Posts Tagged ‘Ballet’

Some (belated) notes about Essay 4

August 1, 2008

The Essay 4 average (37.5) was a tiny bit lower than the average for the first three essays (39.9), but if you compare Essay 4 to the first-draft average (34.7) there’s a noticeable improvement. This is great news! You’ve let a little Larry into your brain and you listen to it when it chirps questions at you—I hope it chirped aplenty as you wrote Essay 5.

Another possible explanation for the 2-point difference is that Essay 4 asked you to write about art forms you’re less likely to have written about before: even when you don’t know exactly what to say about “The Letter from Home,” several years of literary education have at least taught you how to write about it.

Casual movie-watchers are less likely to question genre conventions: if you know that a thriller is going to be suspenseful, why would you analyze how music contributes to that suspense? But this is what the essay prompt asked you to analyze: precisely how can music be suspenseful? Certainly we’re not held in the same kind of suspense when we listen to the Symphonic Dances from West Side Story: why should we be terrified when we hear a few violins playing high quick notes?

When you write analytical essays, try to approach every issue as though you were a child learning the material for the first time. Why have certain conventions solidified the way they have? How do artists’ choices respond to the aesthetic problems they face? What other options does the artist have and why did s/he choose the one that wound up on the screen—why, in other words, did we see Miriam strangled through her glasses and not her bracelet or shoes?

Email from Jon: Matthew Bourne’s Swan Lake

July 28, 2008

Jon passes along this means of accessing the full version of Matthew Bourne’s Swan Lake:

It is at www.veoh.com

Search for “Matthew Bourne’s Swan Lake”

A multitude of videos will come up. Click on the video labeled “Swan lake (Matthew Bourne-1996)” – it should be the first one.

This should bring up the first five minutes of the ballet. To view the full movie you must download an application called VeohTV. To download the application go to this link – http://www.veoh.com/veohTV/download.html and click on Download VeohTV.

Click on the blue box labeled Free Download, and proceed with the download instructions. You must also create a username and password to access VeohTV – there should be a link to click on labeled “register” once the download is complete.

After you have successfully downloaded the application and created a username, go back to the original video labeled “Swan lake (Matthew Bourne- 1996)” and click on the blue box in the upper right hand corner of the movie labeled “Watch on VeohTV”.

If you’ve done everything correctly, it should bring up the full movie.

The graphics on this version are much better than the YouTube one.

Points and grading for essay 4

July 25, 2008

Because essay 4 is split in two uneven parts, the score will be as well:

  • Part I (Hitchcock analysis) = 2½ pages = 35 points
  • Part II (Bourne analysis) = 1 page = 15 points

In both parts I am grading for thoughtful analysis. What technical details do you observe in these artworks, and why are those details important?

Here are links to previous posts on this essay:

The finale of Bourne’s Swan Lake

July 25, 2008

If you’re itching to draft essay 4, part II and don’t want to wait for Larry to load the full video later today, unfortunately the only YouTube clip of the finale is almost too grainy to see—it will, at least, give you a sense of composition and movement, even if gesture is illegible:

Notes on essay 4, part II

July 25, 2008

If you have trouble interpreting the end of Bourne’s Swan Lake, at least you know that you’ve been paying attention.

Here is the most important piece of advice I can give for this part of essay 4: plot isn’t everything. Indeed, plot is hardly anything.

Yes, you should resolve some basic questions for yourself: has the prince been driven mad by depression? Has the prince been delusional from the start—is the entire ballet, or at least Act II, a hallucination? Does the swan manifest itself as a human in Act III or does the prince hallucinate him? And what is the intrigue between the press secretary and the girlfriend?

But whatever you do don’t devote more than a short paragraph to the plot: I will fail any essay that argues as its central point that the conclusion is appropriate because the mass of swans reject cross-species love. What does that conclusion have to do with the rest of the ballet? How does the ballet lead inevitably to such an absurd end?

Instead, think about the conclusion of the ballet in terms of symbol, gesture, composition, and meaning.

  • What symbols appear in the finale, and what do those symbols mean? What do the swans represent? What does the lead swan represent? What do the bed and bedroom represent? The crown on the headboard? The window? The child?
  • What gestures at the conclusion echo gestures from earlier in the ballet? What do those gestures represent or suggest?
  • How does Bourne compose the corps in the finale, and what compositions from earlier in the ballet does he echo? Why is he connecting those particular scenes together?

If you’ve watched the ballet carefully and analyzed these elements thoughtfully, you should begin to see patterns—especially mirrors of characters, gestures, and compositions. These patterns should begin to suggest a psychological or philosophical idea that lies behind Bourne’s Swan Lake. You should name this idea in your introduction and explore it in your conclusion.

The Fonteyn / Nureyev abbreviated Swan Lake

July 25, 2008

Two previews of tomorrow’s Swan Lake

July 24, 2008

If you are not familiar with ballet, tomorrow’s showing of Matthew Bourne’s Swan Lake can be a bit startling; however, it’s probably the most famous ballet of our time and it’s something you’ll need to get comfortable with. There are 40 or so clips on YouTube, but here are a pair of scenes to get started—duets between the Prince and the Swan:

Compare Bourne’s 1995 choreography to the 1895 setting by Marius Petipa and Lev Ivanov, here performed by the Bolshoi (which, in 1877, premiered Julius Reisinger’s choreography in the very first performance of Lake of the Swans):

If you have some free time tonight, you might want to read the New Yorker’s profile of Matthew Bourne, Swans’ Way by Joan Acocella.