After L’Anoure in 1995, Snow White in 2008 and Siddharta in 2010, Angelin Preljocaj is continuing his exploration of fairy tales by choosing, as he likes to do, a direction so far unexplored in his work, that of the traditional tales of Asia which are, rich sources of great poetic power.
Thus, The Painting on the Wall plunges the reader into the fantastical world of Chinese tales and reveals the ‘supernatural’ power of the art of painting. If different readings are possible, the ideas of illusion and transcendence are omnipresent in the work. Angelin Preljocaj has chosen to immerse himself in the heart of this unusual world. Without literally telling its story, he retains the Chinese tale as the source of a more contemporary adaptation.
Angelin Preljocaj harnesses the power of his imagination to transpose the story’s plot into a space at the crossing of cultures. He preserves of course, the essence of the tale and the symbolism that it evokes.