Grands Ballets Canadiens Dares to Question Reality with ‘Beautiful Figure’ – A Season Opener That Demands Attention
MONTREAL, QC – September 8, 2024 – The Grands Ballets Canadiens is set to ignite the stage this Thursday at Place des Arts with the opening of its season, featuring Jiří Kylián’s critically acclaimed masterpiece, Beautiful Figure. This isn’t just a ballet; it’s a conversation starter, a mirror held up to our performance-driven society, and a showcase of exceptional Canadian talent. For those following Google News for arts and culture updates, this is a performance you won’t want to miss.
Maude Sabourin and the Art of Unmasking
Quebecoise ballerina Maude Sabourin, a former main soloist with the Monte-Carlo Ballet, takes center stage in Beautiful Figure. Known for her roles in classics like Giselle and Sleeping Beauty, Sabourin brings a depth of experience and vulnerability to Kylián’s daring choreography. The ballet, created in 1995, features four couples of soloists and a striking ensemble of dancers in long scarlet skirts, moving to the music of Vivaldi, Pergolesi, Marcello, and Foss.
(Image: Sasha Onyshchenko provided by the Great Canadian Ballets)
Beyond Aesthetics: A Reflection of Modern Life
Beautiful Figure isn’t simply about beautiful movement; it’s a profound exploration of the roles we play. Repeater Urtzi Aranburu Adrada, in an interview with QMI agency, eloquently explained the ballet’s core concept: “We don’t really know where performance begins. Maybe the performance begins when you were born.” The piece deliberately blurs the lines between authenticity and facade, questioning whether life itself is a continuous performance. This concept resonates deeply in an age of social media and curated online personas, making the ballet remarkably relevant. Understanding this context is key for SEO optimization, ensuring the right audience finds this breaking news.
The ‘Bella Figura’: A Double-Edged Sword
The title itself, “Beautiful Figure,” is laden with meaning. Aranburu Adrada points to the Italian expression “Bella figura,” which translates to both “to look good” and “to have a beautiful figure.” This duality highlights the pressure to present a polished exterior, even when facing personal struggles. He notes that dancers, in particular, must embody this concept, masking their vulnerabilities to deliver a flawless performance. “The dancers can have a very bad day… but before going on stage, they have to put a mask on their face and perform,” he stated. This idea of performance as a necessary artifice is a powerful commentary on the human condition.
(Image: Sasha Onyshchenko provided by the Great Canadian Ballets)
A Safe Space for Emotional Exploration
For Sabourin, Beautiful Figure offers a unique opportunity for emotional release. “No matter what happens to you during the day… you look good in the studio, but not only, in fact, you use your emotions and you allow yourself to live them through the room,” she shared with QMI agency. She sees the studio as a sanctuary where she can authentically explore her feelings through movement. This perspective underscores the therapeutic power of dance and the importance of artistic expression.
Looking Ahead: A Season of Innovation and Farewell
The Grands Ballets Canadiens’ upcoming season promises a diverse and compelling program. Beyond Beautiful Figure, audiences can look forward to works by Glen Tetley, Hélène Blackburn’s Wild party, and a poignant farewell performance by principal dancer Raphaël Bouchard. Later in the fall, Etienne Béchard’s Snow White and the Mirror will join the repertoire, further exploring themes of beauty, identity, and the influence of social media and artificial intelligence. This season is a testament to the company’s commitment to both classical tradition and contemporary innovation.
(Image: Sasha Onyshchenko provided by the Great Canadian Ballets)
Beautiful Figure will be performed at the Maisonneuve theater on Place des Arts from September 11 to 20. For tickets and a complete season schedule, visit GrandsBallets.com. This season opener isn’t just a performance; it’s an invitation to reflect on the performances we all enact every day, and the beauty that can be found in both the mask and the emotions beneath.
