Customer Reviews

Etoiles - Dancers of the Paris Opera Ballet

5 star:		(4)
4 star:		(1)
3 star:		(1)
2 star:		(1)
1 star:		(0)

 

 

A variety of experiences are presented through interviews with members of the company, from the principal dancers (etoiles) to the understudies. It allows us to hear first-hand the opinions on issues such asthe pressures of being an etoile; the decision whether to start families from both the male and female dancer's perspectives; the reservations a former etoile has about her daughter's career choice, who is now in the company, as well as the pressure that daughter feels being the child of a former etoile; dancers who love dancing more important than life itself, to dancers who appear more cynical, and seem to take dancing as more of a career than a passion; the labors of the understudies to learn ALL the choreography knowing full well they will likely not get to perform them, but hopefully wait in the sidelines just in case...; dancers who have stage fright, etc.

You see how physically difficult dancing is, not just the beautiful illusion that is portrayed on stage. You see the process of rehearsal, including arguing like "No, you need to put your hand HERE, or else you'll drop me." You see the lines drawn on the stage to help dancers hit their mark; you see the beautiful swan-like ballerinas with sweat pouring down their faces during a performance; you see them leap gracefully on stage, and once they're backstage they pace about holding their backs and stomachs, panting in exhaustion just as a marathon runner would; you see rehearsals and find out how beneath the music, the chorus dancers sound like stampeding horses because of the pointe shoes; and the dancers bandaging their blisters, describing how uncomfortable rock hard pointe shoes are.

These are things you don't get to see and don't know about unless you are a dancer yourself. Throughout the film, scenes are intercut with black & white photographs which were taken at the same time, and the effect is very jarring and beautiful.

I highly recommend this movie to anyone who is interested in the gritty reality of ballet, and to see how much heart and hard physical labor goes into the making of something so smooth and graceful when it makes it to the stage. If you're looking for performances, though, you will be very disappointed. There is not one complete performance in the entire dvd. This documentary focuses on what leads UP to the performance, and stops there.

This is well-done, and 'a voyeur's look' at the Paris Opera Ballet, as promised. You do get a good behind the scenes look at this great company, how dancers are trained, how they work in both rehersal and performance, even how they make-up for a performance. My big criticism, though, is that the subtitles get cut off at the bottom. Usually the line, or the second line if there are 2 lines of text, is cut so that you only see the top half (or less) of the letters. This is a huge distraction as its hard to follow. The camera shots then seem too fast and chaotic, probably because it takes so much more time to decipher the subtitles that by the time you get it the picture's changing again. I'm not sure if it was meant for the wide screen, and they never edited the frames for a television, but I think this could have been avoided. It doesn't exactly ruin it, but it definitely detracts.

This dvd is beautifully done and very up to date. It provides a very interesting look into the life of ballet dancers in France. It has those wonderful segments of classroom rehersals that students of ballet ( such as myself ) long to see in documentaries ( for example, a very intersting classroom performance of the male solo adagio at the end of act one of Swan Lake is provided ). This dvd is a "must have" addition to any serious dance video collection.

For the ballet fans, the Paris Opera Ballet Company is the one of the best in the world, and this DVD tells & shows you what is like inside of the company. What you see on the stage and/or on screen is just a part of their hard work that you can't easily imagine. Being the top dancers of the company like Paris Opera & keeping their position as they are expected are not easy at all. You are able to see & hear how this ballet company is organized, and how the dancers feel about their passion of dance. I really enjoyed watching this documentary, and recommend to the people who are curious about the dancers' life not only how they dance.

If you speak french this dvd is probably fine - but for me there are better dvd's that focus on a dancer's life in a ballet company. The subtitles were cut off at the bottom and on the sides so you either looked at the dvd without knowing what was being said or you struggled to figure out the subtitles since they were only partially shown.

What makes ballet worth the time and effort required of the dancers? What's the payoff? Etoile (star) Claire-Marie Osta says she has a mystical side and considered being a nun but was afraid that would afford insufficient opportunity for physical expression. She needed, in other words, to be a flying nun. The commitment required by ballet closes many other doors, but she never considered those opportunity costs as "sacrifices" because they are repaid a hundredfold. What's it like to move onto the brightly-lighted stage from the dark wings? "C'est magic," she says with a Mona Lisa smile.
Marie-Agnes Gillot is asked if she loves ballet. Love is too weak a word, she answers. Former dancer Ghislaine Thesmar (who now rehearses dancers and is married to choreographer Pierre Lacotte) describes aspiring dancers not as students but "disciples." She admits that the system is a machine that "crushes" the weak (who are, of course, still children). Is it inhumane? Gillot says she "got some whacks" but "turned out OK." Indeed, she loved her time at ballet school. The goal of the elders is to pass on their love of ballet and foster talent. There is no affirmative action for the kinesthetically-challenged, and self-esteem arises only as a byproduct of achievement. Yet Thesmar is manifestly sensitive to the needs of individual dancers-- a fact confirmed by etoile Agnes Letestu, who credits Thesmar for not trying to make her over in Thesmar's image.
Giggles are ubiquitous in this documentary. There's competition, uncertainty, stage fright, and lots of sweat, but these people are having fun. Lower-ranking dancers may spend six weeks of practice for two minutes of performance in "Swan Lake." It's insane, says Thesmar. Yet the most rueful comment corps dancers and understudies make is, "I'm not dancing" (in this production).
Aurelie Dupont also "turned out OK," but is less willing than Gillot to exonerate the system and view its "inhumanity" as the price of excellence. Why pay the price? She describes herself as shy and credits ballet with helping to meet her "need to exist" by providing experiences on stage she would never seek in life. When introduced in social company as an etoile, she says people always go overboard on respect. (I would.) Shakespeare says "The summer's flower is to the summer sweet, though to itself it only live and die." Dupont hears the summer's applause but thinks that, still, she is just a ballerina.
Which brings us to the most interesting "existential" question: can ballet be the meaning of life? Elisabeth Platel, on the occasion of her retirement after a performance of "La Sylphide," ticked off the many rewards of a life in ballet but closed with a rhetorical question: "but is that life?" For all its virtues, is ballet, perhaps, too one-dimensional? Is Osta really a flying nun-- or just a performing seal? (Forgive me, Claire-Marie, but I have to ask that question for the sake of argument.) What I'm hearing from these dancers is that ballet provides an opportunity for spiritual self-transcendence through dedication to a beautiful performing art. Dancing is wholesome. But dancers are just people, perhaps even "sinners" (although it is hard to think of them as sinners while they are dancing). Ballet does not "deliver" the meaning of life but provides what sociologist (and Christian) Peter Berger calls "signals of transcendence" or what C. S. Lewis calls joy-- "an unsatisfied desire which is itself more desirable than any other satisfaction." I think Osta is right to see ballet as a spiritual vocation, and I think Platel is right to see that ballet arouses desires it cannot satisfy. How fitting that Platel's last ballet should be "La Sylphide," which Thesmar describes-- almost as if she were C. S. Lewis-- in terms of the male's longing for the elusive and unattainable feminine ideal. Romantic? Yes-- and very spiritual.
I'm not worried about spoiling the "plot" of the documentary by saying too much. One must see faces and hear voices to fully appreciate it. After viewing it several times, I loaned my copy to a former ballerina who, through no fault of her own, was unable to return it. I ordered a second copy and have also viewed it several times. It's my cult movie. (For me, the subtitles are a non-issue.)

To be able to see some portions of Bejart's'Ninth Symphony" itself is worth owning this DVD. I wish they have the entire performance recorded to be released. Like other reviewers I really think this is a well-made documentary.