La consacración de la primavera

produced as part of the Scena Catalana project, in collaboration with ATER Fondazione and Tavolo Regionale della Danza, and with the support of the
Emilia-Romagna Region.

Music Juan Cristóbal Saavedra Vial, based on the score by Igor Stravinsky
Stage creation Roger Bernat, based on the choreography by Pina Bausch
With the collaboration of Txalo Toloza, María Villalonga, Ray Garduño, José-Manuel López Velarde, Tomás Alzogaray, Brenda Vargas, Diana Cardona, Annel Estrada and Viani Salinas
Technical direction Txalo Toloza
Sound design Rodrigo Espinosa
Image design Marie-Klara González
Coordination Helena Febrés
Executive production Mexico Alicia Laguna
Production assistants  Mexico Antígona González and Mariana Toledo
Driver Don Moisés
Co-production  Teatre Lliure and Elèctrica Produccions (Barcelona), Festival Instal·laccions/ Ajuntament Cambrils and Festival Transversales (Mexico)
With the support of the European Union Fund programme in Mexico
Duration 50 minuti

Pina Bausch’s The Rite of Spring, created in 1975 for Tanztheater Wuppertal, has become an iconic work of dance theatre. Pina Bausch uses Igor Stravinsky’s original score, composed for Nijinsky’s 1913 ballet – a piece already infamous for its scandalous debut. On stage, one central element dominates: earth. Covering the entire floor, it symbolizes fertility, raw nature, and death.
Known for his immersive, participatory theatre, the Catalan director reimagines The Rite of Spring without any professional dancers. This time, it is the audience who become the performers. In an empty space, each participant wears headphones delivering simple instructions. Gradually, these gestures form a collective ritual that recreates the logic of sacrifice. Stravinsky’s music remains, but its function is transformed. Here, the idea of sacrifice becomes political: Who takes initiative? Who follows? How do decisions unfold within a group?
The piece questions individual responsibility within collective systems and exposes the power of rituals and theatrical frameworks. The audience shifts from spectators to actors in a mechanism they may not fully understand. It is a troubling and radical work, confronting each person with their own role in the group dynamic.