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Béjart and Nietzsche, this is a true partnership. And this new opus affirms itself as being all that is the most “Béjartian�, with much symbolism involving the triangle and the square, the four elements, the eternal couple and mythical creatures. In his philosophical poem Thus spake Zarathustra, Nietzsche proclaims that he can only believe in a God who knows how to dance and he increases his allusions to dance. There is something profoundly emblematic and even moving in the fact that this hymn to the dancing human body was created by a choreographer who himself has just celebrated his eightieth year, because it is his whole life, his raison d’être and his loves that appear. Here, his art is synthesised and recapitulated, with such pure art in the pas de deux, pas de trois and pas de cinq ruled, as in the early days, with such an ardent lyricism. He is quite baroque in his taste for great shows in the tradition of Molière’s comedies-ballets and in his proximity with the inventive and fantastic world of Fellini.