Le Sacre du Printemps
Ballet evening in two parts by Bryan Arias und Edward Clug
Igor Stravinsky's "Le sacre du printemps" has gone down in history as one of the biggest scandals in the annals of dance: the premiere of Vaslav Nijinsky's version with the Ballet Russes in Paris was met with tumultuous protests, whistling and boos. Further choreographed versions of the music followed throughout the 20th century - for example by Mary Wigman, Pina Bausch, Sasha Waltz and John Neumeier, in whose 1972 version the last solo was performed by a naked dancer. In the 2019/20 season, the double evening "Le sacre du printemps" poses the question: what does the spring sacrifice mean for us today? Edward Clug's choreography, first performed in Maribor in 2012, allows the original musical subject material - the pagan ritual, in which one member of the community is sacrificed - float, so to speak, beyond the context of time and place. Between the brute force of natural elements and an almost hypnotic devotion to music, Clug's version both honours and further develops the multi-layered traditions associated with the piece and its previous settings.
With "29 May 1913", Puerto Rico-based choreographer Bryan Arias will create a new piece, also based on the spring sacrifice, especially for the Hessian State Ballet.
29 May 1913
Choreography Bryan AriasProjections & Stage Design Tabea RothfuchsCostume Design Carlijn PetermeijerLighting Design Yu-Chen HungMusic Dmitri Savchenko-Belski