I scream!
An alerting scream so my voice can be heard in spite of disaster. What goes on in the world often surprises us. A post on social media will move us. Inequality, outrage, prejudice, and slander will devastate. What will we do if we face similar injustice? We will take a selfie with our phone and post a new story that will go viral. Are we possessed?
We complain about hunger in the world, while luxurious restaurants and hotels throw out foods that are not even spoiled yet. It is said that southern countries are poor and represent the misery of the world… so, why are foreign workers and companies happy to stay over there? Why are politicians from these countries fighting to lead them and are never in a hurry to leave this “hell”? They say human life is sacred. But, over there, we live another reality.
Banishing bad luck and the pandemic, Hélène Blackburn responds to the Grands Ballets’ invitation to create a unique piece. In a time where meetings are rare, the choreographer happily dives into a universe filled with exceptional dancers.
Lively, precise, and masterful, her dance invades time and space with pleasurable moments and chance meetings. Mirroring pagan rituals from past pandemics, “Fête sauvage” reminds us of how irresistible the desire to join others can be.
With music from Dear Criminals, “Fête sauvage” invites us to a few minutes of stolen happiness and pleasure, helping us forget and rediscover temporarily the lost paradise of our previous life.
Fukuoka summarises most of the method Marcos Morau has been pursuing for several years with his La Veronal company. He is committed to finding formal refinement without giving up on opposites such as inorganic and grotesque, rhythm and arrythmia, beauty and monstrosity. In this piece, Morau opposes flamenco in favor of abstract and dynamic gestures, rejecting any framework to allow both dancers to dive into their form. A show where flamenco and contemporary dance collide, both arts feeding and complementing one another, this stylistic piece draws the viewer in the heart of a unique choreographic universe.
“The Man Who Travelled Nowhere in Time” revolves around a young man named Eytan. Eytan sees the world around him change, evolve and grow, but he himself never changes. His journey is a quest to understand why he doesn’t age and die like the people around him. What he doesn’t know is that he exists only in the dreams and unconscious of others. Every day, he sees people passing through a corridor. This corridor is a place between reality and the unconscious. Only there does he find himself in the same time and space as the other people around him.
Greetings Mountains and Forest, from the bottom of my heart!
No matter what the Beast destroys, its vision is deceived by lies, deafened by the unbearable. You will be brought back to life, and your wounds will heal. This show talks about nothing. Nothing important. In fact, it is not even a show… It is more like an impression of life’s little bits of happiness… the beauty of lying on the grass and observing the sky and the trees.
SOMA puts into question both the abilities and limits of the human body. Using a mannequin to represent human perfection, this piece challenges our relationship to beauty. Just like plastic mannequins, we are growing colder. Just like robots, we have become more and more automated. SOMA questions our reverence for outward beauty at the expense of our values and inner beauty, and how it pushes us, slowly but surely, to lose what makes us human.