The Characters of Nijinsky

Nijinsky’s biggest fan, who would later become his wife.

Nijinsky’s mother and former dancer.

Nijinsky’s sister, a talented dancer and choreographer in her own right.

Nijinsky’s older brother, who tragically fell from a window and suffered brain damage. His mental health declined as he got older, and he was committed to an asylum in 1902, where he stayed until his death in 1918.

The creator of the Ballets Russes. Diaghilev and Nijinsky had a complex relationship; Diaghilev was the much older benefactor and mentor to a young and impressionable Nijinsky and is portrayed as both a jealous tyrant and a caring lover.

A Russian prima ballerina renowned for her beauty who often partnered Nijinsky while employed with the Ballets Russes.

The up-and-coming dancer set to take Nijinsky’s place in the Ballets Russes. Léonide appears in an altered version of Nijinsky’s ballet Jeux. Diaghilev, who had recently fired Nijinsky from the Ballets Russes for marrying Romola, reimagines it as a homosexual trio, revealing the power imbalance between himself and his muse.

Nijinsky's glorious introduction to Parisian audiences as the soulful poet in Michel Fokine’s Les Sylphides.

In Carnaval, Harlequin is the crowd-pleasing jester leaping to new heights for his fans.

A dreamy apparition that enchants a young girl in Spectre de la rose. Nijinsky’s portrayal of this character is the catalyst for Sergei Diaghilev’s obsession with the dancer.

Appearing in the ballet Schéhérazade, The Golden Slave is the overtly sexual role that caused scandal and delight for hordes of ballet groupies who believed the sensual character to be an extension of the dancer.

Nijinsky’s most sensual ballet, The Afternoon of a Faun, touches on innocence and desire through the mythical creature of the faun as the naive dancer rushes into marriage with Romola.

A puppet brought to life who feels cursed by his creator. Petrushka is a contradiction of emotional despair and disconnection.