Later, the 35-year-old Gagilev, with a big belly, took over the tender Nijinsky from the prince and forged him physically and mentally. During the day, he is the chief dancer in Dyagilev, and at night, his only destination is Dyagilev's bedroom. Nijinsky wrote in his diary: ... I found my luck, and I immediately obeyed Jia Gilev, just like trembling leaves on a tree making love with him. I knew him as soon as I saw him. I pretended to agree with him. I know that if I don't obey him, my mother and I will starve to death. I have to sacrifice myself to make a living ... too bitter memories. Of course, Gajilev mobilized all the contacts to train Nijinsky: the Italian famous teacher Cecchetti gave him guidance, the talented rich man choreographed for him, the famous painter Baxter designed his dance clothes and curtains, the bad boys Debussy and Stravinsky composed music for him, and the outstanding calka Wen Na was his exclusive partner. During this period, Nijinsky was really like a duck to water, not only reaching the peak in pure dance skills, but also playing a creative role. Famous ballet works, such as Afternoon of the Faun, Hymn of Spring, have been handed down from generation to generation, and even Pavlova, the confidant of the Tsar, is strongly jealous of him.
There were videos in those days, and many people suggested that Jia Gilev make Nijinsky's dance into a movie. Out of a narrow mind (perhaps considering the box office of the live performance), Jia Gilev resolutely resisted this possibility. So today, we can appreciate isadora duncan's unrestrained satire, but we can't worship Nijinsky's amazing legend. However, some people are convinced that no image can capture the brilliance of Nijinsky when he jumps, and static photos can't faithfully convey the charm of this dance god when he dances. During this period, many anecdotes happened. The appearance of Nijinsky's abstinence style is fatal to both the opposite sex and the same sex. At the premiere of Rose Elf, Nijinsky's dance clothes were worn out after each performance, and the ladies frantically tore off the petals sewn on him as a souvenir. Jean cocteau, a poet, was attracted by the charm of Albert Nobbs, the "God of Dance", and suggested that he wear rouge and lipstick. August Rodin is determined to make a statue of Nijinsky. Out of his usual style, he makes the latter walk around naked to capture the wonderful dynamics. However, one afternoon, according to an insider, Dyagilev angrily took Nikinsky away from the master's studio, and since then, the two figures who created the ultimate beauty of stillness and movement have never seen each other alone. At a dinner party, Duncan, who was far away from Russia, made no secret of his love for Nikinsky and enthusiastically begged him to have a child with her.
Dyagilev and Nikinsky went out openly in pairs. On the one hand, Gajilev took good care of Nijinsky and provided him with the best creative conditions. On the other hand, he created a vacuum around him, preventing him from contacting the real society. Gajilev hopes that Nijinsky is completely his own, just like a magician holding a puppet, he can't have any self-awareness. For example, Gagilev and Nijinsky can be roughly regarded as the relationship between the creator and the creature, but the creator of "real Nijinsky", I want to say, can only be the God of nature himself, and "who sent Mozart to the earth" is the same god.
19 13 years, Nijinsky finally couldn't stand Cargill's exclusive desire and their relationship as colleagues and lovers, and took advantage of the latter's carelessness to marry Romula in Argentina. Jiajiliefu fired him in a rage and cut off all his financial resources. Romula complained sourly: Dyagilev only regards Nikinsky as a cash cow. She "took over" Nijinsky and tried to replace Jia Gilev. Like a joke of fate, Nijinsky followed in his father's footsteps, formed his own troupe, raised funds, arranged new plays (Jeux and Till Eulenspiegel), and stumbled to support his family. Without the support of an agent, it is difficult for a solo dancer to find a job. He lamented that too many trivial things made him unable to dance with peace of mind anymore, and at the same time he had to deal with Romula's endless vanity. In the "post-Nijinsky era" of Russian ballet, Gajilev devoted himself to the new creation movement. Leonid Myasin, Serge Lifar, balanchine and other people who are good at dancing and knitting have made achievements, but the "God of Dance" will never be born again. Family illness began to loom in Nijinsky (his brother fell into the river and drowned in an abnormal state of mind), and in the later period, he was out of the life controlled by Jia Gilev, and he completely gave himself to nothingness. He kept writing in a low voice, stating in a poor and crazy tone: I am a clown of God, a child of God, petrushka!
When World War I broke out, Nikinsky was in prison. Ignoring the war, Jia Gilev continued to organize his ballet company to tour the United States. His conscience found that he exerted influence to save Nijinski from Hungary and invited him to perform again. When Nijinsky and his wife and daughter reunited with Jia Gilev in new york, Romula could no longer delude herself that her husband had nothing to do with "that person": they kissed in public, and Nijinsky tucked his daughter Kira into Jia Gilev's arms. So the lady maliciously made a mess of her life, which made them unbearable. As a result, Jia Gilev returned to Europe and left the troupe in North America, which was managed by Nikinsky reluctantly. Later, in Spain, Gagilev handed out the olive branch again, and Romula once again blocked any contact between the two. Although Nijinsky loved his wife deeply, he also realized that marriage was his own grave. His spirit is getting weaker and weaker, and his temper is getting worse and worse. In the second half of his life, he ghostly moved to major mental hospitals in Europe, and was forced by Romula to receive drugs and oscillation therapy (perhaps trying to suppress his homosexual tendencies while treating depression).
From the first meeting of 1909 to the death of one party, Nijinsky and Gajilev have been on and off for more than ten years, which made relatives and friends around them cry. All of Gajilev's friends thought that Romula was unpopular and ruined Nijinsky's artistic career, because she was too selfish and only cared about the title of "Lady Dancer".