Is Ballet Dead? Professional Ballerina's Activated by Timothée Chalamet's Latest Comments

A couple of weeks ago, Timothée Chalamet sat down for a career retrospective with his former on-screen father, Matthew McConaughey. According to Cosmopolitan, “While breaking down why he’s passionate about film as a medium, Timothée took, as he puts it, ‘shots for no reason’ at some widely respected, centuries-old art forms. ‘I don’t want to be working in ballet or opera or things where it’s like, hey, keep this thing alive even though it’s like, no one cares about this anymore,’ he said.”

While this may not have been the kindest statement for one artist to make about another art form, the conversations that followed online helped put things into perspective. The real question we should be asking is this: Why does ballet keep repeating the past while opera moves forward? The art form that once pushed cultural boundaries has become too comfortable preserving tradition. Ballet is not dead by any means, but it has become repetitive. Major companies still sell tickets, train dancers, and tour globally. For example, American Ballet Theatre, New York City Ballet, and Royal Ballet continue to perform regularly and maintain strong international audiences.

Related articles: Maya Hawke Talks Social Media Stars Replacing Talent

However, the reality is that Chalamet’s criticism does contain some truth. In the West, ballet often feels culturally stagnant because companies rely heavily on the same historical repertoire. Much like films that bank on nostalgia through remakes, most Western ballet seasons still revolve around the same classics: Swan Lake, The Nutcracker, Giselle, and Sleeping Beauty. These works date back to the late 1800s and remain financial anchors for many companies.

The issue is that new narrative ballets are rarely commissioned at the same scale. The reason is simple. They are extremely expensive, they carry financial risk, and audiences reliably buy tickets to the classics. As a result, companies, much like movie studios, often default to what feels safe. But is that the right decision? Probably not. Audiences across the country constantly ask film studios for original ideas and new concepts. While a few projects are greenlit, many are shelved. Instead, we see endless sequels and remakes that few people actually asked for.

Opera, on the other hand, has evolved more successfully because it continues to commission new works. Modern operas are regularly created and staged by companies such as the Metropolitan Opera and San Francisco Opera. Contemporary composers are producing works that address modern themes like politics, identity, and technology. Ballet, however, tends to innovate through choreography rather than storytelling. Perhaps that is where meaningful change needs to happen.

Related articles: Cynthia Erivo Earned Less Than Ariana Grande for New Wicked Movie: Rumors Debunked!

During this entire debate, I came across a quote from a young woman named Alma Schmidt, whose bio identifies her as the Director of Operations for The Snows of Khione Ballet Academy. She shared, “As someone who is now a part of an academy dedicated to bringing an innovative and original story to the world of ballet, I can say with confidence that ballet is not dead. Many students and potential audience members are excited to witness something new. It’s evolving, much like films have had to do in the past few years.”

However, there are still several factors that contribute to the perception that ballet isn’t evolving. After reading Alma’s tweet, I did reach out for comment but did not receive a response. I even visited their website and, to be fair, I purchased tickets for their December show. The story sounds truly amazing and is based on a tetralogy by author Lisa K. Stephenson. As a reader and a lover of ballet, I was immediately sold.

That said, I did want to ask them about their funding structure, concerns about aging audiences, and training culture. These are often the main reasons ballet has remained largely unchanged in the West. Many Western ballet companies rely heavily on donors and foundations. Donors often prefer traditional repertoire because it feels prestigious and safe. Audiences also tend to remain loyal to classical productions. Then there is the issue of education and training. I spoke with another young woman who said she previously worked with the Joffrey School of Ballet. According to her, their Summer Intensive program has been shortened in recent years due to declining enrollment.

Related articles: The Snows of Khione: Winter Kingdom (Tickets)

Many dancers are losing interest in pursuing ballet professionally. The industry does not pay as well as film or other athletic careers. Training is still rooted heavily in historical frameworks, and some dancers are shifting their focus toward more financially sustainable opportunities.

However, in countries like China and South Korea, ballet is growing rapidly. Companies such as the National Ballet of China invest heavily in both traditional and new productions. Governments in these regions often fund ballet as a symbol of cultural sophistication, which encourages expansion and experimentation. Audiences there also tend to view ballet as aspirational and modern rather than outdated.

This is why, after exploring the website for The Snows of Khione Ballet Academy, I became very intrigued and hoped to speak with someone involved. What they are attempting is certainly a risk, but in my opinion, it is one worth taking. Their academy is built around storytelling. Readers can experience the story first through literature and then watch it come to life on stage through ballet, accompanied by original music and compositions. That approach is not only rare in modern ballet, it may also be a formula capable of capturing new audiences and renewing public interest.

Related articles: Book-to-Film Review: 'It Ends With Us' (2024)

Ballet is failing to tell new stories, which is one reason it struggles to compete with film. The art form absolutely has the capability, but institutional courage is often missing. Films like Black Swan sparked global interest in ballet aesthetics and training, yet even that film relied on familiar narrative themes audiences had already seen before. Outside of moments like that, ballet rarely dominates pop culture conversations.

Personally, I am very much looking forward to The Snows of Khione: Winter Kingdom performance this holiday season and cannot wait to see how the story comes alive on stage. I have already started purchasing the books and plan to begin reading them soon so I can report back.

If you are someone who loves the arts the way I do, then we should not view Chalamet’s comments as disrespectful. Instead, they can serve as a catalyst to explore the root causes behind why such a statement resonates with people. More importantly, they can encourage us to push for change. As consumers, the power to determine what becomes popular or worthy of investment ultimately lies with us.

by Diamond Brown