Steinway PianoRose TheaterJazz at Lincoln Center’s Frederick P. Rose Hall

Please make certain all your electronic devicesare switched off.

Sutra is made possible in part by The Joelson Foundation and The Harkness Foundation for Dance.

Major endowment support for contemporary dance and theater is provided by the Doris DukeCharitable Foundation.

Endowment support for the White Light Festival presentation of Sutra is provided by Blavatnik FamilyFoundation Fund for Dance.

This performance is made possible in part by the Josie Robertson Fund for Lincoln Center.

Tuesday–Thursday, October 16–18, 2018 at 7:30 pm

Sidi Larbi Cherkaoui/Sadler’s Wells London

Sutra

A Sadler’s Wells London Production, co-produced with Athens Festival, Grec Festival de Barcelona, Grand Théâtre de Luxembourg, La Monnaie Brussels,

Festival d’Avignon, Fondazione Musica per Roma, and Shaolin CulturalCommunications Company

With the blessing of the Abbot of Song Shan Shaolin Temple Master Shi Yongxin

This performance is approximately one hour long and will be performed without intermission.

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The White Light Festival 2018 is made possible byThe Shubert Foundation, The KatzenbergerFoundation, Inc., Laura Pels InternationalFoundation for Theater, The Joelson Foundation,The Harkness Foundation for Dance, GreatPerformers Circle, Chairman’s Council, and Friendsof Lincoln Center

Public support is provided by New York StateCouncil on the Arts with the support of GovernorAndrew M. Cuomo and the New York StateLegislature

Nespresso is the Official Coffee of Lincoln Center

NewYork-Presbyterian is the Official Hospital ofLincoln Center

UPCOMING WHITE LIGHT FESTIVAL EVENTS:

Friday–Saturday, October 19–20, at 7:30 pm in theGerald W. Lynch Theater, John Jay CollegeBorderline (New York premiere)Company Wang RamirezHonji Wang and Sébastien Ramirez, artistic direc-tion and choreographyLouis Becker, Johanna Faye, Saïdo Lehlouh,Alister Mazzotti, Sébastien Ramirez, HonjiWang, performersJason Oettlé and Kai Gaedtke, rigging develop-ment LACRYMOBOY, music compositionCyril Mulon, lighting design; Paul Bauer, setdesignPost-performance discussion with Honji Wang,Sébastien Ramirez, and Stanford Makishi on Friday,October 19

Wednesday–Thursday, October 31–November 1 at 7:30 pm in the Rose TheaterXENOS (U.S. premiere)Akram Khan, director, choreographer, and per-formerMirella Weingarten, set design; Michael Hulls,lighting design; Kimie Nakano, costume design;Vincenzo Lamagna, composerMusicians: BC Manjunath, Aditya Prakash,Clarice Rarity, Tamar Osborn, Nina Harries

November 2–13 at the Gerald W. Lynch TheaterWaiting for GodotBy Samuel BeckettDirected by Garry HynesProduced by DruidStarring Garrett Lombard, Aaron Monaghan,Rory Nolan, and Marty Rea, with Nathan Reidand Jaden PacePre-performance discussion with Garry Hynes andRobert Marx on Saturday, November 3 at 6:15 pm

For tickets, call (212) 721-6500 or visitWhiteLightFestival.org. Call the Lincoln CenterInfo Request Line at (212) 875-5766 to learnabout program cancellations or to request aWhite Light Festival brochure.

Visit WhiteLightFestival.org for full festivallistings.

Join the conversation: #WhiteLightFestival

We would like to remind you that the sound of coughing and rustling paper might distract the per-formers and your fellow audience members.

In consideration of the performing artists and members of the audience, those who must leavebefore the end of the performance are asked to do so between pieces. The taking of photographsand the use of recording equipment are not allowed in the building.

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Sidi Larbi Cherkaoui/Sadler’s Wells London

Sutra

Sidi Larbi Cherkaoui, Director and ChoreographyAntony Gormley, Visual Creation and Design

Szymon Brzóska, Musicwith monks from the Shaolin Temple

PerformersSidi Larbi Cherkaoui/Ali Thabet, Chang Mengqiang, Chen Haojie,Chen Xiao, Hu Kunpeng, Hu Zeen, Huang Jiahao, Lu Hongtian,

Qi Zhenzong, Sun Tongxu, Sun Zihao, Wang Chuang, Wang Hao,Wang Zhaohui, Wang Zhentao, Wu Haixiang, Xing Kaishuo, Li Jiaheng, Zhang Quanlong, Zhang Xueyao, Chen Kaiping

MusiciansSzymon Brzóska, Piano

Alies Sluiter and Olga Wojciechowska, ViolinRebecca Hepplewhite, Cello

Raimund Wunderlich, Percussion

Sutra: Shaping SpaceBy Karthika Nair

Antwerp, August 2007. Heads turn at the sight of saffron-clad, tonsured Chinese monks

striding down the road to the Bourla, the theater where Sidi Larbi Cherkaoui is working

on his next piece. Once there, though, the exotic quotient rapidly recedes: the 17-year-

old monks deactivate their mobile phones and begin rehearsing with the dancers—the

sole addition to the usual proceedings being an interpreter—tentatively attempting some

moves of the work in progress. Techniques are shared, martial art lunges dissected, and

a rotating wrist whirls a giant sword with skill that would put the Jedi to shame. Sidi Larbi

Cherkaoui, shorthanded Larbi, tries out the weapon, encouraging his guests to correct

his wrist movements.

It could be called destiny, this encounter. For Larbi—whose childhood fascination with

kung fu soon developed into interest in and respect for the Shaolin school of Chan

Buddhism—has long dreamed of working with its monks and exploring its main princi-

ples: the interconnectedness of body and soul, life in total harmony with one’s sur-

roundings.

“As a dancer and choreographer, I was inspired by their understanding of movement,

their complete identification with life around them, that amazing ability to become the

essence of a tiger, a crane, or a snake; to transform energy from cold to warm, yin to

yang.” Oddly enough, the Temple, too, has been seeking to relocate kung fu within its

proper context and highlight its core philosophy to the wider world. The last two decades

have seen its practice emulated but also molded into a spectacular entertainment,

spawning legions of schools and companies that tour the world over, popularizing the

martial art for sure, but all too often omitting the spirituality and intense mental and phys-

ical discipline it demands. So when Japanese impresario Hisashi Itoh introduced senior

monks to the Belgian-Moroccan choreographer in May 2007, and to his work—signature-

tuned by plurality, an unblinking gaze at humanity, and remarkable technical mastery—

there was a sense of recognition, of common denominators, and of possibilities ahead.

London, October 2007. Sculptor Antony Gormley, previously a partner in zero degrees,

and young Polish composer Szymon Brzóska have been invited by Larbi to helm the

visual design and the original score, respectively, for the forthcoming piece. Gormley pro-

poses man-sized boxes as the sole landscape of the piece. He has brought one life-sized

model, and Larbi begins to improvise, stepping in and out of the box, walking on its

edges, disappearing then reappearing, carrying it like a carapace, climbing as though up

a tree…it becomes anything he chooses to make it: bed, coffin, pillar, or portal. The uni-

verse unfolds, space changing form and function constantly.

Antony Gormley’s interest in Buddhism goes back to his graduate days, when he spent

three years in the East and in India, studying meditation at various monasteries. The

boxes, for him, reflect the dialectics of freedom and containment, central to the Buddhist

idea of liberation: the mind is housed in the body, and the body in architectural space,

which he considers the second body. So the body in relation to the box could become

the equivalent of a thought in the mind, or conversely, to the empty mind when freed of

its occupant.

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Taoist and Confucian ideals of individual utility to the collective find their way in: “Like abrick that is larger than a hand but can be held by it—these boxes, though bigger thanthe body, can be used by it to make different things.”

References from belief systems resurface, in the name to begin with. Sutra, derived fromSutta in Pali, is used to denote any of the sermons or scriptural narratives of Buddha. Itstrikes a chord with Larbi, who has persistently sought a deeper morality through almosthis entire body of work, often dissecting religious archetypes in pieces like Myth (2007).

It has other appropriate connotations too. In Hinduism, sutra laid down guidelines for theconduct of life. The word in Sanskrit also means string, or measure of straightness, all ofwhich resonate with Larbi’s own quests. Szymon Brzóska, meanwhile, is grappling withsutra of his own: composing for warrior monks fabled for their split-second precision, butunused to interacting with music. On him falls the task of understanding the internalrhythms of their body language and responding with a score that will neither disturb nornecessarily match these, but create a spectrum within which the movement can flowuntrammeled.

Shaolin Temple, Songshan (China), March 2008. Rehearsals have been on for four weeksin a corrugated iron-roofed shed east of the Steles Yard. Twenty-one boxes that minutesago formed the ramparts of a castle (complete with guards and drawbridge) become apile of dominoes, then suddenly transform into a lotus bud with an infant Buddha at itsheart. The bud unfolds into a flower; the monks who had upended each petal-box slideinto them, becoming, as it were, the godhead.

The monks, too, are on an arc of discovery. They are learning to move differently—mainlythrough time. They absorb another consciousness, that of unbroken sequences, whichrequires a different channeling of strength. Accustomed to expelling energy in bursts ofmovement, they must now retrieve it to maintain continuity.

Territories are emerging. And thus getting defined, delimited. That of the monks,anchored in nature: a land of harnessed, conscious animality that is kung fu. The modularhorizon of Gormley, stretched out like space or time, serene. The emotive frame ofBrzóska’s music: primarily colored in melancholy, providing perhaps the soul to this mind-body equation. So Larbi’s greatest challenges lie here: in shaping a space that will notmerely let these distinct elements co-exist but become a seamless sphere; so theessence of an eagle will not just be the sight of its movement, but the music of its soulsoaring, the meaning of the landscape beneath; so the whole sequence can take onmeaning, become a story—of life, of its struggles and triumphs, individual and collective.A world that anyone can relate to, whatever our cultural or artistic lenses.

In this search for a common space where each person can hear and be heard, the boxeshave become steadfast allies. Lego-like in their potential, humanoid in their size, theyhave evolved into something more than props or a backdrop: they have supplied the iden-tifiable element—a surrogate language of sorts, words of the imagination—that has tran-scended the multiple tongues, personalities, and artistic disciplines involved. From forestto wall to mountain to city to graveyard, they mutate. But Larbi’s goal is the momentwhen they embody the unity of the human being: a safe zone where the mind can findits contours and the body, sanctuary.

Shaolin Temple, Songshan (China), April 2008. Midpoint. It is visitor’s week of sorts forthe Sutra team: the producers are here, so are members of the British media, Japaneseflamenco dancers, Chinese officials from the Ministry of Culture, Antony Gormley,Szymon Brzóska, Larbi’s dancers from Antwerp…there are interviews, recordings, mea-surements, musical corrections, new and ambitious ideas, doubts, expectations, dead-lines crowding the air. Then music and movement take over.

They move in and out of kinetic fields: portraits of stillness one minute, their being sus-pended in the fullness of the moment, breath expanding as collective thought; a force ofnature the next, limbs scything the air, spines an arrow to the earth, challenging andembracing gravity in turn. The eye of centrifugal energy spreads in waves, each succes-sive one bearing the charge of the last, crescendoing as fists hit the floor, continuing asthe heartbeat of the earth through a percussive music that goes on and on. It is areminder that nothing is lost: it just changes form.

Karthika Naïr is the author of several books, including the award-winning Until the Lions:Echoes from the Mahabharata, and principal scriptwriter of Akram Khan’s DESH. She isalso the co-founder of Sidi Larbi Cherkaoui’s company, Eastman.

—Copyright © 2010 by Karthika Nair. Reprinted by kind permission of the author.

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A Brief Introduction to the Shaolin Martial ArtsBy Meir Shahar

The Shaolin monastery is an enigma. The Buddhist faith prohibits violence, and yet theShaolin Buddhist monks have been perfecting their fighting techniques for centuries.How can they ignore a primary article of their religion that forbids killing a living being?

It could be argued that individuals and collectives alike have always found ways to justifyviolating their professed ideologies. However, one wonders whether the Shaolin case isnot altogether different. Perhaps the Shaolin martial arts are not intended for fighting butrather for mental self-cultivation. Perhaps the Shaolin monks are not training their bodiesfor battle, rather they are cultivating their minds for spiritual awakening. If so, how andwhen did their unique synthesis of mental and physical training emerge?

An examination of the historical records reveals that the origins of the Shaolin martial artswere economic and political rather than spiritual. Large stone steles that are still extantat the monastery are engraved with inscriptions attesting the historical conditions underwhich, some 1,500 years ago, the Shaolin monks resorted to arms. As early as the Chi -nese Middle Ages—the sixth and seventh centuries—the Shaolin Monastery possesseda large agricultural estate that required military protection. In times of political turmoil,Shaolin monks defended their monastery against bandits and marauding rebel armies.Economic concerns for Shaolin’s wealth were joined by its strategic location on a narrowmountain path leading to the then Chinese capital of Luoyang. In the early seventh century, the monastery was embroiled in a military confrontation over the capital of far-reaching political consequences. Its heroic monks assisted the future emperor Li Shimin(600–649) in the campaigns leading to the founding of his mighty Tang Dynasty (618–907). The grateful emperor bestowed upon the monks an imperial letter of thanks, sanc-tioning their military activities for centuries to come.

Imperial authorization was joined by divine sanction. The history of the Shaolin martialarts reveals an intimate connection between monastic fighting and the veneration ofBuddhist martial deities. Even though Buddhist ethics condemns violence, the Buddhismpantheon of divinities features numerous warriors who serve as the divine protectors ofthe faithful. Wrathful gods who trample demons underfoot flank the entrances toBuddhist temples throughout Asia. Such warrior divinities provided divine sanction forviolence to the Shaolin monks, who venerated them for their military might.

If Shaolin monks exploited the violent potential of Buddhist military divinities, they madesimilar military use of another Buddhist emblem—the staff. As in other religions—consider the Catholic crosier—the staff functioned in Buddhism as a symbol of religiousauthority. Monastic regulations required itinerant monks to carry a staff, which Shaolinwarriors gradually transformed into an effective weapon. Indeed, all through the 16thcentury, the Shaolin monastery was renowned in China primarily for its superior stafftechniques, which were lauded by military experts. The association of fighting monkswith the weapon extended to popular fiction and drama, which celebrated staff-wieldingclerics. The most beloved Buddhist warrior in Chinese popular culture—the heroic mon-key Sun Wukong—manipulates the staff as his quintessential weapon.

It was likely no earlier then the 16th and 17th centuries that Shaolin monks graduallybegan to develop the bare-handed techniques that, by the 21st century, have made theirmonastery famous the world over. These empty-handed fighting methods are known inChinese as quan (literally: fist), and their emergence signaled a profound transformation.Beginning in the 16th and 17th centuries, the Chinese martial arts were no longer intendedfor fighting only. Rather, Shaolin monks (and other warriors) have transformed martial prac-tice into a unique system of physical and mental self-cultivation. The Shaolin techniquesof bare-handed fighting have been designed for military, therapeutic, and religious goalsalike. It is arguably this unique combination of fighting, healing, and spiritual self-cultivationthat have made them attractive to millions of practitioners all over the world.

The Shaolin methods of fist fighting draw on native traditions no less than on theimported Buddhist faith, which had arrived to China from India. Even as these bare-handed methods are couched in the Buddhist vocabulary of enlightenment, they largelyderive from an ancient Chinese gymnastic tradition that had evolved centuries before thearrival of Buddhism in China. As early as the first centuries BCE, Chinese manualsdescribed elaborate breathing and callisthenic techniques, which were premised uponone’s inborn vital energy, which was called qi. During the 16th and 17th centuries, thisancient Chinese gymnastic tradition was gradually integrated into the newly emergingsystems of bare-handed fighting, creating the Shaolin synthesis of fighting, healing, andreligious self-cultivation.

The modern era has witnessed the globalization of the Shaolin martial arts. Millions ofWestern practitioners are attracted to the Chinese martial arts, even as kung fu cinemais enjoying tremendous popularity, influencing Hollywood film-making. The history of theShaolin martial arts is still unfolding.

—Copyright © 2010 by Meir Shahar. Reprinted by kind permission of the author.

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—From Lao-Tzu’s Tao Te Ching: A New English Version, with foreword andnotes, by Stephen Mitchell. Translation copyright © 1988 by StephenMitchell. Reprinted by permission of HarperCollins Publishers.

For poetry comments and suggestions, please writeto programming@LincolnCenter.org.

The ancient Masters were profound and subtle.Their wisdom was unfathomable.There is no way to describe it;all we can describe is their appearance.

They were carefulas someone crossing an iced-over stream.Alert as a warrior in enemy territory.Courteous as a guest.Fluid as melting ice.Shapable as a block of wood.Receptive as a valley.Clear as a glass of water.

Do you have the patience to waittill your mud settles and the water is clear?Can you remain unmovingtill the right action arises by itself?

The Master doesn’t seek fulfillment.Not seeking, not expecting,she is present, and can welcome all things.

Illumination

Meet the Artists

Sidi Larbi Cherkaoui’s debut as a choreogra-pher came in 1999 with Andrew Wale’scontemporary musical Anonymous Society.Since then, he has made more than 50 full-fledged choreographic pieces andpicked up a number of prestigious awards.Mr. Cherkaoui is an associate artist atSadler’s Wells and assumed the role ofartistic director at the Royal Ballet ofFlanders in 2015. Notable works includethe Sadler’s Wells productions Sutra andm¡longa; zero degrees with Akram Khan;Dunas alongside Flamenco Bailaora andMaría Pagés; Play with Kuchipudi dan -seuse Shantala Shivalingappa; 生长genesiswith Chinese choreographer Yabin Wang;and more recently Mermaid, a duet forCarlos Acosta and Marta Ortega whichreceived its world premiere at Sadler’sWells in September 2017.

Since founding his company, Eastman, inAntwerp in 2010, Mr. Cherkaoui createdthe multiple-award-winning Babel (Words)with choreographer Damien Jalet andAntony Gormley, which was featured atthe 2016 White Light Festival. He has alsoreceived international acclaim for hischoreography in the film Anna Karenina,and in 2015 was movement director forLyndsey Turner’s production of Hamletstarring Benedict Cumberbatch. In 2016 hewas conferred an honorary doctorate bythe University of Antwerp for his outstand-ing contribution to contemporary dance.Mr. Cherkaoui’s production Pluto, a collab-oration with Bunkamura Theatre Cocoon,was presented at the Barbican Centre inFebruary.

Antony Gormley’s career has spannedalmost 40 years, with sculptures, installa-tions, and public artworks that includeAnother Place, Domain Field, InsideAustralia, Clearing, Breaking Room, andBlind Light. His work has been exhibitedworldwide, and he has increasingly taken hispractice beyond the gallery, engaging thepublic in active participation, as in Clay andthe Collection Body and the acclaimed One& Other commission in London’s TrafalgarSquare. Last year, Mr. Gormley workedwith choreographer Hofesh Shechter onSurvivor at the Barbican. In 2012 an exhibi-tion of major new works, Model, openedto critical acclaim at the London galleryWhite Cube. He was awarded the TurnerPrize in 1994, the South Bank Prize forVisual Art in 1999, and the BernhardHeiliger Award for Sculpture in 2007.

In 1997 Mr. Gormley was made an Officerof the British Empire (OBE) and was madea knight in the New Year Honours list in2014. He has been a Royal Academiciansince 2003 and a British Museum trusteesince 2007. Mr. Gormley previously collab-orated with Sidi Larbi Cherkaoui on theSadler’s Wells co-production zero degrees,which premiered in 2005.

Polish composer Szymon Brzóska gradu-ated from the Music Academy in Poznan,as well as the Royal Flemish Conservatory

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in Antwerp. His particular interest in thesynergy between music, contemporarydance, theater, and cinema led him to par-ticipate in numerous collaborative projectsacross various art forms.

Along with his autonomous work, Mr.Brzóska has an established career in creat-ing music for dance. He worked with manyaward-winning choreographers, includingSidi Larbi Cherkaoui, David Dawson, MariaPages, and Vladimir Malakhov; suchacclaimed orchestras and musicians asSächsische Staatskapelle Dresden, HetBalletorkest, Le Concert d’Apollon, PatriziaBovi, and Barbara Drążkowska; and dancecompanies that include Dutch NationalBallet, Semperoper Ballett, Göteborgs -Operans Danskompani, Cedar Lake Com -pany, and Eastman. Mr. Brzóska’s composi-tions have been performed at numerousprestigious dance venues and contemporarymusic festivals across the world, such asSadler’s Wells Theatre, Sydney OperaHouse, Lincoln Center, Brooklyn Academy ofMusic, Dresden’s Semperoper, Singa pore’sEsplanade, and at the Festival d’Avignon.

Ali Ben Lofti Thabet’s initiation into move-ment arts came through kung fu. Despitean affinity for dance, he joined the NationalCentre for Circus Arts in Châlons-en-Champagne, France, in 1997. He per-formed in Francis Viet’s Furie (2001) andgot his first major breakthrough in 2002with Cyrk 13, a piece choreographed byPhilippe Decouflé. He worked with JosefNadj on Il n’y a plus de firmament (2003),featuring Jean Babilé and Ioshi Oïd. Mr.Thabet met Sidi Larbi Cherkaoui in 2004

and joined the cast of Tempus Fugit as aperformer, beginning what would becomea longstanding collaboration, includingworking as assistant choreographer onTeZukA, which premiered in Tokyo in 2011.Since 2012 he has created his own workwith his brother, Hèdi Thabet.

Shaolin TempleThe monks performing in Sutra are fromthe original Shaolin Temple, situated nearDengfeng City in the Henan Province ofChina and established in 495 AD by monksoriginating from India. In 1983, the StateCouncil defined the Shaolin Temple as thekey national Buddhist Temple.

The monks follow a strict Buddhist doc-trine, with kung fu and tai chi martial artsforming an integral part of their daily prac-tice. There are many martial arts schoolsthat have also been set up in the regionunder the name of Shaolin, from which per-formers for many of the more commercialShaolin monk shows are drawn. The per-formers in Sutra, however, are all Buddhistmonks from the original temple itself.

Sadler’s WellsSadler’s Wells is a world-leading dancehouse, committed to producing, commis-sioning, and presenting new works and tobringing the best international and U.K.dance to London and worldwide audi-ences. Under the artistic directorship ofAlistair Spald ing, the theater’s acclaimedyear-round program spans dance of everykind, from contemporary to flamenco,Bollywood to ballet, salsa to street dance,and tango to tap. Since 2005, it has helpedto bring over 100 new dance works to thestage, and its award-winning commissionsand collaborative productions regularly tourinternationally. Sadler’s Wells supports 16associate artists, three resident compa-nies, an associate company, and two international associate companies. It also

Ali Thabet

nurtures the next generation of talentthrough its New Wave Associates andSummer University programs, its Wild Cardinitiative, and hosting of the National YouthDance Company.

White Light Festival I could compare my music to white light,which contains all colors. Only a prism candivide the colors and make them appear;this prism could be the spirit of the lis-tener. —Arvo Pärt. Now in its ninth year,the White Light Festival is Lincoln Center’sannual exploration of music and art’spower to reveal the many dimensions ofour interior lives. International in scope, themultidisciplinary festival offers a broadspectrum of the world’s leading instrumen-talists, vocalists, ensembles, choreogra-phers, dance companies, and directorscomplemented by conversations withartists and scholars and post-performanceWhite Light Lounges.

Lincoln Center for the PerformingArts, Inc.Lincoln Center for the Performing Arts(LCPA) serves three primary roles: presen-ter of artistic programming, national leaderin arts and education and community rela-tions, and manager of the Lincoln Centercampus. A presenter of more than 3,000free and ticketed events, performances,tours, and educational activities annually,LCPA offers 15 programs, series, and fes-tivals including American Songbook, GreatPerformers, Lincoln Center Out of Doors,Midsummer Night Swing, the MostlyMozart Festival, and the White LightFestival, as well as the Emmy Award–winning Live From Lincoln Center, whichairs nationally on PBS. As manager of theLincoln Center campus, LCPA providessupport and services for the Lincoln Centercomplex and the 11 resident organizations.In addition, LCPA led a $1.2 billion campusrenovation, completed in October 2012.

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Lincoln Center Programming DepartmentJane Moss, Ehrenkranz Artistic DirectorHanako Yamaguchi, Director, Music ProgrammingJon Nakagawa, Director, Contemporary ProgrammingJill Sternheimer, Director, Public ProgrammingJordana Leigh, Director, David Rubenstein AtriumLisa Takemoto, Production ManagerCharles Cermele, Producer, Contemporary ProgrammingMauricio Lomelin, Producer, Contemporary ProgrammingAndrew C. Elsesser, Associate Director, ProgrammingLuna Shyr, Senior EditorRegina Grande Rivera, Associate ProducerViviana Benitez, Associate Producer, David Rubenstein AtriumWalker Beard, Production CoordinatorMeera Dugal, Programming Manager, David Rubenstein AtriumOlivia Fortunato, Programming AssistantJames Fry, Technical Manager, Contemporary ProgrammingJessica Braham, House Seat CoordinatorElizabeth Lee, Company Manager, Contemporary ProgrammingLucy Powis, House Program Coordinator

For the White Light FestivalTownsend Olcott, Production ManagerAndrew Hill, Production ElectricianAmy Page, Wardrobe

For SutraAli Thabet, Assistant ChoreographerSatoshi Kudo, Damien Fournier, Damien Jalet, Additional Choreographic AssistantsLou Cope, An-Marie Lambrechts, Dramaturgical AdviceAdam Carrée, Lighting ConsultantDamien Fournier, Huang Jihao, Rehearsal DirectorsAndy Downie, Production ManagerMarius Arnold-Clarke, Company Stage ManagerSimon Young, Production CarpenterJon Beattie, Mark French, Sound EngineersRebecca Goldstone, Wardrobe Manager

For Sadler’s Wells Suzanne Walker, Executive ProducerBia Oliveira, Head of Producing & TouringEllie Hartwell, ProducerAristea Charalampidou, Tour ProducerAdam Carrée, Technical Production ManagerFlorent Trioux, Producing & Touring CoordinatorDaniel King, Marketing ManagerSerina Lopez, Producing & Touring Intern

Hisashi Itoh, Associate ProducerKarthika Nair. Consultant Producer for Sidi Larbi Cherkaoui

For Shaolin TempleShi Yongxin, AbbotShi Yanti, Leader of the Warrior MonksShaolin Intangible Assets Management Co, Ltd., General ManagerZhang Lifei, Sutra Project Coordinator & Interpreter