music: Igor Strawiński
choreography: Angelin Preljoca
assistant choreographer: Claudia de Smet
scenography: Thierry Leproust
costumes: Eric Bergère
light: Marion Hewlett
choreolog: Dany Lévêque
there Kielce Dance Theatre dancers in storage:
selected: Aleksandra Zatorska
group: Alicja Horwath-Maksymow,Barbara Karol, Anna Kmiecik, Monika Kuc-Piechota, Sara Sobieraj, Jerzy Kaźmierczak, Dawid Kwarciany, Bartłomiej Łącki, Jan MadejDawid Matlak, Grzegorz Pańtak
duration: 40 min
The Rite of Spring premiere choreographed by Angelin Preljocaj was held in 2001 in Berlin Staatsballett. The premiere was attended by dancers both from Preljocaj Ballet and Berlin Staatballett. The action of the spectacle takes place in a minimalist set design. The space in which the victim is sacrificed contains hexahedrons which imitate the grassland. This minimalistic, gaunt scenery emphasizes the original and strong relationship between nature and human being. It becomes not only the background but mostly the factor of a barbarous ceremonial. The choreography emphasizes the split between primeval relation of human being and nature as well as the fragile and false relation with another human. The drama is sharpen by a realistic manifestation of relationships and aggression.
Men are watching sensually moving woman. Sexual energy increases. Movement’s rapidity is escalated by the empathy of forming pairs. Being in a rythmic rush The Troop falls into a trance during which thinks about branding the victim. It happens imperceptibly. The Choosen is surrounded by The Troop on all sides. The Choosen desperatelly tries to escape from the ritual circle by straggling. The Choosen protects her existence. She is aware of her fatal and cruel fate. After all her primeval instincts dictate her to fight. The Troop remains relentless. The Troop rips her clothes to make a ritual rape. Humiliated victim tries to protect herself from The Troop but the final ceremony looms.
License to track the issue was released by the Association ZAiKS
Execution is carried out with the consent of Publishing Boosey & Hawkes