**A Tragedy of Fashion, to music by Eugene Aynsley Goossens, 1926:** A review.
It's funny, isn't it, how fashion can be both a blessing and a curse? It can lift you up, make you feel confident and powerful, like you can conquer the world. But it can also hold you down, make you feel like a prisoner in your own body, a slave to the whims of designers and trends. That's the theme of "A Tragedy of Fashion," a 1926 ballet with music by Eugene Aynsley Goossens.
It's a ballet that speaks to me on a deep level. You see, I'm a dancer. And let's face it, the world of dance is all about presentation. It's about being in peak physical condition, yes, but it's also about how you carry yourself, how you move, how you look. And those things are dictated, at least in part, by the ever-changing whims of fashion.
The story itself is quite simple: a group of young women are caught in the throes of a society obsessed with fashion. They're desperate to be the most stylish, the most desirable, the most admired. They spend their days vying for attention, wearing outrageous costumes that are both elegant and ridiculous. They compete for the affection of the handsome young man, a carefree artist who is indifferent to their superficial concerns. And they are trapped in a cycle of insecurity and self-doubt, all because of their unwavering belief in the power of fashion to define them.
But "A Tragedy of Fashion" is more than just a critique of the frivolous nature of fashion. It's also a meditation on the human desire for acceptance and validation. These young women are yearning for something more than just external approval. They are seeking connection, meaning, and a sense of purpose. But they're looking for it in all the wrong places, caught in a self-imposed cage of their own making.
As for the ballet itself, it's a beautiful and compelling work, both technically and emotionally. The choreography, which is credited to an unknown choreographer but clearly imbued with the influence of Nijinsky and the Ballets Russes, is fluid and evocative. It beautifully captures the energy and grace of the young women, their anxieties and insecurities, and the emptiness of their pursuits.
Goossens’ music, however, is where the ballet truly shines. It is as captivating as it is subtle, drawing us into the story's emotional complexities, not with bombast but with a keen understanding of the human heart. The first movement, full of energetic waltzes, creates an almost manic atmosphere, representing the superficial, constantly evolving world of fashion, one driven by fleeting trends and societal pressures. Then the music shifts. As the ballerinas grow weary of this superficial world, the second movement arrives, a poignant, wistful adagio, the score becoming filled with the mournful cries of the clarinet and the searching melodies of the oboe. It’s as though we are now truly peering into the hearts of the young women, into their yearning for more than just the approval of the superficial. The final movement is a triumphant yet haunting finale, representing the acceptance that comes with understanding oneself. Here Goossens takes the familiar melodies of the first movement, twists them and adds a depth to the texture that seems to both mirror the evolution of the story and create a beautiful musical allegory of the young women's own metamorphosis.
The ballet itself is a wonderful balance of strength and fragility, which becomes beautifully articulated by the ballerinas. One of the ballerinas who truly stood out is named Agnes, a newcomer to the company with a depth and grace I find breathtaking. Her performance, full of quiet strength and subtle emotions, was the very essence of the ballet, a delicate creature caught in a whirlwind, yet able to convey profound emotions with her movements. Her grace brought a vulnerability that reminded me of the ballerinas of Diaghilev, while her ability to be as fierce and dramatic in the final scenes reflected the growing trend toward expressionism. There is something in her performance that resonates, the very kind of quality you remember years later when you think about the impact of a dance work. Agnes and "A Tragedy of Fashion," with its focus on both the lighthearted and melancholy aspects of society, makes it a powerful testament to the universal struggles of humanity.
**It was fascinating to observe how Goossens employed the nuances of orchestral composition to heighten the drama of the choreography**
- The soaring string sections underscored moments of societal grandeur.
- The percussive, jarring bursts of brass reflected moments of fashion-induced anxiety and discord.
- The mournful cries of the wind instruments embodied the heartbreak felt by those searching for real connections in a world obsessed with surface.
The contrast, which was both playful and serious, really helped to set the stage for the choreographer to do her work, making for a rich and powerful viewing experience. And as an avid devotee to both ballet and music, it was a beautiful, thrilling evening in the theater, and the story's thematic universality allows for repeated viewings, which I would highly recommend to anyone who wants to see something different in ballet, a ballet with real meat on its bones, not just flashy movements and predictable routines.
**My heart yearns to know more about Agnes, who for me, stole the show. But alas, even the most compelling performances sometimes are eclipsed by time.** Her talents will forever be the kind of thing we imagine could have been. She is a silent reminder, not only to myself but to all those who strive to make a name in the world of art, that even the smallest of contributions can sometimes have the most powerful impact. Perhaps if you visit a local library or historical archive, you might just find a newspaper clipping with the face of Agnes. Or maybe she is forgotten, a tragedy indeed.
It is a shame to not be able to delve further into Agnes, and so the mystery remains a vital element of the tragedy of "A Tragedy of Fashion". The brilliance of Goossens' music will, of course, remain for all to enjoy. It is a brilliant work that speaks for itself. But with Agnes, we are left with a fleeting image, a memory. And yet, it is her silence that brings up the bigger questions. In "A Tragedy of Fashion," the young women yearn for validation, for a sense of self worth. Agnes, who disappeared from the stage almost as quickly as she had arrived, shows that a yearning for validation is not merely a story for a ballet. It is a part of our existence. We can only imagine if Agnes would have lived to see the next fashionable trends come and go, would she have found the validation that had been missing in her own lifetime. A great tragedy, yes, but maybe the answer lies not in knowing what could have been, but in appreciating that which has already occurred, in making the most of our lives. It's something we should all be reminded of. In my opinion, there is nothing more important.