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[Dance]

Angelin Preljocaj – Helikopter + Still Life

Du 28 au 30 June

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Il n’y a plus de date pour cet événement. Voir la programmation à venir

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01 40 03 75 75 Monday to Saturday from 10.30am to 7.30pm

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Tarifs

Category A
Full Price 26€
Reduced rate* 20€
Carte Villette and Subscribers * 15 €
Youth Card* 15€
Under 12 years old / Young Subscribers 10€


Category B
Full Price 20€
Reduced rate* 15€
Carte Villette and Subscribers * 12€
Youth Card* 12€
Under 12 years old / Young Subscribers 8€

* view our detailed price list

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Abonnement
Tous les spectacles à 10, 15 or 20€ avec les meilleures places en priorité
Carte Solo
Carte Duo
30% de réduction sur tous les spectacles et les Ateliers Villette à 8€, en toute liberté
Abonnement jeune
Pour les moins de 26 ans

Lieu

Access Porte de Pantin:
Metro: Line 5
Bus: Line 75,151
Tram: Line T3b
Car Park "Cité des Sciences" - PML please call 01 40 03 75 75

Date

From June 28th to 30th
Every day at 8.30pm

When choreographer Angelin Preljocaj meets contemporary composer Karlheinz Stockhausen, the result is Helikopter. This metallic sounding piece will be followed by Still Life, a new work that offers an incursion into the Vanitas paintings. → Co-direction with IRCAM as part of the ManiFeste-2018 festival

Helikopter

When choreographer Angelin Preljoaj meets contemporary composer Karlheinz Stockhausen, the result is Helikopter (2001), a highly metallic piece. Composed to the sound of a string quartet recorded in a helicopter in midflight, the dances gain a fresh new musicality with dissonances hovering between the bluish waves rolling over the ground and the endless shadows.

The dancers’ sole reference point in this arid ballet is each other’s bodies. The dancers elbow and knee their way to cling to invisible hopes. From rigidity emerges fluidity, from rigor an entirely new and unexpected form of beauty.

Helikopter will be followed by Still Life, a new creation by Angelin Preljocaj.

Still Life

“In the realm of painting, still lifes sometimes represent an allegory of death, time and the vacuity of passions.
From the 17th century onwards, the idea of boundedness and the derisory aspect of life form a wholly separate genre: ‘the Vanities’. Henceforth the objects represented on the canvases symbolise human activities with elements that evoke the passing of time: fragility, destruction, war and the triumph of death.
These same problems are at stake in this work. The bodies of the dancers exude a specific choreographic writing, a reflection on what these ancestral symbols say to us today.”

Angelin Preljocaj