Last night, the dance historian Doug Fullington, of Pacific Northwest Ballet, gave an excellent presentation at Works and Process, shedding light on the original choreography of three nineteenth-century “exotic” ballets: Le Corsaire, Le Roi Candaule, and La Bayadère. Eight dancers traveled with him, as did two excellent musicians from the PNB orchestra: the Concertmaster Michael Jinsoo Lim and Associate Concertmaster Brittany Boulding. As would have been customary in a nineteenth-century rehearsal, the dancers were accompanied by two violinists, with one executing the melodic line and the other a reduced version of the orchestration. Fullington has studied Stepanov notation (the language in which ballets were recorded at the Imperial theatres at the end of the nineteenth century), and so was able to glean information from documents kept in the Harvard Theatre Collection, such as a notated solo for Nikiya in La Bayadère, as performed by Anna Pavlova. (As he pointed out, though, the notations often describe only the legs, the directions, and the stage patterns, so some creative input is often required.) Among other things, the solo was performed at a much brisker tempo than it is now. Another notable aspect of most of the dances was the great variety of petit allegro steps, beaten jumps, coupés, fast, brisk, skimming glides, buoyant turns.
The dancers were excellent, and game. Seth Orza, one of two men, danced with his usual air of seriousness and self-deprecating gallantry. Liora Neuville’s fluid, musical arms were especially lovely. Of course, bodies and ballet technique have changed quite a bit in the last century-and-a-half. No current dancer can approximate the qualities of a Pavlova or a Karsavina (and probably wouldn’t want to). In fact, when Fullington showed period photographs from these ballets, the audience tittered. Those dancers have almost nothing in common with the hyper-athletic, streamlined, racehorse physiques we see today. (But what personality!) We have only a limited idea of how they moved—there is very little film footage of Pavlova, for example. But, in the spirit of authenticity, leg extensions were kept low, arms rounded, eyes modest. It’s amazing just how much detail one can see in such an intimate setting.
The one thing I missed was a discussion of the “exotic” elements of the ballets: the sources of inspiration, the imagery, the unique attraction the 19th century had for the “Orient,” and the ways in which these themes were treated in the realm of character dance.
You can watch the entire session here:
For more information, here are Fullington’s informative background notes: Petipa Exotique