Articles

Classical Ballet and the 21st Century  

by Dr. Peggy Willis-Aarnio

A nearly universal theme of Classical Ballet is the exploration of the relationship between a man and a woman. Specifically, over the last two centuries, Classical Ballet has described, in infinite variety, the coming together of a man and a woman (as mortals, as gods, as royalty, as spirits and so much more) in its most powerful and yet beautiful, gentle and perplexing grandeur as expressed through a harmony of spirits and exquisitely performed movement. This experience, to the viewer, is heightened to a zenith only when the performers go beyond their native talent and personal charisma (their "star" quality) by bringing the evocative power borne of correct and complete Classical Ballet schooling to their performances as well. Natural, but unschooled talent is rarely enough to really reach the most basic emotions of the audience, but neither is brilliant, virtuoso technique by itself without the human input of the artist. Our goal in Classical Ballet at the dawn of the 21st century is not only to insure that the best possible Classical Ballet training becomes more universally available to all aspirant Classical Ballet artists, but also that these budding artists be prepared to breathe real life into their performances by adding the dimension of personal spirit and soul. Only by complete and thorough schooling can we free our 21st century Ballet artists of their worries about technical execution and thus free their minds to express their artistic vision and spirit (as well as brilliant technique) in their performances.

The 20th century will go down in history as the era of the development of scientifically-based and physiologically sound Classical Ballet training due, in large part, to the work and contributions to Classical Ballet pedagogy by the great Russian teacher/educator and choreographer, Agrippina Vaganova. Vaganova stated that "classical" means perfection. Without the technical perfection that this training affords, a ballet artist can almost never achieve true artistic greatness (a greatness not based on personality or association). "Classical" ballet endures because it achieves technical brilliance which can then allow the artist to shape the choreography and the "message" of the ballet into a powerful statement that can move and inspire the audience. Though the audience may not understand why or how they have been touched, it is an exciting and pleasurable experience that most often results in a desire to relive this experience over and over again, by going to see more ballet programs in the future. This is how a long term, enthusiastic ballet audience is cultivated in any community. We have seen this phenomenon over and over again in the U.S.

If you watch a ballet performance, and what you see is a very stiff, muscular person executing a series of dance-like movements, then the artist you are watching has not mastered the technical challenges of their art. Choreography in dance should be a transparent phenomenon, just like the words of a story. The words should not stand out as words, but should work together as a whole to convey an idea or a story, or a feeling. In  the 21st century, Classical Ballet technique and vocabulary will endure, but how that technique and vocabulary are used to communicate with an audience may vary considerably.

Technique and artistic expression are the commonly recognized ingredients that must be present before Classical Ballet as a fine art can actually make a statement or communicate a thought. As we reflect on the art of ballet over the past one hundred years, and what the components of successful performances are, we must be aware of and recognize the following elements:

1. Technical excellence

2. A definable purpose or motive.

3. The character and meaning given to the work by the performing artists.

4. The character and meaning given to the work by the Choreographer, and associated designers, librettists, and composers.

 Since Classical Ballet deals, almost exclusively, with the coming together of a man and a woman (usually in a spiritual rather than a carnal display), and the fact is that this activity is at the very core of human experience, it is not difficult to understand that this theme will be a major driving force in shaping the artistic expression of both ballet artists and choreographers alike, as the art enters the 21st century.

If one hundred years ago, someone would have suggested that in less than 80 years, we would be able to travel from Paris to New York in three hours, conventional wisdom would have resoundingly dismissed this notion as absurd. As a result of information now available worldwide (as a result of the end of the cold [cultural] war), we are at just such a juncture now in ballet. We now have the knowledge available to virtually eliminate technical worries as an item of concern for any future ballet artist or choreographer, but we must approach the issue with an open mind. It is now possible to prove that artists of the caliber of Baryshnikov, Nureyev, Makarova, Semenova, Ulanova, Mezentseva, Komleva and the like are not isolated incidents of a serendipitous combining of timing and natural talent, but a deliberate achievement that can be reproduced over and over again when a teacher has access to and is willing to consistently apply the teaching principles developed and recorded by Agrippina Vaganova and her colleagues.

While it is true that classical works of art will endure the test of time, in the future, in ballet, if we cultivate a knowledge of the contributions of the great teachers and choreographers of this century, we will be able to develop the art in ways that will enrich our lives in ways we can scarcely imagine now.

History has proven the cultural benefit from preserving the achievements of the past. But, it is now time to begin an exploration of new and expanded possibilities as well. This search would include combining the communicative power of several of the most powerful traditional art forms, including opera, traditional theatrical stage, Classical Ballet, and interactions with electronic media to include computer generated imagery and sound, as well as video and film. This quite likely will take the overall experience of ballet to the next level. Here, the performing artist and the choreographer, as well as vocal artists, visual artists, playwrights, and media artists will all be able to combine forces to really put some power behind their visions. After all, real life is made up of complex, interactive experiences.

The art of Classical Ballet has many potential purposes, but one of the noblest is to "keep man from falling." It is a vehicle that helps us to be able to look past the imperfections of reality long enough to see a clear vision of what promise the future holds if only we are strong enough and principled enough to hold fast to a higher set of values. The message and the vehicle can ultimately save our lives, and more importantly, our spirits. In this context, a true artist is one who becomes a star as a result of how well they explicate the message and meaning of their art, not the one that attempts to try to draw accolades by showing off their special tricks and skills. The performing artist is only one of the gifted contributors to the overall success of a performing work, along with librettists, composers, choreographers, teachers and coaches.

One thing that we can look for in new Classical Ballet works is the combining of the forms and discoveries of the past with knowledge and technology that is just now unfolding.  They will also take advantage of a broader base of insight and inspiration by bringing a perspective borne of the traditional theater into the work and introduce an interactive matrix of traditional and electronic music forms and live action as well as live and computer-generated electronic imagery. None of these elements, or combining them with each other is "new," but none of these combining in the recent past have been particularly successful in the long run. The challenge now proposed is to refine these relationships as the knowledge and skill levels in each of the separate areas continues to improve, so that the amalgams will become more effective and more memorable.  By combining Classical Ballet with drama, music, technical effects and the talents of a playwright, a new genre of ballet may well be born.

 We are always searching for new ways to increase the effectiveness of communication in dance, as well as in the other arts. As we move into the 21st century, why not take the power and greatness of both the traditional and emerging art forms, and continue to look at new ways to combine them to increase the final impact of the whole to a greater level than a mere mathematical combining of the various parts? In this way, instead of forcing a competition between “Old” and “New” methods and means of expression, we can draw strength and vision and purpose from all these sources. In this way, instead of risking the destruction of an artistic perspective because it can't compete financially, or ideologically, perhaps we can actually open a door to a new path that does it all, as we open the door to the new century.

 A “ballet” is simply a theatrical production. By the definition applied by Agrippina Vaganova, the term “classical” means perfection. Therefore, a Classical Ballet is as perfect an expression of a theatrical production as humanly possible. With or without a libretto, the perfection of the technique and vocabulary of classical dance has lived through the twentieth century, and with new works on the horizon, its prospects in the twenty first century are even more promising.  This Classical Ballet Gala Program starring The Saint-Petersburg Classic Ballet of Marina Medvetskaya is intended to pay homage to the great traditions and the bright future of this spiritually uplifting and inspiring art form. The language of dance endures as a true universal language among peoples and is truly our inspiration to the future of classical dance.  

Copyright, 1999, Peggy Willis-Aarnio, All Rights Reserved

 Professor Peggy Willis-Aarnio

The Saint-Petersburg Classic Ballet Theatre of  Marina Medvetskaya, the Gold Medal Winning Company from Saint-Petersburg, Russia, 2007

The Meaning of Movement and Classical Ballet  

by Dr. Peggy Willis-Aarnio

We all understand the importance of music.  The rhythms underlying music affect our soul too.  How much more important is movement in terms of how it affects our soul also?  Put the two together and you have a very powerful art, and that is what classical dance is founded on, the strong rhythms and beautiful harmonies of music.  Without it, classical dance could not and would not want to exist. 

When you enroll your child in dance studies, have you ever imagined how it would affect their spirit.  Classical dance studies prepare the body to perform the most difficult and sophisticated movements know to the human body.    These are the movements that have endured because of their lasting ability to uplift the soul.  Many choreographers today are abusing the privilege of making a dance by showing not only ugly but very disturbing movements in the name of being “modern.”  Actually, these movements are very primitive in structure and offer nothing but confusion to the human spirit.  Now, if you can image, many of these confusing and disturbing movements are being shown on stage, many times solely for the purpose of upsetting the audience.  This is self-serving and is not real art. 

The Aniheim Ballet states the following:

Each student will be affected by their lessons in various ways and we take that responsibility seriously. The positive effects of higher self esteem, improved posture, development of talent, stress reduction, self expression, physical conditioning and the pure joy of movement are benefits of dance training that we witness daily. Students are offered the same high quality of training regardless of their ultimate motivation. Some students go on to professional dance careers, some incorporate their dance experiences into an improved quality of life, some are motivated by the discipline to apply it to other areas, some become enlightened audience members, but all have the same shared experience of excellent dance training.

Ballet is the foundation dance form for our school as it enables dancers to achieve more in any dance form that they may pursue. ...

   A professional training program and career guidance are offered to those dancers seeking a future career. Student concerts are offered to all students at whatever their current level of accomplishment. The focus of AB's student concert recital is the development of self expression, appreciation of artistry, teamwork (equal to any sports league), joy of dance, the theatrical experience, and a sense of accomplishment.

Ballet training is the foundation of many professional training schools around the world.  Very little was known, however, in how to scientifically train the body for predictable results and results with no injuries, until recently.  By recently, I mean since, 1979, when Vera Kostrovitskaya’s book, School of Classical Dance, was published in English.  The publication of this book in English finally gave American’s a chance to view the education of dance in physiological and scientific terms.  Very few, though have had the opportunity to study it. 

Everyone always talks about the positive benefits of ballet training, but very few speak about how movement affects us.  A movement is to the eye what music is to the ear. 

A classic in anything has endured the test of time.  What this means is that it is as effective today as it was when it was first inspired.  Styles change with time when new demands are placed on them, but a classic is encouraged to stick around and be enjoyed by future generations.  In music, Tchaikovsky’s works are enjoyed today and appreciated today as they were in his own lifetime, if not, even more.  The same is true of classical dance.  Marius Petipa, the world famous choreographer of Russian Classical Ballet, works, are still being performed today due to his ability to understand the nature of music, beauty and theatrics, and weld all of these into a complete artistic statement.

A ballet is simply a theatrical presentation.  So, a classical ballet is a theatrical presentation of the repertoire (body of work performed by a company) that has endured the test of time. 

Agrippina Vaganova, from Saint-Petersburg, Russia is the teacher who founded the ballet education system that is taught in Russia today, realized the importance of classical dance; and in many articles that she wrote, encouraged the continuing study of classical dance for anyone who wished to study movement and its lasting effects on the human soul. 

There is also “friendship through beauty”, as was told by Zakarov, the famous Russian Choreographer from Moscow.  This is a side benefit when you study classical dance, but classical dance stands for something much more important than one could image.  It has the power to transform people’s lives, wishes and hopes.   

One of the most important things that a parent can do today is to enroll their child in classical dance training.  Even if the child does not wish to become a classical dance artist, their study of a traditionally based art form will enable them to unconscientiously become aware of movement and develop a sense of beauty that will enrich their lives forever.  A sense of professionalism and discipline in this rich art for will enable them carry this professionalism and discipline into all areas of their lives and help them become mature and productive members of society. 

Learning what is good is movement is like getting nourishing and good food for the body.  Ugly, harsh and pounding music produces ugly, harsh and pounding movements.  These movements and rhythms are animalist in nature and distract our soul.  We are pulled away from beauty and are encouraged to be negative in spirit.  In classical dance, we have strong pulsing movement but the movement is rich in construction, full in melody and has a structure that is complete and meaningful.  Empty, pounding movements to empty pounding music results in empty, pounding thoughts and actions.  Garbage in and garbage out, is one way to think about it.  Literally, our actions are a result of what we put into our spirits and music and dance are very powerful ways of influencing the spirit.  This is why parents need to know the wonderful and lasting influence of a tested and true art form...an art form that has given millions uplift and pleasure to the spirit.  It is enriching, it is enduring and it is a positive influence on all aspects of life. 

We are truly affected by everything, everyone and especially by the arts.  Today, much is being passed off as arts when it is not art at all but a self-indulgent activity under the guise of art. 

The meaning of movement is reflected in our society today.  Never before have we seen our children move and act as though they are part of an organized activity, pornographic in nature.  Classical ballet is the opposite of this. Unfortunately we see so much of this “new” movement on television and in films, today that we actually seem to be encouraging our children to move and behave in ways that would have been considered as obscene just twenty or thirty years ago.  

The movements of classical dance and their meaning are pure, inspiring and have passed the test of time.  The nobility and the sense of purpose that embodies classical ballet movement uplifts our spirit and can still bring us out of the depths of depression.  The great Russian Teacher and Coach, Agrippina Vaganova teaches us that classical means perfection.  Like a diamond is to precious stones, so is classical ballet to dance.  It is to be studied, treasured, admired, enjoyed and preserved. 

Congratulations on caring enough about your children to give them an exposure to this beautiful and enduring art form...that of classical dance.  Their lives cannot help but be better for it.

 Copyright, 2004, Peggy Willis-Aarnio, All Rights Reserved

 Professor Peggy Willis-Aarnio  

Professor Peggy Willis-Aarnio and Natalia Dudinskaya,

Vaganova Ballet Academy Museum,

Saint-Petersburg, Russia

June, 1998