164 Facts About Bronislava Nijinska

Bronislava Nijinska came of age in a family of traveling, professional dancers.

Bronislava Nijinska met war-time difficulties in Petrograd and revolutionary turbulence in Kiev.

Bronislava Nijinska then enjoyed continuing successes in Europe and the Americas.

Bronislava Nijinska assisted her famous brother Vaslav Nijinsky as he worked up his controversial choreography for L'Apres-midi d'un faune, which Ballets Russes premiered in Paris in 1912.

Bronislava Nijinska developed her own art in Petrograd and Kiev during the Great War, Revolution and Civil War.

Bronislava Nijinska started a ballet school on progressive lines in Kiev.

Bronislava Nijinska published her writing on the art of movement.

Bronislava Nijinska thrived, creating several popular, cutting-edge ballets to contemporary music.

Bronislava Nijinska continued working in choreography and as an artistic director.

Bronislava Nijinska was the third child of the Polish dancers Tomasz [Foma] Nijinsky and Eleonora Nijinska, who were then traveling performers in provincial Russia.

Bronislava Nijinska was born in Minsk, but all three children were baptized in Warsaw.

Bronislava Nijinska was the younger sister of Vaslav Nijinsky, a ballet star of world renown.

Bronislava Nijinska created a ballet pantomime, and performed in circus-theaters, using Polish and Russian music.

Bronislava Nijinska implies that their small troupe prospered, but that has been questioned.

Bronislava Nijinska then continued on the road alone as a dancer.

Bronislava Nijinska's mind took innovative turns, which his body followed, or vice versa.

Bronislava Nijinska learned ballet, together with all kinds of different dance steps.

Bronislava Nijinska picked up some acrobatic techniques from her father, who would 'talk shop' and trade skills with circus performers.

Broni Bronislava Nijinska was not quite four when she made her theatrical debut in a Christmas pageant with her brothers in Nizhny Novgorod.

Bronislava Nijinska always seemed familiar with being on stage, in children's skits or to make brief appearances on the adult stage.

In 1900, Bronislava Nijinska was accepted into the state-sponsored school for performing arts.

Bronislava Nijinska graduated in 1908, taking 'First Award' for achievement both in dance and in academic subjects.

Bronislava Nijinska describes his innovations in creating a new Blue Bird role for the ballet The Sleeping Princess in 1907: how he changed the restrictive costume and energized the movements.

When Nijinsky created L'Apres-midi d'un Faune [Afternoon of the Faun] in 1912 he used Bronislava Nijinska to rehearse it in secret, to follow with her body his description of the steps one by one.

Bronislava Nijinska similarly assisted him in creating The Rite of Spring.

Yet due to her pregnancy, Bronislava Nijinska withdrew from the role of the Chosen Maiden.

Bronislava Nijinska was a young man alone on the tour when he wed.

Bronislava Nijinska was alone because her pregnancy had kept her in Europe.

Bronislava Nijinska speculated that, behind the scenes, business decisions had motivated events.

Bronislava Nijinska offered her assistance, yet learned there was only a short time to prepare for its premiere performance.

Bronislava Nijinska quickly decided to return to Russia to recruit the cast, but Warsaw was where the experienced dancers were found.

Bronislava Nijinska directed rehearsals, as musicians and scores, sets and costumes were arranged.

In 1908, Bronislava Nijinska was admitted to the Imperial Ballet.

Bronislava Nijinska appeared in the Sergei Pavlovitch Diaghilev's first two Paris seasons, 1909 and 1910.

Bronislava Nijinska's brother coached her for the role of Papillon [the butterfly] in Fokine's Carnaval.

Bronislava Nijinska continually kept in character rather than slipping back into the default look of classical ballet.

Bronislava Nijinska struggled and grew as an Odalisque in the popular ballet Scheherazade.

Bronislava Nijinska assisted her brother Vaslav in his creation of the ballet The Rite of Spring, which premiered in 1913.

Bronislava Nijinska continued her ballet career as danseuse, with Sasha her husband as the danseur.

Bronislava Nijinska performed in her own choreographed solos, Le Poupee or Tabatierr, and Autumn Song.

Bronislava Nijinska performed the roles of the Hummingbird Fairy and Pierette, for which she received "high critical praise".

Bronislava Nijinska had helped her brother with its choreography for its 1912 premier.

From 1921 to 1924,1926 with Ballets Russes, Bronislava Nijinska nonetheless took prominent roles in many of her own dance designs.

Bronislava Nijinska performed into the 1930s, at venues in Europe and the Americas.

Bronislava Nijinska liked the flow of movement on the stage.

Bronislava Nijinska had then tried out the initial stages of various steps created by him.

Bronislava Nijinska had long considered the city her home; it was her last time living there.

In 1915 Bronislava Nijinska produced her first choreographies: Le Poupee [The Doll], and Autumn Song.

In 1917 Bronislava Nijinska began teaching at several institutions: the State Conservatory of Music, the Central State Ballet Studio, the Yiddish Cultural Center Drama Studio, and the Ukrainian Drama School.

In 1917 Bronislava Nijinska met the visual artist Alexandra Exter in Moskva.

Bronislava Nijinska adapted the classic Petipa and Ivanov choreography of 1895.

Bronislava Nijinska's success involved trimming the ballet's difficulty to fit the level of her weaker students.

Bronislava Nijinska traveled west out of Kiev under false pretenses, assisted by other dancers.

Bronislava Nijinska's health had deteriorated since 1914, their last meeting.

Bronislava Nijinska staged ballets for twenty years, starting with its 1909 opening of La Saison Russe in Paris, and ending in 1929 when its founder Sergei Diaghilev died.

Bronislava Nijinska had directed the company's operations: both the business and the theatrical.

Bronislava Nijinska chiefly worked with five choreographers, more or less in sequence: Fokine, Nijinsky, Massine, Nijinska, Balanchine.

Bronislava Nijinska had re-engaged her "because" of this demonstration of her abilities.

Bronislava Nijinska made other alterations to the ballet, and led its rehearsals.

Bronislava Nijinska choreographed a new version of the so-called "finger" variation for herself as the Hummingbird Fairy.

Bronislava Nijinska aimed for excellence, a show of the tradition's high production values whatever the expense.

Bronislava Nijinska had come from the harsh realities and creative ferment of 'Russia in revolution'.

Bronislava Nijinska wrote later that Diaghilev's extravagant revival then "seemed to me an absurdity, a dropping into the past".

Bronislava Nijinska earned her credits as the sole choreographer for nine works at Ballets Russes during the 1920s.

Bronislava Nijinska wrote in his 1936 Chronicles of my life:.

Bronislava Nijinska displayed such a wealth of ingenuity, so many fine points, so much satirical verve, that the effect was irresistible.

Bronislava Nijinska presented her sober observations on folk society, yet there lurked a vital vision.

Bronislava Nijinska's libretto conveys ancient and set patterns, yet his music uses staccato rhythms and a vocal overlay of upheaval.

Bronislava Nijinska translated it to dance, embodying in the ballet a tragic sense, the fate of both tradition and revolution.

Bronislava Nijinska rejected this concept, and it is her somber vision of the ballet that ultimately prevailed.

Bronislava Nijinska directed the women to dance en pointe, in order to elongate their silhouettes and resemble Russian icons.

Bronislava Nijinska had presented the so-called "Program for the Institute of Artistic Culture," his proposed master plan for the arts, including dance, in Moscow in June 1920.

Bronislava Nijinska loses not only her long, long braids, but her privacy, her right to dream.

Bronislava Nijinska took the role of the hostess of the house party.

Bronislava Nijinska danced as the mood took her and was brilliant.

The great strength of Bronislava Nijinska's choreography was its inventiveness, together with the fact that it remained essentially classical.

Bronislava Nijinska achieved this in Les Biches; Balanchine was to do so latter.

Bronislava Nijinska danced the male role of Lysandre, wearing a wig and clothes of the seventeenth-century.

Bronislava Nijinska longed for very old-fashioned ballets without abstract ideas, with simplicity and poetry.

Bronislava Nijinska's choreography was set to the music of Modest Mussorgsky.

Bronislava Nijinska labored on it for years prior to his death in 1881.

Bronislava Nijinska created a special ambiance through the language of dance, she introduced angular and geometrical movements and organized dancers on stage as interactive groups, that alluded to images of sports activities, such as golf, tennis and recreational games on a beach.

Bronislava Nijinska's choreography managed to present for the audience a sophisticated view of the beach ballet.

In 1925 Bronislava Nijinska found sufficient financing to form her ballet company: Theatre Choregraphiques Bronislava Nijinska.

Bronislava Nijinska had first met Exter in Kiev during war and revolution.

Bronislava Nijinska "took contemporary forms of locomotion as her theme", with music by Francis Poulenc, costumes and set by Exter.

At the Paris Opera Bronislava Nijinska choreographed the ballet La Rencontres [The Encounters], libretto by Kochno, music by Sauguet.

In 1926 Bronislava Nijinska became choreographic director and principal dancer with Teatro Colon.

Bronislava Nijinska staged Un Estudio Religioso to music by Bach in 1926, which she developed from her choreography Holy Etudes of 1925.

Bronislava Nijinska drew on innovative ideas she'd first developed in Kiev during war and revolution.

In 1926 and 1927 for the Buenos Aires theater, Bronislava Nijinska created dance scenes for fifteen operas, including Bizet's Carmen, Wagner's Tannhauser, Verdi's Aida and La Traviata, Stravinsky's Le Rossignol, Rimsky-Korsakov's Tsar Saltan, Massenet's Thais, and Gounod's Faust.

In 1927 for Teatro Colon, Bronislava Nijinska directed ballet choreography created by Fokine for Ballets Russes: Ravel's Daphnis et Chloe, and Stravinsky's Petrouchka.

The dancer Ida Rubinstein formed a ballet company in 1928, with Bronislava Nijinska named as its choreographer.

Bronislava Nijinska was "to choreograph the ballet sequences" in several well-known operas.

Bronislava Nijinska staged several of her previous ballet creations and other Ballets Russes fare of the Diaghilev era.

Bronislava Nijinska wanted to pursue projects independently, although she maintained her former working situation for a time longer.

Later in the 1940s Bronislava Nijinska staged works for a successor to Blum's half, then run by Sergei Denham.

From 1932 to 1934 Bronislava Nijinska directed her Paris-based company, 'Theatre de la Danse Bronislava Nijinska'.

In 1934 Bronislava Nijinska joined her dance company to Wassily de Basil's company Ballet Russe de Monte Carlo.

Later in 1934 'Theatre de la Danse Bronislava Nijinska' lost its costumes and sets when they were mistakenly seized, for the benefit of unpaid artists of another company, the 'Opera Russe a Paris'.

Bronislava Nijinska herself was offered a choreographing contract by a film producer, and so left Paris for Hollywood.

In 1931, for a Reinhardt production in Berlin, Bronislava Nijinska had created the ballet scenes for Offenbach's opera The Tales of Hoffmann.

Bronislava Nijinska choreographed Les Cent Baisers [The hundred kisses] in 1935 for de Basil's company.

Bronislava Nijinska had presented at Teatro Colon in 1933 her ballet Le Baiser de la Fee [Kiss of the fairy], which she had first staged for Ida Rubinstein's Company in 1928.

In 1937 Bronislava Nijinska returned to Buenos Aires for a reprise performance of Le Baiser de la Fee at the Stravinsky Festival.

In 1937 Bronislava Nijinska reprised her 1924 Les Biches for a performance by the Markova-Dolin troupe.

Bronislava Nijinska had originally danced it barefoot wearing a tunic of her own design.

In 1937 Bronislava Nijinska was asked to become the artistic director and the choreographer for the newly recreated Balet Polski.

For Le Chant de la Terre [Song of the Earth], Bronislava Nijinska drew in part on a recent folk festival in Vilna featuring dance.

Bronislava Nijinska took inspiration from the drawings of Polish artist Zofja Stryjenska.

Bronislava Nijinska recalls for him the simpler manners and the more demonstrative dances of their native countryside.

Bronislava Nijinska staged La Legend de Cracovie, "a new ballet of high merit" to music by Michal Kondracki.

Bronislava Nijinska had a contract to "co-direct the dance sequences on a new film, Bullet in the Ballet," but it was cancelled due to war.

Bronislava Nijinska eventually established a new residence in Los Angeles.

Bronislava Nijinska took to revising Petipa's Russian version of La Fille Mal Gardee and staged the ballet with Irina Baronova and Dimitri Romanoff.

Bronislava Nijinska refashioned the Dauberval libretto, wrote his choreography to Hertel's music as modified by Lanchbery, and provided a revised decor.

Also for Ballet Theatre, in 1951 Bronislava Nijinska choreographed and staged the Schumann Concerto, music by Robert Schumann, with Alicia Alonso and Igor Youskevitch as principal dancers.

In 1945 Bronislava Nijinska had choreographed Rendezvous with music by Sergei Rachmaninoff, with principal dancers Lucia Chase and Dimitri Romanoff.

Bronislava Nijinska revived Etude-Bach and Chopin Concerto again, in 1942, at the Jacob's Pillow Dance Festival in the Berkshires.

Bronislava Nijinska choreographed Snow Maiden in 1942 with music by Glazunov, for 'Ballet Russe de Monte Carlo' under Serge Denham as Artistic Director.

In 1943 Bronislava Nijinska choreographed the Ancient Russia ballet, music by Tchaikovsky, with memorable visual designs by her theater colleague Nathalie Gontcharova.

Bronislava Nijinska played chiefly in Europe and the Mediterranean until 1961.

In 1952 for Marquis de Cuevas' Grand Ballet de Monte Carlo, Bronislava Nijinska choreographed Rondo Capriccioso.

The 1952 ballet by Bronislava Nijinska opened in Paris at the Theatre de l'Empire, with principal dancers Rosella Hightower and George Skibine.

Bronislava Nijinska was familiar with the ballet from Diaghilev's production of 1921.

Long associated with the Cuevas company as ballet mistress, Bronislava Nijinska began to craft her choreographic revision.

Bronislava Nijinska first mentored Ashton's career from when he was a young ballet student.

Bronislava Nijinska performed in several of choreographed works by Nijinska under her guidance.

Bronislava Nijinska might be called the architect of dancing, building her work brick by brick into the amazing structures that result in masterpieces like Les noces.

Bronislava Nijinska staged Les Biches in Rome in 1969, and in Florence and Washington in 1970.

Bronislava Nijinska edited and translated Early Memoirs and saw it to publication.

Bronislava Nijinska staged Chopin Concerto for students at Goucher College in Maryland that same year.

Bronislava Nijinska declined her brother Nijinsky's turn to modern dance.

Bronislava Nijinska eventually came to admire Petipa's work, while pruning its "nondance elements".

Bronislava Nijinska was almost deaf by the time she reached the United States, and life had let her down badly.

Bronislava Nijinska became a citizen of the United States in 1949.

In 1935 rehearsals for Les Cent Baisers, choreographer Bronislava Nijinska coached the youthful Irina Baronova in her leading role as the Princess.

In New York Bronislava Nijinska was invited to come teach in Hollywood.

Bronislava Nijinska eventually opened her own ballet studio there in 1941.

Madame Bronislava Nijinska was a "nice-looking woman in black lounge pajamas with a long cigarette holder".

The last year of her life Bronislava Nijinska devoted to finishing memoirs about her early life.

Bronislava Nijinska had notebooks of her writings and had kept theatrical programs throughout her career.

Bronislava Nijinska is somewhat crazy, of course, but really a great artist.

Bronislava Nijinska's memoirs were edited by Richard Buckle and published in London in 1960.

Bronislava Nijinska was blonde and wore her straight hair screwed into a tight little roll.

Bronislava Nijinska had pale eyes and pouting lips, wore no makeup at all and had not shaved off her eyebrows as most of us had in those days.

Bronislava Nijinska remained attached to her absent father, who visited from time to time.

Bronislava Nijinska followed his career, championing his times of subsequent success in ballet.

Bronislava Nijinska then rejoined Ballets Russes, chiefly in Paris and Monte Carlo, until 1925.

Bronislava Nijinska wrote her when away and shared her thoughts when near.

Bronislava Nijinska cared for her when ill, until she died in 1932.

Bronislava Nijinska learned from her brother's example, as he preceded her in their childhood adventures, in ballet school, and then on the stage.

Bronislava Nijinska showed her support for Vaslav's career, especially during his 1914 production of Season Nijinsky in London.

Bronislava Nijinska's first husband, Alexandre Kochetovsky, was a fellow dancer for Ballets Russes.

Bronislava Nijinska gave birth to two children: their daughter Irina Nijinska in 1913 in Saint Petersburg, and Leon Kochetovsky, their son in 1919 in Kiev.

In 1921 Bronislava Nijinska left Soviet Russia with her children and her mother.

Bronislava Nijinska remained a treasured source of her musical and theatrical inspiration.

Bronislava Nijinska became associated with Ballets Russes as a dancer.

Bronislava Nijinska died in Los Angeles, California, in 1968, four years before her.

Bronislava Nijinska died on February 21,1972, in Pacific Palisades, California, after suffering a heart attack.

Bronislava Nijinska was survived by her daughter, son-in-law, and two grandchildren.

When Bronislava Nijinska began teaching the role of the faun to Leon Woizikovsky, Diaghilev was reminded so much of Nijinsky that he stated, 'Bronia, you must dance the role of the faun'.

Bronislava Nijinska was deprived of his theatre in 1933, and executed in 1937.

At the beginning of 1921, after painful hesitation, Bronislava Nijinska decided to leave Kyiv and escape over the Polish border.