Blog 2 - A Critique of Justin Pecks “In The Countenance of Kings”

 

In the Countenance of Kings is the first ballet Justin Peck choreographed for the San Francisco Ballet in 2017, with music composed by Sufjan Stevens. My focus however will be on the original short film for the world premiere of this production (San Francisco Ballet, 2016).

The film starts with the camera pointing towards a dancer (A) packing up her things after training and walking out of the studio with her dog. As she leaves, our focus shifts onto another dancer(B) in a blue leotard, lying down on the floor, and breathing heavily. She slowly shifts her gaze to the mirror to find that the mirror is depicting a sort of alter-ego of hers. This Mirror-self is wearing a burgundy leotard and white sneakers and has more dramatic face and eye make-up done. While they both stand up in unison, her made-up self breaks their synchronization to take her hair down from the neat bun they both had, and lets it fall loose. Turning her head, she transports us into a different place.

In contrast to the clean, modern, and neutral studio, the new location resembles an old royal throne room. The camera goes around the dancer, only to step back and reveal the other one (B) from the studio standing next to her, wearing a light-coloured leotard and the same sneakers. They start mirroring each other, and as the musical piece slowly intensifies, more dancers fill the frame executing the exact same mirroring duet in different coloured leotards and white sneakers. The frame is switched to another space in the room, were dancer A runs in to meet a male dancer (C). They execute a beautiful dynamic throughout their pas de deux, with strong lines and precise movements. We are then taken back to the previous background, where dancer B is performing a small solo amongst the other dancers who are seated in a crouch with their head held down. They eventually join her, and then the same scenario is repeated while dancer C also does a small solo. The dancers all run off out of camera shot and run in again in a rectangular formation, moving in a sort of cannon pattern while changing their formation, In the next shot we have dancer B and dancer C mirroring each other, while the rest of the dancers form two circles around them, and run around in opposite directions, until eventually the couple also does the same. Lastly, we are presented again with pairs of dancers in the space performing the same pas de deux. It looks like within the couple, there is some opposition between the movements, and it’s also a repeated sequence, which allows the scene to become very intriguing to the audience as more and more dancers join the frame. Eventually everyone runs back facing the back leaving dancer B at the front, and as they all disappear, she drops to the floor as if she fainted.

We are then back in the studio looking at dancer B on the floor in her first outfit, breathing hard, and as she looks at the mirror, she sees her true self. That specific scene, even though there isn’t a significant change of emotion on her face, gives us the feeling of contentment and reassurance.

The contrast of her two costumes, the blue and burgundy leotard, is quite significant, as based on colour theory dark blue can signify calmness and trust, but also timidity. The red/burgundy colour she weard throughout the dancing part is the colour of passion, determination and power, and she also let her hair down, which is unusual for a ballet dancer. Perhaps it’s to show that she now feels freer and creative rather that adhering to the more classical and ‘uptight’ side of ballet.

It is significant to me to comment of the contrast between the dancers clothing and the second space. Because of the more modern and relaxed clothing, it makes it seem as if the dancers were visiting a time in the past. The room (which is actually an old train station reception area) gives us he idea of old royal throne rooms, where ballet was first formed. Having these dancers dancing a more modern version of ballet, in this space just shows us how far we’ve come technique and artistry wise.

Overall, I really enjoyed the dynamic of this piece and I found it to be quite reassuring that hard work pays off, even if it doesn’t feel like it in the moment. I initially didn’t think it would be interesting enough for a non-dancer, as there isn’t much of a storyline to follow, but now I have the feeling that the strong leg lines and the dynamic but still soft and balletic arms, do keep the audience captivated.

 

 

"San Francisco Ballet in Pecks' In the Countenance of Kings / Credit: Erik Tomasson", Janice Berman, 2016

Word Count: 663

Resources:

A Royal Flush from Justin Peck at the S.F. Ballet, 2016, Janice Berman, Available at: https://www.sfcv.org/articles/review/royal-flush-justin-peck-sf-ballet (Accessed: October 2022). 

Justin Peck's "In the Countenance of Kings" with music by Sufjan Stevens, 2016, San Francisco Ballet, Available at: https://www.youtube.com/watch?v=yMTv_Y0Zrl4 (Accessed: October 2022). 

San Francisco Ballet releases a new dance film directed by Benjamin Millepied: Dance of Dreams, 2020, San Francisco Ballet, Available at https://www.sfballet.org/discover/press-center/press-releases/release/dance-of-dreams/ (Accessed: October 2022).

Useful Links:

In the Countenance of Kings, (n.d.), Pacific Northwest Ballet, Available at: https://www.pnb.org/repertory/in-the-countenance-of-kings/ (Accessed: October 2022).

Justin Peck, (n.d.), Justin Peck website, Available at: https://www.justin-peck.com/about-1 (Accessed: October 2022).