e.g., in Swan Lake (the Czardas), in Les Sylphides (the Mazurka), and in Le Spectre de la Rose. As she developed on the professional stage she was promoted, and eventually given significant parts. Her brother coached her for the role of Papillon [the butterfly] in Fokine's Carnaval (1909). In part danced with feet and hands fluttering in a coordinated rhythm at an accelerated prestissimo tempo, she eluded Pierrot, played in pantomime by Vsevolod Meyerhold. The role of the Ballerina Doll in Petruchka (1912) was also transformed. By changing the doll's demeanor from theatrical in a tutu to realistic in street clothes, Nijinska modernized the role. She also continually kept in character rather than slipping back into the default look of classical ballet. Among others, the pseudo-Hindu dance of the Bayadere Enivree in Le Dieu bleu she did, but did not care for. She struggled and grew as an Odalisque in the popular ballet Scheherazade. In the 1912 production of Cléopâtre, she at first danced the Bacchanale (replacing Vera Fokine). Then she switched roles, being awarded Karsavina's role of Ta-Hor. "Karsavina danced the role on toe, but I would dance it in my bare feet." She used a liquid body make-up. For Ta-Hor she received treasured compliments from other artists, both for her dance art and for her dramatic interpretation. The next year she performed in her brother's Jeux (Games). Nijinska assisted her brother Vaslav in his creation of the ballet The Rite of Spring, which premiered in 1913. Particularly for the Chosen Maiden role, she carefully follow Nijinsky's instructions as to movement and pose, as the ballet choreography slowly developed. Yet when she became aware of her pregnancy, she told him she'd have to withdraw and miss its opening performance, angering her brother. In 1914 she danced for Saison Nijinsky (see section above). In Petrograd with Sasha & in Kiev: 1915–1921 After Saison Nijinsky, Bronislava returned to Russia. She continued her ballet career as danseuse, with Sasha her husband as the danseur. During the war and then the revolution, she went on stage in experimental works as well as in classics. In Petrograd the 1915 theatre program listed "ballet by the prima ballerina-artist of the State Ballet Bronislava Nijinska". The program included music by Tchaikovsky, Mussorgsky, and Borodin. She performed in her own choreographed solos, Le Poupee or Tabatierr, and Autumn Song. Her dance savvy was lauded. In Kiev in