Bayadère is a show steeped in idealized exoticism, both in its melodramatic plot and the aesthetic of the whole.
Historically, La Bayadère’s most famous scene The Kingdom of Shades presents itself on the borderline between this world and the other world. Here, the shades appear as if frozen in their tragic condition and perform ritual movements.
This act expresses a vision that goes beyond its context and opens onto a passage of pure movement, abstract and lucid in its formal simplicity. I focused on the compositional potential that this scene holds; not with the intention of duplicating it, but to unleash all its dynamic force and to restore to Solor’s hallucinations their true psychedelic nature. Designed for a group of young artists, this new Kingdom of Darkness – so mysterious and evocative – belongs to the exceptional times in which we live. It refers to something lost yet feasible, something about the presence of bodies and the intertwining of their trajectories. All within a space which is no longer just an afterlife, but it’s also a present which wishes to be reinvented, with delicacy and passion.