

The solemn sound of Vivaldis “Four Seasons” sets in. The
four bodies on stage just stand around – neutrally. Waiting. All
of a sudden spraying out excerpts from their repertoire: Triple turn
on half pointe, freeze in a hug. What relationship do these technically
highly trained dancers have to the rousing music? Why do they consistently
deny its emotional content? In “amour, acide er noix”, Canadian
choreographer Daniel Léveillé boils down human encounters
into an ironic and startling cosmos.