Chancing romance

Published on October 3, 2007

Ballet

For those who have seen the critically acclaimed classical - or "standard" - versions by Kenneth MacMillan and John Cranko, last Thursday's staging of "Romeo and Juliet" at Bangkok's "International Festival of Dance and Music", stylishly presented by the Italian Embassy of Italy and graciously presided over by Her Majesty the  Queen Sirikit, was definitely a totally different experience.

In its classical form, "Romeo and Juliet" has always been categorised as a "dramatic ballet", with as much significance given to the dancers' dramatic expressions as to their techniques.

In the contemporary dance version performed by Compagnia Aterballetto, the emphasis appeared to be on technique. The dancers had beautiful physiques but their faces did not show much emotion.

Difficult steps, including the rotation en l'air frequently used in the piece (the rotation of the leg lifted in the air from back to front), were done effortlessly. Some of the moves were even acrobatic. Their skills were admittedly superb, but it was also those skills that took over the stage - only legs and feet, not faces, caught the attention of the audience.

Also, rather than narrate a tragic story of star-crossed lovers through the use of expressive balletic movements, Mauro Bigonzetti, the artistic director and the main choreographer of the company, chose to make his "Romeo and Juliet" more symbolic.

Near full-house audiences were stunned from the moment the first dancer stepped out on the stage with "something" on his left foot. Most of us had to look twice to make sure our eyes weren't playing tricks on us - the dancer was actually wearing a motorcycle helmet on his foot.

More helmets appeared through the ballet. They were worn by many dancers, both male and female, and on their heads as well as their feet. The costumes, marvellously designed by world-renowned installation artist Fabrizio Plessi, were not, of course, traditional dainty dresses or embroidered capes, but protective gear.

"Protection", or the search for it, according to Bigonzetti's programme notes, is one of the most human of feelings, and he wanted to convey this message through the new version of "Romeo and Juliet". Humans are in search of their own protective "helmets" and "not only in sports, but also in life [which is] exposed to the power of feelings and passions".

Throughout this thoroughly engaging 90-minute one-act performance, the women kept throwing themselves at the men and troubling images of "flowing water" overlaid with the colour red were used from beginning to end. A pulse-rate graph was also present at one point on the screen.

No single Romeo or Juliet was ever present on stage to tell their love story. The star-crossed lovers were there in spirit, used to represent the worldly feelings of humanity in general. Accordingly, all dancers became Romeos and Juliets, "dancing" out their passion and emotion.

In fact, we the audience were also Romeos and Juliets, full of energy as well as rage, passion and lust - emotions that make up our lives, and desires that drive us beyond all risks to extreme acts. Even with "protective gear" or protective social structures, these irrational feelings are still irresistible.

A shining silver wall was placed centre stage, dividing the dancers into two groups. But they didn't seem to have any difficulties dancing as an ensemble. Later, a gigantic moving fan was used as a dangerous-looking barrier to keep two dancers from each other. But it wasn't long before the woman found the way round to join her partner and perform a beautifully choreographed pas de deux. Proof that despite the obstacles, true love will overcome.

Humans are ready to take off their protective gear and dive through hardship or danger - all they need is enough passion. This was what the dancers did. Helmets were eventually thrown away and they stripped off their gear towards the end of the performance. Although protected within society, there is, perhaps, nothing more powerful than human nature.

Driven by passion, humans take risks. They can fail and fall, but they may also rise and achieve their goals. Even though the majority of the dancers lay flat on the floor at the end, two managed to climb the high-cliff backdrop to meet each other in spite of the perilous flowing waterfall in between.

Dance productions today are no longer just a matter of aesthetics. Proof positive was provided in Aterballetto's production of "Romeo and Juliet".

"Bangkok's 9th International Festival of Dance and Music" continues until October 11 at the Thailand Cultural Centre. Visit Thaiticketmajor.com for tickets, or Bangkokfestivals.com for information.

Jasmine Baker is a third-year student in the Department of Dramatic Arts' Honours Programme at Chulalongkorn University. She can be contacted at min_ballet@hotmail.com.

Jasmine Baker

Special to The Nation