#this was lame as fuck on armands part

[strechanadi]

POB Swan Lake overthinking no. 783

I don’t have time for this, she said. I have to work on actual papers, she said. And here she is, writing shitload of words about another POB Swan Lake, since she’s a respectable, responsible adult human being.

(Dear @spinmelikeyoumeanit, this is purely your fault, please do know I hate you right now. Enjoy the madness and all the mistakes I am far too lazy to correct. If I’d be able to find them in the first place, that is.)

Shockingly enough, I was yet again asked to share my opinions on POB Swan Lake. And we all know the real meaning behind question „what did you think about SL?“ is in POB case „What did you think about Wolfgang/Siegfried relationship?“ Can’t quite believe that after the madness that was 2016 recording, someone think it healthy to let me dive into this once again. But you wanted it, so here we go!

  You know, despite my academic title, that was supposed to made me educated in matters of history, theory, aesthetics, and who the hell knows what else of dance, I’m still just 5yo child in a overgrown body deep down. So watching anything on stage I am still very much driven by my feelings, my opinions formed by and based on my liking certain things and disliking others (and by disliking I mean hating – 5yo child, don’t forget that). I am all too well aware of my reviews, critics, even the supposedly professional ones, being strongly personal and not at all objective. (As I think is pretty clear even from bad English translations…) (And let’s not begin with the „is it even possible to write an objective, i.e. unbiased, review at all?“ let’s just… not.) (Because it surely is and it‘s just me, painfully incapable of doing so, and desperately trying to hide my own lameness by saying such things as „it can’t be done, so why wasting time trying?“) (However an essay on me and my way of writing things is absolutely different matter, that no one was asking for, and reasonably so. I’m going to shut up now and maybe even get myself to the point…)

  Thinking about yesterday’s performance, there’s one feeling coming back constantly, no matter how valiantly I’m trying to fight it. It’s disappointment. And I HATE it! Partly because – come on, disappointment is not at all something one should feel after watching Nureyev’s POB SL, partly because it’s utterly absurd – the company was in top shape, 2nd and 4th act corps de ballet flawless, Nureyev’s choreography still one of the best I know. And yet…

It’s like I cannot be given POB SL I would like 150%, without questions, without reservations.

Don‘t get me wrong, I love the 2005 recording. It opened my eyes, it made me realize French technique is IT for me, it showed me Karl for the first time and made me fell in love with him (and with Wolfgang) the second he stepped on stage in prologue (if anybody ever tells you love at first sight doesn’t exist, well…). I utterly loved Agnes as Odette/Odile and after few years I realized I actually adore the costumes, the faded colours, the weirdly dreamy atmosphere. But even though I got to understand José Martinez and his interpretation of Siegfried at the end (like after 3 years, never said I was the brightest one), I still felt there’s something missing for me to be completely happy. (But then again, there was Karl the-best-Wolfgang-one-could-ever-hope-for Paquette, and that alone could make me happy for days!)

Knowing me you are probably a bit confused right now, because hello, you were obsessing over 2016 recording for literal weeks, you wrote utterly mad review on it AND another positively deranged essay on main characters, you were clearly unable to shut up about it for even 5 seconds, so what the hell are talking about now, not being 150% happy with any SL recording so far. Well yes, I got to see Siegfried I loved embarrassingly much, and Wolfgang/Rothbart that worked so well with him, that I was almost able to forget Karl (for exactly 27 seconds or so), but then there was Amandine, whose Odette was just… well… eh, nothing special, and as minor issue as it may seems, it still left the faintest bitter taste somewhere deep, deep down, thanks to which I simply couldn’t make myself to say – yes, this is the best Swan Lake of all Swan Lakes I’ve ever seen and you all should just stop with whatever you are doing right now and go watch it (even thought it was one of the best Swan Lakes I’ve ever seen and you all should stop with whatever you are doing right now and go watch it).

And now, now I got Odette/Odile with personality and strong charisma again, Wolfgang that is still more Rothbart that anything else, but that I got used to. And Siegfried, who I fucking hate. There. My inner child strikes again. In full force.

 Honestly, Germain was my biggest disappointment. And kind of the only one, thinking about it now. It’s rather ridiculous, dismiss the whole performance because of one character, isn’t it? And that character being Siegfried. It’s not like there are not quite few SL with a bit boring princes, right? It’s kind of expected, not that shocking, is it? But hell – if I love Nureyev’s ballets it’s because he’s given his male heroes more time, more space, more dance, more personality. If I love Nureyev’s SL it’s because of Siegfried being the main character (and because of Wolfgang/Rothbart, because of corps de ballet, because of many other things, but you get my point, surely). This SL demands much from its main hero, and is not forgiving. Or maybe in reality it is and the unforgiving bitch is me. And rest assured I am. I love Siegfried. I love his character, the possibilities the dancer’s given in interpretation and I fucking love his variations. And Germain kind of killed everything, or almost everything for me. It is personal, of course it is, how it cannot be? But one just couldn’t mess one of the most beautiful variations ever made and expect I’d be just, you know what, whatever, your feet were pointed, your 5th position perfect, your technique overall crystal clear, and you are pretty, so who cares? Who cares about interpretation? Who cares about how it seems you have no idea, what you were doing 5minutes ago, what you are doing now and where your character is heading? God, Germain, please, this Siegfried is not just some other prince. He’s so much more than that. You could do practically anything with his character, built it the way you want, the way you are, the way you believe. Just use that pretty head of yours and what’s inside!

There were moments in act 1 (that, let’s be clear, sets the mood for the whole thing), that were promising. I loved what a child Siegfried was, how eager he was to pleased Wolfgang, what an adorable little puppy he could be. (And what is it with me and puppies lately?! First Armand, then one of Bourne’s princes, now Germain, when does this stop? I should choose different animal, seriously. Or different comparison altogether…), but the more promising these moments were – like the one, where Siegfried was looking at Wolfgang as (and I cannot describe it in any other way) a blushing virgin, which, and I swear, made me screamed so loud it could be heard across the ocean! - the more frustrating the outcome.

As I said yesterday, Germain’s Siegfried was like 5yo. You can tell just by looking at him the moment Wolfgang stopped him from following the other boys. I kind of expected Siegfried’s going to stamp his feet or something equally mature :D (but he just went and killed off my favourite variation) (I cannot watch it without screaming, so don’t make me just so you would know what exactly I found problematic).

If anything, his interpretation was simply incoherent. All right, you decided to portray your prince as a child, so pure, so clueless, fine. But if the only thing you can do is one smile, it’s too little, and it is really hard to make your character convincing and not simply annoying after 5 minutes. (Yeah, we got it, you are dreamy, starry eyed kid, cool, could you maybe do something different now? ANYTHING?) But OK. Still could work. But then there’s Siegfried’s variation at the end of act 1. And suddenly you are acting like the teenage prince who is about to marry, who is forced to become and adult and who is scared and has his doubts and all that, but – there was exactly NOTHING before in your way of building your character, that would justify such change. No self-doubt during whole act. None. Zero. Who are you trying to convince now? It’s not going to work all of sudden! And then, another ultimate favourite part of mine – Siegfried/Wolfgang duet. And Siegfried is yet again his unsuspecting, depending, pure baby self. And reading this, you may think, OK, well it could make sense, don’t be such a bitch about it. But it didn’t make sense. The whole interaction had so much potential from Francois‘ part and almost nothing from Germain in return (apart from his perfectly perfect legs – I swear, should he spent as much time thinking about his character as much as he seemed to be thinking about his technique, what an interpretation we could‘ve seen)!

Someone on twitter or somewhere said Germain did his variations beautifully, but they looked more like from concours, than from an actual performance. And that’s exactly it. Not just he became all melancholic out of blue, but the second he was about to do a sissone or a pirouette or a developpé or anything, he was all about technique, about pointed feet, about jump higher and I wanted to scream (so I did).

What hurts me the most is knowing it really, truly could have made sense. Were Germain’s presence more genuine, more real… (or at least consistent!)

  Francois was his usual self as Wolfgang. Still more Rothbart in disguise (*sigh* I want Karl *more pathetic sigh*), smug smile on his face the entire time (I caught myself smirking with him, so he did something right, I’d say) (or maybe I’m just a bad person who would love too much to play with this Siegfried and make him suffer without him even knowing what’s going on) (I told you he was annoying, didn’t I?), he was aware of his power, he was using it freely, enjoying himself (maybe in a bit more reserved manner than in 2016, more for his sake, than for show, even though he could probably laugh at Siegfried’s face and the prince would still run to him happily). And there was Siegfried, all wide eyes, unguarded smiles, so out of touch with anything he physically needed Wolfgang to hold his hand to take him here and there (at one moment pretty disturbing idea crossed my mind – how it would be easier for Wolfgang to just have a leash… I sincerely apologize for my brain, I’d like to say it’s not my fault, truly, but it most probably is.)

Honestly – it was far too easy for Wolfgang this time. This Siegfried believed him implicitly, without question, without doubt, completely, unreservedly, with everything he has, while having no idea, while being completely unaware of a single thing going on around him, not to mention with him. Their relationship was (or could have been) (sorry, inner child, remember) even more uncomfortable, with all those touches literally all over prince’s body – his bare neck, his chest, his arms, his hands, and yet there was anything remotely sexual (not even intimately intimate – if it makes sense) between them. Which was a good thing, because that would be pure child’s pornography…

In act 4, Francois‘ Rothbart was positively mad. Like cartoon villain mad. And it is so not for me… (give me Karl, please, give me all his performances, and if it’s too much, give me just his 4 acts, that’s all I would ever ask for, pretty, pretty, pretty please with the whole cherry tree on top)

 You know me (well you don’t, but you do in a way, which is terrifying and I hope you all have already come to terms with me have to kill you some day), I love looking for things, for meaning of this and that, analysing every tiny bit of one interaction between characters (i.e. overthinking everything and making up more and more insane theories) (this applies on ballet only, I’m literally unable to see anything that is not canon in literature/tv shows/films/whatever, so if I had the misfortune of stumble over fandom of one thing or another, I’m more often than not at loss for what the people are talking about, but that is probably just my own autism showing…) – but with this SL, this Siegfried, I had to try unreasonably hard to see something. And that’s simply wrong. The (over)analysing should be an outcome of pure need, that was brought into life by strong emotions you felt while watching something, it should come naturally. There should be no effort, no trying… It’s quite easy – heart, then mind. If there’s nothing in your heart in the first place, why bother your poor, overworked brain with it? While it probably doesn’t even exist. It doesn’t make sense.

  So to sum this whole SL up, here you have my ultimate conclusion:

Siegfried wasn’t just autistic, he had serious mental affliction. I mean, weren’t Wolfgang right sadistic bastard, he could tell Siegfried to jump out of window, be done with it and spare himself all the effort.

  And since it’s 3.30 AM again, I’m going to bed. To sleep. Not watching Siegfried variations when they were perfect and therefore the world still made sense… (God, it is I who have mental affliction!)