Do Ballet Designs have a Function other than a Decorative one?

[FLOSS]

As so many people from Tamara Rojo,to Luke Jennings and people posting on this site have offered the suggestion that some of the older ballets such as those by Ashton would be improved and be more likely to be performed if they were given modern designs I begin to wonder what people think the function of ballet design is. When you go to a ballet do ever you notice the design? Are designs merely a way of decorating the stage  and clothing the dancers or does design fulfill other important functions?

[Paul Arrowsmith]

A big question - and probably it has already been answered by a doctoral thesis.

 

But initial response would be to say that - good - design tells the viewer where to look but more fundamentally is a visual embodiment of the ballet's meaning.

 

Stage designs are as much victim to the vagaries of fashion as any other visual art so what once may have appeared  'right' can later appear 'wrong.' By which token, it is perfectly possible to redesign ballets successfully - and discover things in/about  them that their choreographers may not have originally imagined.  That's a part of keeping ballet alive.

  

[ninamargaret]

my preference is for designs that complement the choreography but don't swamp it!  I find the designs for McGregor's ballets are intrusive and just too 'over the top'. A simple, elegant design is far more to my taste. After all, I have come to the theatre to see dance, not annoying back projections, strange lighting etc. Yes it's clever, no, it doesn't add to dance. Classic ballets e.g. Swan Lake, Giselle, need designs in keeping with the period of their composition  I think. And surely choreographers like Ashton and Macmillan chose their designers with care and those designs are part of their view of the production as a whole.

[JohnS]

In narrative ballets what moves me most is where all aspects of performance are coherent and I am fully engaged in the fate of the characters, caring deeply about what happens to them.  Design therefore has a vital role to play in enabling characters to find expression in a context.  Would I be as moved by Giselle on a bare stage?  Probably not but Floss's point is really interesting because the choreography is so moving and I could envisage being completely transported by the dancing alone.  I'm tempted to say more so for Giselle/Albrecht as the supporting cast gain a great deal more colour from the production.  But for most narrative ballets I'd have thought the production, including design, is integral to the Ballet.  I'm sure I'd find it much less satisfying seeing Nutcracker or Mayerling without the fabulous designs which give the framework for our wanting Clara and Hans Peter to triumph or where we can begin to understand Rudolph's predicament.  For non narrative ballets simplicity is key enabling us to see the choreography, achieved brilliantly in Concerto and Symphonic Variations.

 

I wonder if a similar question would be to ask whether Opera is better performed in concert or on the stage.  When the production really works, I'm certain the answer is on the stage and I'm sure we will all have our own cherished memories of staged performances which truly transported us to a higher plane.

[penelopesimpson]

1 hour ago, ninamargaret said:

my preference is for designs that complement the choreography but don't swamp it!  I find the designs for McGregor's ballets are intrusive and just too 'over the top'. A simple, elegant design is far more to my taste. After all, I have come to the theatre to see dance, not annoying back projections, strange lighting etc. Yes it's clever, no, it doesn't add to dance. Classic ballets e.g. Swan Lake, Giselle, need designs in keeping with the period of their composition  I think. And surely choreographers like Ashton and Macmillan chose their designers with care and those designs are part of their view of the production as a whole.

Well, it's a good thing we're all different!  I find the designs for McGregor's ballets absolutely wonderful and integral to the total effect.  I shall never tire of the costumes in Woolf Works, all different for the separate three Acts but all so fabulously atmospheric. 

 

Yes, of course we go to see dance but dance steps are surely not mutually exclusive.  I know for sure that watching any ballet on a bare stage with zero lighting and no music would not transport me in delight as most evenings at ROH do.  The recent Arthur Pita piece was a an example of a the total being more than the sum of its parts;The costumes, music and stage setting utterly convincing.

 

I am one of those who dislikes the Ashton costumes because I think they detract from the ballet as some of them I find comical.  I also don't think they enhance the physique.  However, I would not change them because they are part of the period of the time and are what the choreographer intended.  The worst costumes I have seen this year (if you can call them that) were the ones for Twyla Tharp.  There is minimalism and there are gray underpants and the latter did absolutely nothing to redeem a piece I found to be a piece of monotonous tedium.

[Josephine]

1 hour ago, ninamargaret said:

my preference is for designs that complement the choreography but don't swamp it!  I find the designs for McGregor's ballets are intrusive and just too 'over the top'. A simple, elegant design is far more to my taste. After all, I have come to the theatre to see dance, not annoying back projections, strange lighting etc. Yes it's clever, no, it doesn't add to dance. Classic ballets e.g. Swan Lake, Giselle, need designs in keeping with the period of their composition  I think. And surely choreographers like Ashton and Macmillan chose their designers with care and those designs are part of their view of the production as a whole.

I think back projections have been used very effectively in works by Kim Brandstrup. Those used in Invitus Invitam and Ceremony of Innocence succeeded for me in both complementing the choreography and enhancing the mood and atmosphere created in each work. Apologies for not remembering the designer's name (or names if more than one).

[Fonty]

I think it would help if those who feel the need to modernise the staging of various ballets could be more specific.  Which ballets are they talking about, and what exactly do they think needs to be modernised.     I remember Luke Jennings saying that he felt uncomfortable with Oberon's outfit in The Dream, and felt "modern" audiences might be.....offended?  I can't remember the exact words he used, but I  do know I disagreed with him wholeheartedly.  

 

17 hours ago, penelopesimpson said:

I am one of those who dislikes the Ashton costumes because I think they detract from the ballet as some of them I find comical.  I also don't think they enhance the physique.  However, I would not change them because they are part of the period of the time and are what the choreographer intended.  

 

Interesting, Penelope.  Which costumes did you have in mind?  I can't think of any costume at the moment from ballets by the "older" choreographers that spring to mind, apart from the hugely unflattering blonde, bouffant wigs that some dancers still get saddled with.  However, I can think of plenty of recent offerings where the costumes are so awful, I am surprised the dancers agreed to wear them. 

 

And many, many of the new ballets I have seen on the ROH stage over the past 10 years seem to be a triumph of style over substance.   

 

 

Edited January 24, 2018 by Fonty

[MayKwok]

For me I need to be able to see the dancer.

 

Black costumes against black background (Swan Lake Act 3 comes to mind...!) is a no no for me. I can only see a head and 2 hands, but I want to see the whole body!

[penelopesimpson]

1 hour ago, Fonty said:

I think it would help if those who feel the need to modernise the staging of various ballets could be more specific.  Which ballets are they talking about, and what exactly do they think needs to be modernised.     I remember Luke Jennings saying that he felt uncomfortable with Oberon's outfit in The Dream, and felt "modern" audiences might be.....offended?  I can't remember the exact words he used, but I  do know I disagreed with him wholeheartedly.  

 

 

Interesting, Penelope.  Which costumes did you have in mind?  I can't think of any costume at the moment from ballets by the "older" choreographers that spring to mind, apart from the hugely unflattering blonde, bouffant wigs that some dancers still get saddled with.  However, I can think of plenty of recent offerings where the costumes are so awful, I am surprised the dancers agreed to wear them. 

 

And many, many of the new ballets I have seen on the ROH stage over the past 10 years seem to be a triumph of style over substance.   

 

I am probably thinking about Symphonic Variations which I heartily disliked in every way, particularly the backdrop.  However, the costumes were the wish of the choreographer and I think they should stand.  The worst costumes I have ever seen were those in Twyla Tharp.  I guess they were trying to be clever.

I

[fashionista]

On 1/23/2018 at 13:29, FLOSS said:

As so many people from Tamara Rojo,to Luke Jennings and people posting on this site have offered the suggestion that some of the older ballets such as those by Ashton would be improved and be more likely to be performed if they were given modern designs I begin to wonder what people think the function of ballet design is. When you go to a ballet do ever you notice the design? Are designs merely a way of decorating the stage  and clothing the dancers or does design fulfill other important functions?

I believe that both the design for costumes and settings are an integral part of all ballet productions.  I remember from my childhood ballet days reading the following:-

Dance + Art + Music = Ballet

This is a quote from my first ballet book which was included in a brilliant introduction by Dame Beryl Grey.  This "equation" has stayed with me ever since and I do believe it is totally true - one needs all these components to work in synergy to produce a truly satisfying end product.  Mr Diaghilev definitely got the ingredients beautifully balanced when he commissioned works for his company - one only has to think of ballets such as The Firebird, Petrushka, L'Apres Midi d'un Faune, Parade, etc etc, which all used an innovative collaboration between choreographer, designer and composer.  I must disagree with those who think that some older ballets, such as those by Ashton, would be improved by new designs - this would be going against the original concept of the ballet as a whole as seen by the choreographer who would have worked closely with his designer in formulating the total concept of the ballet.  One only has to think of the revised designs (and when I mention designs, I am covering both costumes and sets) for Ashton's Rhapsody and Les Rendezvous, to see how the "new" concepts did not work.  One may think the original designs "old fashioned" but they form an integral part of Ashton's vision when he created the ballet.  Likewise, new design attempts for MacMillan's Danses Concertantes have also proved unsuccessful - the spiky/jazzy style of choreography for this ballet working in tandem with Stravinksy's equally spiky/jazzy score, were reflected in Georgiadis' original designs - further revisions did not work.  

I do not think designs for the ballet are just "decoration", they form an integral part of this totally visual art form.  However, some choreographers, notably Balanchine, decided not to use designs but to present his dancers in practice clothes on a bare stage - here, his concept was to focus entirely on the choreography and music, with obviously lighting playing a large and important factor in enhancing the choreography.  This also emphasises that it is the choreographer's decision when creating works as to the inclusion or otherwise of design, and if included, what is required to complement the choreography.  

[MissMonk]

To me the designs are so important in the story telling. Even in the abstract ones. It sets the mood and tells you where you are and it compliments the choreography. It also shows how much the production (of any medium) actually cares about the work that they're putting on. I watched a clip of Swan Lake from Portugal on dailymotion and there was no props, no set. All they had was a large screen in the back that projected images, most that had nothing to do with the story and it was just horrible. I spent the whole 10 minutes going "wtf". To me it feels like they just didn't care. It could have been a financial issue and honestly i dont care the reason but  even a painted background by a 6 year old would be preferable. So no matter how outdated some of the ballets seem just the quality of their sets and costumes brings the story together.

 

Honestly when I started watching more ballets that's what drew me to the Royal Ballet which is now the one I watch the most.

[Fonty]

On 24/01/2018 at 14:49, penelopesimpson said:

II am probably thinking about Symphonic Variations which I heartily disliked in every way, particularly the backdrop.  However, the costumes were the wish of the choreographer and I think they should stand.  

 

Isn't it strange, Penelope.  I absolutely adore SV, I think it is my idea of THE perfect one act, plotless ballet.  The scenery, the costumes, the music, the steps....sheer heaven as far as I am concerned.  And if anybody messes with it, then I will run on to the stage and protest loudly. 

 

Those Greek style tunic costumes for the ladies seemed to be very popular in the past.  I think they flow beautifully.  

 

I am not very well up on the Balanchine rep.  Is he subject to modernisation as well, or do people just leave his ballets as they are?

 

[Lizbie1]

Just now, Fonty said:

 

Isn't it strange, Penelope.  I absolutely adore SV, I think it is my idea of THE perfect one act, plotless ballet.  The scenery, the costumes, the music, the steps....sheer heaven as far as I am concerned.  And if anybody messes with it, then I will run on to the stage and protest loudly. 

 

 

Yes, my view exactly - I watch it in a kind of trance, almost, but still find it incredibly moving.

 

And as to the importance of the costumes and the scenery, I think it's as close to a Gesamtkunstwerk (sorry) as ballet gets.

 

[Guest]

I never rated Ashton's Rhapsody particularly highly until I saw it at its most recent revival in its original designs. I hadn't quite realised how poor design could destroy a ballet so much. I think the Patrick Caulfield designs really swamped the ballet and the next redesign by Jessica somebody (sorry Jessica, I don't remember your surname...  Curtis, Ennis maybe?)  were so bland (although a big improvement). I first saw Daphnis and Chloe in the Martyn Bainbridge designs. I loved the ballet then and I loved it even more in 2004 in the John Craxton restoration. I haven't ever seen Danses.Concertantes in the Georgiadis designs, but I did enjoy it in Ian Spurling's set and costumes. 

[bridiem]

Yes I think the Rhapsody redesign/s were a disaster. Thank goodness someone had the sense/humility to return to the originals.

[RobR]

I very much liked the longer skirts worn by the corps in Dowell’s Swan Lake and really hope that the new version to come doesn’t put the swans in tutus.