The Genesis of David Nixon's
Production of Swan Lake
With
the remarkable music of Tchaikovsky as inspiration and the certain
popularity of the story wouldn't every choreographer dream of
the opportunity to create a new Swan Lake? It is indeed
a gift to be given such an opportunity, but the honor must be
repaid with careful thought and diligent work and more than a
casual glance over your shoulder at history.
Versions of Swan Lake have run the gamut from hackneyed
restagings "after Petipa" to dramatic rethinkings of
the plot where almost all that is recognizable is Tchaikovsky’s
music. David Nixon has danced in at least eleven different versions
of Swan Lake and viewed at least fourteen. With each new
production Mr. Nixon’s perspective was always that of the
dancer in the role of Siegfried - rethinking his own interpretation
of the role and its place within the production as a whole. As
a choreographer he must now view the ballet differently.
Tchaikovsky’s music is an obvious starting point in shaping
a new Swan Lake, and that is where Mr. Nixon began. There
is, however, a lot more music written for the ballet than can
usually be incorporated. As the choreographer John Cranko noted,
"I am always surprised by productions of Swan Lake that
claim to have used all the music. Such a production would last
as long as Die Meistersinger. While opera lovers can take
this length, balletomanes tend to enjoy shorter fare." Judicious
editing of the music must take place in order to maintain the
integrity of the original score. Essential themes must be retained
and also placed in an order that will make dramatic sense to
the plot development. For example Mr. Nixon edited much of the
divertissements music, some of which was added after the original
production, and none of which furthers the plot of the ballet.
This is not to imply that there is a dearth of dancing in Mr.
Nixon’s Swan Lake, the dancing closely coincides
with the narration of the story. The biggest structural change
in Mr. Nixon’s Swan Lake is that he has chosen to
produce the ballet in two acts and four scenes, which allows
for more continuity in the action of the story.
Music often missing from productions of Swan Lake is
the Russian Dance. Mr. Nixon has used this in the ballroom as
the moment for Odile to try and convince Siegfried that this
swan who looks somewhat like Odette, is really her.
From its outset, the music for Swan Lake does not sound
happy and definitely sets the mood for the tragedy that is to
follow. Although Swan Lake does not offer the classic
happy ending, Mr. Nixon believes there is reason to be happy
at the triumph of good over evil, and the forgiveness of love,
tempered by the reality of life that continues on. He notes that
most traditional fairy stories do not have happy endings, which
are mostly the product of revisions this century. As is true
in life, you cannot take back what has happened but only try
to make the best of it.
In all of David Nixon’s choreography it is paramount
that the story and the characters’ actions make sense. In
a fantastic story such as that of Swan Lake there are
bound to be events that are beyond the norm of our rational world.
Often choreographers ignore inconsistencies in the story line
because "that is the way it has always been done."
Mr. Nixon did not set out to change the story of Swan Lake
but as he worked on the ballet realized that certain parts of
the story were changing.
This is not the first time that two different dancers have
represented Odette and Odile. Mr. Nixon decided to use two dancers
for the roles as he perceives the two characters as totally different
women, both physically and emotionally. He does not want the
audience to think that the Prince made an understandable mistake
because the two women look so similar. Instead, Mr. Nixon chose
to accentuate the Prince’s responsibility for allowing himself
to be led astray by Odile’s deception. He has also expanded
the role of Odile (including her appearance in Act 1 as intended
by Tchaikovsky) so that her dancing load is now much greater
than just the Act 3 pas de deux. Odette is fragile and sensitive
as opposed to Odile who is strong and worldly. Siegfried is at
first repelled by Odile’s strong sensuality and rejects
her. This repulsion of Odile leads Siegfried to be captured by
Odette’s fragility. Only after he has fallen in love is
he ready to accept Odile’s more aggressive stance, believing
her to be his beloved Odette.
Rothbart is often portrayed from the start as an evil character
who wants the worst to befall everyone. Mr. Nixon has given Rothbart
a reason for wanting to marry his daughter, Odile, to the Prince.
Rothbart attempts to do this conventionally; only when he fails
does he resort to deception and betrayal. The lake is a mysterious
and secret place as the swans are not commonly known to be maidens
by night. Rothbart is the only one who knows of both worlds,
so it must be he who leads Siegfried to the lake. To this end
it is now Rothbart, instead of the Queen, who presents the bow
to the Prince.
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Why Not Present Swan
Lake the Way Everyone Else Does?
It
is important to remember that ballets are part of the oral tradition,
that is they are taught by one person to another. Unlike musicians
who learn from scores and actors from scripts, dances are, for
the most part, preserved in the memories of those who were a
part of the creation of the work. With this human interaction
ballets are often changed to suit the individual dancing the
role so that they may reveal in the best way they can the inner
meaning or shape of the work. Particularly whenever choreographers
restage works they may create new variations on each occasion.
Even when change is not intended, a dance is still subject to
the physical reality of each successive artist who performs the
work. An audience can only view a ballet through the filter of
the individual performing it. There are, however, always elements
that distinguish a particular ballet that remain constant.
It is because of this disposition to change a work with each
presentation that there becomes no absolute version. Even with
a ballet of such repute as Swan Lake, time has helped
to cloud many of the original intentions for the work. Tchaikovsky
left few notes as to his inspiration or desires for Swan Lake.
The Petipa/ Ivanov version that we call the standard version
varied greatly from Tchaikovsky’s concept of the ballet.
The Petipa/ Ivanov version, too, has been subject to many changes
due to time and fashion. No element has been left untouched over
the years (choreography, story, music) and yet Swan Lake
still maintains its integrity as a work. (For more details please
read the accompanying history).
When staging a classic such as Swan Lake, the choreographer
can decide to present an imitation of the original, adding perhaps
a sprinkling of new ideas to make it his own, or to smooth over
cracks he finds distracting in the original. He may take the
story and retell it in his own style, including references that
are more contemporary, or can go back to the archives to divine
the true intent of the original creators. He can use classical
dance or turn to a style he feels he may better express himself
in. Sometimes these choices are personal and sometimes with an
eye to what the public will like.
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The Design Elements
As
with most productions since Vaganova’s of 1933, Mr. Nixon
has changed the setting of the story away from the Medieval period
to that of the late 1800s. Many of his design decisions were
based on practicality, with regard to time, place and action.
Mr. Nixon needed all the dancers in Act 1 to go on the hunt,
not just the men, so he chose a period in which the ladies of
the court would also go hunting. Fall is the season associated
with hunting; thus the coloring of the costumes reflects that
time of year. Mr. Nixon turned to the lithographs of the 1800s
to capture in the costumes a feel for that period. All the women
in the ballet wear long "romantic" tutu skirts for
all but the lake scenes. Mr. Nixon felt the classical tutu is
such a part of our collective image of Swan Lake that
to change it to match the longer skirts of the rest of the ballet
would not be a good idea. This choice also supports the image
of the lakeside as a magical place away from the normal life
of the rest of the ballet.
There is also contrast to be found in the costuming of Rothbart
and Odile, who, although they are passing themselves off as a
part of the normal world, can not completely hide their differences.
There are always bird-like elements to be seen in the costuming
of Rothbart, and both he and his daughter are clothed in distinct
colors.
It is important to Mr. Nixon that the princesses not look
generic. Traditionally in Swan Lake all the princesses
turn up at the ball wearing exactly the same dress and hairstyle.
If they were there vying for the Prince’s hand in marriage
surely they would also do their best to outshine one another
with what they wore. Mr. Nixon also wanted the princesses to
represent the nationalities that are traditionally just the entertainment
brought to the party. Thus each princess’ costume has a
national flavor. In their dancing too, Mr. Nixon has given the
princesses a national flavor while maintaining in their dance
style their status as nobles.
Costume Facts
- There are approximately 66 costumes comprising of 188 pieces
- Odette’s headpiece has 154 hand set rhinestones.
- 800 yards of thread were used for tacking tutu layers together.
12,000 yards of white thread were used to sew the swans together.
- There are real feathers on the swans’ headpieces and
on Rothbart’s ball costume. In all other cases an appliqué
edged with a 2" wide ruffled tulle is used. At a distance
it looks more like a feather than the real thing.
- There are 285 yards of such 2" ruffled tulle that is
cut along one edge in a diamond shape called "dagging".
- There are 15 non functional buttons on each woman’s
hunt costume. They are there just for good looks. The costumes
actually fasten up the back with 29 - 32 hooks and eyes.
- The men’s jackets for the hunt are made of silk velvet.
Although more expensive, the color is richer than cotton, it
does not hold odor like man-made fabrics and will not rot as
fast as other types of velour.
The ball costumes for the men are made with a cotton velour
that was treated with a noxious chemical. So far it has caused
hives and upper respiratory irritation to the costumieres. It
will be cleaned before it is worn by the dancers.
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The Synopsis of David Nixon’s
Swan Lake
This is a story which
crosses the world of magic and mystical creatures with that of
the real world. It is a story where betrayal and power are in
the end conquered by the virtues of love and forgiveness.
ACT I
Count Von Rothbart is an evil sorcerer whose true form is
reminiscent of a bird. He lives as a human among the mortals
at court, playing the role of Prince Siegfried’s mentor.
Rothbart awaits his chance to fulfill his promise to his daughter,
Odile. No matter what the cost he will marry her to the Prince
and thus allow her to become human.
It is the day before the Prince’s coming of age, a time
when he must marry and inherit the kingdom. Prince Siegfried
has wandered ahead of the hunting party. He is soon found by
his best friend, Benno, and the rest of the party. Amidst the
youthful merriment, the Queen arrives with an unusual guest.
Siegfried assumes she is just another of the arriving princesses
hoping to catch his eye, but he is caught by her beauty and sensuality.
She is in fact Rothbart’s daughter Odile. As Siegfried dances
with her, he realizes that there is an insincerity about this
woman and dismisses her. The Queen is troubled by her son’s
actions and points out that he must marry. She gives him the
family ring which he must give to his betrothed.
When the hunt continues, Siegfried remains behind with Benno
contemplating his future and the loss of his youth. Rothbart
conspires to lure Siegfried to the enchanted lake. He presents
the Prince with a bow and convinces Benno and Siegfried to follow
him. The men agree, but when the Prince arrives at the lake he
finds himself alone.
Out of the lake appears a swan who, upon landing, transforms
into a delicate maiden. She is Odette, the queen of the swans.
The Prince has never beheld such a gentle beauty and cannot stay
hidden. Odette is shocked to see a human there and tries to fly
back to the lake, but realizes she cannot fly away. Being night
time, her wings have transformed into arms. As they stare into
each others eyes, their love and fate are determined. Sensing
the approach of Rothbart, Odette flees. The other swan-maidens
emerge from the lake. They become frightened when Siegfried appears
with his bow. Odette returns to protect her swans, and together
they dance for the Prince. Finally Siegfried confesses his love
and begs Odette to attend the ball the following evening so that
he may introduce her as his betrothed. Siegfried confirms his
intentions by giving Odette the family ring. As Odette transforms
back to a swan, she must relinquish the ring she may not wear
as a swan. Von Rothbart steals the ring and gives it to Odile
to take to the ball.
ACT II
The court is joyously celebrating the Prince’s birthday
and excitedly awaiting his choice of bride. Benno introduces
the princesses as they arrive from Spain, Hungary and Italy eager
to win the Prince. With the herald of trumpets the Queen and
her son arrive. The Queen is quick to point out the would-be
brides. The princesses almost attack the prince with their eagerness,
but Siegfried is not interested. The court is surprised by the
arrival of Rothbart accompanied by Odile who pretends to be Odette.
The Prince is excited in the belief that Odette has accepted
his invitation to the ball. Just as he would catch her, Odile
is gone. The other princesses take this as their cue to vie for
Siegfried’s attention.
When the real Odette appears Rothbart quickly freezes the
court and uses Odette to convince the Prince that Odile is his
beloved. This goal accomplished, Rothbart expels Odette and revives
the court. Odile, the black swan, is radiant and proceeds to
dance with the Prince.
Benno alone remains unconvinced of Odile’s identity and
demands that Siegfried ask Odile to show the wedding ring which
he gave to Odette. Odile slyly walks forwards and presents the
ring for all to see. Siegfried is elated and swears his love
to Odile. With success theirs, Rothbart releases his spell and
Odette runs in. Siegfried, totally at a loss as to what has transpired,
follows the horrified Odette out of the palace with Odile and
Rothbart close behind.
Back at the lake the swans lament what has taken place and
attempt to console Odette. When Siegfried enters the swans leave,
but Odette remains to feel her loved one’s embrace and to
comfort his folly. They are interrupted by Odile and Rothbart
who enter in their real forms. Rothbart reminds Siegfried of
his oath to Odile. Torn between his word and his love for Odette,
Siegfried abandons this world by leaping into the lake. Odile
and Odette are both distraught. The swans unite and drive the
evil sorcerer and his daughter into the water. Slowly the flock
embraces their beloved Odette and quiet her cries of sorrow until
she accepts her fate in the comfort of their love.
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Bibliography
The
Ballet Called Swan Lake - Cyril Beaumont. London 1952, New
York 1982
Tchaikovsky’s Ballets - Roland John Wiley. Clarendon
Press1985 & 1991
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