Should Ballet Companies be more democratic?

[Ian Macmillan]

An article by Judith Mackrell for tomorrow's Guardian has been put online this afternoon, with a bit of discussion following on Twitter:

 

http://www.theguardian.com/stage/2013/oct/24/should-ballet-companies-become-democratic-strikes?CMP=twt_gu

 

So, are the established company hierarchies working against their best interests?  Does the more 'open' structure of smaller, usually contemporary, companies have something from which the large classical companies might learn?  For those with views on the issue, you'll have more space to develop them here.

[aileen]

How 'democratic' are contemporary dance companies really? I do think that in ballet companies an enormous amount of power is concentrated in one person, namely the AD, and that if a dancer is unhappy about casting and promotion decisions there is nothing much that s/he can do, except find another job.

[chrischris]

Is any profession/ company really democratic though? In most professions there are different, usually strictly defined, levels

[JulieW]

It's not democratic where I work! ;-)

[DavidW]

I feel that the established hierarchies are a product (or at least heavily influenced) by the hierarchy in the classic ballets. The 'levels' of dancing in, say Swan Lake, correspond neatly with the ranks of dancers. I wonder if a 'democratic' company could still cope with such ballets - would it be possible for a dancer to dance Odette/Odile, and the following night (or maybe even that evening if a matinee!) dance in the corps swans? I'm sure rehearsals would be very difficult to arrange on a logistics level - trying to get a corps together whilst different dancers also need to practice certain pas de deux for principal roles etc. I know you occasional have a corps de ballet dancer getting a 'big break' in a large role and companies cope with that, but I don't know if that would work for every performance.

 

There is also the issue of ranking giving dancers a gradual increase in stage experience and exposure - I don't imagine there are many dancers who could command the ROH stage in a full-length ballet principal role straight out of ballet school. 

 

I agree that some companies seem to have an overly complicated ranking system (I still don't understand last seasons promotions at ENB due to their ranking system!). I'd be interested to know if dancers prefer this or would prefer fewer, but more clean cut, ranks.

[toursenlair]

first of all, I detest the cliche "plucked from the corps". When a corps dancer is given a lead role, it's always described as them being "plucked". Then it always appeals to people who love an underdog story and they say things like "Oh it's so great that the AD does that instead of always giving the roles to the principal dancers." As if principal dancers aren't principal dancers for a reason: they've made their way there through years of slog, exceptional talent, and because they have the technical ability, stage presence, acting chops, star quality, stamina, partnering strength (very important!!!) etc. etc. They deserve their lead roles and have worked for them.

I'm not saying a corps dancer should never be given a lead role, but I don't think it's somehow "unfair" that principals get them.

[Tony Newcombe]

During the present run of BRB Sleeping Beauty, four of the five Principal Ballerinas are dancing more than one role. One of them has danced three different roles. A number of very junior dancers(in terms of length of service) have danced solo roles. BRBs Sleeping Beauty is a big production for them and as they have fewer dancers than the RB, does this bring about a more democratic look.

[Jan McNulty]

In Northern Ballet, being even smaller than BRB, we are used to seeing dancers dancing lead roles in one performance and corps roles in the next. I think it is borne of necessity rather than hierarchy demolition!

[MAB]

I wasn't happy with the comparisons between Modern and Classical companies, the former being generally much smaller and therefore allowing far more input from the dancers.  Having said that I am very uneasy about the way a number of ballet companies are being run at present and it seems to me that certain conditions re workers welfare in other kinds of work places don't apply in the ballet.

[aileen]

Yes, I noticed this in the Gatsby performances which I saw. Whilst this probably generates a good team spirit, with everone having to 'muck in', I do wonder whether this is good for the principals health-wise. Although it is great that junior dancers are given opportunities to dance soloist or leading roles if this happens regularly but the dancers are not given a promotion does this not become exploititive? Promotion brings status and a welcome increase in salary. I do wonder whether the salary differences between the ranks are too great.

 

Going back to my point about the power of the AD, at the POB you have to audition for a promotion. If this is before a panel, rather than just the AD, then I think that this could be a fairer system than the system operated at the UK companies where promotion is in the gift of the AD.

[alison]

.I *hate* the thought of auditioning for a promotion: surely promotions should be based largely on on-stage performance rather than something under "exam conditions", although I take your point about broader input than just the AD.  (ADs, as we all know, sometimes seem blind to the abilities of certain dancers within their companies).  And I am grateful that casting at the Royal Ballet does seem to happen regardless of rank, rather than the more rigid hierarchy and "thou shalt not dance this role unless thou art an étoile" attitude which seems to have been prevalent at the Paris Opera Ballet.

[Anjuli_Bai]

Auditioning - or not - before an AD for promotion ....is a vast improvement over the necessity of  "auditioning" in an endeavor to enlist the advocacy of a Russian Grand Duke.

 

Or maybe not!  (sorry, couldn't resist!)

 

My gut reaction is that the process of promotion should be based on stage performance, but what if the dancer has been given few stage opportunities?

 

An AD is hired not only for the expertise   he/she is expected to have, but for the artistic vision that particular person brings to the position and the need for the freedom to mold the company to that vision.

 

An advisory board - hopefully with the same basic artistic vision - would be a good sounding board to aid the AD.  If I were an AD, I know there is no way that as a single pair of eyes, I could possibly be aware of the potentials of each dancer, especially in a large company.

 

I once had the privilege of attending a performance of a major company dancing Romeo and Juliet with a member of the corps dancing Romeo for the first time.  It was a wonderful experience watching this dancer explore the role and begin to develop it - like watching a painter from the first stroke upon the canvas rather than only seeing the finished painting.

[Erica]

Hierarchy could be relaxed but without voiding individual merit. It would be appalling if étoile dancers are vanished & replaced by “star choreographers”

[capybara]

In ENB, if I my eyes do not deceive me, everyone from Artist to First Soloist may be used in the most minor of corps roles even though they may be taking the male or female lead at another performance of the same production. The only general exceptions appear to be those of Principal and Lead Principal rank although it is possible to spot Principals in lesser roles on occasion.

[chrischris]

In one of the Ballet Association interviews with Bennet Gartside, he said at the RB while soloists are allowed to dance corps roles, first soloists aren't.

[Fonty]

My gut reaction is that the process of promotion should be based on stage performance, but what if the dancer has been given few stage opportunities?

 

 

 

I would say the audition process is possibly as fair as it is possible to be regarding promotion.  Someone who perhaps has not had an opportunity to show what they can do would be able to give it their best shot.  And also, it could be useful to measure yourself against your peers, and if you are not lucky, see where you need to improve. 

 

The downside, of course, is if favouritism means that you are just wasting your time, but that would be the same if it was based on your stage performances - if you are not a favourite, you won't get the parts on stage in the first place.

 

Talking of ENB, I remember years ago watching Swan Lake in the round at the Royal Albert Hall.  I spotted Tamara Rojo dancing in some of the group character dances in Act III.  She was a Principal dancer with them, so why she was there that night I don't know.