Vaslav Nijinsky, Polish dancer and choreographer (b. 1890)

Vaslav Nijinsky, a name synonymous with balletic revolution, emerged in the early 20th century as perhaps the greatest male dancer of his time. Born Vaslav Fomich Nizhinsky on March 12, 1889 or 1890, in Kyiv, then part of Imperial Russia, to Polish parents, he carried a deep sense of Polish identity throughout his life. His unparalleled virtuosity, combined with the profound emotional depth and intensity of his characterizations, captivated audiences worldwide. Nijinsky possessed a rare ability among male dancers of his era: he could dance en pointe, and his legendary, seemingly gravity-defying leaps were a spectacle of grace and power.

Early Life and Artistic Roots

Dance was in Nijinsky's blood. His parents were esteemed senior dancers with the Setov opera company, and young Vaslav's early years were spent amidst the vibrant, nomadic life of touring performers. This immersive childhood, steeped in theatrical tradition, laid the foundation for his future genius. His family was a constellation of talent; his elder brother, Stanislav, and younger sister, Bronislava, known affectionately as "Bronia," also pursued careers in dance. Bronia, in particular, became an accomplished choreographer in her own right and a crucial artistic collaborator throughout much of her brother's career.

Path to the Imperial Stage

At the tender age of nine, Nijinsky's exceptional talent earned him a coveted place at the Imperial Ballet School in St. Petersburg, widely regarded as the world's foremost institution for classical ballet training. Upon his graduation in 1907, he immediately joined the prestigious Imperial Ballet. Such was his brilliance that he bypassed the typical entry point of the corps de ballet, starting instead as a coryphée and quickly securing starring roles, a clear testament to his extraordinary promise.

The Ballets Russes and a Transformative Partnership

A pivotal moment arrived in 1909 when Nijinsky joined the nascent Ballets Russes, an innovative company founded by the visionary impresario Sergei Diaghilev. Diaghilev's audacious plan was to introduce the rich, vibrant artistry of Russian ballet to Paris, a city largely unfamiliar with the high-calibre productions common in St. Petersburg. Nijinsky rapidly became the undisputed star male dancer of the company, his performances generating an electric atmosphere and enormous excitement among Parisian audiences. While on stage he was a titan, in everyday life, Nijinsky was remarkably withdrawn and often appeared unremarkable in conversation. Off stage, Diaghilev and Nijinsky's relationship evolved into a complex personal and artistic partnership. Under Diaghilev's guidance and the Ballets Russes' creative freedom, Nijinsky was able to push the boundaries of his art, experimenting with both dance and choreography, thereby forging new artistic directions for male dancers and catapulting himself to international fame.

Revolutionary Choreography

From 1912, Nijinsky embarked on a groundbreaking choreographic journey, crafting original ballets that would challenge and redefine the art form. His works included L'après-midi d'un faune (1912), set to Claude Debussy's evocative music, and the seismic Le Sacre du Printemps (The Rite of Spring, 1913), with its revolutionary score by Igor Stravinsky. He also created Jeux (1913) and Till Eulenspiegel (1916). Faune, considered one of the earliest modern ballets, ignited controversy, particularly due to its sexually suggestive final scene which dared to push societal norms. The premiere of Le Sacre du Printemps was even more notorious; it famously provoked outright brawls in the audience between those who were captivated by its startling new style of music and movement and those who were utterly repulsed. Interestingly, Nijinsky originally conceived Jeux as a playful, flirtatious interaction among three male dancers, though Diaghilev ultimately insisted it be performed by one male and two females.

A Fateful Marriage and Life's Unraveling

In 1913, while on a South American tour with the Ballets Russes, Nijinsky made a life-altering decision, marrying Hungarian noblewoman Romola de Pulszky. This marriage, however, proved to be a catalyst for a profound rupture with Diaghilev, who, feeling betrayed, promptly dismissed Nijinsky from the company. Despite the personal and professional upheaval, the couple had two daughters, Kyra and Tamara Nijinska. Deprived of the Ballets Russes platform, Nijinsky attempted to establish his own company, but without Diaghilev's unique organizational genius and financial backing, this venture unfortunately met with little success.

The Shadow of Illness

The onset of World War I further complicated his life; Nijinsky was interned in Budapest, Hungary, effectively under house arrest, until 1916. It took the intervention of Diaghilev himself, alongside several international leaders, to secure his release and allow him to embark on an American tour with the Ballets Russes in New York. However, the immense stress of managing tours independently, coupled with the profound emotional toll of being deprived of regular dancing opportunities, began to take a severe toll on his mental well-being. Following another challenging tour of South America in 1917, and facing the escalating travel difficulties imposed by the war, the family sought refuge in the tranquility of St. Moritz, Switzerland. Tragically, his mental condition continued to deteriorate, leading to a diagnosis of schizophrenia in 1919. He was subsequently committed to a mental asylum, marking the end of his public performing career. For the next three decades, Nijinsky moved in and out of various institutions, a shadow of his former self, never again gracing the stage. He passed away on April 8, 1950.

Frequently Asked Questions About Vaslav Nijinsky

What made Vaslav Nijinsky such a revolutionary dancer and choreographer?
Nijinsky's revolution stemmed from his extraordinary technical prowess – including the rare ability for a male dancer to perform en pointe – and his seemingly gravity-defying leaps. Beyond technique, he brought unprecedented emotional depth and intensity to his characterizations. As a choreographer, he dared to challenge conventional ballet, introducing controversial themes and avant-garde movements in works like L'après-midi d'un faune and Le Sacre du Printemps, profoundly shaping the direction of modern dance.
What was the nature of his relationship with Sergei Diaghilev?
Their relationship was a complex blend of artistic collaboration, mentorship, and a romantic partnership. Diaghilev, as the impresario of the Ballets Russes, provided Nijinsky with the platform and creative freedom to expand his art and achieve international fame. This symbiotic relationship was instrumental in Nijinsky's artistic development, though it ended abruptly and acrimoniously following Nijinsky's marriage.
Which of Nijinsky's choreographed works are most famous?
His most celebrated and impactful choreographic works include L'après-midi d'un faune (1912), set to music by Claude Debussy, known for its groundbreaking modernism and controversial sensuality; and Le Sacre du Printemps (The Rite of Spring, 1913), with Igor Stravinsky's revolutionary score, which caused a riot at its premiere due to its raw, primal aesthetic. He also choreographed Jeux (1913) and Till Eulenspiegel (1916).
Why did Vaslav Nijinsky's dance career end prematurely?
Nijinsky's brilliant career was tragically cut short due to the onset of severe mental illness. Following the stress of managing his own company, wartime internment, and the immense pressure of touring without Diaghilev's support, his mental health deteriorated significantly. He was diagnosed with schizophrenia in 1919 and spent the remainder of his life in and out of mental institutions, never again performing publicly.
What was Vaslav Nijinsky's ethnic background and identity?
Vaslav Nijinsky was born in Kyiv to Polish parents who were professional dancers. Although he grew up and trained in Imperial Russia, he consistently considered himself to be Polish, reflecting a strong sense of national and cultural identity despite his Russian upbringing and artistic roots in the Imperial Russian ballet tradition.