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© Éric Lucas

She felt extraordinarily empty, empty hands, empty stomach, empty head, in that state of absolute vacuity, enchanted and pessimistic, that one experiences on completing something important and decisive."


This state described by Joseph Delteil when talking of Joan of Arc is one often experienced when coming off stage. When one is still caught up in the atmosphere of performance - a moment suspended in time. It is this particular mood and its ensuing gestures which interest me. This moment so condensed that it becomes a vacuum to be filled with a phenomenon approaching the sacred spheres. They are seven, seven attempting to dance on the site of illumination, seven women in a state of extreme and absolute receptivity.


Of Joan of Arc, it was also said that she was the meeting point of many symbols: virginity, war, purification, saintliness, self-denial. These figures are sometimes contradictory, and yet I would like to find some record of their convergence, which would then help me to give to this army of women the meaning and reasons of a suppressed exaltation.


Angelin Preljocaj



Creation 1987 for 7 dancers



70 minutes



Angelin Preljocaj



Michel Decoust for a group of 10 musicians


Directed by  

Paul Mefano


Scenery and costumes design  

Annick Goncalves


Costume production  

Chris De Clerq, Namik Gaud


Construction of scenery                                            

Bruno Lanrouilly, Pascal Legros



Jacques Chatelet


Commissioned by Festival d'Avignon


Co-produced by Conseil Général du Val-de-Marne,

Biennale de Danse du Val-de-Marne,

Théâtre de la Ville, Ville de Fontenay-sous-Bois


With the collaboration of the «  Ensemble de musique contemporaine  » 2E 2M

The stage recovering is provided by Isofra.