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pridružio im se i Stiven Prengels, u komadu o društvu inspirisanom tradicijom fanfara i bras bendova. C(H) CEURS (2012), do sada najveći Platelov projekat, rađen je po narudžbini operskog reditelja Žerara Mortijea, Platel je radio na čuvenim horskim scenama iz Verdijevih opera, kojima je kasnije dodavao muziku iz dela Riharda Vagnera. U projektu C(H)CEURS on istražuje - zajedno sa svojim plesačima i horom Teatra Real koliko jedna grupa može da bude „opasno predivna".
„ Belgijski koreograf i reditelj Alen Platel i kompozitor Fabricio Kasol sarađuju po četvrti put, Fuzionišu umetnosti. Rekvijem za L. je pokušaj da ukrste nezavršenu, tuđom rukom dovršenu kompoziciju Volfganga Amadeusa Mocarta sa savremenom muzikom... Tek u trenutku kada je sve organsko ugašeno, najbliži se usuđuju da ljube telo. Na ekranu puštaju na volju bolu - i olakšanju što je okončan. Vide se samo njihove ruke, kosa i leđa kako se naginju nad leš. Ali i to je dovoljno da bi se znalo da kad smrt zaseni život, život se ipak nastavlja." Dorion Vajkman, Zidojce cajtung
Frank Van Laecke, he created Gardenia (June 2010), a production in which the closing of a transvestite cabaret affords us a glimpse into the private lives of a memorable group of old artists. In 2015 Alain Platel and Frank Van Laecke renewed their collaboration, this time joined by composer Steven Prengels, for En avant, Marche!, a performance about a society inspired by the tradition of fanfare orchestras and brass bands. C(H)CEURS (2012), so far Platel’s biggest project, is created on demand of opera director Gerard Mortier. He got to work with the famous choral scenes from Verdi’s operas, later on he added pieces of music from Richard Wagner’s works. In C(H)CEURS he examines - together with his dancers and the Teatro Real choir - how 'dangerously beautiful’ a group can be.
FROM THE REVIEWS
“This is the fourth cooperation between the Belgic choreographer and director Alain Platel and the composer Fabrizio Cassol. They fuse arts. Requiem for L. is an attempt to cross an unfinished composition by Wolfgang Amadeus Mozart which someone else has completed, with contemporary music... Only when everything organic has been distinguished, do the close ones dare to kiss the body. On monitors they show their pain, and the relief that it is over. Only their hands, hair, and backs are visible, leaning over the corpse. But even that is enough to know that when death overshadows life, life still does continue.” Dorion Weickmann, Suddeutsche Zeitung
IZVODI IZ KRITIKA
"Requiem for L. confronts us with our own mortality in a way that is both sad and joyful, serene and boisterous. It is a unique work, one that, should you feel able to abandon yourself to what it proposes, ends by bringing the catharsis.” Teresa Guerreiro, Culture Whisper
“You could regard this offbeat take on Mozart's Requiem as a kind of grief party, by turns solemn and ceremonial, but also joyous and lively. The cast wear mainly black. Most are in gumboots (presaging a climatic stomping about on those graves). Their musicianship is masterly, fronted by a trio of classically trained vocalists juxtaposed against the musically looser styles of three physically wiry, African-born singers." Donald Hutera, The Times