Topic: La Bayadere

Anthony De Luca

Date: 2016-02-28 11:18 EST
Cast

Solor - James Willis Nikiya - Josette Marie Wheeler Gamzatti - Anastasia De Luca The High Brahmin - Anthony De Luca The Bronze Idol - Christian Benoit The Shades - Dancers borrowed from Black Cat Dance Studio, led by Merethyl Cytria

Anthony De Luca

Date: 2016-02-28 11:27 EST
Synopsis Act I (the temple)

Solor enters with a party of warriors who have just returned from a successful hunt, having killed a great tiger. They will participate in the lighting of the sacred fire, and Solor hopes to see Nikiya.

The High Brahmin and his entourage of monks then enter, and the High Brahmin summons the Chief Fakir, (a fakir is a very devoted religious person - similar to a monk), who, with the other fakirs lights the sacred fire.

There are several dances of bayad'res and fakirs, then the High Brahmin sends for Nikiya, who enters, veiled. The High Brahmin removes Nikiya's veil and there is a solo for Nikiya.

When Nikiya finishes dancing the High Brahmin tells Nikiya of his love for her, and she refuses it, reminding him of his place in the temple.

After more dancing Solor and Nikiya meet and promise themselves to each other over the temple's sacred fire. Unknown to the lovers, the High Brahmin witnesses their oath and vows revenge. Act II (a hall in the Rajah's palace)

The Rajah calls for his daughter, Gamzatti, tells her that she is to be betrothed to Solor. She is concerned at first, but after being shown a painting of Solor, falls madly in love. When Solor's arrival is announced the Rajah sends Gamzatti away to veil herself to meet her fianc"e.

When Solor arrives Gamzatti returns and is presented to Solor. When her veil is removed, Solor is overcome by her beauty and in a moment of forgetfulness, agrees to marry Gamzatti.

Shortly after, the High Brahmin arrives and tells the Rajah of Solor's previous commitment to Nikiya. Both Solor and Gamzatti overhear the conversation between the High Brahmin and the Rajah and Gamzatti sends for Nikiya. Meanwhile, to the High Brahmin's dismay, the Rajah decides to eliminate Solor's "double" love by killing Nikiya.

When Nikiya arrives, responding to Gamzatti's summon, Gamzatti is in the hall with only Aya, her servant. Gamzatti tries to get Nikiya to deny her commitment to Solor but Nikiya's true love for Solor will not allow her to do this. Gamzatti tries bribing Nikiya with jewels and intimidating her with her social position, but still Nikiya refuses. The conversation becomes more and more heated until in a moment of passion Nikiya seizes a nearby dagger and tries to attack Gamzatti with it. She is stopped by Aya, then runs away realizing what she has done.

Gamzatti then vows revenge in addition to the High Brahmin's vow of revenge and the Rajah's desire to kill Nikiya.

Act II Scene II (the palace gardens)

Many guests arrive to celebrate the betrothal of Solor and Gamzatti and there are several dances of Celebration.

Eventually, Nikiya is told to dance for the betrothed couple, and because it is her job as a dancer to do so, she does albeit very sorrowfully. When she is finished her dance Nikiya tries to leave but is stopped by Aya, who presents Nikiya with a basket of flowers and leads her to believe that they are a gift from Solor.

Nikiya dances again, this time joyfully with the flowers. But as she is dancing, Nikiya discovers a venomous snake hidden in among the blooms, which strikes and bites her.

As Nikiya is dying, the High Brahmin offers her an antidote to the poison on the condition that she will be his. However, since she sees Solor as happily engaged and she will not be able to be with him Nikiya prefers to die. As she dies Solor throws himself by her side in sorrow. Act III (Solor's Apartment) A flautist and a fakir are trying to cheer Solor, with little success. When Solor feigns sleep they slip out as quietly as possible. Solor then enjoys a hookah of opium on his divan, and starts to sense the presence of the shade of Nikiya.

Now begins the Kingdom of the Shades scene. The shades, (usually thirty two of them), enter down a zigzag ramp coming down the back of the stage. They take two steps into an arabesque in pli", then two steps to pose in tendue derriere. This short phrase of movement brings all of the shades on stage in single file. They zigzag down the ramp, then continue down the stage. The lead dancer has to repeat the phrase an incredible number of times, with the same leg every time. The first dancers develop an incredibly strong arabesque on one side.

The shades then dance, exhibiting superb corps work and several solos and smaller groups. Also, both the "Entrance of Nikiya" pas de deux and the Scarf pas de deux take place during this act.

The third act usually ends with the shades and Solor and Nikiya in a grand pose.

Act IV (the temple)

The Bronze Idol: Dressed only in a dance belt and headpiece, the dancer paints his entire body gold for this variation.

When Solor awoke from his dream of the shades he found Gamzatti still determined to marry him, and it is now their wedding day. As they are at the temple Solor thinks he sees the shade of Nikiya and is distracted. This upsets Gamzatti, but they continue with the wedding. Then, at the moment the couple is taking their vows the gods fill the temple with smoke and destroy it in anger over Solor and Gamzatti's false love, killing all within. Solor and Nikiya are happily reunited in the afterlife.

((Source: http://www.the-ballet.com/bayadere.php))

((Players may feel free to post their characters' reactions and whatnot in this thread, if they so wish. As always, please respect the setting, and remember to have fun!))

Josette Wheeler

Date: 2016-02-29 23:38 EST
"I believe death is only a door. One closes, and another opens. If I were to imagine a heaven, I would imagine a door opening—There is another world waiting for us. A better world. And I'll be waiting for you there."

-David Mitchell

The role of Nikiya was a far cry from the brave, but girlish Gerda in The Snow Queen. Josette often thought of the elements that imbued these unique roles that she had the rare pleasure of dancing. Gerda had spoken to her of Air in her movements. The pure hearted peasant girl able to reach the love within Kai and dance between the snowflakes and blinding shards of the Snow Queen's mirror without being touched by the frost herself. Nikiya was pure Fire and Josette practiced with a passionate fervor late into the night to capture the unique language of movement that harkened to a smoldering poetry of form as sinuous and sensuous, as Salome with her seven veils.

From the moment her pointe shoe touched the stage, Josette became one with Nikiya. As The High Brahmin pulled the white veil from her delicate form to begin her first dance in the temple, her chin did not dip in submission. Rather that slender swan like throat extended heavenward instead, chin lifted with an innate sense of sacred self-worth before she began.

Josette's unique interpretation of Nikiya had a strong spirit. She was no wind up doll that danced for the fickle favor and appetites of mortal men. With every sinuous roll of her hips, this devadasi danced for Divinity and something entirely more holy in its essence that seemed to radiate its favor of her from within and shine out of her as if it were part of her very being.

Dressed in an iridescent white costume, with a moonstone encrusted headpiece and jeweled arm bracelets that shimmered as they caught the light, the exotic dance of Nikiya's first variation pulled the veil from between worlds and realities that the dancer so often traversed herself. One could almost smell the heady scents of the temple in India: frangipani, lotus, jasmine, and sandlewood. These heavenly aromas redolent of rituals that transcended the mere mortal, to a dance in the lush gardens of the spirit world with a spectrum of colors often veiled to the human eye.

It was a dream to share the stage with Anthony and Anastasia De Luca. Anthony commanded the stage with his presence as the High Brahmin and Anya was amazing as always as the compelling beauty, Gamzatti. Anya could not be nicer offstage, but onstage in La Bayad're, she managed to capture Gazmatti's intimidating intensity with a formidable energy which could leave an audience breathless after the heated confrontation between the two women. The intensity hung heavy in the air with a sense of foreboding as the dance between Nikiya and Gazmatti came to its conclusion.

Josette took a deep breath before she stepped onstage again to dance Nikiya's variation at the betrothal celebration of Gamzati and Solor. The beginning of the variation beautifully mirroring Nikiya's sorrow, underscored by the soul tugging, mournful sound of the cello. Not a single movement or note of music was wasted by the ballerina. Each beat was imbued beautifully with nuances that were finely layered. These heartbeats of moments that connect the soul to the story poignantly unfurling like a ribbon to weave around the audience and tease their senses.

The unique language of dance communicated its mystery in the lines of Josette's body, the reach of her arm, the angle of her delicate wrist or the beautiful. deep arch of her back. The slightest flash of her gaze smolders when it connects with Solor's in stolen glances as he looks on with his betrothed. Sorrow changes to sheer Joy as she is given the flower basket she thinks is from her beloved and Josette positively spins and leaps as Nikiya on the axis of it. A whirl of red silks and glittering gems painstakingly sewn into her costumes as she hugs the cherished flowers to her heart before that pinnacle moment when that joy eclipses to shock.

The ballerina's eyes widen above the beautiful petals as the serpent within the flowers delivers its fatal strike to the hollow of her delicate throat. Petals fall from her delicate fingers and eye contact proves as important as the extension of limbs when she shifts glances from Solor to Gazmatti. Her gaze flashes between sorrow, heartbreak, disbelief, anger and betrayal as she spins round the stage between the spokes of emotions.

The final, sideways look she casts the High Brahmin beneath the thick shade of half-mast lashes informs him that she will never be his. As if to prove the insult of betraying herself to live as his possession was more poisonous to her than the serpent's venom, she throws the offered antidote back at it his feet in one last act of pure, unabashed defiance before giving a last look to Solor and collapsing in death. They may have poisoned her body, but she would not defile her spirit.

Her choice of death in the face of such an option, not one of victimhood, but empowerment. The temple dancer would leave this realm of fickle love, duplicity and deceit on her own terms with her body claimed as her own. To enter a better world waiting for her as she cast off this temporary shell to dance her spirit to the Kingdom of the Shades.

The ethereal, opium induced vision of the dancing Shades in the Third Act was the crown jewel of La Bayad're in Josette's opinion. Resplendent visions of tulle and white gossamer, like so many wings, the corps was lead by the otherworldly, Merethyl Cytria. Josette relished being able to watch the sight from backstage as the magnificent corps de ballet danced in perfect unison down the ramp in two steps into an arabesque in pli?, then two steps to pose in tendue derriere. Doing the moves in adagio is difficult enough, but performing them down a ramp and in perfect unison, was a moment of mastery. One misstep and the effect would be ruined, but the dancers were so magnificent in their movement as one, it took her breath away.

James Willis and Josette worked for weeks with Irina on the scarf pas de deux. The white scarf acting as a symbolic, celestial bond between Solor and Nikiya—a veil between the two worlds that each held on either side. Somewhere between reality and a dream, her magnificent dance partner pulled her towards him to wrap her within the veil, before spinning her out again so she could spin into a series of arabesque turns and gorgeous pirouettes with preternatural grace. All of this performed while holding the scarf aloft above her. Josette was secure in the knowledge that Jamie had her back holding the other end of that scarf and would not break the connection to send her spinning into the ether.

Christian Benoit looked every bit Bronze Idol and performed his variation with spectacular skill. When the Gods had their final say by the end of the performance, Josette found herself tearing up a bit with gratitude as she took her final bow that she could share these moments on stage with such a wonderful company.

(If interested, this is a lovely dance variation of Nikiya's Death danced by the amazing Svetlana Zakharova)

Rhiannon D Harker

Date: 2016-03-06 00:04 EST
Shouts of Bravo in several incarnations went through the mother and daughters trio as the curtain call began. The performance had been beautifully done from the technical standpoint. Josette Wheeler's performance of Nikiya's Death scene, however, had surpassed past that. Her dancing reached out to souls and made them cry with the depth of the emotion she was projecting. She had made it her own. The scarf pas de deux with Josette and her partner, James Willis, was nothing short of brilliant.

In other parts of town, the quarterly Warlords' Tournament was wrapping up and the staff at Nicole's Bistro was doing clean up after closing. It was rare night for some family togetherness and they enjoyed every moment.

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