Reflection Paper - 5 Ballet Pieces Analysis

Reflection Paper - 5 Ballet Pieces Analysis
We begin the dances with Swan Lake, or more specifically the White Swan’s dance with
the Prince. Our experts and narrators before the video detail the history of Swan Lake, and it is
one of the oldest and purest stories told on stage about love. Its original choreography is
historically foundational, and Tchaikovsky’s beautiful and moving music encouraged other
choreographers to adapt it as time went on. The White Swan must possess a characteristic of
naivety and passion, and the role of the Prince should be able to reciprocate that on stage.
Marcelo Gomez and Veronika Part talk about how “you have to trust your partner”, and that it’s
important to be able to feel safe in an environment where so much is happening at once. Footage
is shown of their rehearsal, where they intricately practice lifts and jumps to have them exactly
down. On stage, their chemistry is gorgeous and comes across beautifully. Veronika Part’s
extension of her legs during arabesques and battments are absolutely impressive and a goal to
strive for, especially held for a long period of time, as well as en pointe. The visuals are as
stunning as the dancing itself. Although the only thing on stage is a backdrop of a dark forest, it
perfectly puts them in the correct setting, and acts as a frame for the actual choreography at
work. Their costumes are professionally crafted, glittering under a standard theatrical soft
lighting, and compliment each other with the stark white. This also helps the amazement of their
dance as the only things physically on stage. It’s interesting to see that they stayed in character
and kept their faces during bows as well before running off into the wings.
The Nutcracker, another long standing and classic ballet, is shown next. Much like
Tchaikovsky’s work in Swan Lake, the music is like nothing else of its era, and has a timeless
sound much like many classical instrumentals. The Grande pas de Deux is performed by Hee Seo
as the Sugar Plum Fairy and Alejandro Virelles. The first thing I noticed about this
performance’s aesthetics is how she's able to keep that crown on her head the entire time, which
is an impressive feat in itself. Much like the previous Swan Lake performance, a tremendous
amount of effort was taken into partnership and control. This one especially has difficult lifts that
these dancers make look exceptionally easy. This piece, though, has a lot more energy in this
specific scene, and I believe Hee Seo executed her many leaps such as those grand jetes with
ease. The aesthetics are also similar to our other dance, like how the backdrop is simplistic and
the stage is empty. Their white and pink costumes let a light mood for the upbeat and fantastical
setting. Our two dancers then have their own solo moments, and Seo comes in with the ionic
dance of the Sugar Plum Fairy.
Flames of Paris was originally used as propaganda from the USSR to stir patriotism into
its people. The choreographers had edited some ideas and dances because they thought love was
necessary in the performance to withstand the slightly outdated subject. Artur Saint-Leon created
the music for the show, and was a choreographer himself. Ashley Bouder and Daniel Ulbricht
dance this piece passionately and energetically. Their professional discipline over their bodies is
clear in their performances, and Daniel Ulbricht’s port de barres and many, many pirouettes have
tremendous command. The two discuss in their interview that this piece is less of a partnerwork
scene, and more of them dancing together in the space. They separately do their own thing, yet
have to be mindful of the other as they do come together and connect from time to time. The
costumes' colors are reminiscent of the Russian flag, which is likely intentional considering the
production's history.
Giselle, danced by Greta Hodgkinson, is a delicate and gracious display of how the
character must be soft and yearnful. Matthew Golding is a wonderful partner who’s able to move
parallel and fluidly with hodgkinson. Stella Abrera’s performance of Myrta is the most stunning
to me, though, as her acting of this jaded and protective character really comes through. The use
of props has not been seen yet in these few pieces, and the branches she holds help envelope her
in the space of the spirit forest. We see both females dressed in white, and the male dressed in
darker hues that match the alluding background, presumably another dark forest.
Lastly, Don Quixote. The original choreography of the show is unknown, since it’s been
rechoreographed and altered multiple times in many different cultures. Maria Kochetkova and
Taras Domitro have a very pretty dynamic that easily impressed the audience watching them.
The dancing is very technical, but like the performers say in their interviews, they did a lot of
work to make the pieces look fun and effortless. Skylar Brant’s sweet solo involves plenty of
developpes and airy jumps, making her performance look youthful. Her costume consists of
pastel green and yellows. Domitro’s black glittery costume has elements of traditional Spanish
attire, altered to better suit the stage. Lastly, Kochetkova’s costume is also similar to the
traditional black and red folkloricos seen in latino culture, of course with the long skirt traded in
for a classical tutu.
These five performances had a lot to offer, with rich history and wonderful artists giving
their all to tell a story. The different styles were apparent in each one, and all had great success in
portraying a certain mood or theme.

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Reflection Paper - 5 Ballet Pieces Analysis

dance of the Sugar Plum Fairy.

for a classical tutu.

portraying a certain mood or theme.

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