20 replies to this topic

[4mrdncr]

bart, on Apr 13 2007, 02:57 PM, said:

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(3)  Question: If we are supposed to focus on Albrecht's redemption (as opposed to just being saved from the willis), why the melancholy, even despairing look and pose, with head bent and eyes lowered, at the curtain?  Have any Albrechts tried to suggest, along with their sadness, a sense of intense gratitude or even victory, which is what the concept of "redemption" implies?  

How about a pose with head raised and eyes looking upwards, possibly towards the rising sun?

Please see Joan Acocella's New Yorker article (July 10, 2006) where she describes exactly that final tableau: ie. with Albrecht looking up into the light.  I also remember him gently touching his fingers to his lips and then brushing the grave in a final caress/salute. (RIP?)

In the film "Dancers", I also loved how Ferri slowly lowered her hand towards Albrecht's face in a final fleeting caress that slips through his fingers as she is "pulled" back towards her grave.

[bart]

4mrdncr, on Apr 14 2007, 01:02 PM, said:

In the film "Dancers", I also loved how Ferri slowly lowered her hand towards Albrecht's face in a final fleeting caress that slips through his fingers as she is "pulled" back towards her grave.

Yes, that is a compelling gesture.  I found emotion rising even as I read your post.  Ferri is another of those dancers who doesn't stop acting at that point, but remains in transcendent character all the way off stage.  

[Mel Johnson]

I wish that I could recall where some of the improbable 19th century machines that were used for appearing and disappearing Wilis were pictured.  They were relief cuts and were a lot of cranes and teeter-boards.  rg, any recollection?

[4mrdncr]

bart, on Apr 14 2007, 02:53 PM, said:

4mrdncr, on Apr 14 2007, 01:02 PM, said:

In the film "Dancers", I also loved how Ferri slowly lowered her hand towards Albrecht's face in a final fleeting caress that slips through his fingers as she is "pulled" back towards her grave.

Yes, that is a compelling gesture.  I found emotion rising even as I read your post.  Ferri is another of those dancers who doesn't stop acting at that point, but remains in transcendent character all the way off stage.  

Speaking of 'final exits'... There is a wonderful pic (by Jesus Vallinas at Fotoescena) of Tamara Rojo and Jose Manuel Carreno (both guesting with ENB in Barcelona Sept.06) at the grave as Giselle drops petals into his outstretched hand.  Albrecht's face expresses it all too.  A wonderful moment captured by a wonderful photographer.  (Don't know if this post info is allowed by moderators--if not, I'll understand, but it is a good photo/moment captured.)

[CarolinaM]

"4mrdncr" said:

Speaking of 'final exits'... There is a wonderful pic (by Jesus Vallinas at Fotoescena) of Tamara Rojo and Jose Manuel Carreno (both guesting with ENB in Barcelona Sept.06) at the grave as Giselle drops petals into his outstretched hand. Albrecht's face expresses it all too. A wonderful moment captured by a wonderful photographer. (Don't know if this post info is allowed by moderators--if not, I'll understand, but it is a good photo/moment captured.)

I have had no problem up to now to post or inform about articles or reports from other web pages so I take the initiative to link you to the shots 4mrdncr is talking about:

Tamara's Giselle with ENB in Barcelona by Fotoescena with these wonderful pictures of Jesús Vallinas

I hope there is no problem and that you also like them.

The pic 4mrdncr is talking about is just at the end.

Thank you very much 4mrdncr

[Kyeong]

Based on Kent and Gomes's recent Giselle at Boca Raton Theater, I think Giselle took the eternal, peaceful rest, not interfered with by Myrtha any more.

- to me, the PdD of the second act seemed like a wedding of Giselle and Albrecht (compared to that PdD, the first act PdD looked like an engagement ceremony), so Giselle was no more a betrayed girl in a substantial meaning. When Giselle scattered lilies at the foot of Myrtha at the latter part of the second act, she seemed to say, "Look, Count the lilies. He loves me." And, further, "You have no reason to kill him, nor to control me."

- I think both Giselle and Albrecht did something in freeing Giselle from Myrtha/Wilis.

At first, Giselle didn't refuse to be a Wili because she became cold-hearted due to Albrecht's betrayal. However, her broken heart was healed by the fact that Albrecht came to visit her grave at night and, further, he was truly contrite when Giselle reminded him of what he did by scattering the flowers over him. Thus, she gained the strength to forgive and love him.

Even after that PdD, Giselle was still under the power of Myrtha in part, as she met the definition of a Wili technically. She needed to do more in order to be free from Myrtha, and she successfully passed the test by courageously confronting Myrtha, helping Albrecht dance until dawn - i.e., she actually did what the definition of love requires.

- Just before their eternal separation, Albrecht softly swung Giselle in the air, like rocking a cradle. I think that indicating Giselle was going to fall asleep forever, and Albrecht was whispering a saddest good night to her.