Lynn Seymour: A Life in Dance
The world of ballet is a curious thing, filled with both grace and grit, with dreams spun from silk and sweat. It demands the utmost commitment, the complete surrender of oneself to the art form, a sacrifice that few are willing to make. Lynn Seymour, a Canadian ballerina who graced the stage in the late 20th century, embodied this commitment. She was a woman of extraordinary talent, blazing her own trail in a world of rigid tradition and demanding technique.
Lynn Seymour, born in 1939 in Winnipeg, Canada, wasn't a ballerina in waiting. She was a child, her life as ordinary as any other, filled with games and mischief, the future seemingly endless and unshaped. Yet, there was something about her - a lightness in her steps, a grace in her movements that caught the eye of Madame Eleanor MacNeil, who saw in young Lynn the potential for greatness. She offered her a place in her studio, a stepping stone into the world of ballet.
It wasn't long before Lynn's talent bloomed, her innate grace finding a home in the discipline of ballet. Madame MacNeil, a stern yet encouraging mentor, guided Lynn through the rigours of training, nurturing her talent and fostering a sense of dedication that would define her career. At the age of fourteen, Lynn joined the National Ballet of Canada, a crucial step in her journey. Here, she found herself immersed in a world of renowned dancers, her peers pushing her to strive for excellence.
The late 1950s found Lynn thriving at the National Ballet, her talent undeniable. But a yearning for more, a hunger for new experiences, began to grow within her. A chance to train at the prestigious Royal Ballet School in London presented itself, and she seized it with both hands. In 1957, Lynn made her way across the Atlantic, leaving the familiar shores of Canada for the excitement and challenge of London.
In London, the ballet world was different. A vibrant scene, it was where she met Ninette de Valois, the visionary founder of the Royal Ballet. It was also where she met her future husband, a handsome dancer by the name of David Blair. She quickly integrated herself into the company, a chameleon able to blend in yet always stand out. The demands were higher, the standards tougher, but Lynn flourished. Her dedication was a testament to her passion, the countless hours she spent honing her skills showing her unwavering commitment to her art.
Within the company, there was a particular energy, a shared passion, a rivalry. The years of intensive training, the demands of performance, they brought out both the best and the worst in each dancer. But Lynn embraced it all, drawing strength from the intensity, pushing her own boundaries further. Her passion was a fire, burning brightly, driving her to give more, to dance with greater intensity and emotional depth.
In 1959, she had her breakthrough performance in the role of 'The Girl' in Frederick Ashton's *Cinderella*, marking the beginning of a truly remarkable career. The grace and emotion she brought to the role captured the hearts of the audience, placing her firmly on the path to becoming one of the most celebrated ballerinas of her generation.
With her blossoming success came a new set of challenges, new demands on her time and commitment. The rigours of training were amplified, the rehearsals endless. It was a period of growth for her as an artist, a transformation taking shape under the tutelage of renowned choreographers like Kenneth MacMillan and Glen Tetley.
Kenneth MacMillan was a force in the ballet world, known for his powerful, dramatic pieces that pushed the boundaries of tradition. He recognized in Lynn a dancer who could meet him on that frontier, who could bring to life his daring vision with breathtaking accuracy and emotion. Lynn performed in numerous MacMillan pieces, most notably in *The Rite of Spring* and *Anastasia* , cementing her reputation as a dancer capable of portraying raw power and intense emotion on stage.
As Lynn continued her journey as a ballerina, she started branching out beyond performance. Her desire for creative control, to have a hand in shaping the narratives on stage, blossomed. In the 1960s, Lynn began creating her own choreography. Her choreographies reflected her strong personality, her talent, and her dedication to showcasing the essence of the art form, drawing on her deep understanding of the human body and the power of dance. This desire for control stemmed from her ambition to express her individuality as an artist and challenge traditional perceptions of the female ballet dancer.
Turning Point
In 1963, Lynn embarked on a pivotal venture, taking her dance outside the confines of the traditional ballet theatre. A year spent performing in the US with American Ballet Theatre opened a new window to the world of dance, broadening her perspective. The dynamism of the American dance scene, its openness to different styles and experimentation, challenged her and ignited a fire within her.
While performing with American Ballet Theatre, Lynn felt a growing desire to be her own choreographer, to have a more profound impact on the artistic landscape of the ballet world. However, this ambition met with a roadblock. Back then, the ballet world, especially in England, remained deeply conservative, resistant to change, and reluctant to see a female dancer challenging its traditional structure.
In the eyes of many in the ballet establishment, the place for a ballerina was strictly within the established frameworks of classical ballets like Swan Lake or Giselle. The very thought of a dancer challenging this framework, especially a female dancer, was seen as rebellious and disruptive. But Lynn, driven by her innate rebellious streak and her artistic vision, refused to conform.
It was during this time that she formed a strong bond with American choreographer Glen Tetley, who shared her yearning to break away from the limitations of tradition. They began collaborating on ballets like *Pierrot Lunaire*, which premiered in 1968, showcasing their individual brilliance and their commitment to exploring new directions in dance.
The year 1969 marked another important step in Lynn's career, as she was awarded a prestigious Laurence Olivier Award for her performance in Kenneth MacMillan's *Anastasia*. But she was also growing increasingly dissatisfied with the Royal Ballet's limited repertoire and resistance to innovative choreography. There was a tension growing between her bold, progressive vision and the Royal Ballet's more traditional, conservative approach to the art form.
The Breaking Point
This tension eventually culminated in Lynn leaving the Royal Ballet in 1970. It was a monumental decision, a deliberate choice that spoke volumes about her commitment to artistic integrity and her willingness to follow her own path. The Royal Ballet, steeped in tradition, felt uncomfortable with her growing prominence as a choreographer and the bold choices she was making with her work. In a way, their response confirmed what she already knew - that she needed to forge her own path.
Leaving the Royal Ballet opened doors to new opportunities and collaborations, taking Lynn into uncharted artistic territory. With an independent spirit and her own distinctive voice as a choreographer, she embarked on a new stage in her career. She travelled, created new work, and performed internationally, her fame steadily growing.
Post-Royal Ballet
She began working independently, founding her own dance company called "Lynn Seymour and Company". She joined the Stuttgart Ballet, collaborating with its director, John Cranko, a talented choreographer and mentor, pushing the boundaries of contemporary dance with him.
As Lynn ventured further into the world of contemporary dance, her style continued to evolve, blending traditional technique with her unique interpretation, her movement language a constant conversation between structure and freedom, discipline and expression. Her approach to choreography reflected a genuine respect for the traditions of ballet but a firm belief in the power of pushing the limits and expanding the art form.
During this period, she worked with renowned composers like Hans Werner Henze, who crafted music that amplified the emotional intensity of her choreography. Lynn was not just a dancer; she was a storyteller, a communicator, weaving together movement and sound, to evoke emotions and narratives.
One of her most influential choreographies, *The Leaves Are Fading*, demonstrated the evolution of her art form, embracing the freedom and dynamism of modern dance while retaining the classical structure of ballet. This ability to bridge the gap between classic and modern dance made her a truly remarkable artist.
But like every path chosen, this one too came with its own set of challenges. Life on the road, the constant performance schedule, the dedication required to keep her art thriving took a toll. The toll, while not immediately evident, made itself known over time, physically and emotionally, demanding a compromise.
It wasn't easy. In the 1970s, the world of dance wasn't as accepting of women in leading roles. She faced challenges as a female artist attempting to create her own works, competing against a well-established male dominated scene. She fought against stereotypes, prejudices, and even outright hostility.
As the 1980s dawned, a period of immense change took place within the ballet world. The demand for contemporary dance, fuelled by a growing interest in new interpretations and forms of expression, offered her an opportunity to be at the forefront of this evolution.
During this decade, Lynn explored different styles, incorporating elements of contemporary dance, modern dance, and even elements of jazz into her choreography. Her desire to break the mold continued, taking her beyond traditional ballets, experimenting with movement languages that reflected the spirit of the time. Her later work was marked by its raw energy and emotionally charged sequences, pushing the boundaries of dance while also revealing a deeper, more mature understanding of the art form.
The Final Act
The final chapters of Lynn Seymour's story unfolded in a series of farewell performances. These last acts on stage were less about applause and recognition and more about reflection and introspection. They were a farewell not to her career but to the audience who had walked the journey with her, sharing the joy and sorrow, the brilliance and pain.
Her performances took her to the Metropolitan Opera in New York, her farewells met with the kind of applause reserved for true icons of the stage. Even in retirement, she stayed true to her art form, mentoring younger generations of dancers, her wisdom, and experience guiding them through the rigours and rewards of their own journey.
Lynn Seymour's life was a testament to the enduring power of the human spirit. She was a dancer, a choreographer, a storyteller, a trailblazer who dared to push the boundaries of traditional ballet, demanding recognition for her unique perspective as a female artist in a male dominated world. Her dedication to her art, her relentless pursuit of excellence, and her courageous refusal to conform made her an icon of ballet, a symbol of resilience, artistic vision, and unwavering spirit. Her legacy lives on through the countless dancers who have been inspired by her passion and her powerful talent.
Lynn Seymour was a beacon for change, a testament to the potential for growth and transformation that exists within the world of ballet, demonstrating that the human spirit can defy limitations, find creative solutions to adversity, and ultimately reshape a seemingly immutable tradition. She remains a vital presence within the dance world, inspiring a new generation of dancers, reminding them that with talent, dedication, and an unyielding commitment, anything is possible.