Ballets 171

Five, the 1988 ballet choreographed by the extraordinary Charles Wuorinen, is an experience that burrows deep beneath the surface of ballet’s familiar grace, into the primal rhythms of movement and the profound mysteries of the human spirit. Wuorinen’s ballet is a whirlwind of complex emotions and powerful physicality, pushing the boundaries of both music and movement to a point where they intertwine and become inseparable.

From the opening bars of the score, we are thrown into a vortex of sonic complexity. Wuorinen's music, an intense, dynamic tapestry of interwoven melodic fragments, creates an atmosphere of both tension and release, constantly fluctuating between moments of chaotic energy and moments of haunting stillness. This pulsating, visceral music isn't mere background to the choreography – it is the heartbeat of the ballet, dictating the movement, the emotion, the very essence of the dancers' journey.

And what a journey it is. Wuorinen's choreography is a mesmerizing collision of classical ballet vocabulary and daring, often unpredictable improvisation. It's a testament to the versatility of his vision, seamlessly blending the precision and control of traditional technique with an unbridled sense of freedom and physicality. There are moments of exquisite partnering, of dancers entwined in intricate patterns of elegant limbs and fluid movements. Then there are sequences of breathtaking solo work, where the dancers explore their own individual physicality, pushing the boundaries of human strength and grace to their very limits.

Five, as the title suggests, comprises five distinct sections, each with its own unique personality. These sections aren't necessarily narratives in the traditional sense, but they offer glimpses into different aspects of human experience, exploring themes of solitude, connection, vulnerability, and ultimately, transcendence. This exploration is heightened by the masterful lighting design, which constantly shifts and morphs, shaping the stage into a kaleidoscope of shadows and light. This fluctuating luminosity adds depth to the choreography, revealing and concealing elements of the dancers' movements in a way that underscores the inherent complexity of human emotions.

The first section, "Five," is a whirlwind of activity, featuring five dancers (who, rather fittingly, also inspired the ballet's name) engaged in a dynamic dialogue of movement and sound. There’s a sense of discovery, an exploration of both individual and collective identity as the dancers traverse the stage with a palpable sense of freedom and playfulness. There is a youthful energy present in their movement, a thrilling lack of constraint.

Then comes "Four," which embodies the solitude and introspection of isolation. Here, we are presented with the solitary figure of one dancer who, amidst a sea of swirling energy, delves into a world of interiority, revealing a depth of emotion and vulnerability through precise, often poignant movement. This solitary journey is punctuated by moments of captivating physicality, moments where the dancer defies gravity with breathtaking leaps and turns. "Four" speaks to the profound isolation that we can experience in the face of adversity, reminding us that even in the midst of vast and vibrant spaces, the search for inner truth and solace can be a profound and ultimately deeply individual journey.

The third section, "Three," focuses on the interplay between two individuals, a constant dance of attraction, repulsion, and surrender. Here, Wuorinen expertly draws upon the language of classical ballet partnering to create a compelling dialogue of intimacy and distance. It's a beautifully rendered portrayal of love and longing, with delicate touch and masterful coordination seamlessly woven into each intricate pose. It’s in these sequences where the music and movement become almost one, the two dancers in perfect synchronization, a physical embodiment of their entwined emotional journeys.

"Two" plunges the audience into a darker territory, one where physical prowess and vulnerability intertwine, where the human form becomes a vehicle for exploring the raw emotions of frustration and defiance. There are moments of intense athleticism, punctuated by brief instances of despair, leaving the audience grappling with the complexities of a human soul torn between pain and strength. There's a palpable intensity, an urgent sense of defiance that emanates from each movement. It is here that we glimpse the raw, vulnerable heart of humanity in its rawest form.

The final section, "One," is a transcendent and ultimately hopeful exploration of rebirth. We are presented with a single figure emerging from a sea of shadows. Here, the dancer’s movement transcends its corporeal boundaries. It becomes ethereal, an exploration of space and light, suggesting the liberation that comes with shedding the weight of the past and embracing the unknown. This finale, brimming with grace and luminosity, acts as a poignant and optimistic culmination to the ballet’s exploration of human experience, reminding us of the inherent beauty and resilience of the human spirit. It leaves the audience pondering the very essence of human existence – a testament to the powerful resonance of Wuorinen’s creative genius.

To witness "Five" is to witness the mastery of human movement in its most raw and compelling form. Wuorinen’s ballet demands more than just our attention, it requires our engagement, forcing us to confront our own vulnerability, celebrate the triumphs of human connection, and marvel at the enduring beauty of our shared existence.

Of course, a ballet as profound as this wouldn’t be possible without the unparalleled skill and artistry of the dancers who bring Wuorinen’s vision to life. And as a dancer, it's always a joy to see my colleagues take on a challenging choreography and infuse it with their unique style, pushing the limits of their own artistry.

I vividly remember the dancers in the 1988 premiere. Each performance was captivating, yet each dancer brought something special to their roles.

• The first dancer, who I must admit, I was utterly enthralled by, held an ethereal presence. Their “One" was a breathtaking masterclass in poise and fluidity, captivating every single person in the audience with each intricate, lyrical gesture. The sheer power, strength, and vulnerability conveyed through their movements – the way their body seemed to meld with the space, effortlessly translating emotion through every single step and gesture. I’ll never forget it.
• And who can forget the iconic duet in “Three"? Their dance spoke of vulnerability and trust, showcasing their beautiful rapport on stage. Every subtle touch, every lingering gaze, every move conveyed their connection in such an elegant way.
• The energy that burst from the five dancers in the opening “Five” section, however, was something truly special. The precision and speed of their movements, the sheer power of their energy was remarkable.
• The dancer who performed the powerful and melancholic solo in “Four” displayed a masterful command of their craft. The quiet introspectiveness of their movements was equally enthralling as their dazzling athleticism.
• Then, we can't forget the raw, vulnerable performance in "Two," which showcased the emotional strength and the dynamic presence of the dancer performing.

Each dancer possessed the unique ability to connect with the core emotions of their respective sections, using their bodies to create an unforgettable tapestry of emotions.

“Five,” in all its emotional complexity and raw artistry, leaves the audience utterly speechless. The ballet is a celebration of both the limitations and limitless possibilities of human expression, an exploration of the power and vulnerability that we all hold within.

To witness Wuorinen’s masterpiece is a humbling experience. It is an experience that speaks to our core, reminds us of our shared human experience and leaves an imprint on your soul long after the curtain has fallen. It is a dance of pure genius. It’s truly a ballet for all times.