Nijinsky (42 page)

85
‘played the chord'
: D. Monteux,
It's All in the Music: The Life and Work of
Pierre Monteux
(London, 1966), p. 77.

86
‘all solicitude as'
: Rambert,
Quicksilver: The Autobiography of Marie Rambert
, p. 57.

86
‘What grace coupled'
: K. Kopelson,
The Queer Afterlife of Vaslav Nijinsky
(San Francisco, CA, 1997), p. 113; see also Steegmuller,
Cocteau
, p. 84 and J. Cocteau,
The Cock and the Harlequin
(
Le Coq et l'Arlequin
), translated by R. H. Myers (London, 1921), p. 42.

87
‘the “lowest sort”'
: V. Stravinsky and R. Craft,
Stravinsky in Pictures and
Documents
(London, 1960), p. 26.

87
‘that sets itself' quotation continued, but in a better translation, in Homans
,
Apollo's Angels: A History of Ballet
, p. 290.

87
‘in perfect … of execution'
: Fokine,
Memoirs of a Ballet Master
, p. 194.

88
‘The costumier … and glamorous'
: M. Sert,
Two or Three Muses
(London, 1953), p. 129.

88
‘Only Monteux'
: Monteux,
It's All in the Music: The Life and Work of Pierre
Monteux
, p. 76.

89
‘enchanted'
: Benois,
Reminiscences of the Russian Ballet in London
, p. 337.

90
‘Only the swinging'
: Nijinska,
Early Memoirs
, p. 373.

90
‘Of the once bright-red cheeks'
: Nijinska,
Early Memoirs
, p. 373.

90
‘A friend … very clear'
: E. Denby quoted in Paul Magriel,
Nijinsky, Pavlova, Duncan: Three Lives in Dance
(New York, 1977), pp. 19–20.

90
‘an entire poem'
: Stravinsky and Craft,
Stravinsky in Pictures and Documents
, p. 67.

90
‘amplified the crazy doll'
: Romola Nijinsky,
Nijinsky; and, The last years of Nijinsky
, p. 128.

91
‘seemed to have'
: Beaumont,
The Diaghilev Ballet in London
, p. 45.

91
distilling something
… its loss: see Garafola,
Diaghilev's Ballets Russes
, pp. 29, 32, 48.

91
‘personality, the imprisoned genius'
: Keynes,
Lydia Lopokova
, p. 211.

91
‘a Hamlet'
: Buckle,
Nijinsky
, p. 159.

91
‘to help the actor'
: Valery Bryusov essay quoted in Garafola,
Diaghilev's Ballets Russes
, p. 27.

91
‘seen the finest actor'
: Romola Nijinsky,
Nijinsky; and, The last years of Nijinsky
, p. 129.

91
‘the most … ever seen'
: Stravinsky and Craft,
Memories and Commentaries
, p. 37.

92
‘the mythical outcast'
: R. Gathorne-Hardy (ed.),
Ottoline: the Early Memoirs of Lady Ottoline Morrell
(London, 1964), p. 227.

92
‘in the midst'
: S. Grigoriev,
The Diaghilev Ballet, 1909–1929
(Harmondsworth, 1953), p. 55.

92
‘People thought and talked'
: T. Beecham,
A Mingled Chime
(London, 1973), p. 149.

92
‘with their diamond tiaras'
: Charles Ricketts quoted in Buckle,
Diaghilev
, p. 232.

92
society girls
: Lady Diana Cooper actually did; see Melville,
Diaghilev and Friends
, p. 122.

92
‘Now I knew'
: M. Green,
Children of the Sun: A Narrative of ‘Decadence' in England After 1918
(New York, 1977), p. 30.

93
‘
Je ne sais pas
'
: M. Draper,
Music at Midnight
(Kingswood, Surrey, 1929), p. 143.

93
‘he ate and drank'
: ibid., p. 188.

93
‘Always he demanded'
: Lifar,
Diaghilev
, p. 299.

94
‘the most rigorous seclusion'
: Romola Nijinsky,
Nijinsky; and, The last years of Nijinsky
, p. 113.

94
‘to go … Certainly not'
: Steegmuller,
Cocteau: A Biography
, p. 80.

94
‘childishly spoiled'
: Stravinsky and Craft,
Memories and Commentaries
, p. 35.

94
‘on the pretext'
: Nijinska,
Early Memoirs
, p. 339.

94
‘
mon petit
'… restless
: Count Harry Kessler and Kuzmin quoted in Scheijen,
Diaghilev
, p. 238.

94
‘thought I went out … horrible'
: Nijinsky,
Nijinsky's Diary
, p. 18.

94
‘I received a moral blow … a beast'
: ibid., p. 20.

95
‘You have slapped … of China'
: Karsavina,
Theatre Street
, p. 285 and Buckle,
Nijinsky
, p. 156. This took place in 1910. I am assuming that
Diaghilev used the feminine pronoun because it simply wouldn't have been acceptable to use the male. Whatever he may have thought Karsavina understood about his personal life, I don't think he would ever have referred to it directly with her. In the unlikely case he had said ‘he', she would almost certainly have changed it herself for publication.

96
‘That's not so great … the ballet'
: Benois,
Reminiscences of the Russian Ballet in London
, p. 318.

97
‘carry out my artistic ideas'
: Lifar,
Diaghilev
, p. 142.

97
‘Oh, he was like the rest of them'
: C. Spencer,
Léon Bakst
(London, 1978), p. 98.

97
lacked taste
: from Haskell,
Ballet Russe
, p. 74. Since Haskell relied heavily on Walter Nouvel's interpretation of events, we can assume that Diaghilev's ‘close collaborator' to whom Haskell credits this assertion was Nouvel.

97
‘sweetly sentimental'
: Nijinska,
Early Memoirs
, p. 315.

97
‘Leaping to his feet'
: Lifar,
Diaghilev
, p. 146.

97
Meyerhold
:
Faune
transposed to the dance stage Meyerhold's ‘static Theatre' with its ‘two-dimensionality, stylised posture, foreshortened stage, depersonalised performing style, totalising design, and slow “signifying” movement'. Garafola,
Diaghilev's Ballets Russes
, p. 54.

97
‘moving bas-relief'
: Haskell quoted in Garafola,
Diaghilev's Ballets Russes
, p. 52.

98
‘the source … own way'
: Nijinska,
Early Memoirs
, p. 315.

98
‘laboratory experiments in'
: Haskell,
Balletomania
, p. 82.

98
‘Explaining is the wrong word'
: Rambert,
Quicksilver: The Autobiography of Marie Rambert
, p. 59.

98
‘without any preparation … the movement'
: Nijinska,
Early Memoirs
, p. 316 (phrases cited in different order from original source).

99
‘unexpected and unusual severity'
: ibid., p. 328.

99
‘remoteness of music'
: Buckle,
Nijinsky
, p. 164.

100
‘compensate for'
: Scheijen,
Diaghilev
, p. 241.

100
perfectly musically literate
: see also S. C. Berg,
Le Sacre du printemps: Seven Productions from Nijinsky to Martha Graham
(Ann Arbor, MI, 1988), p. 26.

100
‘music made visible'
: C. W. Beaumont,
Bookseller at the Ballet: Memoirs 1891 to 1929
(London, 1975), p. 100.

100
‘the courage to stand still'
: Buckle,
Diaghilev
, p. 251.

100
‘horribly decadent'
: Stravinsky,
Stravinsky in Conversation with Robert Craft
, p. 165.

101
‘she never makes one forget'
: Buckle,
Nijinsky
, p. 214.

101
‘Oh, Mathildoshka … two feet'
: Romola Nijinsky,
Nijinsky; and, The last years of Nijinsky
, p. 160.

102
‘almost as a priest … uncanny feeling of apprehension'
: Romola Nijinsky,
Nijinsky; and, The last years of Nijinsky
, p. 16.

102
‘When she unfolded'
: Karsavina in Drummond (ed.),
Speaking of Diaghilev
, p. 18.

103
‘dancers dreaded'
: Grigoriev,
The Diaghilev Ballet, 1909–1929
, p. 66.

103
‘Up to then … choreographic plan'
: Nijinska,
Early Memoirs
, p. 427.

103
‘the movement he gave'
: Rambert,
Quicksilver: The Autobiography of Marie Rambert
, p. 62.

103
‘merely an extension … that speaks'
: Jacques Rivière quoted in Burt,
The Male Dancer: Bodies, Spectacle, Sexualities
, p. 90.

103
‘never seen him'
: Macdonald,
Diaghilev Observed by Critics in England and the United States, 1911–1929
, p. 88, telegram of 18 April 1912.

104
‘You will see … understood it'
: Nijinska,
Early Memoirs
, p. 431.

104
‘“creating” a choreographer'
: Fokine,
Memoirs of a Ballet Master
, p. 202.

104
‘This was a very unhappy'
: Monteux,
It's All in the Music: The Life and Work of Pierre Monteux
, p. 93.

104
‘shabby, jealous little group'
: A. Gold and R. Fizdale,
Misia: The Life of Misia Sert
(New York, 1980), p. 156.

105
‘with the weight … and sulky'
: Cocteau,
Journals
, p. 54.

105
300,000 francs
: Garafola,
Diaghilev's Ballets Russes
, p. 187.

105
‘doubts in the wings'
: Nijinska,
Early Memoirs
, p. 434.

105
‘
plus nu que nu
'
: Steegmuller,
Cocteau: A Biography
, p. 77.

105
‘In the costume … be human'
: Romola Nijinsky,
Nijinsky; and, The last years of Nijinsky
, p. 170.

106
‘introversion, self-absorbtion'
: Homans,
Apollo's Angels: A History of Ballet
, p. 309.

106
‘thrilling. Although his movements'
: Sokolova,
Dancing for Diaghilev
, p. 40.

106
‘Nobody was certain'
: Romola Nijinsky,
Nijinsky; and, The last years of Nijinsky
, p. 172.

107
‘I wish that'
: quoted in Nijinska,
Early Memoirs
, p. 437.

107
‘this wonderful evocation'
: quoted in Buckle,
Diaghilev
, p. 226. For a fuller understanding of this scandal, see Scheijen,
Diaghilev
, pp. 249–51 and Count Harry Kessler's diaries (published in German in 2005).

107
‘WICKED PARIS'
: Macdonald,
Diaghilev Observed by Critics in England and the United States, 1911–1929
, p. 78.

107
‘safe haven of'
: Garafola,
Diaghilev's Ballets Russes
, p. 57.

107
‘the seesaw … against instinct'
: ibid., p. 58.

107
‘Of course Nijinsky'
: Steegmuller,
Cocteau: A Biography
, p. 73.

107
‘adored the … by it'
: Stravinsky and Craft,
Memories and Commentaries
, p. 36.

108
‘I did not think'
: Nijinsky,
Nijinsky's Diary
, p. 203.

108
‘Once you mastered'
: L. Sokolova in Drummond (ed.),
Speaking of Diaghilev
, p. 146.

108
‘The sensation'
: Sokolova,
Dancing for Diaghilev
, p. 40.

108
‘a refutation … without parallel'
: Oliveroff,
Flight of the Swan: A Memory of Anna
P
avlova
, p. 163.

108
‘to his own purpose'
: Rambert,
Quicksilver: The Autobiography of Marie Rambert
, p. 63.

108
‘
Je ne suis pas'
: Romola Nijinsky,
Nijinsky; and, The last years of Nijinsky
, p. 136.

108
‘in spite of Diaghilev's'
: Benois,
Reminiscences of the Russian Ballet in London
, p. 290.

109
‘evolved a sculptural line'
: Massine,
My Life in
Ballet, p. 84.

109
‘revealed not one'
: Lifar,
Diaghilev
, p. 143.

109
‘ill-concealed impatience'
: Buckle,
Diaghilev
, p. 235.

109
‘very nervous … and jailer'
: Gathorne-Hardy (ed.),
Ottoline: the Early Memoirs of Lady Ottoline Morrell
, p. 227.

109
‘sat in the garden'
: Lady Juliet Duff quoted in Buckle,
Nijinsky
, p. 261.

109
‘I do not know'
: Nijinsky,
Nijinsky's Diary
, p. 41.