GEORGINA COBURN gives an unreserved thumbs-up to Australian Dance Theatre’s “cultural investigation” into the historical icon that is Swan Lake.

BIRDBRAIN is a penetrating, provocative and groundbreaking production utilising movement, sound, lighting and video projection to successfully explore and deconstruct the text of the original work and the “Art” of Classical Ballet.

Whilst it pays homage to the past it also strips bare through minimalist set and costume design the artiface and opulence of classical dance. Tutus are replaced by simple black, white and grey costumes, captioned t-shirts and school uniforms. A lavish ballet set is not neccessary, replaced by sliding screens, projection and steel lighting rigs.

In spite of this minimalist approach it is a work which assaults the senses through music, movement, projected words and historical photographic imagery to reveal the passion at the heart of a great creative work, and the root of human emotion.

The dancers dazzling range of movement combines classical and contemporary forms, breakdance, yoga, capoeira, martial arts, contortionism and gymnastics set to viseral, pounding techno and haunting industrial soundscapes. Whilst the origins of the dance movements are sometimes recognisably rooted in the tradition of classical ballet it is precisely at this moment of audience recognition that the movement collapses, contorts and becomes a starkly modern bodily language all of its own.

The projected images and roll call of famous soloists who performed the original roles cleverly reminds us that in order to create something new we must understand what came before. This is not institutionalised or uniform dance but a living breathing artform.

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“This is not a version of ‘Swan Lake’. I haven’t been concerned with the representation of a linear narrative but more so with the unhinging of the narrative; looking between the crevices of the characters, the structure of the story and the examination of the culture of classical ballet itself.” Garry Stewart ADT Artistic Director

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It is interesting to note that the dancers are credited as co-choreographers with director Garry Stewart, and that new moves arise out of their rigorous training in a wide range of dance and movement. Stewart’s background in “cultural theory, film, video and new media production” assists in delivering a multimedia experience that constantly challenges the audience’s preconceptions of Art and Dance.

This drive for reinvention and redefinition is a vibrant and dynamic part of “New World” Australian contemporary culture and ADT are to be applauded for their skill, vision and sheer audacity.

In a country that continually strives to define itself the ability to acknowledge and examine history and tradition but not be enslaved by it is vital for cultural growth and developing an energetic and flourishing arts scene.

It is so refreshing to be confronted by a performance which is beyond all expectation. Gutsy, intense and immediately accessible, this is the kind of work that engages and nurtures a young audience. The ADT‘s commitment to education, post-performance discussion and extensive touring in a wide variety of venues transforms what is traditionally an elitist artform into an inclusive one.

Its examination of the Culture of Ballet helps to humanise our experience of what is, like Opera, publicly perceived as an Art for the chosen few. ADT explodes this myth. This performance does not bow to matrons and patrons but engages the audience as a whole. Whilst there are plenty of references to to the original work it is not neccessary to be versed in the story of “Swan Lake” or the Art of Classical Ballet to enjoy the humour, energy and passion at the heart of the performance.

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“Dancers sliding across the stage on their backs in liquid simplicity was infinitely more descriptive than feathers and tutus, and added to the immediacy of the work.”

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Exploration of character, emotion, and ideas of good and evil are achieved not by traditional roles of principal dancers and ballet alone, but by the whole ensemble. The ADT dancers, Artistic Director Garry Stewart, Assistant Director Carol Wellman, Dramaturg David Bonney, Set and Costume Designer Gaelle Mellis, Sound Designer Luke Smiles, Lighting Designer Damien Cooper and Video Artist Tim Grunchy all combine their skills to deliver a unique creative vision.

Combinations of dancers represent emotional states or multiple representations of a character role that has its origins in the original tale. The captions on the dancer’s t-shirts suggest scenery such as “woods” or “lake”, emotion like “despair”, the role of a “lover”, or a character split between two dancer’s t-shirts, “Sieg” and “fried”.

One of the most interesting explorations in terms of the original characters is the socerer Baron Von Rothart who here is a background force affecting the dancers centre stage. This dark, twisted presence was achieved with sinew snapping skill by Contortion Artist Craig Proctor. Projections of what looked like sliding snake skin textures superimposed over the extreme movement of his body added to the menace of this dark force within the work.

One of the most beautiful images in the production was that of the poise of the swan together with the painful metamorphosis from swan to human being, an image not seen in traditional ballet performances. Dancers sliding across the stage on their backs in liquid simplicity was infinitely more descriptive than feathers and tutus, and added to the immediacy of the work. It was the essence of the creature itself. The agonising contortion of limbs combined with this image of grace was an amazing portrayal of nature and humanity and a truly original interpretation.

Whilst some segments of music are recognisably Tchaikovsky, they operate much like the faintly drawn images of ballet positions from a manual on the background set. These are reference points for a multi-layered, multimedia exploration of an established work.

This is not a simple retelling of a classic tale but a production that no audience could feel indifferent to. Powerful, ingenious and inspired this is what Contemporary Art in all its forms should strive for.

© Georgina Coburn, 2005