Author: hahparis

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Mediterranea Benelux DACH region

Wim Vandekeybus – VOID

October 23rd – 31st, 2024 KVS, Brussels
November 8th – 9th, 2024 Pumpenhaus, Münster
December 18th, 2024 CCHA, Hasselt
January 16th, 2025 Teatro Bonci, Cesena
January 18th, 2025 Teatro Storchi, Modena
January 31st, 2025 Cultuurcentrum De Schakel, Waregem
Feburary 27th, 2025 Cultuurcentrum Brugge, Brugge
March 15th, 2025 Posthof, Linz
60 minutes

The Unstoppable Ultima Vez

© Danny Willems

In this new creation, Vandekeybus embraces the void – even more so – he seeks it out. He starts anew, goes back to square one, taking the simple emptiness as a starting point to arrive at a new form of awareness. He not only seeks to feel existence, life, in a different way, but also aims to add a new way of valuing the performance. By looking differently, within complete simplicity.

“Enlarging by emptying” sounds contradictory but works in a simple way: an empty room seems bigger than a full one. True essence demands throwing off all ballast. An emptiness filled with elusive dignity. Bodies attracting each other like minerals and magnets. Movement as expression of the deepest inner state… An emptiness that offers countless possibilities to be filled…

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France DACH region

Baro d’evel – Qui Som?

September 26th – 28th, 2024 Teatro Argentina, Rome
October 2nd – 4th, 2024 Théâtre 71, Malakoff
October 11th – 12th, 2024 Théâtre de Liège, Liège
October 30th – 31st, 2024 Halles de Schaerbeek, Brussels
November 13th – 15th, 2024 Tandem scène nationale, Douai
December 2nd – 15th, 2024 ThéâtredelaCité, Toulouse
January 10th – 11th, 2025 Le Parvis scène nationale, Tarbes
January 24th – February 1st, 2025 MC93, Bobigny
February 18th – 22th, 2025, Comédie de Genève, Geneva
2h

Part of the 78th Avignon Festival


© Christophe Raynaud de Lage

An opus even more choreographic than the previous works, Qui som? , under the influence of the Spanish group Mal Pelo, could be considered the heir to Maguy Marin’s May B or Paso Doble by the duo Josef Nadj and Miquel Barceló.

Philippe Noisette

The first part of a triptych in which ceramic is both the material and the gesture of an investigation into our worlds in the making, a journey through our ways of believing and doing together, Qui som? is a wager: that dreaming is an exploratory and transformative power, an imaginary force that overflows each of us to link us to other presences, a way of orienting ourselves in obscure journeys, in secret lands. It’s a struggle. It’s alive. In colour. In clay. In plastic. In scraps and eternity.

“Our inner worlds, our intimate territories, are the breeding ground for the social landscapes to come. So if what’s to come is already here, inside our bodies, if it’s already being made inside us, we’re trying to highlight what keeps the joy, the desire, what resists, sings and dances inside us forever, to give ourselves the courage to see ourselves and not forget the worst.”

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Yabin Wang – Journey to the West

December 8th, 2024 Gare du Midi, Biarritz
December 10th, 2024 Le Théâtre Olympia, Arcachon
December 14th, 2024 Le Palais des Festivals et des Congrès, Cannes
85 minutes

Yabin Wang Is Back to France with Her Latest Creation

© Tasu

Yabin Wang first traveled the world as a dancer before becoming a prolific choreographer, subtly blending various styles of traditional Chinese dance with contemporary dance techniques.

For Journey to the West, which draws its inspiration from a great classic of Chinese literature, she collaborated with French composer Laurent Petitgirard, whose symphonic music inspired her to create a journey with cinematic aspects of breathtaking beauty.

At the crossroads of East and West, the choreographer breaks boundaries through the language of the body to capture the essence of the original work: a quest for spirituality.

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DUNJA JOCIĆ – We, Us and Other Games

November 6th, 2024 Theater De Veste, Delft
November 8th, 2024 Stadsschouwburg Haarlem, Haarlem
November 9th, 2024 Korzo, The Hague
November 10th, 2024 Lux, Nijmegen
November 11th, 2024 Internationaal Theater Amsterdam, Amsterdam
60 minutes

A Hallucinatory Odyssey

© Dunja Jocić (website)

A powerful dance creation that prompts questions about new social hierarchies and interpersonal relationships in the virtual world.

Gli Stati Generali

In We, Us and Other Games, Jocić reflects on the ongoing digitalization of the human experience. A father searches for his daughter in a digital world called “The Living Project”, gradually losing his grip on reality. The performance, presented by an ensemble of eight dancers from the renowned Spellbound Contemporary Ballet of Rome, takes you on a hallucinatory odyssey through the digital subconscious, encountering androgynous insect armies, secret societies, masked parties, and a choir of children performing an ominous ritual dance.

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Echoes of ’78 – Kontakthof

November 26th/27th/29th/30th & December 1st, 2024
Opernhaus Wuppertal, Wuppertal
100 minutes

A New Encounter with Kontakthof

Photo: Ulli Weiss ©Pina Bausch Foundation

Originally premiered in 1978, Kontakthof is a seminal piece in Pina Bausch’s repertoire, created at a time when her work was beginning to receive international recognition.  

It is said that Pina often mused on the idea of seeing her original cast dance the piece when older. Now, 45 years later, a new encounter with Kontakthof is being created by choreographer Meryl Tankard, who was one of the main characters in 1978. 

Eight of the original dancers return to their roles as the production creates a poignant interaction between past and present. Kontakthof – Echoes of ‘78 integrates projections of archival footage from their performances as younger dancers, and with company members no longer on stage.  

Sadler’s Wells, Pina Bausch Foundation and Tanztheater Wuppertal Pina Bausch

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Euripides Laskaridis – LAPIS LAZULI

October 1st – 3rd, 2024 Théâtre de la Cité Internationale, Paris
October 22nd & 23rd, 2024 Teatro Stabile Torino, Turin
October 27th, 2024  I Teatri di Reggio Emilia, Reggio Emilia
December 7th, 2024 Les Écuries, Charleroi
December 11th & 12th, 2024 Théâtre de Liège, Liège
80 minutes

An Unpredictable Performance from Greece

@ Pinelopi Gerasimou

Following the success of RELIC (2015), TITANS (2017), and ELENIT (2019) — which continue to tour globally — Euripides Laskaridis now presents his latest work, LAPIS LAZULI. Inspired by the mesmerizing blue semi-precious stone known for its unpredictable behavior under pressure, Laskaridis crafts an enigmatic world filled with intriguing dualities. The stone’s name, often interpreted as the “Stone from Heaven”, reflects both earthly and celestial origins, sparking Laskaridis’ exploration of contrasts on stage. Paying tribute to the rich diversity of theatrical genres — from amateur to commercial, horror to musical, ancient Greek drama to Kabuki, and beyond — LAPIS LAZULI also celebrates the complexity of the performing arts.

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Soa Ratsifandrihana – Fampitaha, fampita, fampitàna

September 18th – 22nd, 2024 MC93, Bobigny
October 3rd – 4th, 2024 Ballet national de Marseille, Marseille
November 20th, 2024 La Manufacture CDCN Nouvelle-Aquitaine, Bordeaux
December 10th, 2024 Théâtre d’Orléans, Orléans
90 minutes

A Young Talent to Follow

© Harilay Rabenjamina

Fampitaha, fampita, fampitàna – three Malagasy words that mean comparison, transmission and rivalry. In a score of abstract and figurative gestures, dancer and choreographer Soa Ratsifandrihana makes use of her own experience of diaspora and her Madagascan origins to tell us the kind of story she would have liked to have heard or seen as a child. Blending radio, musical and choreographic storytelling, the show plays with orality and movement, reminding us that our bodies, just like our words and sounds, are bearers of stories. Ratsifandrihana – who came to attention as a dancer in Rosas’ new version of Fase – drew inspiration from the words and stories she picked up on a recent trip to Madagascar. Joined by guitarist Joël Rabesolo and performers Audrey Merilus and Stanley Ollivier, she travels towards a form of wandering, exploring how several influences can lead to an unheard-of explosion of cultures like creolisation. Just as the change in accentuation between ‘fampitaha’, ‘fampita’ and ‘fampitàna’ alters the word’s meaning, the dancers glide from one state to another, seemingly following a constantly changing movement – or perhaps a form of creolisation.

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Jan Martens – VOICE NOISE

September 24th – 28th, 2024 charleroi danse / la raffinerie, Brussels
October 12th – 13th, 2024 Teatro Argentina, Rome
October 17th – 19th, 2024 mercat de les flors, Barcelona
November 6th, 2024 Theater Rotterdam, Rotterdam
November 19th – 23th, 2024 Théâtre de la Ville, Paris
December 11th, 2024 Concertgebouw Brugge, Brugge
December 14th, 2024 Leietheater, Deinze
90 minutes

The Gender of Sound

© Phile Deprez

On a selection of thirteen tracks by women, his dance spares us the illustration. Instead, it acts as a filter to enhance our listening experience.

Léa Poiré

‘Redundant.’ Or more bluntly: ‘Irritating noise.’ This is how the voice of the woman has often been considered from ancient Greek times to today.

VOICE NOISE is inspired by Anne Carson’s essay ‘The Gender of Sound’ (1992), in which she exposes how patriarchal culture has sought to silence women by ideologically associating women’s sound with monstrosity, disorder and death.

In VOICE NOISE, some innovative, unknown and/or forgotten women’s voices from the past hundred years of music history are given a stage. By doing so, Jan Martens takes another step in his efforts to shape an alternative canon.

Six dancers respond to recordings in which the human voice can be heard in various guises: humming, soothing, shrieking, whispering, singing. Gradually, they discover their own voice.

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Christian Rizzo – d’après une histoire vraie

October 12th – 13th, 2024 Kyoto Arts Theater Shunjuza, Kyoto
October 19th – 20th, 2024 Saitama Arts Theater, Saitama
November 7th – 9th, 2024 Le CENTQUATRE, Paris
November 12th – 13th, 2024 Bonlieu scène nationale, Annecy
November 23rd, 2024 Domaine de Bayssan, Béziers
November 26th – 27th, 2024 Scène Nationale d’ALBI-Tarn, Albi
60 minutes

The Revival of a Masterpiece

© Marc Domage

Wearing short-sleeved shirts and denim pants, and barefoot, eight men appear on a dimly lit stage and begin dancing in silent unison. Soon, two drummers join them. The dancers synchronize in pairs or groups, and then suddenly become one person who has left the group. The joining and dispersing, repetition and development are dizzyingly but tightly constructed, leaving no time to take your eyes off them. And even in the neat composition, their bodies are bubbling and heating up, and excitement is pulsating.

Christian Rizzo is a multi-talented leader in the European art scene, with a wide range of fields including not only performing arts but also visual arts, music, and fashion. The origins of this work, which premiered at the Avignon Theater Festival in 2013, date back to about 10 years earlier, when Rizzo witnessed a dance performed by male dancers in Istanbul and was deeply impressed by it. One dance inspires the birth of another dance over time. We witness a moment in the unbroken dance activity.

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Stefan Kaegi / Sasha Waltz & Guests – Mirror Neurons

August 29th – September 1st, 2024 radialsystem, Berlin
November 23rd – 24th, 2024, Tanz Köln, Cologne
November 28th – December 1st, 2024 Kampnagel, Hamburg
December 13th – 15th, 2024 TEATR ŁAŹNIA NOWA, Kraków
80 minutes

A Documentary Dance Evening with an Audience

© Bernd Uhlig

This piece is an experiment, conducted anew in every performance. It revolves around the human brain and its relationship with the body. The audience is an essential part of the experiment, because its members are invited not only to watch the dancers but also to find their own groove, to participate from their seats as an active part of a collective system, and to feel the sensation of belonging to a vast hive brain.

Spiegelneuronen (Mirror Neurons) marks the first joint project with Sasha Waltz & Guests. Following on from Andrew Schneider’s remains in 2020, this project continues the dance company’s openness to new styles as well as its commitment to broaden its repertory through artistic exploration and interdisciplinary cooperation with international artists. The collectives come from markedly different artistic directions, but are equally interested in the unconventional use of space and in interdisciplinary work. In this first collaboration, Stefan Kaegi will join forces with both the dancers from Sasha Waltz & Guests and the audience for an exploration of the relationship between the individual and society, conducted through the medium of dance in front of a large mirror.

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