This paper underlines the transcendent deed of the dance’s God, that one who has revolutionized the view one had over the Classical ballet to become the father of the contemporary dance.
Our analysis stems from the family core that is both where the madness is raised and the starting point for the knowledge about the transmission of the dance craft as a containing and sublimating space for the Nijinsky’s death impulses. Here we deal with the dancer’s will written in a state of delusion and we finally mention his hospitalization.
Dance; delusion; body