Music by Eva Crossmann-Hecht, Ferruccio Busoni/J. S. Bach, William Forsythe
The ballet revolves around three characters: a “person in historical costume”, a “person with megaphone” and a spectrally grey “other person” all of whom move like dream figures amid a large ballet group of magnificently beautiful symmetrical lines and formations. With only a limited vocabulary, the woman in historical costume seems to emit endless tales, while the other two figures try to communicate by means of hand and arm signals, which are then copied by the dancers. In a second, exclusively dance sequence, an exquisite, neoclassical pas de deux emerges from the symmetrical lines of the ballet group and offers a contrapuntal dance of breathtaking loveliness. Interrupted by the regular plummeting of a curtain, the pas de deux tests our perception of ballet and the way in which it refers to other areas of theatrical experience. A theme that is further pursued in the third part, a violent and lush theatrical cacophony, which experiences a partial resolution in the fourth part.