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Mariangela

How do you think Aurora variation from act 2 should be interpreted?

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Hi! In this period, I'm often watching the Aurora Vision variation, and I wonder if there is a specific way to portrait the characher of Aurora in this variation or it's a choice of the version of the ballet, it varies by the different companies etc... For example, in this video of the variation Laura Fernandez smiles and I don't find it appropriate in this part of the ballet, that is quite "sad". What do you think about this?  

 

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I think this young woman is dancing a Petipa variation in a competition, out of context of the work itself.  True, if this were one of Odette's or Odile's variations, we would expect a performance that included the emotional content of the work, but those works are wedded much more closely to their dramatic context.  (and even so, people used to dance the Black Swan pas de deux as a stand-alone work titled The Magic Swan -- it still had the fascination of the work in its context, but didn't have the evil intent) 

While there are sections of the Vision scene where Aurora is actively involved in summoning the prince, for the most part it is the Lilac Fairy and the prince that handle the emotional development of that act -- Aurora is indeed a vision, separate from the other two.  While I wouldn't think this dancer would want to take that particular performance and insert it unchanged in a full production, I think, for a competition, this is a good compromise.  But your mileage may vary.

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I agree that this dancer is taking the variation out of context, and, perhaps as a result, I'm not learning much from her.

I have different views about the Vision Scene.  I understand that having one is a ballet convention but she's not just an ideal in it: in the scene she has all of those beseeching gestures to the Prince, and there's only so much of an unattainable pedestal she can be on if she's in a classical pas de deux.  I don't find her a cipher or any less involved in the emotion of the act: he's not the only one who has a transformation while she's sleeping.

In the context of the story, in Act II Aurora is making her debut into society, and starts when she's told it's time for her to marry, which, at that point, would have been an act of obedience.  This Prince or that Prince: any of them would be fine and please her parents.  In Act IV, she's ready to join into a full-blooded union with maturity and majesty and to inherit the crown by the end of the ballet.  She's not just the same young woman in a wedding dress, like Raymonda.  I think the Vision Scene is the bridge where she, in her deep sleep, works it out and transforms into the women she becomes after she's awakened, and it's just as much her vision as his.

But, then, I also think the Lilac Fairy represents Petipa, doing all of the heavy lifting for aristocrats who mostly don't deserve it.

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4 hours ago, Helene said:

But, then, I also think the Lilac Fairy represents Petipa, doing all of the heavy lifting for aristocrats who mostly don't deserve it.

Snark!

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On 7/29/2019 at 6:41 PM, sandik said:

I think this young woman is dancing a Petipa variation in a competition, out of context of the work itself.  True, if this were one of Odette's or Odile's variations, we would expect a performance that included the emotional content of the work, but those works are wedded much more closely to their dramatic context.  (and even so, people used to dance the Black Swan pas de deux as a stand-alone work titled The Magic Swan -- it still had the fascination of the work in its context, but didn't have the evil intent) 

While there are sections of the Vision scene where Aurora is actively involved in summoning the prince, for the most part it is the Lilac Fairy and the prince that handle the emotional development of that act -- Aurora is indeed a vision, separate from the other two.  While I wouldn't think this dancer would want to take that particular performance and insert it unchanged in a full production, I think, for a competition, this is a good compromise.  But your mileage may vary.

Yes, I agree with the fact that is a competition, and so the characher of Aurora isn't the same that would be in the ballet, and I think that the dancer would change it if it was in a full production too :) Now I think this variation in a different way. Thank you for your answer :)

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18 hours ago, Helene said:

I agree that this dancer is taking the variation out of context, and, perhaps as a result, I'm not learning much from her.

I have different views about the Vision Scene.  I understand that having one is a ballet convention but she's not just an ideal in it: in the scene she has all of those beseeching gestures to the Prince, and there's only so much of an unattainable pedestal she can be on if she's in a classical pas de deux.  I don't find her a cipher or any less involved in the emotion of the act: he's not the only one who has a transformation while she's sleeping.

In the context of the story, in Act II Aurora is making her debut into society, and starts when she's told it's time for her to marry, which, at that point, would have been an act of obedience.  This Prince or that Prince: any of them would be fine and please her parents.  In Act IV, she's ready to join into a full-blooded union with maturity and majesty and to inherit the crown by the end of the ballet.  She's not just the same young woman in a wedding dress, like Raymonda.  I think the Vision Scene is the bridge where she, in her deep sleep, works it out and transforms into the women she becomes after she's awakened, and it's just as much her vision as his.

But, then, I also think the Lilac Fairy represents Petipa, doing all of the heavy lifting for aristocrats who mostly don't deserve it.

I completely agree with you, Helene. Your point of view is really deep :) I also think that Aurora "matures" when she's sleeping, as the Prince.

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