The ballet: Lincoln Midwest Ballet Company to perform Tchaikovsky's "The Nutcracker"
The power of ballet to captivate the minds and hearts of audiences around the world comes in part from the mysteries of its beauty. The appearance of such delicate, ethereal beauty and lightness projected by the dancers and choreography of ballet belie the intense physical effort and training required to support this illusion. The balance between the delicate beauty and the raw power of ballet is fascinating on a basic level. This seeming contradiction can make ballet difficult for us to understand, or it can inspire us to learn and expand our appreciation of the rich history and influence of this art. Artistic director of the Lincoln Midwest Ballet Company, Shari True, believes that while “it is hard to dabble in ballet because it is such an exact science,” it is possible and can be very rewarding to learn to appreciate ballet by going to shows, learning more about the art form, becoming involved in the dance community through volunteering and becoming a patron of dance companies.
The origins of ballet are in the Renaissance court of 15th century Italy, as an outgrowth of court pageantry, where musicians and dancers collaborated to provide lavish entertainment for court celebrations. These early ballets were participatory and were far from the highly developed technique and artistry of today. Ballet began to develop as a performance-centered art form in France during the 17th century, particularly under Louis XIV, who was passionate about dance and who was often cast in ballets of the time. The first ballet schools arose in France, and ballet terminology solidified there. The 18th century saw dramatic advances in the technical standards as well as the artistic standing of ballet, as it grew into a serious dramatic art form with prestige similar to opera. Advancements were made in composition and choreography to express character and narrative through dancers’ movements. Later, the social changes of the 19th century were reflected in changes in the ballet, as the dance grew into an art form that was affected by and commented on the society that was its context. Romanticism in ballet was a reaction to the rigidness of an increasingly industrialized society, and the fragile beauty of the romantic ballets and delicate look of the ballerinas of this time has become an archetype of culture to this day.
Understanding some very basic techniques of ballet can help audiences to more greatly appreciate the beauty of the art form. Shari True describes the most basic elements of ballet technique as the turnout of the ballerina from the hips and the circular motion of all arm movements. The five basic ballet positions are all performed in a circular movement. Some people also have attributes of a dancer, such as long limbs, short torso, hyperextended knees, small head, strong turnout muscles, and these natural qualities combined with the proper study and training can make an outstanding ballerina. “As far as what makes a great dancer,” says True, “it is body lines.” The purity of line as the dancer moves through space makes a performance truly great.
As ballet has continued to evolve through the 20th and into the 21st centuries, its influence on broader dance has grown as new types of ballet have also evolved. Nations and cultures around the world have made their own contributions to ballet. According to True, there are many styles of ballet that have converged in the U.S. “America is the melting pot,” and cultures brought their dance styles along with their families, food and traditions when they immigrated. Russian ballet, with its emphasis on strength and holding the legs out for example, plus Bournoville, Vaganova, Cecchetti, all these ballet styles have different aesthetic goals, but all ballet dancers perform the same exercises and follow a set process of training; and the terminology is the same throughout the world. American choreographer George Balanchine developed neoclassical ballet. Says True, “Balanchine was the first to make dancers move like lightning bolts.” The fast footwork is in contrast with other styles like Russian Ballet. Further developments in the past century include contemporary ballet and post-structural ballet.
As the world shrinks and we have so much access to information and entertainment, ballet and dance have remained cultural touchstones. Today, the popularity of shows like “So You Think You Can Dance?” and “Dancing with the Stars” reveal the public’s continuing fascination with dance. “Dancing with the Stars” has shown us people from a variety of backgrounds training to become dancers, and the success of many athletes from sports like football shows the type of athletic skill that is required of dancers. Still today, dance, and particularly ballet, is unique and uniquely challenging as both an art and a sport.
For many kids throughout the world and here in Lincoln, Neb., ballet is a part of their lives. Dance has become an incredibly popular activity for kids, and many become passionate about the training and continue to progress into their adult years. True likens the process of training young dancers to musical training: First the very basics are mastered; barre and center work, plies, tendus and degage are the dance equivalent of scales and arpeggios. As each technique is mastered, the study progresses. It is critical, says True, to “understand and enjoy the process, because it takes a long time!” Here in Lincoln, ballet has continued to thrive and a community of studios and a ballet company exist to promote the art form.
The Lincoln Midwest Ballet Company, a nonprofit organization, was founded in 1989 from two previously existing organizations. The Lincoln City Ballet, formed in 1979, and the Ballet Midwest Dance Company, formed in 1985, merged to further their common goals and similar missions. The mission of the Lincoln Midwest Ballet Company is to create and promote quality dance experiences, both preprofessional and professional, which provide participation, entertainment, education and training. Even before the merging of the two organizations into the Lincoln Midwest Ballet Company, in 1985, the Ballet Midwest Dance Company presented its first production of “The Nutcracker,” consisting of excerpts from the popular ballet. The Lincoln Community Playhouse also produced a “Nutcracker” for several years, as did other regional groups including the Lincoln City Ballet, the other forerunner of the Lincoln Midwest Ballet Company. “The Nutcracker” has become one of the most popular ballets and has a history nearly as rich as the dance itself.
“The Nutcracker” was a repeat of the collaboration that had created the huge 1890 success “Sleeping Beauty,” between A. Vsevolozhsky, director of Imperial Theatres in Russia, Tchaikovsky, and chief choreographer of the Imperial Theatres, M.I. Petipa; although Petipa later withdrew as choreographer because of illness and was replaced by Lev Ivanov, and generally, Ivanov is credited with the choreography. Petipa presented Tchaikovsky with a very detailed libretto, specifying not only the types of music and nature of the characters but also the tempos, the numbers of bars for actions, and even the pieces of music from which he wanted Tchaikovsky to borrow melodies. In spring 1892, Tchaikovsky premiered “The Nutcracker Ballet Suite,” an eight-part concert version of the ballet music. At least six times, the audience demanded immediate encores of specific music selections. Because of the Suite’s instant success, the score was published even before the ballet premiered.
On Dec. 17, 1892 “The Nutcracker” ballet premiered to mixed reviews, some worrying that its lush orchestration made the ballet music unsuitable for dancing. However, Agrippina Vaganova, the famous Russian ballet teacher, said “Connoisseurs of ballet purposely took seats in the upper tier to admire the beautiful patterns [of the] waltz of the Snowflakes” performed by 60 dancers. “The Nutcracker” faded and was revived many times throughout the 20th century. In 1954, George Balanchine brought authentic experience to his productions for New York City Ballet. In Russia, he had been a student at the Maryinsky School, where his “Nutcracker” roles advanced from toy soldier to prince. He was coached by dancers from the original production, especially Pavel Gerdt, the original Cavalier /Prince.
Particularly for American audiences, the “Nutcracker” has become a holiday staple, and its story, characters and imagery are nearly synonymous with the holiday spirit. Large and small ballet companies around the world present “Nutcracker” productions each holiday season. The classic “Nutcracker” story is accessible for young and old alike, and the opening party scene, battle scene, and dream-like snow scene are some of the most memorable of the stage. The second act with the around-the-world dancers performing for Clara and the prince allow audiences to see and hear the world in one show. The ubiquitous “Nutcracker” score has remained beloved since its first performance—the music is so well-known, audiences recognize the music even if they didn’t realize they knew it. The quintessential “Nutcracker” set, costumes, choreography and story are intertwined and become a character themselves in the show, and the classic themes cannot help but draw in young and old alike.
Growing from the 22 dancers of the first production, over 200 young local dancers now perform in the LMBC’s “Nutcracker” each year, dedicating a huge amount of time and hard work to rehearsing and perfecting the production. LMBC hires professional guest artists from the most prestigious companies in the nation and the world to perform some of the roles, and the students get to work with and learn from these world-class dancers. “Seeing is believing” for the students in the “Nutcracker,” and True explains how the children get to watch professionals from the wings of the stage, to see their diligence and focus and how they warm up before they perform. “Seeing them with sweat [running] down their backs,” the children realize how hard dancers have to work, True explains. The guest artists also teach class to the students before they go on stage at each performance. This is critical for True, because the focus of the LMBC production is on the kids and their experience.
Nearly 25 years since the first Ballet Midwest production of the “Nutcracker” in Lincoln, the Lincoln Midwest Ballet company production has become an annual community holiday event with professional guest artists and the Nebraska Symphony Chamber Orchestra collaborating with the cast and crew to produce a full production at the University of Nebraska-Lincoln’s Lied Center for Performing Arts. LMBC joins New York City Ballet and Colorado Ballet by producing a “traditional” “Nutcracker” with classic dance style, lush sets and costumes that suggest a romantic yesterday, and live symphonic music. For audiences hoping to spark a passion for ballet or looking for a wonderful family event, the LMBC “Nutcracker” provides professional ballet, music, costuming, sets and scenery of the highest quality. The volunteers and board members who put their passion for ballet into helping LMBC settle for nothing less than the best. The dedication and commitment to perfection of board members like Debby Erickson and Susan Steinegger have made the LMBC’s “Nutcracker” into the great success it is today, as it has grown financially, artistically and professionally. Outstanding technical staff also bring the best of their fields to the production. “It has been a dream” says Shari True of the Lincoln Midwest Ballet Company’s thriving “Nutcracker” production as the 24th annual “Nutcracker” approaches. “We work for the best and don’t settle.” This dedication, precision and sweat culminating in a beautiful art form is the essence of ballet and of the Lincoln Midwest Ballet Company’s “Nutcracker.”
Delicious
Digg
StumbleUpon
Facebook
Yahoo
Post new comment