Flight Pattern: Difference between revisions

Revision as of 16:22, 3 January 2025

Revision as of 16:23, 3 January 2025

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[[Image:Crystal Pite.jpg|thumb|upright|alt=See caption|[[Crystal Pite]], pictured here in 2010, was the choreographer of ''Flight Pattern'']]

The Royal Ballet commissioned what would become ''Flight Pattern'' in 2014, which was Pite's first piece for the company.<ref name=Winship />{{sfn|Piquero Álvarez|2021|p=462}} While listening to possible music selections, focusing on [[contemporary classical music]], she was thinking about the ongoing [[2015 European migrant crisis|European migrant crisis]].<ref name="Monahan 2017">{{Cite news |last=Monahan |first=Mark |date=2017-03-14 |title=Choreographer Crystal Pite: 'I'm not putting this on stage as a political act' |work=The Telegraph |url=https://www.telegraph.co.uk/dance/ballet/choreographer-crystal-pite-creative-young-women-often-have-get/ |access-date=2023-04-09 |issn=0307-1235 |archive-date=7 October 2022 |archive-url=https://web.archive.org/web/20221007170718/https://www.telegraph.co.uk/dance/ballet/choreographer-crystal-pite-creative-young-women-often-have-get/ |url-status=live }}</ref> She chose to choreograph to the first movement of [[Henryk Górecki]]'s [[Symphony No. 3 (Górecki)|Symphony No.3]], also known as the ''Symphony of Sorrowful Songs''.<ref name=Winship/><ref name=Monahan /> Pite associated the music with the migrant crisis, for which she was "disappointed" with the international response, and on choreographing a ballet about the crisis, she said it was her "way of coping with the world at the moment".<ref name=Winship/><ref name=Monahan>{{cite news|url=https://www.telegraph.co.uk/dance/ballet/crystal-pites-flight-pattern-royal-ballet-covent-garden-review/|title=Crystal Pite's Flight Pattern is an emotional odyssey that passes in the blink of an eye - Royal Ballet mixed bill, review|newspaper=The Telegraph|last=Monahan|first=Mark|date=17 March 2017|access-date=2023-04-10|archive-date=27 October 2020|archive-url=https://web.archive.org/web/20201027184759/https://www.telegraph.co.uk/dance/ballet/crystal-pites-flight-pattern-royal-ballet-covent-garden-review/|url-status=live}}</ref> The theme and music were selected approximately one and a half years before the first rehearsal and was the starting point for Pite's creative process.{{sfn|Piquero Álvarez|2021|pp=462, 464}}

Pite chose to work with a large ensemble for this piece to showcase complex choreography with simpler movement. At the beginning of the creation process, Pite created movement phrases before the rehearsals and taught them to the dancers; Lucía Piquero Álvarez, a professor at the [[University of Malta]], speculated in her analysis of the piece that the motif sequence was taught during this time.{{sfn|Piquero Álvarez|2021|p=462}}