In Noetic, Sidi Larbi Cherkaoui investigates the instinctive impulse, peculiar to mankind, to capture every detail of both the inner experience and the outer cosmos in structures and at the same time the will to break free of them. The choreographer translates the endless, uncertain search for what lies behind these systems into apparently mechanical patterns that are constantly alternated with his fluid and cyclic language of movement. The melancholy associated with this quest is also expressed in Szymon Brzóska's minimalist music, which surprises with the use of oriental instruments.

Performances in Antwerp of Noetic/Le Sacre du printemps are cancelled. A number of crucial people within the production team have been infected with the coronavirus. 

Therefore it is no longer feasible to stage the performance in Antwerp at the level the public expects. All performances at Theatre 't Eilandje between 21 and 30 January have therefore, with pain in our hearts, been cancelled.

We are now examining whether we can still present the show to the Antwerp audience later this season. All ticket holders will be contacted personally from 17 January onwards. The performance series in the Ghent opera will continue as planned until further notice.


The insatiable quest translating being human into movement is also found in the work of the iconic choreographer Pina Bausch. "Dance, dance, otherwise we are lost," Bausch quoted a girl she met in Greece and who urged her to dance again and again. The original treatment of Le Sacre du printemps takes that thought to the extreme: a young woman is selected, as a spring sacrifice for the gods, to dance until death.

Igor Stravinsky started a revolutionary upheaval in music history with his explosive composition in 1913.

Pina Bausch, in turn, created a milestone in dance history with her tour-de-force version of Le Sacre in 1975: a universally moving and unparalleled masterpiece. 

Noetic / Le Sacre du printemps

Image: Tim Coppens

Length: 2h incl. intermission  

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