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Nijinsky: A Life of Genius and Madness
Vaslav Nijinsky stands alone as a dancer, interpretive artist, and choreographic pioneer. His breathtaking performances with the Ballet Russe took Western Europe by storm, and his avant-garde choreography for The Afternoon of the Faun and Rite of Spring caused riots in the streets. Both are now regarded as the foundation of modern dance.
Through his liaison with the great impresario Diaghilev, he worked with the artistic elite of the time—Benois, Bakst, Debussy, Fokine, Karsavina, Pavlova, Stravinsky—and lived in an atmosphere of perpetual hysteria, glamour, and intrigue. When he married a Hungarian aristocrat, Diaghilev abruptly dismissed him from the Ballet Russe. Five years later, he was declared insane. The fabulous career of the greatest dancer who ever lived was over.
Drawing on personal conversations with countless people who knew and worked with Nijinsky, including his sister and famed choreographer Bronislava Nijinska, Richard Buckle has written the definitive biography of Nijinsky, now back in print for the first time in more than forty years.
Through his liaison with the great impresario Diaghilev, he worked with the artistic elite of the time—Benois, Bakst, Debussy, Fokine, Karsavina, Pavlova, Stravinsky—and lived in an atmosphere of perpetual hysteria, glamour, and intrigue. When he married a Hungarian aristocrat, Diaghilev abruptly dismissed him from the Ballet Russe. Five years later, he was declared insane. The fabulous career of the greatest dancer who ever lived was over.
Drawing on personal conversations with countless people who knew and worked with Nijinsky, including his sister and famed choreographer Bronislava Nijinska, Richard Buckle has written the definitive biography of Nijinsky, now back in print for the first time in more than forty years.
608 pages, Hardcover
First published November 4, 1971
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Displaying 1 - 11 of 11 reviews
February 6, 2017
This book goes far beyond biography Nijinsky. This is largely a biography of the formation of a new cultural phenomenon of the early 20th century, pronounced young musicians, artists, dancers and choreographers, associated creative ideas, picked up a brilliant organizer Sergei Diaghilev. The book introduces us to almost all ballets Russes Dyagileva. Their description includes not only the libretto, the scenery, but also every motion, the position of the performers, the music component of the ballet. It is full of ballet and musical terms. Numerous excerpts from memoirs of contemporaries complement the narrative. As for Nijinsky, nothing passes his genius as a dancer as numerous admiring reviews of viewers and critics included in this book. Choreographic quest Nijinsky as a choreographer, his illness, the departure from the scene the book ends. A detailed biography of one of the most notorious artists of the twentieth century.
One drawback is the book's title is deceptive. In the original, and in the book, quite a few Nijinsky's lover (the author is respectful and not inclined to rummage in another's dirty linen), and a lot Nijinsky innovator. In my opinion, the author too exaggerated dignity of the wife Romola.
But at the moment, this is one of the most detailed biographies of the "God of dance".
One drawback is the book's title is deceptive. In the original, and in the book, quite a few Nijinsky's lover (the author is respectful and not inclined to rummage in another's dirty linen), and a lot Nijinsky innovator. In my opinion, the author too exaggerated dignity of the wife Romola.
But at the moment, this is one of the most detailed biographies of the "God of dance".
July 13, 2018
This book was valuable in that it provided a lot of information about Diaghilev's Russian Ballet and the dancers, composers and choreographers that made it function. If you are not familiar with the ballets themselves, then you will enjoy Buckle's detailed accounts of the story lines of each and every ballet that Diaghilev produced for his company. We also get an account of the artists, such as the Russian Art Deco artists, and modern artists like Chagall and Picasso who created the stage scenery.
Another gem is the history surrounding this time period. We read about the Tzarist aristocracy and how it supported ballet dancers, WWI, the Bolshevik revolution, and the beginning and development of 20th century ballet. Diaghilev had a vision for a different type of ballet, with modern music. He used the music of Debussy, Ravel, and most notably Igor Stravinsky.
I did not realize that Diaghilev was not a choreographer himself but the producer of the Russian Ballet. He instead was the entrepreneur that made it all happen. Diaghilev is a fascinating character, he was both wonderful and brutal. We learn as much about him, if not more than we do the man who supposedly the book is about.
Another thing I did not realize before reading this book was that Nijinsky, in addition to being probably the greatest dancer of the 20th century was also a choreographer. It was he who created the dance for Debussy's L'Apres Midi d'un Faune and also Sacre du Printempts by Igor Stravinsky.
Much was made of these two ballets when they came out just prior to WWI. The were considered quite barbaric and scandalous. With the Faune one I can understand that because at the very end Nijinsky as the faun seems to be having sex with a scarf. The Rite of Spring as is translated in English is about a pagan sacrifice of a maiden.
I had heard much of these two ballets and how "shocking" they were so when the Joffrey performed both these dances in Chicago, I went to see them. How shall I describe them? One word will suffice: boring.
Nothing happens and it goes on interminably. I love ballet and I love all the movement of the body to music, but there wasn't much of that.
Anyway.
One does learn of Nijinsky in this book, his rise to fame under Diaghilev, all the ballets he performed, ultimately his relationship and marriage to Tamara Romola, a Hungarian heiress, being ousted from the Ballet Russo, his eventual return to the Ballet and finally, his descent into madness.
Previous material I had read, primarily a history of ballet written by Dame Margot Fonteyn, over-simplified Nijinksky's life into simply, when he married, Diaghilev in a rage fired Nijinksky and black-balled him from performing, hence his eventual madness.
According to Buckle, that is not what happened. Diaghilev reconciled with Nijinsky, although their former relationship was over and Nijinsky continued to dance for the company. But at the age of twenty-nine, for reasons not entirely clear, Nijinsky started exhibiting symptoms of schizophrenia.
Eventually he was institutionalized and nursed by his long suffering wife Tamara.
Buckle's description of these final thirty years of Nijinsky's life are both thoughtful and poignant and probably more interesting than the first thirty years, perhaps because Tamara wrote a biography of her husband in the thirties and consequently the second half of Nijinsky's life is better documented than the first.
It is regrettable that we only know of his dancing by reputation. There is no existing film of Nijinsky dancing, only photographs.
Buckle's biography was written in 1971 and is considered the definitive authority on the subject. While some of his attention to detail makes for a slower read, overall one learns a great deal about turn of the century Ballet, the people who developed it and its lasting impact on its present form.
Another gem is the history surrounding this time period. We read about the Tzarist aristocracy and how it supported ballet dancers, WWI, the Bolshevik revolution, and the beginning and development of 20th century ballet. Diaghilev had a vision for a different type of ballet, with modern music. He used the music of Debussy, Ravel, and most notably Igor Stravinsky.
I did not realize that Diaghilev was not a choreographer himself but the producer of the Russian Ballet. He instead was the entrepreneur that made it all happen. Diaghilev is a fascinating character, he was both wonderful and brutal. We learn as much about him, if not more than we do the man who supposedly the book is about.
Another thing I did not realize before reading this book was that Nijinsky, in addition to being probably the greatest dancer of the 20th century was also a choreographer. It was he who created the dance for Debussy's L'Apres Midi d'un Faune and also Sacre du Printempts by Igor Stravinsky.
Much was made of these two ballets when they came out just prior to WWI. The were considered quite barbaric and scandalous. With the Faune one I can understand that because at the very end Nijinsky as the faun seems to be having sex with a scarf. The Rite of Spring as is translated in English is about a pagan sacrifice of a maiden.
I had heard much of these two ballets and how "shocking" they were so when the Joffrey performed both these dances in Chicago, I went to see them. How shall I describe them? One word will suffice: boring.
Nothing happens and it goes on interminably. I love ballet and I love all the movement of the body to music, but there wasn't much of that.
Anyway.
One does learn of Nijinsky in this book, his rise to fame under Diaghilev, all the ballets he performed, ultimately his relationship and marriage to Tamara Romola, a Hungarian heiress, being ousted from the Ballet Russo, his eventual return to the Ballet and finally, his descent into madness.
Previous material I had read, primarily a history of ballet written by Dame Margot Fonteyn, over-simplified Nijinksky's life into simply, when he married, Diaghilev in a rage fired Nijinksky and black-balled him from performing, hence his eventual madness.
According to Buckle, that is not what happened. Diaghilev reconciled with Nijinsky, although their former relationship was over and Nijinsky continued to dance for the company. But at the age of twenty-nine, for reasons not entirely clear, Nijinsky started exhibiting symptoms of schizophrenia.
Eventually he was institutionalized and nursed by his long suffering wife Tamara.
Buckle's description of these final thirty years of Nijinsky's life are both thoughtful and poignant and probably more interesting than the first thirty years, perhaps because Tamara wrote a biography of her husband in the thirties and consequently the second half of Nijinsky's life is better documented than the first.
It is regrettable that we only know of his dancing by reputation. There is no existing film of Nijinsky dancing, only photographs.
Buckle's biography was written in 1971 and is considered the definitive authority on the subject. While some of his attention to detail makes for a slower read, overall one learns a great deal about turn of the century Ballet, the people who developed it and its lasting impact on its present form.
July 9, 2020
Buckle's biography of Nijinsky is extremely detailed and well-informed, especially with the obvious benefit of meeting and discussing with some who had been close to Nijinsky, Romola being key. It's hard to say whether or not Buckle's work suffers from having been published prior to the publication of Nijinsky's unexpurgated diary - I'm inclined to say it doesn't, given that the diary isn't exactly biography, and the expurgated passages he cites (such as that concerning Nijinsky and Diaghilev's first sexual encounter) weren't edited beyond repair by Romola.
The obvious comparison is with Lucy Moore's much more recent biography, which is more accessible and a little lighter. Moore's biography doesn't contain as much detail particularly regarding the last years of Vaslav's life - perhaps because Buckle covers them so completely (and they are more fascinating than I had anticipated, particularly the Nijinskys' experiences during WWII).
Buckle writes well and the level of detail he provides about the world of the ballet and the Ballets Russes surrounding Nijinsky, while it makes for some dense sections, is enriching nonetheless. His descriptions of the ballets, some of which are now lost or rarely performed (and even more rarely recorded) are invaluable.
Buckle is somewhat lighter-on about certain details; Lifar, Kochno, Dolin, and Markevitch's relatioships with Diaghilev are somewhat elided, when at least the former two and likely the latter two (knowing Diaghilev) went beyond that of the protege and impresario. But given that this was written first in 1971 and edited in 1980, and that all were alive during this time, it isn't particularly surprising. (It would be satisfying to read an account of the Ballets Russes and Diaghilev that confronted his predatory and abusive behaviour, but I'm not holding my breath, and given how minor these figures are in the current zeitgeist, it isn't likely to come.)
The obvious comparison is with Lucy Moore's much more recent biography, which is more accessible and a little lighter. Moore's biography doesn't contain as much detail particularly regarding the last years of Vaslav's life - perhaps because Buckle covers them so completely (and they are more fascinating than I had anticipated, particularly the Nijinskys' experiences during WWII).
Buckle writes well and the level of detail he provides about the world of the ballet and the Ballets Russes surrounding Nijinsky, while it makes for some dense sections, is enriching nonetheless. His descriptions of the ballets, some of which are now lost or rarely performed (and even more rarely recorded) are invaluable.
Buckle is somewhat lighter-on about certain details; Lifar, Kochno, Dolin, and Markevitch's relatioships with Diaghilev are somewhat elided, when at least the former two and likely the latter two (knowing Diaghilev) went beyond that of the protege and impresario. But given that this was written first in 1971 and edited in 1980, and that all were alive during this time, it isn't particularly surprising. (It would be satisfying to read an account of the Ballets Russes and Diaghilev that confronted his predatory and abusive behaviour, but I'm not holding my breath, and given how minor these figures are in the current zeitgeist, it isn't likely to come.)
June 18, 2009
Ok, this is the LAST time I pick up a book at random without checking it out on goodreads first!
My main interest in the book was that it is about Nijinsky, and as such part of the history of Russian ballet. I find the topic interesting mainly because of the family history and the fact that I've been watching Russian ballets since I was tall enough to see over the head of the person in front of me (with the aid of a special cushion which mom made for me, with little straps on it so I could wear it as a backpack on the way to the theater).
What a disappointment. The writing style is chaotic at best. Instead of being an entertaining description of a very colorful character whose life was filled with excessive drama on and of the stage, who lived in very interesting times indeed - this is a strange mix of dry history thesis and overbearing descriptions of details of dance (something that can't be described in words by DEFINITION).
I also really don't like these so called "intellectual" writers. Their writing style is peppered with all sorts of specific terms not comprehensible to anyone who does not have an art degree, and they constantly use French and Latin as if EVERYONE just happens to speak French and Latin (like, duh!). And clearly, if you don't, you just don't deserve to understand what the author is on about (Umberto Eco is particularly guilty of this one). One quote sticks in my mind " ...for the lifestyle of these temperamental rogues was ever so rococo...".
Get Real!
The last time I read a book on a similar subject matter was "I, Maya Plesetskaya", the autobiography. So it was not grandly written, so it was gossipy, so it probably contained many inaccuracies. It was fun to read! She had a heck of an interesting life and wrote about it in an interesting way. Too bad Nijinsky himself was mad as a hatter by the time he wrote his own biography. Had he kept his marbles, I think it would have been a far better read than this load of drivel.
My main interest in the book was that it is about Nijinsky, and as such part of the history of Russian ballet. I find the topic interesting mainly because of the family history and the fact that I've been watching Russian ballets since I was tall enough to see over the head of the person in front of me (with the aid of a special cushion which mom made for me, with little straps on it so I could wear it as a backpack on the way to the theater).
What a disappointment. The writing style is chaotic at best. Instead of being an entertaining description of a very colorful character whose life was filled with excessive drama on and of the stage, who lived in very interesting times indeed - this is a strange mix of dry history thesis and overbearing descriptions of details of dance (something that can't be described in words by DEFINITION).
I also really don't like these so called "intellectual" writers. Their writing style is peppered with all sorts of specific terms not comprehensible to anyone who does not have an art degree, and they constantly use French and Latin as if EVERYONE just happens to speak French and Latin (like, duh!). And clearly, if you don't, you just don't deserve to understand what the author is on about (Umberto Eco is particularly guilty of this one). One quote sticks in my mind " ...for the lifestyle of these temperamental rogues was ever so rococo...".
Get Real!
The last time I read a book on a similar subject matter was "I, Maya Plesetskaya", the autobiography. So it was not grandly written, so it was gossipy, so it probably contained many inaccuracies. It was fun to read! She had a heck of an interesting life and wrote about it in an interesting way. Too bad Nijinsky himself was mad as a hatter by the time he wrote his own biography. Had he kept his marbles, I think it would have been a far better read than this load of drivel.
October 19, 2014
The book should more rightly be called Diaghalev and Nijinsky, as the first half of the book tracks the rise and rise of the Ballet Rousse under the charismatic impresario Diaghalev. It's well-researched and full of great details for theatre and ballet lovers, tracing the amazing revolutions in art, music and dance that were part of the Ballet Rouse - from sets by Picasso to the first ever production of the ballet of Stravinsky's Rites of Spring (which very nearly caused a riot in Paris!). Woven through is the story of the mercurial rise of Nijinsky, the artistic forefather of dancers like Nureyev and Baryshnikov. The second of the book follows him from from his ascendance as a dancer/choreographer to his startling and tragic fall to schizophrenia.
I admit to skimming over some pages which outlined in painstaking detail the convoluted plots of several ballets, but was drawn to the backstage stories of the company and the artistic passion of the key players. Overall, an entertaining read about a fascinating life.
I admit to skimming over some pages which outlined in painstaking detail the convoluted plots of several ballets, but was drawn to the backstage stories of the company and the artistic passion of the key players. Overall, an entertaining read about a fascinating life.
December 14, 2013
Nijinksy was fascinating and boring at turns--perhaps like ballet itself sometimes can be, with ebbs and flows in action and interest. I give it four stars not because of its readability, but because of the dedication and precision of its author, who was able to pull together sources at a crucial time in history--when many of Nijinksy's closest associates were still living and able to provide their input. Better still, the writer himself was familiar with ballet, a quality that puts him ahead of other would-be biographers for an artist who spoke more with his body than with words.
The book paints a clear picture of the Ballet Russe, the drama behind its scenes, its development, and the people who made it happen. Using sometimes too-long excerpts from reviews, memoirs, and letters, the book (dissertation?) puts Nijinksy into the context of this dynamic world.
Long descriptions of ballets are included; I didn't have a problem with them when they described Nijinksy. It is a pity that we do not have video of him dancing that is not dim and flickering, so if descriptions like those that appear in the book are all we have, they are pretty darn good. However, I did find myself skipping through them when they didn't provide the information that I wanted, which could have been facilitated if they had been set off more clearly from the rest of the text. After all, the author decided to keep them after some indecision, which I now think was a good idea, but they should have been included as sections separate from the narrative.
The most relevant complaint may be of the book's focus, which certainly did not stay on Nijinsky. So much information unrelated to the dancer was included that it was sometimes difficult to find those sections that were relevant. The author himself says that he initially intended to call the book Diaghilev and Nijinsky, but the book's scope was even larger than that, and it should have been titled Nijinsky and the Ballet Russe because that was its focus if there was one.
Though this book is sometimes pedantic (especially if you read the footnotes) and its writing sometimes awkward, it is an excellent resource and brings together many historical documents and first-hand accounts.
The book paints a clear picture of the Ballet Russe, the drama behind its scenes, its development, and the people who made it happen. Using sometimes too-long excerpts from reviews, memoirs, and letters, the book (dissertation?) puts Nijinksy into the context of this dynamic world.
Long descriptions of ballets are included; I didn't have a problem with them when they described Nijinksy. It is a pity that we do not have video of him dancing that is not dim and flickering, so if descriptions like those that appear in the book are all we have, they are pretty darn good. However, I did find myself skipping through them when they didn't provide the information that I wanted, which could have been facilitated if they had been set off more clearly from the rest of the text. After all, the author decided to keep them after some indecision, which I now think was a good idea, but they should have been included as sections separate from the narrative.
The most relevant complaint may be of the book's focus, which certainly did not stay on Nijinsky. So much information unrelated to the dancer was included that it was sometimes difficult to find those sections that were relevant. The author himself says that he initially intended to call the book Diaghilev and Nijinsky, but the book's scope was even larger than that, and it should have been titled Nijinsky and the Ballet Russe because that was its focus if there was one.
Though this book is sometimes pedantic (especially if you read the footnotes) and its writing sometimes awkward, it is an excellent resource and brings together many historical documents and first-hand accounts.
October 17, 2018
If you name your book "Nijinsky", I expect it to be about him. Unfortunatelly, all the meticulous research here does not center on nijinsky, but on Balet Russes, which was just one part of his life. I still feel very much lost on who Nijinsky was as a person, how was his early life, what his relationships or world philosophy were. The book focuses instead on minute details of ballet choreography and costumes, as well as providing extensive lists of ballets given at any chosen moment. While not without some itnerest, these are not thing I had anticipated or wanted.
I do not find the book well written. The author quotes whole PAGES of other people´s books, without intervention or any comment. And if, like me, you do not speak a word of French, about 10 % of the text will be incomprehensible to you, because nobody bothered to include translations. There are hundreds of ballet terms which are a bit unknown to anyone who does not dance professionally, and that just makes you feel stupid.
The best part was the last chapter, when finally the personality and story of Nijinsky focused on him. Unfortunatelly, I don´t want to wait until page 480 to finally come to know the man about whom this whole book should have been.
I do not find the book well written. The author quotes whole PAGES of other people´s books, without intervention or any comment. And if, like me, you do not speak a word of French, about 10 % of the text will be incomprehensible to you, because nobody bothered to include translations. There are hundreds of ballet terms which are a bit unknown to anyone who does not dance professionally, and that just makes you feel stupid.
The best part was the last chapter, when finally the personality and story of Nijinsky focused on him. Unfortunatelly, I don´t want to wait until page 480 to finally come to know the man about whom this whole book should have been.
January 15, 2023
This was, maybe it still is, the most authoritative biography of Nijinsky and certainly the one most people will have read though a more, and much admired biography has been written by Lucy Moore, though Buckle's book, written 40 years before Moore's, had the advantage of his personal acquaintance with many who knew Nijinsky. It is wonderful and is more then simply a biography it is the story of a whole artistic movement in art, music and dance. If you are interested in the whole explosion of creativity around the Ballet Russe then you must at least read some of Buckle's biography. Even more so if you have even a passing interest in Nijinsky's life.
So this is fine biography, parts are fascinating, but it was all to much for me. Nijinsky is a fascinating character but as I not a balletomane I found that the story dragged. My fault. Not the books.
So this is fine biography, parts are fascinating, but it was all to much for me. Nijinsky is a fascinating character but as I not a balletomane I found that the story dragged. My fault. Not the books.
January 1, 2016
This book is obviously very well researched and thorough account of the life of Nijinsky. Unfortunately, it's also very dry. Lists of dates and long winded descriptions of ballet action obscure the story that the author is trying to tell.
The most interesting chapter is the last, it describes Nijinsky's illness, treatments and death. It tells the the amazing story of his wife's devotion and the lengths she went to in order to keep him safe in a time when mental illness was viewed with even more fear than it is today.
I had hoped there would be more of a human element to the story, it is there, but not really until the last chapters. Those chapters left me sad. To think about the life and creativity that were lost and the strength of Romola against the odds. I wish there had been more of that.
The most interesting chapter is the last, it describes Nijinsky's illness, treatments and death. It tells the the amazing story of his wife's devotion and the lengths she went to in order to keep him safe in a time when mental illness was viewed with even more fear than it is today.
I had hoped there would be more of a human element to the story, it is there, but not really until the last chapters. Those chapters left me sad. To think about the life and creativity that were lost and the strength of Romola against the odds. I wish there had been more of that.
January 9, 2008
This isn't biography, exactly. I can't what it is -- not quite hagiography, although it comes close; it ain't journalism, and it's not criticism. It's not even internally reliable. It's amusing, though!
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September 2, 2016792.8092 N691bu 2012
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