The literary work “Notebooks”, by Vaslav Nijinsky (2004) has three chapters – Life, Life and Death –, throughout which the reader follows the author’s stream of consciousness through the descriptions of his life in Saint-Moritz, his universe as a dancer, his concerns with humanity, his relationship with God. However, Nijinsky's stream of consciousness around the triviality of life and death appears intersected with fragments that seem to lose contact with reality or make reality appear as an illusion. In this study, I present a possible reading of Vaslav Nijinsky’s “Notebooks” (2004) illuminated by the concept of “rhythm” from the perspective of Gilles Deleuze and Félix Guattari (2007), José Gil (2018) and Kuniichi Uno (2012). Throughout this study, I approach rhythm as the movement of feeling in Nijinsky's writings. The rhythm becomes the force that traces Nijinsky's gravitational lines, translated by his writings, which reveals the intensity of a suspended image like that of blood in the snow.
|Translated title of the contribution||For a presence of rhythm in Nijinsky's writing: The movement of feeling and the suspended image|
|Title of host publication||Estética y política del ritmo|
|Editors||Salomé Lopes Coelho, Aníbal Zorrilla|
|Place of Publication||Paris|
|Number of pages||9|
|Publication status||Published - 2020|