Week 4: Poetics of Silence — A Case Study of Henry Leutwyler <Ballet: Photographs of the New York City Ballet>

This week focuses on a case study of Henry Leutwyler’s photobook Ballet, examining how his distinctive visual language contributes to a more intimate and nuanced form of visual storytelling. The analysis also informs the development of my own media output, particularly the photobook component of the project.

Leutwyler’s work is defined by his unprecedented backstage access to the New York City Ballet, where he documents not only performances but also the quieter, often unseen moments of preparation and rest. Rather than focusing on spectacle, his images frequently capture dancers in solitary, unguarded states—moments that reveal the physical and emotional realities behind the polished stage image .

A key aspect of his visual approach lies in this deliberate shift of perspective. By positioning himself in the shadows and becoming almost invisible, Leutwyler is able to enter the dancers’ personal space and construct what can be understood as an alternative narrative of ballet—one that foregrounds labour, vulnerability, and temporality rather than perfection and performance . This provides compelling evidence of how still images can convey movement and communicate the feeling of movement in visual culture.

Technically, his work embraces imperfection. The use of motion blur, soft lighting, and off-stage framing disrupts the conventional clarity associated with dance photography, instead evoking the fleeting and ephemeral nature of performance. These images move beyond documentation; they function as emotional traces of an art form that is defined by its momentary nature.

What is particularly significant is how Leutwyler constructs a visual narrative without relying on text. The sequencing of images—ranging from rehearsal studios to backstage preparation and finally to performance—creates a cyclical structure that mirrors the lived experience of dancers. In doing so, the photobook becomes not just a collection of images, but a narrative system that guides the viewer through the unseen reality of ballet.

This case study directly informs my own project. Rather than reproducing the spectacle of performance, I aim to adopt a similar approach by focusing on the margins: the pauses, the preparation, and the in-between moments that are often overlooked. In the context of my photobook, Leutwyler’s work serves as a critical reference for developing a visual language that prioritises intimacy over distance, and process over product.

Furthermore, his approach resonates with my broader thematic focus on the marginalization of classical performing arts within contemporary culture. By shifting attention away from the stage and towards lived experience, the work challenges dominant perceptions of these art forms as distant or elitist. Instead, it repositions them as deeply human practices—rooted in vulnerability and everyday repetition.

Next week, we will continue our exploration through a case study of La Danse (1974) by David Hamilton, further examining how photographic approaches shape the visual representation of ballet. This will deepen our understanding of photography in relation to performance, and help refine the visual direction of our own project. Please stay tuned for more updates on our progress.

References:

1. Hamilton, D. (1974). La Danse. Collins.

2. Leutwyler, H. (2014, May 4). Henry Leutwyler: A Portrait of the New York city Ballet. The Eye of Photography Magazine. https://loeildelaphotographie.com/en/henry-leutwyler-a-portrait-of-the-new-york-city-ballet/

3. Leutwyler, H. (2015). Ballet: Photographs of the New York City Ballet (2nd ed.). Steidl.

4. Milzoff, R. (2012, November 25). Portfolio: Behind the Curtain at the New York City Ballet. The Cut. https://www.thecut.com/2012/11/henry-leutwyler-new-york-city-ballet.html