‘Swan Lake’ of dreams, nightmares
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A MODERN classical “Swan Lake” (“LAC”) draws on childhood dreams and nightmares, the opposites of day and night, white and black, spirituality and sexuality, good and evil.
This dramatically provocative, multi-media “Swan Lake” by French choreographer Jean-Christophe Maillot aims to connect ballet with modern life and feelings.
The production by Les Ballet de Monte-Carlo, with Tchaikovsky’s score, dramatic sets and non-classical costumes, will be performed through tonight at Shanghai Culture Square.
“My work is a chance for younger audiences to appreciate classical ballet without feeling that it is past or dusty,” Maillot told reporters last week. “I don’t do dance for those who know about dance, but for those who don’t.” The ballet is described as “reviving the torments of a story with a direct connection to our childhood fears and nightmares.”
It draws on buried experiences that are “resurrected and combined against a Machiavellian, family backdrop,” presenting a ballet of contrasts. The Prince “falters between white and black, good and evil, convention and eroticism.”
The 53-year-old choreographer Jean-Christophe Maillot is known for creating modern classics, such as “Romeo and Juliet,” “Cinderella,” “The Nut Cracker” and “Sleeping Beauty,” often emphasizing contrasting opposites, as well as their union.
Tutored by Rosella Hightower, Maillot turned to choreography in 1983 after his dancing career was ended because of injury. His 60 works range from grand narrative ballets to shorter pieces.
He became choreographer and director of Les Ballet de Monte-Carlo in 1993.
To create “LAC,” Maillot worked with writer Jean Rouaud, visual artist Ernest Pignon-Ernest who created the scenery and Philippe Guillotel who designed the modern costumes. Feathers on the hands that disappear at night are a major feature.
The production, which premiered in 2011, has been well received around the world. It is part of the Shanghai International Arts Festival.
Maillot spoke to reporters this week.
Q: You said your production taps fears. What are they?
A: The story of Swan Lake is actually a story of the night and the day. The white swan is a lady during the night and a swan during the day.
It symbolizes our fear of the night, since night is often connected with death and day is about hope. These confrontation between the white and the black, the dark and the light, is actually a fear of every human being symbolized by the white and black swans.
Q: Please explain the use of the video about childhood nightmares at the beginning.
A: As I have said, the white swan is about the ideal love while the black swan represents the passion of love. The ideal love is very often what you had when you were a child. First love is always perfect because it is a dream. The black one is the reality of love for me. That’s why in my version, the white swan is almost like a child, while the black one is a evil girl who represents the reality of passion. In other words, the black swan is about sexuality, and the white swan is about spirituality.
The movie at the beginning helps to tell the audiences about their characteristics in advance.
Q: Please elaborate on the costumes.
A: In my pieces, I want costumes to have their own reality and not to stylize the time period of the story. I think the biggest difference between animal and human is their hands. All the swans have feathers on their hands during the way, but when night comes, all the feathers are gone and the swans become human.
Q: How has the Shanghai International Arts Festival changed?
A: When I came here 15 years ago, I felt that what we presented was something very new to Chinese audiences. Last time we came in 2010, I found the audience had great knowledge about this kind of dance. It is an honor and a pleasure to see this progression and be part of it. I am curious to see how the audience will receive my latest production.
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