The School of Dance Ballet Department is excitedly preparing for its highly anticipated end-of-semester showcase, ‘Classique,’ set to premiere on April 10 at the Marriott Center for Dance, specifically in the Hayes Christensen Theater.
This extraordinary program features the iconic ‘The Kingdom of the Shades’ movement from Act II of ‘La Bayadère,’ a ballet renowned for its technical demands and breathtaking beauty.
The piece is being coached by School of Dance faculty members, Maggie Wright Tesch and Justine Sheedy-Kramer, along with visiting répétiteurs Rex Tilton and Allison DeBona.
All costumes are crafted in collaboration with the School of Dance Costume Shop, underlining the commitment to artistry and excellence evident throughout the production.
Witnessing the Evolution of ‘The Kingdom of the Shades’
I had the opportunity to attend the initial rehearsal of ‘The Kingdom of the Shades,’ taking detailed notes on the beginning stages of the rehearsal process.
Three weeks later, I returned to observe the dancers in full swing, immersing myself in the artistry as I documented their progress.
La Bayadère, choreographed by Marius Petipa in the late 1800s, is famed for its technical complexity, requiring over 20 dancers to synchronize their movements seamlessly while evoking an ethereal presence on stage.
The narrative follows Nikiya, a temple dancer, who finds love with a warrior named Solor. Tragedy strikes when Nikiya is poisoned by her rival, Gamzatti, leading to her death in Solor’s arms and culminating in a haunting dream sequence set in the mystical Kingdom of the Shades, where Nikiya is represented by a mesmerizing array of dancers draped in white.
Meeting the Challenges of Rehearsals
At this early stage in the rehearsal process, challenges abound that must be addressed to achieve the desired artistic vision.
Referred to affectionately as ‘Shades,’ this movement is punctuated by precise counts that allow the corps de ballet to move in unison, presenting a cohesive and effortless appearance to the audience.
As the dancers practice, Tesch emphasizes the importance of the ‘flutter of bourres’—a graceful movement that must be executed flawlessly as they traverse the stage.
Typically, the School of Dance does not perform with live music; therefore, it is essential to adjust recorded music to match the dancers’ pacing, signifying a meticulous approach to detail.
With six scheduled performances of ‘Classique,’ it’s imperative that casting aligns well for the ‘Shades’ pas de deux couple, four soloists, and the extensive corps de ballet.
A Legacy of Classical Ballet
Ballet, originating in the 15th century, has evolved significantly, and ‘La Bayadère’ serves as a prime example of how traditional performances can be adapted by new generations of dancers.
In the ballet community, there is ongoing dialogue regarding the preservation and interpretation of classic works to ensure they resonate with contemporary audiences.
Tesch aims to foster enjoyment and visual appeal during the dancers’ performance of the ‘Shades’ segment, encouraging a blend of various interpretations drawn from past performances.
This means selecting elements that best fit the group’s aesthetics and highlight the dancers’ strengths, allowing for individual expressions within the established choreography.
For instance, Tesch may identify two different variations of a transitional step leading up to a significant jump, allowing flexibility in performance.
Additionally, male soloists in the pas de deux are given the freedom to choose their manege, or circular step, further enhancing the excitement for the audience with distinct performances from different casts.
Expect a Captivating Performance
The ‘Classique’ showcase promises to be a stunning exhibition of the School of Dance’s classical ballet skills and narrative conveyance, guaranteeing a memorable experience for all attendees.
For more information on showtimes, digital program access, and further details from the School of Dance, please visit dance.utah.edu.
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