By Susan A.De Guzman
Looking ethereal in their gossamer tutus, the two dozen or so ballerinas moving in unison paint an eerie but breathtaking picture. Led by their queen, Myrtha, these so-called wilis — spirits of women jilted by their lovers — take their revenge by making any erring man who comes upon their forest lair dance to his death.
At two productions of Giselle, part of the recent Dance.MNL festival, the wilis made quite an indelible impression, earning for the Ballet Manila corps as much applause and praise as the lead stars did. Viewers came away from the shows talking about the graceful precision with which the dancers executed each step and each turn.
Revered dance teacher Felicitas Radaic, for whom one of the Giselle shows was dedicated, was quoted as saying: “A ballet company is only as good as its corps de ballet! You can have the best soloists and principals but if you have a bad corps, it’s still a bad performance.”
Indeed, it was a shining moment for the often unsung corps de ballet. But what actually goes into a performance like this? Here, we let some of the seemingly unreachable wilis speak.
What does it take to be a wili?
Tiffany Chiang-Janolo: To be one of the wilis in a professional company, it requires years and years of classical ballet training to be able to do the proper styling, technique and understanding of the role.
Marinette Franco: I think it is the stamina, determination and the presence of mind. The stamina to continue dancing because dancing Act 2 is really tiring; it can numb your feet while standing on the sides. The determination to finish the ballet without collapsing or without throwing everybody off the lines. And the presence of mind. You have to stay focused because you have to dance with the music, on your lines and with everybody else. You have to count so that you don’t do an extra fouetté jump or so that you won’t be ahead.
What emotions do you channel to play this part?
Sofia Costales: During our first entrance, I would imagine myself as a bride who died before her wedding day. Sometimes I even remember people who took me for granted, who lied to me, who played with my feelings, or even psych myself that someone has hurt me really bad, and has done something terribly wrong to my heart even if it never actually happened. We had a lot of rehearsals, and there were a lot of feelings contributed to this ballet! As this generation explains it, #HUGOT.
Czarina Villegas: I draw on my experience of having been jilted by a boyfriend at one time in my life, and the feeling of intense pain and betrayal that went with it, and the thought of giving him back the pain.
How do you look like a wili?
Tiffany: Sticking with the tradition of the ballet of Giselle, we have to follow the hair style and pale makeup to stay true to the role.
How does the corps make sure that they’re executing the same movements precisely?
Tiffany: This is the work of our artistic directors, ballet and rehearsal masters. They have the knowledge and eyes on how this part should be executed. Sharing the same style of ballet (Vaganova method) also played a big part. It became easier for us to move the same way, which already started with our daily ballet class. Once we have all the knowledge from our directors and ballet masters, it is then up to us to remember our corrections and move as one on stage. We need to feel each other on stage. If we all give our best and support each other that is when the ‘magic’ happens!
What are the things you like most about dancing as a wili?
Czarina: The costumes! I love the costumes!
Marinette: It was the feeling of being something you can’t be, like a ghost and lure or curse people to their deaths. I like the feeling of floating (even though we really aren’t), and to give the audience that image that we are ghosts and ready to curse men who comes into the haunted forest. I also like the idea where maidens who were killed because of a broken heart can be so beautiful and elegant yet very dangerous.
What are the most important reminders that your ballet mentors led by Lisa Macuja-Elizalde and Osias Barroso have given you when dancing as a wili?
Czarina: Learn your part well. If everybody masters her part to perfection, you will be in synch with everyone else to be able to dance in perfect unison no matter how many you are in the corps.
Jessa Balote: The role of a wili is not easy to dance because we need to do it all together. Ms. Lisa and Sir Shaz tell us it is most important to listen to the music.
Marinette: The little details that make up the ballet. As simple as ‘keep your lines’ or maybe ‘point your toes’ because these simple things can make the big difference. What would be the use if the dance had a beautiful choreography and then everyone wasn’t dancing altogether, or one wili wasn’t in line?
Tiffany: I would say it is more like a reminder for the willis to be sensitive towards each other. Watch our lines, turn out, listen to the music. Be conscious all the time of your fellow artists.
Sofia: That each one of us plays an important role to produce that kind of beautiful visual effect. They would tell us that there are no small roles. Everyone is seen. Staying in line, having a ninety degree arabesque, being with the music, and even having the same height of the arms are what may seem little things but make a big difference.
