Adam Darius

A Nomadic Life

When Your Dog Dies

Double Existence

Audition Monologues

The Commedia Dell' Arte


Adam Darius Method

Dance Naked In The Sun

The Way To Timbuktu

The Guru

The Man Who Spat At Fate


Double Existence: Sample pages

Audition Monologues: Sample pages

Commedia Dell' Arte: Sample pages

Acting: Sample pages

Adam Darius Method: Sample pages

The Guru: Sample pages

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To be published 17th December, 2007

a life in ballet through three centuries

Arabesques Through Time: Reviews


In Arabesques Through Time, by Adam Darius, the author takes the reader on a personal journey through three centuries of dance; from his training with the 19th century ballerina Olga Preobrajenska, to his friendships with Irina Baronova, Ram Gopal and José Greco, to his conversations with Dame Beryl Grey, Faroukh Ruzimatov, Monica Mason and Alina Cojocaru. Further dance legends encountered by Adam Darius are Ruth St. Denis, Martha Graham, Serge Lifar, Kurt Jooss and Assaf Messerer. Within these pages, Adam Darius articulates his own devotional approach to the barre, as well as clarifying the principal roles in Petrouchka, a veritable master class in dramatic dance.

As for the chapter, Homosexuality and the Male Dancer, it is, within its historical embrace, unprecedented in dance literature.

Eloquently and insightfully written, Arabesques Through Time captures not only the lofty beauty of the ballet world, but also its intrigue, pain and passion.

by Adam Darius

Why do people write autobiographies? What are the motives behind the rash desire to expose one's life to absolute strangers? What possesses anyone to dredge up the banished, but not yet vanished, ghosts of the past? There are many factors, especially among retired politicians, such as settling scores, carrying a vendetta to public conclusion, self-justification for one's actions, and the desire to be included among history's remembered leaders. As for the dime-a-dozen show business mediocrities, whose books have been penned by hired writers, the impetus is primarily the need to stay centred in the roving limelight.

Finally, there is another motivation, perhaps the most powerful of all. That is, by recording the events of one's life, one attempts to arrest unstoppable time in its tracks. By trying to freeze all the yesterdays within a book, the writer attempts to prevent the past from being airbrushed by the present. For, above all, man has a terror of extinction, and by the setting down in words of one's passing life, an urgent act of preservation has taken place. The writer, in his mind, if not in actuality, has extended his stay on Earth.

By writing an autobiography, he has proven that he was here, that he once existed. Thus, his fear of obliteration has made him stake his claim beyond the biblical allotment, allowing him to vent his longings for the permanent and eternal. And always he is in a hurry, for he fears interruption before being encased in the endless and airless vault of night. In the creative act of writing his story, he has begun his dance of the seven veils. And with each discarded strip of cloth, he lays further bare his soul and, in so doing, further defies the ultimate enemy, death. In 1954, at the age of 24, on tour with the Royal Winnipeg Ballet, while others were sleeping, I was staring through a train window at the interminable stretches of uninhabited central Canada, dotted every few hundred miles with an occasional and isolated farm house. A wave of melancholic sadness washed over me as the train raced its way through the vast and utter loneliness of the prairie night. A few days later, I wrote a poem called The Marathon, included in my later book, The Way To Timbuktu. Yes, I realized then, and, afterwards, again and again: for those who wish to relish existence at its most intense, life is a race against the ultimate stalker, time.

For compulsive creators, artistic, medical or scientific, early encouragement is not always the catalyst. Sometimes, it is the reverse, discouragement, that acts as the prime mover. For he who is ignored is fired with the need to dispel the doubters, to prove to a sneering world that he will not be buried in the rubble of anonymity. Unhappily, our society has a way of desensitizing the sensitive. As for those who wish to devote their lives to the dance, they have taken on formidable opponents - time, imperfect bodies, injuries, injustice, and ferocious competition. But none of those obstacles deter the obsessed, for to dance is to live on a lofty pinnacle, the Earth still in view, but the heavens more visible and in closer, if deceptive, reach.

In Arabesques Through Time, the focus is on the outstanding dance personalities who influenced my life, some born in the last third of the19th century, straight through to the beginning of our present 21st. As any ballet lover knows, there is no art form more evanescent than the will-of-the-wisp flight of the dancer. If, in the following pages, I have succeeded in preserving images of past and present great dance artists, then it is my reciprocal offering for the inspiration they infused in a boy who once hungered, unabated, to enter their world. That boy, to this day, continues on his journey, his mission, from the distant Amazon to the Nile.

In concluding this Introduction, how does one define supreme artists of the dance? For me, they are the resonant voices of unspoken verse, the haiku poets of truth in movement. Artists at the pinnacle encapsulate both bitter and sweet experience into bursts of pure and healing light.


UK £15 USA $30 Europe 23 euros

Hardcover, over 400 pages
including over 200 photographs
ISBN 951-98232-4-7


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