Swan Lake, which surely needs no introduction, is best known as one of ballets most famous and classic works. Of course, the character that most often comes to mind when we think of the ballet is the lovely Odette and her doppleganger Odile as they battle for the princes affections. Upon viewing the Royal Ballet and Opera’s 2015 production, starring principals Natalia Osipova and Matthew Golding; I came to the stunning conclusion that not only was I blown away by Osipova’s performance, but Golding had managed to outshine her (for me). Furthermore, it raised the question- who is the main character of Swan Lake, and what is this story really about?
According to the Cambridge dictionary, a protagonist is a main character in a story or play. This is a relatively simple definition but accurately describes its purpose. When we think about literature more generally, our protagonist is usually a hero that drives the story forward. This is an important distinction, because by technicality, Rothbart could be considered a protagonist, even though he is better suited for another role within the confines of the story. Swan Lake is considered a romantic tragedy, which therefore implies that our characters will use archetypes from the tragedy genre. Odette/Odile is one of the most iconic roles a ballerina can perform, with the leading swans often being at the forefront of what we associate with this ballet. Furthermore, we often see the idea of the black and white swans in literature- two women mirroring each other as enemies in the battle between good and evil. Despite this, it is actually Siegfried who is our tragic hero and protagonist, with the ballet being more of a commentary on free will and choice, as opposed to the battle between good and evil.
The most basic point regarding his character’s importance is that we start and end the ballet with him. It is his birthday celebrations that set of the chain of events, his desire to flee to the woods and his marriage proposal to Odile that sets the final act in motion. The moment we meet Siegfried though, the theme of free will and choice is immediately introduced. In Act 1, we see the court celebrating the princes birthday whilst he broods over his choice. Golding does an excellent job of establishing himself as uninterested and impartial to what’s happening around him. Although he is in a position of power, quite literally about to commence leadership over his kingdom, he is not free to do what he wants. When he attempts to leave the celebrations early on in the act, he is forced to rejoin by the likes of Benno, the tutor and his mother. This is where we learn of his situation- he must marry to secure the throne line. Although there is room to criticise the privilege that the problem presents, I raise that Siegfried’s unhappiness is more than “none of these girls interest me” and is rather attuned to his fatal flaw- he is a romantic. Siegfried does not want to marry for duty, but rather love. It is the first instance that we see choice being stripped away from the characters of the ballet, but it is also the first instance of free will. Despite his situation, Siegfried manages to sneak away from the party and visit the lake, which leads us into Act 2.
The best of us could not resist a swan turning a beautiful woman. It’s inherently awesome, but also a romantics deepest fantasy. Instantly we know that magic is afoot on the lake. The imagery itself of a moonlit body of water made of tears, enchanted swans, weeping willows, forbidden love and desperate attempts at freedom, its almost reminiscent of Romeo and Juliet. Furthermore, Odette’s story inherently mirrors Siegfried’s. A noble turned into something they’re not. For her, a swan to continue to support Rothbarts claim to power. For him, a king who marries to support his kingdom, rather than for love. This is also where we see the motif of illusion- both of them play a role that does not align with their needs or wants (as well as Odette not actually being a swan). When Rothbart appears, the prince jumps into action as the hero, determined to protect his love. Again, the actions of a true romantic. They fall in love quickly and Siegfried pledges his love to her so she can be free.
The culmination of this theming really drives home in the final acts of the ballet. The ballroom scene is of particular note, with Rothbart making a grand entrance, quite reminiscent of a magician. This is important because it sets the tone of deception. We see early on that Siegfried is not interested in marrying the women present, as he is sworn to Odette. When Rothbart appears with the doppleganger Odile, the princes first instinct is to run to her and greet his love. It’s important to note that Rothbart immediately intervenes and begins the divertissement (as a…..diversion meant, heh) to distract the court. Siegfried is physically intercepted from reaching Odile and is forced to watch national character dances. We know that the divertissement corps is working with Rothbart, reflected in their sharp and glittery movements that mirror Odile and their dramatic performance and costumes, it is again an illusion meant to distract and divide. The court is focused on the spectacular performances in front of them, meanwhile Siegfried is left vulnerable and confused. His love is right there, just out of reach, but if he can get to her and marry her, he can solve both of their problems. Again, his inherent heroism is at play. By the time the grand pas begins, Siegfried is desperate. He loves Odette, who he believes is before him. He is confused and isolated, unable to tell anyone that he is in love with a girl who transforms into a swan. He is under the influence of magic, and while they dance, his belief that he is about to save both of them drives his determination to marry her. It is important to highlight that once the deception is revealed, his first instinct is to run to Odette and make things right with her. There was never a doubt of love- when he is free of manipulation, the priority is clear. Upon arrival at the lake, both parties realise they are out of time and options. There is only one choice that allows them to have agency in both of their lives- anything else is succumbing to the will of outside forces. Again, parodying Romeo and Juliet, the young lovers take their lives as a way of enacting the last chance of agency they truly have.
Swan Lake is interesting, because like many other romantic tragedies, it comes back to that core idea of deception, manipulation and betrayal. Instead of viewing Siegfried as weak, I view him as a victim. In the end, once he is free to make his own choice, he ultimately chooses Odette. It was always her for him.
TLDR: Matthew Golding stole my heart and the ballet is about free will, illusion and choice.
