For the typical college student, going to the ballet doesn't exactly top the list of hip Thursday night activities to engage in. People have better things to do than watch stick-thin dancers hop around onstage to the energetic beats of Mozart... or do they? Jos?© ?ateo's new ballet, "Passion/Sublime," challenges the conventions of "traditional" ballet to create a powerful display of creativity, talent, and love. As a result, "Passion/Sublime" is far from boring - it is inspiring.
The first striking difference that sets "Passion/Sublime" apart from more traditional ballets is the basic layout of the theater. The "theater" in this case is Sanctuary Theatre, an old Baptist Church in Harvard Square that has been renovated for Jos?© ?ateo's Ballet Theater.
The setting is quaint, but more importantly, it is accessible. The entire theater is held in the same open space, a single room, with a high vaulted ceiling and old stone walls. There are only thirty or forty seats in the theater, and they're placed on the same floor that the dancers dance on.
The layout of the theater creates a powerful sense of intimacy between the dancers and the audience. The sheer proximity of the dancers (they are so close that audience members can literally hear them breathing) makes it difficult to watch the ballet passively. It is easier to zone out when you're watching tiny people dance on a distant stage than when there's a dancer so close that you can see the sweat beads form on their forehead.
The effect of all this is that the audience has a chance to enjoy ballet not for its perfection, but for its humanity. The dancers are not just dancers - they are people, and being constantly reminded of this allows spectators to more fully appreciate the immense talent on display.
Don't be fooled by the fact that Jos?© ?ateo's Ballet Theater is a relatively small local company. The dancers are world-class, and visibly dedicated to their art. Perhaps it's the proximity that allows viewers to sense the passion that each dancer has for ballet. In any case, it's a wonderful thing to behold.
As for Mateo himself, he's no stranger to the art of choreography; he has personally choreographed over 80 ballets for his company, including both acts of "Passion/Sublime." Even someone who knows nothing about the technicalities of ballet can easily see that Mateo has an incredible aesthetic sense, which allows him to take surprising and beautiful liberties.
Perhaps the most noticeable feature of Mateo's choreography is the way he embraces the asymmetrical. His dancers alternately perform in line and staggered across the floor in groups of twos and threes, making audience members feel as if the whole scene is unfolding before their eyes. The technique gives the ballet both a sense of spontaneity and a classical feeling reminiscent of a Degas painting.
"Passion/Sublime" itself is a set of two ballets and two themes. It uses two key works of music, Mozart's Concerto #20 and Henryk G????ki's Symphony #3, "The Lamentation," assigning a central idea of the ballet to each movement.
The first act, "Sublime," is set to Mozart's Concerto. It is delicate and hypnotic, and although it deals with heavenly beauty, there is something very human about the way its dancers interact.
The second act, "Presage," uses G??"??ki's heavy symphony to express earthly passion. Though the first act is good, this one is better. Simple and straightforward, perfectly in keeping with the music, "Presage" is powerful because it does not rely on the music alone to create drama and emotion. The choreography too is dramatic, slow-moving and sensual, and just as unexpected as the symphony.
"Passion/Sublime" is a truly unified work. The choreography and music are inextricably tied together, so that neither one fades into the background; both are more powerful together than they would be apart.
As for the costumes and set, well, the key word is simple. There are just a few colored lights and barely a tutu in sight, but that's all that's needed. There is nothing to get in the way of the dancers. Or, perhaps more accurately, there's nothing to get in the way of the relationship between the dancers and the audience. And this relationship is ultimately what the ballet seeks to cultivate.
Tickets for the ballet aren't cheap; $32 is a lot for a college student. In addition, "Passion/Sublime" has a short run; it's only playing until October 30. But if you have the opportunity to go see it, do so. It may be one of the most beautiful shows you ever see. This Thursday, frat parties can wait. Don't get drunk - get inspired.
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