Tero Saarinen Company and Marita Liulia (live multimedia, photos)
Contemporary dance performance, 40 min.
Premiere in Teatro Piccolo Arsenale, The Venice Biennale, 2002
Hunt has been performed over 100 times in 34 countries (2002-2009).
Tero Saarinen – Choreography and Solo Dance
Igor Stravinsky (The Rite of Spring) – Music
Marita Liulia – Live Multimedia and Photography
Jacke Kastelli – Programming
Mikki Kunttu – Lighting Design
Erika Turunen – Costume Design
Recording: Esa Pekka Salonen and the Philharmonia Orchestra, permitted by Sony Classical. Music rights: by arrangement with Boosey & Hawkes
Production: Tero Saarinen Company and the Venice Biennial in collaboration with the Octobre en Normandie -festival in France
With thanks to: The National Council for Dance in Finland, the Ministry of Education and Culture in Finland
Finland´s Tero Saarinen triumfs at Paris Dance Festival
Hunt, Theatre de Chatelet, Paris, France
Events opened on an extremely high note with the Tero Saarinen Company featuring the superb Finnish dancer and choreographer himself in his 2002 creation, Hunt, set to Stravinsky's Rite of Spring. Saarinen spoke of his fascination for the score which brought out the violent, primitive and animal side of man at the same time as the spiritual and sacred, explaining that he felt the music related to the interior conflicts of the individual. His interpretation was therefore that of the person offering himself as a sacrifice rather than being the victim of society. The result was a stupefying solo, in which music, dance and video images merged together in one sublime whole.
Patricia Boccadoro, Culturekiosque Dance: Features, France, 2008
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Impressive, one the best performances of the year (10 Best List, John Rockwell)
John Rockwell, New York Times, USA, 2006
The other exceptional component is the design element as manifested in Mikki Kunttu's rapturous lighting and the gorgeous originality of Erika Turunen´s costumes.
Completing this Finnish dream team is multimedia artist Marita Liulia, whose contribution to Saarinen's famous solo Hunt is simply breathtaking.
The Globe and Mail, Canada, 2006
Movimentos Award Winners 2004: Best male dancer: Tero Saarinen
Tero Saarinen is one of a few contemporary dancers who have put the greatest possible distance between themselves and the foundations of their original training, creating a recognised personal body language.
As part of the International Movimentos Dance Gala 2004, Tero performed his infamous, self-created solo, 'Hunt'; a risqué take on Stravinsky's Rite of Spring.
Technically superlative, Hunt is further illuminated by creative lighting genius, Marita Liulia. A refined, imaginative work, Hunt is a perfect vehicle for Tero's art and body-mastery.
Yve Ngoo, BBC Monumental Dance @ Movimentos 2004
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In ”Hunt”, a mesmerizing solo he created for himself to Stravinsky's ”Rite of Spring,” he [Saarinen] is both the hunter and the hunted, assaulted by inner demons. These are symbolized by a stream of animated images that the highly creative media artist Marita Liulia generates on the spot and projects on his body. It is time for Mr. Saarinen and his company to be seen at length in the United States.
Anna Kisselkoff, New York Times, 2004
Hunt proved to be extremely popular with the audience and indeed it is a very effective piece, perfect to show the art and body-mastery of a great dancer like Saarinen.
Saarinen's first self-created solo in nearly a decade is a bold, risky take on Stravinsky's Rite of Spring, with a decided technological slant. - - - There's a danger that the dance's layer of technology overtakes its physical expressiveness. Yet that very potentially negative quality might make this version of Rite one that is most relevant to our times.
Francois Fargue, Donald Hutera, Dance Europe, 2002
The streaks of light projected by Marita Liulia are refined and imaginative. Tero, extremely focused, with a bear torso and feet, creates and develops a strong crescendo of action and emotion with ease. He burns up all his energy and gets exhausted at the very end, exactly like ”The Chosen One”, a mythical figure, should.
Elisa Guzzo Vaccarino, Ballet 2000, no 67, 2002
The stunningly elegant movement implies great inventiveness, which intrigues one's mind. It abolishes the stereotypical male-female image, turning the dancer into a mythical figure: a scapegoat, a mythical white swan, or -why not - Giselle, dying of love.
Paola Bruna, Il Gazzettino, Italia, 2002