Coppy Coppelia by Hans Henning Paar

Ensemble  –  © Ida Zenna Staatstheater am Gärtnerpla

What is life? Where ist he boundary between a human being and a machine? This is the question that addresses Munich-based choreographer Hans Henning Paar in his 70 min long new piece Coppy Coppelia. Getting away from the classical ballet Coppelia on Delibes’ music, Paar stages a huis-clos with 14 dancers in which he scrutinize the psychology of the inventor, his relation to his machines, and more particularly to his masterpiece, the woman. Bizarre creatures pop-up, from headless robots, to twins whom genders are reversed. This whole world seems to live in a relative harmony, until the woman arrives. Suddenly,  the suspicious robots go out of control, taken by a frantic dance, that the woman and the inventor will soon follow. Until the machinery bugs, and the robot dies. And so does the inventor. Hence the question: was the inventor human? Are we all some kind of robots? The question will remain open, each spectator being left with his/her own interpretation.

On a balanced mix of electrical and classical music and Andreas Carben’s scenery and costumes, Paar provides us with a new sample of his work and style. Using a contemporary vocabulary highly inspired by ballet, he creates a very intense and physical dance, with powerful ensemble, and lyrical pas-de-deux, especially the one between Coppelia and Coppelius. In a gloomy atmosphear, he presents us with a world that is between the real one and an artificial one. Using staccato moves, he accurately reproduces the moves of robots getting out of control and eventually breaking down out of  overactivity.

One must once more praise the quality of the company that is technically very strong, full of energy, and able of creating a poetic moment, despite the intellectual topic chosen by the choreograph. Hsin-I Huang, that had been shining dancing the Juliet part a few weeks ago, is a genius mix of violence and fragility, dancing on point shoes. Pedro Dias as Dr Coppelius is more than convincing. Dancing a part that requires him to be almost constantly on stage, he proves technique and endurance.