The Reforms Of Michel Fokine
Essay by 24 • August 26, 2010 • 1,361 Words (6 Pages) • 2,116 Views
The Reforms of Michel Fokine
Photography, painting, videography, and literature have all progressed over time.
New technology, and new ways of thinking have brought these arts to new levels. There
seems to be a broad misconception, though, that ballet is an art form that does not
progress; does not change. Many people assume that ballet's set vocabulary of movement
places limitations on how far the art can expand. Little do many people realize that this
vocabulary is a mere foundation for the myriad of interpretations that the art went and will
continue to go in. Michel Fokine is one revolutionary ballet choreographers, whose
reforms have taken this previously monotonous art to a new level.
Fokine's ideas were revolutionary for his time, but ironically made perfect sense.
He believed that all of the elements in a ballet should be parallel. In other words, he
thought that the music, costuming, makeup, movements, and sets should all reflect the
same culture and time period of the ballet. During this time in ballet there were often
incongruencies. For example, there would be Russian music, and pointe shoes in a ballet
that supposedly was based on a foreign medieval culture. Fokine was extremely and
consciously consistent in his works. Fokine explains, "The ballet should be staged in
conformity with the epoch represented."
Fokine sets his 1911 ballet, Petrouchka, in Russia. The first scene is a street fair,
which Fokine sets appropriately. He is sure to make the costumes realistic of that time
and place. Rather than dressing the dancers in tutus and leotards, they wear dresses that
are brightly colored and long. They are bundled up appropriately in many colorful layers,
considering the chilling temperatures of Russian winters. They also do not wear pointe
Atkins 2
shoes with long laces, but instead high heel character shoes that were typical of the time
period. Fokine also successfully creates personalities for the three dolls, partly by their
costumes. Petrouchka, who is a forlorn rag doll, wears a thin suit that is as lifeless and
limp as his personality. The costume and makeup is effective in showing his lack of
motivation and sadness. The Moor doll on the other hand, who is a very bold and vain
character is seen in dress that corresponds. His makeup is also very bold. The ballerina
doll is dressed in typical ballerina costume with a china doll face. This compliments her
simple mind and flirtatious tendencies.
He also made sure that the background was appropriate and related directly to the
content of the scene. For example, the "sumptuous and colorful quarters of the Moor",
(Reynolds) parallels his personality perfectly. Fokine hired some of the most popular
contemporary artists of his time to create these scenes, such as Picasso. In Petrouchka's
barren cell, the walls are painted black, which reflects the sorrow that he is going through,
during this scene. Also, the street market scenes show a carousel, street vendors, and a
large fair booth, which were all completely realistic and appropriate for the occasion.
Many artists before and after Fokine did not put thoughts into these sorts of things,
thinking that the ballet technique is the only important part of the production.
Fokine was also a strong believer in the ballet being "a complete artistic creation
and not a series of separate numbers (Fokine quoted in Cass). His belief in this explained
his hatred towards the practice of frequent applause interrupting ballets. He thought that
this took away the focus of the dancer, both literally, and figuratively. This belief is
integrated into his pieces by the movement that he gives his characters. He would never
give a character movement that does not express that character, such as, choreographing
large leaps and many turns just to show off the dancer's talent. It is seen in Petrouchka
that Fokine "was obviously a sharp observer of what psychologists today call body
Atkins 3
language" (Cass). Petrouchka's movements are extremely indicative of his personality and
feelings. For example, when he stands still, his knees buckle and turn in, and his arms
crisscross. Using a turned in position to express a character's introvertedness was a
technique that had never been used, and probably not even thought of prior to Fokine.
Petrouchka also expresses himself in a variety of other ways. For example, he lays on the
ground and sobs convulsively, and he flies into a foot-stamping rage. The Moor's
arrogant personality can also be detected through his movement. He moves in a turned
out, heavy, and extroverted way. The ballerina moves with mechanical ease and blankness
to show her lack of intelligence and vacancy
...
...