Comparing throws in “Dances at a Gathering”
I’ve written about the 1969 ballet “Dances At a Gathering” several times, and mentioned that I find today’s dancers, for all their fabulous technique, lacking the musicality and artistry of the past. A part of the ballet features certain lifts/throws that live on in my memory as some of the most thrilling things I’ve ever seen in all my long years of ballet-going.
Here’s a clip of a version done by the Paris Opera that seems flat and flawed to me. I’ve cued it up to the point right before one of these throws, followed by another even more spectacular one, a moment in the ballet that never fails to win enthusiastic applause. I’m not saying these movements are not competently performed in this video; these are certainly good dancers. Good, but that’s all—although if you didn’t see the original you might think I’m being a carping curmudgeon to complain. But to me these throws seem restrained and tight, with none of the wild abandon I recall:
I’m happy to report that the next video is more like it. It’s a performance by the New York City Ballet, the company on whom the ballet was first choreographed by Jerome Robbins, and whose original cast is the one I remember. This is not that cast, but it conjures up something much closer to the effect I remember:
When I saw it in person—in the depth of three dimensions rather than the two of a small computer screen—nearly fifty years ago (and I saw it at least five times), the audience used to gasp with a combination of fear, awe, and delight at the simultaneous riskiness and beauty of the move.
When I was a musician in my 20s I came to know so many dancers it remains hard for me to really appreciate the art-form. I had a good friend who did the music for several shows put on by a dance troupe here in Portland — he came from a rock & roll background, and might concoct an agreeable score out of a riff stolen from Gang of Four or some other “post-punk” band.
Meanwhile I gave solo piano recitals, partly improvised, musically influenced by Messiaen, Prokofiev, and what are now known as the minimalists (Steve Reich, Terry Riley, Philip Glass).
The dancers all seemed obsessed with posing before mirrors, generally had eating disorders, and formed an insular community obsessed with their own concerns.
I enjoyed straight-up ballet much more than modern dance. Much more.
The second video was wow! Athletic with spices of subtle humor and questioning what comes next. Thanks.
Lovely way to start the day.
Thank you, neo. :>)
I love ballet, especially the relatively “modern” ballet, and jazz dance if it’s seriously good. Maybe because I’m a child of the 50’s? The Golden Age of Musicals (at the movies), far as I’m concerned.
The point is, there’s not much first-class dance to be had on YouTube, to my way of thinking, and your last two clips are a real treat. I certainly see what you mean about the difference between clips 1 and 2.
What is the point of that toss? It’s a gymnastic move. Perhaps it’s thrilling to you as someone who has danced… but it didn’t add anything to what the previous, simpler move already expressed.
You often post about how the gymnastic athleticism and extreme extension of today’s dancers distracts from expression – in this case it’s the choreography that strays into cheap tricks.
IMNSHO
Ben David:
The point is, at least in part, to match the crescendo of the music.
One of the things about Robbins’ choreography is its musicality. His choreography to Chopin in “Dances” is, among other things, a superb blend of delicacy, lyricism, showmanship (which is partly what this throw is about) AND musicality. It’s an unusual and rather perfect blend, because it doesn’t neglect any part of what audiences like about dancing, doesn’t sacrifice any of it to any other.
This throw, when done properly (with feeling, which I feel happens better in the second clip, although not quite as wonderfully as in the original, in my memory anyway), conveys all those things without sacrificing expression. I have nothing against bravura dancing, just don’t want it sacrificing all the other parts of dancing, which today’s dancers often do.
Specficially, this throw in “Dances” is part of a progression where a phrase in the music is repeated three times, with increasing force (that’s the crescendo). These repeats form a large part of the portion of the ballet choreographed to this particular musical selection from Chopin (the ballet is done to a group of piano pieces by Chopin). What Robbins does each time is to express the music by choreographing three moves (one to each repetition) that have a similar crescendo built into them—the first move more restrained, the second move slightly more large or risky or accentuated, and the third slightly more. The audience perceives it as a beautiful expression of the crescendo already within the music itself, and the motif (not the moves themselves, just the motif of the three increases in a move) repeats itself throughout the segment of the ballet in a very satisfying, exciting, and also artistic fashion.