Angelin Preljocaj, The Casimir Effect

A film by Valérie Müller

Certain chapters are not available.
Thank you for your understanding.


Angelin Preljocaj — Choreographer

Program notes

An intimate documentary that opens the doors of the art of dance

Born in France in 1957, Angelin Preljocaj first studied classical ballet before chosing contemporary ballet. In 1984, he created the Preljocaj company that now counts 26 dancers. From then on, he choreographed 46 pieces. He is considered a figurehead of contemporary ballet and often collaborates with other contemporary dancers. His work, although very contemporary, remains tinged with the tradition of classical ballet.

Angelin Preljocaj produced short-movies and films, and his choreographies where at the origin of many cinematographic realizations such as Les Raboteurs with Cyril Collard, inspired from Gustave Caillebotte's work in 1988, Pavillon Noir with Pierre Coulibeuf in 2006 and Eldorado with Olivier Assayas in 2007.

For his work, Angelin Preljocaj was rewarded many times: in 1992 with the Grand Prix National de la danse of the French Ministry of Culture, in 1995 with the Benois de la danse for his piece Le Parc, in 1997 for Annonciation and in 1997 by Les Victoires de la musique for Roméo et Juliette. He also received a Crystal Globe for Blanche Neige in 2009 and a Herald Angel Award for Helikopter/Eldorado (Sonntags Abschied) and Suivront mille ans de calme at the Edinburg International Festival in 2012.

Valerie Müller's documentary Angelin Preljocaj, The Casimir Effect paints the portrait of the choreographer and reveals – thanks to interviews, rehearsal moments in studios or on stage, and extracts of shows – his work, creativity, reflection, and, on a larger scale, the world of contemporary dance. The Casimir effect is the force of the vacuum. When two metal mirrors are put face to face in the vacuum, they come closer, attracted by a mysterious force. In Angelin Preljocaj's works, this effect happens when the spectator receives the show, or when gesture joins the voice, which is what the choreographer often looks for.

More info