Lea Moro. LE SACRE DU PRINTEMPS, A BALLET FOR SINGLE BODY
concept / choreography / performance Lea Moro
dramaturgy Linda Sepp
light design Annegret Schalke, Hubert Scheppan
costume design Lydia Sonderegger, Hwan Kim
t-shirt design/ graphic Romy Strasser
hair / make-up Anna Posch
music Igor Stravinsky “Le Sacre du Printemps”, Black Sabbath “When Death Calls”
artistic advisors Alice Chauchat, Maja Zimmermann, Isabelle Schad, Josep Caballero Garcia
Production (first Part) HAU Hebbel am Ufer. Supported by the German Federal Cultural Foundation.
Performed in the frame of “Tanz über Gräben. 100 Jahre Le Sacre du Printemps” November 2013 at HAU 2 Berlin.
Thanks to Barbara Friedrich, Désirée Meul, Jürgen Dakar, Silke Bake, Sophia New, Danilo Viana, André Uerba, Sheena McGrandles
I can feel it – gonna take you down.
One hundred years ago Stravinsky composed and Nijinsky choreographed “Le Sacre du Printemps”, a ballet that broke all conventions at that time. The oeuvre is divided into two parts; “The Adoration of the Earth” and “The Sacrifice”.
In the frame of “sacre 100” (HAU Hebbel am Ufer, 2013) I developed the first part of the solo dance performance “a ballet for a single body”, raising the issue of the singular body representing the whole core / ensemble of the original ballet.
The second part “The sacrifice” introduces a further working element, namely the Heavy Metal culture. Heavy Metal in juxtaposition with “Le Sacre du Printemps” raises common analogies and differences on a movement level as well as in their musical structure. Heavy Metal culture shows ritualistic elements but is a cultural phenomena of contemporary rock music. Common aspects of Heavy Metal and “Le Sacre du Printemps” are exactly this ritualistic structure as well as an archaic energy and gestural movement vocabulary.
“A ballet for a single body” is a constant shift of what might seem present and absent regarding a whole; a history, a myth, a fantasy, an aesthetic, the spectators of “Le Sacre du Printemps”. There is always something lacking, something always escapes our relation to the present time. Therefore it is more a question of retracing the steps from my memory in order to invent the basis of the dance, which is one where fictional realities co-exist with the performance that is here now.
I am fascinated by understanding the mechanisms, intentions and historical impact of “Le Sacre du Printemps”.
I am the core of the ballet. I am the dancer, the ensemble, the old wise man, the witch, the peacock and the bear. I am the only one dancing the rite of spring. How many bodies can the singular body be and represent?
The first part “The adoration of the earth” is all about society and therefore I have chosen the form of a solo as an oppositional element that is able to interrogate and play with the individual representation and imaginary energy of the group. The second part “The Sacrifice” is constructed as a solo that negotiates the body within the sacrificing dance, a body that comes to a point of exhaustion, a no more, game over!