Tag: Amsterdam

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Nicole Beutler – NOW WE ARE EARTH

  • April 25th – 27th, 2025 Opera Ballet Vlaanderen, Antwerp
  • May 27th, 2025 O. Festival, Rotterdam
  • July 8th – 9th, 2025 Julidans Festival, Amsterdam
  • September 15th, 2025 tadsschouwburg Utrecht, Utrecht
  • September 21st, 2025 SPOT, Groningen
  • September 24th – 25th, 2025 Het Nationale Theater, The Hague
  • September 26th, 2025 Chassé Theater, Breda
  • September 27th, 2025 Park Theater, Eindhoven
  • October 1st, 2025 Stadsschouwburg de Harmonie, Leeuwarden
  • October 7th, 2025 Stadsschouwburg Haarlem, Haarlem
  • October 9th, 2025 Nederlandse Dansdagen, Maastricht
  • October 11th, 2025 Schouwburg Hengelo, Hengelo
  • November 1st, 2025 Leidse Schouwburg, Leiden
  • November 5th, 2025 Musis & Stads Theater, Arnhem
  • November 30th, 2025 De Meervaart, Amsterdam

100 minutes

An Eco-Futuristic Symphony

© Reinout Bos

NOW WE ARE EARTH is a grand future vision of choreographer and theater maker Nicole Beutler. Music, dance, choir, and audience unite in this eco-futuristic symphony, creating a sense of greater harmony. With 8 dancers and singers, accompanied by a city choir of 45 voices, this 100-minute piece becomes a vibrant convergence of sound and movement, offering a glimpse into a dream of a possible future.

The piece explores the theme of interconnectedness, seeking balance across five realms: animals, humans, plants, fungi, and technology.

NOW WE ARE EARTH promises to be a total artwork, a dance opera featuring a local city choir, with a key role for the audience. Drawing inspiration from the intricate, interconnected threads of a mycelium, the performers weave a multi-layered, resonating tapestry of colors and sounds, unfolding in endlessly branching and repeating patterns.

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LeineRoebana Company – SILENZIO

April 20th, 2025 Osterfestival Tirol, Innsbruck
May 1st, 2025 Corrosion, Almere
May 10th, 2025 Meervaart Theater, Amsterdam
60 minutes

The Merry-Go-Round of Today’s World

© Anna von Kooij

When we don’t know what awaits us, silence is deafening. Threatening or serene. It makes us vulnerable. 

How that silence is transformed into music – into thunderous clusters, harmonies emerging from nowhere or hushed melodies – is audible in the music of the cello and accordion. How that stillness translates into movement – ongoing, eruptive, directly emotional or visually complex – is shown by LeineRoebana’s dancers. The dancer’s body becomes one with the breath of the accordion and the soul of the cello.

SILENZIO features iconic compositions for cello and accordion by Sofia Gubaidulina, Josquin des Prez, George Crumb and Arvo Pärt and electronic soundscapes by Dyane Donck.

Choreographers Andrea Leine and Harijono Roebana were awarded the 2023 ‘Prijs van Verdienste’ for their contributions to Dutch dance. The jury praised their ‘impressive performances, which are always completely individual and often show a surprising interplay between dance and the most diverse musical styles’.

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INTRODANS – ICON (Lucinda Childs focus programme)

  • March 14th – 15th, 2025 Stadsschouwburg Nijmegen, Nijmegen
  • March 22nd, 2025 Theater Orpheus, Apeldoorn
  • March 25th, 2025 Theater aan de Parade, Den Bosch
  • March 26th, 2025 Theater Amphion, Doetinchem
  • March 27th, 2025 Schouwburg Amstelveen, Amstelveen
  • April 3rd, 2025 De Storm, Winterswijk
  • April 4th, 2025 Junushoff, Wageningen
  • April 9th, 2025 Theater Hanzehof, Zutphen
  • April 10th – 11th, 2025 Stadsschouwburg Haarlem, Haarlem
  • April 15th, 2025 SPOT Groningen, Groningen
  • April 22nd, 2025 Theater aan het Vrijthof, Maastricht
  • April 24th, 2025 Flint, Amersfoort
  • April 30th, 2025 Stadsschouwburg Utrecht, Utrecht
  • May 1st, 2025 Theater De Lievekamp, Oss
  • May 2nd, 2025 Parktheater Eindhoven, Eindhoven
  • May 6th – 7th, 2025 Internationaal Theater Amsterdam, Amsterdam
  • May 9th, 2025 Goudse Schouwburg, Gouda

Duration: unknown

Unique Dance Personality Lucinda Childs

© Introdans Pieter Henket

Choreographer Lucinda Childs is the queen of minimal dance. She will be 85 years old in 2025, and Introdans is celebrating this with the focus programme ICON, a tribute to the ‘grand old lady’ of American dance. This evening the audience will experience a (time) journey that starts with Interior Drama from 1977, new for the Dutch audience, past the pieces Kilar, Petricor and Concerto that Introdans has danced before, and ends with a world premiere of her latest work: Notes of Longing.

Childs’ movement idiom is absolutely unique: taking an abstract, almost mathematical approach she uses relatively simple ballet and athletic movements to create amazingly complex masterpieces. The bond between Childs and Introdans can also be called unique, there is no company in the world that dances so much of her work. Introdans has a rich oeuvre of existing and new work by Lucinda Childs. With ICON it underlines this special bond.

The choreographies Kilar, Petricor and Concerto are accompanied live in a number of theatres by the National Youth Orchestra led by Jurjen Hempel. Notes of Longing will then also be accompanied live by composer / pianist Matteo Myderwyk.

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Sarah Baltzinger & Isaiah Wilson (for Scapino Ballet) – GOATS

  • March 7th, 2025 International Theater Amsterdam, Amsterdam
  • March 11th, 2025 Theater De Leest, Waalwijk
  • March 13rd, 2025 Theater De Maagd, Berg-Op-Zoom 
  • March 14th, 2025 Munttheater, Weert
  • March 26th, 2025 Theater Sneek, Sneek
  • March 28th, 2025 Stadsschouwburg Haarlem, Haarlem
  • April 2nd, 2025 SPOT/Stadsschouwburg, Groningen
  • April 3rd, 2025 Theater de Bussel, Oosterhout
  • April 4th, 2025 Stadsschouwburg Nijmegen, Nijmegen
  • April 6th, 2025 Theater Singer, Laren
  • April 9th, 2025 Amare, The Hague
  • April 10th, 2025 Parktheater, Eindhoven
  • April 11th, 2025 TAQA Theater de Vest, Alkmaar
  • June 6th, 2025 Meervaart Theater, Amsterdam
  • June 7th – 8th, 2025 Theater Rotterdam, Rotterdam
  • June 9th, 2025 Stadsschouwburg Utrecht, Utrecht
  • June 23rd – 24th, 2025 Sibiu International Theater Festival, Sibiu

Between Pastoral Satire
and Bestiary Dream

© Bart Grietens

In the piece GOATS by French/Luxembourgian duo Sarah Baltzinger + Isaiah Wilson, the performers are immersed in a hallucinatory world, in between pastoral satire and bestiary dream. GOATS unfolds in an absurd, Kafkaesque universe, where Gilles Deleuze’s philosophy of «becoming-animal» serves as a lens to explore contemporary alienation. On stage, the performers embody hybrid beings—half-human, half-goat—reflecting a world in which they can no longer find their place. Their only escape lies in metamorphosis, a shift toward animality that unveils humanity’s desperate search for relief from the relentless cruelty of its surroundings.

This journey takes place within a scenography that blurs the line between reality and fantasy. A surreal landscape of grass dominates the stage, evoking a pastoral kingdom both idyllic and oppressive. It is a space suspended between the sacred and the playful, where the rules of ritual and the discipline of games intersect. Viewers are left to wonder: is this a prison, a human zoo, a stadium, or a fantastical world ? This ambiguity underscores the disciplinary nature of the space, which confines the performers within its surreal boundaries while shaping their identities and actions. 

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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
  • October 22nd – 30th, 2025 Théâtre de la Ville, Paris

approx. 150 minutes

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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Ingrid Berger Myhre – No Dreams, No Gold

February 14th – 15th, 2025 Rosendal Teater, Trondheim
February 21st – 22nd, 2025 BIT Teatergarasjen, Bergen
May 2nd, 2025 Korzo Theater, The Hague
May 16th , 2025 Bellevue Theater, Amsterdam
October 2nd – 4th, 2025 Dansens Hus, Oslo
October 15th, 2025 Regional Arena for Samtidsdans, Sandnes
60 minutes

A Duet with Warmth
and Humor

© Kim Jakobsen To

Lasse is a composer and a musician. Ingrid is a choreographer and a dancer. Their collaboration is often about finding new ways to articulate a working situation: where both operate as equal players, without having to be the same.

Ingrid and Lasse have different experience and perspective, but share the space of negotiation that arise when meeting in the periphery of their own expertise. Their friendship is an intrinsic part of their artistic material, which they give the audience generous access to. Their work is highly personal yet down to earth.

In 2019 Ingrid and Lasse made the performance Panflutes and Paperwork. Since the premiere at Theater Rotterdam it has been shown all over Europe. No Dreams, No Gold is their next stage production, in which they continue to contemplate the conventions of music and dance with warmth and humor.

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Matthew Bourne – Swan Lake

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

© Johan Persson

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.”

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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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TAO Dance Theater – 13 & 14

October 12th, 2024 Theater Bonn Opera House, Bonn
October 16th-19th, 2024 Théâtre de la Ville, Paris
October 25th-26th, 2024 Teatro Central, Seville
October 30th, 2024 Teatro Ariosto, Reggio Emilia
November 5th-6th, 2024 International Theater Amsterdam, Amsterdam
November 13th, 2024 Le théâtre de Saint-Nazaire, Saint-Nazaire
November 15th-16th, 2024 Théâtre de Cornouaille, Quimper
November 21st, 2024 Le Quartz, Bres
July 30th, 2025 Civitanova Danza, Civitanova Marche
August 6th, 2025 ImPulsTanz, Vienna
75 minutes incl. intermission

Winners of Silver Lion, BIENNALE DANZA 2023

© Duan Ni

TAO Dance Theater is a Chinese dance company based in Beijing. Founded in 2008 by the choreographers Tao Ye, Duan Ni and by the producer Wang Hao, the company has an innovative approach to movement, a body technique known as “Circular Movement System”. At its roots is the idea of pure dance, achieved through the “ritualistic repetition of the body’s natural movements”, invoking the spectators’ capacity to concentrate on the essential nature of the repeated gesture, devoid of any ornament.

TAO Dance Theatre’s choreographic Series of Numbers began in 2008 and has been invited onto the most important stages of the world, from the Lincoln Center Art Festival of New York to Sadler’s Wells Theatre in London, as well as the Sydney Opera House and the Théâtre de la Ville in Paris. Its minimalist aesthetic further codified Tao Ye and Duan Ni’s method, achieving an exasperated repetition that seeks truth in the body.

13 and 14 explore different themes, respectively involving 13 and 14 dancers on stage following the habitual pattern of the series. 13 develops along a three-part scheme, exploring three different ways that bodies relate: in the solo, the duet, the ensemble. Starting from the unity of the ensemble, the choreographer progressively fragments the dancers into different formations between ralenti and sudden accelerations, reflecting the “complexity of the physical world, where one is continuously colliding, coming together and apart, falling and bouncing back” within a choreographic form that is both rigorous and open.

A study of rhythm, 14 relies on rapid changes of movement that bring out the full range of possibilities between stasis and movement. As the result of a complex dynamism, 14 takes the vocabulary of the “Circular Movement System” to the extreme: Points, lines and planes that intersect in space bring the work back to pure movement, deploying the full range of possibilities”.

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Christos Papadopoulos – Ties Unseen

September 26th – October 2nd, 2024 Amare, The Hague
October 4th, 2024 Chassé Theater, Breda
October 8th – 10th, 2024 Internationaal Theater Amsterdam, Amsterdam
October 12th, 2024 Theater Rotterdam, Rotterdam
October 23rd – 26th, 2024 Théâtre de la Ville, Paris
November 6th – 9th, 2024 Megaron, Athens
November 28th – December 1st, 2024 Amare, The Hague
35 minutes

Part of NDT 1 double-bill or triple-bille program.

A Minimalist NDT

© Nederlands Dans Theater

Christos Papadopoulos’ new work explores our subtle, everyday social connections, revealing the beauty within the most profound connections that often go unnoticed. Drawing from the unadorned fabric of the human experience, the choreographer illustrates the simplicity of shared moments: the unspoken understanding between friends, silent nods of solidarity among strangers, and the quiet resilience threaded through collective struggles.

A new voice for NDT, the Greek-born choreographer favours a minimalist and precise language of movement. Through small gestures that belie an intense physicality, Papadopoulos has created an ode to the power of invisible forces and transports the audience to a mysterious space in which there is neither beginning nor end.

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