You may kiss the Bride: Romantic Ballet goes Hollywood in Tim Burtons’ The Corpse Bride.
“Narrative Conference” international symposium
organised by International Society of Narrative Literature, Birmingham,
June 4th – 7th 2009.
© Astrid Bernkopf, 2010
Autumn 2005, Tim Burton’s stop motion film The Corpse Bride
was released in cinemas worldwide. The fairy tale-esque narrative about
Victor, Victoria and Emily’s struggles for true love gathered a group
of adult viewers, who appreciate Burton’s dark multilayered works. The
film’s narrative draws upon manifold references ranging from
dramaturgical rules of nineteenth-century ballet performances and their
subject matter to films such as the James Bond series, Alfred Hitchock’s
Vertigo (1958) and The Birds (1963) and mythology in
form of Odin’s ravens Huggin and Munin. Burton seems to have synthesised
the essence of two of the best-known monoliths of ballet tradition, La Sylphide (1832) and Giselle
(1841), and ballet conventions into a narrative that presents the
perspectives of three main characters in a reversed world of strict
mortal morals and supernatural entertainment. The sets of intertextual
links or rather ‘ancestral voices’, to borrow Janet Adshead-Lansdale’s
term (2007: 32), outlined in this article show that Romantic ballet’s
themes and conventions have permeated Burton’s film, whilst, at the same
time, having been updated to early twenty first-century film
conventions and viewing habits. The film displays three kinds of
references to Romantic ballet tradition: firstly, visual aspects,
secondly, character and, finally, the conflict of the narrative.
On the visual level, Burton’s work draws on the distinct dichotomy
Romantic ballet sets up with its division into the worldly act and the
supernatural. Yet, the film reverts the colour-coding present in
nineteenth-century ballet. The white costumes and blue colouring
codified for the white otherworldly act of ballet tradition translate
into grey and tin colours that draw life from the mortals in The World
of the Living. In its cheerful outburst of colour, The World of the Dead
is livelier and resembles the American period of the 1920s and 30s
through its songs. The traditional pattern of the white act’s austere
beauty is here transformed into the confines of the Victorian period.
The World of the Dead poses as informal and leisurely opposite, where
skeletons dance and the dead happily mingle in Mrs Plum’s bar.
Burton, not wishing to locate The Corpse Bride in any
particular period or setting, still dresses Victor and Victoria, who are
forced into marriage by their parents, in simple tartan costumes that
resemble those of James and Effie in La Sylphide. Emily, the
corpse bride, rises from her grave underneath a tree in her wedding
dress just as Giselle does. Emily lifts her veil to utter ‘I do’ in
response to Victor practicing his vows by sticking a ring onto a dry
twig that turns out to be Emily’s finger, thereby referencing another
story Heinrich Heine embedded in Elementargeister (1835; 1972
reprint). The corpse’s appearance and the veil refer to the practice of
burying young women in their wedding dress, something that is
re-iterated in the visual composition and narrative of Giselle.
When trying to escape The World of the Dead, Victor appears with
Emily on a moonlit forest clearing. Emily, seeing the moon, is overcome
by emotion and begins to dance. Her white figure traces a manège
between the trees as Myrtha does in Giselle. Victor, the only male
character present, watches Emily mesmerised. In this scene, Burton
includes the theatrical device of comic relief by having Emily lose her
leg and stumble. Whilst drawing on these narrative and visual aspects of
Romantic ballet, Burton retains early twenty-first-century film
conventions to relay his narrative. The tradition of several acts
alternating between the real world and the supernatural is abandoned
through several shifts between the various worlds. Here, the birds or
camera movement highlight the up and downward shift between the
Underworld and the mortal one. Consequently, the narrative’s structure
is more fragmented and in need of communication between the two realms.
Messengers, used, for example, in Greek theatre and the Shakespearian
period, carry information from one scene to the next such as Mayhew, who
informs Victor of Victoria’s imminent wedding with Lord Barkis, Emily’s
murderer.
On the narrative level, the film merges the plots of the two ballets
through the characters’ backstories. The aim not to focus on one
particular protagonist creates a threefold view of the story. All three
characters receive ample time to outline their origins and situation. On
the eve of his wedding, Victor is abducted by Emily, when slipping the
wedding ring onto her finger. He is torn between the two women and has
to decide which one to follow. On the one hand, Victor is close to James
who is about to marry Effie, when he encounters the Sylphide and
follows her into the forest. Like James, Victor ponders over his lost
mortal bride while stranded in another world. When Emily discovers
Victor’s betrothal to Victoria, the male character, on the other hand,
resembles Albrecht, who deceives Giselle, but is uncovered when Bathilde
claims him as her fiancé. As the third member in this love
triangle, Emily’s personal history is told in a song. The bride-to-be
intended to elope with an impostor. She is killed for her dowry and left
underneath a tree. The jilted bride rises from her grave and seeks
love. Realising in the end that she cannot hold Victor, Emily frees him
from his vow and unites him with Victoria. A personal story and ending
that retells that of Giselle, as the dishonoured ballet heroine too
forgives Albrecht and sends him back to Bathilde to marry her instead.
The Sylphide too returns the ring and send James back to Effie. Through
this action, Emily, the Sylphide and Giselle find eternal peace.
The character set up and their interrelations reflect the most
traditional combination of characters within the Romantic period. It is
the task of the Romantic ballet hero to recognise the right woman to
marry and withstand the temptation of the seductress. Not all
nineteenth-century ballet narratives present the seductress as
supernatural creature, yet in this instance Burton again echoes La Sylphide and Giselle
in doing so. Victor must recognise Victoria as the true bride, remain
constant to her and realise that he cannot marry outside his own sphere
of the world. Emily, too, deliberates about the situation. She realises
she cannot marry a mortal and unites Victor with Victoria. Both female
characters follow the traditional ballet set up by displaying the
dichotomy between the docile feminine and the ‘femme castratrice’ (Creed
1994: 127). Here again both ballets are directly referenced. Effie and
Victoria represent the tamed aspects of woman, whereas the Sylphide,
Giselle and Emily indulge in their passions and love. The former is
married in literature, opera, ballet and film, whereas the latter is
eliminated from the narrative.
Burton claiming that the narrative for The Corpse Bride was
conceived through a nineteenth-century folktale manages to weave an
intertextual cobweb of literary, filmic and theatrical references and a
clear set of ancestral voices that permeate the film in its visual and
narrative composition. The strong quotations from ballet tradition
directly display the most significant features of Romanticism in
literature, opera and ballet. The narrative of a torn hero yearning for
love and facing the dual aspects of femininity displays the traditional
romance story and a visual setting resembling that of the ballet
fantastique. Filmic devices and modes of narration help to produce an
entertaining fast-paced film that retains the moral agenda of
nineteenth-century narratives that many twentieth-century ballet
productions have lost.
Adshead-Lansdale, J (ed) Dancing Texts. Intertextuality in Interpretation. London: Dance Books, 1999.
______. The Struggle with the Angel. A Poetics of Lloyd Newson’s Strange Fish (DV8 Physical Theatre). Alton: Dance Books, 2007.
Bernkopf, A. Narrative variants and theatrical constants: towards a dramaturgy of the Ballet Fantastique (1830 – 1860). Unpublished Phd thesis, University of Surrey, 2005.
Burton, T. Tim Burton’s Corpse Bride. Warner Bros Pictures, 2005.
Creed, B. The Monstrous-Feminine. Film, feminism, psychoanalysis. London: Routledge, 1994.
Heine, Heinrich. Elementargeister. Berlin: Aufbau Verlag, 1972.
Salisbury, M (ed) Burton on Burton. Revised edition. London: Faber & Faber, 2006.
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