Sylvie Guillem –Life in progress
Sylvie Guillem, Brigel Gjoka, Riley Watts, Emanuela Montanari
Sadler's Wells 25 – 31 May
London Coliseum 28 July – 2 August
by Judith Cruickshank
copyright 2015 by Judith Cruickshank
So, Sylvie Guillem, the most influential ballerina of the last four decades, has said goodbye to the London stage. During her years as a permanent guest at the Royal Ballet audiences were fortunate enough to see some of her most glorious performances. And although her interpretations may at times have given rise to passionate debate among spectators, no one could deny the brilliance of her technique or the intelligence with which she approached her roles.
Sadly, her popular legacy lies largely with her high extensions and the nickname “Mademoiselle Non”. But that is to overlook the fact that almost uniquely she carefully adapted her style to the work she was dancing and when she did indulge in her notorious “six o'clock” her extraordinary physique allowed her do do so without forcing and without distortion of her line.
Nor should anyone have been surprised that she should have strong opinions about the roles she wished to dance, the styles she wished to explore and the direction in which she wanted to take her career. Had that not been the case there was no reason for her to quit the Ballet of the Paris Opera where the rank of Etoile brings a higher degree of freedom than in most companies.
It's been some years since London has seen Guillem the classical ballerina. Those appearances have been mainly in Japan. Rather she has chosen to work with a group of contemporary dance choreographers, several based in London, some with a ballet background, but all wanting to push the boundaries of dance. And no one could deny that the lustre of Guillem's name brought their work to a wider audience than some of them might reasonably have hoped for, however lofty their ambitions.
The pro- gramme for“Life in Progress” consists of four works, all by choreo- graphers she has worked with over recent years. Typically, she has avoided the traditional ballerina farewell with the reprise of favorite roles and past memories, the first item being a new solo, “technê”, created for Guillem by choreographer Akram Khan. The title is taken from the Greek; a word which apparently means knowledge based in practice.
The décor consists of a silver wire mesh tree in the centre of the stage while at the back, half hidden sit three musicians who create something like a soundscape over Alies Sluiter's recorded score, . Initially she creeps around the tree, lies flat on the stage, but then as the tree starts to revolve she rises and seems to interact with with the limbs of the tree. Two viewings failed to give me any idea of what the choreographer was trying to say, but it was an impressive display of Guillem's extraordinary physical control.
William Forsythe's “Duo” was originally danced I believe, by two women from his company. Here, it's given by two men; Brigel Gjoka and Riley Watts, dressed trousers and singlets so baggy and beaten up that you wonder how the garments can last for even a week of performances. The two men shimmy, fall, spiral, moving simultaneously or in canon, one dancer sometimes seeming to fit his body into the space left by the other. The movement is eccentric, then suddenly there's a moment of pure grace and at the end of the 15 minute piece the dancers are back where they began.
Russell Maliphant has worked with Guillem as both partner and choreographer so it was to be expected that he would play some part in her farewell programme. He it was who helped her transition from classical to contemporary dance with “Broken Fall” a trio which had the Royal Opera House audience gasping at her physical courage and bravura. Maliphant himself recently retired from dancing but has made a new duet for Guillem, and at her request her partner is a woman; Emanuela Montanari.
“Here & After” is “the first time I've ever danced with a woman”, she says and Maliphant's piece is gentle and womanly, the two dancers echoing movements and supporting each other. At first the movement is gentle, performed to sounds of sighs and breathing, but then Andy Cowan's score speeds up and the movement quickens. It's not one of Maliphant's most memorable works, but it has lovely moments,
“Bye” is the only familiar piece and makes up the second half of the programme. Created by Mats Ek in 2011, it is danced to Beethoven's Opus 111 piano sonata, a more than welcome contrast to the sound for the rest of the evening. The curtain rises on an empty stage with a video screen at the back showing a close up of Guillem's face. She darts from side to side behind it, showing us a hand, an arm, even her head. And when she enters it can be seen that she's not dressed like a dancer but wears a yellow skirt, a printed blouse, cardigan, shoes and socks.
At one point she strips off sweater, shoes and socks. She stands on her head; she lies on her back feet and upper body in the air and your attention is drawn to her beautiful, high arched feet. Mood and movement vary; fierce at times, childishly innocent at others. A man appears on the screen watching her, and then a dog. Finally the screen fills up with observers, she re-assumes the discarded garments, quietly slips behinds the screen and is lost in the crowd. It's hard to imagine a better or a more touching farewell.
The programme continues to tour internationally for the rest of the year and finishes in Tokyo on 20 December. After that, Guillem says, she doesn't know. Whatever she does, it's bound to be interesting even if it's something essentially private. Meanwhile we can only salute her for making the brave decision to leave the stage when, as she says “I want to end while I'm still happy doing what I do with pride and passion”. To which, all you can say is ”Thank you, Sylvie, and goodbye. You'll be missed”.
All photos of Sylvie Guillem by Lesley Leslie-Spinks.