"02.08.04"

Free, that is what Raphaëlle Delaunay wanted to be, and so she left the ballet of the Parisian opera, Pina Bausch and the Nederlands Dans Theater, to work with Alain Platel and to pursue her solo career. With "02.08.04" she creates a breathtaking atmosphere: a dance on point performed on a slippery Persian rug, a permanent risk of falling down and a Creole costume function as tools transforming the former ballerina code into a historicity outstretching her own or any other biography. In constant danger of losing her balance and falling into the auditorium, she dedicates herself to the task of deconstructing her reputation as a dance star and to venture on a many-fractured path. Delaunay takes postcolonial criticism to an extreme, and she does so on the highest possible artistic level.

Text: Marty Huber