‘Vaslav Nijinsky’s erstwhile epoch-making and eruptive break with ballet tradition is most captivatingly mirrored in Chétouane’s experimental arrangement.’ – Süddeutsche Zeitung
Sacré Sacre du Printemps
For his Sacré Sacre du Printemps, Laurent Chétouane has chosen as his starting point one of the most influential works in the history of modern dance. Unlike Maurice Béjart and Pina Bausch, he shifts the topic of ritual spring sacrifice to a visual, choreographed ritual sacrifice of Le sacre du printemps itself. He asks himself why we as a community wish to assimilate the foreign; we want to make integration possible but in doing so make the ‘intrinsic otherness’ disappear. Chétouane focuses on how we fail to allow the outsider to exist in his ‘otherness’. In Sacré Sacre du Printemps Chétouane and his group of dancers examine the possibility of nevertheless opting for a community without victims.
choreography Laurent Chétouane | composition Igor Stravinsky, Leo Schmidthals | dance Matthieu Burner, Joris Camelin, Kathryn Enrigth, Joséphine Evrard, Charlie Fouchier, Mikael Marklund, Senem Gökce Ogultekin | stage Patrick Koch | costumes Sophie Reble | video design Tomek Jeziorski | light design Stefan Riccius | video/sound Gabriel Anschütz | dramaturgy Leonie Otto | artistic collaboration Anna Melnikova, Sigal Zouk | physical training Patricia Brülhart | intern Sarah Bidoli / Sarah Blumenfeld | production management Christine Kammer (Büro Tom Stromberg), Hendrik Unger | production Sacré GbR | subsidised by the German Federal Cultural Foundation (Kulturstiftung des Bundes) and The Mayor of Berlin – Senatskanzlei – Kulturelle Angelegenheiten | co-production Kaaitheater, Ruhrtriennale 2012, PACT Zollverein (Essen), Tanzquartier (Vienna), Theater Bremen, Rencontres chorégraphiques internationales de Seine-Saint-Denis, Kampnagel (Hamburg) | support the Federal Cultural Foundation and the governing mayor of Berlin – chancellery – cultural affairs, Dock11/Eden***** Berlin | thanks to the students of the master course of dance studies at the Institute of Dramatics at the Free University Berlin, Marita Tatari, Melanie Zimmermann