Drama Through Movement: Lady of the Camellias in Beijing

The Lady of the Camellias, by Alexandre Dumas (fils), has been adapted into a film, opera and play. Now John Neumeier of the Hamburg Ballet has brought his ballet version to Beijing, presenting the dramatic story through movements rather than words.

This is no classical ballet though. Neumeier learned modern dance and ballet in America, and has put many contemporary elements into his version of Dumas’ story. He comments, “You see the woman (Marguerite) wearing beautiful clothes of the 19th century, but her movements would not have been possible in a 19th century ballet.” He believes the future of ballet lies in forging ahead – “When something new is made now, the art continues.”

Since the era of choreographer Jon Cranko in 1950s, ballet has not just been about splendid stage design or dancers’ technical skill, but the vivid portrayal of character through body language. Cranko didn’t mind overturning the elegant image of ballet dancers, and made Marcia Haydee, one of the greatest ballerinas of the 20th century, stamp around stage in The Taming of the Shrew. His work depicted the drama and each character’s inner world through movement, often more powerfully than words.

If Cranko is the founder of the dramatic ballet, Neumeier is his successor, and has taken the form to new levels. He was the solo dancer in the Stuttgart Ballet when Cranko was the company’s choreographer, and became director of the Hamburg Ballet in 1973.

Surprisingly, Neumeier has not used Verdi’s successful opera symphony to accompany his version of Lady of the Camellias. Instead he has used a selection of Chopin’s works. He thinks the situation of Marguerite, who bravely fights disease while leading a luxury life in Paris, is similar to Chopin’s life in the French capital – the composer was also a celebrity and struggled with illness at the end of his life. Instead of an orchestra, Neumeier uses a piano for the second act, when Marguerite decides to abandon her old lifestyle and spend rest of her life with Armand. The peaceful piano music suits the couple’s happiest and sweetest time.

There are three impressive pas de deux, which gradually reflect the changes in the relationship and love between Armand and Marguerite. In the second act, after Marguerite is forced by Armand’s father to leave him, there is a solo dance that depicts Armand's desperation, puzzlement and heartbreak. “I could not help shed tears when I watched this part,” said Feng Ying, director of National Ballet of China. “Each movement is dominated by emotion. It is so powerful and strong to show Armand’s inner struggle.”

Many artists and dancers from the top five German ballet troupes have been involved in the creation and performance of The Lady of the Camellias. It was premiered in 1978, and Neumeier has been adjusting and improving it in the years since. For the Beijing performance, Neumeier has brought three groups of principal soloists who will perform on different nights, giving each Armand and Marguerite a distinct personality.

The Lady of the Camellias, presented by The Hamburg Ballet, Feb 3-6 and Feb 8-9, National Centre For the Performing Arts, RMB 180-1080. Tickets available here.