A new work choreographed by Murobushi for Ariadone.
I did not refer at all to either the original choreography by Nijinski or its variations by European choreographers such as Wigman, Béjart, and Bausch. As for the music of Stravinsky, conversely, I discussed a lot and reworked with Alain Mahé who undertook the music. Stravinsky’s music was incised by the sharpened knife of a computer and metallically played as an excessive variation to stab the dancers’ bodies. I choreographed the work myself, configuring it with silver, mercury, and ocean as an essential of this work.
To ask the question “What is Le Sacre” from the multiple places of bodies and sprits that are already separated, incised, and made to be individual—it is not a recursion to folks or ethnic groups, nor a regression to Mother Nature or to the supernatural, nor an illusion that launches another community. Rather, it is sacrifice, a plane. I made it collide with a nomadic plunging into an ocean of chaos, scattering innumerable meaningless explosions and glimmers.
From his diary