The Rite of Spring, subtitled “Pictures from Pagan Russia,” was conceived when painter and archeologist Nicholas Roerich related to Stravinsky a strange vision he had of a young girl dancing to death in a pagan ritual. Retaining much evidence of this inspiration, the final ballet has disturbing, dreamy choreography, and is oft plunged into nightmare-eque tableaux though Stravinsky’s radical, powerful score.Repeatedly, Stravinsky lulls the listener, putting him at ease with delicate folk-inspired melodies, then hurling him into a storm of seemingly chaotic dissonance, full of anxious sounding clarinets and oboes, staccato horns, and primal drums. This musical savagery keeps the audience on edge, hearts racing, continuously uncomfortable. Yet they keep watching, intrigued by the unnerving scenarios that they are observing, aware of the performance’s currents of violence, terrified, but distant, safe behind the orchestra pit. So new and distressing was this ballet at the time of its premiere that the audience began to riot, the bourgeoisie screaming during the "Augers" in primitive wails of horror.
Likewise, The Wire, with its true and unflinching depictions of modern drug culture from the points of view of both the police and the criminals, puts its audience in a similar situation of fascination and discomfort. Unlike most other crime dramas, in The Wire there are no heroes, only anti-heroes, and nothing is black and white except for the squad cars. The audience is repulsed, confused, and uneasy, yet soon emotionally engaged with characters from both sides. Even so, like in The Rite of Spring, most viewers are unable to forget their eternal status as outsiders, enthralled by this base and violent world, its unique relationships and struggles, but comfortable in their seats high in the mezzanine, secure in their suburban worlds.
photos: The Rite of Spring performed by the Joffrey Ballet and HBO's The Wire promo
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