PARADIGMA

BROKEN FALL

BEDROOM FOLK

WITH A CHANCE OF RAIN

Paradigma includes three choreographies by Sharon Eyal and Gai Behar (Bedroom Folk), Russell Maliphant (Broken Fall), and Liam Scarlett (With a Chance of Rain). Each piece presented by the Bayerisches Staatsballett is a representation of current developments in the art of dance.  Just as every paradigm has an inherent structure, the evening is characterized also by the powers which contradict the dominant structure and thereby gain their creative potential. All three choreographies explicitly display these impulses by either following the given structure or by demonstrating a counterpoint and then setting a separate paradigm. In this exciting game of three choreographic handwritings, the ballet evening gains momentum.

BROKEN FALL
Broken Fall is an exciting choreography for two male dancers and one female dancer, which was created by the British choreographer Russel Maliphant in 2003. Broken Fall addresses the human fear of falling in a permanently tense interaction. The work has last been staged in Munich in 2012 and will now be newly rehearsed.

BEDROOM FOLK
The Israeli Sharon Eyal created Bedroom Folk together with Gai Behar in 2015 for the Nederlands Dans Theater 1. The choreography, which caused storms of enthusiasm at the premiere, is characterised by an ecstatic character. The beginning is marked by a strict rhythm and a close group formation. Over time, the strict arrangement dissolves and reveals a whole range of individual movement patterns. A pulse is continuously given by the electronic music, which at the same time forms a powerful centre of energy, but also forces the dancers to move forward.

WITH A CHANCE OF RAIN
With a Chance of Rain was created in 2014 for eight dancers of the American Ballet Theatre on piano preludes by Sergei Rachmaninow. These pieces are characterised by a late-Romantic tonal language in which the dramatic, the lyrical, the melancholy and the tragic are mixed. In the performance Dmitry Mayboroda takes on the pianistically extremely demanding works. The choreography of Liam Scarlett takes Rachmaninow's compositions as its starting point and develops an artistic response to the progressions and harmonies in piano music. A complex and fascinating web of relationship structures is created on stage. This reflects both the choreographer's intensive examination of the preludes created at the beginning of the 20th century and Liam Scarlett's narrative talent, which gives the abstract ballet a very personal touch.