Fantasy and Reality (part two)

It is not surprising that many choreographers have been attracted to this ballet and have tried to confer a personal reading on it. This is the result not only of the multi-layered metaphorical content of the story but also the malleability of the characters. For example, Clara (Marie in some versions) can be seen as the young girl who refuses to accept reality and prefers to live in her dreams – as in the original ending, which culminated in an apotheosis celebrating her staying in the Kingdom of the Sweets – or she can be portrayed as the adolescent seeking her role as grown woman, curious but scared about her future life. Clara's microcosm is both evil (the wicked brother, the mice) and superficial (the party guests and their empty mannerisms) and as such cannot be synonymous with safety or security. Not even the presence of adult, parental figures is reassuring: godfather or simply a friend of the family, conjurer or miracle-worker, tender or awesome, the central character of Drosselmeyer (a relative of Dr Coppélius, another product of Hoffmann's fantasy) embodies the complex psychological shadings that exist in a child–adult relationship. In spite of his positive role, Drosselmeyer's presence on stage creates an uneasy atmosphere; in the eyes of a child he represents the unreachable adult world of the adults. For all these reasons the young heroine runs away to create her own world, big and tiny at the same time as only a child's world can be, populated by two-dimensional – and therefore harmless – characters.

Most of the ballet's symbolic potential, however, was not immediately appreciated by those who attended the premiere. Unlike The Sleeping Beauty, the choreography of The Nutcracker did not reflect the full range of dramatic nuances in the scenario. Petipa had used young students from the ballet school instead of experienced dancers to create the roles of Clara, her brother Fritz and the Nutcracker. Although dancing youngsters were a popular feature in many ballets of the period – Petipa's children's 'mazurka' in Paquita is still a favourite of contemporary Russian audiences – the absence of proper 'star' roles constrained the ballet-master's creative skills. In addition, the only ballerina part, that of the Sugar Plum Fairy, for bureaucratic reasons was given to a mediocre Italian dancer, Antonietta dell'Era, who was unable to match either the artistic qualities or the reputation of her compatriots. It is possible that the combination of these factors induced Petipa to reconsider his involvement in the project. Having been forced to bed by a sudden illness, he abandoned the rehearsals and deputed his assistant Lev Ivanov to complete the work.

Over the years Ivanov's role in the creation of The Nutcracker has been the subject of much controversy. Some historians credit the entire ballet to him, claiming that he also revised Petipa's original plans. Others affirm that he made only a contribution to a work already sketched and partly choreographed. To identify that contribution is almost impossible, yet the few choreographic fragments that have stood the test of time indicate a man of genius. Born in Moscow in 1834, Ivanov received his dance training at the Imperial Ballet School in St Petersburg. In 1852 he joined the Imperial Ballet and soon became a dancer of great repute, drawing on his experiences to become a talented choreographer. Yet, because of his introvert personality, he never flourished to his full potential, remaining overshadowed by Petipa's genius.

Ivanov's choreography was characterised by a refined balletic adaptation of natural movements. Unlike Petipa he was not interested in the sheer purity of geometrical lines. Both his 'Waltz of the Snow Flakes' in Act I of The Nutcracker (carefully preserved thanks to a notated score) and the dances of the swans in Acts II and IV of Swan Lake are examples of his artistic taste. By combining the strict rules of classical dance with lyrical images, Ivanov created choreographic solutions that stimulate the audience's imagination. There is no doubt that the lasting fortune of The Nutcracker, in spite of a rather unsuccessful premiere, depended greatly on Ivanov's hard work. Although he was unable to make full use of the scenario's psychological and metaphorical palette, his distinctive way of dealing with the story and its fantastic characters gave a new dimension to balletic fairytales while assuring the continuity of an established tradition. It is not surprising, therefore, that The Nutcracker is still casting its magic all over the world.

ENDS

GIANNANDREA POESIO

Giannandrea Poesio is Director of MAs in Dance Studies at the University of Surrey, Guildford, and dance critic of The Spectator