Page Turns: Literary Translations on the American Ballet Theater's Summer Stage

In a recent exploration of the American Ballet Theatre's summer performances, Emma Golden reflects on the intricate relationship between ballet and literary adaptations. Observing productions like "Eugene Onegin" and "Like Water for Chocolate," she notes how ballet transcends mere technical execution to convey deep emotional narratives. Golden highlights moments where dancers, such as Aran Bell and Christine Shevchenko, embody their characters' complexities, revealing layers of grief, love, and transformation. She argues against the rigid binary between narrative and non-narrative ballets, suggesting that both can evoke profound emotional responses. The choreography, particularly in "Onegin," captures the essence of Pushkin's text, translating its untranslatable elements into movement that resonates with audiences. Similarly, "Like Water for Chocolate" reinterprets Laura Esquivel's story, showcasing how translation can alter the perception of a narrative. Golden concludes that while ballet is not a universal language, it offers a unique lens through which to experience and reinterpret familiar stories, inviting audiences to engage with the emotional depth of the characters and their journeys.

- Ballet can effectively convey complex emotional narratives derived from literature.

- The distinction between narrative and non-narrative ballets is often unhelpful, as both can evoke strong emotional responses.

- Choreography can translate literary elements that are deemed untranslatable, enhancing the audience's experience.

- Translation of literary works can alter the perception of characters and their stories in ballet adaptations.

- Engaging with ballet requires effort, as it is a unique language of movement that invites interpretation.