Timothée Chalamet has proclaimed that no one cares about ballet and opera, effectively making everyone care about ballet and opera. While on the press tour for his new movie “Marty Supreme,” Chalamet attempted to share his love for cinema by saying: “I don’t want to be working in ballet or opera, where it’s like, ‘Keep this thing alive,’ even though nobody cares anymore.” His comment received major backlash and filled social media comment sections with debates about whether people truly do care about ballet and opera. 

I am an active film lover. Every weekend I watch at least three movies with my roommates and consistently attend theatres when movies that interest me are released. I have never bought tickets to see the opera, nor have I ever bought tickets to see a ballet without the motive of supporting a friend. Knowing this about myself, I should have begun to see that Chalamet has a point. 

In terms of pop culture, Chalamet is right. Most chronically online citizens do not care about ballet and opera — unless you’re Misty Copeland or Andrea Bocelli. Although, just because something is not trending on TikTok or flooding our feeds, does not make it any less meaningful. In fact, its detachment from that world might just be what makes it special.

Ballet and opera date back to the 14th and 15th centuries, evolving through history and carrying pieces of tradition with them. Ballet originated as a form of entertainment, emerging in royal courts as the “noble dance.” Soon, it converged with opera — the two worked in tandem to formulate pieces that could not survive without each other. Both of these were initially only open to royalty and wealthy elites, classifying its prestige from the beginning. However, with time, these art forms soon opened to the public, with lower-priced seats to support artists, as well as private box seats that reinforced the social hierarchy. 

Just like other industries, there are ballet and opera performances where ticket prices can hit the $500 mark, but there are also smaller local performances priced as low as $10. Despite these industries’ circumscription to elite spaces, individuals have worked tirelessly to break down economic and social barriers within them. For example, Copeland is widely known not just for her incredible talent, but also because she was the first African American female principal dancer of the American Ballet Theatre. Individuals like Copeland have not immediately solved the countless social barriers that exist within these spheres, but their dedication illustrates the evolution of these traditionally “noble” art forms into accessible performances with the ability to move all people. 

Film captured much of the public’s attention with nickelodeons that offered cheap screenings for the cost of a nickel. In comparison to ballet and opera, cinemas today still provide that same sense of accessibility. To see a highly acclaimed opera or ballet, ticket prices can start at as much as $200. Whereas to see a highly acclaimed movie, tickets only go up to about $28 — or less, if you lie and say you are a child (like I do). Point being, movies are fundamental in pop culture because they are more affordable. In addition to their affordability, their association to the digital world continues to appeal to a wider and younger audience. 

This digital revolution shifted our society in ways we did not think was possible. We can stream songs and watch movies anytime and anywhere we want. We have even gained the ability to watch live performances without having to physically be there. Social platforms have broken down barriers to connect with mass groups at once and surpass geographical boundaries. Along with breaking down these barriers, platforms have played an important role in deciding what should be popular and what should not be.  The 15-year-old scrolling on TikTok is most likely not watching opera and ballet because the culture that has been open to them has always been digital. Simultaneously, these digital evolutions have created more opportunities for individuals to self isolate and disconnect from face-to-face interactions. 

Artificial intelligence (AI) has only further blurred the lines between the physical and digital worlds; we now have the ability to create images, stories, music and videos that are frighteningly close to human-generated content. It has begun to invade creative spaces that were always praised for human talent that could not be replicated. 

Last year, Adrien Brody was awarded Best Male Actor at the Oscars, causing an uproar over the fact that the film used AI to perfect Brody’s accent. An area of art that had always been reserved to showcase human emotion and celebrate individuals’ talent had been tainted in the public’s eyes. Film holds an incredible ability to communicate messages, provide representation for real life experiences, as well as serve as an escape from reality. But with the rise of AI and the digital aspects of film, movies can become a self-isolating experience. Especially with the evolution of platforms like Netflix and Hulu, where you no longer need to attend a public theatre to experience a film. Instead, you can watch from the comfort of your home, alone. On the contrary, ballet and opera will always be a collective experience that does not rely on a screen to facilitate it. 

Human beings will always search for face-to-face connection, as it has been proven to be essential to our emotional and physical well-being. Ballet and opera can serve as an outlet for these connections. Last quarter, I attended the UC Santa Barbara Dance Company showcase: “Convergence: into the center.” The first piece was a ballet performance. My eyes carefully traced every line the dancers made, accompanied by the sound of their breaths and their feet swiftly leaving and returning to the stage floor. I could physically and audibly experience the work that was being put into each step in live time. There were no do-overs or ability to cut and edit out any imperfections. What I witnessed was something that only I and the people in that room got to experience. It could never be recreated. 

In film, actors have the ability to reshoot, editors can retouch and cut anything that feels outplace. The members in the audience that attend a cinema will watch the same exact scene as those that will come after them. Live performances, on the other hand, are not always perfect — but they are always original. They afford the audience a connection to not just each other, but to the performers themselves as well.  Ballet and opera might not matter in pop culture, but Chalamet’s comment changed that. Ballet and opera are included in the conversation now more than ever all in spite of an acerbic remark. It was not that people did not care about ballet and opera; instead it did not fit the category of “celebrity aura” that pop culture revolves around. 

In a world riddled with screens and chat bots that act like humans, we are in search of something real, something tangible. When you can see the sweat on a dancer’s brow or hear the breath of a singer on stage, there is a new appreciation that is ignited. It is not only impressive, but it is untouched by the grasps of the digital age. It reminds us of the creativity and talent that the human body can achieve.  Film is not an art that should be labeled as another invasive digital tool disrupting humanity; however, it should not be pitted against art forms that preserve our connection to each other either. Actors like Chalamet will continue to grace our screens and the covers of our favorite magazines, but when we finally need a break from a digitally infested world, live performances like ballet and opera will be what we turn to. 

Narineh Madikians won’t be digging graves for ballet and opera anytime soon.