The Perfect Moment

Self-Portrait, Robert Mapplethorpe, 1980

 

James Franco photographed by Mariano Vivanco, 2012

 

Self-Portrait, Robert Mapplethorpe, 1983

 

James Franco, also by Mariano Vivanco, 2012

 

In 2012 it was announced that funding had been received by The Tribeca Film Institute for Ondi Timoner‘s Robert Mapplethorpe biopic. At that same time, it was also confirmed that James Franco would star as Robert Mapplethorpe.

While we hadn’t heard much on the film since then, some photos were released that showcase Franco channeling the famous photographer. Also, it’s been revealed that the film is under the working title The Perfect Moment, the same title as Mapplethorpe’s 1989 traveling exhibition.

 

The photos were done by GQ Germany and they feature Franco pulling some of Mapplethorpe’s iconic poses. The film was expected to get underway later 2012

The War of Vaslav Nijinsky

Portrait of Vaslav Nijinsky, by Jacques-Émile Blanche, 1910

 

“…Then, I said to myself:

“HISTORY IS HUMAN NATURE—;

TO SAY I AM GUILTY

IS TO ACCEPT IMPLICATION

IN THE HUMAN RACE. . .”

—Now, for months and months,
I have found

ANOTHER MAN in me—;

HE is NOT me—; I

am afraid of him …”

Frank Bidart

 

The Sacrifice, released in 1983, received widespread praise. Central to the volume is a thirty-page work titled The War of Vaslav Nijinsky, As with most of his poetry, The War of Vaslav Nijinsky went through a series of revisions as Bidart experimented with language and punctuation. “The Nijinsky poem was a nightmare,” he remarked in his interview. “There is a passage early in it that I got stuck on, and didn’t solve for two years.” David Lehman praised Bidart’s technique of alternating portions of the dancer’s monologue with prose sections on Nijinsky’s life. According to Lehman, “the result combines a documentary effect with an intensity rare in contemporary poetry.”

Bidart’s poem consists almost entirely of a first-person confession by Nijinsky; it takes place after the break with Diaghilev, during the height of war in Europe. We are privy to the dancer’s ideas and musings about, among other things, the second section of The Rite of Spring, called The Sacrifice. Nijinsky’s inner rantings are clearly schizophrenic. He imagines himself the sacrificial victim of the corrupt world that is putting itself through the bloodbath of World War I. The dance is an act of expiation. (The fact that The Rite of Spring was originally the conception of a perfectly sane Stravinsky is glossed over by Bidart.) The Rite of Spring, then, will be an ode to the planet’s renewal after the war, which Nijinsky sees himself as having been chosen by God to enact. But Nijinsky’s (and Stravinsky’s) version will not be the traditional spring ode of birds, trees, and light. It will be the tumultuous, violent, modernist ode to spring, full of blood and death and suffering, for spring involves the death of the old as much as the birth of the new.

 

 

Frank Bidart (born on May 27, 1939) is a native of California and considered a career in acting or directing when he was young.In 1957, he began to study at the University of California at Riverside, where he was introduced to writers such as T.S. Eliot and Ezra Pound and started to look at poetry as a career path. He then went on to Harvard, where he was a student and friend of Robert Lowell and Elizabeth Bishop. He began studying with Lowell and Reuben Brower in 1962. He has been teaching English at Wellesley College since 1972, and has taught at nearby Brandeis University.

He lives in Cambridge, Massachusetts, and he is openly gay. currently maintains a strong working relationship with actor and fellow poet James Franco, with whom he collaborated during the making of Franco’s short film Herbert White (2010), based on Bidart’s poem of the same name.

Games for Three

A minimalist, modern rendering by Léon Bakst for Costume Study for Jeux. Watercolor, graphite and black chalk on laid paper. Credit: National Gallery of Art, Washington D.C.

 

Tamara Karsavina, Vaslav Nijinsky and Ludmilla Schollar in Jeux

 

Jeux (Games) is the last work for orchestra written by Claude Debussy. Described as a “poème dansé” (literally a “danced poem”), it was originally intended to accompany a ballet and was written for the Ballets Russes of Sergei Diaghilev to choreography by Vaslav Nijinsky.

Jeux premiered on 15 May 1913 at the Théâtre des Champs-Élysées, Paris, conducted by Pierre Monteux. The work was not well received and was soon eclipsed by Igor Stravinsky‘s The Rite of Spring, which was premiered two weeks later by Diaghilev’s company.

According to Nijinsky’s Diaries, made during the weeks before his psychological breakdown, Diaghilev intended the music to describe a homosexual encounter between three young men, and Nijinsky wanted to include an airplane crash. The final version of the story involved a man, two girls, and a game of tennis. The scenario was described to the audience at the premiere as follows:

“The scene is a garden at dusk; a tennis ball has been lost; a boy and two girls are searching for it. The artificial light of the large electric lamps shedding fantastic rays about them suggests the idea of childish games: they play hide and seek, they try to catch one another, they quarrel, they sulk without cause. The night is warm, the sky is bathed in pale light; they embrace. But the spell is broken by another tennis ball thrown in mischievously by an unknown hand. Surprised and alarmed, the boy and girls disappear into the nocturnal depths of the garden.”