With Le Sacre du Printemps ballet crossed the threshold of modernism. Yet Diaghilev, having expended untold sums and vast human resources, drew back from the revolution he had set in motion. As early as the summer of 1913, Nijinska writes, Diaghilev appeared "disenchanted with Nijinsky's talent and disappointed in him as a choreographer." That is, even before Nijinsky's departure for South America and his marriage to Romola de Pulszky, Diaghilev "had made it clear. . . that he did not want to entrust him with the choreography of any new ballets." Indeed, the telegram dismissing him from the Ballets Russes reached the dancer even as word sped around St. Petersburg that Diaghilev and Fokine had reached complete agreement regarding the latter's participation in the 1914 season. With their rapprochement, Nijinsky's position within the company became untenable.
Diaghilev's Ballets Russes by Lynn Garafola. 1989. Page 73.
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