Baryshnikov/Bolle Death Dance: Giselle Coda Explained

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Күн бұрын

Thanks to Stephen Nelson and Jocelyn Dilifer for helpful comments on several steps in the video; Zimmi Coker and Elisabeth Beyer for help on Giselle-related questions; David LaMarch on tempo for ballet music; and Irina Faynzilberg on music counts. Also thanks to several commenters for suggesting the topic.
The role of Count Albrecht in the iconic ballet Giselle is a supreme test of a male dancer. The role in the tragic classic demands a high degree of dramatic range, coupled with athleticism and technical prowess. Two of the preeminent Albrechts were Mikhail Baryshnikov and Roberto Bolle and I provided comments on their Albrecht Act II variations in two videos linked at the end. This video focuses on their codas in Act II. The dancers demonstrate unparalleled athleticism with superhuman qualities, combined with refined technique, filled with dramatic flair and nuance as the two Albrechts desperately fight for survival.
By the way, how do you pronounce "Myrtha" the Queen of the Willis? Is the "h" silent? I've heard different pronunciations and I pronounced the "h" in my narration.
Steps (Descriptions generally from Gail Grant, Technical Manual and Dictionary of Classical Ballet)
Brisé: Broken, breaking. A small beating step in which the movement is broken. Brisés are commenced on one or two feet and end on one or two feet. Fundamentally, the step is an assemblé beaten and traveled. The working leg brushes from the fifth position to the second position so that the point of the footis a few inches off the ground and beats in front of the other leg, which has come to meet it. Then both feet return to the ground simultaneously in demi-plié in the fifth position.
Chassé: Chased. A step in which one foot literally chases the other foot out of its position. A transition step.
Entrechat Six: A beating step with six crossings. Demi-plié in fifth position with right foot in front. With a strong jump open the legs beat the right leg behind the left, open the legs, beat the right leg in front of the left, open the legs and finish with right foot in back in fifth position.
Pas de Papillon or Pas de Poisson: Grant also calls this step a Jeté Passé en Arrière. Jeté passed backward. The legs are thrown backward at a 45 or 90 degrees. Step on the right foot in demi-plié raising the left leg in back. Spring upward from the right foot, throwing the right leg backward into the air and bending the torso back. There should be a movement in the air when both legs pass each other, then the landing is made on the left foot in attitude.
Sources:
Mikhail Baryshnikov Giselle: @artlover5523 "Natalia Makarova and Mikhail Baryshnikov. "Giselle." 1977.": • Natalia Makarova and M...
Roberto Bolle Giselle: @blueraspberry9517 "ROBERTO BOLLE and Svetlana Zakharova ~ Giselle complete." • ROBERTO BOLLE and Svet...
Basic Brisé step: @jsunnyland "Brise" • Brise
Entrechat Six step by Brendan Saye: @nationalballetcanada "Ballet Bytes: Entrechat Six | The National Ballet of Canada" • Ballet Bytes: Entrecha...
Pas de Papillion step: @annatikhomirovaunofficial1697 "20 11 2011 Anna Tikhomirova, Victoria Litvinova, Yulia Lunkina as Fairies of Jewels in Sleeping Beau" • 20 11 2011 Anna Tikhom...
Metronome videos: @BeautifulMetronome "100 BPM 4/4 Wood Metronome HD" • 100 BPM 4/4 Wood Metro...
Photo of Baryshnikov in Giselle, Chicago 1978, Vladimir Bliokh

Пікірлер: 51

@kimowilliams7032 5 ай бұрын

I could watch Baryshnikov dance all day & night! He floats across the stage with speed, energy, confidence, and impeccable technique. He was truly a “once in a lifetime” type of dancer. ❤️‍🔥

@asclepius3117 5 ай бұрын

Barishnikov's brises were crazy. Seeing them live was unbelievable.

@KentGBecker 5 ай бұрын

Wow! I've never seen him live. Must have been a great thrill to see him in his prime

@richardcleveland8549 Ай бұрын

A fascinating, well-explained side-by-side comparison of two splendid dancers. The two men were brilliant, but my heart will always be with Roberto il Magnifico!

@Marta44339 5 ай бұрын

What a brilliant analysis. Thank you for all your fascinating posts. Baryshnikov's Albrecht is incomparable. The brisés are so much more expressive than the entrechats six and as you point out, his speed and clarity are spectacular. One can admire the technique of Bolle's entrechats but they do not move me. They don't communicate desperation to me. I saw Baryshnikov live, but never in Giselle. Of current dancers, I saw Simkin as Albrecht at ABT and he was great. He did the brisés, but notably didn't do them as fast or as many as MB did.

@KentGBecker 5 ай бұрын

Thanks! It must have been great to see Baryshnikov live. I have never seen him perform. Agree, Simkin is great in the role. Wish he would come back to ABT.

@marynoonan6111 3 ай бұрын

Misha has been blessed with lots of talents but he’s also just one of the world’s most beautiful looking man. ❤❤❤

@gonefishing167 5 ай бұрын

Barishnikov is just superb. He’s just so magic to watch. Ballet 🩰 maestro of the highest order .🩰🩰🩰🩰👵🇦🇺

@vivianevans8323 5 ай бұрын

Thanks for this outstanding comparison! May i humbly suggest that the dramatic 'success' of either the brisé or the entrechat six depends entirely on the dancer: not simply his personal technical prowess (which at this point in a career goes without saying), but far more on his dramatic presentation and stage presence? Something which MB possessed in spades, more than any other present-day male dancer I can think of ...

@marynoonan6111 3 ай бұрын

I agree with the exception of Daniil Simpkin.

@mountfujieagle 5 ай бұрын

This is an absolute master class ballet lesson. Thank you infinitely for your insights.

@ProfPaulette 5 ай бұрын

Terrific video. More recently, Aran Bell’s coda is excellent. His upper body is completely relaxed. I can’t think of anyone who does the other coda as well as Misha.

@apples_and_orchards3205 5 ай бұрын

Wow! Ty so much for these videos. As a layperson i find this absolutely fascinating! I have always been a huge fan of Ballet as it’s something a person such as myself with chronic illness and pain, never got to pursue, i still enjoy watching and learning about it. What amazingly beautiful athletes and artists ❤ I will forever live vicariously. Maybe in my next life in Heaven 🥰

@KentGBecker 5 ай бұрын

Thanks for tuning in!

@CodenottiCristina 5 ай бұрын

Baryshnikov tutta la vita❤

@sba8710 5 ай бұрын

Please keep posting these videos. I love them.

@KentGBecker 5 ай бұрын

Thanks! Stay tuned for more

@ddc7668 5 ай бұрын

Wow - grace, power, drama, passion, jaw dropping jumps, travel - what a brilliant insight 👏👏👏Thank you so much for bringing these gifts to everyone ❤

@lavandeyracaro 5 ай бұрын

I prefer Mishka variation, Bolle is splendid but I have also seen S.Polunin to dance that variation in a similar way to Bolle. Thanks for this interesting explanation.

@cheriestolze 5 ай бұрын

You continue to make spectacular and necessary videos.

@MMMa3 5 ай бұрын

Thank you for another interesting analysis ! . As usual I discovered details I had not noticed before, despite watching these fragments over & over. Like Baryshnikov's pas de papillon after pleading mercy from Martha. And I'm glad you pay attention to the speed. I often noticed that Baryshnikov's ballets (such as this Giselle and, e.g., Don Quixote) have a considerably faster music tempo than performed by other dancers (thanks also for your explanation about the reason for that). Personally, I think the faster pace adds to the athleticism and drama of the dancer. (Bytheway: I'd say that 'Martha' is pronounced 'Marta' (with a silent h and a hard t like in tea) because the original story by Heine was written/published in German and French. Both languages do not have a 'th' pronounced like in English)

@KentGBecker 5 ай бұрын

Thanks for tuning in! I always wondered about the pronunciation of Myrtha. Should have consulted someone familiar with German.

@GrandOldMovies 5 ай бұрын

Thanks for this beautiful video and for featuring these gorgeous examples of both coda types. Although they both are different, my impression is that each illustrates how Albrecht is being forced to dance against his will, almost as if his body is being controlled by the Wilis. When Baryshnikov does that rapid brise sequence across the floor, he makes it look as if his feet are being pulled away from him. Also, wasn't it Nureyev who first introduced the entrechat coda in the West? I recall seeing him perform it on stage in Giselle.

@KentGBecker 5 ай бұрын

Thanks! I looked for info on the derivation of the steps but couldn't find anything definitive. Maybe comments like yours will generate some info.

@doris6526 5 ай бұрын

Es maravilloso!!! El mejor bailarín clásico de todas las épocas!

@lindanorris2455 5 ай бұрын

GORGEOUS!

@nangaleema 5 ай бұрын

Your videos are so enjoyable. Thank you for this!

@michelegondi5096 5 ай бұрын

Baryshnikov toda la vida!

@hindes5509 5 ай бұрын

Wonderful videos! I am so glad to have found your channel. Just a few observations: MB's curved body as he approaches Myrtha could also be seen as this prince trying to bow/submit to her whilst she pulls his body out from under him in the rapid brise steps. Also, in the pas de papillon - that back thrusting reverse jetting looks to me as if Myrtha is pulling him back from a possible escape. Lastly, when Bolle executes those stunning entrechat six steps, it looks as if time smers/blurs and we are seeing the trap in which he finds himself. One of the things I love about dance is how time can change via choreography.

@user-tz6tw3ss3y 4 ай бұрын

Thank you really!! such a great analysis, I watch your videos with pleasure

@KentGBecker 4 ай бұрын

Thanks for tuning in!

@flyfishgal1 5 ай бұрын

I think the width of the Met is about 100' - so, even with the corps being further in, it makes the width about 80'. So, he's traveling even further on the diagonal. Wow.

@aclaudiapaixao 5 ай бұрын

I simply love your videos

@KentGBecker 5 ай бұрын

Thanks! More to come

@chipsanders0822 5 ай бұрын

Kent, I am always so impressed with your devotion, editing skills, and narration of the videos you share with us. What more can I say except, “Merci beaucoup, ma passionnée de danse préférée.” #I❤️🩰

@KentGBecker 5 ай бұрын

Thanks for your support Chip! More to come

@neethadesilva5747 5 ай бұрын

Roberto the magnificent, the total package. He is a God

@richardcleveland8549 2 ай бұрын

So true! Roberto il Bellissimo! Roberto il Divino! Roberto il Magnifico! A beautiful man . . . .

@gcubegaming2756 5 ай бұрын

I understand the attraction to the Entrechat Six, as doing them fits nicely with the theme of a "death dance" as it is that from a dancers perspective. But on the other hand I feel this requires the audience to be aware of what a gargantuan task it really is- which might not be the case. And as you pointed out the brises transmit the despair also, and are in my opinion less plain to look at... (It's not to say that the entrechat six aren't exciting- for as a dancer knowing how difficult they are to do, it is always exciting to see how professionals fare)...

@KentGBecker 5 ай бұрын

Good point on the entrechat six-when done well it looks easy. I tried it many years ago and it is a huge challenge maintaining proper form after just a few, much less 35.

@ritahertzberg5762 5 ай бұрын

Exquisite!

@MaHa-um5sv 5 ай бұрын

astounding! Love your videos!

@vanessak.sanders1292 5 ай бұрын

Your content is such an absolute DELIGHT! THANK YOU! Though I find it almost impossible to watch him anymore due to his having a giant tattoo of Putin in his chest, and the disgusting things that he has said in interviews, etc., Sergei Polunin is an extraordinary Albrecht.

@cheriestolze 5 ай бұрын

That’s like 3 million fouettés!

@Kelly-dg5xl 3 ай бұрын

A Pas de Papillon similar to the Baryshnikov one is also a part of the dance at 38:09, it's my favorite dance from the ballet! kzfaq.info/get/bejne/iZ6gjZpo1rzIoas.html

@KentGBecker 3 ай бұрын

Thanks for sharing! I don't see men doing the step that often.

@Kelly-dg5xl 3 ай бұрын

@@KentGBecker You're welcome!

@aggelinairiniaggelaki2720 5 ай бұрын

Athletisme for Baryshnikov yes. Dramaticisem NO. Albert much more dramatic and technically perfect. But in Zizel ballet I think is needed the dramatic tach more than anything else. Thank you for this video.