Les 4 saisons…

2005 Creation

Piece for 12 dancers
Choreography Angelin Preljocaj
Chaosgraphy Fabrice Hyber
Music Antonio Vivaldi
Performed by Giuliano Carmignola and the Venice Baroque Orchestra
Led by Andrea Marcon
Lighting Patrick Riou, Angelin Preljocaj
Costumes POFS Fabrice Hyber
Costumes Angelin Preljocaj
Assisted by Claudine Duranti
Assistant to the artistic direction Youri Aharon Van den Bosch
Rehearsal assistant Claudia de Smet
Choreologist Dany Lévêque
Dancers Alexandre Nipau, Céline Galli, Claudia De Smet, Craig Dawson, Emma Gustafsson, James O'Hara, Kaori Ito, Leonardo Centi, Nagisa Shirai, Sergio Diaz, Yang Wang, Zaratiana Randrianantenaina
Coproduction Montpellier Danse Festival 2005, Théâtre de la Ville, Paris
With the support of Nuits de Fourvière, Département du Rhône
Working residence at Théâtre National de Nice - Centre Dramatique National
Special thanks to Spring Court, Villa Arson, équipes du Théâtre National de Nice
Duration 84min
Premiered on 01 July 2005, Cour Les Ursulines, Montpellier Danse Festival
"« What is the body capable of? » At the beginning of each creation, this recurring question from Spinoza’s Ethics comes back to me. Each time I am assailed by doubt. And this time even more so, faced with Antonio Vivaldi’s concerto “The Four Seasons”, op. 8.A paradox? Can the music - so well known, so conventional, so gone astray - can it indeed still deliver more surprises, more gray zones, more secrets? Can we erase the tainted image of this music, especially these last decades, that in fine is so sensually meteorological? And how? First of all, by coming back, again and again, to the writing of the movement, and never letting go of this point, so as to lay out the underlying vital dance. And then thinking the four axes of this work: bursting forth, exaltation, suspension and vibration. Starting from there, then finishing elsewhere; going off-course to where you no longer recognize the four parameters.To share in the scrambling of the leads and transmission of the interferences, I thought of Fabrice Hyber, whose work I’ve been following for several years now, with attention, amusement and profound interest. Also because he seemed the least obvious choice for this project -- and therefore the most necessary."
Angelin Preljocaj