Perspective on Winter Perspective

12 Feb

To kick off the pre-weekend, I attended Winter Perspective, the MFA concert for four graduate students of Ohio State University’s Department of Dance.  The concert featured Romantic era ballet solos made famous by the legendary Fanny Elssler, restaged from hieroglyphics (labanotation…you say tomato, I say tomato) as well as contemporary works also staged from notation score.  After intermission (during which I foolishly abstained from using the restroom…it was almost as bad as the time I had a twelve hour flight from Tokyo to Washington D.C. and had the “coveted” window seat, except the ogre man next to me in the aisle seat was approximately fifty feet tall and slept like a baby during the whole flight.  His wall of legs meant that I would have to crawl over him or wake him, neither of which I had the courage to do, so I held it and almost died.), the second act featured brand new works by OSU faculty and graduate students.  Plenty of variety, plenty of good times.

When one thinks of Romantic ballet, the concept is pretty much dominated by Giselle and La Sylphide, or even the dynamic duo of Cesare Pugni (the composer) and Jules Perrot’s (the choreographer) Ondine, ou La naïade (the Frederick Ashton/Hanz Werner Henze Ondine for the Royal Ballet came much later, while Perrot/Pugni’s has been lost.  Pierre Lacotte “reconstructed” Perrot’s Ondine for the Mariinsky, but if it’s anything like his “reconstruction” of Paul Taglioni’s La Sylphide, it’s too grounded in modern technique and most likely an unfortunately inaccurate interpretation of what the ballet could have looked like.  At least we get to hear Pugni’s score for Ondine though).  The title roles for La Sylphide, Giselle and Ondine are all fairies and ghosts, roles that would define the careers of the great Romantic ballerinas such as Carlotta Grisi (the first Giselle), Marie Taglioni (the first Sylphide), Fanny Cerrito and Lucille Grahn (the first Bournonville Sylphide).  Together with Elssler they were the fab five, but Elssler was missing from that picture of her own accord; she had a different style that contrasted greatly with the ethereal qualities of the others.  Elssler even declined to participate in a Perrot/Pugni ballet that Perrot choreographed on the superstars of the time, which would come to be known as simply Pas de Quatre.  Facts aside, Elssler was pretty bad ass for sticking to her guns.

Two character solos were performed, the first being a Polish folk dance entitled La Cracovienne, from Joseph Mazilier’s La Gypsy, complete with boot spurs and snakelike braids down to knee level and La Cachucha, from Jean Coralli’s Le Diable boiteaux.  Both had intricate footwork and a lot of articulation through the ankle and top of the foot in particular.  It looked…hard…I mean, I’m sure it was hard too but to be able to soften through the ankle and move in and out of a fully lengthened foot is not as simple as one would think.  I liked La Cachucha in particular though because it had stronger rhythms that were emphasized by stomping on the heels and castanets.  These dances sort of touched on what made Elssler different, which was an earthier robustness as opposed to light and fluttery.  I think appreciating Elssler’s contribution to Romantic ballet is important in order to understand what else was going on at the time and what wasn’t necessarily mainstream (incidentally, La Cachucha is on YouTube for anyone interested…but I would recommend going to see the remaining shows of Winter Perspective this weekend if you’re in Columbus!).  Regardless, Elssler was wildly famous and toured all throughout Europe, making buckets of cash (almost sounds like she was freelance).  Told you she was bad ass.

Fanny Elssler as Florinda in La Cachucha

So what else…a modern solo dealing with death and another ballet solo, also dealing with death.  The ballet solo was from Antony Tudor’s Dark Elegies, which dealt with a community in mourning (I *think* they were portraying Mennonites…but I always get that kind of stuff wrong) with the soloist surrounded by members of the community who are there passively, merely to provide solace.  I’m not too familiar with Tudor works, but from what I’m reading quickly online and in the program notes he’s sort of championed for exploring “psychological realism.”  I’m not sure I can put into words how I felt about the piece (except that I was definitely feeling I needed to see more), but I liked the coldness of it.  It’s rather stark, and for some it’s a reminder that with mourning comes a sense of isolation, in that nobody else could truly understand your relationship with the deceased.  They’re there, with you, but still distant.  Or perhaps they are the ones who are there and you are the one who is distant.

Next was intermission and then three premieres.  The first, Artemis and Aphrodite in the Garden of Give and Take, choreographed by Melanie Bales on Karena and Jolene, both of whom were fittingly, classics majors as undergrads.  I like to dabble in mythology so I really enjoyed this piece, with Artemis as the bully and Aphrodite as the sweetheart.  It was even reflected in their body language, like during certain unison phrases Aphrodite dances with more an open chest and subtle épaulement while Artemis is much stiffer in the shoulders (and why wouldn’t she be?  Girl is the goddess of CHASTITY…that’s no fun).  It was very much in the character of the goddesses, with Aphrodite being rather naïve, dancing with her golden apple (how soon she forgets that she STARTED THE TROJAN WAR because of that thing).  At any rate, this piece helped inspire a most magnanimous “MFA Project Gift,” where I bought for my friends, three items.  And here’s the secret to gift giving…first, you must begin with three items because good things come in threes.  Here’s my formula:

  1. One item must be universally appreciated. (in this case, flowers…because dancers get flowers.  Something about the ephemerality of cut flowers and a performance, methinks)
  2. One item must be edible. (in this case, I attached a Cheryl & Co. cookie to the gift, because bows are stupid)
  3. Then, and only then have you earned the right to make the last item something you wish to impart to them. (this time it was the novel Gods Behaving Badly by Marie Phillips, SO perfectly appropriate for the situation at hand.  Except Karena already read it…which I knew going in there was a chance she had because she reads everything…but OWN it, she did not)

Oh and handmade cards of low quality are not necessary but highly recommended.  I made a one of a kind card where a pair of giant ballerina legs in pointe shoes were standing on the Sydney Harbor, like the Colossus of Rhodes and the other side was a picture of a dancer holding a giant point shoe, a reference to Sisyphus.  All it takes is some old magazines and a pair of scissors.  Sometimes…I think I’m brilliant.

Back to the concert, the conclusive piece was a somewhat long, but intriguing modern dance, with a series of vignettes that at first I didn’t quite understand.  The music choices and styles of movement for each section seemed disjointed to me, but then I heard from one of the dancers that it was the story of the choreographer’s life, divided into decades, with each person representing an influential figure in the choreographer’s life.  NOW, it all makes sense.  One of the decades was a beautiful pas de deux that was so poetic…I was very moved.

I have much more to say on that dance as well as other pieces that appeared in the concert (one SWEET modern piece with these portable lights that really played with dimensional movement through shadows and due to its unpredictable nature is probably different every night), but really if you’re in Columbus, you should brave the arctic tundra and go to one of the remaining two shows (2/13 at 8pm and 2/14 at 2pm for a matinee, in Sullivant Theater).  I hope I’ve previewed enough to make you hungry to see them…or hungry for a Cheryl & Co. cookie.  Mine today was a buttercream frosted chocolate and peanut butter.

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2 Responses to “Perspective on Winter Perspective”

  1. Karena February 15, 2010 at 3:14 pm #

    Thanks for coming to the show and the fabulous write-up–I really enjoyed reading it!

    Not to mention the triple present–I’ve saved the cookie for tonight…yum…

  2. youdancefunny February 19, 2010 at 4:09 pm #

    You’re welcome! Hope you enjoyed the cookie…I have a penchant for all things pumpkin.

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