Tryst: Devotion and Betrayal 2014

Tangents 

“Tangents is an abstract investigation into relationships and how people interact within them. There are different types of relationship but there’s a main path that more or less every couple goes through. Everyone travels that path in various ways but there are certain situations we all recognise and go through as a community.
The ballet was mainly inspired by the music and I tried to reflect the music’s drastic changes of mood in my choreography while making a visual and emotional connection between them.” Daniela Cardim, Choreography

Orbital Motion

“Orbital Motion was originally choreographed for The Royal Ballet’s Draft Works, an annual event which that year had the audience surrounding the stage from all angles. When I started choreographing the piece the general idea was to give the audience from every side a facade of the choreographic patterns and aesthetic lines. This train of thought introduced a circular motion throughout the piece in order to have most of the choreography facing outwards towards the audience” Valentino Zucchetti, Choreography 

TOCA

“Toca is inspired by The Maias, a novel by the great Portuguese author Eça de Queiroz. It’s a story about a brother and sister that were split up when they were very young. They meet as grown-ups, unaware they’re siblings and fall in love with each other. The story is very long, dramatic and full of detail but I’ve stripped it right down to the essence of the relationship between the two central characters.” Érico Montes, Choreographer

Mad Women

“I was inspired by an exhibition of photographs by Miles Aldridge at Somerset House in London. He created a dream world populated by modified women who are visually perfect objects of desire. These women have evolved into flesh and blood Stepford wives and men are assumed to be their consumers. Mad Women is me wanting to comment that this isn’t a man’s world, it’s very much a woman’s one.” Kristen McNally, Choreographer

Kreutzer Sonata

“After hearing a powerful performance of Beethoven’s Kreutzer Sonata in his Moscow home Tolstoy was inspired to write his novella. Janácek in turn composed his version in response to the novella thirty four years later. Interestingly, Tolstoy originally intended it to be part of a performance event, which solidified my belief and desire to translate it into a new dramatic ballet. The music both inspired the narrative and was created in response to it, meaning that the action and psychological depth of the complex characters are deeply embedded within it.” Andrew McNicol, Choreographer