ART OF TRADITION

Gisborne Herald, Volume LXXI, Issue 21580, 6 December 1944, Page 4

ART OF TRADITION

INTERPRETATIVE GIFT INTERNATIONAL BALLET “The definition of baliet which many people carry in their minds is that" it is a form of eurhythmies ■jazzed up by a touch of acrobatics, and further brightened with e. lovely girl who can ‘get up on her toes.’ The present tour of the Borovansky Ballet: in New Zealand will do much, T hope, to dispel this vague and to a -cal balletomane, irreverent Idea." said Mr. Arthur J. Tait, genera! manager for Messrs. J. C. Williamson Theatres. Limited, discussing to-day the art of the ballet. The dictionary definition, whu-k described ballet as “a theatrical representation of some tale nr .mb. • told in dance or metrical action, accompanied by music." was hardly satisfying to the real enthusiast, he added. Arnold Haskell. _ who had plaved a prominent part in establishing the ballet in England, put the beauty and tradition of the art more truly into words when he wrote: “Ballet is essentially an art of tradition. a tradition that is a living force. Music has its score, the drama its book, and the paintings of the past can be seen on the walls of museums and to a certain extent in reproduction. The tradition of the ballet, on ■he other hand, is handed down frmw master to master. Cease dancing for 20 years, and the damage might be beyond repair.”

The preservation of the tradition, as Mr. Haskell had said, could only be assured if gifted people were given the encouragement to cultivate the exacting art of the ballet. Moreover, it could only be maintained if a efficient number of people could be interested in this delightful form of •■’nvthmic entertainment, said Mr. Tail. He had felt it a great privilege to be associated with the successful endeavours made in Australia to promote this interest, and there was much satisfaction in the knowledge jhat New Zealand people, on the occasions of past and present tours bv 'ballet organisations, had shown such keen appreciation of the art. Inspiration To Loveliness

There were many people in this district to whom the opportunity of seeing the ballet in the real tradition had not previously been given. He felt that, while there were many oi the technical facets of the ballet which these people might not appreciate to the full, they could not but revel in the beauty which the dancers wrought with the story or legend on which the ballet was based, the choreography or descriptive movements of the dancers, the scenery, end the music which masters of the .■allet had used as their inspiration. Both soloists and members of the corps de ballet were highly trained of course, but -training alone could not produce the beauty of a welldone ballet. Mr. Tait remarked. Their technical gifts, making the most of he conception given by the ballet •-paster, flowed in loveliness to the 'VC. They worked from no written score, for their work was pure art the art of interpretation. Modern ballet. Mr. Tait pointed out was not solely a product . o Russia. In fact, i.t owed its survival to the founding in France of the Academie Nationale de la Danse of Louis XIV in IG6I. There were

various schools of the ballet, oi course, and the French. Russian. Italian, and British ballet had brought t.o the art something of their rational characteristics. The Boro•vansky Ballet, for .instance, followed i.he Russian tradition with some ■Taxations of technique developed through its leader’s experiences throughout Europe. Its prima bah ’erinas, Dorothy Stevenson and Laurel Mar-tvn .had also made their contributions to its special 'flavour, and other leading members of the •‘ompnny had managed in scme .dc:rce to' impress their personalities. The ballet as a whole, however, rew/esented the best in the art. in that individual talents and personalties yielded to the service of beauty in a harmonious whole.