Pathetique and

Carmina Burana

Choreography and Concert

Pathetique

Tchaikovsky’s 6th symphony begins and concludes his music in darkness, following the shadows of his life story. Contemporary dance, mime, and lighting effects depict the pressures faced by a minority group. Can one be who they wish to be, or is it determined by the majority?

Adjacent to the symphony orchestra stands a large standing mirror, a clothing rack with various garments, a trash can, a stool, and a rug. A dressing room where one can 'transform', change attire, but also confront oneself. The young dancer enters optimistically and dances across the broad stage. It's not entirely clear "what" they are: a woman or a man...? In the first part of Tchaikovsky, they exhibit different facets and struggle with their own identity. They gaze into the mirror, attempting to force themselves to love, but this obsession seems rather destructive.

In the second part of Tchaikovsky, six older dancers enter the stage one by one. They each wear dark, different attire representing various professions: construction worker, director, housewife, civil servant, and sex worker. All the dancers are over 60 years old.

The young dancer is inferior to the group of dancers, lacking understanding of them. She is oppressed, confined to a box, cleaned, and dressed, and forced to conform to the group's values. Efforts are made to change her. Will her identity remain intact, or will she succumb to the pressure of the group? The performance is an emotional journey showcasing the beauty of a young dancer striving to be themselves with utmost effort, a timeless theme set to classical music, and modern dance in a contemporary setting.

Carmina Burana

Joined by a choir of around 70 people, the symphony orchestra performs Carmina Burana after the intermission. The young dancer from Tchaikovsky remains on stage, lying under the blocks. As Carmina Burana begins, the young dancer is still on stage. She is rescued by a young man, entering with a light stick through the audience. He is the ‘Robin Hood’ of this story. After freeing the young dancer from all the blocks, the focus shifts to being oneself. The young dancer dances as she wishes, the young man dresses in a gown, and the older dancers appear on stage in cheerful attire. At first glance, it seems everyone can be themselves, but even the young man in a gown realizes he is not yet accepted. As he sings his aria, he is surrounded by the group of older dancers (again in dark clothing) who confront him with his self-image by holding mirrors in front of him. In Carmina Burana, everyone seems tolerant towards each other, but there is still much judgment when dancers can hide behind dark clothing, sunglasses, and hats. Not everyone accepts minority groups, and it is still relevant. The final image of Carmina Burana is a box of light sticks. The symbolic closet where queer people can be trapped, the box you're pushed into. The young dancer claps, and the light from the box goes out. She walks away with the other young man before the famous 'O Fortuna' sounds one last time. The box is still there, but it has been decided to turn off the light and move on.

Direction and choreography: Mayke van Veldhuizen
Dancer: Anna Riley-Shephard
Performer and singer in Carmina Burana: Rikkert van Huisstede
Older dancers: Dance Connects Amsterdam
Symphony Orchestra: De Nije Symfony
Conductor: Ronald Slager
Soloists: Joep van Geffen (bariton) and Fardau van der Weide (sopraan)
Photographer: Bruno Robalo