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  Opus 40 | Les Ballets d...  
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La voix gutturale et pourtant familière de Meredith Monk accompagne cette odyssée intimiste, scandant les pas des danseurs de l’évocation des goûts de notre jeunesse. Le cri des oiseaux, l’odeur du café, les premières amours… Car il convient de revenir à ces attractions simples de la vie pour traverser des périodes charnières.
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The choreographer was forty years old in July 2000, when he created this ode to Youth. Without a narrative framework, dance follows the main theme of pleasure. We are invited to return to the imaginative world of our childhood, to recapture lost sensations, the first emotions of our flesh. The guttural, though familiar voice of Meredith Monk accompanies this intimist odyssey, beating time to the dancers’ evocation of the tastes of our youth. Bird songs, coffee smells, first love… For, when we reach a turning point, it is suitable to return to these simple charms of life. This way, the choreographic theme ventures into regions of secret joys, to climax in languid duos, symbolising the return to adulthood, accepted and acceptable, because it is sublimated by love that soothes and provides the tranquil fullness of an intense existence.
  Memento Mori | Les Bal...  
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Le plus triste serait pour le chorégraphe que par habitude, on finisse par l’oublier… Penser à la mort, c’est se souvenir qu’elle est notre compagnon muet depuis notre premier cri jusqu’à notre dernier soupir et que par sa présence permanente, notre vie devient elle-même le plus grand des mystères.
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Memento Mori. Remember that you will die. This age-old Latin expression is the starting point of the new work by Sidi Larbi Cherkaoui. This sentence is no threatening injunction or macabre desire to remind us that death awaits us all. The choreographer simply invites us not to allow ourselves to be numbed by the idea that if death is inevitable, there is nothing to be said or done about it but to wait for it. On the contrary, death deserves our regular and constantly developing attention. For it is certain that we do not think about death in the same way as a child, as an adult or as an older person. For the choreographer, the saddest thing would be that routinely, we end up forgetting about it… To think about death is to remember that it has been our silent companion from our first scream to our dying breath and that in its constant presence, our life becomes the greatest of mysteries. Socrates said no less by saying that philosophy was practice for dying. Sidi Larbi Cherkaoui has always sought to infuse his choreography with this spiritual dimension which prompts us to reclaim our reality. That reality does not change, it is the way we look at it which changes and enables us to be individuals in progress. To remember is to grow.