Ballets Based on Othello
Posted 29 July 2006 - 07:15 AM
The Moor's Pavane (1949)
choreographer: Jose Limon
originating company: Jose Limon Dance Company
choreographer: Jacques d'Amboise
originating company: New York City Ballet
choreographer: John Butler
originating company: La Scala Ballet
choreographer: Lar Lubovitch
originating companies: American Ballet Theatre/San Francisco Ballet
Are there others?
Posted 29 July 2006 - 07:22 AM
Othello (Choreographic work : Bonnefous)
Othello (Choreographic work : Brandstrup)
Othello (Choreographic work : Briantsev)
Othello (Choreographic work : Butler)
Othello (Choreographic work : Chabukiani)
Othello (Choreographic work : Corelli)
Othello (Choreographic work : Darrell)
Othello (Choreographic work : De Warren)
Othello (Choreographic work : Ivo and Kresnik)
Othello (Choreographic work : King, P)
Othello (Choreographic work : Lambrou)
Othello (Choreographic work : Lubovitch)
Othello (Choreographic work : Massini after Viganó)
Othello (Choreographic work : Nemecek)
Othello (Choreographic work : Neumeier)
Othello (Choreographic work : Peterson)
Othello (Choreographic work : Santestevan and Skouratoff)
Othello (Choreographic work : Viganň)
Othello (Choreographic work : Welch)
Posted 29 July 2006 - 07:29 AM
A list like that would make a good subject for a book!
Posted 29 July 2006 - 12:22 PM
Posted 22 March 2007 - 07:18 AM
Posted 22 March 2007 - 07:24 AM
Othello : Chor: Lar Lubovitch; mus: Elliot B. Goldenthal (commissioned score); lib: adapted by Lar Lubovitch from Geraldi Cintio's story in the Hecatommithi (Hundred tales), published in Venice in 1566, and William Shakespeare's play, Othello, the Moor of Venice; scen: George Tsypin; cos: Ann Hould-Ward; lighting: Pat Collins; projections: Wendall K. Harrington. First perf: New York, Metropolitan Opera House, May 23, 1997; American Ballet Theatre.
Posted 22 March 2007 - 08:19 AM
The Limon version is still my favorite, though I've seen only those two. I don't even know who most of the choreographers on Dale's list are. Has anyone seen one or more? How about the Neumeier? The John Butler? I read that Jean-Pierre Bonnefous' version was done for Louisville Ballet in the early 80s. Has this been repeated? Has it been done elsewhere?
Posted 22 March 2007 - 12:35 PM
Posted 22 March 2007 - 01:00 PM
Neumeier's full-length version to Pärt and Schnittke hasn't been performed recently, which could suggest that Neumeier wasn't entirely pleased with it. Certainly his other Shakespeare adaptations (Romeo & Juliet, A Midummer Night's Dream, Hamlet, As You Like It, What You Will) are performed more frequently.
Posted 22 March 2007 - 08:28 PM
Posted 23 March 2007 - 05:59 AM
Posted 26 March 2007 - 07:02 AM
Posted 26 March 2007 - 07:39 AM
If you want to tell the larger story -- as the Crankos, MacMillens, and Neuemiers do in their story ballets, and as Lubavitch does with his recent Othello -- pure dance would not seem to be enough.
On the other hand, there are those story ballets that are impossible to follow without a crib sheet, no matter how much miming or (worse) posturing and stereotyping they use. Mayerling, for me, is an example of this.
Recent reviews of the Royal Ballet's production of Onegin are very interesting in showing how John Cranko edited and actually re-wrote the character of Onegin to compensate for a being unable to put the story into words.
Posted 28 March 2007 - 05:16 AM
This occurred to me again after seeing MacMillan's Romeo and Juliet on Sunday at the Opera House in Chicago. The more I think about it, the more I think that the audience did more of the heavy lifting -- in terms of imposing narrative order on the goings-on -- than the choreographer did. What I mean by this is that there are certain times in Romeo and Juliet where the audience has to fill in the blanks regarding what is transpiring onstage either through familiarity with the play or referencing the page-long program notes. This strikes me as a kind of cheat because I believe -- strongly -- that a dance work should have a life of its own irrespective of the source material.
Let me put on my flame retardant suit before all the MacMillan fans start responding!
Posted 28 March 2007 - 06:55 AM
What we see is always so greatly influenced (corrupted?) by the cultural and social baggage we bring to the experience. In one sense, the key players in R&J are universal social types: authority figures (parents; enforcers like Tybalt; the Prince) and those who rebel against authority (the 2 protagonists; complicitous priest and nurse). I can imagine traditional cultures in which the behavior of Romeo and of Juliet -- especially their violation of parental authority and lack of concern for family-first values in their society and the times -- would actually be offensive to audiences. I.e., where they might actually root for Lady Capulet and Tybalt (except for those unfortunate suggestions of adultery).
I'd be interested in hearing what others thing about miliosr's point We even have a smilie for the possible firery disagreements on MacMillen: . . . .
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