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26 de jun. de 2023 · Nijinska evoca el nombre de uno de los más grandes bailarines del siglo XX y cuya temprana demencia cortó su carrera: Vaslav Nijinski. Sin embargo, la coreógrafa rusa Bronislava Nijinska ...
Nijinska, Bronislava (1891–1972) By Garafola, Lynn. The premiere female ballet choreographer of the first half of the twentieth century, Bronislava Nijinska experienced the transformative power of the Russian Revolution and discovered untapped creative powers in the chaotic moments that followed it. Rejecting the ‘‘acrobaticism,’’ and ...
8 de mar. de 2023 · Pero lo que sólo conocen unos pocos historiadores de la danza es que Bronislava Nijinska, además de una bailarina virtuosa, fue una teórica radical y una coreógrafa revolucionaria. Ha llegado el momento de reivindicarla. Maestra de maestros como Frederick Ashton, que en la década de 1960 la invitó al Royal Ballet, sólo ahora empieza a ...
26 de sept. de 2015 · The person I have selected as the focus of my first research paper is dancer Bronislava Nijinska, who toured with the influential choreographer Sergei Diaghilev in his Ballets Russes dance troupe. My first step in research was to consult Oxford Music Online, where I only found information about Bronislava’s brother, Vaslav Nijinsky; I then consulted the Oxford Dictionary of Dance, where I ...
18 de ago. de 1991 · One hundred years ago, on Jan. 8, 1891, Bronislava Nijinska was born in Minsk, Russia. Earlier this summer, on July 2, her daughter, Irina Nijinska, died in Inglewood, Calif., at the age of 77 ...
By Kristen Lawson Bronislava Nijinska had a profound impact on dance as both an artist and teacher, but she has largely been forgotten. Everybody has heard of the legendary avant-garde choreographer Vaslav Nijinsky, yet his equally talented sister, “Bronia,” was a phenomenal dancer and choreographer in her own right. Dance historian and professor Lynn Garafola
A page from Stravinsky’s score for Bronislava Nijinska’s “Les Noces,” in Salt Lake City, March 2, 2023. With a new biography and a production of “Les Noces,” the time has come to reconsider the choreographer, whose work and reputation have languished in the shadows. (Michael Friberg/The New York Times) by Marina Harss
