Arts 2026, 15(7), 168; https://doi.org/10.3390/arts15070168 - 21 Jul 2026
Abstract
This article reads Matthew Bourne’s Swan Lake (1995) not merely as a refunctionalisation of the classical ballet, but as a historiographical instrument that excavates the queer tensions latent in the Romantic-era ballet. Its premise is that Tchaikovsky’s score and the original libretto (1877/1895)
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This article reads Matthew Bourne’s Swan Lake (1995) not merely as a refunctionalisation of the classical ballet, but as a historiographical instrument that excavates the queer tensions latent in the Romantic-era ballet. Its premise is that Tchaikovsky’s score and the original libretto (1877/1895) already contain the fissures of non-normative desire, sublimated by imperial censorship and the aesthetic conventions of the period. The theoretical framework mobilizes Nick Salvato’s concept of uncloseting, Judith Butler’s account of gender performativity, and a Freudian reading of melancholia. This conceptual map is then applied to Bourne’s choreography to show how his production reactivates the repressed archive through male bodies. Three principal axes structure the analysis: the deconstruction of the swan archetype, the Oedipal function of the Queen-Mother as repressive Super-Ego, and the reinterpretation of the Prince’s melancholia as the symptom of a structural impossibility. On the basis of these elements, the article proposes the concept of historiographical uncloseting, defined as a mode in which performance operates as embodied historical research, reactivating affective archives inaccessible through textual sources alone. Bourne’s Swan Lake thus becomes a critical instrument for re-reading the queer dimensions of the archive of Romantic ballet.
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(This article belongs to the Special Issue Queerness in 18th- and 19th- Century European Art (2nd Edition))
