Reproducing by blood and bite, the eroticism of vampires is already rather strange. Yet, mainstream culture of the past few decades has accepted it with open arms from one vampire horror flick to the next, novels, movies, and TV series, coming to a halt with the unfortunate release of Twilight (which is a rant all its own…I digress). The dark fiend first popularized with ancients such as Dracula and Nosferatu has since become fetishized for its powers: immortality, supernatural enhancements, mesmerizing stares, and more all for a change in diet. While fascination with the dark and mythic is perhaps unsurprising, Trevor Little’s choreography displays an incredible display of progress in the popularization of homoeroticism with its intersectionality of the vampire genre. Not only does his choreography exhibits the erotic in the scene, but does so through partnering in the highly traditional form of ballet (ignoring contemporary opinions of guys in tights, that is).
American Vampire: Please Stand Clear of the Closing Doors
Choreography by Trevor Little, Nov. 6, 2006, Wicked Boy Ballet Company
In intimate space, it’s uncertain if there is a magical whisper of sweet nothings that leads the man to turn his head so gingerly towards the vampire, or if there is another attraction in play (:00-:12). Regardless, from that moment on an exchange of dominant display and body fluids ensues between two male dancers. Utterly drained of life, it is through blood that the man is able to regain “life” from the vampire and does so through aggressive means, grabbing, biting, and climbing the vampire for a taste(:45 onward). The vampire, instigator of this encounter, is aware of this with constant teasing and taunting holding the man-turned-vampire’s needs just in reach (1:12). The vampire holds, supports, and swings the newly turned in a manner typically reserved for female roles in the traditional form (1:20, 1:25, 1:40, 2:34), which even reserved for a moment (1:47) suggesting a fluidity to the roles of these men in their exchange of fluid and power. The sensation of blood flowing through the vampire’s arms is met with a longing stare and intimate brushing of the hand over the vampire’s bicep (2:09), and exposure of his torso as the former man goes down for another bite (2:14). Not to last long, the vampire reestablishes himself as the new turned vampire seems to calm and agree with the transformation; the vampire continues in his assists, his hands grasping at those parts we might consider vulnerable or intimate (2:34), grabbing at the ankle, upper thigh, and lower abdomen. We get pauses as well (2:43) where the intimacy of an attempted bite resembles more of whispers, nibbles, or kisses between lovers, ending with the newly turned jumping into the vampire’s arms (2:47) which at least reminds me of the archetypical scenes of a groom carrying his bride.
While the homoerotic in its actual form (two human men) might elicit disgust, the mechanisms of the vampire (regardless of abject origins) have become something of fascination. Although signs of this projects completion are absent, this clip has spread across the web with multiple uploads to Youtube and other blogs or websites. The appreciation for the homoerotic vampire has a presence on the web, as if EdwardxJacob was not enough… Although short, it is an artist’s movement towards what Shelley envisions in a dissolving of labels and full integration of the homo and hetero; recognizing they are of the same kind. Even if Little’s work were just a study, it’s presence may still serve as inspiration. Ideally, arguments like this will no longer need to be made, but rather we will be able to appreciate this work and others by the merit of their craft, as Little’s choreography beautifully blends drama and form in his tale of vampires.