Posts tagged classical ballet
Near to the lake’s edge

Recently landed: Near to the lake’s edge, a new article on Marginalia (by Gracia) takes you to Jean-Christophe Maillot’s LAC

Les Ballets de Monte-Carlo in LAC by Jean-Christophe Maillot (image credit: Alice Blangero)

“All for your delight”

Recently landed: “All for your delight”, a new article on Marginalia (by Gracia) takes you to the moonlit forest of Queensland Ballet’s A Midsummer Night’s Dream

Edwin Landseer, Scene from A Midsummer Night’s Dream. Titania and Bottom, oil on canvas, 1848–51

An illusion of lightness

Recently landed: An illusion of lightness, a new article on Marginalia (by Gracia) spins you back to the forest where Myrtha and her glow of Willis mean business: you will dance to your death

The Australian Ballet’s Valerie Tereshchenko as Myrtha, Queen of the Wilis, in Giselle, 2018 (image credit: Jeff Busby)

The colour of nostalgia

Recently landed: The colour of nostalgia, a new article on Marginalia (by Gracia) takes you to Graeme Murphy's Nutcracker — The Story of Clara

The Australian Ballet's Kevin Jackson and Leanne Stojmenov in Graeme Murphy's Nutcracker — The Story of Clara (image credit: Jeff Busby)

Coppélia

Recently landed: Exquisite clockwork in the pocket of the Palais, a new article on Marginalia (by Gracia) takes you to the Australian Ballet's Coppélia

Chengwu Guo as Franz in Coppélia (Image credit: Jeff Busby)

Rolling Stones

Recently landed: Rolling Stones, Gracia's written response to Melanie Lane and Juliet Burnett's Re-make, and Jo Lloyd and Nicola Gunn's Mermermer, presented at Chunky Move Studios as part of Next Move 9, for Fjord Review

"The gods had condemned Sisyphus to ceaselessly rolling a rock to the top of a mountain, whence the stone would fall back of its own weight. They had thought with some reason that there is no more dreadful punishment than futile and hopeless labor.” To me, this is what the creative process can feel like. Creativity is resilience and determination that comes to the fore when tested; when we “re-visit, re-spond and re-invent.”

And so Re-make, one of two commissioned works in Chunky Move’s ninth Next Move performance season, began with Juliet Burnett repeating the same steps over and over, returning to the same marker. “The stage sets collapse[d]…. and Monday Tuesday Wednesday Thursday Friday Saturday and Sunday [operated] according to the same rhythm,” but as they did, the steps slowly changed. This is growth and reinvention through repetition.

In Re-make, references to Greek Mythology and Camus’s philosophy of the absurd, to the eternal labours of Sisyphus and his boulder, abound. And Burnett is stronger than her rock and the likelihood of hearing her effort is zero. At best, you will see a circle of sweat at her armpits and in the small of her back grow in size. And in her descent, she will turn into a bird; a silver-winged Phoenix, with a guitar plectrum for a beak and red heeled talons. This work may be the result of a conversation with choreographer and performer, Melanie Lane, but I cannot help read it as a portrait of Burnett’s own artistic career as she finds her true creative voice. This is “a solo for two.”

Melanie Lane and Juliet Burnett in Re-make (Image credit: Gregory Lorenzutti)