Cendrillon : Ballet recyclable

The desire to pursue this approach yet dealing with narration: adding the pleasure of telling a story, to passages in my previous creations, that can illustrate our desire for universality.

Choreography Philippe Lafeuille

The desire to pursue this approach yet dealing with narration: adding the pleasure of telling a story, to passages in my previous creations, that can illustrate our desire for universality. Fairy tales emerged as an evi/dance. Fairy tales … stories for children? Indeed. These fantastic stories are part and parcel of our childhood, yet when we become adults, they continue the route with us. To be able to weather the storms of time as they do, fairy tales definitely embrace intense secrets. What do we have in common for example with Cinderella, the iconic heroine of the fairy tale? Probably this collective quest for happiness that is not altered in any way by the evolution of human relationships, made more complex and expeditious as a result of the countless means of communication at our disposal or by the supremacy of consumption, of appearance, of power and of money, elevated to the rank of fundamental values. This dreamlike utopia that keeps us focused brings us close to Cinderella, who is in fact a modern-day heroine. For Cinderella, and for us, the quest for great happiness can turn out to be a road paved with illusions and hazards. Dreams are the only means for us to sustain this quest for the absolute. Fairy tales, with their fairies and princesses, are wonderful dreams. So, let’s share Cinderella’s dream.

Source : Philippe Lafeuille

A recyclable ballet?

“…the worst of the household chores were given to her stepdaughter: it was she who washed the dishes and scrubbed the stairs, she who cleaned out the mistress’s bedroom and the bedrooms of the young ladies her daughters… »

This innovative version of Cinderella, which focuses on the simplicity of the dramaturgy of Charles Perrault’s tale and the Prokofiev Ballet’s partition, is proposed in a unique format: as a recyclable ballet. Visual recycling: Cinderella and all of Perrault’s characters, as well as all the visuals of the production (costumes, objects) will be created and made based on the principle of recycling, using only recycled objects. But, far from any type of “greenwashing” – the trend that consists in putting eco-friendly green here, there and everywhere – here, recycling is above all proposed as a transposition of a character that is constant and recurrent in Cinderella: metamorphosis. Cinderella moves on from being a child to becoming a woman, from being sloven to becoming a princess, just like the pumpkin that becomes a coach or “the mouse instantly changed into a beautiful horse”. Cinderella transforms us, by inviting us to take a journey from the ever-so ordinary to the marvellous. Metamorphosis is also one of the key components used by the compagnie Feuille d’automne: multifarious artists, who are perpetually transformed, who are never frozen in an interpretation, an image or a style… Bodies on the move, ready for anything: from dance to theatre, from mime to puppetry, from laughs to tears, from poetry to a sense of wonder… This permanent metamorphosis can be likened to perpetual artistic recycling… Cinderella, drawn into the maelstrom of recycling, is highlighted as a vividly-coloured, poetic masterpiece who reflects sensitivity and curiosity that strikes the imagination of spectators of all ages. A great, sustainable development choreographic hullaballoo. Making use of what we have today for greater well-being tomorrow.

Source : Maison de la Danse programme