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Tonight on this famous stage, witness an extraordinary creation... | 0:00:18 | 0:00:22 | |
Not just of a famous and fearful creature, | 0:00:22 | 0:00:25 | |
but of an electrifying new ballet. | 0:00:25 | 0:00:28 | |
A classic tale comes vividly to life in music and dance... | 0:00:28 | 0:00:32 | |
As the Royal Ballet presents an exciting new co-commission | 0:00:32 | 0:00:35 | |
with San Francisco Ballet - Frankenstein. | 0:00:35 | 0:00:39 | |
It's the brainchild of the choreographer Liam Scarlett, | 0:00:39 | 0:00:42 | |
the artist-in-residence at the Royal Ballet. | 0:00:42 | 0:00:44 | |
At 30, he's far the youngest person ever to create | 0:00:44 | 0:00:48 | |
a full-length main stage production for the company. | 0:00:48 | 0:00:51 | |
Frankenstein has gained phenomenal success. | 0:00:51 | 0:00:55 | |
I think with Frankenstein, with Dracula, Jekyll & Hyde, | 0:00:55 | 0:00:58 | |
they've been spun into something that the public can fear | 0:00:58 | 0:01:03 | |
and admire and get drawn into. | 0:01:03 | 0:01:05 | |
The stereotype around Frankenstein has gone so far from the book | 0:01:06 | 0:01:10 | |
that what I really want to do is bring it back to how Shelley saw it. | 0:01:10 | 0:01:14 | |
I want to show the public what Frankenstein is really about. | 0:01:16 | 0:01:20 | |
It was a time of invention and discovery | 0:01:23 | 0:01:26 | |
when anything seemed possible, and this evening, | 0:01:26 | 0:01:29 | |
making the impossible seem easy is a formidable team of dancers. | 0:01:29 | 0:01:33 | |
Federico Bonelli stars | 0:01:33 | 0:01:35 | |
as the pioneering scientist Victor Frankenstein, | 0:01:35 | 0:01:37 | |
with Laura Morera as his fiancee Elizabeth Lavenza. | 0:01:37 | 0:01:41 | |
And Steven McRae takes the role of the Creature | 0:01:41 | 0:01:45 | |
that Frankenstein brings to life one dark and stormy night. | 0:01:45 | 0:01:48 | |
The beginning of the ballet starts with the childhood of | 0:01:50 | 0:01:53 | |
Victor Frankenstein and the introduction of Elizabeth Lavenza. | 0:01:53 | 0:01:57 | |
She's very kind, | 0:01:59 | 0:02:00 | |
one of those people that is very warm and everyone really | 0:02:00 | 0:02:03 | |
kind of loves her and she just lights up the room. | 0:02:03 | 0:02:06 | |
She was adopted by the Frankenstein family and she becomes | 0:02:08 | 0:02:12 | |
very close to Victor Frankenstein. | 0:02:12 | 0:02:14 | |
Victor is interested in science and how things work and the unknown. | 0:02:14 | 0:02:20 | |
Science was really moving forward and there was | 0:02:23 | 0:02:26 | |
a sense then, maybe anything was possible. | 0:02:26 | 0:02:29 | |
I think famous scientists would actually make | 0:02:30 | 0:02:32 | |
a performance demonstrating the latest scientific discoveries. | 0:02:32 | 0:02:36 | |
Just before Victor goes to university to study medicine | 0:02:38 | 0:02:42 | |
and science and alchemy and all of the brilliant new things | 0:02:42 | 0:02:45 | |
that the world has to offer, his mother dies. | 0:02:45 | 0:02:49 | |
I would say that he is, in essence, | 0:02:53 | 0:02:56 | |
maybe a little kid that cannot accept that his mother | 0:02:56 | 0:02:59 | |
is not around any more, | 0:02:59 | 0:03:01 | |
which instigates his desire to revive a dead body. | 0:03:01 | 0:03:05 | |
The Creature is not human. | 0:03:06 | 0:03:09 | |
The image of a human, but doesn't possess perhaps the mental | 0:03:09 | 0:03:15 | |
or emotional capacity that a human has. | 0:03:15 | 0:03:18 | |
Ready, and... | 0:03:18 | 0:03:19 | |
One, three, five, six... | 0:03:22 | 0:03:25 | |
Victor feels repulsion towards the Creature. | 0:03:25 | 0:03:28 | |
And I just see him as, "Please, love me, love me, love me." | 0:03:28 | 0:03:31 | |
He can't understand why Victor would love Elizabeth but won't love me. | 0:03:31 | 0:03:36 | |
"I'm the one he created. Why wouldn't you love me?" | 0:03:36 | 0:03:39 | |
You know, writing music is always a struggle because you're kind of | 0:03:44 | 0:03:48 | |
creating something out of nothing. | 0:03:48 | 0:03:50 | |
Having a story always helps because you know | 0:03:50 | 0:03:54 | |
your kind of emotional trajectory. | 0:03:54 | 0:03:57 | |
There are definitely themes and kinds of music associated with | 0:04:03 | 0:04:08 | |
the different characters that come back and transform and progress. | 0:04:08 | 0:04:14 | |
I wanted to find a musical vocabulary that was | 0:04:16 | 0:04:20 | |
comfortable for me but also would not be anachronistic to the story. | 0:04:20 | 0:04:24 | |
The fear of the unknown is a huge element in this piece. | 0:04:26 | 0:04:30 | |
You think you're going in one direction and then one note | 0:04:31 | 0:04:34 | |
or one step can put you off balance and switch you around in a second. | 0:04:34 | 0:04:39 | |
I've been in the Royal Ballet for 21 years, coming up, | 0:04:42 | 0:04:44 | |
and this is the highlight of my career. | 0:04:44 | 0:04:48 | |
I've immersed myself in this project for nearly three years now | 0:04:48 | 0:04:52 | |
and it is a labour of pure love. | 0:04:52 | 0:04:55 | |
That's what you want when you are a ballet dancer, | 0:04:57 | 0:04:59 | |
you want to have new roles created anew. | 0:04:59 | 0:05:02 | |
Obviously you want to dance all the great classics but that would not | 0:05:02 | 0:05:05 | |
be enough, you want to do the one that in the future | 0:05:05 | 0:05:08 | |
will be considered as classics. | 0:05:08 | 0:05:10 | |
There's a pressure on me for every piece - I want to do the best I can. | 0:05:11 | 0:05:14 | |
My work is my passion and my pride and I love what I do. | 0:05:14 | 0:05:19 | |
APPLAUSE | 0:05:30 | 0:05:32 | |
SCORE BEGINS | 0:05:55 | 0:05:57 | |
MACHINE CRACKLES | 0:40:37 | 0:40:38 | |
APPLAUSE | 0:56:26 | 0:56:28 | |
SCORE BEGINS | 0:56:39 | 0:56:41 | |
APPLAUSE | 1:11:07 | 1:11:09 | |
APPLAUSE | 1:41:02 | 1:41:04 | |
APPLAUSE | 1:55:56 | 1:55:58 | |
GUNSHOT | 2:07:43 | 2:07:45 | |
CHEERING AND APPLAUSE | 2:09:11 | 2:09:14 | |
CHEERING | 2:10:49 | 2:10:51 | |
CHEERING AND APPLAUSE | 2:11:49 | 2:11:51 | |
APPLAUSE | 2:13:16 | 2:13:18 | |
CHEERING | 2:13:48 | 2:13:49 |