Creating Sylvia: eros triumphs over Diana in Mark Morris' new work for San Francisco ballet

Dance Magazine, May, 2004 by Mark Morris

INTRODUCTION

When Helgi Tomasson invited Mark Morris to choreograph a new work for San Francisco Ballet, the choreographer went to a score he remembered from childhood ballet class--Leo Delibes' Sylvia, written in 1876. His research took him to the Italian Renaissance poem on which the ballet's libretto was based, a romantic coming-of-age story with a pastoral setting. With a retooled libretto, Morris began to create steps. His ballet, the first American production of Sylvia, premiered last month and will run through May 9 at the War Memorial Opera House. In the following pages, Morris shares some of his creative process as it took shape.--ED.

INSPIRATION

What a fabulous piece of music Delibes' score turned out to be! There are many riches: the brilliant orchestration (including early use of the saxophone in a symphonic context); the leitmotif approach familiar from Wagner's operas; the multitude of infectious tunes and rhythms that add up to a compulsively dance-worthy sound world. I can only really work with music I love. I found it in Sylvia.

TEACHING

On the first day, I played some of the music for the assembled dancers and showed design sketches. The company's day begins with an hour and 15 minute class that I arranged to teach two or three times per week. I love teaching them and it is a good way to find out how they learn what I present. My approach to classical ballet technique is relatively plain, and with an emphasis on rhythm and musical phrasing. The staff pianists (Daniel Waite and Michael McGraw, who also play at my rehearsals) are wonderful musicians. Very important, as I really only choreograph because I love music.

REHEARSALS

I wanted to get everybody dancing right away, so I started to work on bits from different parts of the ballet. Some rehearsals were devoted to big group dances-villagers, sylvans, slaves. Others focused on the pas de deux and the several variations. Longish stretches of mime are important for story-telling and linking. Much of ballet mime is difficult to understand. I sought to communicate through the simplest and clearest and most honest means possible. Stick to the facts.

CHARACTERS

Each character or group of characters has a distinct musical personality in the score. I wanted them to have movement distinctions as well. Nearly every character is given a slow solitary dance that exposes the personality of the character. I kept the cast small in order to maximize continuity and the idea of a tight-knit community. For example, sixteen women and eight men portray everyone from the Sylvans in Act I to the Villagers in Act III.

LOVE TRIUMPHS

In many nineteenth century ballets the women are in some way entranced, under a spell, or dead. The tragedy of those works is abandonment, vanity, betrayal. A great thing about Sylvia is that it is about the triumph of love and loyalty over mistrust and chastity. Eros beats out Diana. There are beautiful symmetries in the composition. Acts I and III take place outside, Act II inside. Act I is about an all-female society, Act II an all-male society, and Act III is a fully realized community. The humans win.

DANCERS

Members of SFB in rehearsal: Garrett Anderson Joan Boada Pascal Molat Pablo Piantino Yuan Yuan Tan Pierre-Francios Vilanoba