In his book published in 1974, which borrows its title from Nietzsche, the BBL’s creator reveals for the first time “the meaning and secret of his experience and quest, the years of hard work during which he painfully built the body he needed to dance, or rather, to be.” as Le Monde wrote at the time.
“Finding this book by Maurice Béjart allowed me to dance with his dreams and his imagination, confides Yuka Oishi. I read it while intuitively imagining some dances. He mentions that he dreamed more frequently when he started working on Mahler’s Symphony No. 3. The ballet doesn’t really follow the same form as the music and the book, but they were both inspirational. I wanted it to be both introspective and reflected in the dancers. I tried to gently adapt to the sensations and feelings that I could perceive from the dancers’ bodies in order to express this work as a living language.”
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