Fairy-tale Préljocaj

The National Theatre in Prague had the honour to welcome a world-known dance company Ballet Préljocaj that is a symbol of innovations, searching, experimenting and destroying clichés in dancing consciousness - clichés that have accumulated in professional scenic performances. The artistic director of the company and residential choreographer Angelin Préljocaj surprised us once again. He showed his new face that is an important experiment for him: he turned to traditional romantic fairy-tale-like ballet.

Although the majority of choreographers usually follows the way from narration to greater abstraction during their work, Préljocaj skipped this period in his early life and now he realized that he would like to try it. The fairy-tale motive of Snow White represented a simple and understandable story for everybody, a story that hides symbols of eternal truths. He was inspired by the version by brothers Grimm where a queen/step-mother is a central character of the story. He was not afraid to use all proven means of story ballet (???) that meant a new challenge for his work. But not for a viewer.

As it is usual with fairy-tale ballets, the most important part that creates dreamy atmosphere of supernatural patterns is a set. Not only that Préljocaj did not underestimate it but also he made it the main element of the ballet: original and ingenious costumes by Jean Paul Gaultier narrate the story themselves; scanty clothes Cinderella is wearing draw the attention more than the beauty herself. An impressive solution of the stage setting (Thierry Leproust) reminds us of miracles of romantic ballet: dwarfs-spiders crawl out from cave holes and proudly show vertical mountain-climbing acrobatics, ghosts and phantoms fly in the art, the throne changes it position by itself and the mirror of the evil queen functions – thank to professional light-design (Patrick Riou) – like a real one. Quick change of the props and impressive light changes are perfect like film cuts. A proof that even modern art of dancing can hold audience’s interest with colours and elements in the set.

Préljocaj has chosen a late romantic composer Gustav Mahler for his Snow White. Instead of a comprehensive artwork with specific music themes and motives, he used passages from his works according to mood of dramatic motives. An experienced listener had to complain. Works from different Mahler’s periods, styles and instrumentation did not fit together in any way and musical logic had to subordinate to dramaturgic logic. Vast harmonic areas were not unified, the themes were not developed, and no motive passed through the whole story. There was vast space for touching music like for an equivalent means of expression, nevertheless the right of own music dramaturgy was denied.

Choreography strictly followed the story line and did not waste movement ideas that are above standard. Choreography itself would not draw my attention without costumes, stage and lights but it kept some viewers sleepy anyway.

The audience interested in dance was happy about a successful and professional interpretation of choreography. Quality of soloists was not very different from corps de ballet (which is always surprising for a Prague viewer), the ensemble acted like one body. Technique and exactness of dancers were transformed in convincing expression. The audience audibly appreciated the two queen’s minions – the most demanding roles from the technique point of view – although they unfortunately blended with the background of the stage in their black costumes.

Seeing the performance of the Ballet Préljocaj ensemble was welcomed refreshment for Prague viewers. It is possible to process a classical ballet theme in new, modern and impressive way. A professional ballet ensemble is not anything exceptional and it deserves an equal position like a classic ballet.