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Reserve
CRAZY
HORSE
SHOW
ONLY
(every day):
$189.00
(Gold) or $225.00 (diamond)
Shows
only at the
Crazy Horse
price include 1/2 drink per person, all taxes and tips.
- - - - -
DINNER SHOW
available upon request.
Crazy Horse is
closed on Mondays. |
Reserve
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THE NEW REVUE TEASING
Show lasts 1h40
" Teasing ", a new revue lasting 1h40, with twenty exceptional
dancers and two international attractions. Twelve short scenes, some classical,
some contemporary, are the perfect showcase for twenty statuesque
dancers who will put on the most fabulous nude spectacle in the world.
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GOD SAVE OUR BARESKIN
Ballet -
12 dancers.
The guard
of Buckingham Palace
as naked female soldiers.
12 very attractive soldiers.
A Crazy Horse classic
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JUBILEE PRESENTATION
An animated photography film
on the history of the Crazy Horse
since its beginnings.
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GOOD GIRL
Solo.
A Broadway Burlesque number,
Crazy style. |
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CLASSICO LOGO
Ballet - 5 dancers.
From classical ballet to crazy ballet.
ROTOR VARIATIONS
Solo.
The eternal perfect circle.
Dance and harmony in the circle of
Leonardo de Vinci. |
INTERNATIONAL VARIETY
CHAIR ME UP
Ballet - 5 dancers.
5 dancers on 5 Thonet chairs.
A classic 1930s cabaret number,
transformed with modern music and
geometrical forms projected onto the bodies of the dancers.
Pure classicism which takes its inspiration from the best musicals. |
ROUGE ET NOIR
Ballet - 2 dancers.
Feminine duality between the colours red and black.
VESTAL'S DESIRE
Ballet - 5 dancers.
An allusion to the magic of eternal Egypt.
Dancers appear and disappear like ancient goddesses.
Sublimation of a woman’
swaying hips.
Mirage and illusion. |
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TEASING
Solo.
A sculpture in movement.
Original and provocative.
The nude in all its perfection.
ADAGIO
Ballet - 13 dancers.
A veritable living painting in which the
dancers breathe life into a Greco-Roman
bas-relief.
Perfection of lighting and projections.
Mystery
and melancholia.
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LAY LASER LAY
Solo.
Bathed in the cold light of a laser, a
provocative choreography on a revolving
platform tilted at 45°.
Modernism and the eternity of femininity.
SEE-THRU PEEK A BOO
Ballet - 5 dancers.
A black and white number in which
haughty, inaccessible models parade
through a world of black veils and white light.
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PARIS-SHANGHAI
Solo.
The interpretation of feminine imaginations: the ballet between a dancer and her
liberated shadow...
INTERNATIONAL
VARIETY \
YOU TURN ME ON
Ballet - 14 dancers.
A burlesque finale which brings together
all the dancers in a spectacle of humour,
femininity and voluptuousness.
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INTERNATIONAL VARIETY SHOWS
Throughout the year, the Crazy Horse presents two international variety
numbers, alternately, taken from the following:
BLACKWITS
A puppet show using dark light, the
poetry, humour and originality of which
make it absolutely unique.
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BUKA
A conjuror from Eastern Europe, whose
speech is as fascinating as it is incoherent.
GAETAN
A French magician with his inimitable
and international humour. |
DIETER TASSO
A juggler
who allies a touch of British
humour with fabulous dexterity.
VIK ET FABRINI
Two young Brazilians who present a robot number which blends magic,
humour and rhythm.
ELAN
Eccentric
comedy of the mute,
elastic
type.
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The program which is presented may differ slightly from the
above description.
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A classic of modernity.
Alain Bernardin was my friend. The complicity which brought us together was
a complicity of minds. We were able to dispense with long speeches. We met
in 1960, a year which was to prove decisive for both our careers. I was in
the midst of the militant period of New Realism. I had been able to bring
together a group of artists, around the theme of modern nature: Yves Klein,
César, Tinguely, Niki de Saint-Phalle, Arman, Raymon Hains or Mimmo Rotella,
artists who, for the most part, were friendly with the advocates of American
neo-Dadaism, Rauschenberg and Jasper Johns, and later on with the Pop
Artists, with Andy Warhol at the forefront. The figures of Marcel Duchamp
and American composer John Cage dominated the Avant-Garde scene, and
Salvador Dali was continuing to outlive himself in the megalomaniac cult of
his own personality. From 1960 onwards, these artists, who were the central
figures in my own theoretical reflections, also began to invade the mental
world of Alain Bernardin. He gradually came to discover, as they became
steadily stronger, the major international avant-garde movements:
Neo-Dadaism and New Realism, Pop Art, Op-Art Kinetics. His sense of
performance art was therefore constantly enriched by what the visual and
audio-visual culture of the age had to offer. Alain lived intensely within
his era, bathing in the incessant flow of change. The woman was the ideal
backdrop for his art. A naked female body was the ideal screen for
projecting the host of images which go to make up the theatre of the world.
It is no paradox that this master of the ART OF THE NUDE was also an
attentive observer of Avant-Garde fashions. Paco Rabanne, Azzaro and Alaïa
were his friends. We even collaborated in organizing a special "New Realist"
show at the Crazy Horse, inspired by Paco Rabanne's first metallic
models. Alain took an interest in all the techniques of live performance art.
He particularly focused his attention on the stage music and lighting. He
was able to raise the nude to the status of a genuine art, a world away from
the strip-tease from which it had sprung. In so doing, he paid a real homage
to women's bodies, in which he saw the infinite resources for poetic
expression. The reason that the Crazy Horse is unique in the show business
world is that Alain Bernardin made it the temple of the ART OF THE NUDE. The
specifics of his style began to be felt around 1960, when the Crazy Horse
had already been running for 9 years, at the moment when the saloon-like
variety show was definitively replaced by the powerful concept of a "Theatre
of the Nude in Action". lain, the show business professional, was always
fascinated by American-style " Entertainment ". Alain the cultural
professional would never have contented himself with copying formulas which
had been "made in USA". He had been an antiques dealer and a painter, he was
a man of good taste who loved life, who thought life was as wonderful as
love. He wanted to use the woman's body to express the beauty of life, and
he used all his intelligence and his sensitivity to achieve this ambition.
The Crazy Horse woman is the incarnation of the modern ideal of beauty, such
as is created by all the modern designers in the sectors of visual and
audio-visual communication, art, fashion, advertising, television, cinema,
show business in general spectacle. The Crazy Horse woman, therefore, is
adorned with all the creative impulses of the era in which we live, both she
and us. She is as beautiful as were the sculptures of Ancient Greece when
they were modern, when they represented the existential ideals of the time.
She is beautiful because that is what Bernardin desired, beautiful in her
body and in her décor. The ART OF THE NUDE, which will bear his inimitable
mark for all time, has made him a classic of modernity, along with Godard or
Truffaut for the cinema, Robbe-Grillet for the novel, Rauschenberg and
Warhol for painting and César for sculpture.I have seen the vital spirit of
this modernity enter the Crazy Horse and sublimate the ART OF THE NUDE. I am
so delighted to be able to testify to that here today. Alain Bernardin was
my friend, and we were both part of a modern culture which has never ceased
to develop.
Pierre RESTANY
Milan, Sept.1996 |
Reserve
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