House by Sharon Eyal + Rite of Spring by Mats Ek

House House, by Sharon Eyal, is divided into several parts, like the different compartments of a house fully inhabited by the performers. Through a succession of collective sequences and solos that reflect, collide, and merge, the piece portrays a world — or a home — in crisis. With music by Ori Lichtik, a DJ from the techno scene, the rhythms create a nocturnal and festive atmosphere, intersecting with references to classical ballet and contemporary dance. In this ode to dance in all its forms, Sharon Eyal builds a movement language that is both sensual and demanding. Beyond its virtuosic, almost clinical precision, the choreography opens space for deep emotional charge. The bodies, strange and hybrid creatures, between human and robotic, undulate and unfold in a continuous flow of gestures, in a unity that can dissolve at any moment through a permanent play of imbalances. Rite of Spring When it premiered in Paris in 1913, by the Ballets Russes, in the choreography of Vaslav Nijinsky, The Rite of Spring, by Igor Stravinsky, sparked strong controversy and became a decisive work in the history of 20th-century dance and music. Since then, this score has inspired numerous choreographers, confronted with the rhythmic intensity of the music and the ritual of renewal that runs through the piece. In 1984, Mats Ek created his version of The Rite of Spring, revived in 2022 for the English National Ballet. Four years later, the choreography is passed on to the artists of the Ballet de l’Opéra de Lyon, who perform this version for the first time. In Mats Ek’s reading, Stravinsky’s music translates into direct movements, collective tension, and constant impulses between the group and the individual. Between restraint and intensity, the choreographer builds a ballet centered on the body, ritual, and the idea of transformation. Accessibility: audio-described session on February 18.