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Crafted by Many Hands: Re-Reading Bronislava Nijinska's Early Memoirs

Crafted by Many Hands: Re-Reading Bronislava Nijinska's Early Memoirs <jats:p> In 1981 Bronislava Nijinska's Early Memoirs, the last autobiography by a major figure in Diaghilev's Ballets Russes, was published to near universal acclaim. However, as the choreographer's notes, drafts, and early autobiographical manuscripts make clear, Early Memoirs is a composite work, crafted by multiple hands and harbouring within itself alternative and even contradictory readings of the dominant story. In a field that privileges first-person testimony, the composite nature of most dance autobiographies is highly problematic, at once undermining their narrative authority and forcing recognition of what might be called their multivocality. Early Memoirs, like other volumes of dance autobiography, belongs both to Nijinska and to her interpreters, even if their interests do not always coincide. </jats:p> http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Dance Research Edinburgh University Press

Crafted by Many Hands: Re-Reading Bronislava Nijinska's Early Memoirs

Garafola, Lynn
Dance Research , Volume 29 (1): 1 – May 1, 2011
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References (7)

Publisher
Edinburgh University Press
Copyright
© 2011 Society for Dance Research
Subject
Media Studies
ISSN
0264-2875
eISSN
1750-0095
DOI
10.3366/drs.2011.0002
Publisher site
See Article on Publisher Site

Abstract

<jats:p> In 1981 Bronislava Nijinska's Early Memoirs, the last autobiography by a major figure in Diaghilev's Ballets Russes, was published to near universal acclaim. However, as the choreographer's notes, drafts, and early autobiographical manuscripts make clear, Early Memoirs is a composite work, crafted by multiple hands and harbouring within itself alternative and even contradictory readings of the dominant story. In a field that privileges first-person testimony, the composite nature of most dance autobiographies is highly problematic, at once undermining their narrative authority and forcing recognition of what might be called their multivocality. Early Memoirs, like other volumes of dance autobiography, belongs both to Nijinska and to her interpreters, even if their interests do not always coincide. </jats:p>

Journal

Dance Research – Edinburgh University Press

Published: May 1, 2011

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