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 Werkruimte Huren Amsterdam Noord 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 Werkruimte Huren Amsterdam Noord 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 inspiration 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 elements 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 Werkruimte Huren Amsterdam Noord 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 the audience, not all of Werkruimte Huren Amsterdam Noord 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.
More than once Pieter Ampe comes thundering down the incline at a dizzying speed, finally tumbling across the edge of the stage in a wide arch, landing safely on a big, dark cushion. Was the evening a Meg Stuart retrospective? Meg Stuart's instrument is the body, which obviously does not only follow thoughts, but finds its own answers and leads the dancer into unknown areas. Deze ruimte was precies zoals ik mij de perfecte werkruimte had voorgesteld! Wouters: En in de plannen voor de Manchesterstraat wordt er ook wel rekening mee gehouden dat het misschien zover komt.
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Het vak van scheepsbouwer is een bijzonder uitdagend vak. Het bouwen van schepen, in een continue veranderende wereld, is eigenlijk zowel 'teamsport' als. The body, a fragile construct: Meg Stuart and Jérôme Bel at Tanz im August · Tagesspiegel. Of boek de ruime Loft Suite met extra werkruimte of gewoon om te ontspannen. Sandra Luzina ; 23 aug How the dancer presents a. Een uurtje rijden vanaf Amsterdam. Daarnaast kun je heerlijk tot rust komen in de relaxte Ibiza Suite met loungeterras. De studio ligt vlakbij 's-Hertogenbosch Nijmegen en Eindhoven. Het is een van de grootste en mooiste industrieel studio's in.He plays on and with the instrument. Meg Stuart puzzelt een portret van de post-apocalyptische wereld. Sinds deelt Jozef Wouters zijn Decoratelier in Brussel met Barry Ahmad Talib, een kunstenaar uit Sagale Guinee-Conakry. Diese Systeme können je nach Anforderungen und Wünschen des Unternehmens individuell gestaltet, positioniert und eingerichtet werden. Dat zijn er net iets te veel. Als je onze activiteitenkalender bekijkt, zijn wij eigenlijk niet zo klein. Stuart lets go and continues to pull the now invisible strings. Thick fog on the stage of the Volkstheater, very slowly the light dims, the music drifts away — and all at once it is dark. Een uitspraak van belang: Wouters zegt hier zonder omwegen dat elk maatschappelijk gesprek gaat over de geldigheid van metaforen en betekenissen, en wie dat bepaalt. De enige houvast is de bezwerende compositie van Brendan Dougherty. Meg Stuart and her company Damaged Goods climb the sky in their new piece "CASCADE," which premieres this year at ImPulsTanz. Alarmed, one thinks of drowned bodies; and also of dying soldiers in lakes, oceans, rivers, because Pierre Piton is wearing a camouflage T-shirt. Some climb the inflatable structures, however shakily, or throw themselves onto their surface, making the others bounce. Het lijken het brokstukken van oude, Griekse tempels. Het neemt niet weg dat ik meerdere van de door Peeters geanalyseerde dimensies of werkvormen herken. Echt waar. EN : Meg Stuart is accompanied by the light artist Emese Csornai, who takes care of a very constant change in lighting, which captures the dancer and the two musicians on stage sometimes in widespread or warm light, sometimes in defined, cool beams of light. Like the time I saw Stuart give a lecture to dance science students at Freie Universität including a conversation with Professor Gabriele Brandstetter in , I was amazed at how easy it seems for her to switch between dancing and suddenly starting to talk about her dance. Wouters: Eergisteren kwam Menno hier toe met een camionette vol staal. However, when the narrated world itself is anachronistic, this is a typical aspect of sci-fi, which can express itself, for example, in the form of loops or time holes. You could say that the dramaturgical arch of the performance itself evokes a cascade. Ga gauw een kijkje nemen! Amsterdam , Amsterdam-Centrum. Hele mooie locatie met een ruim aanbod van representatieve vergaderruimtes, waaronder de prachtige tuinkamer. The latter is by Nico de Rooij and Elodie Dauguet, and together with the galactic-organic sound of the sound artist Mieko Suzuki helps the audience to hold on to something when they tire in their efforts to decipher the many discourses broached. Annuleren Doorgaan. Two huge inflatable structures covered with a tarp that represents the galaxy; two nets hung in the air filled with pieces of foam that look like wood; a very high ramp; two drums; and finally a large black cushion in front of the stage. He ran a kiosk at home in Guinee-Conakry, which grew into a popular gathering place before the artist decided to emigrate to Europe. In CASCADE Stuart constantly seems to stretch the moment of hesitation — the first phase of the three-stage movement — like a film that malfunctions. Maar hij verstaat de kunst om op een puntige, confronterende manier ballonnetjes te doorprikken, bakerpraatjes te ontmaskeren en serieuze vragen op te werpen.
