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2017 marks the 100th Anniversary of the Russian Revolution, | 0:00:05 | 0:00:10 | |
one of the seismic events of 20th century history. | 0:00:10 | 0:00:14 | |
Tonight, in Cardiff, as part of a season inspired by the centenary, | 0:00:14 | 0:00:19 | |
National Dance Company Wales present a bold new take | 0:00:19 | 0:00:22 | |
on one of 1917's most radical works of art. | 0:00:22 | 0:00:26 | |
It's the rarely-staged Erik Satie ballet, Parade. | 0:00:26 | 0:00:30 | |
MUSIC PLAYS | 0:00:30 | 0:00:33 | |
Parade was a ground-breaking piece in its day. | 0:00:43 | 0:00:46 | |
It was first performed in Paris | 0:00:46 | 0:00:48 | |
and brought together some of the city's | 0:00:48 | 0:00:51 | |
most cutting-edge artistic talent. | 0:00:51 | 0:00:54 | |
The music was by the maverick composer, Erik Satie, | 0:00:54 | 0:00:58 | |
the story by writer Jean Cocteau, | 0:00:58 | 0:01:00 | |
and the remarkable costumes were created by Pablo Picasso. | 0:01:00 | 0:01:04 | |
It was all performed | 0:01:06 | 0:01:07 | |
by Sergei Diaghilev's legendary Ballets Russes. | 0:01:07 | 0:01:10 | |
For this new production, | 0:01:12 | 0:01:14 | |
the original ballet has been embedded in a story | 0:01:14 | 0:01:16 | |
of political and technological conflict | 0:01:16 | 0:01:19 | |
in which the audience plays a key part. | 0:01:19 | 0:01:22 | |
The original Parade was set outside. | 0:01:24 | 0:01:26 | |
It involved street performers, carnival acts | 0:01:26 | 0:01:29 | |
circus troupe, so I was wondering, what is the contemporary equivalent? | 0:01:29 | 0:01:33 | |
And I thought, well, it could be a political rally | 0:01:33 | 0:01:35 | |
and we've become very familiar with that | 0:01:35 | 0:01:37 | |
kind of as a genre in television, | 0:01:37 | 0:01:39 | |
so I thought it would be great to create a fictional politician, | 0:01:39 | 0:01:42 | |
in an interesting, surreal way. | 0:01:42 | 0:01:44 | |
In the new story, the Wales Millennium Centre | 0:01:44 | 0:01:47 | |
is reimagined as an enormous factory. | 0:01:47 | 0:01:51 | |
Outside it, a politician addresses a crowd of workers | 0:01:51 | 0:01:55 | |
and unveils her vision of the future - | 0:01:55 | 0:01:58 | |
a humanoid robot. | 0:01:58 | 0:02:00 | |
She believes that automation is the future, | 0:02:02 | 0:02:05 | |
this is the ultimate product and, of course, the workers aren't happy, | 0:02:05 | 0:02:09 | |
so they start to rebel and eventually kind of surround | 0:02:09 | 0:02:12 | |
and subvert the robot, | 0:02:12 | 0:02:14 | |
turning technology to their advantage. | 0:02:14 | 0:02:17 | |
The action then moves inside. | 0:02:18 | 0:02:21 | |
Here, the audience encounters a strange group | 0:02:21 | 0:02:24 | |
of futuristic consumers, in a scene true to Parade's surreal roots. | 0:02:24 | 0:02:29 | |
Finally, on stage, the story of the rebellious workers is resolved | 0:02:32 | 0:02:37 | |
in an entirely new interpretation of Erik Satie's ballet. | 0:02:37 | 0:02:41 | |
You're going to see a real transformation happening. | 0:02:43 | 0:02:47 | |
You're going to see a scene at the beginning | 0:02:47 | 0:02:49 | |
that's like a human production line - | 0:02:49 | 0:02:52 | |
something very bland, very monotonous and repetitive - | 0:02:52 | 0:02:56 | |
but out of that, you see these individual stories start to develop. | 0:02:56 | 0:03:01 | |
These characters start to come out and from the mundane, | 0:03:01 | 0:03:05 | |
you see the creative and the spark that's within each of them, | 0:03:05 | 0:03:10 | |
exploring who they really are. | 0:03:10 | 0:03:11 | |
While the ideas and the story of Parade have been updated, | 0:03:17 | 0:03:20 | |
the music is Erik Satie's original score. | 0:03:20 | 0:03:24 | |
But this was never an ordinary orchestral work. | 0:03:24 | 0:03:28 | |
We've got quite a variety of instruments on the go. | 0:03:28 | 0:03:31 | |
You've got two players | 0:03:31 | 0:03:32 | |
doing the sort of comedy instruments, I suppose. | 0:03:32 | 0:03:34 | |
The ones that are more "messing" around type instruments, | 0:03:34 | 0:03:37 | |
which are things like the typewriter, the lottery wheel. | 0:03:37 | 0:03:41 | |
This instrument, here, this is most challenging for me, | 0:03:41 | 0:03:44 | |
this is the bottle phone, so it's like a piano keyboard | 0:03:44 | 0:03:47 | |
that is laid out with bottles. | 0:03:47 | 0:03:50 | |
As you see, they go from really quite enormous ones, here, | 0:03:50 | 0:03:52 | |
these are vodka bottles, | 0:03:52 | 0:03:54 | |
and it goes right the way up to the top to really tiny pill bottles. | 0:03:54 | 0:03:58 | |
Extraordinary instruments then and now. | 0:03:58 | 0:04:02 | |
The first performance of Parade ended in a near riot, | 0:04:04 | 0:04:07 | |
with some members of the audience | 0:04:07 | 0:04:08 | |
jeering and pelting the performers with fruit. | 0:04:08 | 0:04:11 | |
Afterwards, the composer, Erik Satie, was taken to jail | 0:04:11 | 0:04:15 | |
for abusing a critic. | 0:04:15 | 0:04:17 | |
Well, hopefully, tonight's performance won't inspire | 0:04:17 | 0:04:20 | |
such an extreme reaction, but we are in for an evening | 0:04:20 | 0:04:23 | |
that breaks down the traditional performance boundaries | 0:04:23 | 0:04:26 | |
and promises to take us all by surprise. | 0:04:26 | 0:04:29 | |
DRUM ROLL | 0:04:31 | 0:04:33 | |
MUSIC AND CHEERING | 0:04:35 | 0:04:40 | |
It gives me great pleasure to be amongst you workers here today. | 0:05:02 | 0:05:07 | |
I stand at the foot of your magnificent factory | 0:05:09 | 0:05:14 | |
to commemorate the centenary of the Russian Revolution. | 0:05:14 | 0:05:18 | |
CHEERING | 0:05:18 | 0:05:20 | |
But why commemorate? | 0:05:20 | 0:05:22 | |
Well, there's a great deal to learn from history. | 0:05:22 | 0:05:27 | |
Workers, we are no strangers to revolutions here in Wales. | 0:05:27 | 0:05:34 | |
100 years ago, coal was king and here in this very spot | 0:05:34 | 0:05:41 | |
was a bustling port exporting 10 million tonnes of coal a year. | 0:05:41 | 0:05:48 | |
We were small, but we were mighty! | 0:05:48 | 0:05:51 | |
Wales was the world's first industrial nation. | 0:05:51 | 0:05:55 | |
Wales was the coal metropolis of the world! | 0:05:55 | 0:06:00 | |
But look at us now. | 0:06:00 | 0:06:02 | |
Look at us now. | 0:06:04 | 0:06:07 | |
Hmm? We have been stamped upon and silenced. | 0:06:09 | 0:06:13 | |
We have been cheated and forgotten. | 0:06:15 | 0:06:18 | |
This is not fake news. | 0:06:20 | 0:06:21 | |
These are not alternative facts. | 0:06:23 | 0:06:25 | |
We need to regain confidence in facing and forging our future. | 0:06:26 | 0:06:32 | |
I... I have a vision, a vision for all. | 0:06:32 | 0:06:38 | |
We in Wales, we have the ability, we have the technology - | 0:06:38 | 0:06:46 | |
we can build a new world. | 0:06:46 | 0:06:49 | |
Let me introduce you to your future. | 0:06:51 | 0:06:54 | |
Embrace the new dawn. | 0:06:56 | 0:06:58 | |
Embrace the robot revolution! | 0:06:59 | 0:07:02 | |
Yes, automation is where we can lead. | 0:07:08 | 0:07:13 | |
SHE SHOUTS | 0:07:13 | 0:07:15 | |
I see you feel threatened. I understand. | 0:07:15 | 0:07:17 | |
I can assure you, there's no need. | 0:07:17 | 0:07:19 | |
Re-channel that energy for the good of us all. | 0:07:19 | 0:07:23 | |
Let us show the world again. | 0:07:23 | 0:07:26 | |
SIRENS WAIL | 0:07:26 | 0:07:29 | |
SHOUTING | 0:07:43 | 0:07:44 | |
ALARM BLARES | 0:08:00 | 0:08:03 | |
MUZAK PLAYS | 0:08:05 | 0:08:12 | |
Well... | 0:08:57 | 0:08:58 | |
..thank you for the invitation to join you inside. | 0:08:59 | 0:09:04 | |
It's, er... | 0:09:05 | 0:09:07 | |
It's much bigger inside, isn't it? | 0:09:07 | 0:09:09 | |
Er, I understand you have prepared some entertainment for me. | 0:09:17 | 0:09:25 | |
After all, my purpose here today was to commemorate | 0:09:25 | 0:09:27 | |
the Russian Revolution, the cultural explo... | 0:09:27 | 0:09:29 | |
The cultural explosion marking the centenary, | 0:09:29 | 0:09:33 | |
marking the centenary. | 0:09:33 | 0:09:35 | |
Thank you. Diolch, spasiba. | 0:09:35 | 0:09:38 | |
Diolch, spasiba. | 0:09:38 | 0:09:39 | |
APPLAUSE | 0:09:45 | 0:09:47 | |
MUSIC: Parade By Erik Satie | 0:09:51 | 0:09:54 | |
MUSIC GENTLY PLAYS | 0:10:24 | 0:10:29 | |
MUSIC BECOMES MORE DRAMATIC | 0:11:23 | 0:11:25 | |
MUSIC BECOMES MORE DRAMATIC | 0:12:09 | 0:12:13 | |
MUSIC GENTLY PLAYS | 0:12:51 | 0:12:54 | |
MUSIC GENTLY PLAYS | 0:13:56 | 0:13:59 | |
MUSIC BECOMES MORE DRAMATIC | 0:14:51 | 0:14:54 | |
MUSIC PLAYS FASTER | 0:15:55 | 0:16:00 | |
TYPEWRITER CLACKS | 0:16:14 | 0:16:20 | |
POPS LIKE GUNFIRE | 0:16:53 | 0:16:56 | |
MUSIC PLAYS | 0:17:04 | 0:17:07 | |
MUSIC BECOMES MORE DRAMATIC | 0:18:27 | 0:18:31 | |
STEAM WHISTLE BLOWS | 0:18:39 | 0:18:45 | |
MUSIC GENTLY PLAYS | 0:18:59 | 0:19:03 | |
MUSIC BECOMES MORE DRAMATIC | 0:19:26 | 0:19:29 | |
MUSIC GENTLY PLAYS | 0:20:25 | 0:20:28 | |
MUSIC PLAYS FASTER | 0:21:44 | 0:21:49 | |
MUSIC BECOMES MORE DRAMATIC | 0:22:36 | 0:22:41 | |
SIRENS WAIL | 0:22:41 | 0:22:45 | |
MUSIC STEADILY BECOMES MORE DRAMATIC | 0:24:49 | 0:24:56 | |
MUSIC GENTLY PLAYS | 0:25:22 | 0:25:27 | |
GATE BANGS AND CREAKS | 0:25:52 | 0:25:56 | |
SLOW HEARTBEAT | 0:26:31 | 0:26:35 | |
-ROBOT: -The mediator between head and hands must be the heart. | 0:26:37 | 0:26:44 | |
STEADY HEARTBEAT | 0:27:19 | 0:27:23 | |
APPLAUSE | 0:27:51 | 0:27:56 |