Western ballet in retrospect
Elmo Fernando
Clive Barnes of The New Statesman says ballet is an entertainment of
the theatre and not the kind of cult into which one has to be initiated.
Should you have an eye for movement you will possibly enjoy ballet.
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Tchaikovsky |
Rudolf Nureyev |
Classical mime found in three or four of the older ballets, may be of
less immediate significance. This seems to be rather stilted, though
charming sign-language earlier adapted from the more naturalistic mime
of the Italian tradition.
In any modern ballet anything other than readily comprehended
naturalistic gesture is a rare anachronism. From its prehistoric days
classical mime found in three or four of the older ballets had marked
regional characteristics passing through a number of interim phases.
Although the classical technique was fostered naturally the national and
social dances still persisted and were developed.
Amazing contributions
The war was obviously advantageous for the national ballet as it rose
as a tidal wave during the early forties with the entry of Tchaikovsky
who really gave an amazing contribution with his magnificent symphonies
with the re-opening of Covent Garden in February 1946 as a national
luric theater by the Sadler’s Wells Ballet the company presented a
program consisting of de Valois’ Promenade, Casse Noisette, Act 2 and
the first appearance in a full evening of Ballet on April 1946, the
first being for the season.
From the beginning Ursula Moreton was Assistant Director and Peggy
Praagh was ballet-mistress and producer. Young students were recruited
to be trained by experienced dancers of the calibre of June Brae, Leo
Kersley, Claude Newman, Joan Harris, George Gerhardt, Alan Carter and
Anthony Burke. Great changes of policy came about 1949-50 season.
Towards the end of 1945, Ninette de Valois formed the Sadler’s Wells
Opera Ballet.
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Kaori Nakamura and Olivier Wevers in the Sleeping Beauty |
This was intended to provide ballets for the Sadler’s Wells Opera
Ballet Company, productions to retain the concept of a people’s ballet
and to give stage recognition for further experience to young dancers
recruited from the school. It was also meant to be a nursery for trainee
choreographers. This course seems to have been radically altered with
its aims and purposes.
Rare excitement
In 1965 there soared like a meteor to the zenith of the periphery of
dance, Rudolf Nureyev, son of a peasant who stormed the stage as the
reigning prince of dancers. Wherever he performs he generates a rare
excitement and enthusiasm to the evocative response of the audience.
In England Covent Garden audiences spiced with by-soxers shower the
stage with flowers with a chant”, We want Rudi. Sir David Webster
director of the Royal Opera House declared emotionally Nureyev raises
the temperature around here. In the late sixties he toured North America
with the Royal Ballet. This kind of dancing is a blessing and a curse.
Great dancers usually swing away from the limelight.
Since the legendary Nijinsky it took nearly 50 years for another
suprenova to come along whom he can be compared with.
To be continued next week |
