Used vs. Loved | Ballet Year Million

Watch the video on YouTube!

Solo Artist Elizabeth Marlin with Company Artist James Wainwright in Julianna Rubio Slager’s BareFace. Photo by Kristie Kahns. Costumes by Lorianne Robertson.

In many traditional ballets, female protagonists are often used by their powerful male counterparts instead of being truly loved. These male characters are typically portrayed as strong and dominant, while the female characters are relegated to more submissive roles.

One example of this can be seen in the ballet Sleeping Beauty, which was first performed in 1890. In this ballet, the lead female role is that of Aurora, a princess who has been cursed by an evil fairy and must sleep for 100 years before being awakened by the kiss of a prince. While the role of Aurora requires a great deal of technical skill and grace, it also reinforces the idea that women are in need of protection from men. The male lead, Prince Florimund, is portrayed as strong and powerful, and it is he who ultimately awakens Aurora from her slumber and saves her from the curse.

Another example of this can be seen in the ballet Coppelia, which was first performed in 1870. In this ballet, the lead female role is that of Swanilda, a young woman who falls in love with a life-sized mechanical doll created by a mysterious inventor. While Swanilda is depicted as lively and energetic, she is ultimately used by the male inventor, who uses her curiosity and love for the doll to further his own interests. In the end, it is the male lead, Franz, who rescues Swanilda from the clutches of the inventor and wins her heart.

Choreographers are starting to embrace the idea of love in all its forms, including both friendship and romantic love. In this blog post, we will explore some newer examples of ballets that feature a good form of love. One example is the contemporary ballet by Crystal Pite, Emergence, which was first performed in 2009. This ballet is set to a haunting score by Owen Belton and features a cast of 36 dancers who embody a swarm of bees. The ballet explores themes of community, transformation, and self-discovery, and the dancers are able to express a deep sense of love and connection as they move together in unison. Through their movements, they create a powerful sense of collective identity and belonging that transcends the individual dancers.

Another example of a modern ballet that explores the theme of love is Justin Peck's The Times Are Racing, which was first performed in 2017. This ballet is set to music by electronic composer Dan Deacon and features a cast of 20 dancers who are clad in colorful street clothes. The ballet celebrates the joy and energy of youth culture and explores themes of friendship and self-expression. The dancers move with a sense of joy and abandon, embodying the love and connection that comes from sharing experiences with friends and loved ones.

Finally, the ballet Within the Golden Hour, choreographed by Christopher Wheeldon and first performed in 2008, explores the theme of romantic love. The ballet is set to music by Ezio Bosso and features a cast of 16 dancers who move with grace and fluidity. The ballet explores the complex and often bittersweet nature of romantic love, as the dancers move together in pairs and trios, expressing the full range of emotions that come with falling in love.

These newer examples of ballets show that love in all its forms can be celebrated and expressed through dance. From the collective love of community to the intimate love of romance, modern ballets offer a wide range of expressions of love that transcend traditional gender roles and power dynamics. As ballet continues to evolve, it is important for choreographers and dancers to continue exploring new ways of expressing love and connection through movement.


While many traditional ballets feature female protagonists who are used by their powerful male counterparts instead of being loved, there are also examples of female protagonists who challenge these conventions and showcase their strength and independence. As ballet continues to evolve in the 21st century, it is important for female protagonists to continue pushing back against these limitations and seeking out roles that allow them to express themselves fully and authentically.

Previous
Previous

“Till We Have Faces” and the Female Gaze | Ballet Year Million

Next
Next

Demure vs. Empowered | Ballet Year Million