Posted 12 March 2006 - 10:58 AM
I really can't imagine a tall, majestic dancer like Svetlana Zakharova, Agnes Letestu, Elisabeth Platel, Syvlie Guillem, Darcey Bussell, Cynthia Gregory, or Veronika Part being Giselles. Non-tall dancers like Gillian Murphy or Maya Plisetskaya I can't imagine as Giselle either, because they too have a heavy, noble, regal, majestic bearing. Yet I know it happens. I just haven't seen it.
So ... for those of you who have seen tall, regal dancers as Giselle ... what happened? Do they become believable if they are good enough actresses/dancers? Do you forget about the height? Or do they simply look miscast? I'm genuinely curious.
Posted 12 March 2006 - 03:22 PM
I think Kirkland's legs, proportionate to her height, are the longest of all the dancers you've mentioned above, yet she was, IMO, THE Giselle of her generation.
I don't think height is as important a factor as the ability to convey fragility -- both physically and emotionally. That is why Cynthia Gregory's was -- and Gillian Murphy's probably would be -- so unconvincing.
I only saw Alonso's Giselle live very late in her career, and while she did not have the perishablility of a Kirkland or Makarova, her artistry was profound enough to convey that characteristic. Alonso, btw, was not particularly small. I was under the impression that Spessivtzeva was rather petite.
Susan Jaffe was on the tall side of medium, and she grew into a very good Giselle. My only complaint about her farewell performance was that her Albrecht, Jose Carreno, loved her too much.
I prefer an interpretation that deemphasizes the differences between the girl and the wili. The best Giselles, IMO, are naive, but not "perky," and able to foreshadow her tragedy from the first entrance.
BTW, you did not mention Zhanna Ayupova. I thought she had the perfect looks for Giselle. She has an ordinary and innocent prettiness. Not a head-turning beauty, still girlish (although she was still quite young when she did it in New York).
Posted 12 March 2006 - 04:17 PM
Anyway, when I meant "perkiness" I didnt mean a cheerleader personality, I meant a kind of bubbly, innocent sweetness. Would have loved to see Sibley or Asylmuratova because both dancers I think of as very radiant and sweet performers. I think Giselle only works if you see this sweet, innocent, loving girl crumble before your very eyes. In Act 2, I still want to see that purity and innocence. She's not a Wili because bitterness and revenge aren't in her vocabulary. That's why I don't think tall, majestic, haughty dancers would work in this role, and I'm genuinely curious to see if any of them managed to be convincing. Height particularly I see as a problem in Giselle because I picture Giselle as significantly younger than Berthe or Albrecht. She's like the sweet young teen, while Albrecht, Hilarion, et al have all been around the block a few times. So a Giselle that towers over everyone (like Zakharova or Bussell) I just can't imagine. Not saying Giselle has to be Kirkland/Markova/Makarova/Cojocaru tiny, but a 5'9" Giselle I'd have a hard time picturing. Also haughty/regal dancers like Murphy or Guillem or Platel.
Posted 12 March 2006 - 07:40 PM
Posted 12 March 2006 - 08:20 PM
Posted 12 March 2006 - 09:10 PM
Posted 13 March 2006 - 02:02 AM
Posted 13 March 2006 - 07:12 AM
One factor is that if a dancer is tall but long limbed and willowy thin, she can suggest a coltish delicate girl and then a wraith in the second act. One dancer is Galina Mezentseva who appears close to death already in Act I of the Kirov "Giselle" video (no DVD transfer yet) from the 1980's with Konstantin Zaklinsky as Albrecht. She probably by nature and physicality would have been a Myrtha but obviously was working against her natural emploi. Maya Plisetskaya was also a Giselle but earlier on had been a definitive Myrtha. I am sure Maya was very dramatic and big-scaled in the mad scene. I saw Svetlana Zakharova's Giselle with the Kirov around 1998 or so and she was quite young and lovely in it. I hadn't liked her Aurora but her long legs, floating high extensions (better for Romantic ballet than for pure classicism), long arms and delicate beauty made her a very convincing and appropriate Giselle in both acts.
One thing is that some of these Giselle's who are miscast in Act I which depends a lot on acting and interpretation can do very well in Act II which is pure dance that projects a dramatic message through choreography and images. I am sure that Plisetskaya was very exciting when she whipped around after being revived by Myrtha and her jetés were out of this world.
Posted 13 March 2006 - 12:56 PM
Plisetskaya actually says in her autobiography that Giselle is the only major part,that she never danced,and
that wasn't because she wouldn't be given that part( Bolshoi was quite more liberal than Kirov in those days,when it came to a question of " emploi "),but something inside her resisted.If she wanted to dance Giselle very much,she probably could,but she never wanted. I think it was very smart of her,because she definately would have been a miscast,as she actually was as Princess Aurora.She should have stuck with the Lilac Fairy.
Posted 13 March 2006 - 01:49 PM
Didn't Martine van Hamel dance Giselle as well as Myrtha? Did anyone see her?
Posted 13 March 2006 - 03:18 PM
Posted 13 March 2006 - 04:18 PM
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