Compare and Contrast Swan Lake performances by the Moscow Ballet, Les Ballets Trockadero, and Matthew Bourne's

Compare and Contrast Swan Lake performances by the Moscow Ballet, Les Ballets Trockadero and Matthew Bourne’s

  

Swan Lake is one of the most famous ballets in repertoire; it also is a ballet which many choreographers and ballet masters have re-staged. These three performances have presented Swan Lake in different ways. Moscow Ballet presented a performance which was traditional in its costume and choreography. Whereas Les Ballets Trockadero was a parody of ballet although it used the traditional costumes and choreography because all parts where played by men it created a farce. Matthew Bourne’s interpretation of Swan Lake however, moved the furthest away from the traditional ballet. Its performance was more like a theatre production because the stereotypical elements of a ballet where not used the point shoe and tutu which; have come to define ballet productions. Bourne whilst having a mixed cast of male and female he has chosen to cast the swans as only men;

‘The idea of a male swan makes sense ... the strength, the beauty, its enormous wingspan of these creatures suggests to the masculine of a male dancer more readily than a ballerina in her white tutu.’ (Bourne)

Consequently through this essay I wish to contrast the way each production has presented Swan Lake and which is most successful in doing so.

The choreography of the Moscow Ballet was based on the classical choreography of Swan Lake; it had the classic male and female partnership between Odette and Prince Siegfried. There was however, a lacking in energy throughout the performances, after watching the performance with Margrot Fonteyn one cannot compare the technical skill of her Odette to the Moscow Ballet. The use of mime to tell the story was throughout the production as all classical ballets. This style contrasts with the way Les Ballets Trockadero use the choreography to create a farcical performance. Although they ‘follow the original choreography, then unexpectedly toss in a pratfall and some slapstick.’ (Hyde) This is the remarkable thing about the Trocks when they fell comically they get up instantly and continues dancing highlighting their skill as dancers. The way they used the mime was comical and almost pantomime. They used over the top gestures and smiles which would have never been used in a classical performance of Swan Lake. Matthew Bourne’s Swan however, contrasts greatly in its style of choreography it was more contemporary. During one of the scenes in Bourne’s version they watch the performance of a romantic ballet like the Trocks they make it satirical although they are not ‘skewering ballet but the vanity of the ballet dancers.’(Norman,2011) How ballet bases its stories in fairy tale worlds whereas Matthew Bourne creates productions with more depth than just fairies.

The way each production presented the Cygnet dance highlights the difference in choreography and style. Matthew Bourne highlights the animalistic side of the swan through the looks and gestures of the dancers; the movements reflect the freedom of the swans which is what draws the Prince to them. He creates a comical piece by highlighting the youth and playfulness of the Cygnets. The movement and choreography instead of being ballet based, show the character of the swan. Les Ballets Trockadero also uses the Cygnet dance to show comedy however, they are not creating the comedy through characterising the swan rather highlighting ‘the foibles, accidents, and underlying incongruities of serious dance.’ (www.trockadero.org). They exaggerate the head movements of the swans and are out of time. The smaller dancer also danced the whole time with a huge grin on his face and waved when he left the stage highlighting the ‘... jealousies of competing ballerinas.’ (Norman, 2011) In contrast the Moscow Ballet took themselves seriously each dance step and head movement was at the same time thus highlighting the grace of the swan and the beauty of ballet. However, unlike Bourne it does not show the character in such depth because these are young birds therefore they can be clumsy and silly.

Although the storyline between the Moscow Ballet and Les Ballets Trockadero is based on the classical Swan Lake they presented the characters in different ways. Les Ballets Trockadero made the male roles less masculine making them seem like wimps especially the male attendant. The swans are portrayed as much stronger and less gentle as they strangle the male attendant and slap him.

The emotions in the Moscow Ballet was lacking compared to the, portrayal from the Trocks. The way the Prince and Odette danced their final dance showed how they couldn’t bear to leave one another whereas with the Moscow Ballet there was no convincing passion. The character of Von Rothbart was not scary enough for the audience yet Trockadero had managed to create a figure with a dramatic stage presence even if the audience laughed at him. Bourne however creates a production which ‘is pure theatre the impression it makes on the psyche and soul is indelible.’ (Roberts) There is not that magical feeling to the production which is essential to the traditional Swan Lake; I feel this is particularly highlighted by the scene when he first encounters the swans. It is set in a park with no eerie mist over the lake. Rather the base of the story is about the prince and how he feels trapped and unloved. Bourne creates dramatic scenes full of emotion; the scene between the Prince and his mum the way he wants to hug her to feel that emotional bond however, she completely rejects him. In contrast to how Odette and the Prince danced in the Moscow Ballet was the scene in the park with the Prince and Swans (Bourne). The swans here are not scared of the prince rather he is scared of them but intrigued by the way they move. As he dances with the lead swan the audience can feel the emotions between them. The swan is allowing him to dance and hold him in contrast to his mother; there is this feeling of freeing for the Prince. In further contrast is the figure of the black swan in Bourne’s production his character of temptation and lust is expressed through every movement and gesture. Whereas the performance of Odile in the Moscow Ballet ‘took us unnecessarily close to pantomime’ (Amey) she made it too obvious that she was not Odette and did not dance with enough enticement to draw in the Prince to this lie. 

The costumes of the Moscow Ballet and Les Ballet Trockadero reflected the classical style of the ballet whereas Bourne’s where far more theatre based. The Moscow Ballet had tutus however; they were not as tightly pleated as Odette’s costume in the Trocks production. The Moscow Ballet tutu’s reflected the feathered dawn of the swans. The costumes of Les Ballet Trockadero reflect the style during the 1930s when Margot Fonteyn preformed Swan Lake. The corps where in romantic tutus so their costumes moved more softly and Odette wore a short pancake tutu. The costume for Von Rothbart for Les Ballet Trockadero created a far more dramatic character through using black and red in his costume. Whereas in the Moscow Ballet they used a bright purple for his cape which failed to create a scary character it needed to be a darker colour to reflect his evil. The costumes in Bourne’s production were beautiful but not at all like the traditional ballet costume they were elegant without being over the top and highly decorated. The Queen’s costumes reminded me of the 50s style the circle style skirt. I liked the way they altered the costumes so that they went from being servants to courtiers, just by changing the accessories. The costumes were unified in the colour palette of blacks, whites, reds, and purples this meant that the whole performance has one style unlike the first Swan Lake we saw were the colours went from being pastels to bright colours. The male swan costumes where masculine although we didn’t get the full impact of how the tassels moved because we watched it on film.

In conclusion watching these productions has expanded and challenged my view on ballet before I had only seen classical productions of Swan Lake although I still enjoy that genre. It was fascinating to see Bourne’s production which I had heard described as the ‘gay’ Swan Lake however he has found ‘a story...more universal than the original 1877 Tchaikovsky... Swan Lake’ (Roberts). At first I was a little shocked by Les Ballets Trockadero; to see these men perform en travesti the roles of both male and female however, in the end I did enjoy the parody as it was incredible to see the men on point. Bourne’s production created far deeper characters compared to the original Swan Lake however; I will always prefer the original because when being performed well the audience are lost in the production. I also enjoy the delicacy and grace which shapes the movements of the ballet dancer.

Bibliography

Amey, R. (2012) REVIEW: Swan Lake, Moscow Ballet – La Classique, at Pavilion Theatre, Worthing. [Online Review] Available From: http://www.worthingherald.co.uk/lifestyle/entertainment/review-swan-lake-moscow-ballet-la-classique-at-pavilion-theatre-worthing-1-3691049

[Accessed 11^th May]

Crompton, S. (2009) Matthew Bourne’s Swan Lake at Sadler’s Wells, review. [Online Review] Available From: http://www.telegraph.co.uk/culture/culturecritics/6859314/Matthew-Bournes-Swan-Lake-at-Sadlers-Wells-review.html

[Accessed 11^th May]

Eshel, R. Tutu Much. [Online Review] Available From: http://www.trockadero.org/haaretz1.html

[Accessed 11^th May]

Hyde, P. The Trocks Bring Mix of Fun, Footwork to Peace Center. [Online Review] Available From: http://www.trockadero.org/greenville-news.html

[Accessed 11^th May]

Norman, N. (2011) Les Ballets Trockadero de Monto Carlo. [Online Review] Available From: http://www.thestage.co.uk/reviews/review.php/31605/les-ballets-trockadero-de-monte-carlo

[Accessed 11^th May]

Roberts, D. Swan Lake. [Online Review] Available From:

http://www.theatrereviews.com/pastreviews/swanlake.html

[Accessed 11^th May]

Wikipedia. (2012) Swan Lake(Bourne). [online] Available From: http://en.wikipedia.org/wiki/Swan_Lake_(Bourne)

[Accessed 11thv May]

Evaluation

Evaluation

Through this unit I have been able to expand and develop my knowledge of ballet which has been a subject I have wanted to develop my skills in from the beginning. Through this unit I have been able to consolidate my professional development plan as it has enabled me to realise that I would like to work in the ballet industry. My work experience in the workrooms for the Olympics opening ceremony also enabled me to experience a workroom in the professional environment, and I enjoyed it. Consequently I feel I have discovered the professional environment I would like to work in; for even though tasks such levelling my tutu was monotonous I still enjoyed it. Therefore, in third year I would like to develop these skills further.

Through this unit I have had to develop my time management skills as this was something that needed improving after my last project. Although, I have improved in this area I have realised that the time table which I set my self was unrealistic, therefore daily I timetabled the tasks that needed doing, I found these much easier to meet. My time table was more structured compared to other projects, because Mark spent taught us the skills to make a ballet costume. This has meant that I have had continuous deadlines throughout the project. Therefore, I have had to develop my skills at prioritising tasks whilst still completing other deadlines. That being so I have had to learn that some tasks take longer than others. I found that the piping was a laborious task therefore to complete it on time I rushed a little which I regret because it is not as neat as it should be. Therefore I have had to develop my skills in learning how to allow more time to do tasks which are hard. Consequently, I have learnt how to work independently through this project because; although Mark taught us a lot I had to then fulfil those tasks independently through looking at Mark’s Sample and discussing with my peers.

Through this unit I have developed my contextual understanding of ballet and its costumes, through learning the history of how it developed to become the ballet we see now. Before I feel my view of ballet, was narrow mined as I had only seen classical performances. However, I have expanded my view of what dance and ballet should be through comparing and contrasting the three different performances of Swan Lake. Also through watching performances such The Afternoon of the Fawn and Bourne’s Swan Lake which have and are challenging the audience’s concept of what ballet is.

Through the decoration and sleeve workshop I have developed my creative skills by learning how to use the decoration to convey the character of the performer. Rather than only using the decoration to make it look pretty. I have developed my eye in putting together decoration and using trimmings in different ways to create different characters.

Through this unit I have improved my skills at draping on the stand which will help me during third year if I should choose to make a historical costume. Although, I still need to improve my skill at translating the design lines to the calico to make my pattern more accurate as when I came to pin my design together I found that my neck line design did not match up at the side panel.

Through this project I have also expanded my skills in working with slippery fabrics although, I found it hard especially when cutting out the pattern pieces to keep the grain line straight. Another thing I found with this fabric was that when you unpicked seams it left holes in the satin. This is unfortunate because I found that my bodice did not fit my manikin after I had sewed the hooks and bars to the bodice. Therefore I have developed my problem solving skills through not panicking but adjust the bodice at the side seams.

Although, my costume is not perfect I have been able to develop my skills in costume making preparing me for third year. I have been able to develop my skills from my last project which I wanted to improve on. Through learning further how to interpret a design although at the same time I was able to create a costume which reflects Degas Dancers the blue I mixed echo’s the blues he uses in his paintings. I have developed my sewing skills for I have learnt how to work quicker, although the costume is not as neat as I wanted it to be I am pleased with what I have achieved.

Reflections on Costume

Reflections on Costume

I have thoroughly enjoyed this project I have been able to develop my learning in an area of performance which I have always enjoyed. Through, contextualising ballet in how the costumes and style has developed. I am pleased overall with my costume, I had wanted the fabric to look less handled. However, after I had to alter the bodice it left marks on the fabric and the piping looks a little worn. The decoration covers the area of the design line which is not exactly equal so, that is good although I wish I had sewn the piping on better.

I am pleased with the colour of the decoration against the white of the bodice and net. I think it reflects the design well but also highlights my interest in Degas paintings.

I feel that in third year that I would like to develop these skills and learn how to make a plate tutu although I would also like to make a historical costume as I feel this is something which is lacking within my portfolio.

Reflections on the Costume Decoration

Refections on the Costume Decoration

This is the design which Mark gave each of us so I have been able to develop my skills at interpreting a costume design. I am pleased with the outcome of my decoration I feel that the colour I mixed is a close match to the swatches, it looks good against the white of the costume.

I am fairly pleased with the placement of my decoration although it is not exactly as the costume design places it I feel that this shape flatters the shape of the body better creating more curves. I am going to adjust a few of the petals the three on the left look a little out of place. I am also going to add more at the waist of the bodice coming down to the net. When I was doing the decoration workshop I enjoyed the freedom I had to create whatever character I wanted. That being so I also enjoyed this part of the unit having to interpret a design as there was more freedom here than I imagined there would be but I also enjoyed the structure of learning how to make a ballet costume.

Reflection on decoration and sleeve workshop

Reflection on decoration and sleeve workshop

Learning how to decorate a plate tutu and bodice has helped develop my skills at using decoration to tell the story of the character not just to look pretty. I have learnt the importance in ballet and all theatre that the decoration needs to be read from a distance but still delicate. It also helped to develop my skills in using fabrics in different ways so cutting into lace and ribbons to create the decoration rather than just applying a strip of lace looking at how you can use the decoration in a different way. It was hard at times to know how to develop the decoration for the evil character I wasn’t sure what to do after I had applied the patterned silk. I had to learn not to be precious with my work but test and see if something looked good and if it didn’t change it. I enjoyed the freedom we had in this workshop to express different characters we were interested in. It will be interesting working from our designs to try to recreate what Mark has drawn as I feel it will be very different because there is not that same amount of freedom within the decoration when you are working to the specifications of the designer.

I have also developed my hand sewing skills so that it looks neat, also I have learned that to make a stitch stronger you shouldn’t pull it hard as this distorts the costume, I found this in the Battle for the Wind project when sewing the drapes. Instead it is the amount of stitches you use which makes it stronger.

Through working out how to draft my own sleeve has developed my pattern drafting skills and will especially help me in 3^rd year when I will be expected to draft my own patterns in this way. It also helped me to be more independent in my learning.

I am pleased with the outcome of my samples the cream bodice I feel does need a few more beads to create more highlights but I am pleased with how it shows the delicacy of a character like Juliet. The sleeve is a good shape and certainly reflects Degas dancers although just to make it a little puffier I could have made it wider when pattern drafting.

Sample Sleeve

Sample Sleeve

I have also developed my learning through drafting a sleeve that is suitable for a ballet dancers needs for the sleeve needs to have a much shallower head to make it a closer fit to the dancer to allow for movement.

After researching regency puffed sleeves I drew inspiration from the type of sleeves that Degas dancers would have worn.

To create a puffed sleeve I had to draft my pattern wider to allow for the gather stitch. I used the basic female block as a basic shape and then redrafted it to create a shallower head and a wider sleeve.

At first I was going to create the puffed effect by pleating the sleeve so I made a toile to see whether it would work. However, I found that the pleats made the sleeve lie flat and when I did try to make it more puffed by making it tighter on the arm, I lost the shapes of the pleats. Therefore, I decided the only way I was going to get the volume was through gather stitch. Although this meant I would have to redraft my pattern through making this mistake I have learnt to develop my ability to problem solve. I also realised that I would have to make the head of the sleeve much shallower, at that the gather stitch should go from Seam to Seam on the sleeve. Also to make a better puffed shape the length of the sleeve also needed to be shorter.

So I redrafted the pattern I decided to make my sample sleeve from cotton voile because it is so soft, delicate, and moveable it will create a costume that reflects Degas dancers.

I then gathered using gather stitch 5, the top of the sleeve with two seams and the bottom of the sleeve with only one. I also cut two inside sleeves from net to help hold the gathers in place. I gathered the top sleeve and net sleeves equally.

I then decided to add a little decoration and sewed the sleeve together so that it looked like this;

I am pleased with the shape I have created I think it reflects the regency puffed sleeves well. It does look very delicate and reflects Degas dancers well. I have enjoyed this because I was able to work this out on my own developing my independent learning.

Pinning and sewing on the decoration

Pinning and sewing on the decoration

The decoration allowed me to develop my understanding of interpreting a design as I looked at Mark’s design and his costume to give me an idea as to how I should place the decoration. It also helps to train my eye to work out a shape which flatters and enhances the shape of the dancer.

I decided that I wanted the shape of my decoration to be wider at the bust to go in at the waist at then flare out across the tutu.

I like the shape at the bust however so it doesn’t look like too much of a straight line I think I might flare it out across the bodice down to the skirt more because at the minute it is only coming from one point I think it needs to be more spread out. I am however, really pleased with how the colour I mixed looks on the bodice it stands out well when the petals are close together, but then is very suitable on its own. To create the curves of the petals I pinned one end and then pulled around and pinned the other end.

This is how my decoration developed;

 

 

Sewing on the decoration with invisible thread has been interesting as I have never, used this thread before, it is very slippery and it is hard to cast on however, because it is invisible it is not hard to make the backstitch neat. It is just very time consuming task. However, I really enjoy this element of the costume because I could be creative. Also I could now see the costume taking shape.