Etoiles: Dancers of the Paris Opera Ballet

Etoiles: Dancers of the Paris Opera Ballet features the Paris Opera Ballet, which is said to be one of the finest Ballet Companies in the World and introduces some of their performers. Nils Tavernier is the director of this Documentary. He takes us back into the wings and rehearsals of this world renowned company, where we meet some of the Etoiles, or stares and some who are just beginning in the company.

The content for me was the most interesting part. The dedication and pressure those dancers go through is astounding. They kept mentioning stage fright and how there was an overall consensuses of anxiety over the possibility of disappointing the audience or themselves; yet they all wanted to continue dancing, because it was their lives. It made me think of Black Swan, a recent America film that artistically depicts the psychological effect of the stress in living out these roles.
Another point of interest in the content of this documentary was the different view points of parenting. It said that most of the Dancers wait until their thirties to get married or have children. One dancer said, that she was excited to “give birth to another artist”. A father said, that “he felt his role one the stage become more enriching after becoming a father”. While others were far more interested in their career and not wanted anything that would keep them from dancer. One Dancer even said it would be “like doubling your work load”. The film stated that most dancers are hired into the company in their twenties. The average retirement age for women was about forty and for men it was about forty- five. Then some would teach or choreograph.

After understanding the content of the film, then it is also important to investigate the filming techniques of the film. The Narrative Pattern in this film shows us as the viewer a look into what the dancers are doing through a wide pan whether they are rehearsing, or learning choreography, or in class at the bar. Then Tavernier directs our attention to in more as he pulls in for a tighter shot. Often he would portray a black and white still frame from the tight shot, while having the voice over from an interview before or during the interviewing of one of the dancers. During an interview he would have a close up of the dancer while they answer the question. There where also many incidences when Tavernier would do a pan of the outside of the Palais Garnier where the company is located. Sometimes he would do a pan of the grand entrances. In Japan he did a pan of the city and the theater, before zooming in on a statue or visual interest with a voice over explaining more about the company. Then it would go back to a pan of the dancing and the pattern was loosely repeated.

Going from the general flow of the documentary to the Cinematic devices, as mentioned before, there were several wide pan shots of performances, rehearsals, and Cityscapes. There were also many occasions where the shot would zoom in towards a character or object. Several voices over’s took place from the interviews during the pan and there was also times where there was a soft musical soundtrack playing in the background. Most often the music was a classical or operatic piece that was relative with the dancing.The majority of the lighting seemed to be natural and I feel a hand held boom was most likely used for sound. Because it was a documentary, the film world or the Diegesis, came to the real world. There were no sets built, but rather the camera came into the rehearsal rooms or followed dancers through stairwells and hallways. The Mise en Scene, or the location changed according to where the performers where.

The visual tropes were more difficult to pick up on considering it was a documentary. I feel that the black and white still frames could be considered a visual trope, because it was a repeated occurrence thought out the film. Another item I noticed a lot during the film considering the content was dance costumes, specifically tutus and skirts. Tutus and skirts were worn in rehearsals, they were hanging in dressing rooms, backstage, and of course worn during performances. Point shoes were another item that was reoccurring throughout the film. There was a close up of one of the dancers putting on her point shoes. She explained to us how they are made from wood and very uncomfortable. She went on to explain how she forgets about the pain when she is on stage. Point shoes are worn by women through out the majority of the film expect there are some occasions, such as class when they will wear ballet slippers.

I felt that this documentary gave a well rounded and insight into the life as a dancer at the Paris Opera Ballet and the background for the Ballet Company was also effective. Tavernier used some nice film techniques by using wide pans and black and white still frames with voice over’s to help keep the viewer engaged. Overall it was a well done documentary.

http://www.naxosdirect.com/templates/shared/images/titles/small/807280700596__lang-en-us.jpg

http://www.moviepostershop.com/la-danse-the-paris-opera-ballet-movie-poster-1020556994.jpg

http://www.youtube.com/watch?v=78HFCpOb6IE

http://www.youtube.com/watch?v=3P8JPGyQgIUhttp://www.youtube.com/watch?v=3P8JPGyQgIUhttp://www.youtube.com/watch?v=3P8JPGyQgIU