At seventy, Henri Matisse is a trim, clean old gentleman with a passion for naked women. He is UN MONSTRE SACRE who depicts with passion and conviction only what he takes pleasure in, only what he chooses to see.
"晚上全體舞者去看《聖獸》。.....舞台開在一堵褐黃岩壁腳下，觀眾席步步高昇到一片林子裡，效果很是集中。Sacred Monsters香港譯作《聖獸舞姬》，望文生義，很容易以為阿喀郎是聖獸，西薇‧姬蘭是舞姬。舞題典出法文，法國在十九世紀把那些劇場超級明星叫做 Monstres Sacrés，是獨角獸那類超凡的人物。中文差可比擬的也許是「祭酒」，梅蘭芳就是「菊壇祭酒」。不過不能這樣翻，太「人性」了。
舞蹈內容其實不嚴重，帶有家常的趣味，兩個明星連跳帶說，互開玩笑。換了人跳，效果必然大減。超級巨星展笑顏，又喝水又擦地板，觀眾可開心了。西薇和阿喀郎做什麼都好看，觀眾拍了很久很久的手，最後乾脆站起來才散場。"--林懷民 希臘劇場的聖獸 2007/08/12
英文舞評Sacred Monsters is first and foremost the meeting and exchange of two such as "stars" of the present day dance world: Sylvie Guillem and Akram Khan.
But there is also a flip side to stardom. Having to live up to the expectations of your audience to be perfect, positive, good (at) ! There is no more room for failure, imperfection, to express one's real feelings and emotions. The divine status becomes inhuman, monstrous. The latter being an experience we all share when as children we had to live up to the expectations of the adults around us: our parents, our teachers! To some extent all children are 'sacred monsters'.
Sacred Monsters. Monstres Sacrés. The term was used for the first time in France in the 19th century as a nickname for the big stars of the theatre, such as Sarah Bernhardt. It marks the birth of contemporary stardom in which the icons of the arts and sports world are given divine status by their audience and the media.
a celebrity whose eccentricities or indiscretions are easily forgiven by admirers.