Vaslav Nijinsky
Vaslav (or Vatslav) Nijinsky (12 March 1889/18908 April 1950) was a ballet dancer and choreographer cited as the greatest male dancer of the early 20th century.
Born in Kiev to Polish parents, Nijinsky grew up in Imperial Russia but considered himself to be Polish.
He was celebrated for his virtuosity and for the depth and intensity of his characterizations.
He could dance "en pointe", a rare skill among male dancers at the time and was admired for his seemingly gravity-defying leaps.
Nijinsky was introduced to dance by his parents, who were senior dancers with the travelling Setov opera company, and his early childhood was spent touring with the company.
His older brother Stanislav and younger sister Bronislava "Bronia" Nijinska also became dancers; Bronia also became a choreographer, working closely with him for much of his career.
At age nine Nijinsky was accepted at the Imperial Ballet School (now known as the Mariinsky School) in St. Petersburg, the pre-eminent ballet school in the world.
In 1907, he graduated and became a member of the Imperial Ballet, starting at the rank of coryphée instead of in the corps de ballet, already taking starring roles.
In 1909 he joined the Ballets Russes, a new ballet company started by Sergei Diaghilev.
The impresario took the Russian ballets to Paris, where high-quality productions such as those of the Imperial Ballet were not known.
Nijinsky became the company's star male dancer, causing an enormous stir amongst audiences whenever he performed.
In ordinary life he appeared unremarkable and was withdrawn in conversation.
Diaghilev and Nijinsky became lovers; the Ballets Russes gave Nijinsky the chance to expand his art and experiment with dance and choreography; he created new directions for male dancers while becoming internationally famous.
In 1912 Nijinsky began choreographing original ballets, including "L'après-midi d'un faune" (1912) to music by Claude Debussy, "Le Sacre du Printemps" (1913) to music by Igor Stravinsky, "Jeux" (1913), and
"Till Eulenspiegel" (1916).
"Faune," considered one of the first modern ballets, caused controversy because of its sexually suggestive final scene.
At the premiere of "Le Sacre du Printemps" fights broke out in the audience between those who loved and hated this startling new style of ballet and music.
Nijinsky originally conceived "Jeux" as a flirtatious interaction among three males, although Diaghilev insisted it be danced by one male and two females.
In 1913, Nijinsky married Hungarian Romola de Pulszky while on tour with the company in South America.
The marriage caused a break with Diaghilev, who soon dismissed Nijinsky from the company.
The couple had two daughters together, Kyra and Tamara Nijinska.
With no alternative employer available, Nijinsky tried to form his own company, but this was not a success.
He was interned in Budapest, Hungary during World War I, under house arrest until 1916.
After intervention by Diaghilev and several international leaders, he was allowed to go to New York for an American tour with the Ballets Russes.
Nijinsky became increasingly mentally unstable with the stresses of having to manage tours himself and deprived of opportunities to dance.
After a tour of South America in 1917, and due to travel difficulties imposed by the war, the family settled in St. Moritz, Switzerland.
His mental condition deteriorated; he was diagnosed with schizophrenia in 1919 and committed to a mental asylum.
For the next 30 years he was in and out of institutions, never dancing in public again.
Irina Nijinska
Irina Nijinska( 20 November 1913- 2 July 1991) was a Russian- Polish ballet dancer who performed with the company of Ida Rubenstein; in the Théatre de la Danse Nijinska; the Ballets Russes of Col. de Basil; the Polish Ballet, and other troupes.
She spent much of her later life promoting the work of her mother, Bronislava Nijinska, the dancer and choreographer.
Irina Nijinska was born in St Petersburg, the daughter of Nijinska and dancer Alexander Kotchetovsky.
Her uncle was the world famous dancer Vaslav Nijinsky; and her grandparents were dancers Thomas Nijinsky and Eleanora Bereda.
After her brother Leo was born in Kiev in 1919, her parents separated.
Her mother took her two children west in 1921, eventually settling in France.
She trained as a dancer in Paris, studying with Vera Trefilova and Eugene Lapitsky, and beginning pointe work with her grandmother.
Irina made her debut with Olga Spessivtzeva's troupe in 1930.
She went on to dance in many of the dance troupes with which her mother was associated, performing under the stage name Irina Istomina.
Among other parts, she performed her mother's old role as the Street Dancer in Petrouchka.
Like her relatives, she became known for the height of her jumps.
In 1935 she was forced to interrupt her dancing career after suffering injuries in a car accident that killed her brother, Leo.
During her convalescence, Irina first became an assistant to her mother, helping to stage the ballet Les Noces for Col. de Basil's Ballets Russes, in New York in 1936; and the ballet Le Baiser de la Fée in Buenos Aires.
Much later, she helped her mother revive" Les Biches" for the Teatro dell' Opera in Rome in 1969; and for the Teatro Comunale in Florence in 1970.
Mother and daughter moved to Los Angeles in 1940, where both began teaching.
She taught at Nijinska's Hollywood Dance Studio from 1941- 1950.
Following her mother's death in 1972, Irina co-edited and co-translated the first part of Bronislava's autobiography," Early Memoirs," with Jean Rawlinson.
She made the publishing arrangements and it appeared in 1981, being named a Notable Book of 1981 by the American Library Association.
She also continued working with the revivals of Bronislava's original choreographies, produced at different ballet- company venues.
By her own estimate, between 1972 and 1991 Irina Nijinska produced 26 stagings for 20 different ballet companies in Europe, America, and Asia.
Oakland Ballet's production of" Les Noces" in 1981 saw the first American performances of Nijinska's ballet since 1936.
Irina also staged Les Biches for Oakland Ballet in 1982; and assisted Frank W.D. Ries, a Jean Cocteau scholar, in the reconstruction of Le Train Bleu in Oakland, in 1989.
She developed close ties with the Dance Theatre of Harlem, in New York, where she staged" Les Biches" in 1983, and in 1989 staged a full evening of works by Bronislava Nijinska including" Les Biches, Les Noces," and" Rondo Capriccioso," the latter reconstructed with the assistance of Rosella Hightower.
Irina's staging of" Les Noces" for the Feld Ballet, in 1985, was notable for the design of a new set by Ming Cho Lee.
In 1990, Irina revived the Bride's Variation from" Le Baiser de la Fée" for a conference sponsored by the Dance Critics Association.
That performance featured a young Jennie Somogyi, later a principal dancer with New York City Ballet.
Irina Nijinska was also instrumental in promoting her mother's works through her involvement in two historic museum exhibitions.
" Bronislava Nijinska: a Dancer's Legacy," was curated by Nancy Van Norman Baer and first seen at the Cooper- Hewitt Museum in New York, from March to July of 1986, then at the California Palace of the Legion of Honor in San Francisco, from September 1986 to January 1987.
" La Nijinska: Choreographer, Dancer, Teacher" was curated by Madeleine Nichols and exhibited at the Dance Collection of the New York Public Library, from December 1990 through April 1991, commemorating the 100th anniversary of Bronislava Nijinska's birth.
In 1946 Irina had married Gibbs S. Raetz; they had two children, Natalie and George.
In 1991 at age 77, Irina Nijinska died in a hospital room in Inglewood after suffering a stroke on May 29, in Amsterdam.
Family members, friends, and colleagues gathered to pay tribute to her at a symposium at the New York Public Library for the Performing Arts in November 1991.
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Bronislava Nijinska
Bronislava Nijinska (– February 21, 1972) was a Polish ballet dancer, and an innovative choreographer.
She came of age in a family of professional dancers.
Her career began in Saint Petersburg.
Soon she joined Ballets Russes which ventured to success in Paris.
She later met war-time difficulties in Petrograd and in turbulent Kiev.
In France again, public acclaim for her works came quickly, cresting in the 1920s.
She then enjoyed continuing successes in Europe and the Americas.
Nijinska played a pioneering role in the broad movement that diverged from 19th-century classical ballet.
Her introduction of modern forms, steps, and motion, and a minimalist narrative, prepared the way for future neoclassical works.
After serious home learning, she began at nine her lengthy formal training in Saint Petersburg, then the Russian capital.
She graduated in 1908 as an 'Artist of the Imperial Theatres'.
An early breakthrough came in 1910 in Paris when a member of Diaghilev's Ballets Russes.
For her dance solo Nijinska created the role of Papillon in "Carnaval", a ballet written and designed by Fokine.
She assisted her famous brother Vaslav Nijinsky as he worked up his controversial choreography for "L'Après-midi d'un faune", which Ballets Russes premiered in Paris in 1912.
Similarly, she aided him in his creation of the 1913 ballet "Le Sacre du Printemps".
She developed her art in Petrograd and Kiev during the great war, revolution and civil war.
While herself in theaters performing, she worked independently to design and stage her first choreographies.
Nijinska started a ballet school on progressive lines in Kiev, and published her writing on the art of movement.
In 1921 she fled Russian authorities.
She rejoined the Ballets Russes.
Diaghilev appointed her choreographer of this influential, Paris-based company.
Nijinska thrived, creating several popular, cutting-edge ballets to contemporary music.
In 1923, with a score by Stravinsky she choreographed her iconic work "Les Noces" [The Wedding].
Starting in 1925, with a variety of companies and venues she designed and mounted ballets in Europe and the Americas.
Among them: Teatro Colón, Ida Rubinstein, Opéra Russe
à Paris, Wassily de Basil, Max Reinhardt, Markova-Dolin, Ballet Polonaise, Ballet Theatre, the Hollywood Bowl, Serge Denham, Marquis de Cuevas, as well as her own companies.
Due to war in 1939 she relocated from Paris to Los Angeles.
Nijinska continued working in choreography and as an artistic director.
She taught at her studio.
In the 1960s for The Royal Ballet in London, she staged revivals of her Ballets Russes-era creations.
Her "Early Memoirs", translated into English, was published posthumously.
Kyra Nijinsky
Kyra Vaslavovna Nijinsky( 19 June 1914 – 1 September 1998), was a ballet dancer of Polish and Hungarian ancestry, with a Russian dance and cultural heritage.
She was the daughter of Vaslav Nijinsky and the niece of Bronislava Nijinska.
In the 1930s she appeared in ballets mounted by Ida Rubinstein, Max Reinhardt, Marie Rambert, Frederick Ashton, Antony Tudor.
Her father Vaslav( 1889- 1950) was a world- renowned dancer with the Ballets Russes in Paris.
Her aunt Bronia( 1891- 1972) also excelled in dance and was a leading choreographer, initially with Ballets Russes.
Her mother Romola de Pulszky was a socialite and author.
Romola's mother, Kyra's grandmother, was Emilia Márkus, a popular Hungarian actress.
Kyra was born to Romola and Vaslav in Vienna.

Question: Who is Bronislava Nijinska's sibling-in-law?
Answer: Romola de Pulszky