In 2012, Ballet Preljocaj left us in awe with their elaborate production of Snow White (Blanche Neige), a performance marked with elaborate set design, lush costuming, and masterful choreography that deconstructed the whimsical fairytale into a beautifully dark retelling. With much anticipation, the company is back this season with an equally powerful evening-length work, And then, one thousand years of peace, inspired by visions of the Apocalypse in the Book of Revelations.
In this epic work, choreographer Angelin Preljocaj navigates the depths of apocalyptic uncertainty to uncover revelations about the truths of our existence.
Opposed to perceptions of an apocalyptic demise, Preljocaj utilizes various moments of tension and disarray as an exploration for the capacities of human interaction. Preljocaj describes the word apocalypse as a fertile source of interpretation that:
“…evokes the idea of revealing, unveiling, or highlighting elements that could
be present in our world but are hidden from our eyes. It should thus evoke what is nestled in the innermost recesses of our existence, rather than prophesizing about compulsive waves of catastrophe, irreparable destruction, or the imminent end of the world.”
For Preljocaj, the work is meant to touch on matters in the society we live in today and the potential consequences of this reality on our future. The power of the piece is its ability to transcend across cultures and create a fabric in which we can understand the intersections of mankind.
And then, one thousand years of peace challenges the boundaries of contemporary dance and creates a space that knows no limits. With unapologetic and commanding prop usage and the deconstruction of the capacity of human relationships, the choreography of Preljocaj is the beauty of movement laid bare for all to indulge in.