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Preljocaj's techno pas de six

By Patricia Boccadoro

PARIS, 10 October 1997 - According to my Théatre de la Ville programme, Angelin Preljocaj's Paysage après la Bataille (created in July 1997 at the Festival of Avignon) with music by Goran Vejvoda, Bayaka Pygmee Tribe, Two Players, Umberto Tozzi, Underworld (English techno for the unitiated) opposes man's instincts as defined by the writer Joseph Conrad, to man's intelligence exhalted by Marcel Duchamp.

Watching a disjointed series of sequences, each more violent than the one before, I had the greatest difficulty in trying to understand the point, if any, the choreographer was trying to make.

Preljocaj' background is basically classical. He is one of the most talented young choreographers in France today and has repeatedly proven his worth with such ballets as Le Spectre de la Rose and Noces for his own troupe, Le Parc and L'Annunciation for the Paris Opéra Ballet, works of rare beauty.

His latest offering was not without moments of brilliance - three chairs and six black-clad figures whirling in an astonishing pas-de-six; he has a spectacular group of dancers who are totally committed, strong and capable of sustaining streams of palpable, physical energy.

The recent programme, (30 Sept - 4 0ct 1997) which I had hesitated to recommend on Culturekiosque, confirmed my suspicions that Preljocaj' work is sometimes unequal and that unrestrained frenzy of shooting and sexual depravity constitute neither a balanced picture of "modern society", nor the work of art one has come to expect of him.

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