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Allegria
Kader Attou
Passagers
Shana Carroll
Magma
Christian Rizzo , Andrés Marin , Marie-Agnès Gillot
Casse-Noisette
Vassili Vainonen
Casse-Noisette
Lev Ivanov , Vassili Vainonen
Lady Magma
Oona Doherty
aSH
Aurélien Bory , Shantala Shivalingappa
Pasionaria
Marcos Morau
Play the Darkness
Yuichi Yokoï
Compagnie Mpta – Carnets de création
Mathurin Bolze
LOVETRAIN2020
Emanuel Gat
Extension
Amala Dianor , Junior Bosila
Point Zéro
Amala Dianor
Wo-Man
Amala Dianor
Zéphyr
Mourad Merzouki
Devant la Maison
Denis Plassard
Gloria
José Montalvo
Parole d’artiste : Jeanne Brouaye
Jeanne Brouaye
Zugzwang
Mathieu Bleton , Mosi Espinoza , Jonas Julliand , Karim Messaoudi , Cyril Pernot
One More Thing
Adi Boutrous
Elisabeth gets her way
Jan Martens
Hôtel Bellevue
Thomas Guerry
Avant les gens mouraient
(LA)HORDE and Céline Signoret
Publique
Mathilde Monnier
Danse des éléments
Cecilia Bengolea
Möbius &
Dai Jian , Xiao Xiangrong
État des lieux
Thomas Demay , Julia Moncla , Paul Changarnier
Näss
Fouad Boussouf
Placement libre
Thomas Demay , Julia Moncla
Umwelt
Maguy Marin
Concerto
Lucinda Childs
Parts
Honji Wang , Sébastien Ramirez
Tempo Vicino
Lucinda Childs
One of Four Periods in Time (Ellipsis)
Tânia Carvalho
Mood
Lasseindra Ninja
Lazarus
Oona Doherty
any attempt will end in crushed bodies and shattered bones
Jan Martens
Ineffable
Jann Gallois
L’Oiseau de feu
Thierry Malandain
Le Sacre du printemps
Thierry Malandain , Martin Harriague
Le Choeur
Fanny de Chaillé
Graces
Silvia Gribaudi
Body Concert
Kim Boram
Glottis
Flora Détraz
VanThorhout
Alexander Vantournhout
førm Inførms
Marco Da Silva Ferreira
Mythologies
Angelin Preljocaj
Le rapport au sol selon Tiago Guedes, avec le soutien de Harlequin Floors
Tiago Guedes
ab [intra]
Rafael Bonachela
Neighbours
Brigel Gjoka , Rauf “RubberLegz” Yasit
Le cours des choses
Christian Ubl
My Way
Rubén Julliard
Du bout des doigts
Gabriella Iacono , Grégory Grosjean
Jungle Book Reimagined
Akram Khan
Jungle Book Reimagined
Akram Khan
(La bande à) LAURA
Gaëlle Bourges
Working Title
Trisha Brown
For M.G: The Movie
Trisha Brown
NYST
Mellina Boubetra
Autoportrait à ma grand-mère
Patricia Allio
Elles disent
Nach
Deux mille vingt trois
Maguy Marin
Tumulus
François Chaignaud , Geoffroy Jourdain
La Ciudad de los Otros
Rafael Palacios
Contes Immoraux Partie 1 : Maison Mère
Phia Ménard
Toi moi, Tituba…
Dorothée Munyaneza
Reface
Chandra Grangean , Lise Messina
Témoin
Saïdo Lehlouh
takemehome
Dimitri Chamblas
WELCOME
Joachim Maudet
The Köln Concert
Trajal Harrell
Voice Noise
Jan Martens
Erato
Femke Gyselinck
Torpeur
Angelin Preljocaj
Noces
Angelin Preljocaj
Annonciation
Angelin Preljocaj
Impasse
Mufutau Yusuf
DUB
Amala Dianor
L'Oiseau de feu
A danced tale by choreographer Michel Fokine with music by Igor Stravinsky, The Firebird premiered at the Paris Opera on June 25, 1910 performed by Serge Diaghilev’s Ballets Russes. “Ivan Tsarevich one day sees a marvellous bird, all gold and flames; he pursues it without being able to catch it, and only succeeds in plucking one of its glittering feathers, thus begins the libretto taken from traditional Russian tales”. But it is not the portrait of this bird that we are going to draw, nor is it the one George Balanchine made in 1949 based on this theme about the 1945 orchestral suite for the New York City Ballet. Stravinsky who took three suites from his ballet in 1910, 1919 and 1945, said, “I prefer Balanchine’s choreography for the 1945 version of The Firebird suite to Fokine’s ballet ensemble and for the music as well – the music for the complete ballet is too long and the quality is inconsistent” (1).
Like Balanchine, we use the 1945 concert suite, Maurice Béjart, whose version I danced in 1979 at the Ballet du Rhin, having danced the shorter version from 1919 at the Paris Opera in 1970. A bird of hope, or a revolutionary icon guiding partisans wearing battledress, Béjart explained in his foreword, “Stravinsky, a Russian musician, Stravinsky, a revolutionary musician. […] The Firebird is the phoenix rising from its ashes. The poet, like the revolutionary, is a firebird” (2). For our part, we should remember that birds symbolise the connection between heaven and earth, even that the phoenix decaying to be reborn personifies the immortality of the soul and the resurrection of Christ in Christianity. For the rest, in his commentary on the score, the composer Reynaldo Hahn wrote in 1910, “a very pure, very strong breeze, coming from high above” (3). Hence the temptation to make The Firebird a courier of light bringing consolation and hope to the hearts of men, like Francis of Assisi, the patron saint of nature who conversed with his brothers the birds, whether they were beautiful, radiant with great splendour, or mere sparrows.
Source: Malandain Ballet Biarritz
More information: malandainballet.com