A ballerinas view of Black Swan

Imperfection can be just as beautiful, like a flower that has not yet fully bloomed.

By Lee Hyo-won

Darren Aronofsky’s psychosexual thriller takes an intimate look into the art of dance, revealing all that is beautiful and grotesque, fascinating and disturbing.

Portman plays a New York-based ballerina who lands her first major role in Tchaikovsky’s “Swan Lake.” Though her fragile innocence befits the white swan, Nina feels inadequate about personifying the sultry and visceral black swan.

While feeling torn between the manipulative advances of the company’s artistic director and pressure by her overbearing mother, Nina spirals deeper yet into darkness with the arrival of a sexy newcomer, Lily, who might be the perfect black swan.

One of Korea’s most famous “swans” is Kang Ye-na, principal dancer of the Universal Ballet Company (UBC). The Korea Times asked the dancer to share her views on the film.

“I think many parts of ‘Black Swan’ are grossly exaggerated, though I’m sure it was for dramatic purpose of the story. It’s nevertheless wonderful to see ballet on the big screen,” Kang told The Korea Times, Tuesday, after a rehearsal. Kang herself was inspired to become a dancer after watching the 1977 ballet film “Turning Point.”

(Right, Kang Ye-na performs the white swan in a production of "Swan Lake" by the Universal Ballet Company)

The film’s New York setting also evoked nostalgia in Kang, who is famous for becoming the first Korean member of the American Ballet Theater (ABT). Her other “Korean firsts” include entering England’s Royal School of Ballet and landing a lead role with the famed Kirov.

“I’ve only been in major companies, so I’m not sure how it is for minor ones, but I thought it was rather unrealistic how the artistic director singlehandedly decides the casting. Also, there might be cliques within ballet troupes, but there isn’t so much ostracizing or bullying, since it’s a group effort among professionals.”

While watching the film, Kang said she was intrigued by the relationship between the protagonist and her smothering mother. “While attending art school, I’ve seen cases where parents’ greed overshadows their children’s ambitions, and it’s not always a good thing.”

Beauty of imperfection

Striving for perfection, moreover, is something every dancer can empathize with, particularly since the Tchaikovsky piece is notorious for being devilishly difficult.

Throughout her career, Kang was unable to complete the 32-fouette sequence on just two occasions — both of which were with “Swan Lake.” The first was when Kang debuted in the title role as a guest dancer for UBC — when she was only 19. The second was during her first performance after a knee surgery.

“‘Swan Lake’ is one of the most physically trying works out there — you need both the endurance of a marathon runner and the reflexes of a sprinter.”

The dual role is emotionally draining as well. Unlike the film’s protagonist, who feels at a loss for the sexy black swan, Kang found it more challenging to be its pristine white counterpart.

“I actually felt quite confident about the highly technical black swan sequences — when you’re 19, naivety can fuel your courage. But having grown up seeing all the great legends play the white swan, I was gripped by this complex, that I wouldn’t be able to express the graceful adagio equally well.

“My teacher at the time, however, said something that inspires me to this day — that a budding flower is just as beautiful as one in full bloom, that imperfection can be as beautiful as perfection.”

Moreover, it is important not to be consumed by your passion.

Two months after entering ABT, Kang tore a ligament in her knee, and was left in crutches for a whole year. The painful experience taught her invaluable life lessons, she said.

“It really changed my attitude toward life. Until then, I had lived a life on the fast track for ballet. But I realized that, as much as I love ballet, it is what I do, not who I am. Any star is replaceable — ballet goes on even after the greatest dancers like Margot Fonteyn retire. I’m constantly thinking about this; how I will retire and wrap up my dance life,” said the 36-year-old.

Kang isn’t one to be found wearing tutu-inspired pret-a-porter designs. Unless she’s searching ballet clips on YouTube, the dancer says she insists on keeping her personal life separate from her professional one.

“When I was living in New York, I would see some of the most famous dancers and artists, who would be limping while walking or suffering from illnesses and disorders. It’s because they exhausted their bodies.

“People begin dancing because they love it, but it can’t always be about pleasure — dancers are born with a gift and it’s their responsibility to not exploit that talent. You can be a corps dancer but still give full flight to your artistry — titles aren’t important. It’s all about leading a healthy, balanced, happy life.”

Kang also shared fun behind-the-scenes anecdotes. She remembers once meeting Benjamin Millepied, who choreographed sequences for the film and is now engaged to Portman.

“We were both 19 when I met him at a competition in Paris. He was overshadowed by another dancer at the time, but he went on to become a principal dancer at New York City Ballet and a renowned choreographer. Now he’s going to marry an Oscar-winning actress — it’s interesting how life turns out.”