Cinderella’s

High culture relates to the fairy tale element only through a rigid set of rules or connotations, thus favoring the use of logic rather than emotion or, again, a hypothetical combination of the two. This dichotomy, which seems to demonstrate, or testify to, the ways in which each of the two cultural domains proliferate and spread, may also to times document and validate their clear distinction. Widespread and "popular" is the appeal of fairy tales; "elitist" and governed by words is the relationship between the products of high culture and its audience.

However, things are not analyzed only by contrasts and opposites. In his first choreographic work, Alexandros Stavropoulos experiments with the convergence of two seemingly incompatible spheres: leaving aside stereotypical approaches to the world of Disney heroines, he brings to the stage eight versions of Cinderella, with a proposal that does not want to superficially "modernize" the famous fairy tale, but rather strips it of its classical narrative and places it in the space created by Steve Reich's music. This paradoxical mix allows the minimalist, repetitive, rhythmic patterns of Music for Pieces of Wood to be "read" in a very different way. The movements inspired by the animated film Cinderella are transformed into emphatic gestures by the eight dancers, but at the same time they remain true to the abstract, clean form of the music track.

Alexandros Stavropoulos suggests that we should stand on the fine line separating the seemingly antithetical worlds of music and movement and allow humor to permeate the music, thus reinventing the entire viewing-listening experience.