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…
With each move, they peek into the immediate future, attempting to avoid the pitfalls of individual whims and stringent collectivism. By being loyal to the game rules, they risk steering into walls, hopelessly going in circles, missing their marks. By being loyal to their individual ideas, they risk sabotaging the collective effort. This productive dilemma drives the work forward.
The goal is to build the piece in real-time. Everything becomes material, as movement trajectories are woven thanks to coincidence and careful considerations. And as the map is drawn, the mysteries unfold.
Every next frame is the result of a previous stepping stone.
Each stone carries the baggage of the ones before.
In con-sequence, they spell out both the obvious and the magical:
The next step, the next room, the next door- continuously leaving one space to make another appear.
November 15th – 16th, 2024 Les Halles de Schaerbeek, Brussels November 22nd – 24th, 2024 Dansens Hus, Olso December 3rd, 2024 PLT Theater, Heerlen December 6th – 7th, 2024 Teatro Municipal do Porto, Porto December 10th – 11th, 2024 Les Théâtres de la Ville de Luxembourg, Luxembourg 60 minutes
4/4 is Chunky Move’s blueprint for choreographic precision, physical endurance, minimalist design and rugged street aesthetics.
Eight dancers perform a stark symphony of mesmerising movement against the backdrop of minimalist design. As episode after episode builds upon the last, quartets and duets converge and diverge in ever more hypnotic configurations.
Described by audiences as meticulous, mesmerising and exhilarating, and collecting 5- and 4-star reviews and a Green Room award and nomination, 4/4 is a stunning and unrelenting display of Chunky Move Artistic Director Antony Hamilton’s distinctive choreographic language and methodology.
In every_body, choreographer Alexander Vantournhout, alongside collaborator Emmi Väisänen, delves into everyday movements. They elevate simple actions like handshakes and walking into a complex canvas of bodily dynamics. The duet transforms an ordinary handshake into an intricate choreography of arms, elbows, and shoulders, while a seemingly endless walk showcases the versatility of leg and footwork. In every_body, the duo crafts a tapestry of choreography, turning even the subtlest of movements into something remarkable.
The performance is further enriched by the sonic landscape created by composer and guitarist Geoffrey Burton. Fashion designer and scenographer Tom Van der Borght designs both the costumes and the surreal setting where every_body takes place.
Over the last decade, Alexander Vantournhout has built a diverse oeuvre. His work includes ensemble pieces like Foreshadow (2023) and SCREWS (2019), as well as solos VanThorhout (2022) and ANECKXANDER (2015). Every_body (2024) is his fourth duet, following projects like Through the Grapevine (2020), La Rose en Céramique (2018), and Raphaël (2017). The new creation marks the next step in his journey to dissect and reinterpret everyday movements, continually challenging and redefining the limits of human physical expression.
Using Gilbert and George’s The Ten Commandments as a narrative backdrop, Thierry Smits revisits the gay aesthetic underpinning his work: Genet and Fassbinder, Pierre et Gilles, Francis Bacon, Sylvester, and Brokeback Mountain.
Set in a cabaret with a giant pink carpet, two dancers clash with humour and lightness as they reinterpret the iconic expressions of the LGTBQIA+ movement. From disco to country to ambient, this choreographic celebration is as wild as it is overly sexualised, as chromatic as psychedelic. From one scene to the next, the dancing takes us back to the world of camp.
Dynamically and insubordinately, it reminds us of the sources of a gaytitude that exalts our imaginations today.
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…
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
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.”
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
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.
With his first solo, Protéiforme, Benoît Nieto Duran pushed the demanding boundaries of breakdance and hip-hop movements to create a new style.
Today, as part of a duo, he is continuing this exploration by tackling the notion of ‘elsewhere’: the elsewhere of oneself, the elsewhere that is the other. Here we are dealing with the aesthetics of ‘distortion’ that allows us to see the absurdity of our everyday gestures. Starting from the imitation of the dancers, Benoît Nieto Duran creates a new choreography. In his pursuit of a free and ideal language, this creation, straddling depth and dynamism, presents another exploration of movement. Surprising to say the least.
NO MERCY navigates our daily virtual and non-virtual modes of feeling. During this 45-minute DJ set, nasa4nasa explores the limits of sensuality and desire interplaying with violence. The two female bodies navigate the gaze, referencing their repertoires of body image, pop, rage and intimacy. nasa4nasa will lure you in, disarm you and in the process unravel in their own drama.
nasa4nasa is a dance collective based in Cairo co-founded by dancers Noura Seif Hassanein and Salma AbdelSalam in 2016. Housed primarily on Instagram, the collective’s work explores image-making and online presence as their ongoing dance practice. nasa4nasa’s debut performance SUASH premiered at Next Festival and MDT (2018). They were most recently awarded the Arab Fund for Arts and Culture for their latest work Sham3edan (2023).
