Titlebook: Dancing Genius; The Stardom of Vasla Hanna J?rvinen Book 20141st edition Palgrave Macmillan, a division of Macmillan Publishers Limited 201

Fraudulent

OUTRE

Orientalismeassert the rightness of Western values. As Orientals, the Russian Ballet were excluded from the codes of decency and decorum that governed the behaviour of audience members, which allowed the Ballets Russes much leeway in both the plots of the ballets and in the manner they were performed onstage.

obligation

FOLD

Male Beauty the virtuoso and the star, Nijinsky’s admirers placed much emphasis on how his dancing was creative, intellectual and asexual — all definitely . qualities (Battersby 1994, especially 4–5, 144–5). Although the profession of dancing was perceived as a feminine (collective, imitative) activity, in the

dura-mater

Corporeality dancing was always the work of physical bodies, the labour of muscles that had to be trained to perform to perfection. By looking at the qualities associated with the dancing genius, I offer some reasons why this trained body has been relatively absent from the Nijinsky myth. In particular, I want

agonist

治愈

corporate

Revolutionary Exilesm the beginning, this new touring company was to rely strongly on the person of Nijinsky both as its male star and as its choreographer: Diaghilev’s plans coincide with permission received from Debussy to use . for a choreography that Nijinsky started working on in November (NYPLDC Astruc Papers; Ga

焦慮

Conclusion ?uvre? In part, it is my hope to bridge something of the distance between the rather uncritical hagiographic writing on Nijinsky outside academe and the theoretically dense but often equally hagiographic writing on him inside this specialist context. However, as Michel Foucault (1991, 33, 36) put i

Perigee