Abstract
In the autumn of 1910, Diaghilev began to prepare for a permanent, private ballet company, one that employed its own dancers throughout the year.1 From the beginning, this new touring company was to rely strongly on the person of Nijinsky both as its male star and as its choreographer: Diaghilev’s plans coincide with permission received from Debussy to use Prélude à l’Après-midi d’un Faune for a choreography that Nijinsky started working on in November (NYPLDC Astruc Papers; Garafola 1992, 180–1, 198). However, securing the star dancer for the company required Nijinsky to cancel the remainder of his contract with the Imperial Theatres.
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© 2014 Hanna Järvinen
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Järvinen, H. (2014). Revolutionary Exiles. In: Dancing Genius. Palgrave Macmillan, London. https://doi.org/10.1057/9781137407733_9
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DOI: https://doi.org/10.1057/9781137407733_9
Publisher Name: Palgrave Macmillan, London
Print ISBN: 978-1-349-48822-3
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