The article discusses a modern reinterpretation of the ballet 'Raymonda' by Creative Director Tamara Rojo, emphasizing its feminist perspective. Originally a 19th-century work by Marius Petipa, Rojo's version maintains the central love triangle while introducing a contemporary focus on women's agency. The protagonist, initially portrayed as a noblewoman, now embodies qualities reminiscent of Florence Nightingale, suggesting deeper personal motivations beyond mere romantic entanglements. The performance aims to explore the complexities of women's identity within the constraints of traditional ballet, moving away from antiquated depictions of passive femininity.
I always thought ballet would be a music box come to life. A dainty princess twirls in a stiff tutu while a prince solemnly assists, and the whole performance would serve up a tax-free inheritance in pointe shoes - polished, rarefied, and untouched by mortal concerns like gravity or sweat.
Structurally speaking, Raymonda hasn't strayed too far in Rojo's recent update, which puts a feminist perspective on choreographer Marius Petipa's original work. The love triangle remains, but no one dies now, and our protagonist swaps her noble title for some overlap to Florence Nightingale.
At least, that's Creative Director Tamara Rojo's take for San Francisco Ballet. Our OG heroine is a noblewoman from 1898 and has perfect posture, but minimal personal agency; She twirls for the affection of two men.
I guess the Nightingale bit threw me a little when attending the opening on March 1st. I expected Sasha De Sola's pointe shoes to flutter across the battlefield as she bent to tie a tourniquet around a beautifully fallen dancer.
Collection
[
|
...
]