It follows the thread of a story, similar to what happened with Blanche Neige, but this time it retains only a thin plot of the ancient Chinese tale La pittura sul muro (The Painting on the Wall) that inspired it. In La Fresque (The Fresco), Angelin Preljocaj, while creating for his company, partially succumbs to the desire to narrate through dance. At the center of his thoughts is once again choreography, with a capital C.
La Fresque tells the story of two young travelers, Chu and Meng, who find themselves inside a temple, invited by three monks to observe a captivating fresco depicting young maidens in a garden. The gaze of one of the maidens captivates Chu, who, overwhelmed by love, finds himself within the painting. After being chased away by “a giant in golden armor,” Chu awakens back in reality. In the painting, however, the maiden has changed her hairstyle: no longer does she wear her innocent, loose hair, but rather a bun, signifying her status as a married woman. This essential framework allows the choreographer to explore some philosophical concepts: the relationship between representation and reality (the reference to Plato's cave is evident) and traditional Eastern thought, where appearance is nothing but an illusion. It also reflects on the delicate line of demarcation between life and death, between a beating heart and a lifeless one.
Through a dance of refined gestures, Angelin Preljocaj unveils his characters immersed in an essentiality that is entirely Eastern. The choreography of the two travelers is virtuosic yet grounded; that of the three monks in black is ethereal and fluid; while the movements of the maidens are languid and sensual. Amid the dominant black, the situations of reality and fiction are defined by a black veil (which rises to 'reveal' the fresco) and walls that close when the first duet between Chu and the Beauty takes place. This is only the first of two love duets contained within the performance, juxtaposed like precious cameos among the exquisitely crafted ensemble pieces.
But beyond all of this, Angelin Preljocaj also raises an additional question by choosing to address the theme of representation: what is the place of art in contemporary society?
