Review: A Dystopian ‘Swan Lake’ Bridges Ballet and Modern Dance

By | October 11, 2020
Review: A Dystopian ‘Swan Lake’ Bridges Ballet and Modern Dance

Evaluation: A Dystopian ‘Swan Lake’ Bridges Ballet and Trendy Dance

CLERMONT-FERRAND, France — Onstage, 26 dancers. Within the viewers, 550 masked folks. And within the theater’s restaurant, a full eating room of fortunately chatting patrons. Welcome to France, the place the performing arts world is making a herculean effort to begin its season, regardless of rising coronavirus instances throughout the nation.

Dance is on provide in Paris, however most of it includes restricted numbers, reprises and extracts. The Paris Opera Ballet, for instance, reopened this week with quick, gala-like packages by no means involving greater than two dancers onstage.

However the first substantial dance premiere in France because the onset of the pandemic was not in Paris, however right here in Clermont-Ferrand, a number of hours to the south by practice. It was Angelin Preljocaj’s “Swan Lake,” which debuted Wednesday on the newly opened Comédie de Clermont.

In interviews, Mr. Preljocaj has described “Swan Lake” as “the Everest” of ballets. Did he scale it?

The quick reply just isn’t actually. The extra nuanced reply is that many ballet choreographers, usually transforming the well-known 1895 model by Marius Petipa and Lev Ivanov, discover it tough to get “Swan Lake” proper. (A significant exception: Alexei Ratmansky, whose manufacturing is trustworthy to the unique and in some way sparklingly trendy.) Up to date dance choreographers — Mats Ek, Matthew Bourne, Dada Masilo — have tended to supply a selected tackle the story that departs considerably from custom.

Mr. Preljocaj has opted for one thing in between. He makes use of Tchaikovsky’s nice rating, with just a few digital music interpolations and extracts from different works, together with Tchaikovsky’s Second and Fourth Symphonies. He roughly sticks to the narrative: The younger Prince Siegfried (Laurent Le Gall), at odds along with his future and eager for some type of transcendence, falls in love with Odette (Clara Freschel), a princess who has been remodeled right into a swan by von Rothbart, an evil magician. However Mr. Preljocaj’s world is a up to date one, and Rothbart (Antoine Dubois), as he’s known as right here, is a leather-based trouser-wearing, brutish property developer whose evil, world-dominating plans are supported by Siegfried’s mother and father. (Within the conventional model, the prince has solely a mom, however right here he has a father, too, performed with melodramatic, slicked-hair villainy by Baptiste Coissieu.)

These concepts are clumsily set out within the opening act, with architectural plans brandished by the king and Rothbart and a mannequin of a futuristic metropolis wheeled about. How the prince may thwart these plans and why he must be seduced by Odile, Rothbart’s daughter, isn’t clear; nor are the origins of Odette’s metamorphosis right into a swan. We solely see her being attacked by Rothbart and his henchman initially.

Vestiges of the standard “Swan Lake” stay, although typically with out sufficient context to make sense: courtiers carry out incessantly for each other, regardless of no allusions to the prince’s birthday and a later ball; Siegfried and Odette get their requisite pas de deux; there’s even a dance for the 4 little swans.

The slightly murky plot is amplified by a backdrop of hyperactive video projections by Boris Labbé. Summary shapes that might be clouds, birds, snow — or, when Odette is captured, a Demise Eater-like face — morph and mutate. At different instances, there are New York-like skylines and rain-streaked home windows. The scenic design’s palette is gloomily black, white and grey, a dystopia by which even the moonlit lake the place Siegfried discovers Odette is swallowed by buildings and equipment.

Mr. Preljocaj presents the ballet propulsively, with no intermission and a crisp, exact motion vocabulary that mixes the elongated strains of ballet with the flattened planes and multidirectionality of Merce Cunningham’s choreography, in addition to a low, grounded middle of gravity.

The performers are all glorious, but the choreography makes particular person characterization tough. Everybody dances with sharp, clean-cut slashes of leg and arm in geometrically excellent strains, gesturing with manic precision. Often, Mr. Preljocaj slows this down for clustered teams shifting as one. (His tackle the “Spanish Dance” is an ingenious instance.)

The ballet is most profitable within the so-called white acts, by which 16 swans, right here costumed in pretty crumpled tutus by Igor Chapurin, transfer with nuanced, fragile bodily poetry, and a way of the wounded souls they’ve grow to be. In the course of the fourth act, in lots of productions an anticlimactic coda, they wheel and circle in livid formation, pushed by despair that feels true to the story; they’re now condemned by Siegfried’s betrayal to stay swans perpetually.

Within the ultimate moments of Mr. Preljocaj’s manufacturing we see their demise, and Siegfried left clasping Odette’s lifeless physique. Video projections behind them present the futuristic buildings which have risen up starting to break down in clouds of mud and rubble. It’s not simply love that doesn’t survive on this “Swan Lake,” however the world itself.

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