芭蕾舞劇 2~ Proust, ou, Les intermittences du coeur~ according to Roland Petit
引用文章芭蕾舞劇~ 全劇 追憶中男體之愛與美 Proust : Roland Petit - Ballet, 2007 讚頌女體之美 http://www.culturekiosque.com/dance/reviews/proust_petit.html By Patricia Boccadoro PARIS, 19 APRIL 2007—Proust ou les intermittences du cœur was one of the first full-length works created for Petits own company, the Ballet of Marseilles shortly after he became their director, and after making a first appearance at the Palais Garnier in 1988, it has now happily entered into the repertoire of the Paris Opera Ballet. Roland Petit, probably the greatest and certainly one of the most prolific of 20th century French choreographers, has always believed that literature contains the most beautiful ballet stories that one can imagine, and Carmen, Le Loup, Les Forains , to name but three, remain amongst his most outstanding works. In 1974, he was the first person to create a work based on Prousts novel, A la recherche du temps perdu, completed in 1922, the year of his death. The book, better known to Anglo-Saxon readers as In Search of Lost Time, in which the authors homosexuality is latent, was written over the last fourteen years of his life. Marcel Proust mingles childhood souvenirs with adolescent memories and is full of nostalgia for places once visited and exhibitions hed seen. He dwells lengthily on love, passion, and jealousy and inevitably questions ones reason for living. From the seven lengthy tomes which complete the unabridged work, Petit has chosen to convey the spirit of the novel via a succession of impressionistic tableaux which reflect the changing moods of the writer as he oscillated between periods of intense happiness and deep depression. And although the choreographer paints a merciless portrait of the aristocracy and bourgeoisie during the Belle Epoque , the highlights of the work lie in the series of poetical pas de deux, which at times might have seemed a little disconnected, but at which the French choreographer is past master. Mathilde Froustey and Yann Saiz in Proust ou les intermittences du Cœur Choreography: Roland Petit Ballet de lOpera national de Paris Photo: Laurent Philippe After the overture, Le Carnaval des Animaux by Camille Saint-Saens, with the Orchestre de lOpera National de Paris conducted by Koen Kessels, the curtain opened upon a salon given by Madame Verdurin, interpreted by Stephanie Romberg, whose dream to become the Duchesse of Guermantes has been fulfilled. A little boring and somewhat static, it soon gives place to, La petite phrase de Vinteuil, the first of the beautiful pas de deux, enhanced by the exquisite Mathilde Froustey partnered by premier dancer Christophe Duquenne. Set to a score by Cesar Franck, Sonate pour violin et piano, this was one of those treasured moments when one wishes time would stop still. Froustey has a very special quality which enables her to bring out the poignancy in the role she dances. She was Proustian to the tips of her delicate small fingers. Tableaux 111 , Les aubepines was remarkable for the softness of the atmosphere and attractive dresses, designed by Luisa Spinatelli, followed by Les jeunes filles en fleur , a tableaux which was seemingly a paradise of freshness and purity, but the whole was sublimated by the extraordinary pas de deux between Proust jeune and Albertine, interpreted by Manuel Legris and Isabelle Ciaravola. Legris is not only an exceptional dancer and interpreter, he is also a remarkable partner, and, set again to a score by Cesar Franck, Psyche followed by Saint-Saens, Organ Symphony, Petits musical intelligence let the music itself dictate the steps. Throughout his ballet he has in fact used scores by the composers who had most marked Proust, and at no time does he cut into or manipulate the music. Choreographically speaking however, the work was more coherent in the second part for there was an evolution in the characters and a narrative of sorts. Stephan Bullion was outstanding as Morel, the idol of Mr Charlus, commanding the stage as he stood, naked and immobile. Herve Moreau and Stephane Bullion in Proust ou les intermittences du Cœur Choreography: Roland Petit Ballet de lOpera national de Paris Photo: Laurent Philippe But again, the most beautiful moments came in the pas de deux, and in particular between Morel and Saint-Loup, superbly interpreted by Herve Moreau. Set to Gabriel Faures Elegie for Violin and Piano, and Elegie for Cello and Orchestra , the blond Saint- Loup, the symbol of courage and masculine beauty confronts Morel, the dark angel. When a company has two powerful young interpreters of the stature of Bullion and Moreau in a work of this quality, the result can only be magnificent. This very fine ballet ended dramatically with a return to the salon where all society was ridiculed in whirlwind of gesticulations and jerky staccato movements. While what they were expressing was eternal, much of the choreography here seemed somewhat exaggerated and out-dated compared to the timeless beauty of the rest of the work. Possibly this was also because it was over-long as Roland Petits main concern was to give pride of place to the wonderful music, in this case, Wagners Rienzi , composed in 1839. Patricia Boccadoro is dance editor at Culturekiosque.com Related CK Archives Murder and Suicide Bring Paris Audience to its Feet Golden Oldies: Roland Petit at the Palais Garnier Dance Review: Petit and Robbins at the Palais Garnier Roland Petit and the Ballet of Marseille Au temps de Marcel Proust: F. G. Seligmanns Private Collection at the Carnavalet Museum
Roland Petit (January 13, 1924 – July 10, 2011) was a French choreographer and dancer born in Villemomble, near Paris, France. He trained at the Paris Opera Ballet school, and became well known for his creative ballets.
Biography Petit trained at the Paris Opera Ballet school under Gustave Ricaux and Serge Lifar and began to dance with the corps de ballet in 1940. He founded the Ballets des Champs-Elysees in 1945 and the Ballets de Paris in 1948, at Theatre Marigny, with Zizi Jeanmaire as star dancer; Petit and Jeanmaire wed in 1954. Petit collaborated with Serge Gainsbourg, Yves Saint-Laurent and Cesar and participated in several French and American films. He returned to the Paris Opera in 1965 to mount a production of Notre Dame de Paris (with music by Maurice Jarre). He continued to rule ballets for the largest theaters of France, Italy, Germany, Great Britain, Canada, and Cuba. In 1968, his ballet Turangalila provoked a small revolution within the Paris Opera. Four years later, in 1972, he founded the Ballet National de Marseille with the piece “Pink Floyd Ballet”. He directed the Ballet for the next 26 years. For the decor of his ballets, he would work in close collaboration with the painter Jean Carzou (1907-2000), but also with other artists such as Max Ernst. Author of more than 50 creations across all genres, he choreographed for a plethora of famed international dancers. He refused the free technical effects; he did not stop reinventing his style, language, and became a master in the arts of pas de deux and of narrative ballet, but he succeeded also in abstract ballets. He collaborated also with the nouveaux realistes including Martial Raysse, Niki de Saint Phalle and Jean Tinguely. Le jeune homme et la mort (“The Young Man and Death”) of 1946 (libretto by Jean Cocteau) is considered his magnum opus and it is also his most well-known work; the choreography and the costumes are of astonishing modernity. In his 1949 ballet Carmen, he made an unusual use of the en-dedans, while he gave a non-figurative treatment to Turangalila. Proust Ballet - Les Enfers de Monsieur de Charlus