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In August 1915 Alexander Kochetovsky, a graduate of Moscowâs Bolshoi Ballet and a veteran of Diaghilevâs Ballets Russes, arrived in Kiev to take up a position as ballet master and dancer at the Kiev City Theater [Kievskii Gorodskoi Teatr].1 With him was his wife, Bronislava Nijinska, a former Ballets Russes soloist trained at St. Petersburgâs Imperial Ballet School and also hired as a dancer, their two-year-old daughter Irina, and Bronislavaâs mother, Eleanora Bereda, a retired dancer who began her career at Warsawâs Wielki Theater. For Kochetovsky, the Kiev years would be a brief interlude in a career that ended in Houston teaching ballet to the daughters of oil barons. For Nijinska, they marked the start of an international career as one of the twentieth-centuryâs most innovative choreographers. Nijinska spent nearly six years in Kiev. There she gave birth to a second child and was abandoned not once but twice by Kochetovsky. More importantly, it was in Kiev that she became a modernist artist. In the experimental ferment that followed the 1917 Revolution and the short-lived Ukrainian republic, she opened her own studio, which she called the School of Movement. She worked with visual artists at the cutting edge
Dance Research – Edinburgh University Press
Published: Nov 1, 2011
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