Warning
We hereby inform you that the "Viagogo" website is currently selling tickets for West Side Story without any resale authorization from the Théâtre du Châtelet. Any purchase of ticket(s) on the "Viagogo" platform may not comply with the Théâtre du Châtelet's pricing policy and exposes the spectator to the risk of not purchasing a valid ticket or not benefiting from a quality of seating in line with the advertised price.
Saturday
18 june 2022
20h00
Sunday
19 june 2022
15h00
Tuesday
21 june 2022
20h00
Wednesday
22 june 2022
20h00
Thursday
23 june 2022
20h00
Saturday
25 june 2022
20h00
Wednesday
29 june 2022
20h00
Thursday
30 june 2022
20h00
Friday
01 july 2022
20h00
Saturday
02 july 2022
20h00
Listening to a tape recording of Béla Bartók’s opera “Bluebeard’s Castle”
In conflict with the Wuppertal orchestra, Pina Bausch decided in the mid-1970s to use recordings as soundtracks for her performances. For Bluebeard, the music is a scenic element, manipulated by the dancers: the tape recorder that broadcasts Bartók’s opera is constantly stopped, rewound, and played again. Repetition becomes a structural process of her choreographic language. In a set by Rolf Borzik, a large room in the castle with a floor covered in dead leaves that crunch under the dancers’ feet, Bluebeard and his new wife Judith love and confront each other with violence and screams. This reading of Perrault’s tale shows a monstrous and aggressive Bluebeard, locked in his despair. Pina Bausch choreographs him as a tyrant and as a man who suffers from the control he exercises over others and himself.
