13 musical tableaux of "The Rite of Spring" by Igor Stravinsky in dialogue with 13 choreographic tableaux by Milos Sofrenovic on the acceptance of imperfection.
"The funny thing about revolutions is that you never know when or where they are going to start. They can be social, political or artistic. Very often it happens that these artistic revolutions, cultural revolutions, or revolutions in taste actually seem to predict other violent changes in the society.”
( Michael Tilson Thomas on the revolutionary world première of "The Rite of Spring" by Igor Stravinsky, performed on May 29th, 1913. at Théâtre des Champs-Élysées in Paris )
How do we perceive or execute revolutions today ?
How do we visualise or implement our need to change things in order to improve them?
How do we take care that our approach to cultural heritage is not destructive or based on ignorance?
How do we exercise our obligation as human beings to retain our humanity towards our fellow men?
How do we face our fear of becoming judgmental while having the same feeling projected onto us?
How do we accept aging without becoming less enthusiastic about life?
How do we retain the point of view that it is only culture that protects culture and renders things cultural ?
How do we change things without destroying them, but by daring to challenge ourselves in relation to them?
How do we deal with the acceptance of our own imperfection without escaping into constructed lies ?
How do I feel and think about these questions - not easy ones - but deeply relevant to all of us?
“The Rite of Spring” by Igor Stravinsky serves as an excellent example of the Western tradition of harmony being achieved by juxtaposition of the contrasting elements of interval and rhythm. Complicated and rapidly changing rhythms and edgy dissonances contribute to this well-rounded masterpiece by Stravinsky. The Paris of Stravinsky, Picasso, Proust, Renault, Marie Curie, Gertrude Stein and their friends had become The Twilight of the Belle Epoque.
“In my brain there are two things, intervals and rhythm, which are for me the main elements of music.” (Igor Stravinsky )
The first traces of the aesthetic theory of imperfection can be identified as far back as 16th century Japan, during which the flourishing of the tea ceremony first articulated this theory. For example tea cups with cracks on their surfaces, imperfect ones, were considered to be more valuable.
This theory can be explained by the aesthetic value of contrast, which is one of the traditional Japanese aesthetic design principles where harmony is attained by the juxtaposition of disparate, often contrasting, elements. The unity of the whole is designed to emerge spontaneously from the contribution of each element, rather than each part being subsumed as part of a preconceived, overall plan.
As a consequence, it may be normal to expect images of objects and phenomena to appeal to us in their perfect order or condition. Any deviation that they might contain comes as an unexpected surprise and, therefore, is a greater stimulus to our imagination.
New Cycle of Works : THE POLITICS OF MOVEMENT : On Reinterpretation Of ... © Milos Sofrenovic