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what to expect, but my friend didn’t.
She stared wide-eyed as the dancers strained to
make their movements seem effortless. They were
all perspiring profusely, panting from the long, wind-
ing sequences they had to perform, and flushed from
exertion. She gasped when the dancers raced into
the wings and collapsed on the floor to catch their
breath.
She gazed in concern as she saw how the veins
under the dancers’ arms or in their neck were
swollen with strain. Her body tensed as if she were
“dancing” along with the performers. Only when the
curtain fell, did she relax.
After having seen the same show twice, my friend
asked me a deceptively easy question. Which Nut-
cracker was real – the one seen from the front or the
one seen from the wings? Her question was very
much to the point because in ballet, as in all theater,
there exists a dichotomy between reality and illusion.
The simplest answer was that the real Nutcracker
was the one seen by the audience, but this answer
implied that the one seen from the wings was an illu-
sion. That is certainly not the case since there is
nothing more “real” than the physical strain of ballet.
So I amended my original answer. The audi-
ence, I explained, was sheltered from the unromantic
reality of ballet because they saw the dancers from a
distance. Once again, I was not satisfied with this
explanation because it was tantamount to admitting
that what the audience saw was an illusion.
Maybe the only answer to her question is that
ballet is a mixture of reality and illusion. This art form
respects certain criteria - the stage, the distance, the
lights as well as the stylized body language that con-
veys the dancers’ message. But the criteria create
an illusion because they require that the unnatural
appear natural and easy.
The apparent effortless quality of ballet is indeed
an illusion, as my friend discovered while watching
the performance from the wings. But after all, this
illusion is indeed the reality of ballet.
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