dancinghomeschool.com

18th Feb 2010

                                          La Bayadere      The Temple Dancer

     Synopsis

 ACT I

Scene I : Outside the Temple Warriors pass by on their way to hunt tigers. They are led by Solor, India’s noblest war­rior. He stops at the Sacred Fire and com­mands the others to leave. Solor has a secret locked in his heart – he loves Nikiya, “the bayadere”,or” temple dancer”. As he hears people approaching, Solor orders the fakir Magdaveya to tell Nikiya that he will wait for her after darkness falls. The High Brahmin emerges from the Temple and all prepare for the Festival of the Fire. After Nikiya has taken part in the sacred dances, the High Brahmin secretly declares his love. Shocked, she rejects him. The love of a High Brahmin for a woman is against all the laws. Although stung by pain, the High Brahmin regains his composure and orders the bayaderes to give the fakirs water. Magdaveya uses this chance to convey

Solor’s message to Nikiya. When all have left, Solor and Nikiya meet. But, unseen, the High Brahmin watches as Solor swears eter­nal love for Nikiya. Solor disappears into the jungle and Nikiya returns to the Temple. His heart ravaged by jealousy, the High Brahmin rushes into the clearing and invokes the destruction of Solor.

 Scene 2 : A Hall in the Palace

The Rajah and his warriors salute a portrait of Solor. The Rajah’s daughter, Gamzatti, is ushered into the hall. Her father tells her that she is betrothed to Solor . The moment her eyes fall upon his portrait, Gamzatti knows herself to be in love. Solor is announced. When he discovers from the Rajah that as a reward for his valour he shall receive the hand of Gamzatti in marriage, he is stunned. He has given his heart to Nikiya. In anguish he watches from the shadows as the innocent Nikiya blesses Gamzatti. Suddenly the High Brahmin steps forward and asks the Rajah to dismiss the assembly. No sooner have Solor and Gamzatti left the hall than the High Brahmin asks if it is true that they are to be married. When the Rajah replies that it is indeed true, the High Brahmin reveals what he had witnessed outside the Temple. Enraged, the Rajah swears to destroy Nikiya. The High Brahmin staggers from the hall. His wish was to see Solor die but now it is his love, Nikiya, who is doomed, cursed by his own jealousy. Gamzatti has overheard part of the encounter between her father and the High Brahmin. She sends for Nikiya and triumph­antly declares that she and Solor are betrothed. Overwhelmed, Nikiya snatches a dagger from the table and turns on the princess. The Aiya rushes between them. In desolation Nikiya flees from the hall as Gamzatti, like her father, vows to destroy her.

 ACT II

The Gardens of the Palace

A great gathering assembles in honour of the betrothal of Solor and Gamzatti. Nikiya is brought forward to dance at the festivities but her dance is one of lamentation. When the Aiya gives Nikiya a basket of flowers and tells her they are from Solor, her spirits soar. But Nikiya does not know that the basket is really a deadly gift from the Rajah and his daughter. As Nikiya holds

the flowers to her breast she is bitten by a snake. The High Brahmin begs her to save herself but Nikiya refuses the antidote he presses on her. As she dies, Solor can hide his feelings no longer and in passionate grief throws himself on the body of the dead Nikiya.

 ACT 1lI

Scene I : Solor’s Room

To escape the pain of his inconsolable grief, Solor smokes opium.

Scene 2 : The Kingdom of the Shades

In his hallucinations, Solor imagines that he visits the Kingdom of the Shades to seek forgiveness from the dead Nikiya.

 Scene 3 : Solor’s Room

Solor awakes and believes for a moment that he has been with Nikiya. But as Gamzatti and the Rajah enter, he quickly realises that all had been a dream.

Scene 4 : The Temple

The dance of the Bronze Idol heralds the start of the wedding ceremony of Solor and Gamzatti. Amid the sombre splendour of the Temple, the priests and bayaderes gather. When all are assembled, the High Brahmin joins the hands of Solor and Gamzatti in marriage. At that moment the wrath of the gods is invoked and the Temple collapses, destroying everyone within.

Apotheosis

From the turmoil of destruction emerges a celestial calm. Solor and Nikiya are united in eternal love.

Temple Dancer Ballerina 1904

17th Feb 2010

I have the backround of this beautiful classic.Please stay in touch.The Synopsis and Ballet backround will be here soon.

Dancing Girls 17th century

Ballerina London 1831

Vakhtang Chabukiana as Solor 1941

29th May 2008

Remember I mentioned how incredible the stage setting was for La Bayadere.Almost 3D, and it stayed in my memory for a long long time. It was as if I’d been there,a real life experience of a place and time.

 Well I’ve just discovered what really contributed to the effects ..read this.

Lighting Inspiration
When attending a performance, one of the most dramatic distinctions in any performance, is the stage lighting. Stage lighting sets cues, and helps paint the picture the creator envisioned. It carries out the dance as it were a dream and makes it a spectacle rather than mere movement. If used creatively, it can add to the success of the production. Lighting design is actually mapped out, depending on how complicated the production is.

Typically the stage is broken down into a number of areas when considering a lighting design. Lighting is something that is calculated and cued just as much as the dance itself. The timing and intensity of it is extremely important. Lighting not only sets the mood, but more importantly, the atmosphere of the entire production.
The artistic director of a production is in charge of explaining the lighting to the lighting director. A choreographer
sometimes also commands the design; especially if they envisioned a particular set up when creating the dance. The lighting designer ultimately decides on the best set up, but is in high communication with the choreographer and/or artistic director of a production/number during lighting rehearsal.

The stage is equipped with a multitude of lights coming from several angles and set in several different sizes and films
. A film is a color or texture that the light flows through. Films can create quite an atmosphere; from red light to a water effect. it can also block the light to appear in sectional flows. A light can make an actual set as well.

Lighting can create several different dramatic effects, such as shadowing, silhouette, blocked sectional lighting, overhead spotlight, bright heavy light or low-level lighting. There are many components to lighting the stage.

Generally, all stage lighting has to do with the lighting of the performer. Performers tend to work in areas, so they are mainly lit with spotlights. Spotlights are basically concentrated pools of light in one area. A spotlight can be moved around to follow the performer.

After lighting the performer, it may or may not be necessary to provide additional lighting to the surrounding stage. It depends on if there’s a set or not.

Backgrounds/backdrops should all be illuminated separately from the actor and from the set.Lighting can get very complicated for a stage manager and an artistic director. The director is appointed a set amount of time with the lighting manager. Together, they work out all the possibilities and cues, then they rehearse these cues with the performers at dress rehearsal.
Lighting can get very complicated for a stage manager and an artistic director. The director is appointed a set amount of time with the lighting manager. Together, they work out all the possibilities and cues, then they rehearse these cues with the performers at dress rehearsal.

The dramatic emphasis that lighting gives, is important and necessary to every stage production. Lighting design should be studied by every choreographer. The more tools we have, the more success we have.

london dance co. Posted: 13 April 2007

The Royal Ballet has announced its new 2007/8 season. Highlights include a new production of George Balanchine’s Jewels, further performances of Wayne McGregor’s award winning Chroma and new work by Kim Brandstrup, Christopher Wheeldon and Wayne McGregor – alongside six full length ballets during the season, including La Bayadere and Romeo and Juliet. Jewels was composed in 1967 for the new York City Ballet and consists of three separate ballets: Emeralds – set to music by Faure, Rubies – to Stravinsky and Diamonds – to Tchaikovsky. The original costume designs by Barbara Karinska will be used – with new sets designed at the Royal Opera House. Wayne McGregor’s Chroma had just six sell out perfomances last November, alongside Christopher Wheeldons’ new work DGV. In February 2008 it will be revived for another 5 performances, in a programme with two works by Kenneth Macmillan – Different Drummer and The Rite of Spring. A new work by Wheeldon will appear in February/March 2008 and Kim Brandstrup’s first work for the Royal Ballet will be performed in April 2008. Royal Ballet Director Monica Mason also confirmed that Sylvie Guillem would not be dancing with the company again. She had been invited to appear in this season but wasn’t available: “I understand that now she wants to give herself completely to contemporary work. I also invited her to give a farewell performance. But I can understand that as she is still appearing she did not wish to say farewell. Her audiences will follow her wherever she still performs.” Guillem’s last performances with the Royal Ballet were in June 2006. Darcey Bussell is due to give her final performance with the company on 8 June this year.

londondance co.

April 2008

I remember La Bayadere. The justice that this video do is that you can see the detail of the stage scene. I have never seen a stage appear in 3D as the scene settings in La Bayadere. Not to mention the Dance choreography.The whole thing was Spectacular.  After three standing ovations , I noticed a very quiet audience leaving the theatre.We were awestruck !

January 1970   The Royal Ballet School London

My brother Colin Dye auditioned for the Australian Ballet Company and as a result of his acceptance was offered an audition at the Royal Ballet School. His training was rigorous to say the least.A combination of talent,hard work and some of the best teachers in the world launched his career in Ballet. He was accepted into the Royal Ballet Company,London, and showed great promise.Unfortunately due to a foot injury he was forced to give up the Art for a full year.This lead him into other directions and he soon found the discipline of Dance could be transformed to everyday life.He is now exceptionally successful and is known for his ability to hold a crowd spellbound which he says is merely an extension of his stage training. This means that any training that a young person receives has huge benefits regardless of their career path.

In recognition of your contribution to dance Collin.

Your brother   Ray Dye and Rays wife Ingrid author and administrator of  dancinghomeschool.com