Preljocaj's techno pas de six
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,
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
e-mail to Patricia Boccadoro
Copyright © 1996 -1997 culturekiosque
If you value this page, please tell a friend or join our mailing list.
All Rights Reserved