It seems that ballet has recently become ‘à la mode\’ with the continued success of Black Swan at both the box office and awards ceremonies, a new series called Agony & Ecstasy: A Year With English National Ballet being broadcast during prime time (Tuesdays 9pm BBC4), and Adrian Edmondson reaching the final of Let\’s Dance for Comic Relief with his rendition of Fokine\’s The Dying Swan (a short ballet composed in 1905). This level of exposure is rather unusual as ballet is an art form often perceived to be elitist. However, it is by no means unprecedented as any fan of Billy Elliot might tell you.
Whatever all this means for the future of ballet itself there does seem to be one common thread linking each of these programmes and films to greater and lesser extents – the ubiquitous presence of Tchaikovsky\’s Swan Lake. It seems therefore no coincidence that the BBC\’s new series chose Tchaikovsky\’s first ballet as the focus of their opening episode when it has already attracted and maintained such interest. But why has this one masterpiece reached such giddy heights in the public consciousness while others are left virtually unknown?
One reason is the music. Used continually in adverts and film soundtracks, Tchaikovsky has such a distinctive sound that even someone who was convinced that they were completely ignorant about classical music could recognise his works. The score is a roller coaster of emotion and unforgettable melodies which lay siege to the senses, yet at the premiere in 1877 it was condemned as too innovative and too involved for dance. In fact the first few versions of the ballet were subject to a great deal of negative criticism and Tchaikovsky died believing that it was a failure.
Of course the demanding choreography which showcases the whole company and truly allows the principal dancers to perfect their technique also accounts for much of Swan Lake\’s success. The physical and mental endurance needed to complete the ballet with the impression of effortlessness is extraordinary. Only the best dancers undertake the main roles, pulling in large audiences with the promise of a polished performance.
Furthermore, the entertainment provided by the extravaganza and spectacle afforded by Swan Lake also ensures its popularity. Various effects have been used over the years to create the magical transformations and enchanted lake which the plot demands. The large cast offers a diverse range of costumes and the costumes worn by the swans epitomise classical ballet and easily differentiate it from other works such as The Nutcracker and Sleeping Beauty which also have Tchaikovsky scores and wonderful choreography. The doubled and contrasting costumes of Odette and Odile – the White and Black swans – make the ballet recognisable at first sight, even to those who have never seen a performance of it.
Yet, I believe that all these features which delight and entrance audiences have been less important in capturing the attention of the wider public and ensuring its place in popular culture than the story. Narrative ballet has always been more appealing to the layman than, say, abstract dance and, in addition, Swan Lake has the advantage of being based on a simple fairy tale. The story follows the basic folklore tradition and is familiar to even the very young with its blend of magic, forbidden love and tragic death. The presence of the swans who inhabit the most iconic scenes naturalises the lack of speech and expression of narrative through movement; two features often cited as reasons why ballet does not in general appeal to as wide an audience as theatre or cinema.
Swan Lake, therefore, has all the hallmarks of a great classical ballet of the 19th century and forms a great introduction to art form for the uninitiated. Since its initial lack of success, it has been held as a central part of the balletic repertoire and has come to occupy a special place in the hearts of many, including young girls enticed to ballet classes by white tutus, feathers and tiaras. These young girls ensure the continuation of ballet as a prominent form of dance and an integral part of our rich culture.
