Writing Styles 3: First Draft

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 enjoyed “great popularity” as “they 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 re-establishing 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 “considered to be of the highest rank or excellence, especially one of 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 to give 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. 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 had previously 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. If ballet is to retain its popularity throughout the twenty first century, present-day choreographers, like Bourne, should be supported in their efforts to maintain the relevance of classics such as Swan Lake.

Writing Styles 2: First 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! Set to Tchaikovsky’s famous score, Bourne’s celebrated re-invention of 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 like no other. It is the first and only production to replace the traditional female corps de ballet of swans with a more daring, formidable, all-male cast. The definitive spectacle of our time has generated an unbelievable following since its creation in 1995, delighting 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 for this eagerly awaited event are selling at a phenomenal pace, so be sure to book your seat early to avoid disappointment.

Bourne’s Swan Lake has already wowed audiences in countries as far as America and Australia, collecting over 30 international awards in recognition of its extraordinary popularity. Regarded as a modern-day masterpiece, it has won an outstanding level of critical acclaim, unparalleled by any other piece of theatre.

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!




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


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

Writing Styles 1: First 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 swan’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 swan’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, representing the distinctive markings of a swan’s head, and emphasising his authoritative gaze. The trousers 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 mirror 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 forms a magical atmosphere, as the audience cannot ignore their hypnotic, swirling patterns. Together with the Prince, we are transported into these creature's world, and overwhelmed by their sheer elegance and supremacy.

Kolb’s Learning Cycle & Me...

Thanks to the BAPP course, this is my first introduction to Kolb and his learning cycle. He has identified four separate phases with the general label of ‘learning’, but the fascinating concept for me is that a learning experience can start at any point within this cycle. This will depend on the individual’s preferred method of learning, but also on the event itself. I have kept myself very entertained by applying this cycle to many of my past learning experiences! I have found that one cycle of learning often leads straight into another, and also that many cycles can take place simultaneously, all contributing towards one key learning episode.

Fig 1. Kolb’s Learning Cycle

Source: www.ldu.leeds.ac.uk/.../kolb/static_version.php

To further illustrate Kolb’s cycle I will apply it to a prominent learning curve in my own life. As noted, there will also have been many ‘mini-cycles’ happening concurrently, all contributing to the cycle that I am focusing on.

My chosen Concrete Experience took place in January of last year, when I toured to Japan with the Birmingham Royal Ballet. Two other Elmhurst students and I joined the company for their three week tour, performing in Peter Wright's Coppèlia and David Bintley’s Beauty & the Beast. We had rehearsals for about a month prior to the tour, before flying out to Tokyo on New Year’s Day. The tour took us to four different theatres, two of which were in Tokyo; one in Osaka (Japan’s ‘second city’), and one by Lake Biwa, Kyoto. The whole experience was so exciting and eye-opening for me, on many different levels. The opportunity to dance alongside such accomplished dancers, and to such receptive audiences, combined with the thrill of experiencing a completely different culture to our own, proved to be an unforgettable experience.

As you can imagine, a great deal of Reflective Observation took place as a result of this opportunity, and if I’m honest, still does even now! So many elements of the tour were a new experience for me, so I had plenty of reflecting to do in order to process and learn from them all. From a career point of view, it had been my first taste of a foreign tour with a company, and only my second experience of dancing in one of BRB’s productions. In terms of personal experiences, there were plenty of firsts there too: visiting the Far East; seeing the sights of Tokyo; authentic Japanese cuisine, and navigating Japanese public transport, to name but a few! During the tour I kept a journal, eager to retain as many details as possible. This enabled me to review my experiences during the tour itself, but also to continue reflecting upon them afterwards. Upon returning to the UK I was asked to write an article for The Dancing Times, based upon the tour. This was an additional opportunity to reflect upon my experience, however this time in the mindset of a journalist. Through writing an article based on an episode in your life, one can also provide readers with the opportunity to reflect upon, and therefore learn from, your findings.

Abstract Conceptualisation was a process that took place both formally, through writing about the tour, and subconsciously, as a result of thinking over my experiences. As a dancer, I had learnt how to improve my technique through daily classes with the company; and also how to cope with the pressure of performing to large audiences in a significant tour. As an artist, I had learnt further techniques in terms of stage make-up and hair, as well as the backstage policies within a leading professional company. As an individual I had learnt from being part of a group of fellow dancers, teachers, directors, musicians and stage-crew. And finally as a tourist I had learnt so much about a country so different to my own, as well as gaining a stronger sense of independence from living and working there for three weeks.

I was eager to put all of these elements into Active Experimentation as soon as possible. When you experience something that you personally feel you have gained a lot from, to put what you have learnt into practice is your way of proving to others around you that you have grown as an individual. Almost as soon as I arrived back from Japan, I was into the run of auditions and assessments that come with being in your graduate year of college. This provided me with the perfect occasion to put what I had learnt on tour into my work as a student. In my annual ballet appraisal that February I was keen to apply the corrections in technique that the teachers and dancers at BRB had passed onto me, hoping to show a marked improvement in my dancing. As well as striving to improve the way I danced, I also applied this method of active experimentation to my appearance. When attending an audition I would remember outfits that the company dancers had worn when deciding upon my own. I would also strive to emulate their behaviour and presence in the studio. Overall, I was trying to use my taste of company life to my advantage, hoping to give the impression of a young professional, rather than a student, in my auditions.

These were aspects of my learning experience that I could apply instantly; others had to wait to be put into practice. Techniques in performance and stage make-up helped me in later performances at Elmhurst; and I could apply my education in working for a company to the UK tour that I joined BRB for that spring. Unfortunately the closest I have come to applying my knowledge of Japan has been to cook a couple of Japanese dishes at home! I sincerely hope that someday soon I can re-visit the country that offered me so many new experiences, and enter into a second lap of my Japanese-Kolb learning cycle!

A Proper Hello :)

Well, I've finally got round to subscribing to all the blogs of my fellow 'BAPP's' ..if that's a good enough title for us?! I'm very impressed by the broad collection of skills, experiences and passions that we have as a group, and am really excited about getting to know all of you more over the coming months. At present, I have a 40-strong list of talented people in front of me, so forgive me if it takes a while to get to know everyone individually(!) Nevertheless, I am looking forward to doing so, and wish everybody the best of luck for the course :)

Links of Interest

So, we’ve been asked to provide some information about a couple of our interests here on our blogs. Our handbook prompts us with “What gets you motivated? What gets you interested and excited?” My first example matches these criteria perfectly as, for me, she represents a number of factors that both interest and motivate me. Ladies and gentlemen... Edith Piaf.

Edith Piaf (1916-1963) is one of France’s most celebrated singers. She was highly successful around the time of World War II, but her music remains just as popular today in France, as well as in other countries across the world. Despite being small in stature, her voice had remarkable power, and the emotions surrounding her tragic life story were portrayed in many of her songs. Perhaps the most famous of her songs are ‘Non, Je Ne Regrette Rien’ and ‘La Vie En Rose’, but she has a collection of seemingly hundreds of songs, most of which are sung with deep emotion, and some with a more light hearted touch. In recent years, many have become familiar with Piaf through Olivier Dahan’s biographical film La Môme (or La Vie En Rose as it is titled here in the UK), a film that has won two Oscars and four Baftas for its moving portrayal of her life.

But why is Edith Piaf so special to me? I stated above that she encompasses more than one of my interests, which are as follows...

The French Language. Like many others, I studied French at school, firstly at GCSE level, and then progressing through to A Level. It was always one of my favourite subjects, not only due to the challenge of learning a foreign language, but also because I was fascinated by French culture. Fortunately, I have since been able to continue developing my grasp of French language and culture, as I have both lived and worked with French people since leaving school. It was during my second contract that I was introduced to the beauty of Piaf’s songs, which leads me to another passion that she embodies for me...

New English Contemporary Ballet. My first season with my current company is one that I have deeply fond memories of. Because it was during this time that I first came across Piaf’s music and the film La Môme (thanks to my lovely French friends), I can continue to listen to her songs whilst enjoying the personal memories that they conjure up for me.

Learning has always been one of my passions, and Piaf’s music provides me with the perfect opportunity to entertain this. Because the lyrics are in French, and often complex, I have taken to looking up the words to my favourite songs online. I find it easier to read through them at my own pace, enabling me to develop an understanding of each song’s message. I will also admit to having learnt some of the lyrics off by heart! Currently, there are five of my favourite Piaf songs that I know in full...

-Milord
-A Quoi Ca Sert L’Amour
-Non, Je ne Regrette Rien
-Padam
-Les Amants D’Un Jour

..and next on my list are Mon Dieu and La Foule, two contrasting but equally beautiful songs.

And lastly: Performance. I am a firm believer that, no matter how technically accomplished you are as a performer, without sentiment and artistry in your work (be it dance, music or otherwise) the audience will not be moved to the degree that they should be. For me, the measure of a great performer is how much atmosphere they can create. They should be able to alter the ambience within an auditorium, leaving the mood that they are trying to portray impressed upon their spectators. Whilst this is something that I strive for as a dancer, it is a trait that I recognise, and deeply admire, in Edith Piaf.



Above is some footage of Piaf singing Mon Dieu. This is a very heartfelt song, as it was written with regard to the love of her life, Marcel Cedan (pictured at the beginning), who tragically died in a plane crash, en route to visit Edith.

******

Now, it has taken me a while to decide upon my second topic of interest. Evidently, dance holds top spot on my list of passions, but I have chosen not to use it for this particular task. It will inevitably feature heavily in my blog, so I thought I should use this opportunity to add a little variety to my entries!

A big interest of mine is the Olympic Games. I love watching television coverage on a wide range of the events, in particular: athletics, swimming, cycling and gymnastics. I am therefore very excited about the 2012 Games coming to London, and hope to be able to work as a volunteer during this time.

My favourite event, though, has to be figure skating. I find the beauty of this ‘sport’ (I regard it more as an art-form) simply breathtaking. I am enthralled by the combination of artistry and strength that figure skaters achieve. They match the elegance of a dancer in their movements, but must also have the fearlessness of a racing driver –so fast is the speed that they move across the ice.

Below is a montage of professional figure skaters, sourced from YouTube. It showcases many of the impressive skills that skaters must include in their competitive routines, such as multiple turns, or heart-stopping lifts in the case of those skating as a pair. I must compliment the user (under the name of ‘vocalise’) who composed this montage. The synchronisation of the footage and music is delightful!



I cannot post a blog entry on figure skating without mentioning the incredible Jayne Torvill and Christopher Dean. Their run of international success as figure skaters during the 1980’s & 90’s raised considerable awareness of the sport, and continues to inspire people today. In recent years Torvill and Dean have further raised their profiles in Britain through their key involvement in the television series ‘Dancing On Ice’. On my blog, however, I wish to take you back to the height of the duo’s sporting career, with their Gold medal winning performance of Bolero in the 1984 Winter Olympics...

Three Inspirational Individuals...

1. Lance Armstrong

Lance Armstrong is my absolute hero. Period. I personally feel as though he alone counts for all three of my ‘inspirational individuals’! Most people today are aware of Armstrong and his story, but just to be sure I shall run through the details that make him such an admirable athlete and human being.

Armstrong’s greatest achievement as a professional cyclist has been to win Le Tour de France, which is universally known as the toughest cycling race there is. It is classed as one of the most challenging sporting events on the planet, with its competitors enduring 21 days of racing over a 23 day period, covering a staggering 2,200 miles in total. Riders face individual ‘time-trials’ (cycling solo as fast as they can for around 30 miles) as well as days spent cycling through the Alps and the Pyrenees, usually for 5 or 6 consecutive hours. (The total elevation of the mountain stages of a Tour is equal to climbing three Everest’s!) Cyclists who complete a Tour can only be described as super-human, so punishing is the training and competition that they endure. In illustration of this, four cyclists have tragically died whilst competing in the Tour.

Clearly, to complete the Tour de France is an exceptional accomplishment; to win it is prodigious. Armstrong has won it not once; not five times (the long-standing record for number of victories); but SEVEN times.

However, this unparalleled sporting accomplishment is overshadowed by another feat of Armstrong’s. The battle he fought against cancer. At the age of 25 he was diagnosed with stage three testicular cancer, a cancer that had also spread to his lungs, brain and abdomen. Fortunately for Armstrong, the months of vigorous treatment proved to be successful, despite his survival chances being less than 40%. Almost immediately, Armstrong launched himself back into training, with the aim of reclaiming his career as a professional cyclist. Many of those around him –medics, cyclists and friends- did not believe that Armstrong would be able to return to his former standard of cycling after such an aggressive treatment schedule. So to surpass his former achievements, and become arguably the greatest cyclist of all time, proved an incomprehensible triumph.

I am sure you can see why I find Lance Armstrong such a fascinating individual. I greatly admire his total disregard of odds and probability. I have learnt through his life-story that if you have a goal, perseverance and a lot of fighting spirit will go a long way. It is not always helpful to study the chances you have of reaching your aim; Lance proves that these can often be overcome with the right mentality.

I frequently re-read his two autobiographies: It’s Not About the Bike and Every Second Counts for inspiration within my own life. Whilst learning of such extreme levels of determination and self belief, it is inevitable that the reader will set down the books with a renewed sense of motivation for their own personal quests, be they cancer-related, sport-related or otherwise.


2. Deborah Bull

Deborah Bull and Darcey Bussell share many common factors. They are of a similar age; both trained at The Royal Ballet School, and both progressed to principal dancer status with The Royal Ballet Company. They even share the same initials.

Darcey Bussell, however, is the one that everybody knows and admires. I too have great deal of admiration for Darcey; but it is Deborah whom I have chosen to write about here.

Bull’s dance career has been an impressive one in its own right, her repertoire ranging from traditional classical roles, to her celebrated performances in neo-classical works such as Forsythe’s Steptext. But Bull has many more strings to her bow than her abilities as a dancer. She has embarked upon a wide variety of projects that, whilst being linked to dance, have proved her to be a highly intelligent and multi-talented individual. Bull has written or co-written a number of books, as well as frequently offering her skills as a presenter, often for Royal Opera House performances that are broadcast on television. Admirably, Bull has shown a keen interest in politics, campaigning for better funding within the arts and creating an ‘Artist’s Development Initiative’ at the Royal Opera House. For me, Deborah Bull is proof that a career in dance is not the be all and end all, but that there are plenty of ventures that can stem from it.


3. Matthew Bourne

I just love the concept of Matthew Bourne’s company ‘New Adventures’ – creating and performing full-length dance works with a unique theatrical emphasis. Bourne himself has choreographed some of the most successful works of or time, including Edward Scissorhands, The Car Man, Dorian Gray, and, of course, his globally recognised all-male Swan Lake. Bourne has won no fewer than five Olivier Awards, and his works regularly delight audiences across the UK, Europe, USA and Australia.

The aspect of Bourne’s work that I most admire is the theatrical element involved. When you go to watch a New Adventures production, you know that you will be experiencing more than just a ballet. In fact, you come away from the theatre feeling as though you have witnessed a ballet, musical, play and film, all rolled into one! Bourne does not merely choreograph steps to a score of music; his work has so much depth and attention to detail. For instance, at the start of his choreographic process Bourne will often involve his dancers in a series of workshops, encouraging them to explore and develop the characters that they will be taking on in the production. This idea of cultivating a background for the character you will be playing is a popular technique used by actors, and contributes enormously to Bourne’s focus on drama alongside dance. Further techniques that Bourne employs include an extensive use of props; frequent incorporation of sets and scenery within dances, and meticulous attention to detail in terms of costume –even as far as styling the dancer’s hair to match the era that a piece is set in. The combined result of these factors is to make the audience feel totally immersed in a performance, and is what gives Bourne’s work that distinct edge over many other contemporary choreographers.



Above is a clip of Bourne's The Car Man, my favourite of his works to date. Note how much detail there is to be found in the sets and costumes, not to mention the standard of acting shown. It is easy to see why Bourne's work lends itself so well to camera too.