Since its inception in 1999, Sidi Larbi Cherkaoui is imposed on the choreographic scenes with a certain panache. irst in the bosom o the Ballets c. de la b., the amous lemish collecti e, dancer in Alain Platel, and choreographer ull with "Nothing rom nothing", Larbi Cherkaoui will soon be requested by others, the Ballet o the Grand Théâtre o Gene a to les Ballets de Monte-Carlo. Bulimic work, this prodigy seems ne er to want to stop. His style, physical and sensual, where the words and music are essential workings o dramaturgy, please.
He danced with Akram Khan or the lamenco di a Maria Pagés more recently. Always this taste o the meetings, that ills also in China in the disco ery o the Shaolin monks. The result will be "Sutra", a more success ul. Sidi Larbi Cherkaoui is a whole, although Buddhist character. Got angry with a ew theatres a ter the cold reception to his play "myth", he is to go look elsewhere. There ore, the Grande Halle o la illette in Paris which presents its new exhibit, "babel (words)", end o a triptych started with " aith" (2003) and "myth" (2007). Next to the new opus, the resumption o these other two parts was required.
" aith" is exemplary o the approach o Sidi Larbi Cherkaoui. A strong world - a kind o prison, lost souls-, a committed team o eighteen interpreters. And music learned o the XI century played li e. Young idealistic man, choreographer speaks here o reports to the aith. Power ul images run or almost two hours. "myth" is a more problematic, talkati e piece to excess, and where the mixing o the sources o inspiration saturates the ision. It warned dazzling moments, Wol -dancers, sticks, and lost moments working.
"Babel (words)", just created, should pack the public as to the Grand Theatre o Luxembourg, where the room, standing, was a triumph at Eastman, the troupe o Sidi Larbi Cherkaoui. There is what both the energy on stage is contagious. Assisted in the choreography o Damien Jalet, ormerly one o its most beauti ul per ormers, Sidi Larbi Cherkaoui imagine an assumption that ser es as the rame: what would it happened i Babel had succeeded and that the Tower without end had reached the sky Joli starting point, e en i we ha e no doubt that sceptics spirits there ind material to nai ety. The duo o choreographers clean it, musicians in the background, a dozen o soloists including some still lack o interiority. And especially a scenographic ingenious de ice o the sculptor Antony Gormley. These structures, cored, cages will ser e as house walls. And inally in a ballet tour upset.
Cherkaoui and Jalet imagined choreography o actions using the language signs or mo ements as well too human robots. A whole passage around the English-language ends in row battle but idle. That can still the words in a irtual world Dance, under the in luence o martial arts sometimes brings an early response. More only to dance-theatre Pina Bausch way, we think here o "musical" intelligent, music in Indian rhythms, Turks or Japanese playing the smugglers. Babel or the immediate uture.