Both the American and the French choreographer began their careers in the s and are considered two of the most influential artists of their generation. In the work of these year-olds, dance history resonates — memories intertwine with imagination. In steal you for a momentMeg Stuart continues her collaboration with Francisco Camacho. The Portuguese performer danced in her first piece, and in she created the solo BLESSED for him, a work that dealt with the climate crisis. According to the program notes, the starting point for this duet was the Nuragic ruins in Sardinia — mysterious remnants of a vanished culture. However, none of this is visible on stage. Instead, objects made of plywood are scattered across the Radialsystem stage. What unfolds is a continual process of reconfiguration: the artifacts are shifted and rearranged. His body takes on the appearance of a fragile construct, and soon enough, the precarious little tower collapses. Amidst scenes of quiet humor, there are also tender moments. Despite the theme of impermanence, the dancers find solace in their friendship. Stuart and Camacho work together seamlessly. His angular movements give him the appearance of a comic book character at times, while her silver mane and melancholy air evoke the image of a sorrowful clown. When Camacho offers her a miniature pyramid as though it were a precious gift, she gazes at him, bewildered. The two play with their little forms like children in a sandbox, waving papyrus reeds, communicating in a secret sign language, and navigating through emotional landscapes. They are outstanding performers, but by the end, the duet loses its focus and veers into overly personal territory. The choreographers and dancers Meg Stuart and Francisco Camacho lose themselves performatively in their friendship in steal you for a moment. Inspiration is fleeting - it can be found everywhere, but its traces are lost. Choreographers and dancers Meg Stuart and Francisco Camacho sought Aanhanger Huren Bij Ikea for their creation steal you for a moment in Sardinia. The stone towers of the Bronze Age Nuragic culture reign there, mighty statues guarding gigantic tombs, with design Aanhanger Huren Bij Ikea such as spiral shapes. A pendulum hangs from the ceiling, sand is piled up and grasses are stuck to the back wall like a scrapbook. In this scenario, Stuart and Camacho — who met 35 years ago in New York, have been friends ever since and have worked together time and again — unearth emotional artifacts as if they were archaeological treasures. What is the artistic result of a friendship? How can we effectively present our private relationship on stage for others? There are no clear answers, steal you for a moment remains closed to us. At first, the US-American, who has lived in Berlin for 20 years, and the Portuguese, who runs a production house in Lisbon, perform without touching — sitting stiffly next to each other, toppling over like mannequins. Later, there is a comic duet of gestures and vocalizations, and Meg Stuart, who is a great comedian, scolds Camacho, who kindly hands her a pyramid as a gift. She excels at unexpected, surprising movements — as she carries in her body the result of decades of improvisation and exchange with other artists. Her movements are soft, not quite as elastic as they used to be, but lightning fast. When Camacho brings her a pile of sand, she looks stern, then suddenly turns one of the hollow forms around, transforming it from a sculpture to a sand mold. He is always on stage himself, building landscapes out of wooden figurines or projecting a laser grid across the action, which creates a maze of green lines that slowly tilts to one side. At some point, Meg Stuart briefly makes contact with Aanhanger Huren Bij Ikea audience, not all of whom stay until the end. You can tell from the laughter how grateful everyone is for this moment that breaks through the devout contemplation of art. In the end, when Stuart and Camacho lie on their backs and send an intimate dialogue into the room - I was in love with you when we first met, she says; this is how friendship can begin, he replies - the audience is once again left out. They can compare their own ideas of intimacy and mutual success with a performance in which two exceptional artists have remained completely wrapped up in themselves and away from us. This might be because so little is known about the prehistoric culture of the Mediterranean—today, we mostly know about the Nuragic tower structures built around BC on Sardinia, though their exact function remains a mystery. In this way, the reference makes sense: it is only through architectural remnants that we can glean anything about that ancient culture. Vanishing lines are drawn on the floor and walls, a pendulum swings from the ceiling, and mounds of sand give rise to small pyramids shaped using wooden templates. The choreographers offer no explanations, instead maintaining a deliberate restraint. They step onto the stage quietly, without fanfare, moving slowly into the space, whimpering, slurring their speech. Gradually, recognizable movement patterns emerge: the swinging of arms echoes the motion of the pendulum, an outstretched leg aligns with the vanishing lines on the wall.
A sound you feel in your bones, as you almost automatically wait for it to snap. Jetzt ist auch ein kleiner Regenschauer kein Grund mehr, ins Haus zu flüchten. Search icon An illustration of a magnifying glass. Dat zijn er net iets te veel. A process of gentrification has also begun in Molenbeek, initially a poor migrant neighborhood that became hip with an artsy crowd.
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They move slowly, excruciatingly slowly most of the time, sinking in the water, toppling, head over heels, drifting. Elke beweging van Mieko Suzuki, Omagbitse Omagbemi en Meg Stuart op deze verwelkte planeet annex onherbergzame nachtclub lijkt afgestemd op hun ademhaling — je zou zelfs zweren dat je die hoort. That they "drive their bodies and imaginations into a new time-space"? An atmosphere in which the bodies of the performers were present in an almost fragmented way, as injured, but also vulnerable and fragile, disfigured, organic structures, which appeared to be deconstructed and distorted at the same time. Toch beschouwt Jozef Wouters A Day is a Hundred Years in zekere zin als zijn debuut: mid-career is dit de eerste voorstelling die hij met zijn eigen naam signeert. Sinds zes jaar is Decoratelier Ultima podiumkunsten ook een fysieke ruimte in een voormalige fabriek in Molenbeek, van waaruit Jozef zijn werelden schept — via voorstellingen als Underneath Which Rivers Flow i. Dat is zot, hoor, beseffen dat dat waanzinnige gebouw over twee jaar wordt platgegooid. During the second movement, a comic and very kitsch scene takes place. As Weiss abruptly strikes the strings, Stuart smiles. Muziekresidenties hoeven wij ook niet te doen, maar we kunnen wel ruimte maken voor Volta. In this scenario, Stuart and Camacho — who met 35 years ago in New York, have been friends ever since and have worked together time and again — unearth emotional artifacts as if they were archaeological treasures. Throughout the improvisation, ideas are picked up and dropped. The stage reflects this — it's white, bright, and open, with various small objects made of chipboard or sand piles that have been pressed into molds, forming geometric shapes. Dit is een beangstigend moment, maar ik vind wel dat we het moeten proberen. Je hoort het geluid van een soort aftands orgel waarvan alle toetsen worden ingedrukt, vermengd met de galm van een verre rave. Dat eresaluut hadden ze wel verdiend. Het is belangrijk om in dit ecosysteem een lijn uit te stippelen en elkaar aan te vullen. En zo had ik plots meer ruimte dan ik zelf nodig had. We zijn deel van een groter geheel, dat is een heerlijk gevoel. They return to a seat and repeatedly fall on their sides. And yet …. As if she is surrendering. Suddenly they swim towards us, crawl ashore like animals in a zoo pool, making us voyeurs and prison guards. Their movements are repetitive, cyclical, as if they were trying to exhaust all coherence. Cascade is a trying experience of the universal chaos that overtakes us and that we find difficult to account for. All this leaves room for associations which mostly arise reliably, pleasing, frightening, fascinating. Intussen trekt ook de sterrenhemel zich als achtergronddoek uit de vernieling naar de hemel op en ineens hoor je zelfs de Bee Gees How Deep is Your Love zingen. Wouters gets the most out of the rotating stage and emphasises the improvised as an expression of artistic liveliness. The unconventional idea of placing scenography at the centre of the creative process has made Jozef Wouters and his art organisation Decoratelier highly regarded in the Belgian independent scene. Maar net door ze steeds weer op te dissen veranderen ze gaandeweg ook. Ja, richtig Anderen Markt wählen.
