Swan Lake... All Hail to the Corps!
I've finally had one of my first weekends off since one of the most demanding runs PA Ballet has ever done. The moment the company learned that Swan Lake would be a part of our 2017-2018 season, we all braced ourselves (especially the women!). Most everybody knows it as the four-act ballet about a tragic love story between the Prince Siegfried and Odette; a swan by day, turned a woman by night. It is known to be extremely difficult for the ballerina, she must turn from a delicate, scared white swan Odette into the sensual and hypnotic Odile. The steps emulate both these characters so the ballerina must be able to execute slow and soft movements in the second and fourth act and sharp technical jumps and turns in the third act. But do people really know the one key component that really makes Swan Lake one of the best in the classical repertoire? Three words… Corps de Ballet!
I seriously underestimated the corps work in Swan Lake, since it is a classic I figured swans would be pretty simple. However, I came to find out that this ballet was going to be very different, that it wasn’t just steps and staying in line. We all had to become creatures, with boneless arms, heads and legs moving in perfect unison; almost like an army of swans. Not only is it Odette’s job to tell the story, the flock of swans have to enact the story with their eyes, faces, epaulment and arms. Swans must show a balance of emotion; of sadness and grief being stuck with a curse, and the feeling of freedom being able to dance among their queen Odette.
The formations are critical, every position the corps takes must look impeccable from all angles. Whenever we take a line, our legs, arms, and heads must be completely identical almost like the 28 swans are one body. I believe the hardest part of being in the swan corps was the standing. The swans mostly open up the second act with vigorous petit allegro and formations until the legendary pas de deux between Odette and the Prince. Almost eight and a half minutes of pure standing, with our feet placed in b-plus and arms perfectly positioned in delicate swan-like positions. Most of the body weight is placed on the standing leg, periodically changing formations to frame the dancing couple.
Once the pas de deux ends, then comes the dance of the four little swans, big swans, and Odette’s variation. In the midst of all of this, the corps is standing in b-plus with our eyes down, unable to watch what is happening onstage. I remember my toes throbbing and my arches cramping, my eyes and head started to hurt having to look down for such a long period of time. Act II ends with what Angel likes to call “The Super Coda”; immediately after all of the standing, the corps does a zippy coda with jumps and relevés. If you look closely at Acts II and IV, the sets onstage are limited, it is mostly just a backdrop and maybe a rock or two. The swan corps is actually the scenery which is what I found the most fascinating part of performing in this ballet.
Most performances consisted of the corps performing in all four acts for most if not all shows. Performing in the corps in Swan Lake has been the most rewarding experience I have had in my career so far. When the curtain came up for bows during the last show, the swans took a step forward and took a bow. As Odette received her bouquet of flowers a group of boys entered the stage with several single red roses which they gave to each swan. In that moment, I couldn’t hold back my tears of joy. That will be an incredibly memorable moment for me forever; a proud, accomplished, unifying moment for every single woman onstage.
Glossary:
epaulment- angle of the dancer’s head and shoulders
coda- the concluding section of a dance
b-plus- a tendu derriere where the working leg is bent so the knees touch and the big toe rests on the ground
Pennsylvania Ballet’s Swan Lake- the most grueling, yet rewarding ballet I’ve performed in the corps thus far!
Photo Courtesy:
Top 3 Left: Arian Molina Soca
Top Right: Scott Serio
Bottom Right: Arian Molina Soca
