Tag: Marseille

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France Benelux

Jan Martens – THE DOG DAYS ARE OVER 2.0

  • September 17th – 19th, 2025 Biennale Danse Lyon, Lyon
  • September 24th – 25th, 2025 Theater Rotterdam, Rotterdam
  • October 12th, 2025 Festival Aperto, Reggio Emilia
  • October 23rd – 24th, 2025 SPAF, Seoul
  • November 7th – 9th, 2025 National Theater NPAC-NTCH, Taipei
  • November 20th – 21st, 2025 La Comédie, Valence
  • November 26th – 27th, 2025 La Comédie de Clermont-Ferrand, Clermont-Ferrand
  • December 2nd, 2025 Les Salins, Martigues
  • December 12th – 13th, 2025 TANDEM, Douai
  • January 13th, 2026 Schouwburg Concertzaal, Tilburg
  • January 20th, 2026 Parkstad Limburg Theaters, Heerlen
  • January 21st, 2026 Theater de Veste, Delft
  • January 31st, 2026 Grand Theatre, Groningen
  • February 3rd – 4th, 2026 VIERNULVIER, Ghent
  • February 11th – 12th, 2026 KLAP, Marseille
  • April 2nd – 3rd, 2026 ITA, Amsterdam
  • April 21st, 2026 centre culturel, Hasselt
  • April 22nd, 2026 centre culturel, Sint-Niklaas
  • April 24th – 25th, 2026 De Singel, Antwerp
  • May 5th – 7th, 2026 STUK, Leuven

Duration: unknown

The Dog Days Are Back

© Alwin Poiana

Thanks to its radical choreographic form, THE DOG DAYS ARE OVER revealed the audience’s perception of dancers, choreographers, spectators and the cultural policy at the time. Ten years on, these questions are still very much relevant due to current political and social trends: Where does the thin line between art and entertainment lie? Who are we as an audience when we contemplate the suffering of dancers from the theatre like a bullfight in an arena? Is contemporary dance striptease for the elite? THE DOG DAYS ARE OVER makes the viewer shift in his position: from being merely subjected to the experience to actively reflecting on it.

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Alice Ripoll & Hiltinho Fantástico – Puff

August 19th – 24th, 2025 Dance Base Festival, Edinburgh (Special Preview)
September 24th – 25th, 2025 Festival Actoral, Marseille
45 minutes

A Solo of Disguise

© Camille Blake

Puff explores the concept of “disguise” as a recurring element in dances of the African diaspora—an element that transmits silenced cultures by concealing techniques, messages, traditions, or ancestral knowledge. The work explores the development of footwork techniques such as extremely rapid steps and the dissociation of body parts, which create illusions and suggest that something is being deliberately hidden from view. Puff—a light breath—also carries, in Portuguese, the meaning of something that vanishes as if by magic.

This solo performance marks a continuation of the long-standing collaboration between Alice Ripoll and Hiltinho Fantástico, who have been working together for the past seven years within the SUAVE and REC dance companies. Both collectives develop a hybrid language that merges contemporary dance with Brazilian urban forms. The two artists have collaborated in acclaimed works such as Cria, Lavagem, aCORdo, and Zona Franca, which have toured major festivals and theaters around the world.

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France Mediterranea Benelux DACH region

Peeping Tom – Chroniques

  • June 4th – 6th, 2025 Théâtre National de Nice, Nice
  • June 18th – 20th, 2025 Festival de Marseille, Marseille
  • September 27th – 28th, 2025 I Teatri di Reggio Emilia, Reggio Emilia
  • October 2nd – 4th, 2025 Torinodanza, Turin
  • October 8th – 9th, 2025 Triennale Milano, Milan
  • October 13th – 14th, 2025 Dialog Festival, Wrocław
  • November 14th – 16th, 2025 Anthéa, Antibes
  • November 20th – 21st, 2025 Les Salins, Martigues
  • November 27th – 29th, 2025 Châteauvallon Liberté, Toulon
  • December 5th – 6th, 2025 Le Carré Leon Gaumont, Sainte-Maxime
  • December 9th – 18th, 2025 KVS, Brussels
  • January 23rd – 24th, 2026 Tanz Köln, Cologne
  • March 4th – 6th, 2026 Le Vilar, Louvain-la-Neuve
  • March 20th – 21st, 2026 Teatro Central, Seville
  • March 28th – 29th, 2026 Emilia Romagna Teatro, Caserna
  • April 2nd – 8th, 2026 La Villette, Paris
  • April 14th – 15th, 2026 CSS Udine, Udine
  • April 28th – 30th, 2026 Les Théâtres de la Ville de Luxembourg, Luxembourg
  • June 4th – 14th, 2026 TNC, Barcelona

90 minutes

Peeping Tom’s
Next Chapter

© Sanne De Block

Among the immortal, each act (and each thought) is an echo of those who anticipated it in the past or the faithful omen of those who, in the future, will repeat it to the point of vertigo. – Jorge Luis Borges

Five figures are trapped in a temporal maze, mutating and colliding in an attempt to defy immortality. Their existence takes place in a vast sulfuric landscape, unfolding in a series of chronicles. Is this landscape the ground for new creations, or made out of remnants of what once existed?

Confronted with different laws and physical phenomena, their bodies reveal other behaviors and possibilities of being, without knowing if they are at the twilight or dawn of their existence. We are witnessing a bodily metamorphosis in an abyssal and poetic dimension.

Chroniques unveils the next chapter in Peeping Tom’s universe.

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Benelux

Ali Chahrour – When I Saw the Sea

June 2nd – 3rd, 2025 HAU, Berlin
June 11th, 2025 Les Rencontres à l’Échelle, Marseille
June 24th – 25th, 2025 Festival Theaterformen, Hannover
July 5th – 8th, 2025 Festival d’Avignon, Avignon
December 9th – 11th, 2025 Les Tanneurs, Brussels
70 minutes

A Celebration of Life

© Lea Skayem

The internationally acclaimed dancer and choreographer Ali Chahrour has created a language inspired by Arab myths and by the political, social, and religious context of his country. Through it, he explores the deep relationships between the body and movement, between tradition and modernity.

His new work When I Saw the Sea unfolds on a minimalist stage: the activists Rania, Zena and Tenei – the last two came to Lebanon as migrant workers – embark on a powerful journey of their previously unheard stories through dance, theatre and music. In doing so, they give a voice to countless other labourers from countries such as Cameroon, Sudan and Sierra Leone – people who have been deprived of their rights by the kafala system, which is similar to serfdom – and thus create a deep insight into the political and social reality of Lebanon. 

When I saw the Sea highlights the abuses of this repressive labour system while paying tribute to the courage and resistance of women fighting for justice and freedom. With a mixture of personal and collective testimonies, the work touches on themes such as love, motherhood, war, exile and home. With the music of Abed Kobeissy and the soulful voice of singer Lynn Adib, this is a determined celebration of life, rising above the pain of past struggles.

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Cherish Menzo – FRANK

May 22nd – 26th, 2025 Kunstenfestivaldesarts, Brussels
June 1st, 2025 One Dance Festival, Plovdiv
June 17th – 18th, 2025 PACT Zollverein, Essen
July 3rd – 4th, 2025 Montpellier Danse, Montpellier
July 9th – 10th, 2025 Julidans, Amsterdam
September 24th – 25th, 2025 Theater Rotterdam, Rotterdam
October 10th – 11th, 2025 Festival Actoral, Marseille
October 22nd, 2025 Take Me Somewhere festival, Glasgow
November 10th – 11th, 2025 Moving in November, Helsinki
Duration: unknown

Cherish Menzo’s New Work

© Bas de Brouwer

Choreographer Cherish Menzo examines the figure of the monster in FRANK —short for Frankenstein. More than (re)producing a physical or visual portrayal of the monster, she is researching the monstrous as an embodiment of beliefs and narratives that terrify and horrify, and yet also attract us. Distortion is a choreographic leitmotif used to generate movement material and as a tool to devour the dance and loosen its structure. Cherish Menzo investigates the action of decay and how something gradually breaking down and becoming less or worse can affect one’s gestures.

The performance space fabulates on the Baka Gorong, a place located at the back of the former plantations and in front of the wetlands, where enslaved people in Suriname secretly went to carry out Winti rituals – demonized under Dutch colonial rule – and to consider fleeing.

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Mediterranea Eastern Europe Benelux France

Christos Papadopoulos – My Fierce Ignorant Step

  • May 8th – 18th, 2025 Onassis Stegi, Athens
  • May 30th, 2025 One Dance Festival, Plovdiv
  • June 27th – 28th, 2025 Festival de Marseille, Marseille
  • July 2nd – 3rd, 2025 Julidans, Amsterdam
  • November 14th – 16th, 2025 Romaeuropa Festival, Rome
  • November 19th, 2025 Aperto Festival, Reggio Emilia
  • December 3rd, 2025 Concertgebouw Brugge, Bruges
  • December 6th, 2025 Theater Rotterdam, Rotterdam
  • January 8th – 9th, 2026 PAWILON TAŃCA, Warsaw
  • January 24th – 25th, 2026 TMP, Porto
  • May 24th – 30th, 2026 Théâtre de la Ville, Paris

60 minutes

Christos Papadopoulos’ Most Personal Work

© Christos Papadopoulos

With My Fierce Ignorant Step (Working Title), Papadopoulos seeks to consciously process the influence that “Axion Esti”—the monumental work by Mikis Theodorakis founded on the poetry of Odysseas Elytis—exerted on him, exploring the extent to which sound and speech can dilate and reach a state of abstraction that alludes to that of a movement: a lifted arm, an oscillating body, a trembling leg.

For the choreographer, the first impulse for the creation of “My Fierce Ignorant Step (Working Title)” is grounded in aural memories of his childhood and younger age, memories that he shares with many other Greeks: collective memories that are connected with the fate of this country, even if this is not immediately apparent. Is it possible to work on a text with the same composition principles applied to the choreography of a body? How close to words can a body come, and vice versa? Can this turn into a shared, transparent, and simple experience?

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Steven Michel – Music Hole

March 26th – 27th, 2025 campo, Ghent
October 7th, 2025 festival actoral, Marseille
November 21st & 23rd, 2025 NEXT Festival, Courtrai
Duration: unknown

The Idea of the Ghost

© Shira Marek

Music Hole is a performance that explores our spectral relationship to memory, time and reality. Conceived with four physical, musical and/or vocal performers, the performance is inspired by the notion of hauntology (imagined by philosopher Jacques Derrida and later developed by music critic Mark Fisher), which describes, among other things, the accumulation of ghostly traces of the past as we move into the future. Stevens aim is to translate, choreographically and musically, the idea of survival and erasure, embodiment and disappearance, delay and anticipation.

To haunt is somehow to survive, and also to return. Hence Stevens desire to work with vocal recordings, sound samples, visual loops and iterations of movement. Questioning the idea of the ghost. Not in its figurative aspect, but in its metaphorical use. A ghost can be a trace, something perceived, a feeling of unease. Not necessarily visible, but a presence, an atmosphere. A memory that lingers, a mantra that resists.

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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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