Vaslav Nijinsky

Vaslav (or Vatslav) Nijinsky (; Russian: Вацлав Фомич Нижинский, tr. Vatslav Fomich Nizhinsky, IPA: [ˈvatsləf fɐˈmʲitɕ nʲɪˈʐɨnskʲɪj]; Polish: Wacław Niżyński, IPA: [ˈvatswaf ɲiˈʐɨj̃skʲi]; 12 March 1889/1890 – 8 April 1950) was a Russian ballet dancer and choreographer of Polish ancestry. He is regarded as the greatest male dancer of the early 20th century. He was celebrated for his virtuosity and for the depth and intensity of his characterizations. He could dance en pointe, a rare skill among male dancers at the time, and was admired for his seemingly gravity-defying leaps.

Nijinsky 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 Bronislava "Bronia" Nijinska also became dancers; Bronia also became a choreographer, working closely with him for much of his career.

At age nine, Nijinsky was accepted at the Imperial Ballet School in St. Petersburg, 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 coryphée instead of in the corps de ballet, and already taking starring roles.

In 1909, he joined the Ballets Russes, a new ballet company started by Sergei Diaghilev. The impresario took the Russian ballets 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 In ordinary life, he appeared unremarkable and was withdrawn in conversation. 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.

In 1912, Nijinsky began choreographing original ballets, including L'après-midi d'un faune (1912) to music by Claude Debussy, Le Sacre du Printemps (1913) to music by Igor Stravinsky, Jeux (1913), and Till Eulenspiegel (1916). Faune, considered one of the first modern ballets, caused controversy because of its sexually suggestive final scene. At the premiere of Le Sacre du Printemps, fights broke out in the audience between those who loved and hated this startling new style of ballet and music. Nijinsky originally conceived Jeux as a flirtatious interaction among three males, although Diaghilev insisted it be danced by one male and two females.

In 1913, Nijinsky married Hungarian Romola de Pulszky 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, Kyra and Tamara Nijinska.

With no alternative employer available, Nijinsky tried to form his own company, but this was not a success. He was interned in Budapest, Hungary, during World War I, 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. 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 St. Moritz, Switzerland. His mental condition deteriorated; he was diagnosed with schizophrenia 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. Vaslav Nijinsky was born in 1889 or 1890 in Kiev, Russian Empire (now Ukraine), as Wacław Niżyński, to ethnic Polish parents, touring dancers Tomasz Niżyński (b. 7 March 1862) and Eleonora Bereda (b. 28 December 1856). Nijinsky was christened in Warsaw. He identified himself as Polish although he grew up in the interior of Russia with his parents and he had difficulty speaking Polish.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 Grand Theatre Ballet (Polish: Teatr Wielki), 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 Odessa Theatre. The two met, married in May 1884 and settled into a career with the traveling Setov opera company. Tomasz was premier danseur, and Eleanora a soloist. Eleanora continued to tour and dance while having three children, sons Stanislav (b. 29 December 1886 in Tiflis) and Vaslav; and daughter Bronislava ('Bronia', b. 8 January 1891 in Minsk). She had depression, 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 Hopak production in Odessa in 1894.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 Nizhny Novgorod. In 1897 Thomas and Eleanora separated after Thomas had fallen in love with another dancer, Rumiantseva, while touring in Finland. Eleanora moved to 20 Mokhovaya Street in St Petersburg with her children. She persuaded a friend from the Wielki Theatre, Victor Stanislas Gillert, who was at the time teaching at the Imperial Ballet School, to help get Vaslav into the school. He arranged for the noted teacher Enrico Cecchetti 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 increasingly mentally unstable and would have fierce tantrums. He was admitted to an asylum for the insane in 1902.