The dual role of a Worker-Researcher comes with simultaneous advantages and disadvantages. This is an inevitable consequence of adopting two opposing positions. However, provided the disadvantages are recognised and managed well enough, the benefits of such a powerful combination of roles can be very rewarding.
The immediate advantage that a Worker-Researcher, as opposed to an outside researcher, has is a previously acquired knowledge of their organisation. This allows easier access to interviewees and to company data, as the Worker-Researcher can use contacts that have already been established. Another important advantage is that a Worker-Researcher is often more qualified than an outside researcher to identify an area that requires improvement. A Worker-Researcher has first-hand experience of the day to day running of their company, so is familiar with the areas that run efficiently, and with those that are more problematic, or cause unrest amongst fellow employees.
However, the fresh view of an outsider can bring many advantages too. They may not be considered qualified by the organisation to waltz in and suggest possible alterations, but it is easier for an outside researcher to make objective observations, and to therefore carry out neutral research with reliable results. Without any personal attachments to the organisation, the outside researcher is more likely to analyse its structure in a straightforward manner, without any preconceptions or bias.
‘Preconceptions’ and ‘bias’ are two words which highlight the main disadvantages of adopting a Worker-Researcher position. In order to deliver accurate results, research needs to be carried out in as neutral and fair a way as possible. When one researches an area of an organisation with which they are very familiar, one is prone to anticipate the outcome of the investigation. This can affect the way in which information is collected, with, for example, the researcher devising surveys that lead the participant towards particular answers. This does not necessarily mean the researcher has intentionally created a bias survey, but subconscious expectations of its results can influence the composition of a survey. Once the information has been collected, a Worker-Researcher’s preconceptions are also likely to affect its interpretation. One must be especially cautious when the research is of a qualitative nature, as the results are not always clear cut and can require some interpretation by the researcher.
I do, however, feel that there is one overriding advantage to research within an organisation being conducted by a Worker-Researcher. In many cases, research is carried out with a view to discovering improvements that could be made to existing practice. If an investigation ascertains a change that an organisation would benefit from, it is far more likely that the change will be trialled –and if necessary maintained- should the researcher suggesting it be continually present within the organisation.
Saturday, 27 March 2010
Wednesday, 24 March 2010
Time to Bite the Bullet...
These past few weeks have not been the best of my life: with the company that I danced for folding, leading me to move back in with my parents and to start looking for new work.
To lose a job is tough for anyone, especially when it's one that you deeply loved, gained a lot from, and had fantastic colleagues to work with. However, for a dancer you don't only lose your job but also your lifestyle. To secure your next job, fitness needs to be maintained to as high a standard as possible; but without daily classes and rehearsals your previously attained standard of dancing is sure to slip, unless you pay to attend public dance classes all day everyday.. but money doesn't grow on trees and, oh yes, you don't have a job anyway. There are also the psychological effects to consider. Dancers thrive on the thrill of performing, and on spending hours upon end in the studio; so without a regular dose of rehearsals and performances, it's easy to feel less and less like one. This loss of identity is difficult to cope with as, in the case of many professional dancers, it is a vocation that you'll have been living, eating, breathing and sleeping for most of your life. A dancer's mentality is equally as important as their physicality. This applies to the times when you are in work and performing, but even more so to when you are unemployed and competing against hundreds of others for your next contract.
The unexpected turnabout of my situation has left me struggling for ideas as to the direction of my project. The aforementioned 'loss of identity' is something that I am currently experiencing, so to choose a topic from my 'work-place' is something that is, at this point, confusing and frustrating for me. Had this module come about a few months ago, I would have had a clear understanding as to my position and identity within both my company and my industry as a whole, making my thoughts on a project topic much easier to organise.
Until now, I have been skirting around the issue of actually selecting a topic, simply studying the module handbook, Bell book and blog entries from a general perspective. I think I've been half-hoping that one of the two auditions I've recently done would land me an instant contract; that I'd be back working as a dancer and once again feel established enough within the industry to justify my researching an area of it. Despite two fantastic and very enjoyable auditions, I don't yet have any contracts to sign, and must accept the reality of a dancer's working life being uncertain and without much structure or stability. It's time to bite the bullet and throw myself into some structured and organised studying, in spite of the current unstructured and disorganised section of career path that I am walking through.
To lose a job is tough for anyone, especially when it's one that you deeply loved, gained a lot from, and had fantastic colleagues to work with. However, for a dancer you don't only lose your job but also your lifestyle. To secure your next job, fitness needs to be maintained to as high a standard as possible; but without daily classes and rehearsals your previously attained standard of dancing is sure to slip, unless you pay to attend public dance classes all day everyday.. but money doesn't grow on trees and, oh yes, you don't have a job anyway. There are also the psychological effects to consider. Dancers thrive on the thrill of performing, and on spending hours upon end in the studio; so without a regular dose of rehearsals and performances, it's easy to feel less and less like one. This loss of identity is difficult to cope with as, in the case of many professional dancers, it is a vocation that you'll have been living, eating, breathing and sleeping for most of your life. A dancer's mentality is equally as important as their physicality. This applies to the times when you are in work and performing, but even more so to when you are unemployed and competing against hundreds of others for your next contract.
The unexpected turnabout of my situation has left me struggling for ideas as to the direction of my project. The aforementioned 'loss of identity' is something that I am currently experiencing, so to choose a topic from my 'work-place' is something that is, at this point, confusing and frustrating for me. Had this module come about a few months ago, I would have had a clear understanding as to my position and identity within both my company and my industry as a whole, making my thoughts on a project topic much easier to organise.
Until now, I have been skirting around the issue of actually selecting a topic, simply studying the module handbook, Bell book and blog entries from a general perspective. I think I've been half-hoping that one of the two auditions I've recently done would land me an instant contract; that I'd be back working as a dancer and once again feel established enough within the industry to justify my researching an area of it. Despite two fantastic and very enjoyable auditions, I don't yet have any contracts to sign, and must accept the reality of a dancer's working life being uncertain and without much structure or stability. It's time to bite the bullet and throw myself into some structured and organised studying, in spite of the current unstructured and disorganised section of career path that I am walking through.
Monday, 4 January 2010
Academic Writing: Final Version
Matthew Bourne’s Swan Lake: Unreasonably Controversial
For centuries choreographers and audiences alike have cherished the tradition of the female swan. At the time of composing his famous score, Tchaikovsky himself agreed with "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 respecting the continuing appeal of a ballet created in 1877, there is no shame in embracing Bourne’s revised perspective on its 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 self realisation and love. 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... 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... 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 crucial phrase here is “deepest levels”. By exploring the same issues as the original version, but through the contemporary setting 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. Now audiences have an opportunity to witness a different, but equally valid, facet of their nature. 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.
Bibliography:
BalletMet, 2006, The History of the Ballet ‘Swan Lake’ [online]. Ohio: Ballet Notes. Available from: <>. [Accessed 12 November 2009].
Porter, L, 2009, Matthew Bourne’s Swan Lake [online]. New York: About.com. Available from: <>. [Accessed 12 December 2009].
Johnson, R, 1997, BOURNE’S BRAVE NEW ‘SWAN’ [online]. Los Angeles: Daily News. Available from: <>. [Accessed 12 November 2009].
Mackrell, J, 2006, Matthew Bourne’s Swan Lake [online]. London: The Guardian. Available from: <>. [Accessed 12 November 2009].
TheFreeDictionary, 2009, classic [online]. US: The American Heritage Dictionary of the English Language. Available from: <>. [Accessed 12 November 2009].
Roberts, D, 2004, “Swan Lake” [online]. US: Theatre Reviews Limited. Available from: <>. [Accessed 12 November 2009].
Bourne, M, 2006, ‘The History of Matthew Bourne’s Swan Lake’, Matthew Bourne’s Swan Lake Programme, Sadler’s Wells, London 13 December 2006 – 21 January 2007, p12.
For centuries choreographers and audiences alike have cherished the tradition of the female swan. At the time of composing his famous score, Tchaikovsky himself agreed with "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 respecting the continuing appeal of a ballet created in 1877, there is no shame in embracing Bourne’s revised perspective on its 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 self realisation and love. 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... 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... 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 crucial phrase here is “deepest levels”. By exploring the same issues as the original version, but through the contemporary setting 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. Now audiences have an opportunity to witness a different, but equally valid, facet of their nature. 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.
Bibliography:
BalletMet, 2006, The History of the Ballet ‘Swan Lake’ [online]. Ohio: Ballet Notes. Available from: <>. [Accessed 12 November 2009].
Porter, L, 2009, Matthew Bourne’s Swan Lake [online]. New York: About.com. Available from: <>. [Accessed 12 December 2009].
Johnson, R, 1997, BOURNE’S BRAVE NEW ‘SWAN’ [online]. Los Angeles: Daily News. Available from: <>. [Accessed 12 November 2009].
Mackrell, J, 2006, Matthew Bourne’s Swan Lake [online]. London: The Guardian. Available from: <>. [Accessed 12 November 2009].
TheFreeDictionary, 2009, classic [online]. US: The American Heritage Dictionary of the English Language. Available from: <>. [Accessed 12 November 2009].
Roberts, D, 2004, “Swan Lake” [online]. US: Theatre Reviews Limited. Available from: <>. [Accessed 12 November 2009].
Bourne, M, 2006, ‘The History of Matthew Bourne’s Swan Lake’, Matthew Bourne’s Swan Lake Programme, Sadler’s Wells, London 13 December 2006 – 21 January 2007, p12.
Descriptive Piece: Final Version
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 this 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 their swirling, hypnotic patterns upon the audience. Together with the Prince, we are transported into their world; 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 this 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 their swirling, hypnotic patterns upon the audience. Together with the Prince, we are transported into their world; overwhelmed by the swans’ sheer elegance and supremacy.
Saturday, 19 December 2009
Academic Writing: Second 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 “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.
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.
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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