The Company is in rehearsal for our new, original three-act ballet. There will be occasional performances while that production is in development. These will be announced with in-world group notices, postings on the website calendar and we are pleased to have our performance notices listed in Dance Magazine. This RL magazine is a premiere resource for those involved in all forms of dance -- real and virtual. See our listings under "Special Events".
Behind the Scenes at Ballet Pixelle
Notes from the artistic and digital interface - bringing Ballet Pixelle to television in Second Life, and on the Web
Ballet Pixelle Composer Solary Clary
You can find commentary, news, and interaction with Ballet Pixelle on the Web. Our Web site - balletpixelle.org, our blog - Balletpixelle.blogspot.com, and our MySpace page - myspace.com/balletpixelle
YouTube has several videos of our performances. Search for "Second Life Ballet" or "Ballet Pixelle" and you will be able to share a small sense of these performances with your RL friends.
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Ballet Pixelle celebrated mid-winter holidays with three new one-act ballets. "JE T'AIME -- A VALENTINE'S DAY BALLET" played to overflow audiences for two performances on February 15, 2009. Theatergoers greeted these ballets set in a French Music Hall, a Ballroom and a French Cabaret by filling the screen with "Bravo," "Wild applause," and even "Zow-eee!"
Audience members teleported up to the Ballet Pixelle Sky Lounge to share champagne and dancing with the Company between performances of both ballets.
For St. Patrick's Day the company reprised "JE T'AIME" with an Irish flair. Dancer Amelie Dibou made her choreographic debut with an encore Irish Jig, featuring the entire Company dancing on stage, that brought the house down.
These are days of change. In the Northern hemisphere, spring is ready to burst forth; in the Southern hemisphere the days are drawing in toward the chill of winter. Here at Ballet Pixelle we have had our changes as well. Some of our company members have elected to retire. We will miss Neena Botanical, Mark Cassini, and Gershom Wycliffe up on the stage, but most certainly will enjoy seeing them as members of our audience. Mark will also continue as creative consultant for sets. Their contributions over the years have been immeasurable. We thank them. We have several new company members who are bringing their talents and enthusiasm to our work. You'll read more about them on the following pages and on our website.
We are all working hard and looking ahead to our new ballet. This original three-act work is the most complex piece we have accomplished. Watch for in-world group announcements for the debut later in the spring. We will post to the website calendar and Dance Magazine in-line calendars as well. Can I give a few hints? Perhaps. This is the story of a young girl who undergoes a transformation. There are warring individuals and a peaceful, emotional resolution. You'll see and hear more in just a few more weeks!
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Her avatar name is TheAbsinthe Fairey, but members of the Company call her simply "Abs." When asked what the biggest surprise was about working with the ballet she said: "Well firstly, it was all that goes on backstage. I was in the audience but was receiving the backstage chat channel for the first time and was amazed how close to first life it is, but also how organized it is. Secondly, the camaraderie: BP feels like a family and is great how everyone pulls together for the common goal. I am very proud to be a part of it!"
Aiyana Tripsa offered this behind the curtain insight. "I was surprised by how difficult it is to coordinate our steps. I thought it would be a 'piece of cake' but it takes a lot more effort and concentration than I expected."
Luci Yokosuka lives in Japan and said, "It was a surprise that the creative director lives in Tokyo (near me), because I thought that it is a group in the United States." She was also pleased to discover this was a Company where "people with rich talent have gathered."
When asked to tell about their favorite part of working with Ballet Pixelle, Abs offered a pragmatic answer. "When we get it right! :P"
Aiyana described the opportunity for growth. "So far I've learned an Irish jig, a Japanese miko dance and Indian devotee dances. I love the world culture!"
And Hannah Leominster described the Company's own culture. When asked what is your favorite part of working with the company, she replied. "Oh, that's easy. My favorite part is the wonderfully positive attitude that flows from Inarra right down through the dancers and crew. Inarra can always find SOMETHING to acknowledge in our work. It may be good timing among the dancers, a well-timed curtain, even a good recovery from something that didn't go quite so well. She gives us credit for doing the best we can, helps us to do better, and recognizes those things we did do well."
Ballet Pixelle reprised the critically-acclaimed ballet "Shuzenji" to help the members of the Amatsu Shima celebrate their second anniversary. The ballet is set in the Edo era of Japan and tells the story of Sakura and her lover, Tokai, who are separated when Tokai is murdered by jealous courtesans. Their love overcomes death and, in the third act, they meet in the spirit world never to be parted again. See a bit of this performance on YouTube.
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In Second Life theatrical sets can magically join in the dance. I thought I would go check out the Ballet Pixelle scene shop and see what is in the works for the new ballet. Amelie Dibou, Mo Hax, Mark Cassini and Tik Merlin swore me to secrecy before I could watch them work their rezzing wizardry.
In theory anyone can build anything in Second Life. In practice . . . well, it takes a lot of practice, perseverance and patience to achieve the desired outcome. Amelie, Mo, Mark and Tik are some of the best builders around.
Everything in Second Life is created by the community residents, from thin air and data bits. Every time you come into the world of Second Life the computer image of in-world activity on your computer screen is framed with tempting choices. Across the bottom are "fly," "snapshot," "search," "map," "inventory," and "build." Click on "build" and a dialog box appears on your screen. Select a rough-shape template, point and click to the floor (or middle of the air) in your workspace and a plywood-textured shape appears in front of your eyes. Change the texture into anything from a piece of silk to a brick wall. Add animation scripts, sculpty possibilities with actual momentum determined by physics or any of scores of other options and you're off, creating just the exact thing you want.
Or at least that's the plan. In reality Ballet Pixelle designers have spent more hours than they care to count innovating and creating, experimenting and developing. This dynamic team has created magical flying carpets and growing Christmas tree for "The Nut," mystical shrine and curtains dancing with cherry blossoms for "Shuzenji," and many other pieces that enhance the audience experience and story-telling magic of the Company's artistic works.
For Ballet Pixelle's new original ballet, debuting this spring, the talented designers are working on a road that has movement as though it is a floating texture that can dance beneath the character's feet. There are buildings, furniture and backgrounds, too. But the biggest animated set piece is a flower. Here's where that secrecy comes in. I can only say that the petals will move independently in a way no ordinary first life set piece could. They will flutter and move and slowly drop to reveal . . . . . .
OK, I'll be quiet!
You will just have to come to the Ballet Pixelle performance to see for yourself.
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Interview with Ballet Pixelle Composer Solary Clary
Renowned Japanese singer and songwriter Solary Clary, Sora Izumikawa in first life, composed the score for last season's "Shuzenji." She is hard at work on the Company's new ballet. We thought a look back at the way she developed the score for "Shuzenji" would provide insights into her new work.
"Shuzenji," set in the Edo era of 18th century Japan, tells the story of two lovers, Sakura and Tokai, who are separated from each other when Tokai is murdered at the shrine of Shuzenji by jealous Oirans, or courtesans. However, the faithful Sakura continues to search for Tokai at the shrine, and because of her enduring love, Tokai's spirit is freed. What happens next is told in the beautiful and moving third act with soaring, ringing music that raises the spirits. As Ms. Clary's lyrics say, "I have no regrets. My life with you is forever hand in hand. Let us dance with this music forever."
Q. Ms. Clary you answered a question from the audience after one of the performances that the "hardest part" composing for "Shuzenji" was using traditional Japanese instruments. Why was this hard?
A. It was hard because I had to create variations of the music using specific Japanese instruments which have their own strengths and limitations.
This time, I composed various music patterns based on the situations in each "Shuzenji" Act. Let's see if I can give an example. We can easily imagine various types of cakes when we are asked to "make five different cakes using any fruit you like."
But how about this situation?
"Make five different cakes using only banana and strawberry." Several recipes can be imagined, but there are limitations. We need to think how to use the ingredients--using a whole strawberry, a cut one, or using strawberry jam, etc.
I spent the most time trying to interpret the music in this kind of way.
Q. What instruments did you use?
A. I used shakuhachi (bamboo flutes), koto, shamisen, Japanese drums, and fue and "shou"--sound instrument used in the Japanese classical music that has been performed at the Imperial court for several centuries, and so forth.
In fact, I don't "play" the instruments. I play keyboards to create their individual sound qualities. So, I don't feel any one is more difficult than another, although I change the touch and melody of each instrument to emphasize their individual features."
Q. How did you come to the ideas for the structure of the music and the different sound style (instrumentation) for each of the acts?
A. Kind of instinct! It all comes to my mind straight from the heart. I imagine at first, before doing anything, when I have got the story line and requirement for the type of music for specific scenes from Inarra [Saarinen, Ballet Pixelle creative director]. In reality, I imagine the scene of the main character dancing, and imagination inspires music on my mind! I don't try to impose a particular sound style. It just comes out like that. I suppose the style is created by chance.
Q. Is there a part of the music you like the best? If there is, why do you like it the best?
A. I like them all, but Act 2 contains the most emotional scene in this production, and I actually composed it as it is, so Act 2 makes a very moving impression on me every time I hear it.
Q. Have you ever danced in a ballet?
A. I have never tried ballet dancing--but I can dance and have danced with hip-hop (rap) music. (smile)
Q. Is writing for a ballet different from writing a song that you sing or music for the work you do in anime? If it is different, how is it?
A. It isn't different. Technically, it makes a difference if it is with or without vocals, but it is always the same in terms of my composition method. I try to use my imagination first anyhow--I compose from inspiration!
Q. The lyrics for "Shuzenji" portray the emotion of the main character, Sakura, so well. Did you have the words in your thinking as you wrote the music, or did they come to you later?
A. I wrote the lyrics later. But I feel that the lyrics already existed in the "Shuzenji" score before they were actually added. They were there from the beginning. It is because I created the music based on the original script by Inarra, and I myself always think of Sakura, the main character, in my mind when I wrote the music. As a result, I can say the 'words' resided in the score, although the "lyrics as words' were not present initially when the music was composed.
Q. Is there anything else you would like to tell us about your work for Ballet Pixelle?
A. I think we have very few people involved in the role of 'bridge' between the art of Japan and other countries in Second Life.
But the potential of Second life is infinite!
This time, in composing for Ballet Pixelle, I was inspired to produce my best music--BP stimulated me to give of my best--we motivated each other in positive way and our collaboration helped make the best production.
I have no doubt that this collaboration is not only the way forward for the 'pioneers' of Second Life but also the 'vanguards' of virtual reality.
I must express my thanks to BP for offering me such an opportunity and I really want to say in a positive way that it helped me give of my best--I believe I produced my best work.
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