Why should there be controversy surrounding Matthew Bourne’s Swan Lake?
For centuries choreographers and audiences alike have cherished the tradition of the female swan. At the time of composing his famous score, Tchaikovsky himself was concurrent of the “idea of the swan as a symbol of womanhood in its purest”. (BalletMet 2006) It was universally acknowledged that “supernatural female creatures” such as swans “appealed to the contemporary taste for idealised, fantasised womanhood”.
Worth noting here is the phrase “contemporary taste”. If Swan Lake’s success is owed to its relevance within society, then surely one cannot fault Bourne for restoring its significance more than a century later. In an online review, Laura Porter of About.com refers to Bourne’s interpretation as having “turned tradition upside down”. To many critics this has been translated as “unthinkable” (Johnson 1997) and disrespectful to Petipa/Ivanov’s original version. On the other hand, Judith Mackrell of The Guardian describes Bourne’s adaptation as “a classic”, a term used to label a work of exceptional standard and “enduring significance” (thefreedictionary.com 2009). Whilst one must admire the continuing appeal of a ballet created in 1877, there is no shame in embracing Bourne’s revised perspective on Swan Lake's central issues.
In many respects Bourne stays true to the traditional Swan Lake, using the same celebrated score and exploring the same key themes of individuation, self realisation and love. Indeed, his plot is relatively in keeping with the original too. The Prince still falls in love with a swan; Bourne simply chooses to transfer it to a contemporary setting whereby the swan is also male. In doing this, a significant element of our present-day society is drawn upon, giving the plot’s themes even more resonance. David Roberts of Theatre Reviews Limited describes the male corps de ballet of swans as “the perfect medium for the Prince to discover and celebrate his sexuality. And although the Prince is unashamedly gay, Swan Lake is universal in its appeal and accessible to all persons who know what it means to be misunderstood, confused about sexuality and love, and long for intimacy and relationship”. Roberts also explains that “the Prince's Swan fantasy allows the character and the audience to experience at the deepest levels the issues of becoming a distinct, separate individual and the risks involved in ‘leaving the flock’." The key phrase here is “deepest levels”. By exploring the same issues as the original version, but through the more contemporary theme of a gay relationship, Bourne is strengthening their impact with the audiences of today.
One further point worth considering is the artistic benefit of casting male dancers as swans. In his programme note, Bourne states that "The idea of a male swan makes complete sense to [him]. The strength, the beauty, the enormous wingspan of these creatures suggests to the musculature of a male dancer more readily than a ballerina in her white tutu”. Through a female corps de ballet choreographers have portrayed swans as graceful and fragile; their aggressive temperament and physical strength have hitherto been overlooked. In addition, Bourne’s Swan Lake also appeals to the “new breed of muscular, masculinised dance” (Johnson 1997) found in productions such as Tap Dogs, Lord of the Dance and STOMP!. Bourne is attentive to this emerging trend, declaring that “the heroes of dance are suddenly becoming males again.''
In short, Bourne has not only created an adaptation of Swan Lake with remarkable artistic credibility, but one that fortifies the story's key themes and values for a contemporary audience. It is the initiative of present-day choreographers, like Bourne, that will help to sustain ballet’s popularity throughout the twenty-first century.
Saturday, 19 December 2009
Descriptive Writing: Second Draft
As Tchaikovsky’s familiar score fills the auditorium, a solitary figure emerges from the mist onto stage. The scene is lit by a single street lamp and the glare of a full moon, which hovers ominously in the sky. Barely visible are the silhouettes of two trees, which are far greater in stature than the Prince standing alone before them.
Seemingly lost in thought, he places his long black coat over a wooden bench and wanders upstage. The gap between the trees indicates that there is something beyond the audience’s perspective, something to which the Prince is being drawn. As the rich sound of the orchestra builds, the Prince steps closer and closer to what transpires to be the edge of a moonlit lake. Without warning, a white creature darts onto stage, startling both the Prince and the audience. This is the swan that will captivate the attention, and later the heart, of the Prince.
The swan’s movements are entrancing. His arms work fluidly, evoking the grace and beauty of a bird’s wings, but his steps are so assured that we are reminded of the power behind the creature’s elegant demeanour. When the dancer leaps, his use of expansive port de bras enhances the impression of flight, and his controlled landings roll seamlessly into another leap or turn. The overall effect is of the swan gliding effortlessly across the stage, demonstrating his marvellous fusion of strength and grace. Amid these elegant movements comes the occasional abrupt, aggressive gesture, highlighting a fiercer edge to the bird’s temperament. The dancer elongates his fingers and draws them together with his thumb into a pointed, beak-like shape. When he directs his hand towards the Prince, we instantly recognise the threatening intent behind the gesture.
The dancer wears dark, streamlined eye make-up, as well as a thin black head piece that sits almost on his brow. Representative of a swan’s distinctive markings, this also emphasises his authoritative gaze. The trousers that he wears are white, and are compromised of many shreds of material. These ripple with every one of the dancer’s movements, depicting a coat of delicate, light feathers.
Before long, the stage is filled with a flock of swans, swirling nimbly across the stage. Their fluid movements echo the continuous, flowing quality of the music, and their ever changing floor patterns are evocative of swans gliding through water. They ebb on and off stage in groups of three or four, giving the effect of constant movement, with each group performing fleeting, graceful sequences in unison.
The swans create a mesmerising scene. The contrast of their pure white costumes against the haunting, dark stage forces the swirling, hypnotic patterns that they make upon the audience. Together with the Prince, we are transported into their world, and overwhelmed by the swans’ sheer elegance and supremacy.
Seemingly lost in thought, he places his long black coat over a wooden bench and wanders upstage. The gap between the trees indicates that there is something beyond the audience’s perspective, something to which the Prince is being drawn. As the rich sound of the orchestra builds, the Prince steps closer and closer to what transpires to be the edge of a moonlit lake. Without warning, a white creature darts onto stage, startling both the Prince and the audience. This is the swan that will captivate the attention, and later the heart, of the Prince.
The swan’s movements are entrancing. His arms work fluidly, evoking the grace and beauty of a bird’s wings, but his steps are so assured that we are reminded of the power behind the creature’s elegant demeanour. When the dancer leaps, his use of expansive port de bras enhances the impression of flight, and his controlled landings roll seamlessly into another leap or turn. The overall effect is of the swan gliding effortlessly across the stage, demonstrating his marvellous fusion of strength and grace. Amid these elegant movements comes the occasional abrupt, aggressive gesture, highlighting a fiercer edge to the bird’s temperament. The dancer elongates his fingers and draws them together with his thumb into a pointed, beak-like shape. When he directs his hand towards the Prince, we instantly recognise the threatening intent behind the gesture.
The dancer wears dark, streamlined eye make-up, as well as a thin black head piece that sits almost on his brow. Representative of a swan’s distinctive markings, this also emphasises his authoritative gaze. The trousers that he wears are white, and are compromised of many shreds of material. These ripple with every one of the dancer’s movements, depicting a coat of delicate, light feathers.
Before long, the stage is filled with a flock of swans, swirling nimbly across the stage. Their fluid movements echo the continuous, flowing quality of the music, and their ever changing floor patterns are evocative of swans gliding through water. They ebb on and off stage in groups of three or four, giving the effect of constant movement, with each group performing fleeting, graceful sequences in unison.
The swans create a mesmerising scene. The contrast of their pure white costumes against the haunting, dark stage forces the swirling, hypnotic patterns that they make upon the audience. Together with the Prince, we are transported into their world, and overwhelmed by the swans’ sheer elegance and supremacy.
Marketing Piece: Second Draft
An Opportunity Not to be Missed!...
Matthew Bourne’s groundbreaking production of Swan Lake is returning to stages across the UK this December for a limited time only!
Don’t miss your opportunity to witness one of the most popular productions of our time live on stage! Bourne’s celebrated re-invention offers a modern take on the best-loved classical ballet of all time. Set to Tchaikovsky’s famous score, and keeping true to the original storyline, the production has the both the appeal of a classic, and the excitement of a fresh, new adaptation. Bourne’s Swan Lake fuses the beauty of dance with the power of drama, creating a truly unforgettable evening.
Bourne’s legendary version of Swan Lake is the one that everybody is talking about. It is the only production to replace the traditional female corps de ballet of swans with a more daring, formidable, all-male cast. This definitive spectacle of our time has generated an unbelievable following since its creation in 1995, and has delighted audiences on a global level. Back by popular demand, with a dazzling new cast of dancers, the forthcoming 2009/10 tour is set to be the event of the decade!
Swan Lake will be performed in 10 of the UK’s foremost theatres, opening at the world famous Sadler’s Wells Theatre in London this December. Tickets are on sale NOW! Prices start at just £10, with further discounts available for groups of 8 or more.
Regarded as a modern-day masterpiece, Bourne’s Swan Lake has won an outstanding level of critical acclaim, unparalleled by any other piece of theatre. It has already wowed audiences in countries as far as America and Australia, collecting over 30 international awards in recognition of its extraordinary popularity. The production’s return to Britain has been an eagerly awaited event, so be sure to book your tickets early to avoid disappointment.
The phenomenon that is Matthew Bourne’s Swan Lake is set to confirm its place in the history books as the greatest show of our time ...make sure that YOU are a part of it!
Tour Dates 2009/10:
Sadler’s Wells, London
10th December – 24th January
New Victoria Theatre, Woking
26th – 30th January
Milton Keynes Theatre, Milton Keynes
1st – 7th February
The Hippodrome, Birmingham
8th – 14th February
Regent Theatre, Stoke
15th – 21st February
The Lowry, Salford
1st – 7th March
Wales Millennium Centre, Cardiff
8th – 14th March
Theatre Royal, Newcastle
15th – 28th March
Alhambra Theatre, Bradford
29th March – 4th April
Critical acclaim for Bourne's Swan Lake:
“...a classic in its own right and remains the best piece of dance theatre you’re ever likely to see” What’s On in London
“One of Britain’s most spectacular artistic triumphs” The Evening Standard
“SEE IT. Or live to regret it.” Independent on Sunday
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