Galina Ulanova: Odette in Swan Lake, 1940
The great ballet dancer Galina Ulanova specialized in the more human roles in the ballet repertory, such as Juliet in “Romeo and Juliet” and the title role in “Giselle.” Becoming the Swan Queen Odette, who was under a spell and became half-woman and half-swan, wasn’t considered Ulanova’s thing.
But in this pas de deux clip she dances the role in 1940 when quite young, and it’s a revelation. Ulanova does seem more human than swan in the part, especially compared to many other modern interpreters with far more extreme extensions and arches. But nevertheless, without ever exaggerating or forcing her poses, she creates impeccable lines with her whole body, extending the effect to her very fingertips, sometimes curving her entire form around her partner in an exceptionally beautiful and moving fashion. Watch in particular the way leans against him at 2:57 and 3:16. It’s so very emotionally expressive, showing that the initially frightened Odette has come at last to trust him:
neo:
I’ll follow you anywhere on your dance posts. Great stuff. Pas de deux. Step of two. Beautiful lines. She does come to trust him.
But Lawsy! That was the most erotic ballet I’ve ever seen.
Dear Neo:
I have a story I think you will appreciate. Please forgive me for taking up this space, but I am so grateful to you for bringing this beautiful piece to us.
I had only one aunt, she was my mother’s older sister. Sometime during the early 1930’s a backstreet abortion deprived her of ever becoming a mother. She was always restrained and ever watchful from the sidelines in my life–but, always there with the things she wanted me to have: fine art, good literature, museums, etc. The things my own mother was not able to appreciate.
My nana managed a See’s candy store in San Francisco and going to visit her on my own was the highlight of my year.
The year it was my twelfth birthday, my Nana told me we were going to the ballet. I loved ballet but could not have lessons– I was so excited! I dressed up in my church dress and didn’t notice that my nana was still in her working uniform. On the bus on the way to the concert hall, she chatted about ballet–what to look for, how some moves were more difficult than others, etc. I remember how she walked me up that long grand marble staircase to the opera hall and bought one ticket. She explained to me that she had to go back to work, and asked the usher if she could take me to my seat–front row in either the second or third side balcony! OMG–a front row to anything was amazing! I settled in and then she was gone. When the performance was finished I followed the audience toward the exit. As soon as I reached the door I saw her there sitting on the bus bench at the end of that long grass. Sitting under the street lamp on the bus stop bench with her black wool coat on over her candy sales uniform and I knew–knew instantly what she had done for me. Just one loving heart can save a child!
Miss you, Nana!
Title this one “How NOT to Photograph Dance”
Bad enough they are in a cramped studio – what’s with the awful cuts to 3/4 view that destroy the body lines?
The closeness of the camera (and perhaps spoken direction from the crew) obviously distracts both of them several times. Kinda hard to get that fairy-tale vibe going…
Dear Mr. David:
Thank you for the information.
May I suggest –you are an ass!