The Phantom of the Opera - AHB

I went to "The Phantom of the Opera" at the Statni Opera House simply out of convenience. My family was in town over Fall break, and this just happened to be the show that was playing the night we wanted to go. I knew very little of the background, and at first I was surprised to find out that this was not the familiar American version (Lloyd Webber's musical).

I was struck by Van der Leeuw's claim that dance is the original, and hence most sacred art form. On an intellectual level I have almost no understanding of dance, of all Van der Leeuw's sections it is probably the most foreign to me. At the same time, I love rhythmic music and the way that body moves to the vibrations of sound. It's funny yet sad how dancing has been has become either an super-sexualized movement entirely devoid of art or a bland and meaningless form of individual expression, I just don't buy that garbage. It's almost as if the simplicity of dance makes it the easiest art to manipulate.

I know ballet gets a pretty rep for being boring, and I'm sure at least someone fell asleep during the performance. But I had a really easy time engaging with the characters and the story. I find it incredible that movement alone can be used to tell a story with so many different emotions. One thing that I dislike in Van der Leeuw's book is that he separates drama and dance become the former displays both movement AND countermovement, which the latter lacks. Thinking about this performance makes me question this conclusion. I don't see how you can have a dance involving multiple people that doesn't display countermovement. The most severe example I can think of is Argentine Tango, which actually requires improvisation. This tango has basic steps like any other, but either partner can switch the motions at any time by giving his or her partner physical signals. If dance was merely movement there could be no story.

Dance is a really interesting way of exploring relationships. Christine alternates dances with the Phantom and the Vicomte, and through these interactions she seems to develop some sort of love/affection for each. As we all know, she ultimately chooses the Vicomte, sending the Phantom into a rage. The drama subsides when the Phantom realizes that he cannot possess Christine with fear the way he does with nearly everyone else. The Phantom's subsequent decision to let her and the Vicomte go shows that love is not an excuse for ownership; like any good dance, it is impossible without the interplay of movement and countermovement.