From prehistoric rituals to modern theaters, the arts have always helped us make sense of ourselves and our world. Opera and ballet are among the richest expressions of our shared human need to communicate.
The past few days have been a whirlwind of social media reactions to comments made by Timothée Chalamet during a CNN/Variety town hall with Matthew McConaughey. Millions of “ballet and opera people” all over the world have voiced their disappointment with the Hollywood star’s dismissive characterization of these art forms. Yet the controversy raises a broader question that goes far beyond one celebrity remark:
In our contemporary culture, what place do opera and ballet still hold, and why do they continue to matter?
What makes me angry about Timothée Chalamet’s comments is that they come across as disrespectful and careless. It is not at all that he chooses not to work in these fields, or that he perhaps does not enjoy these art forms or wish to explore them further. But, public figures, regardless of what field of work they come from, have a responsibility to be careful with their words and messages, because too many people listen to them. Nobody should casually or ad hoc pass judgment on any field of study, or any form of artistic expression.
If we look at the arts at their origin, there was not ballet or opera or painting, or architecture, or any one specific art form. Certainly, the 7th art form, cinema or film, had not even been invented yet. The arts emerged out of people’s need to express themselves, to communicate with others, to work through past events and traumas, to pass on life lessons and wisdom. So, we adorned our bodies with whatever we could find.
We painted on ourselves and on the walls of where we took shelter. We moved our bodies expressively and gesticulated. We sang and tried to make sounds with objects that we found or created. We built things and sought beauty in them. We learned to express love and fear and unity. We learned to use these art forms to move others to action, or to gather them on our side. And things evolved and became more and more complex.
When we speak of art forms today, it is generally accepted that we are referring to painting, sculpture, architecture, poetry / literature, music, live staged performance (theater / dance), and cinema / film.
Opera incorporates many art forms by using music (instrumental and vocal), literature (through the libretto), and often dance. All of the performing arts are also directly connected to architecture through the often spectacular opera houses and theaters in which they take place, and to painting through the backdrops and stage designs that create the visual world of a production.
Today, like at their origins, the art forms have also been demanding to intermix, and I have seen so many incredible productions that combine music with painting and dance, or poetry with music, and so on. Many of the productions over the past few years that have touched me the most are these types of Gesamtkunstwerke that often rely on more than one art form.
In the history of humankind, we are yet again in a period of great turmoil and misunderstanding, where personal psychological distress is on the rise, where communication is minimal, often superficial or hypocritical, where we struggle to define ourselves as individuals, but yearn for a sense of belonging. And this is a time to embrace the arts, in all of their forms.
Movies, which Walter Benjamin revered for their democratic reach and their ability to reflect collective perception, have been one of the most powerful sociological forces of our time. Sporting events have brought us together, as have concerts and fairs and many other forms of entertainment and of spending time together. And yet, we still feel a societal void that desperately needs to be filled.
The thing about ballet and opera is that they go beyond the obvious. They speak to our soul, and we have to feel our way through them. But because of this, they have the ability to allow us to speak to ourselves and to discover things, emotions, and tendencies about ourselves that would otherwise remain dormant. Nowadays, we spend too much time in our heads, looking for the one right answer, where we no longer allow for nuance and gray areas.
Ballet and opera live in nuance. They unfold slowly, asking the audience to listen, watch, and feel rather than react instantly. They explore societal, political, and psychological issues and ideas with beauty, history and artistry, and they prompt us to think and feel and engage in discussion in a subtle way.
But, are ballets and operas really boring, and not as exciting as a movie, or a good football game, or a monster truck race, or a rock concert?
Do people go to the ballet only to be seen engaging in higher culture, or to have their glass of bubbly, dress up nicely, and be in the company of cultured and wealthy individuals?
Is ballet elitist? Does it only welcome a select few?
Is it a matter of how much money you have?
Are movies and the other activities I listed above like eating at McDonald’s, while ballet and opera are like having a meal at a 5-star restaurant?
Are ballet and opera only for old people?
Are these art forms incapable of communicating with younger generations?
Can they actually reach all echelons of society and speak to all sociocultural milieux?
These are legitimate questions; many people are asking them, and they should not be disregarded as insignificant or unworthy of consideration. The artistic world is aware of these questions, and everyone is working hard to find satisfactory solutions and ways to:
- reach younger audiences
- stay true to the arts but still allow them to develop with the times
- maintain artistry and quality while appealing to audiences beyond the already interested circle
- make the arts available to everyone, financially and socially.
In closing, there are three points I would like to emphasize:
- Ballet and opera are for everyone, regardless of age, gender, financial situation, or previous cultural experiences.
Sometimes a specific example can best demonstrate a point, so let me tell you a little story.
Years ago, I was directing an exchange program to Paris and had taken a group of about 30 students to the opera to see Jules Massenet’s Manon. There was a blind student in the group, and because he needed a little assistance, he sat right next to me. He was from a rural community in Kansas and had no previous exposure to opera or any form of classical music. Watching his reaction to Renée Fleming’s voice fill the Opera Bastille and take control over the audience is one experience I will never forget. After Renée Fleming’s aria, “Obéissons quand leur voix appelle,” the student rose to his feet to applaud, in spite of himself. And then he wept, but with a strange, ethereal look on his face.
There is a rare and beautiful communication that takes place between a performer on stage and a live audience, and this is the product of great skill and years of training and hours and hours of rehearsal on the part of the artist, but the audience need only to show up and allow for the magic to happen.
Have I sat through the occasional boring production, wishing I had picked something else to do that evening? Yes, I have. As I have sat through some boring baseball games, or less-than-exciting concerts and events. I don’t like every opera or ballet I attend. I am sometimes disappointed, frustrated even. But when it’s done well, the experience is truly spectacular and profound, and it is contagious. Nobody is immune, I believe not even Timothée Chalamet.
People who were not already exposed to ballet and opera at an early age, or who have not had much contact with these performing arts through their studies or pre-existing activities, may need some guidance and perhaps even explanation.
I do believe that ballet and opera represent highly developed artistic forms, and introducing people to them comes with the great responsibility of helping them learn how to best experience these art forms.
It was with my godmother that I saw my first opera at age 6. She took me to see Tosca. For weeks before our outing, she talked to me about what we were going to see. She played records of certain arias for me. She bought me my first opera glasses and taught me how to use them.
At the theater, she explained to me why I was not to kick the seat in front of me, so as not to disturb everyone’s experience. She showed me how to hold my hands when I applauded. And she squeezed my hand before particularly beautiful passages, so that I would be more attentive to them. I recognized the aria, “E lucevan le stelle,” because she had played it for me so many times. I was proud to recognize it, and so, I liked it especially.
My first experience with opera was made very special and set me up to seek out the encounter again.
But an appreciation of these art forms can come about at a later age as well. However, I do believe that artists and opera houses cannot shy away from openly welcoming and hosting new audiences. Sometimes, some explanation of what occurs on stage is required. Other times, people need to be made aware of what to look for, or what is particularly difficult or admirable. Yet other times, if a piece discusses certain issues or societal questions, audiences need to have the chance to acquaint themselves with the topic and to be able to discuss it in some format afterwards. But ultimately, because ballet and opera work on our soul, the biggest challenge is to truly engage people, and I believe this occurs through a mélange of what artists bring to the stage and how they capture and captivate the public, but also from the theater itself in how it treats those attending.
Education and culture are not dirty words; for our own good and for the development of humanity, we need to strive societally to maintain intellectual and artistic interest!
I sometimes have the feeling that being intellectual, well-read, or so-called cultured is received as unwanted elitism instead of being admired and used as a source of knowledge and wisdom. This, I believe to be true for literature and poetry, for speaking eloquently and correctly, for being interested and knowledgeable in any serious field, and for being a patron of the arts. Especially the so-called higher arts like symphony, ballet and opera are often regarded as not cool, or not of the people and for the people. However, it is not elitism to strive for knowledge and beauty and a gentility of expression! Nor is it elitist to enjoy experiences that shape and enrich your soul.
In our modern society that often rewards speed, noise, and instant gratification, opera and ballet remind us that some experiences still ask for patience, attention, and emotional openness. They invite us to contemplate both our inner and outer worlds through the lens of nuance and beauty. Perhaps this is why these art forms continue to endure.
How did you enjoy reading my reflections? Drop me a line and let me know!
For the artists and artistic institutions who are reading this, please let me know how I can support you, whether through an interview about your latest production, or a feature of one of your artists, or interviews and meetings / workshops with your audiences.
For those of you who wanted to know which operas and ballets to go see, send me a quick email at info@cultureum.com with dates and places where you are looking to attend, and I would be happy to send you some recommendations, along with some information that might make your visit even more enjoyable.
Should we run into each other at the theater, please come and say hello. I would love to exchange impressions and reactions and ideas for the future.
Make sure to check out my article on John Neumeier next week.
Be well everyone!
Hugs, Dr. J
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