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Accueil danse

Petrushka SacreNew production

Ce listing n'est plus d'actualité
OpernhausFalkenstrasse 1, Zürich, 8008, Suisse
2016 octobre 08 19:00, octobre 11 19:00, octobre 14 19:00, octobre 21 19:00, octobre 28 19:30, octobre 30 14:00, novembre 05 19:00, novembre 18 20:00, novembre 20 14:00, décembre 11 20:00
Ballett Zürich
Domingo HindoyanDirection
Michaela SpringerDécors, Costumes, Petrushka
Marko JapeljDécors
Leo KulašCostumes
Martin GebhardtLumières
Katja WünscheDanse
William MooreDanse
Tigran MkrtchyanDanse
Christopher ParkerDanse

At the 1913 premiere of Igor Stravinsky’s Le Sacre du printemps, the audience reacted by hurling insults and coming to blows – thus provoking one of the greatest theatre scandals of the 20th century. By portraying a rite of spring in pre-Christian Russia, Stravinsky had put an act of violence on stage, and his music interpreted the action the action with unprecedented brutality. The audience was affronted by Vaslav Nijinsky’s choreography: there were no classical dance steps; instead, ecstatically twitching bodies, dominated by lust and aggression. However, the ballet about a woman sacrificed in an archaic ritual to the god of fertility became a cult piece soon after its scandalous premiere, and has inspired choreographers time and again to new interpretations, such as the fascinating version created by Slovenian choreographer Edward Clug in 2012. In a version revised especially for Ballett Zürich, it can now be seen as a Swiss premiere.

Marco Goecke will also be exploring music by Stravinsky. In Petrushka, which like Le Sacre du printemps was premiered by the Ballets Russes in Paris more than a century ago, a juggler’s unhappy wooden puppet is brought to life. Together with two other wooden figures – that of the vain Ballerina and the uncouth Moor, Petrushka associates with human beings and develops human emotions. Marco Goecke, voted “Choreographer of the Year” by “tanz” magazine in 2015, never fails to astonish audiences with exuberantly nightmarish dance fantasies. Having already created Deer Vision for Ballett Zürich in 2014, he has now devoted himself to a new artistic interpretation of Stravinsky’s Petrushka score.

Andrei Cozlac and Mélanie Borel in Marco Goecke's Petrushka © Gregory Batardon
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