Tag: Rotterdam

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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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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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Sharon Eyal – Into the Hairy (Special Version with NDT)

May 15th – 17th, 2025 Amare, The Hague
May 20th – 24th, 2025 Internationaal Theater Amsterdam, Amsterdam
May 27th, 2025 Theater aan de Parade, Den Bosch
May 28th – 29th, 2025 Stadsschouwburg Utrecht, Utrecht
June 1st, 2025 SPOT Groningen, Groningen
June 3rd, 2025 Theater Rotterdam, Rotterdam
June 5th – 7th, 2025 Amare, The Hague
55 minutes

The Eyal Effect
on a Large Scale

© NDT

For this expanded interpretation of Into the Hairy (2023), NDT and Sharon Eyal Dance S-E-D have joined forces. Originally created for 7 dancers, this collaboration unites two companies in an extended cast of more than 20 dancers to investigate a new perspective on the unique universe of the work. Together with co-creator Gai Behar and an original score by artist and composer Koreless, Eyal has created an evocative, unsettling, and dystopian journey. 

 Into the Hairy is a powerful, idiosyncratic work about the strength in vulnerability. The language of movement is hypnotizing, rhythmic, and elusive, the culmination of improvised moves caught and harnessed in a highly sensory and virtuosic form. Clad in bodysuits that highlight every move and muscle, the dancers exude a detached, otherworldly air and leave the audience entranced. Into the Hairy tests the limits of contemporary dance by connecting classical dance with the underground club culture.

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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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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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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 – Spelling Spectacle

December 17th – 18th, 2024 Kaaitheater, Brussels
December 21st, 2024 Theater Rotterdam, Rotterdam
65 minutes

A Game of Three Performers

© Tale Hendnes

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.

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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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Nastaran Razawi Khorasani – This Is not a Dance

September 13th – 14th, 2024 Theater Bellevue, Amsterdam
September 17th, 2024 Theater Kikker, Utrecht
September 20th, 2024 Theater a/h Spui, The Hague
September 27th – 28th, 2024 De Singel, Antwerp
October 4th, 2024 Grand Theatre, Groningen
October 8th – 9th, 2024 Theater Rotterdam, Rotterdam
October 29th – 3oth, 2024 Frascati, Amsterdam
November 4th, 2024 Teater Luwes, Jakarta
60 minutes

About Dance and Censorship

© Bas de Brouwer

This is not a dance forces you to reflect on the foundations of dance, in definition and effect.

Iris Spanbroek

In Iran, dancing has been officially prohibited since the start of the Islamitic Revolution. All dance companies have been forced to cease their activities. Many dancers and choreographers have fled abroad. Those who still live there have to be very resourceful. How are they keeping their art form alive? Theatre maker Nastaran Razawi Khorasani presents the performance This is not a dance a dance performance that deals with censorship. What can be shown, what must remain hidden? As the music and lights build towards a frenzy, Nastaran attempts to keep her dancing body in check.

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