choreography by
Igor Stravinsky

texts by
Saverio Bari

directed by
Stefano Monti

Visual animation on piano score



With Vlad Scolari, Francesca Martignetti, Lara Guidetti, Martina Monaco, Saverio Bari, Tony Contartese.

With the collaboration of Monique Arnaud.

Direction assistance Tony Contartese.

Francesco Bonati, Beatrice Cazzaro, Clara Chiesa, Cosimo D’Agnessa, Anja Dimitrijevic, Aisling Lenti, Alizarina Silva.

Collaboration carried out as part of the Master’s Degree Course in Science and Techniques of Theatre of the IUAV University of Venice



Born as a commission of the Stresa Festival, Le sacre du printemps is a visual animation that contaminates dance with puppetry. Puppetry is defined as that theatrical art that uses “objects” as protagonists of the show: tools of a strong visual and sensorial language able to enter into perfect symbiosis with music, another universal language.
Stravinsky’s score is proposed in its two pianos version, performed on the occasion of its premiere by the French duo, the Labèque sisters.

The initiatory experience of transformation becomes the evocation of a state of grace, which speaks to us of the effort to make sense of confusion to the point that it becomes transfigured, and tells us about the path of artistic creation and the profusion of energy that every work of art requires from those who want to give it life. The sacre is a deeply human question, which overcomes the artistic concept: it is a work that does not speak of a ritual, but of a real experience of self-knowledge.


The anthropomorphic dimension of puppetry is a universal phenomenon. Puppet theatre seems to have preceded theatre with live actors because the representation of the gods was forbidden to mortals. As in a rereading of the pagan rites that the work tells us about, we propose again the archaic mystery of the puppet, that is the place somewhere between object and subject, between inanimate and animate. The human person is seen as a pure object but an object to which, paradoxically, we want to try to give the dignity of a real subject, a characteristic that also distinguishes objects of ritual use. With this relationship and measure the animators and the female dancer, in a game of exchanges of energy and identity.

The division into two parts – day and night – of the original score relives in the continuous tension between light and darkness. The cornerstones that moved the theoretical elaboration of dramaturgy are three: the first is the historical condition, the second was Kazimir Malevič (1878-1935), as a reference artist and source of inspiration; the third was the assumption of an object, the frame, which by its nature had the characteristics that could better tell the metaphor of Le Sacre du Printemps through the value and the regeneration of the creative act. Furthermore, a fourth element introduces an absolutely new character: the contamination/complicity between dance and puppetry, which translates into the particular
use of the performers: not only manoeuvres hidden in the dark but also as visible bodies that interact with objects.