Tanzrecherche NRW: Classical Tradition / Modern Society by Mirjam Otten

Madeleine Onne on the other hand explains that when commissionning classical
pieces, she sees value in emphasizing traditional and timeless qualities of a
production, pointing out that they are large investments that are expected to stay
with a company for at least 10 years. Whatley (2013) seconds this view, listing
reproduceability as an important consideration in building and maintaining a
heritage.
I want something that can survive in
10 to 20 years, because it's such a
huge, huge investment. So in
classical commissions, I want something
traditional and special for us.
– Madeleine Onne
Crystal Costa acknowledges that there are different ways of re-working classical
pieces, arguing that all have their place. Whether it be a story re-interpreted in a
new language of movement as in Akram Khan’s Giselle, or an adaptation focusing on
renewing the story and integrated production elements whilst keeping with the
classical movement repertoire, for example Tamara Rojo’s Raymonda. Alastair
Marriott follows the latter line of thought, advising that classical stories can be
revived by making them more historically accurate. ‘You set (them) in a more
realistic village, and you can do much more research into what the real clothes
would look like. And when you do additional choreography, you can study all the
other versions and make a decision as to which bits are really important and which
bits need to be updated.’ Conversely, Madeleine Onne is in favour of adapting some
elements of classical pieces away from their original version and towards a reality
that is more reflective of the audience’s life. For this reason, The Finnish National
Ballet’s Swan Lake for example features snow to reflect the Finnish climate, which
makes the production more relatable to local audiences.
Classical Tradition // Modern Society 42