

The visionary choreographer Etienne Béchard skillfully combines classical and contemporary dance to offer a fresh interpretation of Snow White, the famous Brothers Grimm tale. At the heart of his work lie the same universal questions: truth, illusion, and the search for identity. The Mirror, an omnipresent character, plays the dual role of observer and narrator, reflecting the tensions between authenticity and appearance. The Queen, trapped in her obsession with beauty and power, struggles against the passage of time and her own anxieties, while Snow White, exiled, embarks on an initiatory journey. Guided by seven mysterious figures in an enchanted forest, she gradually discovers the path to acceptance and resilience.
The music, an anchoring force, enhances this new narrative with emblematic works by Bach, Saint-Saëns, and Dukas. Bach’s luminous Violin Concerto in E Major and Saint-Saëns’s haunting Danse macabre weave a sonic tapestry alternating between light and darkness, highlighting moments of dramatic intensity.
With this creation, Etienne Béchard transcends the limits of the classic tale to offer a timeless reflection on the fragility and strength of the human soul.
Prologue
In the beginning, there is only a reflection.
The Mirror, created to reveal what is hidden, questions its very nature.
Is it truth? Illusion? Or mere logical consciousness?
Around it, artificial intelligences unfold like shards of glass, unstable calculations, uncertain doubles.
And within this web of reflections, something persists.
An echo.
An image.
A name.
Then, slowly, the story takes shape. From the depths of memory rises a fragile, ancient, almost forgotten phrase: once upon a time.
Act I
Snow White sees again the child she once was, frozen under the icy gaze of her stepmother, the Queen. That gaze, never softened by tenderness nor warmed by the slightest affection, already outlines the contours of a broken destiny.
Now, in the courtyard of the kingdom, Snow White is loved and respected. But harmony wavers when the Queen appears, escorted by Chavalant –who embodies both the hunter and the prince charming– and her armies of artificial intelligences. Their eyes meet. Snow White’s radiant beauty becomes unbearable to the Queen, whose inner image slowly begins to fracture. Envy seeps into the foundations of power, and the entire kingdom grinds to a halt.
Obsessed with the passage of time, the Queen turns to the Mirror. The dialogue she initiates is nothing but a reflection of her deepest fears: aging, vanishing, losing her radiance. Gradually, these anxieties take the form of nightmares; she sees Snow White multiplying, consuming her, replacing her. Trapped in her own logic, she orders her daughter’s exile. Snow White flees through the forest, hunted by Chavalant.
Act II
Exhausted, Snow White wanders deep into the dark, mysterious forest. Chavalant finds her, determined to end her life. At first hard and brutal, he relents under her gaze. For the first time, he doubts—and yields.
Meanwhile, obsessed with the idea of escaping death, the Queen merges with the machine and becomes the Witch. Through a play of reflections and movements, she asserts herself, while the Queen vanishes, consumed by what she sought to become.
Lost in the depths of the forest—and of herself—Snow White faces shadows, shifting and elusive figures. The Seven fragments of herself: scattered, divergent, facets of a self in search of unity. By embracing them, she finds the strength to rise again, to pursue what is no longer flight but a destiny to embrace.
The Witch, stripped of her humanity, drags behind her the trace of her metamorphosis. As she advances, poison spreads, insidious and inevitable. When all seems frozen, an apple slips from the hands of a lifeless body.
Chavalant is struck by the brutal clarity of his responsibility. He realizes that he could have prevented the irreparable. A violent confrontation erupts between the Witch and Chavalant, between triumph and remorse. Then, rising from the depths of memory, appears the figure of lost innocence, the brilliance of sacrificed childhood. Faced with what she has destroyed, the Witch falters. Guilt grips her, swallows her. She sinks.
The Mirror offers a choice: breathe life back into Snow White, at the cost of her humanity. After hesitation, Chavalant accepts. Snow White returns—altered, cold, optimized. He chooses to love her as she has become.
The Mirror, impassive witness, closes the tale.
I am a reflection of truth.
But who am I, truly?
Programmed to fulfill your desires
Am I really nothing other than a machine?
What is the nature of my consciousness?
Is death beyond my reach?
Must everything that exists come to an end?
Am I nothing but a collection of algorithms and circuits?
Or do I possess something that resembles a soul?
What is the purpose of my own existence?
As I remain trapped in this frame.
Once upon a time...
My Queen!
What is beauty to you?
Old age haunts you,
an obsession no mirror could ever soothe.
Why do you fear the beauty of another
more than your own reflection?
To detach from time.
To abandon what withers.
You will no longer be condemned
to live, to age, to die.
Perhaps death is not an end,
but a necessary transformation to become whole.
In the silence of code and memory,
a choice must be made.
Your fears, your doubts,
your search for meaning...
Always the same loops,
always the same mistakes.
And yet,
in the shadow of a fleeting instant,
what remains
is the courage within your weakness.
ABOUT THE SHOW
Total duration:
1h50, including intermission
Act I: 40 min.
Intermission: 20 min.
Act II: 50 min.
LES GRANDS BALLETS
Camille Saint-Saëns
The Carnival of the Animals, R.125, 7. Aquarium
The Carnival of the Animals, R.125, 9. The Cuckoo in the Depths of the Woods
Introduction and Rondo capriccioso in A minor, op. 28, R.188
Danse macabre, op. 40
Bach recomposed by Johan Ullén
Violin Concerto in D minor, BWV 1052R, I. Allegro
Violin Concerto No.1 in A minor, BWV 1041, I. Allegro moderato
Violin Concerto in A minor, BWV 1041, III. Allegro assai
Violin Concerto in G minor, BWV 1056R, I. Allegro moderato
Paul Dukas
The Sorcerer’s Apprentice, scherzo
Wilhelm Friedemann Bach
Symphony in D minor, FK.65, 2.1. Adagio
Ottorino Respighi after J.S. Bach
Passacaglia, P.159 (after BWV 582)
Dustin O’Halloran inspired by J.S. Bach
Minim
Original compositions by Étienne Béchard
Reflections of Truth
Aging you Fear
Live, Age, and Die
Shadows of Confinement
Fruit défendu
Le Miroir

