First
Tour
"Swan Lake"
Korean National Ballet Company
Center for the Arts, George Mason University
Fairfax, Virginia, USA
Friday, August 6, 2004
by George Jackson
copyright
© 2004 by George Jackson
published August 9, 2004
Underheralded,
the Korean National Ballet introduced itself to America's capital area
on one of summer's loveliest evenings. There had been little advance publicity
in the general media, yet the performance drew an astonishingly large
audience. I noticed that some of the advance tickets were being held in
envelopes of The Korea Times of Annandale, Virginia. That helped to explain
the largely Korean public for the 42 year-old company's local debut during
its first American Tour, which encompassed just one performance in Chicago
and two here.
The curtain rose on a familiar picture. Not just "Swan Lake",
but the identical production—choreography by Yuri Grigorovich, designs
by Simon Virsaladze—was danced at this theater by Grigorovich's
own company from Russia not long ago. The Koreans, though, made this version
of the classic look a lot better. They danced it as one lyric dramatic
stream, a continuous visual tone poem, a single impulse. The Russians,
by chopping it up into numbers, had made Grigorovich's changes seem totally
arbitrary.
There is in the traditional "Swan Lake" by Petipa and Ivanov
a unifying urgency that differs, as far as we know, from the more meandering
course of other story ballets made by the two choreographers in the 1880s
and '90s. Yet contrasts were also part of the concept. The action was
not just divided into four distinct acts, but there were also a subdividing.
Even in the partly confluent lakeside passages (Act 2 and 4), there are—almost—separate
dances. What greater contrast can there be than that of the deeply melodic
adagio for Odette and Siegfried, and the metronomic variation of the four
Cygnettes? And isn't that contrast apparent even when, as formerly, another
man (Benno, Siegfried's friend —now totally obliterated) assists
in the adagio?
Grigorovich, it seems, wanted to modulate from one contrast to another
rather than oppose them with pauses inbetween. He adds bridging choreography
to link Acts 1 and 2, not just a moody solo for Siegfried as other rechoreographers
have done but also a duo in which he is shadowed by the Evil Genius (the
character formerly known as Von Rotbart). More than that, Grigorovich
makes of Siegfried's Act 1 birthday celebration almost as much a display
of male dancing as Act 2 with its enchanted Swan Maidens is of female
dancing. Grigorovich gives the male corps challenging steps, includes
a bravura Fool, and introduces a parade of knights to present Siegfried
his adulthood sword. The Queen, Siegfried's mother, gives him a golden
chain with a ruby cross—this becomes significant later.
There is an intermission between Acts 2 and 3 in Grigorovich's version
but I wouldn't be surprised to learn that he had at least speculated about
eliminating it too. Act 3, Siegfried's choosing of a bride, was undoubtedly
for Grigorovich the most stubborn part of "Swan Lake" to streamline.
He replaced the traditional divertissement of national dances with neo-classical
choreography and it is one of his best efforts. This suite is danced by
the candidate brides—they are princesses from Hungary, Russia, Spain,
Naples and Poland. They perform for the Queen, Siegfried enters only after
they have, presumably, passed his mother's inspection. Then, as is traditional,
he waltzes with them and refuses to choose. The unexpected entry of the
Evil Genius and Odile (the false Odette or Black Swan) aborts the "You
must choose" / "I can't" confrontation between the Queen
and Siegfried. From this point on until almost the end, the incident plot
is the conventional one, but Grigorovich adds dancing for Siegfried, Odile,
Evil Genius and a small corps of Black Swans prior to the Soviet version
of the traditional Black Swan pas de deux for Siegfried and Odile. He
bleeds Act 3 into Act 4 and differentiates the latter's swan choreography
just enough from that we saw in Act 2.
With
"Swan Lake" the ending is always a question. Happy, tragic or
spiritual? Grigorovich opts for a happy ending. The flush of dawn appears
in Virsaladze's otherwise metallic palette, and the flesh and blood Odette
and Siegfried are joined to live happily ever after. But just before that,
Grigorovich added a novel touch. How did the pair of lovers vanquish the
Evil Genius? By making their bodies into the sign of the cross. It is
over in an instant, this slight transformation of a conventional supported
attitude, but as in "Giselle" or Dracula movies, it has its
effect.
Korea National Ballet was convincing in Grigorovich's concept. The company
was very cohesive, giving a sure ensemble feeling. The style is that of
the old Soviet Russian schooling (plus an occasional 180 degree extension)
on bodies that tend to be slim yet not long. Three of the ballet masters—Sang-chul
Park, Won-kook Lee and Eun-joung Kim—are Korean, and two trainers—Mikhail
Sharkov and Galina Kozlova—presumably are Russian. The KNB's director,
Geung-soo Kim, used to be a principal dancer and then a ballet master
for the company.
The evening's Siegfried, Won-chu Lee, is not a demonstrative actor yet
had a gravitas that suited the role and was appealing. I didn't think
that quality was ideal for the Act 1 pas de trois, which is lighter in
feeling but, after all, in this version it is danced by Siegfried. Lee's
impetus is strong and slow, his finishes are cushioned.
As the Odette and Odile, Joo-won Kim was much more the latter than the
former. She showed Odette's sadness but not her vulnerability. Coming
alive in Act 3, Kim had a glint of evil in her eye. This Odile enjoyed
herself. Technically, Kim was competent in both parts and deployed a fast,
furious, tight arabesque for emphasis.
The Fool, as danced by In-kyung Kim, was an agreeably sharp show-off.
All the candidate brides had individual personalities. Scheduled to take
the leading roles at the second performance were Hae-jin Yoon (Odette/Odile),
Hyun-woong Kim (Siegfried) and Joon-bum Kim (Fool). Recorded, well recorded
music was used.
Originally
published:
www.danceviewtimes.com
Volume 2, No. 30
August 9, 2004
Copyright
©2004 by George Jackson
|
|
Writers |
Mindy
Aloff
Dale Brauner
Mary Cargill
Christopher Correa
Clare Croft
Nancy Dalva
Rita Felciano
Lynn Garafola
Marc Haegeman
George Jackson
Gia Kourlas
Sali Ann Kriegsman
Jean Battey Lewis
Kate Mattingly
Alexander Meinertz
Tehreema Mitha
Gay Morris
Ann Murphy
Paul Parish
Susan Reiter
Jane Simpson
Alexandra Tomalonis(Editor)
Lisa Traiger
Meital Waibsnaider
Kathrine Sorley Walker
Leigh Witchel
|
|
DanceView |
DanceView
is available by subscription ONLY. Don't miss it. It's a good
read. Black and white, 48 pages, no ads. Subscribe
today!
DanceView
is published quarterly (January, April, July and October)
in Washington, D.C. Address all correspondence to:
DanceView
P.O. Box 34435
Washington, D.C. 20043
|
|
|