Rome – Dancephere

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

Part of the 78th Avignon Festival

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.”

FIND OUT MORE

Jan Martens – VOICE NOISE

The Gender of Sound

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.