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Pola Nireńska, geboren als Pola Nirensztajn war eine international bekannte polnisch-amerikanische Tänzerin und Choreografin.
Pola Nireńska-Karski (ur. jako Perla Nirensztajn 28 lipca 1910 w Warszawie, zm. 25 lipca 1992 w Bethesda) – polska tancerka i choreografka pochodzenia żydowskiego. Życiorys. Urodziła się w żydowskiej rodzinie jako Perla Nirensztajn. Studiowała w Dreźnie, w szkole tańca Mary Wigman.
- Early Life
- European Career
- Career During World War II
- American Career
- Personal Life
- Performing Technique and Choreographic Style
- Legacy
- Bibliography
Nirenska was born Pola Nirensztajn[a] on 28 July 1910 in Warsaw, Poland, which at that time was part of the Russian Empire. Her parents, Mordechaj and Ita (née Waksmann), were observant Jews. She had three siblings. The family was well-off, as Nirenska's father made men's neckties for a living. She exhibited a strong interest in dance from a very e...
First professional tour and dismissal by Wigman
After graduating from the Wigman School in 1932, Nirenska joined Wigman's 14-member all-women modern dance group. Wigman had toured the United States in a critically acclaimed tour from December 1930 to March 1931. She made a second solo tour from December 1931 to April 1932. By mid-1932, the Great Depression had caused many students to drop out of her school and financing for dance performances had become scarce in Germany. In July 1932, American producer Sol Hurok traveled to Germany to int...
Later career in Europe
The Nazis' rise to power prompted Nirenska to leave Germany and settle in her native Warsaw, where she taught dance for a year at the Warsaw Conservatory and established her own small modern dance group. At the International Dance Competition for Solo Dancers in Warsaw in August 1933, she won the eighth-place prize. She received a first prize for choreography and a second prize for performing for her original solo work Cry, which she debuted at the International Dance Congress in Vienna, Aust...
In the first four and a half years in Britain, Nirenska studied dance with Kurt Jooss and Sigurd Leeder, She choreographed several new solo pieces based on Polish folk dances, and gave recitals of these and other solo pieces. She performed one of these dances in the 1937 revue, It's in the Bag!, at the Saville Theatre. She modeled for fashion desig...
Studying: 1949–1950
Nirenska was invited to move to the United States by dancer Ted Shawn, who wanted her to perform at the 1950 Jacob's Pillow Dance Festival, held in the summer at his Jacob's Pillow Farm near Becket, Massachusetts.[f] For much of 1949 and 1950, Nirenska lived in New York City, washing dishes to earn money. She was extremely poor; she often had too little to eat, and her weight dropped to 105 pounds (48 kg). Nevertheless, she immersed herself in dance studies: For most of her time in England, s...
Teaching and dancing: 1950–1952
Dancer and teacher Jan Veen, who was in the process of founding the Dance Division at the Boston Conservatory, invited her to perform in Boston. She made her professional North American debut under the auspices of the Boston Dance Theatre on February 16, 1950. Her program included Eastern Ballad, A Scarecrow Remembers, St. Bridget: Stained-Glass Window, Sarabande for the Dead Queen, La Puerta Del Vino, Peasant Lullaby, Mad Girl, Dancer's Dilemma, and Unwanted Child, and was critically acclaim...
Early years in D.C.
Nirenska permanently settled in D.C. in 1952. She taught at de la Tour's studio, Dance Workshop, which was located at 1518 Wisconsin Avenue NW. The two also taught dance at four area private schools: Madeira School and Potomac School, both located in McLean, Virginia; the National Cathedral School for Girls in Washington, D.C.; and Piedmont Day School in Alexandria, Virginia. Life was not easy: Nirenska lived in a small room at the back of the studio which contained her bedroom and a kitchene...
Nirenska married John Justinian de Ledesma (aka "John Justin") in 1946. They divorced in 1949. She married Jan Karski in 1965. Karski first saw (but did not meet) Nirenska when she danced at the Polish government-in-exile's embassy in London in World War II. He saw her again on stage during her Washington debut in May 1953. He later sent her a fan ...
Nirenska said her mentors included Doris Humphrey, Kurt Jooss, Charles Weidman, and Mary Wigman. Nirenska's early performance style was heavily rooted in the German Expressionist dance style of Mary Wigman and others. This style of dance emphasized the truthful expression of emotion. Where ballet emphasized beauty to the exclusion of all else, Expr...
Dance historian Susan Manning has argued that Pola Nirenska made important contributions to American dance. Dancers like Chladek, Jooss, Leeder, van Laban, and Wigman made just as many contributions, but they did so at a time when American modern dance was still in its infancy. Thus, the impact of their contributions reverberated through the Americ...
Anderson, Jack (1987). The American Dance Festival. Durham, N.C.: Duke University Press. ISBN 9780822306832.Bourne, Stephen (2005). Elisabeth Welch: Soft Lights and Sweet Music. Lanham, Md.: Scarecrow Press. ISBN 9780810854130.Brandstetter, Gabriele; Polzer, Elena (2015). Poetics of Dance: Body, Image, and Space in the Historical Avant-Gardes. New York: Oxford University Press. ISBN 9780199916559.Donaldson, Frances Lonsdale (1988). The Royal Opera House in the Twentieth Century. London: Weidenfeld and Nicolson. ISBN 9780297791782.Tancerka i choreografka o żydowskich korzeniach. Była pionierką tańca modern w Polsce. Z wojenną traumą rozlicza się w ostatnim, pożegnalnym dziele – dramatycznej historii życia zniszczonego przez totalitarne reżimy.
Dancer and choreographer of Jewish origin. She performed modern dance free of limitations. Her last, farewell work dealt with her war trauma, showing the dramatic history of a life destroyed by totalitarian regimes.
When fascism and antisemitism lurk over Europe, she performs dance free of limitations. Her last, farewell work deals with her war trauma, showing the dramatic history of a life destroyed by totalitarian regimes.
In her book Tancerka i Zagłada (The Dancer and the Holocaust), Weronika Kostyrko uncovers the story of dancer Pola Nireńska (1910-1992) whose career was repe...
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- YIVO Institute for Jewish Research
