The epoch before the First World War, when Igor Stravinsky composed ‘Le Sacre du Printemps’, was characterized by an intoxicationful demand for intensity of life, which changed later just as rapidly to enthusiasm for war. Logically Stravinsky conceived ‘Le Sacre’ as an orgiastic mass ballet. The dissolution of social structures is reflected in the dissolution of conventional developments and structures in the composition: Fragmentary, blocklike lining up of movements; abrupt changes; polytonality and polyrhythm.

Today, almost hundred years later, the question about authenticity of experiencing arises due to the constantly progressing virtualization of our habitats. It is the dissolution of our sensuous perception, of the space-time continuum, the fading dividing line between real and virtual, fact and fake, which lead us to the limits of our existence.
The discrepancy between the subjective perception and the apparently objective perception by stereoscopic camera systems, whose pictures are filtered and manipulated by computers, forms the base for my production of ‘Le Sacre du Printemps’.
Immersing the ‘chosen one’ in virtuality, her fusion with music and space, as a modern ‘sacrifice’ for the upcoming uncertain new, a metaphor of deliverance and the anticipation of the eternal happiness, which new technologies and old religions promise us. Or at least as a new dimension of perception.

In conventional productions of the ‘Sacre’ one choreographs and dances to the music. In this case however dynamics and structure of the music transform interactively the virtual presence of the dancer and its avatars and produce so a type of ‘meta choreography’.
Stereo-cameras transfer the dancer in a virtual three-dimensional space. Time layers and unusual views overlay and multiply themselves and enable a completely new perception of the body and its courses of motion. Musical motives influence and manipulate interactively the 3D projections. Music is no longer only starting point, but also completion of the choreography.

Klaus Obermaier, July 2006