Basin Dance Collective is excited to premiere
PARADE: Ballet Réaliste
with the Acadiana Symphony Orchestra
at the Heymann Performing Arts Center
MARCH 16, 2018, 7:00pm
Tickets here: https://tinyurl.com/
PARDE is a collaboration between the Acadiana Symphony Orchestra and Basin Dance Collective in partnership with the University of Louisiana at Lafayette.
Choreography and Direction by Clare Cook
Architectural Design by Ashlie Latiolais
Projection Design by Jon Thomas Rabalais
Costume Design by Kendra Weeks
Lighting Design by Brian Schneider
Paige Barnett, Sydni Bourg, Nicole Curtis
Rachel Geiger, De’Ondre Goodley, Whitney Hebert, Riley McCallum
In 1917, Diaghilev’s Ballets Russes premiered Parade (pronounced PUH-ROD) in Paris with music by Erik Satie, scenery and costumes by Pablo Picasso, choreography by Léonide Massine, and book by Jean Cocteau.
The collaboration began in the midst of World War I as many were challenging the rigid, tradition bound aesthetic of the bourgeois society. In Cocteau’s words, he wanted the ballet to reflect the “brash commercialism of modern life.”
Parade was the first work of art to be labeled as Surrealism, pre-dating the visual art movement in Paris by three years. Everyday sounds and popular entertainment of the period such as Parisian music halls and American Silent Films were influential in all aspects of the ballet. The scenario of the original ballet features the failed attempt of a troupe of performers who emerge from Picasso’s famous scenery to dance in the street with the hope that spectators will pay to come inside the theater for the real show.
Over 100 years later we revisit Parade through the intersection of architecture, dance, and technology while drawing new inspiration from Satie’s original score. In 2018, the space between the virtual and physical worlds has been drastically redefined by our interdependence on technology and even our everyday human movement vocabulary has changed. We are simultaneously observing, performing and consuming information at a rapid pace. How does the existence of our “real self” function within the performance of our digital persona?