Their gold and tasseled costumes mirror the opulent décor of the surroundings. They mimic the spectators who continue to enter the theatre. The dancers repeatedly walk up and down the grand staircase. It is a freakish reflection of the Palais Garnier and its jumbling of spectators, décor and architecture. The audience and the building are as much a part of Thierée’s choreography as the dancers. Bewildered and even frightened by the four-legged dancing monsters, the spectators step back to avoid them. They shake their long tails into the audience. Golden metallic dragon-like beasts accompany the dancers. The sharpness of their movements crumbles as they snake around their partners’ bodies. Joining one another, they then forge swirling couples. The dancers perform solos with angular gestures and poses. The choreography is both geometrical and languid. Their acrobatics emulate the circus, which has inspired Thierrée’s vernacular. I feel the thrill of a performance that is shattering convention.Įerie masked dancers in metallic gold costumes decorated with black fabric and green tassels become two-legged creatures. The spectators, who are not permitted to take their seats in the theatre, observe the dancers with wonder, shock or even irritation. Surprisingly, the performance begins in the grand entrance hall and on the staircase of the Palais Garnier opera house. The evening opens with the Swiss choreographer James Thierrée’s Fr ô lons. It is May 30 and the Palais Garnier is showcasing four contemporary choreographers and their inspirational creations for the Paris Opera Ballet (POB). Thierrée / Shechter / Pérez / Pite: Frôlons, The Art of Not Looking Back, The Male Dancer, The Seasons’ Canon Paris Opera Ballet in Crystal Pite’s The Seasons’ Canon.
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