The Prix de Lausanne and Poetry

Since I encountered a photographic collection BALLET (1945) by Alexey Brodovitch and actually watched a ballet The Nutcracker (Балет–феерия) at the Odessa National Academic Opera and Ballet Theater, Ukraine, I have loved ballets as an audience. One month ago, I accidentally had a chance for watching The Prix de Lausanne 2019 on a TV programme. Hearing bright explanations by a Japanese ballet dancer Kosuke Yamamoto who had belonged to the Birmingham Royal Ballet, I enjoyed so much, though completely a dilettante. The competition mainly composed of two sections: a classic ballet and a contemporary dance. In the former, Mackenzie Brown (USA) and João Vitor Da Silva (Brazil) attracted me. Both the young ballerinas were distinctive with different characteristics.

In the latter, Yoon Jung Seo (South Korea) and Gabriel Figueredo (Brazil) were impressive.

In both the sections, for me, Brazilian dancers were attractive. Did they originally have rhythm based on Capoeira Ginga in their bodies?

Soon poetry came up in my mind. That is, contemporary poems are not formless, even prose-poems are not formless in many cases. Therefore, I supposed that, in the above competition, the classic ballet corresponded to conventionally formal poems such as sonnet, sestina, terza rima, and villanelle and the contemporary dance to contemporary poems that are not formless such as prose-poems and poetry translation.

Also I read again verse by Henry Wadsworth Longfellow and Walt Whitman, thinking that Longfellow's poems fitted the classic ballet and Whitman's the contemporary dance in this case.

The current poetry scene all over the world faces just the coming of a new age when all genres are dramatically, dynamically reshaped, shuffled, and shaped.

*** Odessa National Academic Opera and Ballet Theater

(Odessa, via my hotel room)