It is easy to see the beauty in classical ballet, and understanding the meaning of classical ballet pieces is merely a matter of understanding the language of classical ballet; upon becoming knowledgeable about the language of classical ballet, the wide repertoire of ballets opens up and becomes accessible to the individual. Modern ballets are often much less accessible, even to the initiated and to those who are deeply familiar with the conventions of ballet and dancing. William Forsythe was one of the premier choreographers of the last fifty years; his productions are complex and varied, often leaving the audience with lingering feelings and emotions linked to the intensity of his work (Wood). Forsythe’s choreography in the piece In the Middle, Somewhat Elevated explores the complexity and innovation available when modern ballet meets classical ballet technique.
Forsythe claims Balanchine, one of the greatest and most well-known ballet directors of all time, as one of his primary inspirations. However, Forsythe always wanted to go beyond what Balanchine thought was possible for the classical ballet (Sulcas). The New York Times writes of Forsythe’s work In the Middle, Somewhat Elevated: “’In the Middle’ brought together Mr. Forsythe’s brilliantly innovative rethinking of ingrained balletic conventions — about balance, weight, effort, line, presentation, illusion and gender — with theatrical panache, and it catapulted him into the international spotlight” (Sulcas).
In the Middle, Somewhat Elevated is not one of Forsythe’s most famous or most frequently-performed works, but it is an excellent example of the type of masterpiece that Forsythe was capable of creating (Wood). In the Middle, Somewhat Elevated was originally designed and choreographed in 1987 for the Paris Opera Ballet, and the original show starred Sylvie Guillem, one of the Paris Opera Ballet’s longest-running and most enigmatic principal dancers (Wood). Guillem herself is said to be Forsythe’s inspiration for the piece, but Forsythe himself has said little on the subject of a personal muse or inspiration for the work (Wood). Although it has been performed by many different principal dancers over the years, Guillem’s interpretation is still, arguably, one of the best and most moving interpretations of the piece.
In the Middle, Somewhat Elevated is a performance of contradictions, but perhaps the most noticeable of the contradictions is in the music. Unlike the traditional music of classical ballet, In the Middle, Somewhat Elevated is set to a score by Thom Willems that almost echoes the electronica genre of music that became so popular in the 1980s (“sylvie guillem - in the Middle Somewhat Elevated”). The music is harsh and staccato, chopped into sections and insistently rhythmic. Like all choreography, each dancer brings something different to the work-- each dancer is imbued with his or her own technical style, emotional state, and interpretation of the music and the choreographer’s intention. When examining two different dancers dancing the same variation-- the pas de deux from In the Middle, Somewhat Elevated-- there are clear differences in the interpretation of the work as a whole.
Sylvie Guillem, the dancer for whom In the Middle, Somewhat Elevated is rumored to be choreographed for, had a very unique style of dance (“sylvie guillem - in the Middle Somewhat Elevated”). Guillem was known for her long legs, incredible flexibility and beautiful feet, but also for her ability to internalize modern pieces and make them unforgettable. In her interpretation of In the Middle, Somewhat Elevated, Guillem’s transitions are slow and elongated, broken up by quick, choppy movements in her footwork (“sylvie guillem - in the Middle Somewhat Elevated”). There is a carelessness in the beauty of her movement that is reflected in the nature of the piece itself: during the piece, dancers walk onstage, dance, and exit with little preamble or warning; rather than telling a story, the entire purpose of the piece seems to be the technical aspect of dance itself.
Forsythe himself does not comment often on the nature of his works, although occasionally he does open up to reporters and the like about his motivations and the meaning behind his pieces. Regarding In the Middle, Somewhat Elevated, Forsythe said:
Originally created for the Paris Opera Ballet, In the middle, somewhat elevated is a theme and variations in the strictest sense. Exploiting the vestiges of academic virtuosity that still signify ‘the Classical,’ it extends and accelerates these traditional figures of ballet. By shifting the alignment and emphasis of essentially vertical transitions, the affected enchainements receive an unexpected force and drive that makes them appear foreign to their own origins (Theforsythecompany.com)
Guillem captures this feeling in her performance of In the Middle, Somewhat Elevated; her technique is beyond reproach, but she still maintains a sense of artistry and athleticism that some of the more classical roles lack (“sylvie guillem - in the Middle Somewhat Elevated”).
Watching another dancer dance the same variation, however, brings new light to the dance itself. Where Guillem ekes artistry from the strict choreography, Svetlana
Zakharova of the Mariinksy Ballet utilizes
her exquisite technique to perform every movement to an exaggerated degree (“In the Middle, Somewhat Elevated”). Zakharova, even moreso than Guillem, has exaggerated extensions in her legs and feet, and makes the technically complex and athletically demanding choreography appear simple, effortless, and sharp.
While there is little doubt that both dancers have extraordinary technical abilities and wonderful expressive qualities in their work, Guillem’s interpretation of In the Middle, Somewhat Elevated seems to ring truer to the post-modernist feel of the ballet than Zakharova’s intensely technical interpretation.
Even the costuming for the piece serves Forsythe’s purpose of distilling classical ballet down to its technical base. The costuming is simple, forest green leotards and black tights with pointe shoes for women, and forest-green unitards for the male dancers; these costumes are a nod to the traditional clothing worn in a ballet studio for technique classes.
Perhaps the most engaging aspect of In the Middle, Somewhat Elevated is the intensity of the dancers on stage. Dancers must, by necessity, feel any emotion that is being portrayed by the choreography with intensity; however, one of the feelings that comes across most strongly in In the Middle, Somewhat Elevated is apathy. This adds to the contradictory nature of the piece, as feeling apathy with intensity is an emotional contradiction.
Occasionally, a variation can be impactful on an individual without the individual understanding fully why; even upon reflection, it is unclear why In the Middle, Somewhat Elevated is as powerful as it is. However, regardless of the reasons why, the piece has been a mainstay in modern ballet repertoire for many years now, and chances are it will continue to be one for years to come.
Works cited
Rockwell, John. "On Their Toes, With Something Other Than Romanticism in Mind." The New York Times, March 19. 2005: Print.
Sulcas, Roslyn. "Watching Dancers Grow, as Cultivated by a Daredevil." The New York Times, December 28. 2012: Print.
Theforsythecompany.com. "The Forsythe Company." 2011. Web. 14 Jun 2013. <http://www.theforsythecompany.com/details.html?L=1>.
Unknown. In the Middle, Somewhat Elevated. Digital video. 2006. Web. <http://www.youtube.com/watch?v=vHCUpEEqPSU>.
Unknown. sylvie guillem - in the Middle Somewhat Elevated. Digital video. 2007. Web. <http://www.youtube.com/watch?v=NVWf-JDw8CQ>.
Wood, Darrel. "In the Middle Somewhat Elevated with Sylvie Guillem & Laurent Hilaire. Choreography by William Forsythe." Web log post. NYC Dance Stuff. September 7 2012. Web. <http://nycdancestuff.wordpress.com/2012/09/07/in-the-middle-somewhat-elevated-with-sylvie-guillem-laurent-hilaire-choreography-by-william-forsythe/>.
