theglobeandmail.com
Côté's Farewell Showcases Generational Shift at National Ballet
Guillaume Côté's farewell performance, "Adieu", at Toronto's Four Seasons Centre for the Performing Arts until June 5, 2025, featured his own ballet "Grand Mirage", alongside world premieres by Ethan Colangelo and Jennifer Archibald, marking a generational shift in the National Ballet of Canada.
- What is the significance of Guillaume Côté's farewell performance and the inclusion of other choreographers' works in the program?
- Guillaume Côté, a principal dancer and choreographer for the National Ballet of Canada for 27 years, concluded his career with a mixed program, "Adieu", featuring three world premieres. The program included Côté's own "Grand Mirage", a self-reflective ballet exploring his retirement, alongside works by Ethan Colangelo and Jennifer Archibald.
- How do the contrasting styles of Côté's choreography and that of Colangelo and Archibald reflect the evolution of the National Ballet of Canada?
- Côté's "Grand Mirage" received mixed reviews, with some criticizing its self-indulgent nature and lack of universal appeal. In contrast, the works by Colangelo and Archibald, "Reverence" and "King's Fall", respectively, were praised for their innovative choreography and originality. The program highlights a generational shift in the National Ballet of Canada.
- What are the potential long-term implications of Côté's departure and the introduction of new choreographic voices for the National Ballet of Canada's artistic identity?
- The contrasting styles of Côté's and the younger choreographers' works signify a transition in the National Ballet's artistic direction. Côté's departure leaves a void in the company; however, the emergence of Colangelo and Archibald suggests a promising future, full of fresh perspectives and creative approaches.
Cognitive Concepts
Framing Bias
The review frames Côté's departure as the central narrative, with other choreographers' works serving as supporting acts. The headline "Adieu" and the opening sentence emphasize the farewell aspect, potentially overshadowing the contributions of other artists and the overall quality of the mixed program. The extensive analysis dedicated to Côté's work, both positive and negative, reinforces this focus.
Language Bias
The review uses subjective language, such as "magnetic," "abstruse," "exquisite," and "ungainly." While evocative, these terms lack the objectivity expected in critical analysis. For example, "magnetic" could be replaced with a more descriptive phrase like "commanding stage presence." The description of the dance as "bed gymnastics" is also informal and potentially detracts from the artistic merit.
Bias by Omission
The review focuses heavily on Côté's work, potentially omitting other significant aspects of the performance or the broader context of the National Ballet of Canada's programming. The review doesn't delve into the financial aspects of the National Ballet or its future plans beyond mentioning the hiring of new choreographers. This omission might leave readers with an incomplete understanding of the company's overall artistic direction and stability.
False Dichotomy
The review presents a dichotomy between Côté's perceived lack of technical excellence as a dancer and his magnetic stage presence. This oversimplifies the multifaceted nature of artistic talent and might overshadow other contributing factors to his success.
Gender Bias
While the review mentions several female dancers, the analysis doesn't specifically address gender bias in representation or language. The description of Hodgkinson's character as "hamming up the diva antics" might perpetuate a stereotypical portrayal of female performers.