Cheers to Mom!
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| Ballet Preljocaj's Blanche Neige (modified poster) |
From The Davis Enterprise on the ballet itself:I grew up reading fairy tales — the real ones — before political correctness and cultural “sanitization” took place. They were stories of love and terror, of cruelty and revenge, of retribution and atonement. Good ultimately conquered evil, although there was often a price to pay, by both victim and perpetrator.
Choreographer Angelin Preljocaj understands this in his bones. And he certainly speaks the language of fairy tale, fluently and faultlessly. His “Blanche Neige” (“Snow White”) is a stunning, visually opulent, work that captures the Grimm fairy tale version exquisitely.
On the story and characters of the ballet:The entrance of the pregnant mother, danced by Nuriya Nagimova, her slow progression as she toils across the stage, desperate in childbirth, says a great deal about the power of well wedded movement to sound. The appearance of seven miners (not noted in the program) out of caves, high above the stage, rappelling down a rock wall, dancing vertically and horizontally above the stage, was unexpected and joyous, toying with our expectations that dance happens on a flat surface and is bound by gravity.
Also captivating: the reappearance of the dead mother, materializing from above, hovering over and lifting her dead daughter momentarily, before leaving.
There are small, but crucial choreographic touches that convey the story. The passage of time, between the King finding the baby, and Snow White’s growing up, is neatly conveyed by a simple, yet effective, use of set. The King moves behind a column of material, the baby sheltered in his arms, only to reappear with the young girl, beautifully portrayed by 9-year-old Camilla Pedrosa of Davis. (McKenna Lincoln, 10, of Woodland, danced the role Sunday.) Dancing with his young daughter, he circles yet another column, this time reappearing with Snow White as a young woman, danced by Virginie Caussin.
The cats, minions of The Queen, were perfectly matched and moved sinuously across the stage, menacing and mischievous. Dancers Natacha Grimaud and Lorena O’Neil were perfectly suited for these roles. Athletic and elegant, they were able to convey both the bonelessness of languid felines and their willingness to play with prey.
The Prince, danced by Sergio Diaz, made a marvelous partner for Snow White. While their opening interactions at the ballroom were everything they needed to be, it was the duet of the prince and the dead/unconscious Snow White that was incomparable. A pas de deux with one partner required to act limp and unresponsive calls for strength, timing, trust and true connection.
(Edit FTNH: Sounds like choreographer Kenneth MacMillan's tomb pas de deux of Romeo & Juliet - which is also amazing and heart wrenching.)
Did anything not work for me? An opening scene at court went a little long. Also, the program notes, by Preljocaj, state his belief that the wicked stepmother is, to him, the central character. I didn’t see that at all. But all in all, these are very small things, nothing compared to the torment of the wicked stepmother, forced to wear red-hot iron shoes and dance to her death.On the costume designs (source):
“Snow White has this beautiful flowing costume, but it’s almost nonexistent on the side,” said Renae Williams Niles, director of programming at the Music Center. “So you see far more of Snow White than you ever thought you would.”
...(Jean Paul Gaultier's) costumes make it to the Music Center thanks to Angelin Preljocaj. The artistic director of the French ballet company and choreographer of the work said there’s a purpose to the revealing elements. The outfit shows both the character’s childhood purity and how she is in the process of becoming a woman.“The costume is half [a] costume of a woman and half [a] costume of a child,” he said in heavily accented French.
In terms of costume design, it’s hard to get more contemporary than Gaultier. The fashion icon, who worked for Pierre Cardin before launching his own label, brings his unique style to all of the outfits while maintaining perfect harmony with the rest of the production, according to Niles.
And excerpts from a completely different sort of review fro a 2009 performance, focusing on the evil queen, by Claudio from iHeartBerlin,de:(from shopfair:) The costumes were designed by Jean Paul Gaultier and really suited the modern interpretation of the classic fairytale choreographed by Angelin Preljocaj to music by Gustav Mahler. The designs ranged from subtle JPG touches like straps and suspenders to full-blown JPG with the stepmother's bondage queen outfit (which was wonderful) and the best use of fringe I have seen this year (pictured on the right). "This is not the first time that Gaultier designs clothes for dancers. He has collaborated with Régine Chopinot, the choreographer, for 11 years in the past(1983-1994), during which he had sewed costumes for –more or less- 18 ballets choreographed by Chopinot."
Being a fairy tale expert and a psychologist I was always indulged by the strong female characters appearing in Grimm’s fairy tales. I appreciated their impact in the stories as an evil and intense element of the plot. One of my favorites has always been the evil queen of Snow White who is obsessed with her vanity to the point where she loses everything.
...If I had to describe the style and the feeling the piece was giving me I would say that it is a great mixture between a stylish gothic music video and a really classical nice Midsummer Night’s Dream production. What perhaps sounds like an odd combination results in an emotionally touching balancing act between both styles.
...Most intriguing was obviously the charming Beatrice Knop who proved herself as an enormously powerful solo dancer. Especially in her mirror scenes I totally believed that she was doing real magic instead of dancing. Also the scene where she kills Snow White with the apple really had a disturbing intensity. I literally saw the poison entering the body through the movements of the witch. (Read the whole review HERE.)And finally, some very interesting comments on his Blanche Neige from the choreographer, Angelin Preljocaj (who, by the way, is referencing Bettelheim):
Preljocaj said the fairy tale remains relevant today, in the age of plastic surgery and other ways that women can remain young-looking.
"It's a very modern story, in the sense that today with scientific and medical progress, women can stay young and beautiful for a long time," said the choreographer.
"That creates a potential conflict between generations. Daughters, faced with mothers who want to remain lovers, desirable and active socially, can develop a kind of Snow White complex."
"Generations are coming together. You often see 50- or 60-year-old women in the street with their daughter, dressed the same, swapping clothes and handbags. They can even be love rivals."
As with the upcoming big screen versions, Preljocaj's production does not follow the Disney version of the fairytale, rather putting more focus on the cruel stepmother.
"It's the same as with 'Swan Lake', with the black swan and the white swan: Snow White is the positive character, beautiful and pure, while the stepmother is the opposite, also beautiful, but dark and hate-filled," he said.
"Snow White' is "really a thriller," he said. "The story of 'Sleeping Beauty' can be told in two lines. 'Snow White' is full of twists... leading to lots of ways of interpreting it choreographically." (source)
"Snow White" will be staged in Los Angeles from March 23-25, before heading to the East Coast at the end of March, through to April 21. The US cities where the work is to be performed include Washington, DC, Minneapolis, Minnesota and Chapel Hill, North Carolina. (source)
Although I had seen Camille Rose Garcia's illustrations around in the past year or so she never really caught my attention until Amy Leigh Morgan blogged about her Snow White art and related book and show over at The Fairy Tale Factory back in February. She has, however, been around for a little while (since 2007) and has made a big impact in a short period of time. Her previous book Alice's Adventures in Wonderland was a New York Times Bestseller.
Here's the artistic description of the newly released book (the cover is shown at the head of the post), rather than a synopsis, since you're all familiar with Grimm's Little Snow White.A breathtaking, wildly original spin on the classic Brothers Grimm fairy tale, Harper Design’s Snow White is boldly and beautifully reimagined by acclaimed artist Camille Rose Garcia, the illustrator of the New York Times bestseller Alice's Adventures in Wonderland. Delivering a fresh take on a vintage fairy tale, Garcia's dark and Disneyesque art, with its vivid colors and luscious, dripping blacks, will weave a spell around fans of illustrated books from Daniel Egnéus’s Little Red Riding Hood to Femke Hiemstra’s Rock Candy.
This new gift edition presents the unabridged version of the Grimms’ tale, with an original interpretation by renowned artist Camille Rose Garcia that artfully combines wit and dark romance.
Garcia, when deciding on her tone and text, looked back to the Brothers Grimm’s 1812 version of the story but, having grown up near and in Disneyland, she also couldn’t resist the tug of the classic 1937 animated feature film. “I did look to Disney’s animated ‘Snow White’ as the watercolor backgrounds were especially beautiful,” Garcia said. “I wanted to reference Walt Disney’s style but bring in the creepy Germanic folk-tale element.”
You can read the whole article which details more of her artistic influences HERE.The latter explains why, in this version, the Evil Queen devours Snow White’s lung and liver in one passage — or, more precisely, she believes the organs that she’s snacking on belong to Snow White. Garcia’s dark-tinged retelling of the classic is in the spotlight with an exhibit at the Michael Kohn Gallery in Beverly Hills that runs through April 14. On Thursday, Garcia will be at the gallery for a 6-8 p.m. signing event and in the weeks to come she’ll be on a book tour with stops already announced for San Francisco, Seattle and Portland, Ore.
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| Camille Rose Garcia & her new book |
Mirror, Black Mirror, chronicles the prolific and life changing time period of 2007-2011, when Garcia fled the sprawling mecca of Los Angeles, her lifelong home, and moved to a cabin in the woods of Northern California. Living so close to the natural world has given the artist even more insight into the major themes of her work, disenchantment with modern civilization, and the problems of becoming too removed from the natural world.
Camille Rose Garcia was born in 1970 in Los Angeles, California, The child of a mexican activist filmmaker father and a muralist/painter mother, she apprenticed at age 14 working on murals with her mother while growing up in the generic suburbs of Orange County, visiting Disneyland and going to punk shows with the other disenchanted youth of that era. Garcia's layered, broken narrative paintings of wasteland fairy tales are influenced by William Burroughs' cut-up writings and surrealist film, as well as vintage Disney and Fleischer cartoons, acting as critical commentaries on the failures of capitalist utopias, blending nostalgic pop culture references with a satirical slant on modern society... She recently moved to the Pacific Northwest after 38 years in Los Angeles.See the whole blurb HERE, which details lots more about her success and where her work has been published and can be seen.
