Tag: Reggio Emilia

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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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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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DACH region

William Forsythe – UNDERTAINMENT

May 23rd – 31st, 2025 Hellerau, Dresden
June 5th – 8th, 2025 Schauspiel Frankfurt, Frankfurt
June 13th – 15th, 2025 De Singel, Antwerp
June 27th, 2025 Theater Freiburg, Freiburg
July 7th – 8th, 2025 Julidans, Amsterdam
September 9th – 10th, 2025 Auditorium Conciliazione, Rome
September 21st – 22nd, 2025 Biennale Danse Lyon, Lyon
October 4th, 2025 Aperto Festival, Reggio Emilia
November 13th – 15th, 2025 Mercat de les Flors, Barcelona
December 4th – 6th, 2025 Kampnagel, Hamburg
Duration: unknown

Double bill with another program

Forsythe Returns to Frankfurt

© Dominik Mentzos

This is a full circle moment. William Forsythe is regarded as one of the most important choreographers of the late 20th century. His innovative approach to the tradition of ballet has opened up directions for dance that would otherwise be difficult to imagine. From 1984 to 2004, Forsythe directed the Ballett Frankfurt and from 2005 to 2015 The Forsythe Company, which was later renamed Dresden Frankfurt Dance Company.

Forsythe is now returning to the place of this legacy of many years and is developing a new work with the company for the first time. Starting from a toolbox of improvisational construction, he creates a structural order which, instead of signifying something else, offers an aesthetic pleasure in itself. Like in a kaleidoscope, patterns emerge that are always unpredictable and surprising yet within a clear framework. The dancers explore the movement system that they themselves form to its limits. The audience is invited to follow this exploration and experience the work as a living, breathing system.

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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?

INSTAGRAM
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Archive

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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Archive

Euripides Laskaridis – LAPIS LAZULI

October 1st – 3rd, 2024 Théâtre de la Cité Internationale, Paris
October 22nd & 23rd, 2024 Teatro Stabile Torino, Turin
October 27th, 2024  I Teatri di Reggio Emilia, Reggio Emilia
December 7th, 2024 Les Écuries, Charleroi
December 11th & 12th, 2024 Théâtre de Liège, Liège
80 minutes

An Unpredictable Performance from Greece

@ Pinelopi Gerasimou

Following the success of RELIC (2015), TITANS (2017), and ELENIT (2019) — which continue to tour globally — Euripides Laskaridis now presents his latest work, LAPIS LAZULI. Inspired by the mesmerizing blue semi-precious stone known for its unpredictable behavior under pressure, Laskaridis crafts an enigmatic world filled with intriguing dualities. The stone’s name, often interpreted as the “Stone from Heaven”, reflects both earthly and celestial origins, sparking Laskaridis’ exploration of contrasts on stage. Paying tribute to the rich diversity of theatrical genres — from amateur to commercial, horror to musical, ancient Greek drama to Kabuki, and beyond — LAPIS LAZULI also celebrates the complexity of the performing arts.

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