Nijinsky (43 page)

109
‘naively … all evening'
: Stravinsky and Craft,
Memories and Commentaries
, p. 36. In Lady Juliet Duff's version of the event, he called her ‘perroquet', a reference to her aquiline nose. See Buckle,
Nijinsky
, p. 261. 110 comparing her to a giraffe: It was a compliment. ‘Lady Morrell is so tall, so beautiful, like giraffe'; Romola Nijinsky,
Nijinsky; and, The last years of Nijinsky
, p. 187.

110
‘He was so different'
: Gathorne-Hardy (ed.),
Ottoline: the Early Memoirs of Lady Ottoline Morrell
, p. 239.

110
‘from another world'
: ibid., p. 227.

110
‘There were … his art'
: M. Seymour,
Ottoline Morrell: Life on a Grand Scale
(London, 1998), p. 231.

110
Bedford Square
: see William Plomer's poem, ‘The Planes of Bedford Square', which describes Nijinsky watching a game of tennis and crying out, ‘
Quel décor!
'

110
‘no
corps de ballet
'
: Buckle,
Diaghilev
, p. 234, citing Jacques-Emile Blanche's description of the dinner.

111
‘A woman and a man'
: Nijinsky,
Nijinsky's Diary
, p. 46.

111
‘The man that I see'
:
Le Figaro
, 14 May 1913, cited in Nijinska,
Early Memoirs
, p. 467.

111
‘When today one sees a man stroll'
: same interview cited in Garafola,
Diaghilev's Ballets Russes
, p. 59. See also Parker,
Nijinsky
, p. 111.

111
‘waltz with changing partners'
: M. Hodson,
Nijinsky's Bloomsbury Ballet
(Hillsdale, NY), p. 263.

111
‘The Faun is me'
: Nijinsky,
Nijinsky's Diary
, p. 207.

112
‘Sin'
: Scheijen,
Diaghilev
, p. 268.

112
‘perverted degeneracy'
: Fokine quoted in Buckle,
Nijinsky
, p. 249.

112
‘If we don't lay down the law'
: Scheijen,
Diaghilev
, p. 252, quoting Kessler's diary.

113
‘
Il ne supporte plus les désordes sexuels
'
: E. Aschengreen,
Jean Cocteau and the Dance
(Gyldendal, 1986), p. 229 n. from a 1953 entry in Cocteau's journal.

113
‘happy and proud'
: Romola Nijinsky,
Nijinsky; and, The last years of Nijinsky
, p. 182.

114
‘from hotel to hotel'
: Cocteau,
Journals
, p. 54.

114
‘I gave my whole heart to it'
: Nijinsky,
Nijinsky's Diary
, p. 164.

114
‘I soon discovered'
: Romola Nijinsky,
Nijinsky; and, The last years of Nijinsky
, p. 17.

114
‘with an aloof, distant air … never warmth'
: ibid., pp. 21–2.

115
‘a rather risqué situation'
: C. Debussy,
Letters
, trans. R. Nichols (London, 1987), p. 260, 12 September 1912.

115
‘He replied that'
: Calvocoressi,
Music and Ballet: Recollections of M. D. Calvocoressi
, p. 208.

115
‘the best … tell you'
: Karsavina quoted in Nijinska,
Early Memoirs
, pp. 465–6.

116
‘ballerina mentality … forgive you'
: Rambert,
Quicksilver: The Autobiography of Marie Rambert
, p. 68.

116
‘felt that … a woman'
: Nijinsky,
Nijinsky's Diary
, p. 201.

117
‘could not compose it … never finished'
: ibid., p. 206.

117
‘blank … Debussy's score'
: Grigoriev,
The Diaghilev Ballet, 1909–
1929, pp. 91–2.

117
‘What beauty … in this?'
: Rambert,
Quicksilver: The Autobiography of Marie Rambert
, p. 56.

117
‘second installment'
: Garafola,
Diaghilev's Ballets Russes
, p. 63.

118
‘Monsieur Dalcroze … young savage'
: Debussy,
Letters
, p. 272, 9 June 1913.

118
‘had some … and immature'
: Grigoriev,
The Diaghilev Ballet, 1909–1929
, p. 91.

118
‘Everything in the choreography'
: Nijinska,
Early Memoirs
, p. 445.

118
‘He was like a crumpled rose'
: Buckle,
Diaghilev
, p. 256.

118
‘Japanese food'
: ibid., p. 250.

119
‘Rose is a rose'
: Hodson,
Nijinsky's Bloomsbury Ballet
, p. 5.

119
‘I must make'
: Buckle,
Diaghilev
, p. 238.

120
‘entranced … and Nijinsky'
: L. M. Easton,
The Red Count
(Berkeley, CA, 2002), p. 202.

120
‘Bowls of monstrous strawberries'
: ibid., p. 203.

120
originator of the initial concept
: Rambert,
Quicksilver: The Autobiography of Marie Rambert
, p. 63; P. Hill,
Stravinsky and the Rite of Spring
(Cambridge, 2000), pp. 4–6; Scheijen,
Diaghilev
, p. 212.

122
‘to present the power'
: N. Misler in Bowlt, Z. Tregulova and N. R. Giordano (eds),
Feast of Wonders
, p. 77.

122
‘some unconscious folk memory'
: P. C. van den Toorn,
Stravinsky and The Rite of Spring
(Oxford, 1987), p. 12.

123
‘the foot … to honour'
: Lifar,
Serge Diaghilev
, p. 200; letter from NR to SD.

123
‘the picture of'
: van den Toorn,
Stravinsky and The Rite of Spring
, p. 3.

123
‘they were wild about it'
: Hill,
Stravinsky and the Rite of Spring
, p. 26.

123
‘dull, rumbling explosions'
: Lifar,
Ma Vie
, p. 5.

123
‘the violent Russian spring'
: Stravinsky,
Stravinsky in Conversation with Robert Craft
, p. 164.

123
‘extraordinary new … conduct it.”'
: Monteux,
It's All in the Music: The Life and Work of Pierre Monteux
, pp. 88–9.

124
‘When they finished … the roots'
: Hill,
Stravinsky and the Rite of Spring
, p. 27.

124
‘by a beautiful nightmare … some jam'
: Debussy,
Letters
, p. 265; 5 November 1912.

124
‘new forms must be created'
: Stravinsky and Craft,
Stravinsky in Pictures and Documents
, p. 30.

125
‘was as helpless as a child'
: Grigoriev,
The Diaghilev Ballet, 1909–1929
, p. 76.

125
‘something he brought'
: Sokolova in Drummond (ed.),
Speaking of Diaghilev
, p. 145.

125
‘twice as fast'
: Rambert,
Quicksilver: The Autobiography of Marie Rambert
, p. 58.

126
‘idea of the ballet'
: L. Kirstein,
Dance: A Short History of Classic Theatrical Dancing
(New York, 1969), p. 114.

126
‘incessantly thinking out new ballets'
: Gathorne-Hardy (ed.),
Ottoline: the Early Memoirs of Lady Ottoline Morrell
, p. 227.

127
‘As I danced'
: Nijinska,
Early Memoirs
, p. 450.

127
‘Nijinsky works with passionate zeal'
: Stravinsky and Craft,
Stravinsky in Pictures and Documents
, p. 92.

127
‘Gentlemen, you do not have to laugh'
: T. F. Kelly,
First Nights
(New Haven, CT, 2000), p. 281.

128
‘with little bits of paper'
: Sokolova,
Dancing for Diaghilev
, p. 42.

128
‘is the life of the stones'
: Macdonald,
Diaghilev Observed by Critics in England and the United States, 1911–1929
, p. 90; Nijinsky interviewed by the
Pall Mall Gazette
, 2 February1913.

128
‘declared his feud'
: Karsavina,
Theatre Street
, p. 236.

129
‘the artist who loves all shapes'
: Nijinsky,
Nijinsky's Diary
, p. 56.

129
‘
La grace, le charme
'
: Magriel,
Nijinsky, Pavlova, Duncan: Three Lives in
Dance, p. 20.

129
‘Another vision than'
: E. Burns (ed.),
Gertrude Stein on Picasso
(New York, 1970), p. 65.

129
‘unable to reach them'
: Nijinska,
Early Memoirs
, p. 461.

129
‘that it was an excellent sign'
: Grigoriev,
The Diaghilev Ballet, 1909–1929
, p. 90.

129
‘pagan worship, the religious instinct'
: Gathorne-Hardy (ed.),
Ottoline: the Early Memoirs of Lady Ottoline Morrell
, p. 239.

130
‘as if he felt'
: Nijinska,
Early Memoirs
, p. 475.

130
‘a wild creature … him before'
: Sokolova,
Dancing for Diaghilev
, p. 38.

131
‘If the work continues like this'
: Stravinsky and Craft,
Stravinsky in Pictures and Documents
, p. 94; 25 January 1913.

131
‘You are the only one …
muzhik
'
: Nijinska,
Early Memoirs
, p. 462.

131
‘a blackguard, a brigand'
: Rambert,
Quicksilver: The Autobiography of Marie Rambert
, p. 58.

132
‘how exhausting and fatiguing'
: Nijinska,
Early Memoirs
, p. 462.

132
‘himself away with a wild leap'
: Nijinska,
Early Memoirs
, p. 464.

132
‘more than human'
: Bourdelle quoted in Magriel,
Nijinsky, Pavlova, Duncan: Three Lives in
Dance, p. 56.

133
‘in that sad delightful … very quickly'
: Lifar,
Diaghilev
, p. 202; G. Astruc,
Le Pavillon des fantômes
(Paris, 1929), p. 286.

133
‘I realised that Diaghilev'
: Nijinsky,
Nijinsky's Diary
, p. 110.

133
‘going through a dreadful period'
: Gold and Fizdale,
Misia: The Life of Misia Sert
, p. 153.

133
‘a little in love with him'
: Nijinska,
Early Memoirs
, p. 462.

134
‘Get out … and parrots'
: Krasovskaya,
Nijinsky
, p. 267.

134
‘Nijinsky didn't take'
: Rambert,
Quicksilver: The Autobiography of Marie Rambert
, p. 58.

134
‘no danger'
: Nijinska in conversation with Buckle; Buckle,
Diaghilev
, p. 247.

134
‘the greatest tragic dance'
: Rambert,
Quicksilver: The Autobiography of Marie Rambert
, p. 63.

134
‘His movements were epic'
: Marie Rambert to Clement Crisp, 1962; draft of an article for
Dance Research
magazine found in the Rambert Ballet's archive.

134
‘picture-postcard'
: Kirstein,
Nijinsky Dancing
, p. 145.

134
‘I think the whole thing'
: Cecchetti and Racster,
The Master of the Russian Ballet
, p. 226.

135
‘the thousand varieties of snobbism'
: Cocteau,
The Cock and the Harlequin
, p. 48.

135
‘I am happy to have found'
: ‘Montjoie' in
Dossiers de Presse
, 29 May 1913, reproduced in Hill,
Stravinsky and the Rite of Spring
, p. 95.

135
‘Whatever happens'
: Grigoriev,
The Diaghilev Ballet
, 1909–1929, p. 92.

136
‘impervious and nerveless'
: Stravinsky,
Stravinsky in Conversation with Robert Craft
, p. 46.

136
‘You may think'
: Monteux,
It's All in the Music: The Life and Work of Pierre
Monteux, p. 90.

136
‘Exceptionally long-sleeved'
: Sotheby's Ballets Russes Catalogue 1972, lot 68 iv.

136
‘as irritating to'
: Beaumont,
The Diaghilev Ballet in London
, p. 75.

137
‘If that's a bassoon'
: P. Blom,
The Vertigo Years
(London, 2008), p. 288.

137
‘with a … don't understand it'
: Gold and Fizdale,
Misia: The Life of Misia Sert
, p. 151.

137
‘First listen!'
: Astruc,
Le Pavillon des
f
antômes
, p. 286.

137
‘to exclude the audience'
: T. Scholl,
From Petipa to Balanchine: Classical Revival and the Modernisation of Ballet
(London, 1993), p. 74.

137
‘I am sixty years old'
: Romola Nijinsky,
Nijinsky; and, The last years of Nijinsky
, pp. 199–200 and Cocteau,
The Cock and the Harlequin
, p. 49.

137
‘an utterly new vision'
: Scheijen,
Diaghilev
, p. 271.