COPPELIA Libretto by: Arthur St. Leon & Charles Nuitter, Music by: Leo Delibes
Historically, Coppelia has come to represent the transition from Romantic to Classical ballet resulting in a new dancing style. The era in which traditional Romantic ballet thrived encompassed a sense of mysticism. Enchanted forests, ethereal creatures, and supernatural elements were not uncommon; the portrayal of ghosts, witches, fairies and nymphs became symbols that defined Romantic ballet. In the shift to Classical ballet, we leave these whimsical, enchanted worlds, and mystical woods or graveyards and moved into a more realistic, Earthly form of magical unease.
In Act I we are taken into the story book. The folk tale comes to life right off the pages. The traditional folk costumes have a great sense of refinement in the detailing and colors supporting the “new” classical approach to the story ballet.
As the story progresses to Act II, we see Coppelius’ workshop where the content begins to reflect the Earthly mysticism and darker undertones that are portrayed within Classical ballet. We understand that Coppelius is an outcast within this village. The doll maker is viewed by the villagers as creepy and unsettling. He is searching for a way to find the companionship that he needs in order to feel complete. As we start to see the dolls we begin realizing that there is not only something off-putting and disturbing about them but they too are not complete; they, like their creator, are missing something. This other-worldly shop allows us to have a small glimpse into Coppelius’ mind and how he views his world.
Act III provides us with the happily ever after part of the storybook; the once quaint folk world has a sense of heightened elegance and beauty.
In Act I we are taken into the story book. The folk tale comes to life right off the pages. The traditional folk costumes have a great sense of refinement in the detailing and colors supporting the “new” classical approach to the story ballet.
As the story progresses to Act II, we see Coppelius’ workshop where the content begins to reflect the Earthly mysticism and darker undertones that are portrayed within Classical ballet. We understand that Coppelius is an outcast within this village. The doll maker is viewed by the villagers as creepy and unsettling. He is searching for a way to find the companionship that he needs in order to feel complete. As we start to see the dolls we begin realizing that there is not only something off-putting and disturbing about them but they too are not complete; they, like their creator, are missing something. This other-worldly shop allows us to have a small glimpse into Coppelius’ mind and how he views his world.
Act III provides us with the happily ever after part of the storybook; the once quaint folk world has a sense of heightened elegance and beauty.