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Slovene National Theatre Maribor

Dangerous Liaisons

Dangerous Liaisons <em>Photo: Tiberiu Marta</em>

Photo: Tiberiu Marta

Dangerous Liaisons <em>Photo: Tiberiu Marta</em>

Photo: Tiberiu Marta

Dangerous Liaisons <em>Photo: Tiberiu Marta</em>

Photo: Tiberiu Marta

Dangerous Liaisons <em>Photo: Tiberiu Marta</em>

Photo: Tiberiu Marta

Dangerous Liaisons <em>Photo: Tiberiu Marta</em>

Photo: Tiberiu Marta

A co-production of SNG Maribor Ballet, Ljubljana Festival, and Dubrovnik Summer Festival
Concept and Choreography Valentina Turcu, Leo Mujić
Music G. F. Handel, J. S. Bach, A. Vivaldi, T. A. Vitali, etc.
 

An epistolary novel Liaisons dangereuses by Pierre Choderlos de Laclos (1741-1803), a distinguished French officer, aristocrat, and a man of letters, was instantaneously perceived as an example of acute criticism of the French society at the time. Imbued with the ideas of the Enlightenment, the novel’s influence has not diminished through the ages: quite the contrary, due to its subversive and controversial potency, which reaches beyond Rousseau’s social criticism, it evokes strong visceral reactions. Even if we try not to think about Laclos’s vivisection of the French ancien régime and its false morale, the novelist widely opens a vast theatrical playground, where the "private” matters intertwine with relentless public eye which remained an interesting topic for many 20th century theatrical and television productions, among the latter being a Stephen Frears’s film, dramatized by Christopher Hampton. After a successful production of SNG Maribor Drama, the Dangerous Liaisons have found a new creative conceptualization by choreographers Valentina Turcu and Leo Mujić. The authors, both former students of Béjart’s Ballet Academy in Lausanne, conceived their ballet creation to music of the most distinguished baroque composers (Handel, Bach, Vivaldi, Vitali, etc.), focusing on the contemporary connections between the arts and life. Regarding Laclos as a key figure of modern questioning of the role of love, it is of vital importance to reassess the issue in the present times: love or status? The inspiration for this ballet comes from the key dilemmas: are we prisoners of our own ambitions, and status symbols; why do we even consider policies of libertinage, hypocrisy, primitive passions, and insatiability as legitimate options? And last, but not least: are we capable of (true) love at all?

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