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 Aanhanger Huren Bij Ikea 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, Aanhanger Huren Bij Ikea 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 Aanhanger Huren Bij Ikea 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 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 Aanhanger Huren Bij Ikea the 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.
Just sit, empty your head, watch. Meteen wordt ook de noodzaak, of minstens de relevantie van die rol gejustificeerd. The latter celebrated its premiere at the Akademietheater on Wednesday. His body takes on the appearance of a fragile construct, and soon enough, the precarious little tower collapses. Voorts staat er een steile, houten skaterhelling.
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Each performer has their own physical personality. Maar hij verstaat de kunst om op een puntige, confronterende manier ballonnetjes te doorprikken, bakerpraatjes te ontmaskeren en serieuze vragen op te werpen. Some climb the inflatable structures, however shakily, or throw themselves onto their surface, making the others bounce. Wouters: Klein en groot zijn relatief. Stuart — a New Orleans-born artist who is primarily based in Germany — began studying dance at New York University in Instead, objects made of plywood are scattered across the Radialsystem stage. Despite their simplicity, even the changes in position are characterized by their dance-like quality, as they respond to the music in unpredictable ways. Forming a collective, an "ecosystem", does not allow one to escape the forces at work. Het voorkomt te snelle conclusies of beslissingen en laat ruimte voor nieuwe vragen. Je krijgt onwaarschijnlijk veel van dat netwerk. Back to the start. Wouters: Zeker. That they "drive their bodies and imaginations into a new time-space"? Maar intussen hangen er zoveel mensen af van deze ruimte, dat die energie moet worden voortgezet. This can also be read as an attempt to finally find the Now. All this leaves room for associations which mostly arise reliably, pleasing, frightening, fascinating. However, the balance is constantly negotiated: each action, each gesture affects those of the others. An example might be imagining that the body you are dancing with is not yours, or that you have no body, or discovering your qualities anew after everything has been erased and you are just a pile of flesh and bones. The choreographer believes these are movements that could come from the unconscious. Da's heel uniek aan deze stad, hoor. A hand can grip the pointed sandcastles or rearrange the constructions. She holds her arms and torso in a stylized way. Met vijf muzikanten ben ik dan terechtgekomen in een oud kantoorgebouw in de Voltastraat in Elsene. Wanneer collectief materiaal besproken wordt, wegen de woorden van de choreograaf zwaarder door. Als je in de AB of in de Botanique wilt optreden, moet je een heel profiel hebben.
