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Crystal Pite & Simon McBurney – Figures in Extinction for NDT

  • February 19th – 22nd, 2025 Aviva Studios, Manchester
  • February 26th – March 1st, 2025, Amare, The Hague
  • March 6th – 7th, 2025 Stadsschouwburg, Utrecht
  • March 11th – 12th, 2025 Parkstad Limburg Theaters, Heerlen
  • March 15th – 16th, 2025 Theater Rotterdam, Rotterdam
  • March 19th, 2025 Parktheater, Eindhoven
  • March 26th – 29th, 2025 Internationaal Theater, Amsterdam
  • April 8th – 11th, 2025 Tanssin Talo, Helsinki
  • June 18th – 20th, 2025 Les Théâtres de la Ville de Luxembourg, Luxembourg
  • June 25th – 27th, 2025 Montpellier Danse, Montpellier
  • July 4th – 6th, 2025 Deutsche Oper Berlin, Berlin
  • August 22nd – 24th, 2025 Edinburgh International Festival, Edinburgh

Duration: unknown

THE Urgent Dance Trilogy

© Rahi Rezvani

Pite and McBurney were transfixed when they saw each other’s work. But it was the ecological theme with which they found common cause. “Straight away we decided we wanted to make something centred on the climate crisis,” says Pite. “Which is not,” stresses McBurney, “separable from human crisis. We are all inescapably part of this living world.”

Sanjoy Roy (The Guardian)

We are living in an age of extinction. Can we ever hope to give a name to what we are losing? What does it mean to bear witness to a violence in which we are both perpetrator and victim? 

Across continents, choreographer Crystal Pite and Complicité Artistic Director Simon McBurney have exchanged ideas reflecting on their fears and cautious hopes for our age. Their process has drawn on a rich and surprising array of source materials: from the sound of ice caps melting to the clarion calls of climate change deniers, from scholastic lectures on the neuroscience of the brain to the cacophonous clatter of Instagram influencers.

Over a span of four years, the two world-renowned artists have created three works together for NDT 1, each developed in response to the last. Figures in Extinction [1.0] confronts us with everything that is dying on our planet, while [2.0] is a searing examination of our need for connection in a separated world. The third and final work will continue this cross-disciplinary exchange, making its world premiere in the UK in February 2025, and will offer a spark in the darkness as to where we – collectively, spiritually, and imaginatively – might go next.

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UK/Ireland France

Oona Doherty – Specky Clark

February 6th – 7th, 2025 Kunstencentrum VIERNULVIER, Ghent
March 7th, 2025 Festspielhaus St. Pölten, St. Pölten
April 24th – 25th, 2025 Lieu Unique, Nantes
May 9th – 10th, 2025 Sadler’s Wells, London
May 14th – 17th, 2025 Dublin Dance Festival, Dublin
June 24th – 27th, 2025 Théâtre de la Ville, Paris
120 minutes

Meat, Sorrow and Irish Sounds

© Luca Truffarelli

Part fiction, part biographical, all elements are overlapping, and it will become difficult to determine what’s myth and what’s reality. 

It goes back to a time when families worked in the abattoirs of Belfast. Pigs in the garden of New lodge.

There’s something in the meat of me, bloodline, there is a pink fleshy vulnerability to me, to dancing, there is a violence in me.

This new show will follow the story of Oona’s Great Great Grandfather Specky Clark and his arrival in Belfast.

For this piece which will be unfolding in a series of theatrical images, Oona Doherty will collaborate with many faithful and new partners. The production features music from Irish band Lankum, Gavino Murgia and David Holmes & Raven Violet. Maxime Jerry Fraisse is sound designer, Irish playwright Enda Walsh is dramaturg, Sabine Dargent is set designer, Darius Dolatyari-Dolatdoust is costume designer and long-time collaborator John Gunning is lighting designer. The piece will be performed by an international cast of 9 dancers.

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Scandinavia UK/Ireland Americas

Harald Beharie – Batty Bwoy

  • November 16th – 17th, 2024 Bari International Gender festival, Bari
  • November 21st – 23rd, 2024 Sophiensæle, Berlin
  • December 6th – 7th, 2024 Kampnagel, Hamburg
  • March 22nd, 2025 Théâtre de Vanves, Vanves
  • March 24th, 2025 Festival Le Grand Bain, Roubaix
  • March 27th, 2025 STUK, Leuven
  • April 1st – 3rd, 2025 Bora Bora, Aarhus
  • April 8th – 9th, 2025 Dansehallerne, Copenhagen
  • May, 2025 Tramway/Buzzcut Glasgow
  • May 28th – 31st, 2025 FTA, Montreal

75 minutes

A Captivating Solo

© Tale Hendnes

There are hints of dancehall dutty wine whirls, or sexy pelvis swaying. The movements are always ambivalent: they range between vulnerable, violent and ecstatic, yet become mechanical and ‘empty’ through numerous repetitions.

Jelena Mihelčić

Batty Bwoy is a solo performance in collaboration with Karoline Bakken Lund, Veronica Bruce, Jassem Hindi and Ring van Mobius.

Through a reappropriation of the Jamaican term “ Batty Bwoy” (litteraly, butt boy), slang for a queer person, the work twists and turns myths to invoke demonic sensitivities and charming cruelties, unfolding vulnerable possibilities in an interplay of consciousness and naivety. The horror and joy of Batty Bwoy, inherent to queer blackness, is unmasked. 

Scrutinizing the absurdity of a queer monstrosity, Batty Bwoy articulates the porosity of bodies and languages, their mouths swallowing and regurgitating the corporal fictions projected onto their skins.  

Batty Bwoy attacks and embraces sedimented narratives around the fear of the queer body as a perverse and deviant figure. The expression “Batty Bwoy” is used to evoke an ambivalent being that exists in the threshold of the precarious body, liberated power, joy and batty energy!

The work has found inspiration in mythologies, disgusting stereotypes, feelings and fantasies of the queer body and identities, homophobic dancehall lyrics, 70s Giallo films from Italy, resilient “gully queens” and queer voices in Norway and Jamaica that have visited and taken part of the process.

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