Screening: Matthew Bournes Swan Lake

Finally got round to watch it again as i couldn't take it in the first time.

First performed at Sadlers Wells London in 1995 it was given mixed reviews from audiences some deeming it the gay swan lake.   The reason being is that all the swans are male not female like tradition.
Our tutor  told us all to keep this in mind throughout it and whether or not we feel that it is going in that directing.

Discussion:

• Relationship between swans symbolic not romantic.  The prince wants freedom from his repressive lifestyle and the swan represents that.
• Black swan: this part slightly annoyed me, some people didn't agree but i thought that there was a slight gay reference that was put in that didn't go with the rest of the story and i feel that Matthew Bourne ( even though said he didn't in a previous documentary) put that in to maybe create controversy around the piece gaining well publicised attention.  I did not have an issue with it however if he were going to put in a romantic connection between them he should have carried it through the whole ballet.
• Is it ballet or not: As Matthew bourne has suggested they just dance which is the only explanation that can be given.  They didn't have ballet shoes on, and the costumes weren't tutus but there was still a feel of ballet within it wit the addition of contemporary.  It worked well as a piece of dance and the storyline though could be up to the audience interpretation was easy to understand.
• Theatrical
• Costumes were brilliant the male swans costume moved well with the dancers and created a very masculine feel to the swans, quite a contrast to the female swans who are very pretty dainty creatures.  These ones are dangerous.





• Womens roles were not nice,  cold hearted mother and a cheap,lower class, footballers wife style character for a girlfriend.  Complete opposite of the norm in ballet where the women play syilphs and princesses and have the men lift them.  The men are the main part in this ballet. 

 This performance really opened my eyes up to interpret  and that ballet isn't just about women in tutus on pointe.  It isn't always going to be the tradition which is good as i feel its keeps the story's and piece alive.

reflection so far

Well everyone else has handed in and i can't say i'm not jealous.  I was determined that even though i was given an extension due to illness i really wanted to finish the construction part of the costume before today.  But not wanting to rush and make mistakes for no reason i am not done yet.  My new aim is to get the construction done  by next week so i can finish my workbook and POP essay after.

Having been in an essay mood these last few days i have written my Ballet essay comparing and contrasting the 3 Swan lake Ballets watch, Moscow City Ballet, Matthew Bourne and the Trockadero Ballet.  I struggled to fit it into 1500 words once i got going but wittled it down to 1561 in the end.  My essay writing skills have always been a poor point for me, i struggle so much with it as i can't think of how i want to say something with out it sounding waffly.  This essay has helped me be more precise with my answers and get to the point.  I feel i am improving greatly in this area and an get my point across clearly now.  The essay has really encouraged me to think about what i am watching and not to be afraid to critique something if i don't like it but back it up with why.  I've really looked at the performance and taken on board our discussing at the screenings of these and incorporated it into the essay with some valid points.

Levelling

This was something as said i struggled with.  What i really should have done and will do in the future is to do something else if i can't get it.  The first few layers of my tutu i was doing and my hands were shaking and my concertration kept waining.  I should have and will do in the future do something else like my bodice and try again later as this resulted in the first layer and 1/2 to be a bit wonky and the measurements were more like 13 than 12.  Luckily i was in a better frame of mind for the rest of the layers which were of better quality.

I feel i have gained a lot of experience from this, taking my time over something is important regardless of how repetitive it is and not to rush.  I didn't rush with mine nad i'm glad because i can see a few mistakes and wobbles on it that happen with me taking my time which may have been worse if i rushed.

lots and lots of pins i have learnt really helps, you can see the line created before you cut it and whether or not it symmetrical with the others. 

Washing hand: cause its a long process i wash my hands plenty of times to ensure they were clean as the net is white and i didn't want stains.

Finally lots of steaming. This really helped to get it flat before and after cutting so that the measurements are accurate.  Also not to hold the iron too close to the net, i learnt the hard way.  The irons when held up are heavy and my arms ached and i tipped the iron a bit close to the second layer and it has a bubble, ripple effect down one panel, you can't see it with the other layers over it but next time ill  know to keep my distance.

Levelling

Quite possibly the hardest thing I've done so far.  I'm not sure if its just myself but i found this fiddly and very time consuming and at times frustrating.

Starting with steaming the layers flat you pile the net (trying not to crease too much) on top of the Mannequin.  Looking like white puffy clouds we can begin the long process  of levelling.

Setting the mannequin to the correct height usually of your dancer allows you to be accurate with measurements as you measure from the ground up rather than down from the waist.

The skill fullest at the back wants to create a nice bell shape with a slight dip to the back therefore the back was a inch shorter than the front.  This creates that really romantic feminine feel of ballet.

Graduated slowly in 1/4 inch's at the bust line and side seams these are the first points marked with pins into the net.

You find your own way of doing it after a while but at first it was going horribly.  My hands kept shaking and the pins kept falling out and the each time i check the measurement it would be different.  After a few frustration hours on just the first layer i got the knack of it pinning in sections and cutting in sections, very slowly.

It is a very long process, i cannot begin to think what it is like to do an entire Ballet group but after the 3rd layer as it starts to shape it can be rewarding to see the tutu coming together.

A few pictures of it finished:

I did find it hard to move on from each layer as you could sit for hours trying to cut it dead straight, there are slight wavers in it but i think for a first attempt it be impossible not to.

I did worry about the fact that some of the underneath layers were longer or short that the one after, not knowing the answer i have left it but i may go back to it to try and get them similar levels.  I'm not sure if this is because of the measuring or if i maybe pulled the net but it doesn't should hugely and could just be me being picky and wanted it perfect.

All i have left to do it attach to the bodice and decorate!!

Piping evaluation

i am slightly disappointed with my efforts on the piping front. I really struggled with it to get it looking neat.  i feel because of the fabric it did make it hard as it was very slippery.  It has however taught me how to work with this type of fabric doing a fiddly task with it and will take what i learnt into the future.  It has taught me to be patient and take my time over something which i feel if i hadn't it  would have turned out looking rather scruffy.  I think what i have achieved is of good standard but i strive for perfection which as said in the construction process comes with practise.  I'm sure if i were to do it again even now i would achieve better results so its just a cause of keep trying and gaining experience.

i feel i am progressing well as a maker during this unit,  especially on this task.  I am gaining the ability to know what looks right and wrong and what is acceptable.  For instance my first attempt at piping was disastrous as the fabric slipped under the machine. i did not use that piece and started again adding lots of extra pins and concentration.  I feel even though i might not get it first time i am able to rectify where i went wrong and fix it independently.

This unit has definitely taught me to work on my own and work things out for myself.  Having only 1 workshop a week has encouraged me to work independently a lot which i did at home and any issues that arise i have been able to work it out myself without tutor help.  This will benefit me well in the future as my problem solving is very strong and quick.

I feel as a costume maker my skills have accelerated within this unit.  None of what we are being taught i have done before and i am able to do it efficiently.  I have learnt to be incredibly neat with my stitches, i feel i have always been pretty neat before but this needs to look as though its been made by faeries.   I am learning why things are done in a certain way and why that effects the costume.  My aesthetic eye is getting far better, the piping on the bodice, creating the pattern on the stand and levelling all need this and mine was ok to begin with but this really tested it especially levelling the tutu.  All these skills will be transferable into all other areas of costume.

Coming to the end soon and only have a few things left such as the decoration and attaching the tutu to the bodice but i am still really enjoying it.

Piping

On the way to completion of my bodice.  Moving on from the stage of herringbone the bones down i now have to add the piping to the design line top and bottom. 

It was recommended that we use 00 size piping as it gives a nice, delicate feel to the bodice oppose to a thicker one that could look chunky.

Using the bias of the slipper satin i cut lengths 5cm wide for the piping to sit within.  As using the bias of the fabric it allows it to bend with the curves of the bodice over the bust without distorting the fabric or changing the shape of the bodice.

Using a piping foot i sewed the piping into the satin.  I found this process incredibly difficult due to the fact that the piping was so thin and kept unravelling and the satin was slippery the piping foot had nothing to hold onto and keeping it position proved a challenge in which my stitching went off a bit not completely in line.  I will however once sew to the bodice unpick these bits just to make the inside of the bodice looking neater.

We constructed the piping in a way which meant it could be altered in the future, as ballet costumes may be used for long periods of time they need to be adapted if the dancer changes size or another dancer is needed. We added extra on the placket to allow for this and other areas were added. This makes it simpler and easier if it does need to be altered as it means that the piping doesn't need to be redone.  How we did it was very well thought out and more details will be in my workbook.

It was important not to catch the piping cord as it can be used to shape the bodice over the bust.  I think in some areas i caught mine due to the thinness of the piping but as mine is not being made for someone it is ok  i will be able to learn from this and next time not catch it.

Sewing it onto the bodice again was quite difficult for the same reasons as before.  It was far better though as the machine had something to grip onto as it was thicker however the piping did twist over the bust more than I'd have like.  But this will all come with experience to get it perfect.

Finishing the seams of the piping off was difficult to get the seams folded under neatly as they did fold and crease.  Mine isn't the most even of seams but it was the only way to stop it pleating.  Again like before this will only come with experience.

Having finished it there are a few things that next time i will look watch out for. 

• Not leaving the pins in too long when slip stitch.  I pinned mine then we had our presentation so i left them in for 1 day or 2 and they created small holes in the satin where they had been.  I'm hoping when i press it they will drop out.
• Clean pins,  it was suggested that we get clean pins but having not had a previous problem when pinning my bodice together i thought mine would be ok. However it seemed that i was wrong and a few little black pin marks are on the bodice, mainly on the inside but i'd still prefer for them not to be there.
• Slip stitch my piping down. I'm not sure how i'd do this again but i suppose practise will sort out the issues here.
• Piping stitching could be neater.

It may seem i'm being pernickety but i like to have my costume being perfect which i know never happens first time and will come with practise but by having this attitude it allows me to want to push myself in the future to get that perfection.

Evaluation so far

Having just spent the last 2 days updating my blog i felt i needed to evaluate myself.  I do have a tendency to leave these such things to when i feel i have time so not nessacerally when i need to do them.  Workbooks are not usually done as i go along but are done in bursts throughout and usually rushed into the last few weeks.  i feel that i am getting a lot better on that front with my workbook that i will be handing in with my costume and blog.  This is full of my instructions, decoration pieces nad other bits and pieces.  My blog seems to be the thing that is being left behind.  I think i am realising that i am not a natural blogger and it all seems rather strange writting on a blog in an informal way.  Its not my way of working to work like this and have found it incredibly hard to blog weekly, daily etc.  I seem to get days where  i get in the right mind set to do it and do loads and then don't do any for a while. 

I'm am really going to try for the last few weeks (having been ill i have knidly been given a extension) to update as i go.  Everything else i seem to be time managing well, i am only a little bit behind on my bodice but will finish it within the week i feel.  If i ever use a blog again in future projects i will know from this to try and do it as i go and update just small amounts daily.  I have found it helpful to reflect on myself so even if i don't use a blog i will evaluate myself along the way i a workbook so i don't rush at the end!

Swan Lake Moscow Ballet - La Classique

This really should have been one of the first things onto my blog as it was the first performance that we say live.  We will be comparing this in our essay with two other versions of Swan Lake.  It was due to time that i never got round to writing it up and got caught up in the excitement of the construction process.

Director: Elik Melikov
Choreography: Marius Petipa (1818 - 1910) and Lev Ivanov (1834 - 1901)
Music: Tchaikovsky (1840 - 1893)

This was a rather disappointing performance, only seeing pieces of Swan Lake previously to compare it.  I still though felt a be underwhelmed by it all.  The first disappointment was the music as it was a recording, this meant that the ballet dancer had to keep up with the music without having the backup of a maestro to slow or speed up the music with the dancer.  This showed and some parts were out of time with the music or rushed to keep up. 

Secondly as we discussed after, Odette and the Prince Seigfried had no chemistry on stage, it was unbelievable that they were in love, this was rather disappointing as some of the most romantic scenes tended to fall flat.

Costumes were mixed.  I really liked the signet costumes the tutus were slightly bigger than they should have been as they are measured against the dancer.  ( one dancer was smaller so hers swamped her slightly)  Because of this the costumes bounced around when dancing, i really liked this as they helped get across the character well of little swans.  The rest of the costumes were pretty but they didn't go, they didn't seem to have a consistent colour palette. 

Overall it was a good production but i was expecting to be blown away and having see now a few more i have seen how it is meant to be done.

Matthew Bournes Early Adventures

Many of us doing the Ballet project spotted that at the lighthouse theatre in Poole Matthew Bournes Early Adventures was going to show on the 15th May and most went.  I was a celebratory piece with performances from 3 of his earliest works.

Spitfire; An Advertisment Divertissement

• Matthew Bournes first hit in 1988
• Masculine portrayal.
• Male underwear models.

This was an entertaining piece using dance to portray advertising poses.  It was success at the time and 24 years later it still is.

The Infernal Gallop: A French Dance With English Subtitles.

• 1989
• set in 1930s and 40s in France.
• Tried to portray France in that time.
• Gay scenes showed the repression of the time, in present day its not a shock to see it but I'd imagine in the late 80s it may have caused some issues

Town and Country: Lie Back and Think of England.

• Very comedic performance.
• Explored characters and identities from iconic eras.
• Used scenes from Brief Encounter.
• 1992
• Used music not from ballet or operas.
• Iconic Music.
• Repression.  Two men wanting to be together but not being able to.

This was by far my favourite piece of the night, it really showed the diversity of dance well in representing animals, moods and had a brilliant scene choreographered around a bath which unique and funny.

After discussing these performances with our tutor he suggested that we need to do background research into the characters of the Ballet and why they are how they are.  The two repressed gentlemen to us seemed romantic and sweet that they wanted to be together and in our generation we don't see it as two men and doesn't faze us.  However when the play was set it would have been seen as wrong hence why is shouldn't be seen as a romantic scene but a sad scene with two people who can't be together.  We need to also look at the time that it was released as i said earlier this was in the late 80s where people weren't as open with same sex relationships.  Where as a man and a man dancing together isn't an issue now it would have been picked up on at the time and I'd imagine some people were very critical of what Matthew Bourne did.

This is why i find Matthew Bourne's work so good as he doesn't worry about pushing boundaries.  He never oversteps the mark and he said himself right before hes does something stops it.

It was a very good night to go as Matthew Bourne himself was there for a question and answer at the end which was very informative.  It was nice to listen to his views and why he has done certain things.  What goes through his head when he makes these things.  What i took from this was from one of his questions, he is not creating ballet but creating dance.  I completely agree with him and i feel that it why i prefer some of his work as it has a story that is easy to follow, its theatrical and like with streetcar you forget there are no words.

Street Car Named Desire Ballet

I happened to see in the paper that at Sadlers Wells there was going to be a performance of 'A Streetcar Named Desire' by the Scottish Ballet.  Having previously studied the Play by Tennessee Williams' for a design project during my first year at uni i was curious to see how it could be translated into a ballet or dance piece.  Mainly due to the dark content of it as it is not the happiest of plays with scenes of domestic violence, abuse and rape. 

Directed by Nancy Meckler
Choreographer: Annabelle Lapez Ochoa
Music: Peter Salem

As i said previously i was curious to see how it would fit into a Ballet.  The director of the play had previously directed the theatre show so it was good to watch something that was familiar to the directer in a non dance  way.  She said in the programme that her challenge was to create a 'wordy' play in to a wordless ballet through movements.

I really enjoyed the ballet, everything about it was brilliant.  The staging, very simple, but reflects New Orleans well.  The costumes were beautiful,  Blanche at the beginning appears in a stunning white dress, that move beautifully with the dancer.  It had a very full skirt, similar to the romantic tutu but to look 1950s.  This worked so well.  From the programme the designer Niki Turner said she worked with the cutters and makers to adapt the patterns to fit the dancers and create more room for movement.  This is something we are learning through adapting a basic sleeve block into a ballet sleeve.  I think it is nice to see modern day or 50s style dress on men and women but adapted for the dance style.

The dance was brilliant too, a mixture of jazz, ballroom, contemporary and ballet all mixed into one created such an dynamic piece.  The music was original and was again mixture of Jazz and 50s style singing.  This worked so well with the dance and the play which is set in New Orleans French Quarter, Jazz area.

The Ballet even though very dark did this so well in movements that the shock was there but it wasn't ucomfortable like it could have been in the play.

I really liked this new type of ballet that is emerging not just with the Scottish Ballet but with Matthew Bournes pieces as well.  They really tell a story and have a theatrical piece that you forget there is no dialogue.

Update

It has been a busy few weeks and due to illness, reflecting on the blog took kind of a back seat. However have got back too it and catching up quickly with work Ive missed.

Starting to make the skirt proved to be a very lengthy process that took far longer than i thought it would.  It prove quite a challenge with the cutting and layering of it.  Everything needed to be very precise so i took longer with it so i could triple check it. 

The pattern i drafted was quite straight forward, i feel my skills in that area are getting stronger and stronger each time i do it.  I understand the terms used more now and am getting quicker with it. i have faith in my self to not keep checking over and over that I've got it right and have the growing knowledge of what looks right or wrong so can make decisions quickly and work efficiently.

After rather annoyingly having to refold of the netting before cutting out has definitely made me more aware of other people using studios, not to say before that i wasn't it has just made me super cautious as by someone not folding up the fabric right resulting in about 2 hours extra at my end. 

Cutting i really did take my time over.  My cutting skills have always been a weaker point of my construction skills so i was being extra careful so as not to get a jagged edge.  The reason being is that this will show as one layer overlaps the other.  I think that this project has improved these skills as i have to be neat with it so its very accurate.  i will take this experience into my future projects.

Sewing the pattern together took a very long time, having 45 panels to sew together can be very monotonous and luckily i decided to take breaks when i needed.  This did make it take longer but it also meant that i was refreshed to carry on another time.  It was very fiddly work which i found easier with plenty of pins.  It does rely upon a great deal of aesthetic eye as it does move around when sewing and it is important to be able to keep it equal width down the whole thing.  I feel i did this well, i think my aesthetic eye is quite good and found it easier to pin a little bit then use my hands to line it up as i go.  This did make it a bit quicker and i think next time i will do this from the start as i started to so this from the 3rd layer.
I feel that my stitching could have been neater, my sewing machine kept jumping and gathering up tightly so it was hard to undo.  Next time i will practise with a spare bit to get the correct tension as it gathered it up and stopped some parts of the net lying flat.  This doesn't show as much on the two top layers i had sorted the tension.

Gathering onto my basque i really enjoyed, i found it rewarding as it came together so quickly.  The hardest bit was trying to get the gathers in the right place and even as it is important to be symmetrical. I feel that i did quite a good job of this.  Looking at it now i do think i could have put a bit more around the front as it is quite a bit more see through so you can see the stitching underneath on the layers there. With more time i could have sorted it but as in the profession environment there is a deadline to work to.  I am happy with the results.

i feel that my basque is quite neat.  I wanted to make sure it looked professional as you will be able to see the basque and seams through the net.

i am now half way through levelling and with that finished i will start to paint my decorations.

i am finding this unit extremely helpful and am learning a Lot of processes that i have previously done.  Its also a huge learning curve and i feel if i could do it again in the future it would turn out different and i would be much quicker.

Attaching the net

Now to the fun part of attaching the net to the basque.  This was a lengthy process as i wanted it to be symmetrical and the pleats and gathers to match each side of the c/f.

Starting with the smallest layer gather up the top edge and match c/f to c/f on basque.  Gather up making sure to put most of the gathers at the back.  This creates a nice shape to the Tutu and flatters the dancer otherwise it could look like she has a belly or big hips!
Each layer is added bringing the gathers around the front of the basque a bit.

The shape took the longest as you could play around with the net for ever before you feel it is right. 

I was initially worried about the net showing the stitching between the panels but once the net started layering up it becomes invisible and blends with the background. 

I am really pleased with my skirt and the layering and shaping makes it look so floaty and flowing.  This process has given me a real insight into the works of making a ballet tutu and how much effort and detail go into creating one.

Pictures of the process:

layer 1






layer 2








layer 3



layer 4



layer 5



Now all that needs to be done is to steam it and level the tutu.  Add my fastenings to the back and attach to the bodice.

Tutu

The Romantic Tutu

• It has triangular panels which helps to give a slimming effect around the waist.
• For each tutu in a performance the panels are different shapes, however if there are alot of dancers you take the biggest and tallest size and adapt.

Construction

• Our panels will be 29inches wide and  36 inch's long ( some will be cut off when levelling the tutu) we will have 5 layers.
• Layer 1: 5 Panels
• Layer 2: 7 Panels
• Layer 3: 9 Panels
• Layer 4: 11 Panels
• Layer 5: 13 Panels.
• As you can see there are 45 panels that need to be sewn together neatly as the neat is fine so any mistakes will show up easily.

I drafted out my skirt pattern using the method given.  Its was up to myself to get the shape as the top as its drawn freehand.  But it needs to be smoothly curved as it is going around the body. 

Cutting out the net proved a challenge.  It came off the role in layers of 4 so i had to fold it over a few times to get 16 before i cut out.  Once doing this i discovered that the previous person had rolled it up unevenly.  This then subjected me to 3 hours of unfolding and refolding of the net which resulted me in cutting out the net in layers of 8 not 16 so it took twice as long.  This has taught me to make sure that if i do ever take fabric to roll it back up neatly as it was rather annoying to find it like that!

Pictures of the cutting process

Once cut i had to pin and sew 45 panels together. Making sure to leave an opening 10inchs from the top on one of the seams so that the dancers can get in and out of it easily when its on the basque. As pictured:

Process

• Pin down seams with a overlap equal each side of the pins.
• Start at the top (in case of stretch) and stitch down.
• make sure not to pull so it doesn't stretch.

This process was harder than i thought it was going to be.  The net was quite slippery and moved as soon as you took the pins out.  After a few attempts (luckily on the bottom layer so it shouldn't show to much) i got the hang of it.     It was important to keep the seam allowance equal either side of the stitching.  This involved many pins in all directions to keep the netting from moving around.  By the time i got to the top layer i had got the hang of it which is good as that will be the one on show.  It was important throughout it to pin securely and hold it securely so that the net doesn't stretch with the tension on the machine.  i think only one of my panels did however when i level the tutu this should be cut off.

This process did take a long time and it was very tiring as you stare at the lines for 3 or 4 hours when sewing.  i did take regular breaks which helped to keep me accurate as i had a time out from it. There are a few bits that caught up, my machine sometimes missed a stitch and jumped so the threads all gathered so i carefully had to pull it down.  This has resulted in some of the seams buckling a bit but hopefully with a bit of steam it will go.

next step is the gathering and attaching it to the basque!!

Basque and Waistband

The basques is the means of how we attach the skirt to the Bodice.  It gives support to the skirt and comfort for the dancers as the net is not sitting next to skin.

Equipment needed:
Grosgrain ribbon (double length of mannequin waist)
Cotton Drill for basque base.  Pattern drafted from handout. 
Elastic
Bias binding.
Cotton tape for hanging ties.

Following the hand out that was given firstly i started by drafting out pattern.  Nothing to technical when doing this.  As it isn't a plate tutu we are making the basque isn't as wide.  Therefore as we drafted with darts is was established that the darts would be cut off at the ends creating 2 extra seams.  Therefore we adjusted it, we folded the darts as they would be sew and stuck it down with tape.  So problem eliminated.  I then cut it out including seam allowances with extra at the back.  This extra would be used if this was going to a fitting, mine is not so that extra will be cut off when making the placket and finishing the seams.

Its a very simple method and quite quick to put together once you have the formula right in your head for the waistband.

Pictures

My other pictures of my basque will be with the skirt construction.

there were a few tips that were given to use which i will take forward with me into other areas like ways to reduce bulk so that it is comfy for the dancer and making sure to stitch the shirt lines onto the basque before so that when it comes to sewing your skirt of you can follow a straight line.  Things like this i may not have thought about were so helpful and useful and made the whole construction process easier.

i found this process once started quite easy, i think it pays to take your time and not rush through even if its simple.  I think mine looks really neat because of this.  i did change where i put my hanging loops as they were meant to go on the side seams which happens to come exactly wear the elastic on the waistband is so i moved them slightly back so they can be securely stitched down as over the elastic the waistband is stitched with zigzag stitch for stretch. 

screening: La Fille Mal Gardee'

La Fille Mal Gardee' - The way wood Daughter.

• Comic Ballet
• Inspired by the painting in 1782 by Pierre-Antonie Baudouins.
• Music adapted from 45 french airs by unknown artist.
• Original Producer: Jean Dauberval.
• First performed in Bardeoux in 1789. 
• Very important in the Ballet repitour but has undergone changes over time.
• Title
• Score
• Different Choreography.
• Presented 1 of 2 ways.
• 1903 Revival; Alexander Gorsky:
• music by peter Ludwig Hertal.
• This one drew onto previous performances with Petipa and Ivanov.

• 1960: Royal Ballet Stages by Sir Fredrick Ashton.
• Music Adapted by John Lanchbery from 1829 Ferdinand Herold score.

http://www.theballetbag.com/2010/03/09/la-fille-mal-gardee/

This is one of the earliest recorded ballet,  it involves regional dances as choreographer went right back to the origins of the ballet. : ie Clog Dance.



i thoroughly enjoyed this ballet, i feel that it had all the right elements.  It had a lot going on throughout it s it was hard to get bored which i find can often happen with some ballets as the steps become repetitive. with this they all seem new and the dancers danced with great chemistry between them and enthusiasm.  the costumes were different.  they had the traditional Romantic Tutu in different colours an the make dancers wore boots and looked far more manly in there costumes than in usual Ballet.  what i really liked about the Ballet was that the male dancer had a role to play instead of the usual lifting and supporting.  He had his own solos and did far more movement when dancing in a pair.  the mime was over the top but it fitted the ballet so well and i absolutely loved the chickens at the beginning.  i feel that this has been the best ballet i have seen so far as it has so much personality.

Screening: Les Ballets Trockadero

Trockadero: Swan Lake

• All Male Drag Ballet company.
• Company co-founded by Peter Anastos, Anthony Bassae and Natch Taylor in 1974 in New York.
• Debuted in 14th Street, (off, off Broadway)
• After much success, the Ballet toured and in 2008 appear on the Royal Variety Show in UK.
• Dancer portray both male and female roles in a parody of ballet.
• Has a  humorous take on Ballet.
• men wearing tutus ad on pointe.
• Is the opposite of en Travesti which happen to male dancer throughout the later 19th Century early 20th.

Swan Lake Act 2

• 'Music by: Pyotr Ilyich Tchaikovsky Staged by: Truitti Gasparinetti after Ivanov
  Choreography after: LevIvanovich Ivanov
  Costumes by: Mike Gonzales
  Lighting by: Kip MarshDecor by: Clio Young'

Observations:

• Prince: dancer is short, comedic effect the swans are taller.
• Makes the male role dancers look androgynous: ken doll.  With the costumes and height, they look very feminine.
• Swan
• Plate tutu smaller/narrower; makes the dancer look more elongated.  Very comical.
• Lots more layers of ruffles and frills over the crotch area: disguise!
• Performance
• Rein acting how the swan acts with gesturing and hand movements,  Very effective as its taking the Ballet mime to a new level. More literal.
• Ballet core have a personality, each have their own whereas in classical ballet they don't.

i really liked this performance of Swan Lake,  i feel that they did it so well.  It looks and feels to start with like the Company are taking the mickey out of Ballet but when you look past this you realise that they are doing exactly the same dance steps as classical ballerina.  They push boundaries with it but never overstep the mark, everything they do is harmless and respectful of what they ballerina does. The Signets technically doing every step right just with comic effect.  i was very impressed.