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In 1909, Paris was at the heart of a cultural revolution. | 0:00:04 | 0:00:09 | |
Artists, composers, designers and choreographers joined together | 0:00:09 | 0:00:14 | |
in an unprecedented spirit of collaboration. | 0:00:14 | 0:00:17 | |
The ring master was Russian impresario Sergei Diaghilev. | 0:00:20 | 0:00:24 | |
His remarkable ability to bring seemingly disparate artistic forces together created the Ballets Russes. | 0:00:24 | 0:00:31 | |
Radical composers like Stravinsky and Debussy, cutting-edge artists Picasso and Matisse, | 0:00:31 | 0:00:36 | |
designer Coco Chanel and ground-breaking choreographer Nijinsky | 0:00:36 | 0:00:41 | |
were all key to Diaghilev's unique approach to creativity. | 0:00:41 | 0:00:44 | |
Gone were the ornate sets, tutus and tired productions, | 0:00:44 | 0:00:48 | |
as the Ballets Russes made dance relevant to the 20th century. | 0:00:48 | 0:00:52 | |
In came experimental music, | 0:00:52 | 0:00:54 | |
modernist designs and radical expressive movement. | 0:00:54 | 0:00:58 | |
The Ballets Russes produced a legendary body of work | 0:00:58 | 0:01:01 | |
that was innovative, provocative and continues to inspire. | 0:01:01 | 0:01:05 | |
To celebrate the centenary of the Ballets Russes in 2009, | 0:01:07 | 0:01:11 | |
London's Sadler's Wells theatre commissioned new works | 0:01:11 | 0:01:15 | |
inspired by Diaghilev's | 0:01:15 | 0:01:16 | |
revolutionary collaborative approach. | 0:01:16 | 0:01:18 | |
Three of those works are presented in this programme. | 0:01:18 | 0:01:21 | |
Created by some of today's most radical choreographers, | 0:01:21 | 0:01:25 | |
they combine the talents of contemporary artists, animators, musicians and make-up designers. | 0:01:25 | 0:01:30 | |
The process took them on an extraordinary journey, | 0:01:30 | 0:01:33 | |
exploring the creative legacy of Diaghilev's Ballets Russes | 0:01:33 | 0:01:37 | |
and its continuing influence on the arts. | 0:01:37 | 0:01:39 | |
When Wayne McGregor, Russell Maliphant and Sidi Larbi Cherkaoui | 0:01:48 | 0:01:52 | |
were invited to create new works for In The Spirit Of Diaghilev, | 0:01:52 | 0:01:55 | |
they were given an almost blank canvas. | 0:01:55 | 0:01:58 | |
But there were some important stipulations, | 0:01:58 | 0:02:00 | |
as Sadler's Wells' artistic director Alistair Spalding explains. | 0:02:00 | 0:02:04 | |
The first was to still make some connection | 0:02:04 | 0:02:08 | |
with that period, | 0:02:08 | 0:02:09 | |
either musically, or in a thematic way. | 0:02:09 | 0:02:12 | |
And then, secondly, | 0:02:12 | 0:02:14 | |
most importantly, to really have collaboration at the heart of this new work. | 0:02:14 | 0:02:18 | |
What I've tried to do is to create a situation where | 0:02:19 | 0:02:24 | |
great new work can be created and shown. | 0:02:24 | 0:02:27 | |
That's really what we're looking for. We're not looking to shock in the same way, | 0:02:27 | 0:02:32 | |
and I don't think Diaghilev was either. He was just trying to make new work, | 0:02:32 | 0:02:35 | |
and some of it was ahead of its time. | 0:02:35 | 0:02:38 | |
Some of the work we present here is still a little bit ahead of its time. | 0:02:38 | 0:02:43 | |
Legendary Ballets Russes creation L'apres-midi D'un Faune | 0:02:51 | 0:02:55 | |
featured music by Debussy and sets and costumes by Bakst. | 0:02:55 | 0:03:00 | |
Scandalously brought to life by Diaghilev's prodigy and lover Vaslav Nijinsky in 1912, | 0:03:00 | 0:03:05 | |
the piece provided Sadler's Wells' associate artist Sidi Larbi Cherkaoui | 0:03:05 | 0:03:10 | |
with the inspiration to create Faun. | 0:03:10 | 0:03:13 | |
It's quite like a fairy tale. I mean, it has something very... | 0:03:16 | 0:03:21 | |
there's something very innocent about it and you are kind of a witness of another world. | 0:03:21 | 0:03:26 | |
That's what I appreciated so much about Nijinsky's work, you know, | 0:03:26 | 0:03:31 | |
he was really trying to be absolutely honest, | 0:03:31 | 0:03:33 | |
and that's very hard, because people put on masks, | 0:03:33 | 0:03:37 | |
people pretend, people... He was really trying to create a ritual | 0:03:37 | 0:03:41 | |
where he was telling things the way they were. | 0:03:41 | 0:03:44 | |
When the question came about Faun, I started first thinking not about the dance, | 0:03:44 | 0:03:50 | |
but actually about the dancer. It was James, | 0:03:50 | 0:03:53 | |
he was in my company, he was working a lot with me, | 0:03:53 | 0:03:57 | |
sometimes as an assistant, sometimes as a dancer, | 0:03:57 | 0:04:00 | |
and I thought immediately about him | 0:04:00 | 0:04:03 | |
when we were speaking about the idea of remaking Faun. | 0:04:03 | 0:04:08 | |
As a character, what I find interesting is that he's kind of half-animal, half-man. | 0:04:12 | 0:04:17 | |
So I was looking much more for a way of moving that's very animal-like. | 0:04:17 | 0:04:22 | |
And at the same time, there are certain elements that are part of the faun | 0:04:22 | 0:04:26 | |
that you can find in other mythologies. | 0:04:26 | 0:04:28 | |
I wanted it to be about all mythological characters that had that sensuality, that playfulness, | 0:04:28 | 0:04:35 | |
and also this animal-man hybrid form. | 0:04:35 | 0:04:41 | |
It was a piece that was quite shocking | 0:04:46 | 0:04:48 | |
when it came out, because Nijinsky kind of has a moment of ecstasy at the end, | 0:04:48 | 0:04:54 | |
and...and I found that an interesting thing to try and explore, sexuality. | 0:04:54 | 0:05:01 | |
Shock value was really not what we were going for with this, | 0:05:01 | 0:05:04 | |
though of course there are things in it that, | 0:05:04 | 0:05:07 | |
had you shown them 100 years ago, would have been more shocking. | 0:05:07 | 0:05:10 | |
I was thinking, how can I be very suggestive in the movements | 0:05:10 | 0:05:16 | |
in such a way that we think it's natural, it's normal? | 0:05:16 | 0:05:19 | |
But at the same time, it feels like an exploration of something you don't know, | 0:05:19 | 0:05:24 | |
as if, you know, the first time or something. | 0:05:24 | 0:05:26 | |
It's almost inspired by the Kama Sutra. | 0:05:29 | 0:05:33 | |
It's very much intertwined... an intertwining of those bodies, | 0:05:33 | 0:05:38 | |
so that's kind of the aspect that I found interesting | 0:05:38 | 0:05:42 | |
because I hadn't explored it that much in previous pieces, this sexual aspect. | 0:05:42 | 0:05:47 | |
It's looking at a lot of aspects of a relationship | 0:05:47 | 0:05:50 | |
and how this relationship between the two of us develops in many different ways | 0:05:50 | 0:05:54 | |
and so we're able to do that sort of thing, | 0:05:54 | 0:05:57 | |
we're not stuck with the stuff like boy meets girl, | 0:05:57 | 0:06:00 | |
-romantic nymph fun characters, because of this history. -Mmm. | 0:06:00 | 0:06:05 | |
Debussy's original score was complemented with additional music by acclaimed composer Nitin Sawnhey. | 0:06:07 | 0:06:13 | |
What I wanted to do was find, | 0:06:14 | 0:06:16 | |
really, the feeling and continue the feeling | 0:06:16 | 0:06:19 | |
of what Debussy had already done, | 0:06:19 | 0:06:20 | |
as well as continue that flow of the choreography, | 0:06:20 | 0:06:23 | |
so that was really the essence of where we were coming from. | 0:06:23 | 0:06:26 | |
I didn't really want to create a pastiche of his work, | 0:06:31 | 0:06:36 | |
and I needed to find something which had a sense of entering into another dimension altogether. | 0:06:36 | 0:06:41 | |
So the feeling that I was looking for was a sense of a doorway opening up. | 0:06:41 | 0:06:46 | |
Even in the way that the two musical pieces I've added in, | 0:06:46 | 0:06:50 | |
it's very much about trying to find that doorway | 0:06:50 | 0:06:52 | |
and a different kind of perspective on what we're looking at and listening to. | 0:06:52 | 0:06:57 | |
It's great when the make-believe happens together, | 0:07:01 | 0:07:04 | |
when two people see the same thing and go, | 0:07:04 | 0:07:06 | |
"Yeah, and this could happen then," and you get excited together. | 0:07:06 | 0:07:09 | |
We always have the freedom to present our ideas, and in turn, | 0:07:09 | 0:07:14 | |
he gives his own... you know, if we do something that sends out an image for him, | 0:07:14 | 0:07:18 | |
'he'll tell us about this and maybe mould it more to that image | 0:07:18 | 0:07:22 | |
'and then give us something that we can mould more to what we see in it.' | 0:07:22 | 0:07:25 | |
'The nice part of being a choreographer' | 0:07:25 | 0:07:28 | |
is that it's a very social art. You constantly have to talk with people. | 0:07:28 | 0:07:32 | |
ORCHESTRA STARTS TO PLAY | 0:07:46 | 0:07:49 | |
APPLAUSE | 0:22:25 | 0:22:28 | |
CHEERING | 0:22:36 | 0:22:38 | |
Choreographer Russell Maliphant trained at the Royal Ballet School, | 0:22:44 | 0:22:49 | |
and has performed with cutting-edge companies such DV8 and Michael Clark, | 0:22:49 | 0:22:53 | |
forming his own company in 1996. | 0:22:53 | 0:22:55 | |
AfterLight was directly inspired by his fascination in Nijinsky's artistry. | 0:22:55 | 0:23:00 | |
I had read, many years before, a diary of Vaslav Nijinsky, | 0:23:00 | 0:23:05 | |
who danced with Ballets Russes... | 0:23:05 | 0:23:08 | |
when they were at their height. | 0:23:08 | 0:23:11 | |
Very interesting life, fantastic dancer. | 0:23:15 | 0:23:17 | |
He drew a number of drawings and pastels | 0:23:17 | 0:23:22 | |
and it stayed with me in my mind. | 0:23:22 | 0:23:26 | |
And I find them very sculptural. | 0:23:26 | 0:23:28 | |
You know, there's always a counter-rotation, a twist, | 0:23:28 | 0:23:33 | |
and the use of the arms, where there's an angle at the elbow and an angle at the wrist. | 0:23:33 | 0:23:39 | |
These very fine sculptural positions. | 0:23:39 | 0:23:42 | |
So I thought, "Well, OK, maybe there's something that we could use | 0:23:42 | 0:23:46 | |
"as an inspiration." | 0:23:46 | 0:23:48 | |
We'd been thinking of something with kind of small matchbox-size lights | 0:23:51 | 0:23:55 | |
where you could flash something through, | 0:23:55 | 0:23:58 | |
and you just get a...a...moment. | 0:23:58 | 0:24:01 | |
Gradually, you get two, three, four, five, six, | 0:24:01 | 0:24:05 | |
so more of the movement is revealed. | 0:24:05 | 0:24:08 | |
The lighting concept for AfterLight | 0:24:08 | 0:24:10 | |
came from Russell's long-time collaborator Michael Hulls. | 0:24:10 | 0:24:15 | |
What really inspired me was just looking at the old photographs. | 0:24:16 | 0:24:20 | |
They have a kind of battered, old, monochromatic appearance, and that, | 0:24:20 | 0:24:27 | |
actually informed how I thought the quality of the light should be, | 0:24:27 | 0:24:33 | |
and I wanted it to relate to that. | 0:24:33 | 0:24:36 | |
We looked at some animations, | 0:24:37 | 0:24:41 | |
and when Michael came into that, you know, | 0:24:41 | 0:24:44 | |
he kind of started to paint with that. | 0:24:44 | 0:24:46 | |
It seemed a process that we could... | 0:24:46 | 0:24:49 | |
we could get something that was more fluid than even the moving lights. | 0:24:49 | 0:24:55 | |
More choreographic, in a way. The light can have its own choreography and texture, | 0:24:57 | 0:25:03 | |
so it's sculptural - it's not always the dancer that's being choreographic. | 0:25:03 | 0:25:08 | |
There's a sharing partnership there. | 0:25:08 | 0:25:10 | |
To create the lighting effects they wanted, | 0:25:10 | 0:25:12 | |
Russell and Michel joined forces with someone more familiar with the rock stage. | 0:25:12 | 0:25:17 | |
Animator Jan Urbanowski has previously worked with U2 and Lady Gaga. | 0:25:17 | 0:25:21 | |
It's actually just an animation, it's a lighting source. | 0:25:21 | 0:25:24 | |
And it's the only lighting source, which is... | 0:25:24 | 0:25:27 | |
which is really... it's quite interesting, really. | 0:25:27 | 0:25:30 | |
But of course, the relationship between Daniel the dancer and the light is... | 0:25:30 | 0:25:35 | |
it's so intertwined, where the light is and where Daniel is, | 0:25:35 | 0:25:39 | |
and what Daniel is doing with the light | 0:25:39 | 0:25:41 | |
and what the light is doing with Daniel has been... | 0:25:41 | 0:25:45 | |
To work that out is taking a little while. | 0:25:45 | 0:25:48 | |
As it came about, and we started to work with animation, | 0:25:48 | 0:25:52 | |
it kind of became clear that the strongest element in that | 0:25:52 | 0:25:56 | |
was a solo dancer working with this animation. | 0:25:56 | 0:25:59 | |
Show me a different version where you take the arm over the head, | 0:25:59 | 0:26:04 | |
so instead of the arm being low and then you going under... | 0:26:04 | 0:26:07 | |
There's still a part where you're moving... | 0:26:07 | 0:26:12 | |
PIANO MUSIC | 0:26:12 | 0:26:14 | |
We'd been playing with many different things in the sound, | 0:26:15 | 0:26:18 | |
and trying to get something that brought out | 0:26:18 | 0:26:21 | |
what I saw as kind of a ethereal... | 0:26:21 | 0:26:25 | |
texture or quality. | 0:26:25 | 0:26:28 | |
And it was... it was kind of difficult to find it. | 0:26:29 | 0:26:33 | |
And then one night I was sat at home on the sofa with my wife, | 0:26:33 | 0:26:38 | |
and I was doing some computer editing, | 0:26:38 | 0:26:41 | |
and on the video that was running, it had the Satie music. | 0:26:41 | 0:26:45 | |
And listening to the refrains of the Satie music and watching the video, | 0:26:45 | 0:26:50 | |
it seemed that that had a real delicacy to it. | 0:26:50 | 0:26:53 | |
There's a very strong mood generated from that music. | 0:26:53 | 0:26:57 | |
There's a mood of looking back at some of those elements of the time - | 0:26:57 | 0:27:03 | |
the involvement of Picasso, and Bakst and Stravinsky, and Satie, | 0:27:03 | 0:27:08 | |
and Nijinsky. You know, great collaborations that we look at now | 0:27:08 | 0:27:14 | |
and think, "Wow, how amazing that all this went on at that time." | 0:27:14 | 0:27:18 | |
It's very much a new venture. We're still doing what we do, | 0:27:18 | 0:27:23 | |
but we're doing it with Jan and animation. | 0:27:23 | 0:27:26 | |
It's a pleasure to go into... | 0:27:26 | 0:27:28 | |
another collaboration, a different way. | 0:27:28 | 0:27:31 | |
Working with Russell has been fantastic. | 0:27:31 | 0:27:34 | |
For him to be able to think about all of these aspects | 0:27:34 | 0:27:36 | |
and bring this together and to work with all these new people | 0:27:36 | 0:27:40 | |
and new technologies and new aspects and trying to push what contemporary dance is | 0:27:40 | 0:27:46 | |
has been... Yeah, I quite admire the guy, actually. | 0:27:46 | 0:27:49 | |
PIANO MUSIC | 0:27:55 | 0:27:57 | |
APPLAUSE | 0:42:15 | 0:42:17 | |
CHEERING | 0:42:29 | 0:42:32 | |
Come from the wing... | 0:42:41 | 0:42:42 | |
Wayne McGregor combines a role as resident choreographer | 0:42:42 | 0:42:45 | |
of the Royal Ballet with running his own company, Random Dance, which is a resident at Sadler's Wells. | 0:42:45 | 0:42:50 | |
I've got rose-tinted spectacles when we look at the Ballets Russes. | 0:42:50 | 0:42:54 | |
We think of it as an artistic movement which was out of context | 0:42:54 | 0:42:57 | |
of anything else - actually, 1909, when the Ballets Russes was founded, | 0:42:57 | 0:43:01 | |
there was fantastic advancements and excitement around discovery and experimentation, | 0:43:01 | 0:43:07 | |
science, technology - the whole world was changing. | 0:43:07 | 0:43:11 | |
That very much shaped, I think, a lot of those ideas, and so, | 0:43:11 | 0:43:14 | |
for me what I found very curious about it was this idea about, well, | 0:43:14 | 0:43:18 | |
if you look at the social-political context of the Ballets Russes, | 0:43:18 | 0:43:22 | |
is there anything in there that might generate an idea? | 0:43:22 | 0:43:25 | |
And I started to find out that Shackleton had found the magnetic South Pole at that point, | 0:43:25 | 0:43:30 | |
and that feeling of endurance and physical stress that he was under, | 0:43:30 | 0:43:34 | |
this aspiration for the new very much was similar with the notions of the Ballets Russes. | 0:43:34 | 0:43:39 | |
The circumstances of making this dance have been very particular. | 0:43:47 | 0:43:51 | |
We went to America to work with a range of cognitive scientists | 0:43:51 | 0:43:54 | |
to really look at the nature of creativity, | 0:43:54 | 0:43:56 | |
the nature of collaboration from a cognitive point of view. | 0:43:56 | 0:44:00 | |
We would take these Shackleton points of view - this idea that, for example, | 0:44:00 | 0:44:04 | |
when you are going through extreme physical conditions and extreme sub-zero temperatures, | 0:44:04 | 0:44:09 | |
you start to get amnesia, | 0:44:09 | 0:44:10 | |
you start to hallucinate, you know. | 0:44:10 | 0:44:13 | |
The physical stress on your body is expressed in some way, | 0:44:13 | 0:44:17 | |
in some kind of mental, cognitive model. | 0:44:17 | 0:44:20 | |
I thought that kind of connection was really, really exciting to explore, | 0:44:20 | 0:44:24 | |
and it's really actually changed the nature of the choreographic process. | 0:44:24 | 0:44:27 | |
The artwork and visual concept for Dyad 1909 came from | 0:44:27 | 0:44:31 | |
Turner-Prize-nominated artists Jane and Louise Wilson. | 0:44:31 | 0:44:35 | |
Wayne invited us for, | 0:44:35 | 0:44:36 | |
what he felt would be an interesting project to us. I think he felt | 0:44:36 | 0:44:41 | |
that Dyad might actually work well with some of the imagery that we've worked with in the past. | 0:44:41 | 0:44:46 | |
I saw Jane and Louise Wilson's exhibition at the BALTIC, | 0:44:47 | 0:44:50 | |
and it was this really disorientating space, | 0:44:50 | 0:44:54 | |
where multiple projection and multiple surfaces just dislocated your idea of where you were. | 0:44:54 | 0:44:59 | |
I thought this piece would be quite interesting | 0:44:59 | 0:45:01 | |
because so often we understand what the grammar of a stage is, | 0:45:01 | 0:45:05 | |
and I thought if we could start to alleviate that a bit, that might be quite interesting. | 0:45:05 | 0:45:10 | |
The works that we've created are from existing works, | 0:45:10 | 0:45:14 | |
so it wasn't like we were commissioned to produce something new. | 0:45:14 | 0:45:17 | |
It's not like we've shot something around Shackleton, cos obviously, these are existing works. | 0:45:17 | 0:45:22 | |
Maybe, in some respects, that's kind of...made it a little bit more interesting, | 0:45:22 | 0:45:27 | |
because it's been less over-determined in a way. I think if we were looking directly | 0:45:27 | 0:45:31 | |
to try and reference the narrative so specifically, | 0:45:31 | 0:45:34 | |
then perhaps it wouldn't be so interesting. | 0:45:34 | 0:45:38 | |
One of the things I wanted to get in the piece was this sense of going from literalism, if you like, | 0:45:38 | 0:45:43 | |
so a real understanding of what Shackleton and the Ballets Russes was like, | 0:45:43 | 0:45:48 | |
to a surreal kind of space where you got lost. | 0:45:48 | 0:45:52 | |
I thought that content would work really well. | 0:45:52 | 0:45:55 | |
It's still been developing in a way, I'm sure. Once you've got the set in place, | 0:45:55 | 0:46:01 | |
I think that's really exciting, | 0:46:01 | 0:46:03 | |
because I think Wayne wants to get the dancers really to interact with the set. | 0:46:03 | 0:46:08 | |
McGregor was also keen to feature new music and approached Icelandic musician Olafur Arnalds | 0:46:11 | 0:46:18 | |
who supported Sigur Ros on their most recent European tour. | 0:46:18 | 0:46:22 | |
I didn't try to make it like the Ballets Russes. | 0:46:22 | 0:46:25 | |
I didn't... You know, I just did my own thing. | 0:46:25 | 0:46:27 | |
I mean, I just thought, there's a reason why he asked me to this, | 0:46:27 | 0:46:31 | |
not someone else. | 0:46:31 | 0:46:32 | |
I just heard his music online, actually, | 0:46:35 | 0:46:37 | |
and I thought there was something about this Icelandic sensibility, | 0:46:37 | 0:46:41 | |
this kind of open space, this sense of distance in the music that was really captivating to me. | 0:46:41 | 0:46:47 | |
And this idea that it kind of was overlaid with these haunting melodies | 0:46:47 | 0:46:52 | |
that, again, were very emotionally evocative. | 0:46:52 | 0:46:55 | |
HAUNTING MUSIC PLAYS | 0:46:55 | 0:46:57 | |
I came here a month ago and I watched them rehearse. | 0:46:57 | 0:47:00 | |
It was in the early stages of rehearsing, so the piece wasn't together yet, | 0:47:00 | 0:47:06 | |
but I just got this really dark feel from them, almost evil, so a lot of it's very, very dark. | 0:47:06 | 0:47:13 | |
Cold... | 0:47:13 | 0:47:15 | |
Um, it's not supposed to be uplifting or... | 0:47:15 | 0:47:19 | |
anything like that. | 0:47:19 | 0:47:21 | |
The only things that really came from me is that when I'm watching dance, | 0:47:26 | 0:47:31 | |
one of my favourite things is that when you give the dancer space, | 0:47:31 | 0:47:35 | |
when you don't try to completely steer them and control them, | 0:47:35 | 0:47:39 | |
when you give them space to have their own time and do their own thing | 0:47:39 | 0:47:44 | |
so there's an area of time not, like, a bar or two bars, it's just kind of free. | 0:47:44 | 0:47:51 | |
We've got another collaborator called Kabuki | 0:47:58 | 0:48:01 | |
who's this incredible kind of make-up artist whose work we'll finalise today. | 0:48:01 | 0:48:07 | |
What he's done is connected some of those disparate elements, the Shackleton elements, | 0:48:07 | 0:48:12 | |
the Ballets Russes, quite glamorous element, with this kind of almost like a survival mask make-up, | 0:48:12 | 0:48:17 | |
which forces you to look at the body in a different way | 0:48:17 | 0:48:20 | |
because the expression is taken from the faces. | 0:48:20 | 0:48:23 | |
For an artist used to designing make-up for the stars of Sex And The City and pop acts like Madonna, | 0:48:23 | 0:48:29 | |
creating the masks for Dyad 1909 presented a different challenge. | 0:48:29 | 0:48:34 | |
It's not like a literal thing, but something that maybe... | 0:48:34 | 0:48:39 | |
gives you a feeling of something connected to an expedition | 0:48:39 | 0:48:43 | |
to the south pole even though you might not be aware of it. | 0:48:43 | 0:48:48 | |
They could take it off, | 0:48:48 | 0:48:50 | |
so in a way it's more about designing something that you can remove from the face, | 0:48:50 | 0:48:56 | |
rather than a make-up which stays on throughout the show. | 0:48:56 | 0:48:59 | |
A lot of expression, even in dance, comes from the relationship of the face and the body. | 0:49:04 | 0:49:09 | |
When the face is masked or in some kind of change, the expressivity of the body has to change. | 0:49:09 | 0:49:15 | |
That's what they're finding their way through. | 0:49:15 | 0:49:18 | |
The more that they dance in those masks, | 0:49:18 | 0:49:20 | |
the more they'll be able to find the connection with the audience without their normal tools. | 0:49:20 | 0:49:24 | |
So I think that challenge is a good one. | 0:49:24 | 0:49:27 | |
HAUNTING MUSIC PLAYS | 0:49:27 | 0:49:29 | |
I like to find what is the temperature of right now | 0:49:34 | 0:49:38 | |
and how is it I can express myself with the material of the moment? | 0:49:38 | 0:49:42 | |
I just think that is very much, absolutely the way in which Diaghilev would've thought. | 0:49:42 | 0:49:47 | |
How can we set circumstances where we do the brave new thing absolutely of the moment? | 0:49:47 | 0:49:53 | |
AMBIENT MUSIC PLAYS | 0:49:53 | 0:49:55 | |
ROBOTIC VOICE: I remember it well. | 0:59:00 | 0:59:02 | |
I asked you not to go. | 0:59:02 | 0:59:06 | |
But all I heard was the screaming silence of the wind. | 0:59:07 | 0:59:14 | |
And just like the wind will always blow through the leaves, | 0:59:14 | 0:59:20 | |
I will always remember this | 0:59:20 | 0:59:24 | |
as our last lost chance. | 0:59:24 | 0:59:28 | |
VOICE ECHOES | 0:59:28 | 0:59:31 | |
PIANO MUSIC PLAYS | 0:59:31 | 0:59:33 | |
POWERFUL STRING MUSIC PLAYS | 1:02:03 | 1:02:05 | |
AMBIENT MUSIC PLAYS | 1:05:43 | 1:05:45 | |
ELECTRONIC MUSIC PLAYS | 1:06:08 | 1:06:11 | |
EERIE RUMBLING | 1:10:01 | 1:10:03 | |
SILENCE | 1:13:30 | 1:13:33 | |
APPLAUSE | 1:13:37 | 1:13:40 | |
CHEERING | 1:13:56 | 1:13:58 | |
Subtitles by Red Bee Media Ltd | 1:14:05 | 1:14:08 | |
E-mail [email protected] | 1:14:08 | 1:14:11 |