Relay Column: Body & Attire in Ballet – Focusing on the World of John Neumeier (Mariko Minagawa)

Against a target set at the edge of the stage, a female dancer clad in a form-fitting leather vest draws her bow. The moment the arrow strikes the center, the orchestra begins to play the first note—.

This dynamic and solemn scene is the opening of the ballet "Sylvia," choreographed by John Neumeier. On this occasion, I would like to take this opportunity to write a brief analysis (or rather an essay) on the theme of ballet. However, as a writer specializing in the history of Western political thought and feminist/gender studies, I do not often encounter opportunities for systematic research on ballet. While I have long engaged in ballet as a hobby, I only recently began to consciously articulate the various aspects surrounding ballet. After all, dancers can express much more through their bodies than they can with words, and there are limitations to depicting that through language. Nevertheless, there are indeed occasions when one encounters a stage performance that compels them to put it into words; I wish to document my thoughts, albeit inadequately, on this occasion. The focus is on the portrayal of women and bodies in Neumeier's works, as well as the nature of love depicted in these pieces.

In March 2023, the Hamburg Ballet performed a gala selection of works titled "The World of John Neumeier" and a contemporary reinterpretation of the myth-based piece "Sylvia." The Hamburg Ballet, based at the Hamburg State Opera in Germany, is distinguished by its diverse repertoire, which includes not only classical ballet but also numerous contemporary dance works. Since its founding in 1973, John Neumeier (born in 1939), who serves both as the artistic director and chief choreographer, has been a leading figure in late 20th-century choreography. He continues to engage in active creative endeavors, not only revising classical works and creating contemporary pieces but also adapting literary classics into ballet, including "Die Kameliendame" (1978), "Death in Venice" (2003), "The Little Mermaid" (2005), and "Anna Karenina" (2017), earning immense praise and popularity. This recent tour marked a celebration of the 50th anniversary of the ballet company and honored Neumeier, who is set to retire at the end of the 2023/24 season［1］.

I was profoundly struck by Neumeier's world of works during the performance I attended in March. In particular, I felt the necessity to reconsider the work "Sylvia" as part of "The World of John Neumeier" rather than as a standalone piece that I had repeatedly viewed on DVD since childhood. Furthermore, the themes of femininity and love depicted in this work seemed to resonate with a rethinking of the relationship between dance and the body. I would like to explore these connections step by step, even if it means taking a few detours.

First, let's take a closer look at the work titled "Sylvia." "Sylvia" centers around the nymph Sylvia, who serves Diana, the goddess of the moon and hunting. Originally produced as a classical ballet at the Palais Garnier in 1876, it was reinterpreted by Neumeier as a "dance sequence depicting the vulnerable moment of the Amazon transitioning from adolescence to womanhood," and he choreographed a new version for the Paris Opera in 1997［2］. While retaining the majestic music of Leo Delibes, influenced by Wagner, Neumeier incorporated many modern elements in the costumes and stage designs, collaborating with Greek artist Yannis Kokkos, thus blending contemporary and classical dance to focus on the life of the female character, Sylvia.