Angelin Preljocaj was born into a family of Albanian immigrants in 1957 and received a solid training as a dancer in France before taking part in a course with Merce Cunningham in New York in 1980. His themes of love, war and labour are perennial human themes enriched by his carefully observed details from everyday life with a dance vocabulary strongly oriented towards physicality and sensuality. His own company, Ballet Preljocaj, resides at the Pavillon Noir in Aix-en-Provence, a building entirely dedicated to dance with Angelin Preljocaj its artistic director. His company is touring worldwide and gives about one hundred performances per year. His ballets SPECTRAL EVIDENCE and LA STRAVAGANZA were both conceived for the New York City Ballet.

SPECTRAL EVIDENCE: From 2013 to music by John Cage is based on the Salem Witch Trials and a recording of vocal music by John Cage. It has four men in dark suits and clerical collars and four women in white dresses with different patches of red silicon.

LA STRAVAGANZA: From 1997 to music by Vivaldi, Evelyn Ficarra, Serge Morand, Robert Marmandeau and Åke Parmerud deals with Contemporary Culture meeting 17th century society. Dancing to Vivaldi and electronic music we experience a merger of fantasy and reality, a dialogue of the past with the present, the old world with the new world.

Angelin Preljocaj's themes of love, war and labour are enriched with a dance vocabulary oriented towards physicality and sensuality.

Preljocaj in New York

Renowned hip-hop choreographer Mourad Merzouki blends the vibrant rhythms of the Italian tarantella, the baroque music of Vivaldi, and the electronic sounds of Grégoire Durrande in this extraordinary musical collaboration with the musicians of the Concert de l'Hostel Dieu. 

In Folia, hip-hop dance intertwines with a unique musical soundscape. Weaving in elements of contemporary dance, classical ballet, electronic music, and the mesmerizing movements of a whirling dervish, Merzouki creates a utopian mosaic of movement and music, bridging the gap between tradition and modernity. 


Choreographer Mourad Merzouki explores diverse musical worlds in collaboration with the musicians of the Concert de l'hostel Dieu. 

Folia: Mourad Merzouki

Maurice Béjart’s compelling staging of Beethoven’s Ninth Symphony has been enchanting audiences worldwide since its
inception and its idea of universal brotherhood remains highly topical. “Alle Menschen werden Brüder” (All men will be
brothers) is the powerful message communicated by the unforgettable music and choreography.
From the stage of the NHK Hall in Tokyo 250 dancers and musicians send this message out into the world. “It is a ‘manifestation’,
in the deepest sense of the word.” This performance was filmed in November 2014, and is the first recording of this work.

Maurice Béjart’s compelling staging of Beethoven’s Ninth Symphony has been enchanting audiences worldwide since its inception.

The Ninth Symphony by Maurice Bejart

Six dancers take us on a frantic and humorous journey through 20 unique scenes, where inventive parody and incredible skill come together to shatter expectations. 

This multidisciplinary and zany show combines poetry and motion, with an all-male ensemble in flashy costumes poking fun at the sometimes-serious dance world and demonstrating that a bare-chested man in a tutu can indeed perform a graceful pointe solo.

Each painting revisited in "Tutu" is a colorful surprise where choreographic codes are playfully mocked without taboo. There’s a hip-hop "Swan Lake," a dainty Haka, a clumsy "Dirty Dancing," and an even clumsier "Dancing with the Stars."No icon is untouchable for the Chicos Mambo in this visual maelstrom of laughter and dance.

Get ready to laugh out loud as the Chicos Mambo men don tutu trousers while parodying Swan Lake, Dirty Dancing, and gender stereotypes.

TUTU by Chicos Mambo

Sensual and entrancing, Kylián's Wings of Wax is an allegorical journey danced beneath the branches of an inverted tree to a hauntingly beautiful score of selections by musical giants Philip Glass, Heinrich von Biber, John Cage, and Johann Sebastian Bach.

Kylián's Wings of Wax is an allegorical journey danced beneath the branches of an inverted tree to a hauntingly beautiful score.

Wings of Wax

Choreographer Andile Ndlovu explores the idea of reclaiming joy and putting back together that which is broken, in this co-commission from The Washington Ballet and Marquee TV. 

Inspired by the yoga, pilates, and physical therapy he underwent to recover from a recent injury, Ndlovu incorporates routine tools like yoga balls and structural movements like planks and bridges, morphing them into playful and unstructured movements. 

In re:member, six dancers cross space and time, moving and interacting as if they are characters on a playground. Tapping into themes of nostalgia and reclaiming joy, the dancers shift, taking on new roles and identities, bending, folding, and evoking familiar classroom shapes. 


In re:member, choreographer Andile Ndlovu explores the idea of reclaiming joy, and putting back together that which is broken,

re:member

With BiT, Maguy Marin signs her forty-ninth opus in barely forty years. At the center of this brutal charge against ordinary barbarism lies the question of rhythm.

The title refers to the computer term for the unit of measurement of information, this word-syllable gives an initial rhythmic drive, after which the show takes shape, relentless succession of scansions and impulses, twists and tensions orchestrated with the feverish rigor of a dance both joyful and desperate. As a constant in the piece, in an obsessive continuity, the same structure: the farandole, a form of collective dance passed down through the ages, is the recurring motif. All the colors of the human condition slide in, love rites and dances of death. On an exhilarating techno music all in beats, the entire show has no shortage of cruelty on the analysis of contemporary society, in the dark conclusion of the dominations exerted on the intimate as well as the social, a deterioration of which we ourselves are the actors. BiT takes us into the depths of our humanity and questions our individual responsibilities in the turmoil of each passing day.

BiT takes us into the depths of our humanity and questions our individual responsibilities in the turmoil of each passing day.

A group of Young Men brought together by the indiscriminate brutality of war struggle to maintain their humanity in an unending cycle of combat and death.

A group of Young Men brought together by the indiscriminate brutality of war.

Young Men

Set to contrasting scores by Charlotte Harding and Keaton Henson, Them/Us is an inventive double bill asking where we see ourselves in relation to the “other,” and explores the fine balance between them and us. Them is created through a unique choreographic process by the dancers. The piece explores the versatility of movement which the company has always been known for and proves to be an exciting culmination of the experience gained after 20 years of working with leading artists. Tony and Olivier Award-winning choreographer Christopher Wheeldon concludes the evening with Us, exploring human connections and culminating in a tender duet.

Them/Us is an inventive double bill asking where we see ourselves in relation to the “other,” and explores the fine balance between them and us.

Them/Us

Betroffenheit is a word which means trauma, bewilderment and shock. A fitting title for this boundary-stretching hybrid of theater and dance, created by Crystal Pite and Jonathon Young. 

The powerful performance is inspired by Young’s real-life trauma, conjuring art from the pain of losing his daughter, niece and nephew in a fire.  

Combining tap, salsa, spoken word, song and puppetry, Betroffenheit is a witty, tender exploration of isolation and coming to terms with tragedy. It was the recipient of the 2017 Olivier Award for Best New Dance Production and the Outstanding Performance in Modern Dance at the Critics’ Circle National Dance Awards. 

Watch this thrilling performance recorded during its sold out run at London’s Sadler’s Wells Theatre.

Crystal Pite and Jonathon Young's Olivier winning BETROFFENHEIT is a bold hybrid of theater and dance that explores trauma, grief and addiction.

Betroffenheit

Adapted from the anti-play Offending the Audience by Austrian playwright Peter Handke and enriched by Ohad Naharin’s innovative, movement language Gaga, the Bessie-award winning Naharin’s Virus exemplifies the choreographer’s aesthetic with the sole purpose of showing the naked reality of a moment in space. The varied soundtrack includes classical music, original music by Karni Postel, and adaptations of traditional Arabic music by Habib Alla Jamal and Shama Khader.

Adapted by Ohad Naharin from the anti-play Offending the Audience by the Nobel-winning Austrian playwright Peter Handke.

Naharin's Virus

Internationally, the Hamburg Ballett was one of the first companies that returned to its studios after the lockdown. John Neumeier developed the idea of creating a ballet observing and structured according to social distancing. At the beginning, it was not certain, when, where or if this ballet might be publicly performed. The work was an exercise in creativity out of necessity for the choreographer and his dancers. John Neumeiers' concept involves all 60 dancers of his company. To respect social distancing, he creates separate parts of the work with small groups of two to eight dancers. "'Ghost Light' is an ensemble work that I am developing in fragments. It is like the separate instrumental lines of a symphony – or a traditional Japanese meal: a sequence of carefully arranged, hopefully 'delicious' miniatures. How the separate parts will unite to create a complete work, will depend on the

John Neumeier developed the idea of creating a ballet observing and structured according to social distancing.

Ghost Light

After the success of their collaboration in Boxe Boxe (2010), choreographer Mourad Merzouki and the Debussy string quartet once again explore the mixing of genres. This piece transforms boxing into a poetic dance, accompanied by music that channels Brazilian energy through classical string instruments. Although they are improbable, Merzouki and Compagnie Käfig’s crossbreeding of genres and styles consistently prove visionary and exciting. Boxe Boxe Brasil is no exception.

Choreographer Mourad Merzouki and the Debussy string quartet once again explore the mixing of genres

Boxe Boxe Brasil

BalletBoyz perform Liam Scarlett’s Serpent and Russell Maliphant’s Fallen with music by Max Richter and Armand Amar, accompanied by BBC Concert Orchestra.

BalletBoyz perform Liam Scarlett’s Serpent and Russell Maliphant’s Fallen.

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