Podcasts about Vaslav Nijinsky

Highlights from a 2022 PillowTalk with Lynn Garafola, author of the biography La Nijinska: Choreographer of the Modern speaking with scholar-in-residence Brian Schaefer. Garafola illuminates Bronislava Nijinska's life as a Russian born dancer, sibling to Vaslav Nijinsky, and groundbreaking 20th century ballet choreographer. Garafola also shares some fascinating documentation of Nijinska's pivotal connections to Jacob's Pillow.

Australian theatre legend Robyn Nevin is directing And Then There Were None, a classic murder mystery by Agatha Christie. She talks to Michael about the darkness in Christie's stories, her view on changing acting styles and how Robyn finds her 'inner clown'. Playwright Patricia Cornelius explains why she has five actors playing the world's most famous hacker — Wikileaks founder Julian Assange, in her new play TRUTH. She's joined by director Susie Dee.And you'll discover a ballet about the great Russian dancer Vaslav Nijinsky. Michael speaks to Australian Ballet principal artist Callum Linnane, who first danced the part nine years ago in the ballet Nijinsky.

Das Museum in Neu-Ulm zeigt, wie sich Anfang des 20. Jahrhunderts neue Formen im Tanz entwickelten. Vaslav Nijinsky sorgte damals als Solotänzer mit den Ballets Russes für Aufsehen. Die US-Amerikanerin Isadora Duncan entwickelte den Ausdruckstanz. Filme, Fotografien, Musik, Skulpturen und viele weitere Exponate aus dieser Zeit zeigen die dynamische Entwicklung des Tanzes.

 There exist two paths for the Kundalini the Yang and the Yin path. The Yang path: We can gain the Kundalini through very exhausting sport or very powerful Spiritual Exercises. Even dancing like crazy can bring us the Kundalini. For instance, the famous Ballet dancer Vaslav Nijinsky had the Kundalini and got insane.The Yin pathA Kundalini Master can give us the Kundalini when we are spiritual open for the Master. If the women love their master the Kundalini will follow up. Just love is enough. This is for females much easier than for males!My Video: Why is the Kundalini so important? https://youtu.be/m6fde85qjTgMy Audio: https://divinesuccess.net/wp-content/uploads/2021/Podcast.B/Why-is-the-Kundalini-so-important.mp3

This is the second episode of a two part show we are rebroadcasting called BIGhART, BIGsTORY which tell the saga of a creative synergistic Australian force of nature called, of course BIGhART. BIGhART is Australia's leading arts and social change organization.We make art, we build communities, we drive change. 30 years in operation, 62 communities engaged, 47 awards won, 550 artists contributed, 9, 500 people participated, 2. 6 million audience members. BIOScott Rankin co-founded Big hART with friend John Bakes in 1992. As CEO and Creative Director, Scott leads the overarching vision for all Big hART projects – from pilot through to legacy. A leader and teacher in the field of social and cultural innovation, Scott provides daily mentorship and knowledge transfer to all Big hART staff so that they can in turn lead our projects with confidence.An award winning writer and director in his own right, Scott's works have been included many times in major arts festivals. His reputation is built on a quarter of a century of work, creating, funding and directing large-scale projects in diverse communities with high needs, in isolated settings.Big hART is Scott's passionate contribution to the arts and society.Notable Mentions: BIGhART: Ngapartji Ngapartji: Big hART designed the Ngapartji Ngapartji project to raise awareness of Indigenous language loss, and the lack of an national Indigenous languages policy. Tasmania is an island state of Australia.[15] It is located 240 kilometres (150 miles) to the south of the Australian mainland, separated from it by the Bass Strait, with the archipelago containing the southernmost point of the country.Vaslav Nijinsky was a Russian[4] ballet dancer and choreographer of Polish ancestry.[5] He is regarded as the greatest male dancer of the early 20th century.[3]

La novela histórica pasional permite a los lectores conocer la vida secreta de los personajes que han marcado la vida de los países y la historia colectiva. Florencia Canale es una de las más reconocidas escritoras en este género. Nacida en Buenos Aires tiene doce novelas publicadas por la editorial Planeta. Su libro Pasión y Traición (2011) sobre Remedios de Escalada —esposa del general José de San Martín, conocido como el libertador de América, y de quien Canale es descendiente— tiene más de 80 mil ejemplares vendidos con 12 ediciones publicadas. Canale se ha dedicado a rescatar las biografias de muchas otras mujeres que fueron parte de la historia nacional de varios países del continente. En su libro Si Quiero recoje algunas de las bodas de personajes famosos que pasaron por Argentina, como la del bailarín ruso, Vaslav Nijinsky, conocido como "el Pájaro de fuego". Hoy viene a hablarnos de este género y de todo lo que hay de trabajo detrás de su trayectoria, así como de su carrera como cantante y modelo, cuando era joven. "El pasado es la única certidumbre que tenemos ante el presente y el futuro"

DescriptionHow did Stravinsky's “The Rite of Spring” come to be? Take a minute to get the scoop!Fun Fact"The Rite of Spring," composed by Igor Stravinsky, had its notorious premiere on May 29, 1913, at the Théâtre des Champs-Élysées in Paris, France. The ballet was choreographed by Vaslav Nijinsky and produced by Sergei Diaghilev's Ballets Russes. The premiere caused a sensation, with its avant-garde music and controversial choreography leading to a riot among the audience. Despite the initial uproar, "The Rite of Spring" has since become recognized as one of the most influential and groundbreaking works of the 20th century.__________________________________________________________________About Steven, HostSteven is a Canadian composer & actor living in Toronto. Through his music, he creates a range of works, with an emphasis on the short-form genre—his muse being to offer the listener both the darker and more satiric shades of human existence. If you're interested, please check out his music website for more. Member of the Canadian League Of Composers.__________________________________________________________________You can FOLLOW ME on Instagram.

BIGhART is Australia's leading arts and social change organization.We make art, we build communities, we drive change. 30 years in operation, 62 communities engaged, 47 awards won, 550 artists contributed, 9, 500 people participated, 2. 6 million audience members. BIOScott Rankin co-founded Big hART with friend John Bakes in 1992. As CEO and Creative Director, Scott leads the overarching vision for all Big hART projects – from pilot through to legacy. A leader and teacher in the field of social and cultural innovation, Scott provides daily mentorship and knowledge transfer to all Big hART staff so that they can in turn lead our projects with confidence.An award winning writer and director in his own right, Scott's works have been included many times in major arts festivals. His reputation is built on a quarter of a century of work, creating, funding and directing large-scale projects in diverse communities with high needs, in isolated settings.Big hART is Scott's passionate contribution to the arts and society.Notable Mentions: BIGhART: Ngapartji Ngapartji: Big hART designed the Ngapartji Ngapartji project to raise awareness of Indigenous language loss, and the lack of an national Indigenous languages policy. Tasmania is an island state of Australia.[15] It is located 240 kilometres (150 miles) to the south of the Australian mainland, separated from it by the Bass Strait, with the archipelago containing the southernmost point of the country.Vaslav Nijinsky was a Russian[4] ballet dancer and choreographer of Polish ancestry.[5] He is regarded as the greatest male dancer of the early 20th century.

1912 vollendet Maurice Ravel sein berühmtes Ballett für Serge Diaghilevs legendäres Tanzensemble. Es ist sein längstes Werk überhaupt, wohl auch sein Bestes - ganz sicher sein Sinnlichstes: Das Schäferstündchen aus dem antiken Griechenland zeigt den Klangvirtuosen in Hochform. Von Murat Kayi.

Documento sconcertante e vivida testimonianza esistenziale, i Diari del grande ballerino russo meritano senz'altro di essere letti attentamente.

Un día como hoy, 19 de mayo: Acontece: 1909: en el Théâtre du Châtelet, en París (Francia) se estrena una gira dirigida por Serguéi Diáguilev, con 55 bailarines, entre ellos Vaslav Nijinsky. Es la primera vez que el ballet ruso es llevado al mundo occidental. Nace: 1762: Johann Gottlieb Fichte, filósofo alemán (f. 1814). 1932: Elena Poniatowska, escritora, activista y periodista mexicana. 1947: David Helfgott, pianista australiano. Fallece: 1864: Nathaniel Hawthorne, escritor estadounidense (n. 1804). 1928: Max Scheler, filósofo alemán (n. 1874). Conducido por Joel Almaguer. Una producción de Sala Prisma Podcast. 2023

"Le Sacre du Printemps" - eine Komposition Igor Strawinskys entgegen aller Konventionen. Die Pariser Uraufführung des Balletts "Le sacre du printemps" von Igor Strawinsky in der damals völlig neuartigen Choreografie von Vaslav Nijinsky entfachte 1913 beim Publikum eine Saalschlacht und einen der berühmtesten Theaterskandale. Yaltah Worlitzsch in der Kurzeinführung über die Kompostition, die inzwischen Kultstatus erlangte.

Welcome back to Behind Greatness. Today we sit down with famed Physician and Best Selling Author, Gabor Maté at his home in Vancouver – on Valentine's Day no less. Gabor is a globally renowned speaker and writer on trauma, addiction and childhood development. He just released his latest book: The Myth of Normal. We delve right into it with a discussion on love and trauma. We hear about his thoughts on the medical profession and the disconnect in modern medicine's view on mind and body, its lack of education on trauma and the absence of follow-through on the patient's emotional life. We learn about Gabor's early life in Hungary in the 1940s and 50s – a nation first over-run by fascism and then by the ideology of communism – and how that informed him throughout his life. We discuss “Big T” trauma and “Small T” trauma , trauma as the “puppet master” and how connection figures in as an antidote. We learn about his experience as a palliative care doctor and the “holy work” of being with people who are close to death. We weave through an intensely interesting discussion about diseases and their relationship to beliefs and about the sacred pain of being disillusioned. And we end with a beautiful chat about his thoughts on creativity, authenticity and “waking up” … and Vaslav Nijinsky. A big thank you to a former guest, Dr. Jeffrey Rediger (ep 132) – and a shout-out to another lovely former guest, Dr. Thomas Verny (ep 121) … two Psychiatrists whose work was also featured in Gabor's latest book. To DONATE to the Behind Greatness podcast, please visit here: https://behindgreatness.org. As a charity, tax receipts are issued to donors.  Gabor, Book: The Myth of Normal - https://drgabormate.com/book/ Website: https://drgabormate.com/ FB: https://www.facebook.com/drgabormate IG: @gabormatemd YT Channel: https://www.youtube.com/channel/UCsRF06lSFA8zV9L8_x9jzIA

Synopsis It was on today's date in 1913 that Igor Stravinsky's ballet “The Rite of Spring” premiered at the Théâtre des Champs-Élysées in Paris, provoking catcalls and fisticuffs from some in the audience. Most scholars suggest it was the ungainly, deliberately primitive choreography of Vaslav Nijinsky, more than Stravinsky's score, that provoked the most negative response. Pierre Monteux's concert performance—without the dancing—at the Casino de Paris the following Spring marked the start of the score's success as pure music. On that occasion, Stravinsky was carried in triumph from the hall on the shoulders of his admirers. Shortly before his death in 1929, Sergei Diaghilev, who had commissioned Stravinsky's score, was enthusiastically quoting a review in the London Times that suggested (perhaps ironically) that the “Rite of Spring” would be for the 20th century what Beethoven's Ninth Symphony was for the 19th. Well, that has rather turned out to be the case, in fact, and by 2013, a piece of orchestral music that in 1913 was considered almost unplayable is routinely programmed as a classic orchestral showpiece. One New York Times critic even wrote “… now everybody knows “The Rite.” [It's] an audition piece that every music student practices, so that now any conservatory orchestra can give a fleet and spiffy performance of what used to stump their elders, and professional orchestras can play it in their sleep, and often do…” Music Played in Today's Program Igor Stravinsky — The Rite of Spring (Cleveland Orchestra; Pierre Boulez, cond.) DG 435 769 On This Day Births 1860 - Spanish composer Isaac Albéniz, in Camprodón; 1873 - Estonian composer Rudolf Tobias, in Kaina on Haiiumaa Island; 1897 - Austrian composer Eric Wolfgang Korngold, in Brno; 1922 - Greek composer Iannis Xenakis, in Braila, Roumania; 1948 - English composer Michael Berkley, in London; He is the son of English composer, Sir Lennox Berkeley (1903-89); Deaths 1910 - Russian composer Mily Balakirev, age 73, in St. Petersburg (Julian date: May 16); 1911 - British lyricist Sir William S. Gilbert (of "Gilbert & Sullivan" fame), age 74, from a heart attack after rescuing a drowning woman, at Harrow Weald, England; 1935 - Czech composer Josef Suk, age 61, in Benesov; 1951 - Czech composer Josef Bohuslav Foerster, age 91, in Vestec, near Stará Boleslav; Premieres 1901 - Paderewski: "Manru," in Dresden; Also staged at the Metropolitan Opera in 1902; 1905 - Scriabin: Symphony No. 3 ("'Divine Poem"), in Paris, Arthur Nikisch conducting; 1913 - Stravinsky: "Le Sacre du printemps" (The Rite of Spring), in Paris, by Diaghilev's Ballet Russe, Pierre Monteux conducting; 1954 - Cowell: Symphony No. 11 ("Seven Rituals"), by the Louisville Orchestra, Robert S. Whitney conducting; 1970 - Rautavaara: Piano Concerto, in Helsinki, with composer as soloist, and the Finnish Radio Symphony, Paavo Berglund conducting; Others 1873 - American premiere of Brahms's Serenade No. 1 in D, at Steinway Hall, by the New York Symphony, Theodore Thomas conducting; 1963 - The New York Philharmonic "Promenade" concert series is inaugurated. Links and Resources On Igor Stravinsky More on "The Rite of Spring" Video of recreated original 1913 choreography for "The Rite of Spring"

Tuesday's Democratic primaries for the House were flooded with money from pro-Israel groups seeking to defeat progressive candidates. It worked in North Carolina, but not Pennsylvania, where Summer Lee won. John Nichols has our analysis.Also in this week's show, a discussion with Lynn Garafola about Bronislava Nijinska, the ballet dancer, choreographer, and long-neglected sister of the legendary dancer Vaslav Nijinsky. Garafola, author of the new biography, La Nijinska, Choreographer of the Modern, tells us about how this “amazon of the avant-garde” started out in revolutionary Russia, worked in wartime Kiev, and then came to Hollywood in the thirties.Subscribe to The Nation to support all of our podcasts: thenation.com/podcastsubscribe.Read 'Summer Lee Shows Progressive Ideals Can Overcome Corporate Smears' by John Nichols.Read Jennifer Wilson's review of La Nijinska here.Advertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

With this book, Emmelyn Butterfield-Rosen brings a new formal and conceptual rubric to the study of turn-of-the-century modernism, transforming our understanding of the era's canonical works. Butterfield-Rosen analyzes a hitherto unexamined formal phenomenon in European art: how artists departed from conventions for posing the human figure that had long been standard. In the decades around 1900, artists working in different countries and across different media began to present human figures in strictly frontal, lateral, and dorsal postures. The effect, both archaic and modern, broke with the centuries-old tradition of rendering bodies in torsion, with poses designed to simulate the human being's physical volume and capacity for autonomous thought and movement. This formal departure destabilized prevailing visual codes for signifying the existence of the inner life of the human subject. Exploring major works by Georges Seurat, Gustav Klimt, and the dancer and choreographer Vaslav Nijinsky— replete with new archival discoveries—Modern Art and the Remaking of Human Disposition (U Chicago Press, 2021) combines intensive formal analysis with inquiries into the history of psychology and evolutionary biology. In doing so, it shows how modern understandings of human consciousness and the relation of mind to body were materialized in art through a new vocabulary of postures and poses. Allison Leigh is Assistant Professor of Art History and the SLEMCO/LEQSF Regents Endowed Professor in Art & Architecture at the University of Louisiana at Lafayette. Her research explores masculinity in European and Russian art of the eighteenth through the early twentieth centuries. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

With this book, Emmelyn Butterfield-Rosen brings a new formal and conceptual rubric to the study of turn-of-the-century modernism, transforming our understanding of the era's canonical works. Butterfield-Rosen analyzes a hitherto unexamined formal phenomenon in European art: how artists departed from conventions for posing the human figure that had long been standard. In the decades around 1900, artists working in different countries and across different media began to present human figures in strictly frontal, lateral, and dorsal postures. The effect, both archaic and modern, broke with the centuries-old tradition of rendering bodies in torsion, with poses designed to simulate the human being's physical volume and capacity for autonomous thought and movement. This formal departure destabilized prevailing visual codes for signifying the existence of the inner life of the human subject. Exploring major works by Georges Seurat, Gustav Klimt, and the dancer and choreographer Vaslav Nijinsky— replete with new archival discoveries—Modern Art and the Remaking of Human Disposition (U Chicago Press, 2021) combines intensive formal analysis with inquiries into the history of psychology and evolutionary biology. In doing so, it shows how modern understandings of human consciousness and the relation of mind to body were materialized in art through a new vocabulary of postures and poses. Allison Leigh is Assistant Professor of Art History and the SLEMCO/LEQSF Regents Endowed Professor in Art & Architecture at the University of Louisiana at Lafayette. Her research explores masculinity in European and Russian art of the eighteenth through the early twentieth centuries. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/history

With this book, Emmelyn Butterfield-Rosen brings a new formal and conceptual rubric to the study of turn-of-the-century modernism, transforming our understanding of the era's canonical works. Butterfield-Rosen analyzes a hitherto unexamined formal phenomenon in European art: how artists departed from conventions for posing the human figure that had long been standard. In the decades around 1900, artists working in different countries and across different media began to present human figures in strictly frontal, lateral, and dorsal postures. The effect, both archaic and modern, broke with the centuries-old tradition of rendering bodies in torsion, with poses designed to simulate the human being's physical volume and capacity for autonomous thought and movement. This formal departure destabilized prevailing visual codes for signifying the existence of the inner life of the human subject. Exploring major works by Georges Seurat, Gustav Klimt, and the dancer and choreographer Vaslav Nijinsky— replete with new archival discoveries—Modern Art and the Remaking of Human Disposition (U Chicago Press, 2021) combines intensive formal analysis with inquiries into the history of psychology and evolutionary biology. In doing so, it shows how modern understandings of human consciousness and the relation of mind to body were materialized in art through a new vocabulary of postures and poses. Allison Leigh is Assistant Professor of Art History and the SLEMCO/LEQSF Regents Endowed Professor in Art & Architecture at the University of Louisiana at Lafayette. Her research explores masculinity in European and Russian art of the eighteenth through the early twentieth centuries. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/intellectual-history

With this book, Emmelyn Butterfield-Rosen brings a new formal and conceptual rubric to the study of turn-of-the-century modernism, transforming our understanding of the era's canonical works. Butterfield-Rosen analyzes a hitherto unexamined formal phenomenon in European art: how artists departed from conventions for posing the human figure that had long been standard. In the decades around 1900, artists working in different countries and across different media began to present human figures in strictly frontal, lateral, and dorsal postures. The effect, both archaic and modern, broke with the centuries-old tradition of rendering bodies in torsion, with poses designed to simulate the human being's physical volume and capacity for autonomous thought and movement. This formal departure destabilized prevailing visual codes for signifying the existence of the inner life of the human subject. Exploring major works by Georges Seurat, Gustav Klimt, and the dancer and choreographer Vaslav Nijinsky— replete with new archival discoveries—Modern Art and the Remaking of Human Disposition (U Chicago Press, 2021) combines intensive formal analysis with inquiries into the history of psychology and evolutionary biology. In doing so, it shows how modern understandings of human consciousness and the relation of mind to body were materialized in art through a new vocabulary of postures and poses. Allison Leigh is Assistant Professor of Art History and the SLEMCO/LEQSF Regents Endowed Professor in Art & Architecture at the University of Louisiana at Lafayette. Her research explores masculinity in European and Russian art of the eighteenth through the early twentieth centuries. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

With this book, Emmelyn Butterfield-Rosen brings a new formal and conceptual rubric to the study of turn-of-the-century modernism, transforming our understanding of the era's canonical works. Butterfield-Rosen analyzes a hitherto unexamined formal phenomenon in European art: how artists departed from conventions for posing the human figure that had long been standard. In the decades around 1900, artists working in different countries and across different media began to present human figures in strictly frontal, lateral, and dorsal postures. The effect, both archaic and modern, broke with the centuries-old tradition of rendering bodies in torsion, with poses designed to simulate the human being's physical volume and capacity for autonomous thought and movement. This formal departure destabilized prevailing visual codes for signifying the existence of the inner life of the human subject. Exploring major works by Georges Seurat, Gustav Klimt, and the dancer and choreographer Vaslav Nijinsky— replete with new archival discoveries—Modern Art and the Remaking of Human Disposition (U Chicago Press, 2021) combines intensive formal analysis with inquiries into the history of psychology and evolutionary biology. In doing so, it shows how modern understandings of human consciousness and the relation of mind to body were materialized in art through a new vocabulary of postures and poses. Allison Leigh is Assistant Professor of Art History and the SLEMCO/LEQSF Regents Endowed Professor in Art & Architecture at the University of Louisiana at Lafayette. Her research explores masculinity in European and Russian art of the eighteenth through the early twentieth centuries. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/european-studies

With this book, Emmelyn Butterfield-Rosen brings a new formal and conceptual rubric to the study of turn-of-the-century modernism, transforming our understanding of the era's canonical works. Butterfield-Rosen analyzes a hitherto unexamined formal phenomenon in European art: how artists departed from conventions for posing the human figure that had long been standard. In the decades around 1900, artists working in different countries and across different media began to present human figures in strictly frontal, lateral, and dorsal postures. The effect, both archaic and modern, broke with the centuries-old tradition of rendering bodies in torsion, with poses designed to simulate the human being's physical volume and capacity for autonomous thought and movement. This formal departure destabilized prevailing visual codes for signifying the existence of the inner life of the human subject. Exploring major works by Georges Seurat, Gustav Klimt, and the dancer and choreographer Vaslav Nijinsky— replete with new archival discoveries—Modern Art and the Remaking of Human Disposition (U Chicago Press, 2021) combines intensive formal analysis with inquiries into the history of psychology and evolutionary biology. In doing so, it shows how modern understandings of human consciousness and the relation of mind to body were materialized in art through a new vocabulary of postures and poses. Allison Leigh is Assistant Professor of Art History and the SLEMCO/LEQSF Regents Endowed Professor in Art & Architecture at the University of Louisiana at Lafayette. Her research explores masculinity in European and Russian art of the eighteenth through the early twentieth centuries. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/eastern-european-studies

Happy Birthday to Marius Petipa, Vaslav Nijinsky, and Dave Gould! --- Support this podcast: https://podcasters.spotify.com/pod/show/dawn-davis-loring/support

Matt Crawford speaks with author Lynn Garafola about her book, La Nijinska. This is the amazing and riveting story of Bronislava  Nijinska, the twentieth-century ballet's premier female choreographer. Overshadowed by her brother Vaslav Nijinsky, this is the first biography of her. An unparalleled career that spanned more than a half century, through revolution and world wars, this is a story of an enduring women who refused to be marginalized. Whether you are interested in ballet or not, this is an inspiring and moving story of a women who achieved lasting success in a field dominated by men. An empowering and motivating story that all will surely enjoy.

Building a Library: Jeremy Sams recommends his favourite recording of Ravel's Daphnis and Chloe (complete ballet). Maurice Ravel described his ballet, Daphnis and Chloe as a choreographic symphony. The story concerns the love between the goatherd Daphnis and the shepherdess Chloé. Ravel began work in 1909 after a commission from Sergei Diaghilev and it was premiered in Paris by his Ballets Russes in 1912. The orchestra was conducted by Pierre Monteux, the choreography was by Michel Fokine, and Vaslav Nijinsky and Tamara Karsavina danced the parts of Daphnis and Chloé. With rich harmonies and lush orchestrations it is one of Ravel's most popular works.

In 1911, when Vaslav Nijinsky returned from Paris to dance at the Mariinsky, his revealing costume raised eyebrows in the Tsar's box...

In this episode, host Charlie Connelly looks at the life of ballet dancer and choreographer Vaslav Nijinsky. His performances oozed presence and, in a time before televised performances, he gained his reputation by word of mouth. His health, however, deteriorated as he got older, being diagnosed as schizophrenic by the man who invented the disease and he eventually died of kidney failure at the age of 61. Nonetheless, he is remembered as the dancer who defied gravity and soared, as if released from the bonds and cares of the world itself. Enjoyed this episode? Let us know by tweeting @TheNewEuropean.

Un día como hoy, 19 de mayo: Acontece: 1909: en el Théâtre du Châtelet, en París (Francia) se estrena una gira dirigida por Serguéi Diáguilev, con 55 bailarines, entre ellos Vaslav Nijinsky. Es la primera vez que el ballet ruso es llevado al mundo occidental. Nace: 1762: Johann Gottlieb Fichte, filósofo alemán (f. 1814). 1932: Elena Poniatowska, escritora, activista y periodista mexicana. 1947: David Helfgott, pianista australiano. Fallece: 1864: Nathaniel Hawthorne, escritor estadounidense (n. 1804). 1928: Max Scheler, filósofo alemán (n. 1874). Una producción de Sala Prisma Podcast. 2021

This conversation with Shockwave is deep and very important to listen about the expectations that we have as humans in which we have the power to improve in society. In this episode you will learn about:Where your street dance movements come from.The importance of you knowing where styles originated.How you can improve society expectations by being yourself and not following the leader.How some trends become toxic instead of creating unity.How artists can create more money by working together to create a better financial industry. Favorite Quote: “The great thinker talks about ideas, the average thinker talks about events, the small thinker talks about people .” Shockwave has experience learning from freestyle popping legends and he is able to teach where those movements come from. About Shockwave:Shockwave is a  Los Angeles born dancer who expresses through physical and spiritual energy with respect to tradition. He strives to instill belief in one’s self and unlock creativity while preserving the culture of art forms.Through foundation, perspective and vision, he looks to inspire others to feel what can’t be expressed through words and be more than what society dictates, for the new generation, and to those who dance for a lifetime. Follow Shockwave:Instagram Facebook Shockwave - Soul Levels (by Beatslaya) Text: ANNIVERSARY to (323) 524-9857 to view our WATCH PARTY for our 20th Anniversary Maxt Out Dance Competition online! Follow us:Learn more: Dance Your LifeLearn more: Maxt Out Dance CompetitionInstagram @maxtoutdanceMaxt Out on FacebookTikTok @maxtoutdanceSign-up for our FREE Maxt Out at Home Dance Classes!Follow Joanna:Learn more The Get Up GirlJoanna Vargas on InstagramJoanna Vargas on FacebookTikTok @joannavargasofficialOperation Underground Railroad – OURRescue.org

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Who is Philip Proctor: Phil is a Leo with a Gemini rising. Actor/writer/singer/producer/VO artist member of the thrice-Grammy-nominated Firesign Theatre, recognized as one of the “Thirty Greatest Acts of All Time” with a recording in the Library of Congress. He’s appeared on-and-off Broadway, on street corners in the USSR with the Yale Russian Chorus, in many local and regional theatres, on radio, and in scores of films, video games and TV shows. He’s won Theatre World, LA Weekly, LA Free Press and Drama Critics’ awards, and his voice credits include Toy Story, Spirited Away, Monsters, Inc., Seahorse Bob in Finding Nemo, the Drunken French Monkey in Dr. Dolittle, Dr. Vidic in Assassin’s Creed, and Howard DeVille in the Emmy-winning Rugrats, with a star on the Hollywood Walk of Fame. He is currently featured in the independent films Window of Opportunity, Charityand The Love Addict and tours in a one-man reading of Don Quixote with the L.A. Guitar Quartet. And a 15-year member of the acclaimed Antaeus Theatre in Los Angeles California. And you may remember Phil channeled Timothy Leary on an earlier episode of Project Woo Woo. So check that episode out when you finish with Micha... I can call him that he told me so! Phil's Website!   Who is Mikhail Baryshnikov: Besides being one of the sexiest men alive Micha(I can call him that) is a Soviet-born Russian and American dancer, choreographer, and actor. He is often cited alongside Vaslav Nijinsky, Rudolf Nureyev and Vladimir Vasiliev as one of the greatest male ballet dancers in ever. In his quest to explore contemporary dance, he moved to Canada in 1974 and later to the USA. After spending years as a freelance dance artist, he served as the primary dancer and later as the dance director of prestigious New York City Ballet and the American Ballet Theatre. In 1990, he co-founded a touring company of dancers named ‘White Oak Dance Project’. He has also made several appearances in television and films.   How to show love to Project Woo Woo: Click here to buy Lisa a cup of joe.   This episode was also supported by Amazon. Click on this link --> Amazon any time you need to make an Amazon purchase. A small percentage of your purchase will support the show (no extra cost to you).  I receive an affiliate commission from some of the links above. Go get your free be happier than all your friends morning routine over here --> Project Woo Woo Listen to Lisa's other podcasts at Love Bites & Honestly Lisa      

Surely ballet is one of the first things you think of when it comes to St Petersburg. Hear a brief history, beginning with the 'twelve little girls' invited in 1738 by the Empress Anna to join the city's first ballet school, held in the Winter Palace attic. Find out more about the 19th and early 20th centuries, when many of the great Russian ballets were first seen and dancers like Vaslav Nijinsky and Anna Pavlova graced the stage. Hear too what happened to ballet in the Soviet era and how Rudolf Nureyev brought such exciting new techniques from Leningrad to the west, then find out what it's like to see a ballet at the Mariinsky Theatre in the city today. http://www.citybreakspodcast.co.uk

"I am a bandit myself because I kill my brain." - Vaslav Nijinsky LINKS: Buy The Diary of Vaslav Nijinsky here: https://www.press.uillinois.edu/books/catalog/48bdm7sz9780252073625.html Follow bansee_beats here: https://www.instagram.com/banshee_beats/ or here: https://twitter.com/banshee_beats Follow Dasi B studio here: https://www.instagram.com/dasibstudio/ Follow Erica who told the story about her grandparents’ drivers licenses here: https://www.instagram.com/hairica_styles/ or here: https://twitter.com/ericunnt

Highlights - Healers of WW1 March Preview - Roundtable with Dr. Edward Lengel, Katherine Akey & Theo mayer | @02:15 Spoils of War from Russia - Mike Shuster | @13:10 Medicine in WW1 - Charles Van Way, George Thompson & Sanders Marble | @18:30 New VSO WW1 support site @ ww1cc.org/veteran | @26:00 African American nurses in WW1 - Dr. Marjorie DesRosier | @27:35 100C/100M project from Raymond WA - Gordon Aleshire | @33:25 Women Physicians in WW1 - Eliza Chin, Keri Kukral & Mollie Marr | @36:50 Speaking WW1 - “Archie” | @43:10 WW1 War Tech - The Browning Machine Gun | @45:05 WWrite Blog on Brest-Litovsk Treaty | @47:10 American War Artist and his curator - Katherine Akey | @48:10----more---- Opening Welcome to World War 1 centennial News - episode #61 - It’s about WW1 THEN - what was happening 100 years ago this week  - and it’s about WW1 NOW - news and updates about the centennial and the commemoration. Today is March 2nd, 2018 and our guests for this week include: Dr. Edward Lengel, Joining Katherine Akey and I in a March preview roundtable. Mike Shuster, from the great war project blog with an update on the fallout from the Russian defeat on the Eastern Front Charles Van Way, George Thompson, and Sanders Marble on Medicine in WW1 and their new website at the Commission Dr. Marjorie DesRosier on the struggle of African American Nurses in WW1 Gordon Aleshire, telling us about the 100 Cities/100 Memorials project in Raymond, Washington Eliza Chin, Keri Kukral and Mollie Marr telling us about the short documentary At Home and Over There: American Women Physicians in World War I Katherine Akey, with a special report on an amazing French WWI photography curator A great lineup -- today -- on WW1 Centennial News -- a weekly podcast brought to you by the U.S. World War I Centennial Commission, the Pritzker Military Museum and Library and the Starr foundation. I’m Theo Mayer - the Chief Technologist for the Commission and your host. Welcome to the show. [MUSIC] Preface Last month we did an experiment. Dr. Edward Lengel, Katherine and I sat down together - as we often do in our editorial meetings - and talked about the upcoming month of February. We got great feedback from you so we are going to do it again, here at the top of March! I put a sidecar on our centennial Time Machine so we’d all fit as we roll back 100 years to the war that changed the world! World War One THEN 100 Year Ago This Week [MUSIC TRANSITION] Overview Chat with Ed, Katherine and Theo Ed, Katherine - welcome to early March 1918. [Ed & Katherine make some comment] So guys - I understand that this is our last chance to take a breather - Starting this month, the action gets pretty hot and heavy with the Germans getting ready for their big Spring offensive. [Katherine - you use the term Kaiser Schlagt or Emperor’s Strike. Is that the same thing as the “spring offensive?”] [Ed - this is going to go on for months going forward - can you give us an overview and what the German’s have in mind?] [Quick change of subject - As we get into the military action we keep throwing around all these names of military formation like division, corps, regiment, brigade -  and I’ll wager 80% of our audience has no idea of what all that means - so let’s do an overview - We sent over a Field Army - that’s the big one - the American forces] [Ed - can you break it down for us - sort of big to small and tell us about how many soldiers are in these various formations?] [Force building in Europe - March - April - May - June etc…] [Now that we have a clear idea that there are ARMIES on the ground - As the German offensive starts - Our US General Pershing needs to integrate with the French and the British commands - How does all that lay out?] [Flu begins] That was Dr. Edward Lengel and Katherine Akey as we talked about an overview for the upcoming month of March, 1918 and even looking forward a bit more than that. Next week we will be back to our regular 100-years-ago this week format including our regular feature ‘America Emerges - Military Stories from WWI” [SOUND EFFECT] Great War Project Now on to the Great War project with Mike Shuster - former NPR correspondent and curator for the Great War project Blog…. Mike’s recent   posts have told us of the devastating suffering of the German people in the fatherland, But…. the Kaiser and his Generals are feeling hot and empowered by the total defeat of the Russians on the Eastern front. They think they are going to win this thing! The spoils-of-war from that campaign include vast territorial gains, massive stashes of captured arms, repatriation of huge numbers of soldier all now available to put the big wallop on the French and Brits -  hopefully before the Americans can really join in the fight. So Mike the details of the Russian collapse are really monumental, aren’t they!? [MIKE POST] Mike Shuster from the Great War Project blog. LINK: http://greatwarproject.org/2018/02/25/german-attack-in-west-is-imminent/ [SOUND EFFECT] The Great War Channel The Great War Channel on Youtube is hosted by Indy Neidel. Here is Indy. [Hello WW1 Centennial News Listeners - I’m Indy Neidell, host of the Great War Channel on Youtube. American troops are about to experience their first major battle of the war-- the Kaiserschlacht. Join us every Thursday for a new episode to follow this massive German offensive as it unfolds. Find us on Youtube and follow us on Facebook.] This week’s new videos from the Great War Channel include:   Operation Faustschlag - Germany advances in the east again Amphibious Landing Craft The Czechoslovak Legion’s Odyssey through Russia To see their videos by searching for “the great war” on youtube or following the link in the podcast notes! Link:https://www.youtube.com/user/TheGreatWar World War One NOW OK… time to  fast forward into the present with WW1 Centennial News NOW - [SOUND EFFECT] In this section we explore what is happening NOW to commemorate the centennial of the War that changed the world! Commission News Medicine in WW1 Website We have a lot to unpack here so let’s get going with Medicine in WWI! We have three guests with us today who not only know a whole lot about the subject - but they have also bundles that know-how into an amazing new website on the Commission’s server at WW1CC.org/medicine - all lower case. Charles Van Way, a retired Army Colonel, Professor Emeritus at University of Missouri–Kansas City George Thompson, Adjunct Associate Professor in the Department of the History and Philosophy of Medicine at the University of Kansas Medical Center, and Sanders Marble, the senior historian with the Army Medical Department Center of History and Heritage. These are the three men responsible for this website. And they did a masterful job. It may be one of the most authoritative, in-depth, well illustrated and concise subject sections on our site. Welcome, gentlemen! [greetings] [Gentlemen: At the very top of your website you put a statement.. It reads: A century ago, American Medicine went to war! I love that - it’s very illustrative.] [How did the three of you come together to undertake making with wonderful resource?] [What was the biggest impact of the war on American Medicine? Charles, let’s start with you.] [OK - a round table question - with a one phrase answer - what was the single most important innovation in medicine coming out of this war - ] [Sanders --- George --- Charles----] (talk about how they agree and disagree) [We just had a question come in from a member of our live audience: When influenza cases started to appear on the in-transit troop ships - what kind of isolation units were set up on these overcrowded transports to lower the contagion rate? ] [Quickly about the website - It is really comprehensive - You could do a semester course with it. Charles, could you give us a high level overview of what all is there? Gentlemen - thank you for introducing us to the subject of Medicine in WWI - but most of all - thank you for the huge effort you put into building the scholarly, in-depth and well thought web site at ww1cc.org/medicine! [they respond] [goodbyes] Charles Van Way, George Thompson, and Sanders Marble are the curators of Medicine in WW1, the amazing new resource at ww1cc.org/medicine. Link: www.ww1cc.org/medicine Remembering Veterans New Veterans Landing page To kick off our Remembering Veterans Section this week, let’s talk about VSOs - that stands for Veteran Service Organizations. Organizations like  the American Legion, the Veterans of Foreign Wars or VFW, The Daughters of the American Revolution or DAR and a whole lot of others. These organizations are very important partners for the commission with closely aligned goals and missions. Many of you listening today are in fact members of a VSO, but if you are not, let me give you an overview of who they are. First of all - they are amazing - and amazingly dedicated organizations focused on the men and women who served and sacrificed for our nation. And although they have national organizations, for the most part - they are very grassroots by nature with thousands of local posts or chapters all around the country that do all the real hands stuff. For example - When my dad, who was a Marine Corps Pilot in WWII passed away, a local American Legion post provided an honor guard for his funeral - because he served his nation! And they won’t forget one of their own. And I’ll never forget how they honored him - even though he was not a member of their post. VSO’s have been deeply involved in many of our commemoration programs including 100 Cities / 100 Memorials, centennial commemorations with States, and they have been key financial contributors to the national WWI Memorial project in Washington DC. But as I said - it is all about the local level - so for the local posts and chapters -  we just published a special landing page on our website just for them - it’s a landing page with a series of “subject and activity tiles” that make it easy to see how to get involved with the centennial commemoration of the war that changed the world. It’s actually not a bad resource for anyone - at ww1cc.org/veteran all lower case and of course you can always follow the link in the podcast notes. Link: www.ww1cc.org/veteran African American Nurses Staying with veterans, wrapping up African American History Month and leading us into Women’s History month, this segment is about the experiences of African American Nurses. Joining us again is Dr. Marjorie DesRosier (de-roh-zuhr), who was on a few weeks ago. Dr. DesRosier is an international nurse historian and independent scholar. She, herself is also a Registered Nurse and former clinical professor from the University of Washington School of Nursing, in Seattle. Welcome back, Dr. DesRosier! [greetings] [The story of African American Nurses in WWI is fascinating - To start, could you tell us about how an African American woman would go about becoming a Nurse in that era? ] [What kinds of resistance did these women encounter?] [How did these women respond? Especially to the Surgeon General’s policies?] [Did it work?] [Where can people learn more about this?] We’ve posted some links in the podcast notes for our listeners - Dr. DesRosier - thank you for coming back on the show to bring us this story. [goodbyes] Dr. DesRosier is an international nurse historian, independent scholar and registered nurse  - Follow the link in the podcast notes to learn more about African American Nurses in WW1 and Dr. DesRosier’s work. link:http://desrosierhistory.com/ http://history.amedd.army.mil/ancwebsite/articles/blackhistory.html http://www.edwardianpromenade.com/african-american/african-americans-in-the-great-war/ http://www.worldwar1centennial.org/index.php/communicate/press-media/wwi-centennial-news/4046-honoring-african-american-women-who-served-in-the-army-nurse-corps-in-wwi.html 100 Cities 100 Memorials Moving on to our 100 Cities / 100 Memorials segment about the $200,000 matching grant challenge to rescue and focus on our local WWI memorials. This is a perfect tie-in to the VSO story we told you about earlier -  because this project is being done by --- Veterans of Foreign Wars post 968 in Raymond, Washington. With us tell us about their city and the project is Gordon Aleshire, Adjutant of VFW Post 968. Welcome Gordon! [greetings] [Gordon - you live in a beautiful - and pretty remote part of the country - tells us about Raymond, Pacific County and the areas roll in WWI?] [I have seen the before and “in process” pictures of your memorial. It really needed help. Tell us about how the post decided to take this on.] [Did the 100 Cities / 100 Memorials project come along for you before or after you took on the challenge?] [What are your rededication plans?] Gordon - Thank you and post 968 for the great work you are doing in remember our WW1 doughboys! [goodbyes] Link: www.ww1cc.org/100cities Project support link:  https://www.gofundme.com/ww-i-memorial-restoration Gordon Aleshire, is Adjutant of VFW Post 968 in beautiful Raymond Washington Spotlight in the Media As we mentioned - March is Women’s History month - So This week for our Spotlight in the Media -- We’re joined by Eliza Chin, Keri Kukral and Mollie Marr. They are the team that researched and produced a documentary called: At Home and Over There: American Women Physicians in World War I. [greetings] Welcome to you! [Eliza: You are the executive Director of the American Medical Women’s Association - Briefly - what is that? What does the organization represent?] [Keri: You are the founder and CEO of Raw Science TV - again briefly what is that?] [Mollie: you know this was coming - I know you are a student at the Oregon Health & Science University - but you’re also the Executive Chair of the American Medical Women's Association branch at the school - how does that work at a university?] [Alright - So the three of you came together to create this wonderful documentary - AND I have to add - impressive companion online web exhibit - How did this come together? Eliza can you tell us? [Keri-- the film has a 3D component to it. Tell us about that - What was the intent?] [Mollie would you please tell us how you researched the subject - anything particularly surprize you?] [Eliza -- If someone would like to book the film for a local screening or WWI event -- how do they do that?] Thank you all for joining us today and telling us about this great project! [goodbyes] Eliza Chin is Executive Director of the American Medical Women's Association -- Keri Kukral is the CEO of Raw Science TV -- and Mollie Marr is an MD/PhD student at Oregon Health and Science University. You can learn more about their project: At Home and Over There: American Women Physicians in World War I and how to access the documentary for your WWI event by following the links in the podcast notes. link:https://www.amwa-doc.org/ https://www.amwa-doc.org/wwi-exhibition/ https://www.amwa-doc.org/wwi-film/ [SOUND EFFECT] Speaking WW1 And now for our feature “Speaking World War 1” - Where we explore the words & phrases that are rooted in the war  --- During WWI as planes flew over the front - little puffs of smoke appeared in the sky… Well - actually each one of those puffs was a deadly expanding ball of shrapnel designed to mangle planes and pilots! True to British humor this deadly deterrent for fliers got a silly nickname - which is our Speaking WWI word for this week. “Archie” -- was the British nickname for anti-aircraft fire-- and it has two contested origins. Origin #1:  A pilot in the Royal Air Force, Vice-Marshall Borton, who, upon encountering enemy anti-aircraft fire, apparently quoted a lyric from a popular music hall song of time: “Archibald certainly not!” - a popular contemporary cultural exclamation of defiance. [*play song*] Origin #2: The training grounds for RAF pilots back in England at --- Brooklands in Surrey -  neighbored a “sewage farm” -- The Archibald sewage farm. Apparently the farm, which processed sewage to irrigate and fertilize the land, had notoriously difficult air currents above it, creating a wafting turbulence the pilots found quite similar to that of the anti-aircraft weapons. Either way, Archie! an humorous and very English term for the explosives that trailed and tormented pilots as they flew over the front in WWI. -- See the podcast notes to learn more! link: https://english.stackexchange.com/questions/301554/why-is-german-anti-aircraft-fire-called-archibald http://www.telegraph.co.uk/history/11156904/The-slang-words-that-defined-the-First-World-War.html http://mentalfloss.com/article/58233/21-slang-terms-world-war-i Song: https://www.youtube.com/watch?v=mZkyKLZghUc https://languagesandthefirstworldwar.wordpress.com/2017/06/06/archibald-certainly-not/ [SOUND EFFECT] WW1 War Tech Browning Machine Gun For WW1 War Tech -- this week, we’re taking a look at  The Browning Machine Gun. It got a lot of press this week 100 years ago because apparently on February 27, 1918, in the vicinity of Congress Heights in Southeastern Washington D.C, it sounded like the War in Europe had suddenly spread to America. This is because they were test firings of the new Browning at the U.S. Government’s shooting range. The guns, the Browning Automatic Rifle (BAR) and the Browning M1917, were being demonstrated to a crowd of American politicians, foreign army officers, and the press. The firearms were being touted as “the finest gun in the world”. The machine guns were the brainchild of John Moses Browning, a man known as “the father of modern firearms” whose weapons designs, including the pump-action shotgun. When the Army sent out a request to all American inventors asking for new firearms designs in 1917, Browning personally traveled to the capital to present his new prototypes. The Ordinance Department demanded these weapons be put to the test by shooting 20,000 rounds of ammunition. When the test was performed at the Government Proving Grounds in May 1917, Browning’s gun fired the 20,000 rounds with no complications, then fired another 20,000 only breaking a single part. Besides reliability, another impressive feature was a design so simplistic,  the officers who demonstrated the weapon could take it apart and put it back together while blindfolded. This made such an impression on the War Department that the “blindfold test” soon became an essential part of military training. Mass production began soon thereafter, with the first Browning guns arriving in France on June 29, 1918. Though only 1,168 Brownings saw combat, the general design proved so useful the Browning M1917 was an essential part of the American arsenal all the way until the Korean War. Read more about the Browning at the links in the podcast notes. Links: http://www.sadefensejournal.com/wp/?p=358 https://www.militaryfactory.com/smallarms/detail.asp?smallarms_id=785 http://www.history.com/this-day-in-history/gun-designer-john-browning-is-born http://www.firstworldwar.com/atoz/mgun_bar.htm http://www.firstworldwar.com/atoz/mgun_browning.htm https://timesmachine.nytimes.com/timesmachine/1918/02/27/103191974.pdf https://timesmachine.nytimes.com/timesmachine/1918/02/28/109328811.pdf http://www.worldwar1centennial.org/index.php/educate/places/official-bulletin/3329-ww1-official-bulletin-volume-2-issue-244-febuary-27-1918.html Articles and Posts WWrite Blog This week for the WWrite Blog, which explores WWI’s Influence on contemporary writing and scholarship, the post reads: “Brest-Litovsk: Eastern Europe’s Forgotten Father” The post was  written by Adrian Bonenberger In his lifetime, the world-famous Polish dancer, Vaslav Nijinsky, might have also claimed Russian, German, or Ukrainian nationality. The future of Nijinsky's Europe–and his identity–was decided on March 3, 1918. Veteran author, Adrian Bonenberger, calls the event "the moment" when "the old world falls apart, and creates space for the new to arise." In this week's WWrite post, Bonenberger gives us a rich overview of the Brest-Litovsk Treaty and its implications for the former Soviet bloc countries! Read the story at the Wwrite Blog. Ww1cc.org/w w r i t e or follow the link in the podcast notes. Link: http://www.worldwar1centennial.org/index.php/articles-posts/4094-brest-litovsk-eastern-europe-s-forgotten-father-2.html Waldo Peirce Changing formats a little - Katherine Akey is going to close out this week with a story about an article we posted on our website at ww1cc.org/news about American painter and ambulance driver - Waldo Pierce - but her report is equally about the Corine Reis - the author of the article and a dedicated French curator of WWI stories and images. [Katherine - you were the one who came across Corine that led to the article maybe we should start with her - her curated images are truly  AMAZING!!!] Hey Theo -- yeah, the project Corine has been working on is something else. Published on our website, and included in our weekly email dispatch, is an interview with Corine. She’s a French citizen historian -- and the great-niece of American painter and ambulance driver Waldo Peirce. He was one of the many students voluntarily leaving their lives at home-- for him, his studies at Harvard-- to aid the French years before America joined the war. Corine meticulously, and with a great sense of storytelling, curates and shares his photographs, artwork and writings on her Tumblr and Facebook pages, chronicling his experience throughout the war. Her interest and personal connection to Waldo grew over time, expanding to include the American Volunteers of WW1 at large. In the interview, Corine discusses her passion, the incredible archive left behind by her great-uncle Waldo, and her plans for documenting the lives of volunteers during WW2 as well. Additionally to reading the interview, I’d really, really encourage you to take the time to scroll through her Tumblr, which can be found embedded in the interview at WW1cc.org. To say that Corine is a dedicated storyteller is a understatement of the highest order. Through this project, she has gathered photographs and excerpts from collections all across the world, creating a single body of stories that is unlike most we encounter when researching World War One. I first came across her Tumblr during my weekly search for photographic content for the Commission, and was really surprised at how few of the images were familiar to me. So much of what she has rediscovered and shared with the world is quiet, quotidian, and somehow spectacular: An image of a woman ambulance driver holding a kitten and casually wearing the Croix de Guerre; an over-the-shoulder shot of a young British officer staring longingly at a photo of a woman tucked inside his hat; an image of a man sitting in the midst of a dense, unspoiled French forest as sunbeams glance through the trees; a crowd gathering around a deep, shearing hole in the Parisian street, the result of a recent German air raid. The collection Corine has assembled -- and continues to assemble-- is exceptional. The hours of work -- as well as her very artful eye and deep passion for the subject-- are evident in every post. We’ve included links in the podcast notes to the interview we did with her, as well as to her Facebook and Tumblr pages. Links: http://www.worldwar1centennial.org/index.php/communicate/press-media/wwi-centennial-news/4082-waldo-peirce-goes-to-war-is-a-remarkable-new-wwi-tumblr-blog.html https://waldopeircegoestowar.tumblr.com/ https://www.facebook.com/waldo.peirce Thank you Katherine - Outro Thank you for listening to this week’s episode of WW1 Centennial News. We also want to thank our guests... Dr. Edward Lengel, Military historian and author Mike Shuster, Curator for the great war project blog Charles Van Way, George Thompson, and Sanders Marble, the curators of the new Medicine in WW1 website Dr. Marjorie DesRosier, nurse, author and historian Gordon Aleshire, Adjutant of VFW Post 968 Eliza Chin, Keri Kukral and Mollie Marr, the production team behind the documentary At Home and Over There: American Women Physicians in World War I Katherine Akey, the commission’s social media director and line producer for the podcast Thanks also to our intern John Morreale for his great research assistance. And I am Theo Mayer - your host. [MUSIC] CLOSING The US World War One Centennial Commission was created by Congress to honor, commemorate and educate about WW1. Our programs are to-- inspire a national conversation and awareness about WW1; this podcast is a part of that…. Thank you! We are bringing the lessons of the 100 years ago into today's classrooms; We are helping to restore WW1 memorials in communities of all sizes across our country; and of course we are building America’s National WW1 Memorial in Washington DC. We want to thank commission’s founding sponsor the Pritzker Military Museum and Library as well as the Starr foundation for their support. The podcast can be found on our website at ww1cc.org/cn   on  iTunes, Google Play, TuneIn, Podbean, new this week on Stitcher - Radio on Demand --- as well as the other places you get your podcast --  even on your smart speaker.. Just say “Play W W One Centennial News Podcast.” Our twitter and instagram handles are both @ww1cc and we are on facebook @ww1centennial. Thank you for joining us. And don’t forget to share the stories you are hearing here today about the war that changed the world! [MUSIC] Archie, Veronica and Jughead - Three types of deadly munitions from WWI - Not true…. Just kidding… So long! So long!

Today's episode is about Vaslav Nijinsky, a Polish-Russian ballet dancer of the early twentieth century. Considered both the best and most controversial dancer of his era, Nijinsky changed the course of ballet history. Transcript available here.

Sergei Diaghilev's most enduring influence on twentieth century art was the Ballets Russes, a modern ballet company he created, starring the greatest male ballet dancer of the twentieth century and Diaghilev's lover, Vaslav Nijinsky.

Seven years after the succès de scandale of the Stravinsky-Nijinsky-Roerich ballet Le Sacre du printemps, Serge Diaghilev decided to revive the ballet with new choreography by his young protégé, Léonide Massine. The collaboration with Stravinsky and the process of rechoreographing Sacre gave Massine new directions for defining his choreographic voice through developing his own movement vocabulary. In working with Stravinsky, Massine also developed his ideas of using counterpoint between the movement and music. Chosen by Diaghilev to replace Vaslav Nijinsky as leading dancer and choreographer, Massine did not have the bravura classical ballet technique of his predecessor, but he had a ‘spark’ on stage that captured Diaghilev’s attention. Mentored by Diaghilev in the collaborative process, Massine achieved a notable success with his early ballets, particularly Parade (1917), which had a scandalous premiere; La Boutique Fantasque (1919), which charmed audiences; and Le Tricorne (1919), which was an instant success. With these and other successful ballets later in his career, Massine’s 1920 version of Le Sacre du printemps is often overlooked. Massine’s Sacre premiered in the same theatre as the original production, Théâtre Champs-Elysées, and it was the last ballet that Léonide Massine created for the Ballets Russes under Diaghilev’s tutelage. (He returned to choreograph two ballets a few years later.) He left the company shortly after the premiere and embarked on a long and remarkable choreographic career, using the tools that he had developed during his collaboration with Stravinsky. This paper will examine Léonide Massine’s choreography for Le Sacre du printemps, with an introduction to his movement vocabulary in his theory of composition and a discussion of the Massine-Stravinsky collaboration. The author worked with Léonide Massine as a dancer and choreographic assistant, and holds the Massine Diploma in Theory and Composition.

Igor Stravinsky’s Le Sacre du printemps is arguably the most influential score composed for dance in the last century. Premiered to an unsuspecting Parisian audience in 1913, this Modernist ballet was subtitled ‘Scenes of Pagan Russia,’ a moniker that evoked the rituals of pre-Christian society. Vaslav Nijinsky’s groundbreaking choreography shocked audiences with its visceral embodiment of primeval spirituality, and Sacre has subsequently been re-staged by a wide variety of classical and contemporary choreographers across the world, including Mary Wigman, Martha Graham, Pina Bausch, and Maurice Béjart. This paper focuses on a distinctly non-Western version of Stravinsky’s score, namely Min Tanaka’s Butoh choreography of 1987. Tanaka’s work, with stage settings by Richard Serra, was premiered a year after the death of his mentor Tatsumi Hijikata, one of the ‘founding fathers’ of the Butoh form. In this paper, I draw comparisons between Tanaka’s stark movement vocabulary and Western embodiments of Sacre, including those of Bausch and Wigman, in order to chart a cross-cultural dialogue in dance performance since the 1913 premiere. With his controversial work, Nijinsky explored new levels of primitive ritualism in performance. He induced a company of classically trained dancers to revert to a primordial form of movement, enacting their ritual through a new choreographic vocabulary derived from elements of Central Asian folk dance. Stravinsky’s score has come to be an ongoing source of inspiration for choreographers exploring non-Western ritual from 1913 to the present day, and I posit that Tanaka’s Sacre symbolises the logical conclusion of this dialogue between Eastern and Western performance. I argue that avant-garde dance performance throughout the twentieth century has been shaped by an amalgamation of cultural elements, and that, ultimately, this inter-cultural dialogue represents Nijinsky’s enduring Modernist legacy.

This paper examines the ways in which dancers’ body image in Vaslav Nijinsky’s 1913 ballets The Rite of Spring and Jeux looked forward to 1920s developments in ballet and fashion. Using the psychoanalyst Paul Schilder’s definition of body image as the appearance and experience of embodiment, the paper will explore how aspects of the 1913 ballets’ new corporeal modes (including an emphasis on the body’s weight and gravity in The Rite and sportive androgyny in Jeux) prefigured how women dressed, moved and perceived themselves both within the Ballets Russes and in 1920s Paris. The paper will explore body image in relation to both individual and collective experiences. Beginning with 1913, the paper will consider how the first dancers in The Rite and Jeux experienced their roles in order to contextualise the ballets within their year of creation, and assess Nijinsky’s contribution to their radical conceits of feminine embodiment. It will then examine how the feminine bodily modes of extreme physical vigour, androgyny and sexual agency evoked in the 1913 works were developed in 1920s ballet practice and body culture. In doing so, the paper questions whether the 1913 ballets’ divining anticipations of modern femininity resulted from their creator’s own experiences of embodiment or reflected female dancers’ enhanced technical abilities and dramatic versatility.

Vaslav Nijinsky’s choreography for the Rite of Spring was structured by movement patterns based on simple geometrical forms – such as circles, triangles, lines and angles – which his dancers incorporated with their bodies and limbs. Repeated over and over again, the patterns were gradually transformed or harshly interrupted by other choreographic figures, thus reflecting the repetitive character of Igor Stravinsky’s music as well as the use of ornament and colour in Nicholas Roerich’s costume design. The non-mimetic character of these ornamental patterns is also strongly related to Nijinsky’s own abstract paintings as well as to the rise of abstract art in Paris of 1913, namely the work of Sonia Delaunay-Terk and František Kupka. Applying to The Rite of Spring new theories of ornament focusing more on generative and perceptive aspects rather than on the decorative functions of ornament, I will ask: what is the relationship between the narrative – the sacrifice of an individual person for the sake of the community – and the use of ornamental patterns in Nijinsky’s choreography? To what extent do abstract ornamental patterns generate narrative, emotional, and even political references? Looking back on The Rite of Spring in the knowledge that it premiered only one year before the outbreak of World War I, does its aesthetic relationship between disruption and continuity ultimately mirror a political impact? Is its use of ornament only connected to a potential continuity of decorative transformation and a lack of representation? Or does the modus of ornament generate narrative, emotional, and even political references?

If you experience any technical difficulties with this video or would like to make an accessibility-related request, please send a message to digicomm@uchicago.edu. Frank Bidart was educated at the University of California at Riverside and at Harvard University, where he was a student and friend of Robert Lowell and Elizabeth Bishop. His first volume of poetry, Golden State (1973), was selected by poet Richard Howard for the Braziller Poetry series. Bidart's early books are collected in In the Western Night: Collected Poems 1965-90 (1990). His recent volumes include Star Dust (Farrar, Straus and Giroux, 2005), Music Like Dirt (2002), and Desire (1997), which was nominated for a Pulitzer Prize, and was a finalist for both the National Book Award and the National Book Critic's Circle Award. He is also the co-editor of Robert Lowell's Collected Poems (2003). His honors include the Wallace Stevens Award, the Lila Wallace-Reader's Digest Foundation Writer's Award, the Morton Dauwen Zabel Award given by the American Academy of Arts and Letters, the Shelley Award of the Poetry Society of America, and The Paris Review's first Bernard F. Conners Prize for "The War of Vaslav Nijinsky" in 1981. In 2007, he received the Bollingen Prize in American Poetry. Bidart was elected a Chancellor of the Academy of American Poets in 2003. He lives in Cambridge, Massachusetts, where he has taught at Wellesley College since 1972.

If you experience any technical difficulties with this video or would like to make an accessibility-related request, please send a message to digicomm@uchicago.edu. Frank Bidart was educated at the University of California at Riverside and at Harvard University, where he was a student and friend of Robert Lowell and Elizabeth Bishop. His first volume of poetry, Golden State (1973), was selected by poet Richard Howard for the Braziller Poetry series. Bidart's early books are collected in In the Western Night: Collected Poems 1965-90 (1990). His recent volumes include Star Dust (Farrar, Straus and Giroux, 2005), Music Like Dirt (2002), and Desire (1997), which was nominated for a Pulitzer Prize, and was a finalist for both the National Book Award and the National Book Critic's Circle Award. He is also the co-editor of Robert Lowell's Collected Poems (2003). His honors include the Wallace Stevens Award, the Lila Wallace-Reader's Digest Foundation Writer's Award, the Morton Dauwen Zabel Award given by the American Academy of Arts and Letters, the Shelley Award of the Poetry Society of America, and The Paris Review's first Bernard F. Conners Prize for "The War of Vaslav Nijinsky" in 1981. In 2007, he received the Bollingen Prize in American Poetry. Bidart was elected a Chancellor of the Academy of American Poets in 2003. He lives in Cambridge, Massachusetts, where he has taught at Wellesley College since 1972.

Frank Bidart was educated at the University of California at Riverside and at Harvard University, where he was a student and friend of Robert Lowell and Elizabeth Bishop. His first volume of poetry, Golden State (1973), was selected by poet Richard Howard for the Braziller Poetry series. Bidart's early books are collected in In the Western Night: Collected Poems 1965-90 (1990). His recent volumes include Star Dust (Farrar, Straus and Giroux, 2005), Music Like Dirt (2002), and Desire (1997), which was nominated for a Pulitzer Prize, and was a finalist for both the National Book Award and the National Book Critic's Circle Award. He is also the co-editor of Robert Lowell's Collected Poems (2003). His honors include the Wallace Stevens Award, the Lila Wallace-Reader's Digest Foundation Writer's Award, the Morton Dauwen Zabel Award given by the American Academy of Arts and Letters, the Shelley Award of the Poetry Society of America, and The Paris Review's first Bernard F. Conners Prize for "The War of Vaslav Nijinsky" in 1981. In 2007, he received the Bollingen Prize in American Poetry. Bidart was elected a Chancellor of the Academy of American Poets in 2003. He lives in Cambridge, Massachusetts, where he has taught at Wellesley College since 1972.

If you experience any technical difficulties with this video or would like to make an accessibility-related request, please send a message to digicomm@uchicago.edu. Frank Bidart was educated at the University of California at Riverside and at Harvard University, where he was a student and friend of Robert Lowell and Elizabeth Bishop. His first volume of poetry, Golden State (1973), was selected by poet Richard Howard for the Braziller Poetry series. Bidart's early books are collected in In the Western Night: Collected Poems 1965-90 (1990). His recent volumes include Star Dust (Farrar, Straus and Giroux, 2005), Music Like Dirt (2002), and Desire (1997), which was nominated for a Pulitzer Prize, and was a finalist for both the National Book Award and the National Book Critic's Circle Award. He is also the co-editor of Robert Lowell's Collected Poems (2003). His honors include the Wallace Stevens Award, the Lila Wallace-Reader's Digest Foundation Writer's Award, the Morton Dauwen Zabel Award given by the American Academy of Arts and Letters, the Shelley Award of the Poetry Society of America, and The Paris Review's first Bernard F. Conners Prize for "The War of Vaslav Nijinsky" in 1981. In 2007, he received the Bollingen Prize in American Poetry. Bidart was elected a Chancellor of the Academy of American Poets in 2003. He lives in Cambridge, Massachusetts, where he has taught at Wellesley College since 1972.