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An Amazon of the Avant-Garde: Bronislava Nijinska in Revolutionary Russia

An Amazon of the Avant-Garde: Bronislava Nijinska in Revolutionary Russia In August 1915 Alexander Kochetovsky, a graduate of Moscow’s Bolshoi Ballet and a veteran of Diaghilev’s 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. Petersburg’s Imperial Ballet School and also hired as a dancer, their two-year-old daughter Irina, and Bronislava’s mother, Eleanora Bereda, a retired dancer who began her career at Warsaw’s 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-century’s 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 http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Dance Research Edinburgh University Press

An Amazon of the Avant-Garde: Bronislava Nijinska in Revolutionary Russia

Dance Research , Volume 29 (2): 109 – Nov 1, 2011

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Publisher
Edinburgh University Press
Copyright
© 2011 Society for Dance Research
Subject
Media Studies
ISSN
0264-2875
eISSN
1750-0095
DOI
10.3366/drs.2011.0011
Publisher site
See Article on Publisher Site

Abstract

In August 1915 Alexander Kochetovsky, a graduate of Moscow’s Bolshoi Ballet and a veteran of Diaghilev’s 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. Petersburg’s Imperial Ballet School and also hired as a dancer, their two-year-old daughter Irina, and Bronislava’s mother, Eleanora Bereda, a retired dancer who began her career at Warsaw’s 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-century’s 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

Journal

Dance ResearchEdinburgh University Press

Published: Nov 1, 2011

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