Anna Kisselgoff

“The story of the last years of Russian imperial ballet and the florescence of Diaghilev’s Ballets Russes is familiar to most readers. . . . but Nijinska’s book stands out as the best of these. Unlike the majority of the Russian Ballet’s historians, Nijinska was near the nerve center of the Ballets Russes. . . . For serious students of the dance of the Diaghilev period, Nijinska’s accounts of the dances and dancing of the time prove invaluable.”—Tim Scholl, Slavic Review

"[These memoirs] are remarkable for their charm, their substance, and their transparent integrity. . . . [They] offer us . . . a firsthand account of what Nijinsky said and did on the stage and off, during the first twenty-five years of his life. When we close the book, we know him as never before."—John Russell, New York Review of Books

Nijinska fills in details of her brother's childhood . . . and succeeds--where all the rest fail—in making him human."—Holly Brubach, New York Times Book Review

"Of unprecedented value are the insights [Nijinska] gives of how Nijinsky developed both his and her technique."—Julie Kavanagh, Times Literary Supplement

"With this posthumous volume of reminiscences, Bronislava Nijinska begins at last to emerge from the obscurity which has long enveloped her."—Dale Harris, Ballet News

"A revelation on several counts. . . "—Marcia B. Siegel, Washington Post Book World

“The story of the last years of Russian imperial ballet and the florescence of Diaghilev’s Ballets Russes is familiar to most readers. . . . but Nijinska’s book stands out as the best of these. Unlike the majority of the Russian Ballet’s historians, Nijinska was near the nerve center of the Ballets Russes. . . . For serious students of the dance of the Diaghilev period, Nijinska’s accounts of the dances and dancing of the time prove invaluable.”—Tim Scholl, Slavic Review

“The story of the last years of Russian imperial ballet and the florescence of Diaghilev’s Ballets Russes is familiar to most readers. . . . but Nijinska’s book stands out as the best of these. Unlike the majority of the Russian Ballet’s historians, Nijinska was near the nerve center of the Ballets Russes. . . . For serious students of the dance of the Diaghilev period, Nijinska’s accounts of the dances and dancing of the time prove invaluable.”—Tim Scholl, Slavic Review

"[These memoirs] are remarkable for their charm, their substance, and their transparent integrity. . . . [They] offer us . . . a firsthand account of what Nijinsky said and did on the stage and off, during the first twenty-five years of his life. When we close the book, we know him as never before."—John Russell, New York Review of Books

Nijinska fills in details of her brother's childhood . . . and succeeds--where all the rest fail—in making him human."—Holly Brubach, New York Times Book Review

"Of unprecedented value are the insights [Nijinska] gives of how Nijinsky developed both his and her technique."—Julie Kavanagh, Times Literary Supplement

"With this posthumous volume of reminiscences, Bronislava Nijinska begins at last to emerge from the obscurity which has long enveloped her."—Dale Harris, Ballet News

"A revelation on several counts. . . "—Marcia B. Siegel, Washington Post Book World

“The story of the last years of Russian imperial ballet and the florescence of Diaghilev’s Ballets Russes is familiar to most readers. . . . but Nijinska’s book stands out as the best of these. Unlike the majority of the Russian Ballet’s historians, Nijinska was near the nerve center of the Ballets Russes. . . . For serious students of the dance of the Diaghilev period, Nijinska’s accounts of the dances and dancing of the time prove invaluable.”—Tim Scholl, Slavic Review

"Early Memoirs . . . is a book that not only paints a detailed canvas of ballet in turn-of-the-century Russia, but does so with an attention to fact and an appreciation of artistic issues that reflect the same analytical intelligence that Nijinska revealed in her own choreography."—Lynn Garafola, author of Diaghilev's Ballets Russes

Permission to Photocopy (coursepacks)

If you are requesting permission to photocopy material for classroom use, please contact the Copyright Clearance Center at copyright.com;

If the Copyright Clearance Center cannot grant permission, you may request permission from our Copyrights & Permissions Manager (use Contact Information listed below).

Permission to Reprint

If you are requesting permission to reprint DUP material (journal or book selection) in another book or in any other format, contact our Copyrights & Permissions Manager (use Contact Information listed below).

Images/Art

Many images/art used in material copyrighted by Duke University Press are controlled, not by the Press, but by the owner of the image. Please check the credit line adjacent to the illustration, as well as the front and back matter of the book for a list of credits. You must obtain permission directly from the owner of the image. Occasionally, Duke University Press controls the rights to maps or other drawings. Please direct permission requests for these images to permissions@dukeupress.edu.
For book covers to accompany reviews, please contact the publicity department.

Subsidiary Rights/Foreign Translations

If you're interested in a Duke University Press book for subsidiary rights/translations, please contact permissions@dukeupress.edu. Include the book title/author, rights sought, and estimated print run.

Disability Requests

Instructions for requesting an electronic text on behalf of a student with disabilities are available here.

Rights & Permissions Contact Information

Email: permissions@dukeupress.edu

Email contact for coursepacks: asstpermissions@dukeupress.edu

Fax: 919-688-4574

Mail:
Duke University Press
Rights and Permissions
905 W. Main Street
Suite 18B
Durham, NC 27701

For all requests please include:

1. Author's name. If book has an editor that is different from the article author, include editor's name also.

2. Title of the journal article or book chapter and title of journal or title of book

3. Page numbers (if excerpting, provide specifics)

For coursepacks, please also note: The number of copies requested, the school and professor requesting

For reprints and subsidiary rights, please also note: Your volume title, publication date, publisher, print run, page count, rights sought