Sarabande (1990)

On the background of Bach’s Sarabande, Ji?í Kylian is continuing his search for basic answers to a basic question of children: ‘Why?...’
Simple structures, banal situations, visions of dreamlike episodes, flashbacks, fractured motorics of dance and pantomime; they all are ingredients of this choreographic ‘cookery’ and ensure that the question will never be answered.
Kylian has conceived Sarabande – like a number of his later works – as ‘a venture by means of choreography’. It is fundamentally related to No More Play, Falling Angels, and Sweet Dreams – as a black and white sketch to be completed and coloured in the mind and fantasy of the observer. And, although their starting point is of clear intellectual nature, the result itself is determined by emotional energies.
Bach’s music, with its perfect structure and divine vision, is not interpreted – does not need any interpretation.
As for this ballet, the contrast between music and dancing / sounds provides a voluptuous playground for human relations and instincts.