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1

Anioł, geniusz, boski tancerz. Taniec Wacława Niżyńskiego jako tekst o artystycznym przełomie i przełomowym artyście

100%

Waligórska-Olejniczak B.

Acta Polono-Ruthenica

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2009

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vol. Tom 1 Nr XIV

299-308

EN

The dance of Vaclav Nijinsky, Polish artist, whose accomplishments changed the kinetic language of Russian ballet, can be treated as a groundbreaking phenomenon in the field of choreography. The artist revolutionised not only the ballet dancing technique but also had influence on changing the meaning of the role of a ballet master in the process of designing a dance performance. He abandoned the automatic routine of ballet dance leading it towards abstraction, which might be comparable with the first pictures of Pablo Picasso preparing audience for cubism and breaking with figurative art. His ideas situate him also in the context of the Great Theatre Reform which focused on the problem of rhythm, the process of audience and artist’s participation in the creation of multi-level work of art as well as on the aspect of the unity of different disciplines aimed at continuous discovery of the sacrum.

2

The Horse Will Fall Forever: Nijinsky’s Kinetographies of Becoming

75%

Klimczyk W.

Didaskalia. Gazeta Teatralna

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2023

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issue 173

123-149

EN

The article introduces Catherine Malabou’s concept of plasticity and Deleuze and Guattari’s theory of becoming to research on the infamous, so-called Diary of Vaslav Nijinsky, the legendary dancer and choreographer of Sergei Diaghilev’s Ballets Russes. In this document Nijinsky describes, among others, the walks he presumably took around St. Moritz in Switzerland in 1918-1919. The text was written when Nijinsky started developing symptoms of mental illness eventually diagnosed as schizophrenia. Yet in the article Nijinsky’s descriptions of walks are treated not as medical symptoms but as kinetographies of universal plasticity, in this case radically transforming the dancer’s identity or, better, disidentifying him as a site of becoming. It is the access that Nijinsky’s notebooks grant to a specific plane of kinetic experience which makes them of interest to the studies of human mobility, including dance. By deconstructing the peculiar character of plasticity the traces of which Nijinsky’s writing contains the article advances further the project of cultural kinesiology seen as vital component of performing arts theory and cultural analysis in general and situated on the crossing of philosophy and performance studies.

3

Igor Strawiński i Wacław Niżyński artyści wizjonerzy u progu nowej epoki

63%

STACHURA-BOGUSŁAWSKA A.

Edukacja Muzyczna

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2015

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issue 10

221–243

PL

Kompozytor Igor Strawiński oraz tancerz i choreograf Wacław Niżyński skrzyżowali swe drogi twórcze na początku wieku XX, aby zrewidować dotychczasowe myślenie o sztuce i wprowadzić ją w nowy wiek. Apogeum współpracy tych dwóch wybitnych artystów stanowiło wystawienie baletu Święto wiosny, którego premiera w 1913 roku, zapisała się w historii jako jeden z najwięk- szych skandali muzycznych naszej epoki. Niniejszy artykuł posiada charakter kompilacyjny. Wykorzystuje znane opracowania muzykologiczne i historyczne dotyczące literatury przedmiotu.

EN

The composer Igor Stravinsky and the dancer and choreographer Vaslav Nijinsky crossed their creative paths at the beginning of the twentieth century, which made them revise their approach to art and introduce it in a new era. The collaboration of these two outstanding artists culminated with the staging of the ballet ‘The Rite of Spring’, whose premiere in 1913 made history as one of the greatest musical scandals of our time. This paper is of a compilative nature. It uses renowned musicological and historical analyses relating to the literature on the subject.

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1 Acta Polono-Ruthenica

1 Didaskalia. Gazeta Teatralna

1 Edukacja Muzyczna

1 Klimczyk W.

1 STACHURA-BOGUSŁAWSKA A.

1 Waligórska-Olejniczak B.

1 2023

1 2015

1 2009

Anioł, geniusz, boski tancerz. Taniec Wacława Niżyńskiego jako tekst o artystycznym przełomie i przełomowym artyście

The Horse Will Fall Forever: Nijinsky’s Kinetographies of Becoming

Igor Strawiński i Wacław Niżyński artyści wizjonerzy u progu nowej epoki