Th, 23.04.2020
Grosses Haus19:30
19:00 Pre-performance talk in the Foyer
All performances up to and including 19 May 2020 have been cancelled.
Further information
Rehearsal trailer: De-Da Productions
Photo: Bettina Stöß
Photo: Bettina Stöß
Photo: Bettina Stöß
Photo: Bettina Stöß
Photo: Bettina Stöß
Photo: Bettina Stöß
Photo: Bettina Stöß
Photo: Bettina Stöß
Photo: Bettina Stöß

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.


Le Sacre du printemps

Choreography Edward Clug
Lighting Design Tomaž Premzl
Stage Designer Marko Japelj
Costume Design Leo Kulaš

29 May 1913

Choreography Bryan Arias
Projections & Stage Design Tabea Rothfuchs
Costume Design Carlijn Petermeijer
Lighting Design Yu-Chen Hung
Music Dmitri Savchenko-Belski