Working within a poetic and impressionist vein, And then, one thousand years of peace relies on an assiduous but not irrational reading of the Apocalypse. One should thus refrain from looking for images or clichés that illustrate, directly or referentially, Saint John's famous text.
A fertile source of interpretation, the very word Apocalypse (from the Greek apo: "to lift" and calypsis: "veil") evokes the idea of revealing, unveiling, or highlighting elements that could be present in our world but are hidden from our eyes. It should thus evoke what is nestled in the innermost recesses of our existence, rather than prophesizing about compulsive waves of catastrophe, irreparable destruction, or the imminent end of the world.
When dance, the art of the indescribable par excellence, assumes the role of the developer (in the photographic sense), is it not most able to realize this delicate function of exposing our fears, anxieties, and hopes? Dance relentlessly highlights the entropy of molecules programmed in the memory of our flesh that heralds the Apocalypse of bodies. It stigmatises our rituals and reveals the incongruity of our positions, be they of a social, religious or pagan nature.
And then, one thousand years of peace wishes to graze these bodies that drift along blindly, tossed about by ideals and beliefs, somewhat lost between the lines of the Apocalypse.
Piece for 21 dancers
(except Les Anges by Benjamin Rippert and Sonate au Clair de lune by Beethoven - Mixing by Scan X)
Assistant, Deputy to the artistic director
Youri Van den Bosch
Production initially created within the France-Russia Year, 2010
Conseil Général du Rhône / Biennale de la danse de Lyon (France), Théâtre National de Chaillot (France), Grand Théâtre de Luxembourg, The Amsterdam Music Theatre (The Netherlands), Theater im Pfalzbau (Germany), Spielzeit'Europa - Berliner Festspiele (Germany), Théâtre de Saint-Quentin-en-Yvelines (France), MC2: (France), Théâtre de Caen (France), Opéra Royal - Château de Versailles Spectacles (Paris, France), France Russia Year 2010 With the support of Grand Théâtre de Provence, Aix-en-Provence (France)
Special Thanks to Communauté du Pays d’Aix, Ville d’Aix-en-Provence and Mazars (Auditing and Advice) for their specific financial support for this project