Posted 21 May 2008 - 09:23 AM
Posted 21 May 2008 - 02:25 PM
Swan Lake is a very strange ballet.....I also wonder how can Siegfried fall in love with a bird(the Swan) and take him to a party to introduce she/it to his mother:"Mum that's my new girlfr....ehm....bird.Can I marry her?"....hahahahah!!!!and then,if at night Odette gets back to being a woman,why does she dance and behave as a Swan in the second act,when she is supposed to meet her prince as a woman ?i don't think there is any aswer to these questions...
Posted 21 May 2008 - 03:49 PM
Posted 21 May 2008 - 04:23 PM
Posted 21 May 2008 - 05:43 PM
Posted 21 May 2008 - 07:03 PM
A major issue with Swan Lake is the multiple major versions of the same ballet, which I think can confuse even serious ballet fans to no end. I mean, there are four major versions that came out of Russia: the original Reisinger 1877 version, the Petipa/Ivanov 1895 version, the Vaganova 1933 "modernist" version, and the Burmeister 1956 version that more emphasized Siegfried's story. Today, the versions I've seen done by the Mariinsky Ballet and the Bolshoi Ballet in the last 20 years are actually (more or less) a hybrid of the 1877 and 1895 versions. As such, it's very difficult to answer the question is just what are the various "right" elements of the ballet. It's almost like trying to answer what is the right "improvised" second movement of Bach's Brandenburg Concerto No. 3.
This isn't like the later Tchaikovsky ballets Sleeping Beauty and Nutcracker, where there are "definite" original versions based on the collaboration between Petipa and Tchaikovsky.
Posted 21 May 2008 - 07:36 PM
Posted 21 May 2008 - 11:39 PM
The first act is as usual, but instead of going of hunting, Siegfried takes refuges in his own dreams, you know he's been brought up with to many romantic novels....! Odette and Odile are just "metafors" for his own ideals,....I guess???
and when he betrays the in his mind, he loses his reason......
thats one way to look at the story, Otherwise I guess you'll just have to go with the guy likes birds....
Posted 21 May 2008 - 11:47 PM
The Reisinger version does not come down to us in any meaningful way today, and neither does an intermediary version before Petipa by Joseph Hansen. It was presented at Prague. Hansen also staged an Act II for the Bolshoi in 1888.
Posted 22 May 2008 - 12:47 AM
Noooo..... if I think that she's not human and not Swan....then she's a monster!:(...she's half bird and half woman....then she's a mermaid?yes,the first type of mermaid(from the chronological point of view),the one who is half bird and half woman....poor prince:(.
The only thing which could make sense is that being all day a Swan,when she turns into a woman at night she still has the moves and the behaviour of a Swan,because she is used to behave so during the day;but her body is completely the one of a woman.
Or the prince likes birds and fall in love with one of them,named Odette:D.There could be a psychological interpretation of this,too....
Posted 22 May 2008 - 02:53 AM
Posted 22 May 2008 - 04:23 AM
Posted 22 May 2008 - 04:56 AM
McKenzie's much maligned version fully understands this key difference when he shows a swan in rothbart's arms after the bewitchment scene staged to the score's overture for his production's Prologue.
in sum Siegfried falls in love w/ Princess Odette, not a bird.
Posted 22 May 2008 - 01:13 PM
If you change a text, you risk violating the artistic integrity of a work. For drama, I wouldn't want to see the production of Oedipus Rex that cut in a few riffs from Eugene O'Neill, say. I wouldn't care for an opera that took a break from the composer's music to interpolate something from outside. If it's for satire, maybe then, OK, as in a production of Barber of Seville I once saw that had Rosina's music lesson begin with "Fascinatin' Rhythm" until Bartolo "objected". Then back to more traditional airs. Because the blocking and choreographic content of a ballet are the text, I don't care for changes which fiddle around with that. Whether it's to give a male dancer "more to do" or a ballerina to do whatever, when you change text, you run into danger. I get to grouse here again about the most revolutionary thing a ballet company could do today is to mount an Old, Unimproved four-act Swan Lake. Audiences today don't get some of the choreographic horseplay that goes on in many productions today because they've never seen the "plain-vanilla" version.
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