06 December 2023
More than a scholarly lecture, IDA's trio of performers bring to life the colourful personality of the dancer Ida Rubinstein in the form of an intimate portrait.
Even before she became the legendary performer of the Ballets Russes and the muse of Serge de Diaghilev, Ida Rubinstein had made a sensational entry onto the choreographic scene in 1908: in Oscar Wilde's famous Dance of the Seven Veils from Salome, she stripped completely naked, marking the first contemporary feminist performance. A trailblazer who flouted all taboos - even in her love life - she was also an influential patron of Parisian life, commissioning and dedicating Maurice Ravel's Bolero, which she performed. Lara Barsacq pays tribute to this emblematic figure of creative freedom in IDA. Beyond the scandalous artist, she bears witness to the life of a woman who has long been a vibrant source of inspiration for her. With love and humour, she tells her story, dances her, imitates her and talks about her with Marta Capaccioli and Marion Sage, as in a conversation between friends. Like her model, she does not hesitate to play the provocative, with her body undressed or covered in glue in front of a tapestry representing a cheetah, a wink to the baby feline who accompanied Ida everywhere. But she also enjoys humming with her two accomplices songs of their own making, with simple and poetic lyrics, evoking the absent.
Trained in contemporary dance at the CNSMD in Paris, she joined the Batsheva Dance Company between 1992 and 1996 before devoting herself to choreography until 2004. She then became a performer, notably for Jérôme Bel. Since 2018, the great-niece of costume designer Léon Bakst has created the solo Lost in Ballets russes (2018) and the trio IDA don't cry me love (2019), as well as the quartet Fruit Tree about Bronislava Nijinska, created in 2021 as part of the Charleroi Dance Biennial, of which she was an associate artist from 2020 to 2022. From 2024 to 2028, Lara Barsacq will be welcomed as a companion at the Théâtre de Liège.