Rite of Spring

This adaptation of Stravinsky’s ballet captures the controversial elements that made the performance so infamous after its 1913 premiere. The highly visceral nature of the composition and the pagan themes that are explored in the original text are spectacularly transposed into an Eastern context. The notions of death, self-sacrifice and reincarnation are brought to the forefront, and the Buddhist principles and tales which influence both the aesthetics and the choreography bring a very different perspective to this tumultuous score. 

The exploration of the idea of a balance between polar opposites that is imbued in Rite of Spring is thoroughly investigated in this adaptation. The dance movements are strident and unnatural and this immediately evokes feelings of discomfort and disturbance. The choreography plays heavily on the contrast between controlled and stylised gesture and seemingly uncontrolled movement suggesting devilish possession. The power and passion of the choreography is skillfully displayed by the dancers, often pushing their bodies beyond earthly boundaries. This creates moments of breathtaking beauty in the performance.

The set design is simple yet visually exciting, sometimes eliciting scenes of immense calm and tranquillity and other times creating an alarming or ominous atmosphere. The costumes also echo this emphasis on Yin and Yang combining hot vibrant colours with subdued earth tones. The grandeur of the set design reaches its pinnacle with the presence of the giant body puppet representing the lion, where the sacrificial offering takes on a transcendental tone. 

The presence of a Tibetan monk who labours over an enormous pile of Chinese glyphs, slowly and patiently shifting them from one place to the other, reinforces the cyclical nature of this interpretation of Stravinsky’s masterpiece. The finale has a quality of magical realism and produces an awe inspiring and uplifting culmination to the show. 

In this production original compositions by He Xuntian are combined with Stravinsky’s and this probably warranted live rather recorded music in order to further enhance the magnificence of this performance.    

Patricia Di Risio

Photographer:Yijian Li