Sylvie Guillem, Rebel
Sylvie Guillem, the most celebrated international ballerina of her generation, in a much-awaited return, performed with her partner/choreographer Russell Maliphant at City Center, beginning October 12 in a 4-night program of solos and a pas de deux under the program title, "Push."
Guillem, 41, originally trained as a gymnast, has a most enviable body for dance: long, lean, strong, double-jointed. Paris-born Guillem studied at the Paris Opéra's ballet school where her extraordinary physique, claw-like feet, ram-rod back, sky-high extensions and ability to soar gave her access into the Paris Opéra Ballet at the age of 16. Her rise to stardom is history: promoted by the Ballet's artistic director Rudolf Nureyev to the rank of première danseuse in 1984; an étoile, a star, at the age of 19, when she completed her first "Swan Lake."
One of the many advantages in being a member of a major company is in performing works of visiting choreographers that shape and invigorate the repertoire, as well as stimulate the artists. For her talents, works were created by Robbins, William Forsythe (who exploited her prodigious physicality to the limit with great success), Maurice Béjart, Karole Armitage, John Neumeier, and others. By 1988, Guillem was ready to move on to a guest contract at The Royal Ballet, (some called it a defection) where she explored the styles other than the classics and encountered Victor Gsovsky, one of the most respected ballet teachers of his generation and choreographer of "Grand Pas Classic," a difficult pas de deux in which Guillem became its superb exponent with an almost tongue-in-cheek attitude as she tossed off a most difficult solo variation.
At the Royal Ballet, Guillem made demands as befits an artist who can draw a full audience the moment her name goes up a billboard. She was allowed to approve of her partners, ballets, costumes and photographs. International tours enflamed her reputation. Now, she has left the classics and even post-modern works to transform herself into a "modern" dancer. Since modern dance began as rebellion, it would seem fitting to call the choreography in "Push," modern. But modern dance has subtext and a visceral appeal. "Push" had defiance, instead, without a hint of future vision. It is largely a self-absorbed and indulgent approach. But then, Guillem's appeal has always been more visual than visceral.
Guillem opened with "Solo," (2005) wearing a short red wig, a filmy white blouse, and dark pants, with movements that gave a nod to flamenco dance. "Shift" (1996) was a solo for and by Ottawa-born Maliphant, 44, who employed his background of ballet, contact improvisation, martial art forms, t'chi and acrobatics, all in controlled form. He is so laid-back in presence; he seems to be improvising as if in an exploratory rehearsal, not a performance. He danced with a shadowed projection of himself through the use of strobe lighting on panels across the stage. He is a fascinating performer, compact, concentrated. He was costumed in white pants and top, with a shaved head. He has his own company which has toured extensively. In "Two," the third solo and second for Guillem, now dressed in a black, backless top, the focus was on her upper arms, torso and back. It was remarkable to see. She finished in a whirlwind of flaying arms, turns and in-your-face bravura. Her smile receiving her applause was almost girlish, unpretentious, as she thanked the audience.
"Push," was an intense, asexual pas de deux in which the two made no eye-contact, showed no relationship except a remarkable physical partnership, acrobatic and breathtaking. Maliphant was the "porteur," as Guillem slithered on his shoulders in complex lifts, slides, coiled entwinement, and what seemed to be experimentation or an improvisation. It was structured by another star of the presentation, lightening designer, Michael Hulls, who entered into the choreography as he highlighted, darkened and accented the movements with punctured shafts of light.
Although Rudolf Nureyev and Mikhail Baryshnikov moved into modern dance with some success at the end of their ballet careers, Guillem has the clout to be able to choose her own choreographers, negotiate her own contracts and work outside her own company. Maybe that will make a difference.
"Push" was produced by London's legendary Sadler's Wells in collaboration with Maliphant and Guillem and inaugurated the partnership between City Center and Sadler's Wells.