Like a stroll through the labyrinths of love, Le Parc follows its course through the codes of seduction, from initial encounters to physical love and on to total self-surrender. Four gardeners with black glasses—modern-day cupids—control the game in an imaginary garden. Beyond the literary references to the “Map of Love”, the Princess of Cleves or even Marivaux, Le Parc remains a timeless story in which Angelin Preljocaj questions with humour and acuity the relationship with the other, that strange attraction where awakening sensuality comes into play, the discovery of the other and through the other, oneself. Mozart’s music, in particular some of the finest adagios from his piano concertos, lend a touch of tenderness to the piece. The first ballet created by the choreographer for the Paris Opera in 1994, Le Parc has since become a key work in the repertoire subtly blending classical with modern.