Violent Delights, Violent Ends
When it comes to restaging canonical works, the process is extraordinarily complex. A myriad of difficulties can emerge depending on how much or how little a new work differs from the original ballet. Every aspect of the restaging—from form to characterisation and plot—does not exist in isolation; the theatrical elements are irrevocably tied to and haunted by the canonical predecessor. How a choreographer, then, approaches a restaging is uniquely singular them and their creative practice.
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