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the Prince in turmoil. His lead Swan then slowly emerges from within the Prince's bed. The Swan dances with the Prince and assures him of his continued affection. But, the rest of the swans turn on the lead Swan when he makes it clear that he values his relationship with the Prince more than he does them. They separate the two and begin attacking the Prince before the Swan leaps in to save him. The Swan embraces the Prince and envelops him in his wings. The swans' fury increases and their next attack dismembers the Swan, who then disappears. Heartbroken and despondent, the Prince wails in agony and collapses onto the bed. The Queen then finds her dead son's body and breaks down in tears. However, in death the Prince and the Swan are reunited, as shown by a tableau depicting the lead Swan tenderly holding the young Prince in his arms.
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kissing. The Prince, in his fury, violently separates them and is rewarded by outrage from both and a slap from his mother. Overwhelmed by conflicted feelings, the Prince produces a pistol and threatens to shoot his mother. In an ensuing scuffle the
Girlfriend tries to dissuade the Prince, while the Private Secretary draws a pistol and points it at the Prince. As shots ring out, the Girlfriend and the Prince fall to the ground, but only the Girlfriend has been hit. She lies unconscious and the Prince is dragged away, while the Queen throws herself into young von Rothbart's arms. He gives the pistol he had taken from the Prince to his father, the two of them laughing.
183:, the Prince becomes bored by a boat christening, a ribbon cutting, and other official tasks. His mother prods him to keep up appearances, even as she devotes more attention to the soldiers than she does to him. During this scene, there is a transition from the child actor playing the young Prince to the identically-dressed adult dancer who portrays the grown Prince. This now-adult Prince is introduced to a girl called "the Girlfriend". Although the girl seems foisted on him by von Rothbart, the
330:. The only threat to her eternal happiness was if she fell in love with a mortal and bore his child, as she would then lose her immortality. Ondine duly fell in love with a dashing knight, Sir Lawrence, and they were married, the knight pledging unfailing love and faithfulness to her with his every waking breath. A year after their wedding Ondine bore Lawrence a son. From that moment she began to age. As Ondine's beauty faded, Lawrence lost interest in her.
270:, where customarily (although not always) one ballerina performs the roles of both the white swan (Odette) and the black swan (Odile), the same ballet dancer performs the white Swan and the black-clad young von Rothbart in this version. The Prince sees something of his beloved Swan in the son, and he is very attracted to his bravado and animal magnetism but shocked by his lewdness, especially towards his mother. During
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lead Swan, the Prince is gradually accepted and taken into the Swan's arms. The Prince is elated and abandons his plan to kill himself. This Act contains the most talked-about element of the ballet in which bare-chested, barefoot male dancers play the swans, and it contains a very sensual pas de deux between the lead Swan and the Prince.
360:, the Ondine myth is said to be an image of psycho-sexual distress: the nymph is a forlorn image of repressed virginity, anxious that she will never achieve womanly fulfillment, while her feminine nemesis that leads her husband astray represents the confident seductive power that threatens her hopes. The story is double-edged: the human
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One afternoon Ondine was walking near some stables when she heard the familiar snoring of her husband. When she entered the stable, she saw Sir
Lawrence lying in the arms of another woman. Kicking her husband awake, she cursed him such that he would have breath so long as he remained awake, but if he
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The plot has evolved over the years since the debut. The most conspicuous change Bourne made was to remove the subplot of the von
Rothbart conspiracy to put his son on the throne. The Private Secretary now becomes just a functionary (no longer a von Rothbart counterpart, nor villain) and the Stranger
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In the final act, the Prince, regarded as having lost his mind, is confined to an asylum in a room with a high barred window, and is treated by a doctor and a team of nurses wearing masks that resemble the Queen's face, in a scene reminiscent of his dressing at the beginning of the ballet. The Queen
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group numbers and a sequence of national dances, it becomes clear that the Queen is powerfully attracted to von
Rothbart's son. His father, the Private Secretary, looks on with an increasingly triumphant approval. The Prince also tries to approach young von Rothbart, only to be rebuffed. The Prince
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radically reinterprets the myth. The focus of the ballet is turned away from the Ondine character to the man – the Prince. It is the Prince who struggles against repression and hopes for liberty, and who needs love to make him safe. In addition, it is not the mortal who is unfaithful to the nymph.
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The Prince crawls into bed and appears to sleep. However, he begins writhing as he dreams of the troupe of swans emerging from under and behind, dancing around him. He wakes from his nightmare, checking under his bed and around his room for swans. His tortured expression and jerky movements convey
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takes place in a ballroom. It commences with the arrival of the Queen and the Prince and some formal dancing, but quickly degenerates into a debauched party of drinking and lascivious come-ons. Into this arrives the charismatic and sexually aggressive son of von
Rothbart, the Private Secretary, in
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Distraught and disappointed that he will never find affection, the Prince writes a suicide note and goes to throw himself into a lake at a public park inhabited by swans. He is saved by a vision in which he encounters the lead Swan, who had appeared to him in his dreams. Initially rejected by the
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The Prince imagines the Queen and young von
Rothbart flaunting their growing physical affection for each other. They join with the other guests at the ball to laugh and ridicule him because of his growing distress. The Queen and young von Rothbart end their dancing with an embrace and passionate
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In order to accommodate his revised scenario, Bourne somewhat altered
Tchaikovsky's score, reordering several numbers and omitting others. For example, No. 5 has been moved in its entirety from Act One to Act Three, where it follows the (reordered) national dances. Act Three has been trimmed by
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of the swan as a pretty, feminine bird of gentle grace. According to Bourne, "The idea of a male swan makes complete sense to me. The strength, the beauty, the enormous wingspan of these creatures suggests to the musculature of a male dancer more readily than a ballerina in her white tutu."
194:, the Queen, one of her admiring soldiers, the Private Secretary, the Prince, and the Girlfriend all appear in a theatre box, where they watch a ballet that is staged for the actual audience as well as for the characters. The ballet's backdrop (from a design for Castle Falkenstein by
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Much has been made of Bourne's decision to cast men as the swans. The original ballet is a standard in the
European tradition of romanticized female–male love. The heroine, the swan princess Odette, is portrayed as powerless but lovely in accordance with conventional
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black leather trousers, who intensifies the sexual tension even further by flirting with every woman present, including the Queen. Each woman finds herself drawn to him and actively participates in the mutual, sometimes lewd, flirtation.
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Rather, it is the Swan who (in Act Two) expresses love for the Prince, betrays him in the form of the
Stranger (Act Three), and finally returns to him (Act Four). However, as in the Ondine myth, the sin of betrayal cannot be
364:, in loving the nymph, transgresses against his own kind and may be punished. If, having betrayed her once, he returns to her, her kiss will bring him death; in fact, it may be this love-in-death that the man desires most.
229:, he sees the Girlfriend being paid off by von Rothbart, and he is totally shattered to discover that the only person who appeared to love him is a fake. This increases his desperation and he vows to kill himself.
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is no longer shown conspiring with him. The identity of the
Stranger becomes even more vague and Bourne prefers to leave him and his relationship with the Prince up to the individual interpretation of the viewer.
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In the prologue, the Prince, as a child, is awakened by a nightmare of a swan. The Prince's mother comes in to comfort him, but becoming nervous by the situation's intimacy, leaves.
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However, the same central themes carry through both works. Both are about doomed, forbidden love, and both feature a Prince who wishes to transcend the boundaries of everyday
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retreats into his mind and imagines dancing intimately with him, but the Prince's confusion interrupts the fantasy, and the son's movements turn from love to violence.
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begins with princesses from various European nations and their escorts arriving at the palace gates for a grand ball. The Girlfriend sneaks in amongst them.
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was an example. The Girlfriend's responses to the dance as well as her eventual dropping her purse from the royal box annoy the Queen and von Rothbart.
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the Prince imagines a group of swans flying towards him but the vision disappears. It is the first flash of the Prince's descent into mental turmoil.
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theatre in London in 1995, it has been performed in the UK, Los Angeles, Europe, Russia, Australia, South Korea, Japan, Israel, China, and Singapore.
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This synopsis is derived from programme notes and the synopsis provided on the DVD. The plot of the ballet revolves around a young
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finds the Prince drinking in his private chambers in front of a mirror, to his mother's shock. A nearly violent
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dominating. The Prince gets into a fight with sailors at the bar, and he is thrown out into the street. In
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Alastair Macaulay, "Swan Lake: The Matthew Bourne version", from the programme from Matthew Bourne's
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at its core, and changes the realm of the plot from magical to psychological. The fierce, bird-like
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Named as such in the DVD synopsis, thus identifying him with the sorcerer in the original scenario.
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opens with the Prince being prepared for a day of official duties by chambermaids and valets.
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498:. It was then shown in various cinemas with a nationwide release and it was premiered in
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642:"The History of Matthew Bourne's Swan Lake", from the programme from Matthew Bourne's
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The Prince then goes into the streets and into the Swank Bar, a 1970s-style disco, in
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221:. Here is where the choreography veers from classical ballet, with jazz forms and
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1999 – Best Director of a Musical, Best Choreography and Best Costume Design,
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ensues in which he pleads for her attention and love, while she rebukes him.
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visits but, again, she is still unable to fully express love for her son.
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ever fell asleep his breath would be taken from him and he would die.
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1997 – Best Choreography, Los Angeles Drama Critics Circle Awards
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755:"Q&A Special: Matthew Bourne and the making of Swan Lake 3D"
736:"Richard Winsor: 'sexiest man in dance' takes on 3D 'Swan Lake'"
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413:, the ballet's composer, whose homosexuality caused a number of
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through that love. Both themes have strong ties to the life of
807:. Los Angeles Drama Critics Circle. 2004–2006. Archived from
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Official website of New Adventures, Matthew Bourne's company
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The show premiered at Sadler's Wells on 9 November 1995:
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The Search for Signs of Intelligent Life in the Universe
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The Swan Princess: The Mystery of the Enchanted Kingdom
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has collected over 30 international awards, including:
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Emily Piercy / Vicky Evans as The Prince's Girlfriend
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Andrew Walkinshaw / Sid Mitchell as The Young Prince
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leaving out most of No. 19 and all of the following
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559:(2000) shows the lead character, Billy, played by
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113:is a contemporary ballet based on the Russian
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232:While sitting in the street at the end of
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670:, New York: NVC Arts: Warner Music Vision
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469:Barry Atkinson as The Private Secretary
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448:/ David Hughes as The Swan/The Stranger
312:, a German myth with a theme common in
1107:The Swan Princess: A Fairytale is Born
1076:The Swan Princess: A Royal Family Tale
502:, London. Then later released on DVD.
27:Ballet choreographed by Matthew Bourne
1546:The Strange Undoing of Prudencia Hart
1087:The Swan Princess: Royally Undercover
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463:Renato Cinquegranna as Swan/Stranger
1601:Grenfell: in the words of survivors
1097:The Swan Princess: Kingdom of Music
704:"Swan Lake: A leap into the future"
538:for Excellence in Dance on Broadway
475:as Pop Idol/Italian Escort/Big Swan
127:and the broad outline of the plot.
123:, from which it takes the music by
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1092:The Swan Princess: A Royal Myztery
518:1996 – Best New Dance Production,
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872:Programme from Matthew Bourne's
715:from the original on 26 May 2022
353:and chief theatre critic of the
341:(formerly chief dance critic of
734:Nesti, Robert (19 March 2012).
615:Also named in the DVD synopsis.
18:Matthew Bourne's Swan Lake
1285:The Garden of Earthly Delights
460:/ Isabel Mortimer as The Queen
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1250:An Evening With Quentin Crisp
753:Brown, Ismene (15 May 2012).
350:The Times Literary Supplement
587:Friedrich de la Motte Fouqué
553:The final scene of the film
1483:Love, Loss, and What I Wore
1443:Christine Jorgensen Reveals
1069:The Swan Princess Christmas
780:"Swan Lake: Matthew Bourne"
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897:Internet Broadway Database
589:featuring the Ondine myth.
434:Original cast (incomplete)
308:was based on the story of
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67:9 November 1995
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266:Just as in the original
1139:Danse des petits cygnes
892:Swan Lake
520:Laurence Olivier Awards
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80:Original ballet company
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861:from Matthew Bourne's
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834:Bourne, Matthew (dir.)
664:Bourne, Matthew (dir.)
300:Imagery and innovation
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986:(Petipa/Ivanov/Drigo)
853:(3–16 February 2006).
585:, an 1811 novella by
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805:"Awards, 1990–1999"
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740:EDGE United States
549:In popular culture
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142:. First staged at
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867:Minneapolis
827:Works cited
815:17 February
575:The Car Man
561:Adam Cooper
543:Tony Awards
528:Dance Award
446:Adam Cooper
428:pas de deux
411:Tchaikovsky
362:protagonist
314:Romanticism
234:Scene Seven
227:Scene Seven
211:pas de deux
125:Tchaikovsky
57:Tchaikovsky
1644:LGBT dance
1618:Categories
1522:Cirkopolis
1423:Loud Mouth
1160:Black Swan
838:Swan Lake
711:. London.
668:Swan Lake
623:References
407:convention
99:/swan-lake
71:1995-11-09
1634:Swan Lake
1372:Swan Lake
1333:Fool Moon
1211:1976–2000
1018:Swan Lake
999:Swan Lake
991:Swan Lake
983:Swan Lake
967:Swan Lake
903:Swan Lake
874:Swan Lake
863:Swan Lake
686:Swan Lake
644:Swan Lake
628:Citations
512:Swan Lake
473:Will Kemp
421:The score
399:archetype
369:Swan Lake
367:Bourne's
306:Swan Lake
268:Swan Lake
200:Swan Lake
120:Swan Lake
110:Swan Lake
38:Swan Lake
1403:Mnemonic
1267:Whistler
1002:(Bourne)
858:Playbill
836:(1996),
713:Archived
688:, above.
666:(1996),
567:See also
526:Time Out
391:gay love
380:Politics
374:expiated
150:Synopsis
140:Broadway
136:West End
115:romantic
63:Premiere
1155:(novel)
1125:Related
895:at the
789:24 July
764:24 July
719:24 July
534:1999 –
260:Scene 2
254:Scene 1
249:Act III
206:Scene 4
192:Scene 3
177:Scene 2
170:Scene 1
138:and on
90:Website
69: (
1603:(2024)
1595:(2023)
1585:(2022)
1572:(2020)
1564:(2019)
1556:(2018)
1548:(2017)
1540:(2016)
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1365:(1998)
1362:Quidam
1355:(1997)
1345:(1994)
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1317:(1991)
1307:(1989)
1297:(1986)
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1279:(1983)
1269:(1982)
1261:(1981)
1253:(1979)
1243:(1978)
1233:(1977)
1223:(1976)
1163:(film)
1021:(1981)
582:Undine
506:Awards
310:Ondine
287:Act IV
240:Act II
129:Bourne
1513:Totem
1342:Stomp
1324:Tubes
975:Dance
594:Notes
328:nymph
162:Act I
117:work
53:Music
1010:Film
908:IMDb
817:2008
791:2019
766:2019
721:2019
500:Soho
97:.net
964:'s
906:at
876:at
646:at
190:In
175:In
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677:^
655:^
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496:3D
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