Tag: Utrecht

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TAO Dance Theater – 16 & 17

  • July 25th – 26th, 2025 Biennale Danza, Venice
  • August 9th, 2025 ImPulsTanz, Vienna
  • October 12th – 13th, 2025 Dialog Festival, Wrocław
  • October 16th – 17th, 2025 SPAF, Seoul
  • March 4th, 2026 Amare, The Hague
  • March 7th, 2026  International Theater Amsterdam, Amsterdam
  • March 10th, 2026 schrit_tmacher Festival, Heerlen
  • March 14th, 2026 Stadsschouwburg Utrecht, Utrecht
  • March 17th, 2026 SPOT Groningen, Groningen

70 minutes

The Latest Chapters of Numerical Series

© Fan Xi

This double bill from the TAO Dance Theater’s Numerical Series begins with a celebration of the dragon, a bringer of good look in China. Inspired by the Chinese dragon dance Loong, sixteen black-clad dancers from Beijing swirl through colourful light in the first piece, 16. And the seventeen bodies in 17, wearing black and white, activate their voices along with their movements, thereby turning themselves into a “mobile sound system”. With his minimalist yet virtuoso dance style, choreographer Tao Ye has found a path between tradition and futurism that brings the body and the mind into harmony.

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.

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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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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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INTRODANS – ICON (Lucinda Childs focus programme)

  • March 14th – 15th, 2025 Stadsschouwburg Nijmegen, Nijmegen
  • March 22nd, 2025 Theater Orpheus, Apeldoorn
  • March 25th, 2025 Theater aan de Parade, Den Bosch
  • March 26th, 2025 Theater Amphion, Doetinchem
  • March 27th, 2025 Schouwburg Amstelveen, Amstelveen
  • April 3rd, 2025 De Storm, Winterswijk
  • April 4th, 2025 Junushoff, Wageningen
  • April 9th, 2025 Theater Hanzehof, Zutphen
  • April 10th – 11th, 2025 Stadsschouwburg Haarlem, Haarlem
  • April 15th, 2025 SPOT Groningen, Groningen
  • April 22nd, 2025 Theater aan het Vrijthof, Maastricht
  • April 24th, 2025 Flint, Amersfoort
  • April 30th, 2025 Stadsschouwburg Utrecht, Utrecht
  • May 1st, 2025 Theater De Lievekamp, Oss
  • May 2nd, 2025 Parktheater Eindhoven, Eindhoven
  • May 6th – 7th, 2025 Internationaal Theater Amsterdam, Amsterdam
  • May 9th, 2025 Goudse Schouwburg, Gouda

Duration: unknown

Unique Dance Personality Lucinda Childs

© Introdans Pieter Henket

Choreographer Lucinda Childs is the queen of minimal dance. She will be 85 years old in 2025, and Introdans is celebrating this with the focus programme ICON, a tribute to the ‘grand old lady’ of American dance. This evening the audience will experience a (time) journey that starts with Interior Drama from 1977, new for the Dutch audience, past the pieces Kilar, Petricor and Concerto that Introdans has danced before, and ends with a world premiere of her latest work: Notes of Longing.

Childs’ movement idiom is absolutely unique: taking an abstract, almost mathematical approach she uses relatively simple ballet and athletic movements to create amazingly complex masterpieces. The bond between Childs and Introdans can also be called unique, there is no company in the world that dances so much of her work. Introdans has a rich oeuvre of existing and new work by Lucinda Childs. With ICON it underlines this special bond.

The choreographies Kilar, Petricor and Concerto are accompanied live in a number of theatres by the National Youth Orchestra led by Jurjen Hempel. Notes of Longing will then also be accompanied live by composer / pianist Matteo Myderwyk.

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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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Marina Otero – Kill Me

September 25th – 29th, 2024 Théâtre du Rond-Point, Paris
October 3rd – 4th, 2024 HAU – Hebbel am Ufer, Berlin
October 19th – 20th, 2024 Staatstheater Mainz, Mainz
October 31st – November 2nd, 2024 VIDY, Lausanne
November 5th, 2024 L’onde – Théâtre et Center d’Art, Vélizy
November 12th, 2024 teatr polski (Festival Prapremier), Bydgoszcz
November 21st, 2024 Temporada Alta, Girona
March 19th – 23rd, 2025 dansa metropolitana, Barcelona
March 26th – 29th, 2025 Les Célestins, Lyon
May 16th – 17th, 2025 FITEI, Porto
May 24th, 2025 Spring Performing Arts Festival, Utrecht
May 29th, 2025 Mittenmang Festival, Bremen
June 4th – 7th, 2025 Rising Festival, Melbourne
90 minutes

The Third Chapter of a Poignant Lifelong Project

© Sofia Alazraki

Bringing together Bach and Miley Cyrus, she creates with “Kill Me” a complete and radical work, sometimes unsettling, sometimes subversive, but always impactful.

Olivier Frégaville-Gratian d’Amore

Kill me (2024) is the continuation of Love me (2022) and Fuck me (2020), in turn it is part of the project “ Remember to live ”, in which I intend to present different versions of works until the day of my death.

Entering into the cliché of the midlife crisis, I began to film everything I did: with my heart open 24 hours a day, I recorded everything. 

Until one day I collapsed, I was given a psychiatric diagnosis and I decided to make my next piece out of it. I called on four dancers with mental disorders and Nijinsky, to make a piece that talks about madness for love. 

But let’s say that the topic is about mental health so that it enters the inclusive agenda of the art market. 

Because that is my punishment, having to make works that sell and thus stay alive in the world (of theater). 

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Eisa Jocson & Venuri Perera – Magic Maids

September 20th – 22nd, 2024 HAU Hebbel am Ufer, Berlin
October 4th – 6th, 2024 Esplanade, Singapore
October 11th – 12th, 2024 Tanzquartier Wien, Vienna
March 7th – 9th, 2025 Kampnagel, Hamburg
March 14th – 16th, 2025 Arsenic, Lausanne
March 20th – 21st, 2025 Maillon, Strasbourg
March 25th – 26th, 2025 Points Communs, Cergy
March 29th, 2025 La Briqueterie, Vitry-sur-Seine
May 3rd – 4th, 2025 Festival DDD, Porto
May 22nd – 23rd, 2025 Spring Performing Arts Festival, Utrecht
June 21st – 22nd, 2025 Festival Theaterformen, Hannover
June 29th, 2025 Belluard Bollwerk Festival, Fribourg
July 4th – 6th, 2025 National Arts Festival, Makhanda
July 12th – 13th, 2025 Santarcangelo Festival, Santarcangelo di Romagna
80 minutes

Two Figures Engaged in the Ritual Act of Sweeping

© National Gallery Singapore

Interweaving ritual, pageantry, performance and possession, Magic Maids presents an encounter with two figures engaged in the ritual act of sweeping. The broom, a domestic tool for cleaning and the vehicle of the witch, becomes a symbol of both oppression and resistance. It is an extension of the body and a portal for metamorphosis. The art workers and their brooms exist in a continuous state of becoming.

Eisa Jocson and Venuri Perera are from the Philippines and Sri Lanka respectively, two countries known for their significant export of domestic workers. Their collaboration began in 2022 when they noticed the absence of women at Basel Museum of Pharmaceutical History in Switzerland. This observation sparked their investigation of the historical persecution of witches; in Europe and its implications for the exploitation of female labour in colonised regions. They discovered that the accusation of witchcraft continues to be a tool for persecuting migrant workers from the Global South.

Magic Maids is a bodily response to their grappling with these complex entanglements. They call upon practices of incantation and intention, using their bodies to traverse multiple territories: physical, conceptual, transnational, emotional, and gendered. The labour in performance enables an embodied inquiry into questions of representation, political subjecthood and histories of oppression. Having individually presented solo work across international festivals and platforms that follows this line of inquiry, Jocson and Perera come together for the first time to sweep out and unsettle oppressive power structures. Rewilding the domestic, they aim to release, reclaim, rejoice, and reconnect with the primal energies.

Magic Maids is an invitation to witness and reflect on the visibility of the working body, the power of female solidarity, and the enduring impact of historical injustices on modern labour practices.

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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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