January 18th, 2025 Théâtre Francine Vasse, Nantes January 31st & February 1st, 2025 Les Brigittines, Brussels March 18th, 2025 La Castélorienne, Montval-sur-Loir March 25th, 2025 Gallia Théâtre Cinéma, Saintes March 27 – 28th, 2025 Le Moulin du Roc, Niort 70 minutes
Drawing on readings and interviews with the writer archived by the INA, Thomas Lebrun brings a staggering solo performance that defies all categorisation.
Somewhere between embodiment and a personal confession, the phrases intertwine with the movements in a fragility that only serves to exalt the poetry. In this inner journey, the whole landscape of Durassian literature explodes, sometimes with humour, often full of nostalgia, but always with the constant accuracy of what this writing intrinsically holds.
L’envahissement de l’être is a suspended moment that lands on an unexplored and fascinating shore of representation…
January 18th, 2024 Le Grand Café, Saint-Nazaire 4 hours
As part of Trajectoires Dance Festival, Le Grand Café will also exhibit a video from Nicolas Floc’h and present a solo performance from Ola Maciejewska. You will have occasion to exchange with these three artists.
For 4 hours, 6 men seem to be waiting for something or someone in the confined space of the white cube. This performative motif has its source in the urban practice of Hittism* specific to the Algerian public space. There, the relationship to public and private places is governed by belonging to a genre. Hittism also gives substance to a whole idle and unemployed youth, which takes its place in the streets.
*The term Hittisme, Hold the wall, comes from the word Hit, wall in Arabic, associated with the French suffix « ism ».
‘Never was a shade of a tree so lovely…’, it says in Händel’s famous aria Ombra mai fu. Alain Platel and visual artist Berlinde De Bruyckere take inspiration from the shade of a tree as a meeting place, as a place where people all over the world and throughout history come together to rest, meet or discuss problems. De Bruyckere’s poetic world of images seems to share a kinship with Platel’s universe.
After the overwhelming success of C(H)OEURS 2022, Platel once again invites the chorus members, dancers and orchestral musicians of Opera Ballet Vlaanderen to join a creative dialogue. Together with singer and performer TK Russell and guest choreographers Mélanie Lomoff and Luis Marrafa, they create the performance Ombra. Composer Steven Prengels is developing a new orchestral score in which he interweaves well-known classical masterpieces by the likes of Händel, Bach, Mozart and Beethoven into new layers of meaning.
For early Filipinos, like many still today, it is believed that a life force or soul inhabits all entities, both animate and inanimate. These spirits are called Anitos.
Co-created by the multi-talented Justin Talplacido Shoulder (The Glitter Militia, Club Ate), ANITO combines collective craft, puppetry, dance and experimental electronic music to reimagine these myths and stories for the now. It’s a work rooted in Sydney’s underground queer and diasporic club scenes.
The collective behind ANITO create a “Queer Filipino Future Folkloric space of storytelling” that centres the importance of nature spirits, intuiting with them as guides towards imagining possible parallel futures.
Performers Shoulder and Eugene Choi transform into animal-human-plant-machine hybrids. In this world of sheer terror and tremendous beauty, they interrogate colonial wrongdoings and queer ancestral mythologies.
0’s & 1’s traces the evolution of data and its impact on human life. The abstract nature of information is expressed through dynamic footwork, recited syllables, sharply etched hand gestures and creative use of props. The choreography blends ensemble sequences with narratives, bringing the concept of data to life.
Rooted in the movement vocabulary of Bharatanatyam, the performance incorporates veena, vocal, and percussion music, enhanced by an electronic score and data sonification. Combined with evocative projections and futuristic costumes, it creates an immersive sensory experience that brings the beauty of data patterns to life.
A metaphysical journey between dream and reality, we are nothing but an entanglement of shadows and light. In a space-time shaped by conscious love, we transcend our fears, anxieties, and wounds. A visual narrative, a deeply sensual and immersive experience.
In A/way Home two essences intertwine – one veiled in opulence, the other adorned with the transient weight of existence. Through the choreography of being, strength and courage materialize in the affluent silhouette, transcending societal diversity. Simultaneously, the nomadic spirit unveils a dance of vulnerability, a silent rebellion against norms and expectations.
This evocative piece beckons viewers to immerse in the fluid interplay of acceptance, where two souls converge in an enigmatic narrative, learning from each other, challenging preconceptions and forging a unique bond. Within the shifting tapestry of existence, a symbiotic rhythm echoes on the stage, a heartbeat of compassion that defies expectations.
Nothing happens (Premiere)
Nothing Happens blends absurdity and irony to expose the conflicts of modern life, confronting global issues often concealed by a mask of normalcy. Inspired by Schrödinger’s Cat and Yuval Noah Harari’s Homo Deus, the piece reveals society’s unresolved paradoxes. The performers shift between fractured identities, suspended in endless, surreal loops that echo a world avoiding truth. Themes of hidden realities, shifting identities, silent wounds, and global warming reveal a culture that obscures itself. Their intensified movements capture the discord of our age, while AI voices drift through like echoes from a dream. In this hazy space between self and reflection, the work asks if we’re ready to break the silence and confront the pressing truths of our time.
December 31st, 2024 – January 5th, 2025 Teatro dell’Opera di Roma, Rome Duration: not indicated
Cabaret Maxim’s in Rome
@Yasuko Kageyama
Every night, Johann puts on a bat’s wings and flies off. Bella, troubled by her husband’s pleasure-seeking at night, consults with her friend Ulrich and starts a strategy of disguising herself as a mysterious beauty to seduce her husband. One night, Johann is captivated by her at a cafe and chases her without knowing that she is his own wife.He is soon involved a fracas and arrested. What will happen to the married couple’s love?
La Chauve-souris combines refined humor, urbane sensibility, and a touch of sadness at the end. Premiered by the Ballet National de Marseille in Monte Carlo in 1979, the ballet piece is based on the classic comic operetta Die Fledermaus by Johann Strauss II.
December 17th – 20th, 2024 Théâtre Silvia Monfort, Paris February 7th – 8th, 2025 Liège Festival, Liège February 9th, 2025 Salle Stotzem, Dison March 5th, 2025 Gugliemi Theater, Massa March 7th, 2025 Teatro Manzoni, Manzoni April 1st – 6th, 2025 Franco Parenti Theatre, Milan April 16th, 2025 Teatrodante Carlo Monni, Campi Bisenzio April 23rd – 24th, 2025 Nest Théâtre, Thionville May 15th – 24th, 2025 Théâtre National Populaire, Villeurbanne 60 minutes
An old lady rummages through a trunk. She takes out a bottle of pills, a wedding veil, a remote control, lots of colored balloons… From another trunk comes the music of a music box. An old man appears. He is wearing an old, worn-out formal suit. The man looks at the woman and smiles. He immediately reaches her. He hugs her. The woman rests her head on his shoulder. He caresses her. She holds him tight so as not to lose her balance. He supports her. They dance. He takes a pocket watch out of his pocket: minus five… minus four… minus three… minus two… minus one… and at the stroke of midnight he sets off a firecracker. They kiss. He throws a handful of confetti into the air. The party begins. Happy New Year, my love! He and she are now sixteen. In bathing suits they promise each other eternal love. To the tune of old songs they celebrate the arrival of the new year by dancing their love story backwards.
Il tango delle capinere is the deepening of a study, Ballarini, which belonged to la trilogia degli occhiali. It is the composition of a mosaic of memories that makes bearable the loneliness of those who unfortunately outlive the other.
December 2nd, 2024 – January 26th, 2025 Sadler’s Wells, London February 6th – 15th, 2025 Birmingham Hippodrome, Birmingham February 18th – 22nd, 2025 Theatre Royal, Nottingham February 25th – March 1st, 2025 Liverpool Empire, Liverpool May 20th – 24th, 2025 Dublin Dance Festival, Dublin June 18th – 29th, 2025 LG Arts Center, Seoul August 27th – 31st, 2025 Shanghai Culture Square, Shanghai October 9th – 26th, 2025 La Seine Musicale, Boulogne-Billancourt October 29th – November 9th, 2025 Koninklijk Theater Carré, Amsterdam November 19th – 22nd, 2025 Teatro Real, Madrid November 27th – 30th, 2025 Grand Théâtre de la Ville de Luxembourg, Luxembourg 2 hours 20 minutes incl. one 20-minute interval
The 30th Anniversary of Bourne’s Genre-defining Work
Matthew Bourne’s Swan Lake returns for its 30th anniversary with a 2024/25 UK tour. This audacious reinvention of Tchaikovsky’s masterpiece caused a sensation when it premiered almost 30 years ago and has since become the most successful dance theatre production of all time. In celebration of that ongoing impact, Swan Lake will take flight once more in this major revival for the next generation, visiting 19 venues over 29 weeks.
Thrilling, bold, witty and emotive, this genre-defining event is still best known for replacing the female corps-de-ballet with a menacing male ensemble, which shattered convention, turning tradition on its head.
First staged at Sadler’s Wells in London in 1995, Matthew Bourne’s Swan Lake took the dance theatre world by storm becoming the longest running full-length dance classic in the West End and on Broadway. It has since been performed across the globe, collecting over thirty international accolades including the Olivier Award for Best New Dance Production and three Tony Awards for Best Director of a Musical, Best Choreography and Best Costume Design.
Matthew Bourne said, “As our swans take flight once more in this major revival, I’m full of anticipation for the challenges it will bring for our next generation of dancers and the wonder that it will bring to audiences who will experience it for the very first time.”
