Stage and costume design: Jorge Gallardo
Lighting: Jean-Claude Asquié
Light design implementation: Frédéric Eujol
Cinderella 510A– this is the number in the Aarne-Thompson Index, the essential classification system for fairy tales and folk narratives developed for research purposes by folklorists Aarne and Thompson categorising international archives of fairy tales. 510A– a prosaic designation for a type of myth whose archetype is to be found all over the world, throughout all periods of history. The dream of a better life, of justice and simple good fortune – this story was told to Wilhelm Grimm (as Holger Erhardt, a professor studying the work and influence of the Brothers Grimm at the University of Kassel, discovered in 2016) by the ‘Marburg Fairy Tale Woman’ Elisabeth Schellenberg (1746-1814), who spent much of her life in an infirmary and knew all too well from her own experience the weight of suffering that is described in Cinderella’s story. In Malandain’s choreographic language, the very well-known tale set to the music of Sergei Prokofiev’s ballet combining numerous other sources (mainly French) is transformed into a ‘dream of dancing stardom’. The file on ‘510A’ is far from closed, and if they have not died, they are still dancing to this very day …
The French choreographer studied dance under Monique Le Dily, René Bon, Daniel Franck, Gilbert Mayer and Raymond Franchetti. He spent his dance career in the ballet ensembles of the Paris Opera, Ballet du Rhin and the Ballet Theatre Francais de Nancy. At the end of his career, he established the Temps Présent (1986) in Élancourt and later in Saint-Étienne. In 1998, he was appointed head of the newly founded Les Centres chorégraphiques nationaux in Biarritz. Malandain choreographed more than 80 works which, besides his own ensemble, have been performed by ballets in Bordeaux, Marseilles, Reims, Nantes, Paris, Flanders, Karlsruhe, Luxembourg, Naples, Vienna, Geneva, Cairo and others. He has won numerous awards, including the Prix Benois de la Danse 2004, Officer of the Order of Arts and Literature 2009 and the European Taglioni Award for Best Choreographer of 2014.
Decadance is the work of the legendary Israeli Ohad Naharin, who has belonged to the ‘crème de la crème’ of modern world dance theatre for several decades. Although Decadance is a special combination of parts of entire works created by Ohad Naharin over the past decades, it is also a new form, since these earlier works are set in an original piece within the directorial line and choreographic structure of the entire evening. Ohad's powerful charisma, very specific geographic and cultural background, unique and original poetics of movement and expressive means in general inform a new spectacle especially for viewers, who have a strong, unusual experience at each performance.
The novella Death in Venice is one of Thomas Mann's masterpieces and is also very popular thanks to Visconti's legendary 1971 film. Valentina Turcu’s ballet drama Death in Venice is a reinterpretation of Mann's masterpiece set to Mahler's delicate yet passionate music reflecting the deepest emotions and the most complex states of mind. The creative and choreographic imagination is controlled by the eternal movement of the soul and gently enters the vast universe of emotions pulsating with the nearly imperceptible internal power of Eros.
Van Manen choreographed Trois Gnossiennes as a sensual duet about resignation, trust and harmony in consonance with Erik Satie's magical and melancholy music. 5 Tangos is built on the music of Astor Piazzolla. Highly popular with audiences, this work is charged with a fiery energy. A tango with something extra. Black Cake originated as a work celebrating the 30th anniversary of the Nederlands Dans Theater and is conceived as a festive parody in five parts based on humour – an irresistibly funny black cake.