The performance SAGRA is the development of the choreographic and theatrical research of Progetto BROCKENHAUS that focuses on the link between body, action and theatrical writing and explores the dialogue between dance, theatre and music. SAGRA was born from the evocations triggered by the music of Igor Stravinsky’s The Rite of Spring from the cues offered by memories, the memories and comments of the version that debuted in Paris in 1913 with V. Nijinsky’s choreography (a performance that so shocked the audience) and from the self-portrait that with painful candor Nijinsky traced in his Diaries.

Driven by the fascination of many memories related to the debut of the Rite of Spring, (with Debussy and Ravel sitting in the audience, but “on opposite sides for rivalry”; Nijinsky who, behind the scenes, “standing on a chair shouting the numbers to the dancers like a boat leader” and the director P. Monteux, on the podium, “impervious and impassive like a crocodile” in the clamor of protests) we tried to understand how we could return these feelings with our performance.

In the foreground there is a visionary director who maneuvers the scene trying to put his imagination into action. His visions in composing and following one another grow out of all proportion until they suck him into a vortex of dances and rituals that are discharged into the earth.

The supporting structure of the show is built on a series of antinomies: silence and music, darkness and light, reality and dreams, full and empty space. In this place real and surreal figures manifest themselves that reflect fragments of our feeling.

It is a performance without “a story” but it is a set of images.

It is an attempt to give a slight caress on a centenary of versions of creations inspired by the Rite of Spring.

It is the emergency of being faced with the act of creating from nothing to full.

It is a choreography that develops in the search for all shades of gray.

The performance SAGRA is the development of the choreographic and theatrical research of Progetto BROCKENHAUS’ which focuses on the link between body, action and theatrical writing and explores the dialogue between dance, theatre and music. SAGRA was born from the evocations triggered by the music of Igor Stravinsky’s Sagra de la Primavera, from the cues offered by the memories, the remembrances and comments of the version that debuted in Paris in 1913 with the choreography of V. Nijinsky (a performance that scandalized the public) and from the self-portrait that Nijinsky drew in his Diaries with painful candour.

Driven by the fascination of so many memories linked to the debut of the Sagra della Primavera, (with Debussy and Ravel sitting in the stalls, but “on opposite sides due to rivalry”; Nijinsky who backstage “standing on a chair, shouted numbers to the dancers like a ship’s captain” and the conductor P. Monteux, on the podium, “impervious and impassive as a crocodile” amidst the clamour of the protests) we have tried to understand how to restore these sensations with our performance.

In the foreground there is a visionary director who operates the stage trying to put his imagination into action. His visions in composing’ decomposing and following each other grow out of all proportion until they suck him into a vortex of dances and rituals that are unloaded into the earth.

The backbone of the show is built on a series of antinomies: silence and music’ darkness and light’ reality and dreams, full and empty space. Real and surreal figures manifest themselves in this place, reflecting fragments of our feelings.

It is a performance without “a story” but a collection of images.

It is an attempt to give a gentle caress over a hundred years of versions of creations inspired by the Sagra.

It is the emergence of being faced with the act of creating from nothing to the full.

It is a choreography that develops in the search for all shades of grey.

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