
1931:; portrayed by Mikhaill Krapivin.
1871:. The film was to be directed by
1171:Prélude à l'après-midi d'un faune
1136:Ballets choreographed by Nijinsky
793:, with music by another student,
3924:Diarists from the Russian Empire
3884:20th-century Russian LGBT people
3532:, pg. 430. Konecky and Konecky.
3293:Database Finnish National Opera
1949:(2005), a TV drama, directed by
1903:, starring professional dancers
1476:Tombstone of Vaslav Nijinsky in
1305:Nijinsky and daughter Kyra, 1916
1294:, and wanted to have his child.
1051:. His expressive execution of a
546:('Bronia', b. 8 January 1891 in
201:
3120:Fernandez-Egea, Emilio (2019).
2387:Encyclopedia of World Biography
172:
3909:Burials at Montmartre Cemetery
3792:Vaslav Nijinsky, Chapter One,
3761:]. Art Deco. p. 148.
3364:"Нижинский: человек и легенда"
3362:Shamina, D. (17 August 2016).
2273:List of Russian ballet dancers
1936:The Diaries of Vaslav Nijinsky
1426:all interceded on his behalf.
597:Nijinsky as Armide's slave in
560:production in Odessa in 1894.
99:, Russian Empire (now Ukraine)
1:
3999:Russian ballet choreographers
3904:Ballets Russes choreographers
3879:20th-century Russian diarists
3595:Misia, the life of Misia Sert
3464:"Eva Stachniak | writer"
1547:From 1947, Nijinsky lived in
1329:Dismissal from Ballets Russes
1123:In January 1911 he danced in
962:, an expanded version of his
846:proposed a ballet based upon
315:[ˈvatswafɲiˈʐɨj̃skʲi]
3979:Polish expatriates in France
3697:. London: Robson Books Ltd.
3197:The New York Review of Books
2352:University of Illinois Press
2348:The Diary of Vaslav Nijinsky
2324:The New York Review of Books
1863:) (planned film, 1970), the
1613:in ever-widening circles. A
1600:The Diary of Vaslav Nijinsky
1065:) was a tremendous success.
55:Vaslav Nijinsky as Vayou in
4009:Russian male ballet dancers
3615:Journal of European Studies
3512:University of Chicago Press
2472:Fedosova & Laletin 2008
2058:Mentioned in the epic poem
1887:as Diaghilev, but producer
691:The Little Humpbacked Horse
542:) and Vaslav; and daughter
515:. He identified himself as
288:
69:, St. Petersburg, 1909
4040:
3989:Polish male ballet dancers
3919:Deaths from kidney failure
3813:, New York Public Library.
3714:Nijinsky: God of the Dance
3691:Ostwald, Peter F. (1991).
3400:William Morrow and Company
3228:Caroline (26 March 2016).
2106:Mancha azul sobre el papel
2014:The War of Vaslav Nijinsky
1406:, Dowager Russian Empress
377:. The impresario took the
18:
3964:People with schizophrenia
3801:Joan Acocella, "The Faun"
3628:Stanford University Press
3506:Albright, Daniel (2004).
2484:Sarzyński, Piotr (2000).
2389:. Encyclopedia.com. 2004.
2154:Nijinsky by Auguste Rodin
1807:(2011), actor/playwright
1602:was published, edited by
1412:Franz Joseph I of Austria
1309:When the ship stopped at
1086:In 1910, he performed in
925:and Léon Bakst, painters
832:He appeared with Sedova,
772:, danced by Nijinsky and
731:and propelled toward the
277:
115:8 April 1950 (aged 60–61)
48:
40:
37:
21:Nijinsky (disambiguation)
3659:. Farrar Straus Giroux.
3370:(in Russian). Kommersant
3057:Francoise Reiss (1960).
2161:L’après-midi d’un faune.
1718:in the 2019/2020 season.
1714:. In performance at the
1686:Nijinsky – Divine Dancer
1671:Pyotr Ilyich Tchaikovsky
1642:Sculpture of Vaslav and
1271:The tour party included
624:. He studied mime under
289:Vatslav Fomich Nizhinsky
4014:Russian Roman Catholics
3528:Bergamini, John (1969)
3428:"Nijinsky and Neumeier"
3095:, pp. 125, 134–139
3047:Macdonald p.. 111.
2810:buckle, Nijinsky, p.372
1911:as Romola, with actors
1188:L'après-midi d'un faune
1162:The Afternoon of a Faun
1157:L'après-midi d'un faune
1092:, and Fokine's ballets
987:Vladimir Alexandrovitch
630:Imperial Russian Ballet
610:L'animation de Gobelins
392:L'après-midi d'un faune
369:In 1909, he joined the
3994:Polish Roman Catholics
3969:Polish artists' models
3899:Ballets Russes dancers
3712:Parker, Derek (1988).
3617:39/2, pp. 147–171
2676:19 August 2007 at the
2247:In competitive skating
2155:
1659:Nijinsky, Clown of God
1654:
1528:with the psychiatrist
1485:
1383:
1306:
1268:
1151:
1083:
1009:
894:
761:
613:
589:Imperial Ballet School
578:Imperial Ballet School
488:
352:Imperial Ballet School
306:
278:Вацлав Фомич Нижинский
3681:. Simon and Schuster.
3554:. The Trinity Press.
3319:Terence Rattigan site
3192:"Secrets of Nijinsky"
3061:Nijinsky, A Biography
2777:1 August 2008 at the
2740:, pp. 51, 52, 64
2319:"Secrets of Nijinsky"
2153:
2102:Leopoldo María Panero
1747:is a one-act play by
1652:Grand Theatre, Warsaw
1641:
1475:
1400:Alfonso XIII of Spain
1381:
1304:
1258:
1213:Le Sacre du Printemps
1147:Le Spectre de la Rose
1143:
1108:). His portrayal of "
1076:
995:
887:
867:Mathilde Kschessinska
858:pas de deux from the
814:Mathilde Kschessinska
745:
596:
482:
444:and Tamara Nijinska.
427:Le Sacre du Printemps
402:Le Sacre du Printemps
4004:Russian LGBT dancers
3944:LGBT Roman Catholics
3262:(28 February 1999).
3141:10.1093/brain/awy262
2649:. Groningermuseum.nl
2647:"Groningermuseum.nl"
2507:, pp. 19–22, 28
2182:Jade Esteban Estrada
2051:'s long Hindi poem,
1927:(1983), directed by
1899:(1980), directed by
1837:(2016), directed by
1821:production in Japan.
1809:Jade Esteban Estrada
1404:Alexandra of Denmark
1235:La Légende de Joseph
1129:Alexandra Feodorovna
1030:Le Pavillon d'Armide
996:Nijinsky painted by
954:Le Pavillon d'Armide
848:Le Pavillon d'Armide
600:Le Pavillon d'Armide
3984:Polish LGBT dancers
3939:LGBT choreographers
3864:19th-century births
3324:9 July 2015 at the
3260:William Deresiewicz
2975:, pp. 100, 107
2963:Parker p. 155.
2317:(14 January 1999).
1999:Kirstein, Lincoln.
1843:Mikhail Baryshnikov
1716:Staatsoper Hannover
1644:Bronislava Nijinska
1629:Cultural depictions
1557:Montmartre Cemetery
1478:Montmartre Cemetery
1398:Russes' tour. King
1058:The Sleeping Beauty
917:1909 opening season
888:Vaslav Nijinsky in
839:La Fille Mal Gardée
405:(1913) to music by
395:(1912) to music by
341:Bronislava Nijinska
4019:Vaganova graduates
3974:Polish male models
3444:. Arbeiderspers.nl
3442:"Arbeiderspers.nl"
3305:Geoffrey Wansell,
3269:The New York Times
3165:, pp. 179–183
3110:, pp. 140–146
2989:Diaghilev Observed
2728:, pp. 130–135
2486:"Popołudnie fauna"
2232:On his 2010 album
2180:In 2011, composer
2156:
1987:The Rite of Spring
1956:The Rite of Spring
1749:Tennessee Williams
1694:, choreography by
1661:, choreography by
1655:
1486:
1448:Metropolitan Opera
1442:Negotiations with
1384:
1307:
1269:
1221:The Rite of Spring
1208:The Rite of Spring
1152:
1084:
1080:Spectre de la rose
1034:Nikolai Tcherepnin
1010:
944:Vsevolod Meyerhold
939:Nikolai Tcherepnin
935:Alexander Glazunov
931:Konstantin Korovin
895:
852:Nikolai Tcherepnin
770:The Persian Market
762:
714:Russo-Japanese War
614:
489:
451:, Hungary, during
362:instead of in the
89:12 March 1889/1890
4024:Writers from Kyiv
3914:Dancers from Kyiv
3731:Krasovskaya, Vera
3723:978-1-85336-032-9
3683:(ghostwritten by
3666:978-0-374-13921-6
3599:. Vintage Books.
3583:978-0-297-77506-5
3521:978-0-226-01267-4
3484:on 3 October 2011
2588:Buckle, Richard,
2383:"Vaslav Nijinsky"
2361:978-0-252-07362-5
2238:, English singer
2223:For Your Pleasure
2165:Giennadij Jerszow
2132:The Chosen Maiden
2034:Two Went to Sleep
1915:as Diaghilev and
1905:George de la Peña
1735:Play of the Month
1648:Giennadij Jerszow
1565:Théophile Gautier
1538:Ludwig Binswanger
1490:Arthur Rubinstein
1454:Till Eulenspiegel
1422:at the urging of
1273:Romola de Pulszky
1215:), with music by
1183:Till Eulenspiegel
1118:Mariinsky Theatre
1014:Hermitage Theatre
968:Une Nuit d'Egypte
757:Bluebird (ballet)
438:Romola de Pulszky
418:Till Eulenspiegel
286:
190:
189:
160:Romola de Pulszky
146:Years active
4031:
3787:Internet Archive
3772:
3754:Вацлав Нижинский
3727:
3708:
3685:Lincoln Kirstein
3682:
3675:Nijinsky, Romola
3670:
3658:
3645:Nijinsky: a Life
3610:
3598:
3587:
3565:
3553:
3525:
3494:
3493:
3491:
3489:
3474:
3468:
3467:
3460:
3454:
3453:
3451:
3449:
3438:
3432:
3431:
3424:
3418:
3417:
3390:Richardson, Tony
3386:
3380:
3379:
3377:
3375:
3359:
3353:
3341:
3328:
3316:
3310:
3307:Terence Rattigan
3303:
3297:
3291:
3285:
3280:
3274:
3273:
3256:
3245:
3244:
3242:
3240:
3234:Flickering Lamps
3225:
3219:
3218:
3217:. 10 April 1950.
3208:
3202:
3201:
3187:
3181:
3180:
3172:
3166:
3160:
3154:
3153:
3143:
3117:
3111:
3105:
3096:
3090:
3084:
3077:
3071:
3070:
3064:
3054:
3048:
3045:
3039:
3034:Romola Nijinsky,
3032:
3026:
3021:Cyril Beaumont,
3019:
3013:
3007:
3001:
2998:
2992:
2982:
2976:
2970:
2964:
2961:
2955:
2949:
2943:
2937:
2931:
2925:
2919:
2916:
2910:
2907:
2901:
2900:, pp. 87–89
2895:
2889:
2883:
2877:
2874:
2865:
2864:, pp. 85–86
2859:
2853:
2850:
2844:
2843:, pp. 78–85
2838:
2832:
2829:
2823:
2822:, pp. 53–76
2817:
2811:
2808:
2802:
2799:
2793:
2787:
2781:
2769:
2763:
2762:
2760:
2758:
2747:
2741:
2735:
2729:
2723:
2717:
2716:, pp. 47–50
2711:
2705:
2704:
2702:
2700:
2694:
2686:
2680:
2665:
2659:
2658:
2656:
2654:
2643:
2637:
2636:, pp. 36–37
2631:
2625:
2624:, pp. 34–35
2619:
2613:
2612:, pp. 31–33
2607:
2601:
2586:
2580:
2574:
2568:
2567:, pp. 29–30
2562:
2556:
2555:, pp. 27–29
2550:
2544:
2543:, pp. 25–27
2538:
2532:
2531:, pp. 22–25
2526:
2520:
2514:
2508:
2502:
2496:
2495:
2481:
2475:
2469:
2463:
2457:
2451:
2446:
2440:
2439:
2421:
2397:
2391:
2390:
2379:
2366:
2365:
2340:
2329:
2328:
2311:
2254:Evgeni Plushenko
2041:by Swedish poet
2001:Nijinsky Dancing
1947:Riot at the Rite
1907:as Nijinsky and
1819:Takarazuka Revue
1768:Nicholas Johnson
1730:Terence Rattigan
1492:in a benefit in
1446:of the New York
1420:President Wilson
1416:Pope Benedict XV
1408:Marie Feodorovna
1284:Enrico Cecchetti
1263:. Photograph by
1114:Tamara Karsavina
949:Alexander Sanine
946:
927:Nicholas Roerich
923:Alexandre Benois
899:Sergei Diaghilev
844:Alexandre Benois
752:Tamara Karsavina
674:
666:Mikhail Oboukhov
636:, as a mouse in
620:and his brother
582:Enrico Cecchetti
570:Mokhovaya Street
526:Ballet (Polish:
375:Sergei Diaghilev
317:
312:
300:
295:
291:
281:
279:
271:
270:
267:
266:
263:
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245:
240:
239:
236:
233:
229:
228:
225:
222:
219:
216:
213:
210:
207:
197:Vatslav Nijinsky
176:
174:
127:Vatslav Nijinsky
124:Other names
114:
112:
97:Kiev Governorate
88:
86:
53:
44:
43:
42:
41:Вацлав Нижинский
28:
4039:
4038:
4034:
4033:
4032:
4030:
4029:
4028:
3849:
3848:
3823:, 20 April 2010
3779:
3769:
3759:Vaslav Nijinsky
3750:
3724:
3711:
3705:
3690:
3673:
3667:
3650:
3621:Kopelson, Kevin
3607:
3590:
3584:
3570:Buckle, Richard
3568:
3562:
3544:Buckle, Richard
3542:
3522:
3505:
3502:
3497:
3487:
3485:
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3461:
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3414:
3388:
3387:
3383:
3373:
3371:
3361:
3360:
3356:
3342:
3331:
3326:Wayback Machine
3317:
3313:
3309:, 1995, p. 381.
3304:
3300:
3292:
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3281:
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3258:
3257:
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2809:
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2796:
2788:
2784:
2779:Wayback Machine
2770:
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2754:
2749:
2748:
2744:
2736:
2732:
2724:
2720:
2712:
2708:
2698:
2696:
2695:. glbtq Project
2692:
2690:"glbtq Project"
2688:
2687:
2683:
2678:Wayback Machine
2666:
2662:
2652:
2650:
2645:
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2559:
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2539:
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2527:
2523:
2515:
2511:
2503:
2499:
2483:
2482:
2478:
2470:
2466:
2458:
2454:
2449:Vaslav Nijinsky
2447:
2443:
2399:
2398:
2394:
2381:
2380:
2369:
2362:
2346:, ed. (2006) .
2342:
2341:
2332:
2313:
2312:
2285:
2281:
2268:List of dancers
2264:
2249:
2208:Franco Battiato
2177:
2148:
2115:
2076:Giorgos Seferis
2016:(1981) by poet
2010:
1996:
1873:Tony Richardson
1853:
1835:Letter To a Man
1782:Nijinsky Speaks
1778:Leonard Crofoot
1764:Death of a Faun
1725:
1700:Frédéric Chopin
1636:
1631:
1581:Igor Markevitch
1577:
1376:
1336:Leonide Massine
1331:
1230:
1217:Igor Stravinsky
1138:
1106:Rimsky-Korsakov
1071:
942:
919:
882:
860:Sleeping Beauty
826:
810:prima ballerina
805:Elizaveta Gerdt
729:Nevsky Prospect
668:
645:Sleeping Beauty
591:
566:Nizhny Novgorod
536:premier danseur
505:Wacław Niżyński
477:
407:Igor Stravinsky
379:Russian ballets
364:corps de ballet
310:
307:Wacław Niżyński
293:
248:
242:
230:
204:
200:
178:
175: 1913)
170:
166:
163:
162:
119:
118:London, England
116:
110:
108:
100:
90:
84:
82:
81:
80:
79:Wacław Niżyński
70:
38:
33:
32:Vaslav Nijinsky
24:
17:
12:
11:
5:
4037:
4035:
4027:
4026:
4021:
4016:
4011:
4006:
4001:
3996:
3991:
3986:
3981:
3976:
3971:
3966:
3961:
3956:
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3941:
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3886:
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3876:
3871:
3866:
3861:
3851:
3850:
3847:
3846:
3835:
3824:
3814:
3808:
3807:, 29 June 2009
3805:The New Yorker
3798:
3789:
3778:
3777:External links
3775:
3774:
3773:
3767:
3748:
3738:Schirmer Books
3728:
3722:
3709:
3703:
3688:
3671:
3665:
3648:
3638:
3618:
3611:
3605:
3588:
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3501:
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3496:
3495:
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3455:
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3412:
3381:
3354:
3329:
3311:
3298:
3286:
3275:
3246:
3220:
3203:
3182:
3167:
3155:
3134:(1): 220–226.
3112:
3097:
3085:
3083:, p. 352.
3072:
3049:
3040:
3027:
3025:, p. 149.
3014:
3002:
2993:
2977:
2965:
2956:
2944:
2932:
2920:
2911:
2902:
2890:
2878:
2866:
2854:
2845:
2833:
2824:
2812:
2803:
2794:
2782:
2772:Cached archive
2764:
2742:
2730:
2718:
2706:
2681:
2660:
2638:
2626:
2614:
2602:
2600:, p. 143.
2581:
2569:
2557:
2545:
2533:
2521:
2519:, pp. 6–7
2509:
2497:
2476:
2474:, p. 148.
2464:
2452:
2441:
2412:(4): 938–964.
2392:
2367:
2360:
2330:
2282:
2280:
2277:
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2275:
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2259:
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2219:
2200:
2189:
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2173:
2147:
2144:
2143:
2142:
2129:
2114:
2111:
2110:
2109:
2098:
2088:
2078:
2074:by Greek poet
2069:
2066:Frank Stanford
2056:
2049:Soumitra Mohan
2045:
2036:
2026:
2020:
2009:
2006:
2005:
2004:
1995:
1994:In photography
1992:
1991:
1990:
1974:
1964:
1944:
1932:
1920:
1892:
1889:Harry Saltzman
1883:as Romola and
1877:Rudolf Nureyev
1852:
1849:
1848:
1847:
1832:
1827:(2014), actor
1822:
1812:
1802:
1796:John Tillinger
1785:
1775:
1757:
1740:
1724:
1721:
1720:
1719:
1698:, to music by
1689:
1683:
1674:
1665:, to music by
1663:Maurice Béjart
1635:
1632:
1630:
1627:
1615:New York Times
1576:
1573:
1561:Gaétan Vestris
1549:Virginia Water
1521:Suvretta House
1459:Pierre Monteux
1375:
1372:
1330:
1327:
1311:Rio de Janeiro
1265:Adolf de Meyer
1229:
1226:
1166:Claude Debussy
1137:
1134:
1116:, also of the
1070:
1067:
1046:divertissement
1018:Gabriel Astruc
970:for a ballet.
918:
915:
903:Ballets Russes
881:
880:Ballets Russes
878:
825:
822:
800:The Nutcracker
774:Sofia Fedorova
687:The Nutcracker
639:The Nutcracker
590:
587:
497:Russian Empire
476:
473:
397:Claude Debussy
371:Ballets Russes
356:St. Petersburg
188:
187:
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168:
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78:
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59:'s revival of
54:
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35:
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31:
15:
13:
10:
9:
6:
4:
3:
2:
4036:
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4017:
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4005:
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3997:
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3990:
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3815:
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3768:9785914610088
3764:
3760:
3756:
3755:
3749:
3747:
3746:9780028718705
3743:
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3729:
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3715:
3710:
3706:
3700:
3696:
3695:
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3642:
3639:
3637:
3636:0-8047-2950-6
3633:
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3606:9780679741862
3602:
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3538:1-56852-160-X
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3420:
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3413:9780688121013
3409:
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3221:
3216:
3215:
3207:
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3199:
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3186:
3183:
3178:
3177:Life Magazine
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3044:
3041:
3038:p.. 266.
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3003:
2997:
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2986:
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2816:
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2807:
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2798:
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2715:
2710:
2707:
2691:
2685:
2682:
2679:
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2664:
2661:
2648:
2642:
2639:
2635:
2630:
2627:
2623:
2618:
2615:
2611:
2606:
2603:
2599:
2595:
2591:
2585:
2582:
2578:
2573:
2570:
2566:
2561:
2558:
2554:
2549:
2546:
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2537:
2534:
2530:
2525:
2522:
2518:
2513:
2510:
2506:
2501:
2498:
2493:
2492:
2487:
2480:
2477:
2473:
2468:
2465:
2461:
2460:Albright 2004
2456:
2453:
2450:
2445:
2442:
2437:
2433:
2429:
2425:
2420:
2415:
2411:
2407:
2403:
2396:
2393:
2388:
2384:
2378:
2376:
2374:
2372:
2368:
2363:
2357:
2353:
2349:
2345:
2344:Joan Acocella
2339:
2337:
2335:
2331:
2326:
2325:
2320:
2316:
2315:Joan Acocella
2310:
2308:
2306:
2304:
2302:
2300:
2298:
2296:
2294:
2292:
2290:
2288:
2284:
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2271:
2269:
2266:
2265:
2261:
2255:
2251:
2250:
2246:
2241:
2237:
2236:
2231:
2228:
2224:
2220:
2217:
2213:
2209:
2205:
2201:
2198:
2194:
2190:
2187:
2183:
2179:
2178:
2174:
2172:
2170:
2169:Auguste Rodin
2166:
2162:
2152:
2145:
2141:
2140:Eva Stachniak
2137:
2133:
2130:
2128:
2124:
2120:
2117:
2116:
2112:
2107:
2103:
2099:
2097:
2093:
2089:
2086:
2082:
2079:
2077:
2073:
2070:
2067:
2063:
2062:
2057:
2054:
2050:
2046:
2044:
2043:Lars Forssell
2040:
2037:
2035:
2031:
2030:Leonard Cohen
2027:
2025:
2021:
2019:
2015:
2012:
2011:
2007:
2002:
1998:
1997:
1993:
1988:
1984:
1980:
1979:
1975:
1972:
1971:John Neumeier
1968:
1965:
1962:
1958:
1957:
1952:
1948:
1945:
1942:
1938:
1937:
1933:
1930:
1926:
1925:
1921:
1918:
1914:
1910:
1909:Leslie Browne
1906:
1902:
1898:
1897:
1893:
1890:
1886:
1885:Paul Scofield
1882:
1879:as Nijinsky,
1878:
1874:
1870:
1866:
1862:
1858:
1855:
1854:
1850:
1844:
1840:
1839:Robert Wilson
1836:
1833:
1830:
1826:
1823:
1820:
1816:
1813:
1810:
1806:
1803:
1800:
1797:
1793:
1789:
1786:
1783:
1779:
1776:
1773:
1769:
1765:
1761:
1760:David Pownall
1758:
1754:
1753:Victorian era
1750:
1746:
1745:
1741:
1737:
1736:
1731:
1727:
1726:
1722:
1717:
1713:
1709:
1705:
1701:
1697:
1693:
1690:
1687:
1684:
1682:
1681:John Neumeier
1678:
1675:
1672:
1668:
1664:
1660:
1657:
1656:
1653:
1649:
1645:
1640:
1633:
1628:
1626:
1624:
1619:
1616:
1611:
1610:Joan Acocella
1608:dance critic
1607:
1606:
1601:
1596:
1593:
1588:
1584:
1582:
1574:
1572:
1570:
1566:
1562:
1558:
1554:
1550:
1545:
1541:
1539:
1535:
1531:
1530:Eugen Bleuler
1525:
1522:
1517:
1515:
1511:
1507:
1503:
1502:schizophrenia
1499:
1495:
1491:
1483:
1479:
1474:
1470:
1468:
1464:
1460:
1456:
1455:
1449:
1445:
1440:
1438:
1437:
1432:
1427:
1425:
1421:
1417:
1413:
1409:
1405:
1401:
1395:
1393:
1389:
1380:
1373:
1371:
1367:
1363:
1361:
1357:
1353:
1347:
1343:
1341:
1337:
1328:
1326:
1322:
1320:
1316:
1312:
1303:
1299:
1295:
1293:
1289:
1288:Marie Rambert
1285:
1280:
1278:
1274:
1266:
1262:
1257:
1253:
1249:
1247:
1243:
1238:
1236:
1227:
1225:
1222:
1218:
1214:
1210:
1209:
1203:
1201:
1200:Marcel Proust
1197:
1193:
1192:Auguste Rodin
1189:
1185:
1184:
1179:
1178:
1173:
1172:
1167:
1163:
1159:
1158:
1149:
1148:
1142:
1135:
1133:
1130:
1126:
1121:
1119:
1115:
1111:
1107:
1103:
1102:
1097:
1096:
1091:
1090:
1081:
1075:
1069:Later seasons
1068:
1066:
1064:
1060:
1059:
1054:
1050:
1047:
1043:
1042:Anton Arensky
1039:
1035:
1031:
1025:
1021:
1019:
1015:
1007:
1003:
999:
994:
990:
988:
984:
980:
976:
971:
969:
965:
961:
960:
959:Les Sylphides
955:
950:
945:
941:, regisseurs
940:
936:
932:
928:
924:
916:
914:
912:
908:
907:Michel Fokine
904:
900:
893:
892:
886:
879:
877:
875:
873:
868:
863:
861:
857:
853:
849:
845:
841:
840:
835:
830:
823:
821:
819:
815:
812:
811:
806:
802:
801:
796:
795:Boris Asafyev
792:
788:
787:Michel Fokine
784:
783:
777:
775:
771:
767:
759:
758:
753:
749:
744:
740:
736:
734:
733:Winter Palace
730:
726:
722:
721:Bloody Sunday
717:
715:
711:
709:
704:
703:Marius Petipa
699:
696:
692:
688:
684:
683:
678:
672:
667:
663:
661:
655:
653:
652:
647:
646:
641:
640:
635:
631:
627:
623:
619:
611:
607:
606:Michel Fokine
603:
601:
595:
588:
586:
583:
579:
575:
574:St Petersburg
571:
567:
561:
559:
558:
553:
549:
545:
541:
537:
533:
529:
525:
524:Grand Theatre
520:
518:
514:
510:
509:ethnic Polish
506:
502:
498:
494:
486:
485:Krasnoye Selo
481:
474:
472:
470:
469:schizophrenia
466:
462:
456:
454:
450:
445:
443:
439:
434:
432:
428:
424:
420:
419:
414:
413:
408:
404:
403:
398:
394:
393:
387:
383:
380:
376:
372:
367:
365:
361:
357:
353:
348:
346:
345:choreographer
342:
336:
334:
333:
327:
325:
324:choreographer
321:
320:ballet dancer
316:
308:
304:
299:
290:
284:
275:
269:
198:
194:
185:
181:
161:
156:
152:
148:
144:
141:
140:choreographer
137:
136:Ballet dancer
134:
132:Occupation(s)
130:
126:
122:
107:
103:
98:
94:
77:
73:
68:
67:
62:
61:Marius Petipa
58:
57:Nikolai Legat
52:
47:
36:
29:
26:
22:
3838:
3827:
3821:New Republic
3820:
3804:
3793:
3758:
3753:
3734:
3713:
3693:
3678:
3654:
3644:
3624:
3614:
3594:
3573:
3561:0297-00452-2
3549:
3529:
3507:
3486:. Retrieved
3482:the original
3472:
3458:
3446:. Retrieved
3436:
3422:
3394:
3384:
3372:. Retrieved
3367:
3357:
3349:
3344:
3314:
3306:
3301:
3295:performances
3289:
3278:
3267:
3237:. Retrieved
3233:
3223:
3214:The Guardian
3212:
3206:
3195:
3185:
3176:
3170:
3163:Ostwald 1991
3158:
3131:
3125:
3115:
3108:Ostwald 1991
3093:Ostwald 1991
3088:
3080:
3075:
3060:
3052:
3043:
3035:
3030:
3022:
3017:
3012:, p. 22
3010:Ostwald 1991
3005:
2996:
2988:
2985:Ostwald 1991
2980:
2973:Ostwald 1991
2968:
2959:
2952:Ostwald 1991
2947:
2940:Ostwald 1991
2935:
2928:Ostwald 1991
2923:
2914:
2905:
2898:Ostwald 1991
2893:
2888:, p. 87
2886:Ostwald 1991
2881:
2862:Ostwald 1991
2857:
2848:
2841:Ostwald 1991
2836:
2827:
2820:Ostwald 1991
2815:
2806:
2797:
2792:, p. 46
2790:Ostwald 1991
2785:
2767:
2755:. Retrieved
2745:
2733:
2721:
2709:
2697:. Retrieved
2684:
2669:
2663:
2651:. Retrieved
2641:
2629:
2617:
2605:
2598:0-297-775065
2589:
2584:
2579:, p. 31
2572:
2560:
2548:
2536:
2524:
2517:Ostwald 1991
2512:
2500:
2489:
2479:
2467:
2462:, p. 19
2455:
2444:
2409:
2405:
2395:
2386:
2347:
2322:
2233:
2222:
2215:
2211:
2203:
2192:
2185:
2160:
2157:
2146:In fine arts
2131:
2127:Arthur Japin
2118:
2105:
2095:
2085:Bridget Lowe
2080:
2071:
2059:
2052:
2038:
2033:
2018:Frank Bidart
2013:
2000:
1986:
1976:
1966:
1954:
1946:
1934:
1929:Emil Loteanu
1924:Anna Pavlova
1922:
1917:Jeremy Irons
1901:Herbert Ross
1894:
1869:Edward Albee
1860:
1856:
1834:
1824:
1814:
1804:
1791:
1788:William Luce
1781:
1772:Royal Ballet
1763:
1742:
1733:
1728:In 1974–75,
1696:Marco Goecke
1691:
1685:
1676:
1667:Pierre Henry
1658:
1620:
1614:
1603:
1599:
1597:
1591:
1589:
1585:
1578:
1546:
1542:
1526:
1518:
1487:
1466:
1463:Eulenspiegel
1462:
1452:
1441:
1436:Scheherazade
1434:
1430:
1428:
1396:
1385:
1368:
1364:
1356:Anna Pavlova
1348:
1344:
1339:
1332:
1323:
1319:Buenos Aires
1308:
1296:
1291:
1281:
1270:
1260:
1250:
1245:
1241:
1233:
1231:
1220:
1212:
1206:
1204:
1196:Odilon Redon
1187:
1181:
1180:(1913); and
1175:
1169:
1161:
1155:
1153:
1145:
1144:Nijinsky in
1124:
1122:
1101:Scheherazade
1099:
1093:
1087:
1085:
1079:
1056:
1048:
1037:
1029:
1026:
1022:
1011:
983:Anna Pavlova
978:
974:
972:
967:
963:
957:
953:
933:, composers
920:
896:
891:Scheherazade
889:
870:
864:
859:
855:
847:
837:
834:Lydia Kyasht
831:
827:
824:Early career
808:
798:
790:
782:Don Giovanni
780:
778:
769:
763:
755:
747:
746:Nijinsky in
737:
725:Father Gapon
718:
706:
700:
690:
686:
680:
664:
656:
649:
643:
642:, a page in
637:
633:
618:Sergei Legat
615:
609:
598:
562:
555:
535:
528:Teatr Wielki
527:
521:
504:
490:
483:Nijinsky in
457:
446:
435:
430:
426:
422:
416:
415:(1913), and
410:
400:
390:
388:
384:
368:
349:
337:
330:
328:
196:
192:
191:
66:The Talisman
64:
25:
3859:1950 deaths
3704:086051711-X
3641:Moore, Lucy
3368:Коммерсантъ
3283:Buckle 1971
2918:Gold, p.160
2738:Parker 1988
2726:Buckle 1979
2714:Parker 1988
2634:Parker 1988
2622:Parker 1988
2610:Parker 1988
2577:Parker 1988
2565:Parker 1988
2553:Parker 1988
2541:Parker 1988
2529:Parker 1988
2505:Parker 1988
2257:Petersburg.
2240:Marc Almond
2100:Mention in
2090:Mention in
2047:Mention in
2028:Mention in
2024:W. H. Auden
1961:Adam Garcia
1951:Andy Wilson
1881:Claude Jade
1829:Jean Koning
1798:directing.
1704:Theaterhaus
1623:E. O. Hoppé
1590:Nijinsky's
1510:Switzerland
1352:Paris Opera
1164:, based on
1063:Tchaikovsky
1053:pas de deux
909:and artist
872:Le Talisman
766:pas de deux
669: [
626:Pavel Gerdt
550:). She had
465:Switzerland
453:World War I
3853:Categories
3647:, Profile.
3402:. p.
3374:7 December
3350:Curtain Up
3065:. p.
2954:, p.
2757:7 December
2699:31 October
2668:Edinburgh
2279:References
2227:Roxy Music
2225:(1973) by
2206:(1980) by
2195:(1981) by
2134:(2017) by
2121:(2010) by
2092:İsmet Özel
2053:Luqman Ali
1983:Jan Kounen
1913:Alan Bates
1865:screenplay
1861:The Dancer
1846:Diaghilev.
1825:Étonne-Moi
1605:New Yorker
1569:Emma Livry
1534:Burghölzli
1506:St. Moritz
1494:Montevideo
1410:, Emperor
1374:Later life
1360:vaudeville
1277:Adolf Bolm
1174:) (1912);
1040:(music by
1032:(music by
998:Léon Bakst
964:Chopiniana
911:Léon Bakst
791:Cinderella
660:concussion
552:depression
544:Bronislava
461:St. Moritz
111:1950-04-08
85:1889-03-12
3735:Nijinsky.
3574:Diaghilev
2590:Diaghilev
2436:240964540
2428:1984-0381
2125:novelist
2113:In novels
2104:'s poem,
2008:In poetry
1875:and star
1708:Stuttgart
1634:In ballet
1514:Petrograd
1498:Red Cross
1482:Petrushka
1444:Otto Kahn
1424:Otto Kahn
1392:Great War
1110:Petrushka
1038:Cleopatra
979:Le Festin
975:Cléopâtre
748:Le Festin
695:balalaika
651:Swan Lake
475:Biography
421:(1916).
332:en pointe
283:romanized
149:1908–1917
3679:Nijinsky
3677:(1934).
3643:(2013),
3572:(1979).
3550:Nijinsky
3546:(1971).
3392:(1993).
3322:Archived
3179:: 63–70.
3150:30358812
3081:Nijinsky
3079:Buckle,
3036:Nijinsky
2775:Archived
2674:Archived
2592:, 1979,
2491:Polityka
2262:See also
2204:Patriots
2175:In music
2136:Canadian
2094:'s poem
2083:by poet
2072:Nijinsky
2039:Nijinsky
2032:'s poem
1941:Paul Cox
1896:Nijinsky
1859:(a.k.a.
1857:Nijinsky
1792:Nijinsky
1723:In plays
1692:Nijinski
1587:dances.
1496:for the
1402:, Queen
1388:Budapest
1292:Le Petit
1228:Marriage
1095:Carnaval
1028:such as
956:and for
856:Bluebird
818:coryphée
449:Budapest
360:coryphée
183:Children
3785:at the
3733:(1979)
3623:(1997)
3500:Sources
3488:11 July
3448:11 July
3239:29 June
2653:11 July
2235:Varieté
2197:Bauhaus
2138:author
1851:In film
1712:Germany
1125:Giselle
1089:Giselle
1049:La Fête
1000:at the
754:in the
682:Paquita
622:Nikolai
501:Ukraine
285::
274:Russian
177:
169:
165:
3765:
3744:
3720:
3701:
3663:
3634:
3603:
3580:
3558:
3536:
3518:
3410:
3148:
2596:
2434:
2426:
2358:
2119:Vaslav
2108:(1979)
2096:Dibace
2087:(2013)
2055:(1968)
1780:wrote
1756:Nance.
1677:Vaslav
1650:, the
1575:Legacy
1567:, and
1553:London
1340:Joseph
1315:Brazil
1246:Joseph
1242:Joseph
1150:(1911)
1008:, 1910
1006:Venice
540:Tiflis
532:Odessa
517:Polish
513:Warsaw
503:), as
487:, 1907
423:Faune,
303:Polish
193:Vaslav
154:Spouse
3757:[
3127:Brain
2693:(PDF)
2670:Forum
2432:S2CID
2123:Dutch
1841:with
1739:2013.
1592:Diary
1467:Faun
1055:from
768:from
673:]
634:Faust
557:Hopak
548:Minsk
507:, to
499:(now
171:(
167:
3844:IMDb
3833:IMDb
3763:ISBN
3742:ISBN
3718:ISBN
3699:ISBN
3661:ISBN
3632:ISBN
3601:ISBN
3578:ISBN
3556:ISBN
3534:ISBN
3516:ISBN
3490:2013
3450:2013
3408:ISBN
3376:2020
3241:2019
3146:PMID
2759:2020
2701:2021
2655:2013
2594:ISBN
2424:ISSN
2356:ISBN
2193:Mask
1770:, a
1669:and
1431:Faun
1418:and
1261:Faun
1198:and
1177:Jeux
1098:and
1002:Lido
947:and
937:and
929:and
689:and
677:Tsar
648:and
493:Kiev
442:Kyra
431:Jeux
412:Jeux
322:and
311:IPA:
294:IPA:
105:Died
93:Kiev
75:Born
3842:at
3831:at
3404:273
3136:doi
3132:142
3067:151
2414:doi
2214:" (
2064:by
1790:'s
1762:'s
1706:in
1646:by
1205:In
1168:'s
1036:);
1004:in
679:of
608:as
572:in
354:in
195:or
63:'s
3855::
3819:,
3803:,
3740:.
3630:.
3514:.
3510:.
3406:.
3398:.
3348:,
3332:^
3266:.
3249:^
3232:.
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3130:.
3124:.
3100:^
2869:^
2488:.
2430:.
2422:.
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2408:.
2404:.
2385:.
2370:^
2354:.
2350:.
2333:^
2321:.
2286:^
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1571:.
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1342:.
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1194:,
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685:,
671:ru
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305::
301:;
292:,
280:,
276::
272:;
224:ɑː
212:ɑː
173:m.
138:,
95:,
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3726:.
3707:.
3687:)
3669:.
3609:.
3586:.
3564:.
3524:.
3492:.
3466:.
3452:.
3430:.
3416:.
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