Wed 12 Sep 2018

4: STILL LIFE at Nederlandse Dansdagen Gala

The Nederlandse Dansdagen Gala (Dutch Dance Days) on October 12th 2018 in Maastricht, is the night where the most important Dutch dance prizes will be awarded. On this festive night, dancers, choreographers and their audiences celebrate the accomplishments of Dutch dance. And there is more. In a diverse programme six leading dance companies will give a taste of the performances that they will be touring this season. Nicole Beutler Projects presents a fragment of 4: STILL LIFE that will be in theatres April 2019.

In 4: STILL LIFE Nicole Beutler goes back to basics. She immersed herself in the history of dance and distilled the essential building blocks of the dance duet between man and woman. We see mating rituals, leaders and the led, fusion and fighting, distance and intimacy. Beutler combines them all with the precise geometry of Bauhaus. Circles, squares and triangles shape a unique ‘dance of space’, a courtly dance, a mating dance, a ritual and a ‘Lichtspiel’.

‘4: STILL LIFE is nothing but contradiction. Between times and styles, expectations and reality. (...) Exceptional.’ - de Volkskrant****

More about 4: STILL LIFE

Mon 03 Sep 2018

Call for Proposals

COME TOGETHER #4

Makers from all performing arts disciplines are welcome to submit their proposals.

Call for Proposals
COME TOGETHER #4
24, 25 & 26 January 2019

Nicole Beutler Projects, Keren Levi / NeverLike, BAU, Jacuzzi and Frascati are pleased to invite you to take part in the fourth edition of COME TOGETHER: a public gathering offering a podium to about 45 artists from the dance & performance field in Amsterdam. This three-day event will create time and space for artists and interested audiences to meet, exchange ideas and inspire each other. COME TOGETHER #4 will take place in all spaces of Frascati on the 24th, 25th and 26th of January 2019.

We invite you to take part in COME TOGETHER #4 with your work.
Makers from all performing arts disciplines are welcome to submit their proposals.

COME TOGETHER #4 is open to all formats of presentation. E.g. performances, lectures, actions, manifestos, films, workshops, installations, discursive formats or any other format that emerges from your practice. During these three days we offer space and time to test your ideas, ask questions, look for answers or challenge your own thinking. To share with your peers what you might otherwise not share with your audience. COME TOGETHER #4 is not a festival that focusses on full length works. As such, we invite you to propose a short performance or a project that you could not normally present in standard presentation circumstances: something unfinished, unpolished, unplugged. We encourage projects that facilitate the discourse on dance & performance or offer different perspectives on artmaking. In order to stimulate meaningful encounters, artists are requested to attend all three days of the event, also when not performing themselves.

We look forward to receiving a wide range of ideas and will do our best to facilitate your artistic wishes. There are some conditions to be considered:

Space: Your project must take place at Frascati 1, 2, 3, 4 or in another space in or around the theatre.
Duration: Please take into account that we are hosting 15 artists per night. Shorter performances (1 min to 30 min) are appreciated. Exceptions are possible, but cannot be guaranteed. We are aiming to create a programme in which events do not overlap, unless they are durational.
Rehearsal time: We can offer you time in the studio to realize your idea.
Technical production: Please be aware that we can only host proposals with minimal technical needs. There is a technical team available for some support. All technique will have to be shared with others. We will coordinate, accommodate and provide as much as possible.
Budget: We offer free production support, rehearsal time and shared meals every day. Unfortunately we cannot afford to pay any honorariums. We provide a small budget of €200 to relieve production costs.
Amsterdam: This invitation is addressed to artists who are affiliated with the Amsterdam dance & performance scene and want to connect to the community in a meaningful way.

Submit your proposal before the 25th of September to cometogether@nbprojects.nl. Please be specific as to what you need in order to realize your plan, and also let us know what you can provide yourself. Though we wish to include all proposals, we cannot give any guarantees. We will let you know if we can include your project by the 10th of October 2018. We look forward to reading your ideas. If you have any questions, please contact project coordinator Justa ter Haar at cometogether@nbprojects.nl / 06-48263327.

Nicole Beutler, Keren Levi, Eva Villanueva, Eva Susova and Noha Ramadan , in collaboration with Veem House for Performance and Frascati

COME TOGETHER #4 is produced by Nicole Beutler Projects, Keren Levi / NeverLike, BAU and Frascati. In collaboration with Jacuzzi and with the support of Veem House for Performance. COME TOGETHER was first initiated by Nicole Beutler, Andrea Božić and Keren Levi in 2014 in order to create time and space for artists in the Amsterdam dance & performance field to meet each other, exchange ideas and share their work.

Mon 03 Sep 2018

ROLE MODEL wins DOXAWARD 2018

On September 2nd, during the last day of De Parade traveling theatre festival, the ROLE MODEL dancers were surprised with the news that they are this year's winners of the DOXaward for their outstanding achievement in this production. DOX's artistic director Hildegard Draaijer came up on stage after the show, to hand out the award. And of course there were flowers and champagne!

ROLE MODEL is a coproduction of Nicole Beutler Projects and DOX. Directed by Nicole Beutler and Magne van den Berg, created in collaboration with the young dance talents at DOX.

More about ROLE MODEL

Mon 03 Sep 2018

Looking for an all-round intern

(Production, publicity & office)(Productie, publiciteit & kantoor)

(For this internship, Dutch proficiency is required, please continue to read in Dutch)

NICOLE BEUTLER PROJECTS ZOEKT
Stagiair(e) productie/publiciteit/kantoor
Vanaf september– minimaal 3 maanden - deeltijd - 16-32 uur per week – in overleg

Zie jij jezelf in de culturele sector werken als theatermarketeer, productiemedewerker, office manager of zakelijk leider? Onder begeleiding van onze ervaren productieleider, marketing- en publiciteitsmedewerker en zakelijk leider maak je kennis met het reilen en zeilen van het theatervak achter de schermen. Het is mogelijk om de stage in deeltijd te doen zodat je daarnaast kunt studeren of werken.

WAAROM STAGE LOPEN BIJ NICOLE BEUTLER PROJECTS?
Het werk van Nicole Beutler beweegt zich op het snijvlak van theater, dans, performance en beeldende kunst. Als geen ander weet Beutler diep menselijke filosofische thema’s te combineren met een conceptuele vormentaal. Vanuit steeds nieuwe samenwerkingen zoekt Beutler naar inspiratie, inzicht en schoonheid. Dit vertaalt zich in overtuigende voorstellingen met een divers profiel: dans & performance, muziektheater & opera, jeugdvoorstellingen, beeldend theater & toneel in zowel de grote zaal, de kleine zaal en op locatie. Kortom: tijdens je stage bij Nicole Beutler Projects doe je meteen ervaring op met verschillende kunstdisciplines, kom je in aanraking met een breed netwerk aan speellocaties en leg je contacten bij onze samenwerkingspartners.

WAT GA JE DOEN?
Je ondersteunt bij dagelijkse werkzaamheden op kantoor en op het gebied van productie en publiciteit. Je werkt in het bijzonder aan de voorstelling LIEFDESVERKLARING (voor altijd), een coproductie met Het Zuidelijk Toneel en Rudolphi Producties.

- Je ondersteunt de productieleider in diverse uitzoek- en regelwerkzaamheden voor nieuwe producties of voor voorstellingen die op tournee zijn.
- Je ondersteunt de marketingmedewerker met het benaderen van doelgroepen, de productie van communicatiemiddelen en het maken van content voor sociale media.
- Je bent onderdeel van het NBteam en ondersteunt op kantoor met bijvoorbeeld het notuleren van vergaderingen, organiseren van reis en verblijf, diversen boodschappen etc.
- Je helpt het artistieke team wanneer nodig in de repetitiestudio.

WIJ BIEDEN:
- Een professionele leeromgeving met intensieve begeleiding op maat, in het hart van het Nederlandse theater-/dans-/performanceveld.
- Gezellige en inspirerende collega’s op een fijn kantoor op een mooi plekje in het centrum van Amsterdam nabij Centraal Station.
- De mogelijkheid om een afstudeeronderzoek te doen.
- Een stagevergoeding van €300 per maand.

WAT ZOEKEN WE: - Enthousiast, leergierig, proactief iemand, geen 9 tot 5 mentaliteit
- Woonachtig in of rond Amsterdam

Past deze stage bij jou en ben je minimaal tot kerst beschikbaar? Dan zijn wij benieuwd naar jou. Stuur je motivatie en C.V. zo snel mogelijk naar sanne@nbprojects.nl t.a.v. Sanne Boersma, zakelijk leider. Voor vragen kun je Sanne mailen. Lees meer over Nicole Beuter Projects op www.nbprojects.nl.

Mon 13 Aug 2018

Nicole Beutler and the empowerment of the audience

'To step outside and think: i can handle this'

In this video Nicole Beutler explains how her art works can be seen as Gesamtkunstwerken. She is always curious about exploring new modes of expression. This also means that, as an audience member, you can always expect different and new elements in every new show. A feeling of empowerment is what Beutler wants share with her audience. 'To step outside and think: I can handle this.'

Video in Dutch. Thanks to the Gieskes Strijbis Fonds and Public Cinema.

TO THE VIDEO

Fri 29 Jun 2018

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From 25 May 2018 new privacy policies take effect. In our case that means that our newsletter subscribers need to confirm their subscription. Do you want to stay informed of our performances, background stories, visual inspiration, our open calls and workshops? Let us know how we can keep in touch by filling in this little form:

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Wed 27 Jun 2018

Who's who:

Business Director Sanne Boersma

Who are the faces behind the name Nicole Beutler Projects? We like to introduce you to our team. Since January 2018, Sanne Boersma (37) is the new Business Director. Before, she was already working as a Producer for the company. Learn more about Sanne and her plans for Nicole Beutler Projects.

HI SANNE, WHAT DOES A BUSINESS DIRECTOR DO EXACTLY?
As the Business Director I handle the financial part of the company, and I manage the organization's everyday operations. On a strategic level I make sure that Nicole Beutler Projects continues to grow and seize opportunities. As the Business Director I work alongside the Artistic Director Nicole Beutler. It's my job to make her artistic ambitions fall into place.

BEFORE, YOU WORKED AS PRODUCER. WHAT WAS IT ABOUT THIS NEW ROLE THAT ATTRACTED YOU?
I'd been working as a Producer and Business Assistant for theatre since I was 21 years old. I worked with Frascati Producties, de Veenfabriek, de Melkweg, Theater Na De Dam, Marcus Azzini and Nicole Beutler. I always knew I wanted to be a Business Director in the future. When I got this opportunity at Nicole Beutler Projects, I jumped at the chance! Finances, fundraising, strategy... A Business Director has a complete overview, whereas a Producer focusses more the details. I think I'd outgrown that after a certain point. Now I really enjoy the broader perspective.

HOW IS WORKING WITH NICOLE?
We are a good team. I am mainly working on establishing Nicole's dreams and ideas. We dare to dream and we want to take big steps together. We are ambitious and we see that we can get far. Nicole gives me space to work out my own plans, which is great.

WHAT ABOUT NICOLE, AS AN ARTIST AND A COLLEAGUE, INSPIRES YOU?
I like that Nicole has a broad view on art. She's inspired by many things, from visual arts to photography to fashion. She thinks out of the box, which means that we can also go beyond the traditional theatre stage. We place our performances in the public space, outside, in museums...

WHAT ARE THE PROJECTS YOU ARE LOOKING FORWARD TO MOST?
In 2019 we present NBCOLLECTION, a mini festival staging several of our productions in 2 days. It's very exciting, because it's pretty ambitious. At the same time, 2019 marks our 10 year company anniversary, as well as Nicole's 50th birthday. A perfect moment to showcase what we can do. It will be a unique overview of Nicole Beutler's body of work.

I'm also very much looking forward to our new production for larger venues, 8: METAMORPHOSIS, that's premiering at the Rotterdam Operadagen in 2019. Another important focus for me is international sales. I want to put Nicole Beutler Projects on the map and tour the world.

WHAT IS YOUR FAVORITE NICOLE BEUTLER PIECE AND WHY?
I'd have to go with Several Species of Small Furry Animals from 2003. It was the first piece by Nicole that I saw and it really made an impression. The way of performing, the composition of the dancers on stage, something about that spoke to me. I recognized the quirky individuality in combination with the stylized staging that characterizes Nicole's work. It triggered my interest.

WILL THIS PIECE BE PART OF NBCOLLECTION TOO?
It just might be! When planning NBCOLLECTION we want to take audience suggestions into consideration. So if you're reading this and there's a piece you would just love to see again, let us know at info@nbprojects.nl.

Wed 27 Jun 2018

Who's who:

Dancer Marjolein Vogels

Who are the women and men behind Nicole Beutler? We would like to introduce you to our team. Marjolein Vogels (34) has been a indispensable member of our company since 2010. Read more about Marjolein and her long standing collaboration with Nicole.

HI MARJOLEIN, HOW DID YOUR COLLABORATION WITH NICOLE START?

I first got to know Nicole about seven or eight years ago. I saw the performance Enter Ghost. I loved it so much that I auditioned for Dialogue With Lucinda. I had organized a festival just the day before in W139, I was beat! The audition went very bad. But luckily they called me back to try out again. “So you cán do it,” Nicole said afterwards, “glad we asked you back.” That’s how I got in. I was very intrigued by her work, so I was very happy I got the chance to work with her.

SINCE THEN YOU PERFORMED IN ALMOST ALL OF OUR PRODUCTIONS: 2: DIALOGUE WITH LUCINDA, 3: THE GARDEN, 4: STILL LIFE, 5: ECHO, 6: THE SQUARE, 7: TRIPLE MOON. DO YOU CONSIDER YOURSELF PART OF THE COMPANY?
I do! When there’s no running production the feeling is less. But I do stay involved with the company in other ways as well, which makes me feel connected. Nicole often gives me extra responsibilities, like when I did a remake of SQUARE DANCE with dance students. We also work together the other way around; during Julidans I organized the alternative dance tour Off Venue and Nicole created a piece for that in the public space. It’s also a project that I then help coordinate. Sometimes I do photography for events, such as the WE LIVE HERE Summer Academy. And for a couple of years I was the editor of the Performance Platform on behalf of Nicole Beutler Projects.

SO YOU’RE ALSO ORGANIZING FESTIVALS YOURSELF, WHAT IS IT YOU DO?

Yes that’s right. I’ve been a freelance dancer since I graduated from the dance academy in Amsterdam. I also studied at the mime school for two years. I worked with choreographers and artists Jennifer Tee, Vergilio Sienni, Jack Gallagher, Aimée Zito Lema, Ulrike Quade and Arno Schuitemaker among others. Me and Coralie Vogelaar are an artist duo. Apart from performing I organize events for the dance scene. I founded the dance and performance platform and festival WhyNot, and this year I curated the last edition of the Something Raw dance and performance festival. I enjoy this diversity of performing, creating and curating.

HOW IS WORKING WITH NICOLE? Nicole and I don’t need that many words to understand each other. Whenever she asks something in rehearsals, I immediately know how to interpret it. Her conceptual way of dance creation appeals to me. As a dancer you always create your own material within the framework of her concept. The way that she thinks about dance and art suits me. She looks beyond the body and works and thinks in a very interdisciplinary way.

WHAT IS YOUR FAVORITE NICOLE BEUTLER PERFORMANCE?

Dialogue With Lucinda, or Enter Ghost, or The Garden. I can’t choose. If I have to pick one for a revival? Enter Ghost would be fun, but I’m not in that one, so that would be unfortunate. In Lucinda I whacked my calves, so that’s not a good idea. The Garden then, that’s fun to do.

Tue 26 Jun 2018

Nicole Beutler wins Gieskes-Strijbis Podiumprijs 2018

Choreographer and theatre maker Nicole Beutler and the cultural organisation ROSE stories are the winners of the Gieskes-Strijbis Podiumprijs 2018. The prize, with 60.000 euro per laureate the largest Dutch prize for performing arts, was awarded on Tuesday 26 June in Rotterdam.

The Gieskes-Strijbis Podiumprijs is awarded annually to two makers who challenge and enrich the performing arts in the Netherlands.

Nicole Beutler (Munich, 1969) is theatre maker an choreographer. Her work is situated on the threshold of dance, performance and visual arts.

From the jury report: "The committee is impressed with the versatility of themes, styles and genres in the work of Nicole Beutler. Her fluid artistry translates to a large diversity of stages. She effortlessly switches from location theatre to flat floors and large halls."

The winners are selected on the basis of the advise of a committee led by Anoek Nuyens. This year, the committee payed special attention to makers' efforts and perseverance to change the theatre landscape.

Nuyens on behalf of the advice committee: "These two makers are innovative, fearless, talented and determined to move performing arts in the Netherlands to greater heights. They are both symbols for a bud that can bloom into a larger movement."

www.gieskesstrijbisfonds.nl

Mon 11 Jun 2018

Nicole Beutler nominated for the Gieskes-Strijbis Stage Award 2018

The largest theatre prize in the Netherlands for quality and diversity in performing arts

On Monday 11 June the Gieskes-Strijbis Foundation announced the five nominees for the 2018 Gieske-Strijbis Stage Award. The nominees are Nicole Beutler, Jens Bouttery, Maatschappij Discordia, Miranda Lakerveld and ROSE Stories.

The Gieskes-Strijbis Stage Award is awarded annually to two makers who contribute to the quality and diversity of the performing arts in the Netherlands. The prize of 2x €60.000 makes this the larges theatre prize in the Netherlands.

More about the foundation and the nominees.

Photo: Caroline Bijl

Thu 07 Jun 2018

Open Audition

Nicole Beutler is looking for Dancer/ Performer/ Singer, Male, Age: 25 – 50

Audition 7 June 2018
11:00 – 17:00
Entrepotdok 4, Amsterdam


Nicole Beutler makes already for more than 15 years dance and theatre performances. Her work is situated on the threshold of dance, performance, music and visual arts, she works from the conviction that all fixed categorizations should be destabilized. Her performances are composed with a high sense for musicality, and suffused with subtle humor.

THE PROJECT
For the new production 8: METAMORPHOSES (working title) Nicole will dive into the idea of transformation. Things change. New forms will form. Embracing the idea of transformation contains the pain of letting go, of dissolving of an idea, of dissolving what one knows, and at the same time also the liberating awareness that everything is temporary. The music will depart from THE COLD SONG by Henry Purcell, adapted into a contemporary context by composer Gary Shepherd.

8: METAMORPHOSES is a big stage production. Premiere May 2019 Rotterdam, followed by a small tour.

WHAT WE ARE LOOKING FOR
8 multi-talented male performers from different disciplines: all physical performers with a knowledge of speaking and singing.
- You have strong performing skills, you know how to move your body
- You are experienced in using your voice as an instrument.

Are you interested or do you have a questions?
Please contact justa@nbprojects.nl with your CV and motivation before 28 May 2018. We want to keep it small, so we will make a rather strict selection.

Wed 23 May 2018

"Composition in itself is a rather obsessive thing"

Genevieve Murphy interviewed about Something In This Universe

Genevieve Murphy (Scotland, 1988) studied at the Royal Conservatoire of Glasgow, Junior School, Birmingham Conservatoire for Bachelor of Music and Masters in Composition at The Royal Conservatory of The Hague. The Amsterdam based composer, combines performance art and fine art within contemporary classical music and often communicates concepts influenced by psychology and disability. She has collaborated and performed with visual artists, free improvisers, and has toured internationally with London based artist Martin Creed.

How did you start working in the performing arts?

"My mother is a visual artist and she was collaborating with scientists who were researching a genome sequence of a potato pathogen. I was sixteen and already studying piano quite seriously. The scientists and my mother were creating a visual piece, and whilst viewing the sequence they realized that the images looked like music notation. So they transcribed the image of these dots and lines, and then gave it to me asking me to make it into a composition that can be heard and be accessible in some way. So my introduction to composition was through a very visual approach, thinking ‘ok here are some patterns that create specific pitches, which patterns are most interesting and how can I make them listenable’? I’ve always integrated visual arts and music, they became a natural duo when it comes to the score itself and the performance."

You present your work differently than other composers. Why have you chosen to present it through performing arts?

"It’s strange to answer that, because every time it feels like a natural approach for me. How I approach composition is a concept in itself, how I actually go by writing this work or thinking about what the context is and the people on the stage. My work has always included performance because I think a lot about the live elements as well. You're using a set design but the actual approach is still very compositional from the beginning to end."

What was the starting point to create Something in this Universe?

I listened to a podcast on BBC which was about dark matter. And it started with “hello, something in this universe is missing”. It basically says that if we can find out what dark matter is, it will solve one of the greatest mysteries in science. It’s believed that dark matter has a mass, which can’t be seen. This made me think about my work which is often about psychology or disability. A lot of challenges in life do not feel tangible but they dominate us and really have a weight to them. What is that ‘something' that dominates and dictates our every move? I suddenly saw a relationship between that and obsessive compulsive disorder (OCD).

How does this focus on OCD reflect in the composition?

I’m looking at OCD as a concept, so if you’re trying to grasp control of things that are not controllable, you start to develop this repetitive need to keep on grabbing on to the tangible. I would like the composition to help give an insight into the persons’ mind as they go through their OCD routines. Composition in itself is a rather obsessive thing, and it requires predictability, knowing before you get to the rehearsal that everything is going to work. The way I composed this, tries to play with predictability. So also to compose certain things that cause instability or create situations that are not controllable. I always play with this, and this is also what goes on in OCD. You’re trying so hard to be in control but the more that you try, the more you realize you can’t be in control. It’s a vicious cycle. The experience when composing for me is not so different.

What influence would you like to have on the audience?

I’m not trying to give answers. I don’t think that this subject is particularly understandable, it’s something that is very emotional and challenging. Perhaps I would like to bring awareness to the difficulty of this disorder. To show the challenge of what this person goes through. I’m trying to keep it open, relatable and positive, so people can try to find any familiarities that they might have towards what I’m trying to portray. And that’s also why I gave it a domestic setting, because its familiar for everybody.

What is your future dream?

I think throughout my work there’s really been a care for trying to allow a bigger understanding for psychological subjects and difficult emotional states or disabilities. I do hope that my work raises awareness of those things. This piece is really beginning with a blanc canvas, and just starting from there and being able to decide the context myself is something I would love to be able to do more.

Genevieve Murphy is a young performing composer, presented by Nicole Beutler Projects. Her first performance Something In This Universe premiered on 22 May 2018 at Spring Festival Utrecht. READ MORE HERE about Something In This Universe and its tour dates.

Tue 01 May 2018

Portrait of Nicole Beutler: her performances, the theme's, the method

NPO Podium Dans

A full tv episode dedicated to Nicole Beutler and her work. An overview of her performances, as well as the themes and methods she keeps coming back to in her work. A portrait of a leading choreographer and creative director in the Dutch dance scene. By Podium Dans, a dance programme at NPO Cultura.

Interview click H E R E

Wed 18 Apr 2018

Introducing:

Marketing and Publicity Intern Sarah Soethoudt

Who are the faces behind the name Nicole Beutler Projects? We'd like to introduce you to our team. Today: our Marketing and Publicity Intern Sarah Soethoudt.

HI SARAH, WHO ARE YOU AND WHAT DO YOU DO?
I'm Sarah Soethoudt and I'm 23 years old. I studied Modern Theatre Dance at the Amsterdam Academy for Theatre and Dance. After I graduated in 2016, I've mainly kept busy with my own dance collective Chronos. Sometimes I give dance lessons and workshops. Besides that I'm working on improving my acting skills. Acting is something I really enjoy besides dancing. Through internships I'm exploring different aspects of cultural organisations, such as business administration and policy. I might want to pursue that as a career in the future. Before I started with Nicole Beutler Projects, I did and internship at the crowdfunding platform Voordekunst, as a project assistant.

HOW DID YOU END UP WITH NICOLE BEUTLER PROJECTS?
I've been following Nicole's work for a long time. I think she is one of the most authentic theatre makers in Amsterdam. She works in a very 'honest' way. I mean that even after all these years of experience and growth, she has managed to stay close to her artistic core. That's important to me. Right now I'm interning in the marketing and publicity department. The work has nothing to do with my background, but I enjoy learning new skills within the dance world. I have some experience with executive production work for Chronos; PR and Marketing were still on my list as area's I wanted to improve in. To be able to do that in this particular organisation, is pretty perfect.

YOU ARE A PERFORMER AND CHOREOGRAPHER YOURSELF. DO YOU FEEL AN ARTISTIC KINSHIP TO NICOLE BEUTLER?
I am part of a collective, so that is different. At Chronos there's five of us, so it's not like one of us makes all the decisions. Esthetically, I don't see much resemblance to Nicole's work. I do think you can call what we do, as well as what Nicole does, 'poetical'. Though in different ways. Our new piece The Three Graces is premiering on April 29th. We're playing at the Dokzaal in Amsterdam. This summer we're playing the Delft Fringe Festival.

WHAT IS YOUR FAVOURITE NICOLE BEUTLER PIECE AND WHY?
I'v seen almost everything. (Takes some time to think...) I think I'll have to go for DIDO DIDO. Also because it's a show that connects to my personal interests. I love Purcell's music and I think that dancer Heather Ware is great. So that's already two things that cannot go wrong. Add the signature Nicole Beutler twist and there you go. I found it a very moving and sincere piece.

More information about Chronos: www.chronos.dance.
Photo: Naomi Wallenburg

Fri 29 Dec 2017

How did we extract a complete theatre piece out of a four minute aria?

Taster DIDO DIDO, an interview with Nicole Beutler and Romain Bischoff

DIDO DIDO is the new music theatre production by director Nicole Beutler and the innovative opera ensemble Silbersee, in collaboration with Ulrike Quade Company. The starting point is the most famous aria from the baroque opera Dido and Aeneas; the masterpiece by English composer Henry Purcell (1659-1695). 'Dido's Lament' is Dido's final lamentation before she chooses to die, abandoned by her beloved Aeneas. What inspired Nicole Beutler and her musical counterpart Romain Bischoff to create an entire performance from just one aria that takes up roughly four minutes in the original?

By Mayke Klomp

Dido and Aeneas, that's an opera with an age-long tradition. What prompted you to sink your teeth into this well-known piece?

Romain Bischoff: I had been walking around with his opera in my head for some time. Nicole and I first met some 3.5 years ago when we were both nominated for the Amsterdamprijs voor de Kunst. We immediately had a click. Knowing in the back of my head that there are many dance scenes in the original Dido and Aeneas – and that Nicole is known for her dance performances – I broached the subject to her.

Nicole Beutler: When Romain asked me, I studied the whole opera and thought about what I consider to be its core. Clearly that was the final aria 'Dido's Lament'. The song is very sad. Here we see a woman who sings before she takes her own life. I also find that a peculiar opera cliché: after all, who sings before deciding to leave this world? It's quite common in opera that inexpressible emotions are sung. Melodies are found that express those deep feelings that are actually quite hard to define. That really touches me.

R: So Nicole was really only interested in the final aria. "That's okay", I said. "Then let's do that." Of course it's an unusual job: that aria only lasts for something like four minutes max. 'Dido's Lament' has this incredible purity. There are very few notes and no ostentation or embellishment. I prefer to call it a song as opposed to an aria, for traditional opera arias are often more lavish with dynamic contrasts. Purcell has an original simplicity. Even amateur singers could sing this song. I think that that's one reason why it appeals to so many people.

N: I find that Purcell also fits really well into the present. His texts are accessible and understandable – because in English. Underneath the baroque melody there's a bass line that always continues minimalistically, like in present-day electronic music.

Romain asked Nicole on account of her background as a dance director. Is there much dance in the performance?

N: Ultimately, there's indeed one dancer in the performance, but the focus is very much on listening. And I'm not only a choreographer. In each project I look at which means are most suited to what I wish to tell. This time we're starting out with a musical piece and working with singers. That's how the focus came to be on the auditive aspect relatively early on.

R: In the original opera there's a lot of dance, it is true, but it isn't in the style of Silbersee to do an opera the way most people know it. I'm drawn to movement, with the physical aspect of the singing. Traditional opera is stately and conceived as images. With Silbersee I have been busy for years trying to innovate that.

N: As soon as the performers play an instrument, that also constitutes a movement to me. The dance in the performance emerges in an organic way from the movements that are already present on the stage.

R: DIDO DIDO is a work of art in which every movement of the body, every breath taken and every note produced forms a choreography. I love the way Nicole stays faithful to that principle. I hope the public will also look at it that way.

In DIDO DIDO you both want to come closer to Dido than ever. Why are you so keen on crawling under her skin and how do you go about it?

R: So, by choosing to use only the aria, everything turns around that brief moment before someone dies. It's a parting moment that we stretch out a very long way. Everyone in the auditorium has actually got just over an hour to bid farewell to Dido. At the same time, any one of us has had loved ones who have passed away. I'm convinced that many people will be remembering their own deceased during the performance. Because the aria stands on its own and is no longer part of a protracted story, what remains is a universal and recognizable emotion.

N: We give room to the essence of the message that is hidden in the aria. Naturally that then takes you very close to Dido. We also stay with Dido longer, as in the opera she only appears very briefly. We recognize a pearl in the aria and we want to highlight it from all sides. We place the song under a microscope, as it were. We analyze the text and the music and slowly fit the pieces of the puzzle back together. It'll be a surprising experience for fans of Purcell. For instance, we sing the aria backwards, which sounds almost Slavonic. The aria becomes a field on which we move around. But fear not: the piece as you know it will also emerge, absolutely.

What would Purcell think of what you're doing to his aria?

R: The source of everything you hear in DIDO DIDO is Purcell. We treat that with great respect. I always see it like this: if Purcell would rise again and have the means at his disposal that are around today, then he too would adopt a new approach. I'm sure of it.

N: I see it as a homage to the piece. Not just to the music, but also to the text. "When I am laid in earth... Remember me but forget my fate". That describes a very human fear: the fear of being forgotten. In the opera it is touched upon briefly; in DIDO DIDO everything turns about this emotion.

What are you thinking when you're confronted by Dido's farewell?

N: I am struck by her tremendous willpower. You need a lot of willpower to choose suicide. To decide that you no longer wish to be part of this society.

R: It also reminds me very much of a long deathbed. There are few people who die all of a sudden. That is a beautiful way to die that is granted to only a few people. I'm thinking of my own mother, for example. Her final struggle was a terrible experience. After we had all said our farewells, she continued to fight on her own for one and a half days. That's what this moment is about, and that's what we're turning into music. We revive Dido for a brief moment so that we can keep her with us for a little while. When you go to bury someone and you hold a service, then that person is in the centre of attention and comes back to life in our minds. That's more or less all that happens in DIDO DIDO.

You call Dido, a centuries-old mythological character, back to life for a while. How do you do that?

R: We literally breathe life into Dido using breath. All the instruments that occur in DIDO DIDO are controlled by breath. Even the string instrument we use, the Oriental kemenche, sounds like the vocal cords of a female soul.

N: Pretty early on we came up with the idea of collaborating with Ulrike Quade again. I had worked with her before in the production Antigone and was then introduced to the art of the Japanese bunraku puppet theatre. I became fascinated by how choreographic the puppetry is and I also learned that puppets are exceptionally good at dying. An actor can only rob himself of his life in a tragic fake way and then he gets up again to take a bow. If a puppeteer's hands are withdrawn from the puppet, it actually reverts to a piece of wood. So I decided that we needed a puppet that we can animate, and then let die again.

Isn't it going to be a terribly sad performance?

N: I don't think so at all. It's poignant, absolutely, and you're also confronted with the notion of dying. But there's a lot of life, inventiveness and creativity in the performance This bringing to life is the happier counterpart to parting.

R: The life is literally found in the people on the stage. You hear, see and feel an enormous force coming from them. The way they stand there body and soul and build the music together gives a lot of energy.

Fri 22 Dec 2017

Wed 03 May 2017

1: SONGS at the Operadagen, 'A Different Night At The Opera'

A performance marathon and clubnight

Join us on Thursday night for a revolutionary programme consisting of the latest combinations in music, theatre and live art. Experience a series of short cutting edge performances deep into the night. (re)Discover legendary acts, submerge yourself in live video clips, punk poetry, interactive opera games, dreamy soundscapes and inescapable beats by sensational artists from all over the globe. During this third edition of A Different Night at the Opera, we'll start at the Ro Theater (8pm) and continue the party at WORM (10.30pm). Including a special opera experience at The Performance Bar!

A Different Night at the Opera is a collaboration with several Rotterdam art schools, including Codarts, MBO Theaterschool and Acteerschool Rotterdam.


Program

Start at Ro theater with:
HOPE SHE WAS WORTH IT
COCON
1: SONGS
NYX

Continued at WORM with:
THE PERFORMANCE BAR OPERA
THE ALBUM PERFORMANCE
CLASSICAL LOUNGE
THE TRANSMIGRATION OF MORTON F.
THE WILD THINGS

Fri 17 Mar 2017

NBprojects now on Tumblr!

The preparations for our new show 7: TRIPLE MOON are in full swing. NBprojects invites you to immerse in our collective research on our new Tumblr page!

Sun 12 Mar 2017

Diamond Dancers at Cinedans festival

As part of Cinedans Festival, film museum Eye will show the film Diamond Dancers (2010) on March 12. Diamond Dancers was realised as a collaboration with film makers Helena Muskens & Quirine Racké, with whom we are currently working on our new show, 7: TRIPLE MOON.

In the film we follow a white touring car bound for Amsterdam, carrying an ensemble of elderly line dancers, where they will stage a flashmob. While this surprise show is usually performed by young people, Diamond Dancers shows the fun these elderly ladies have in performing their dance.

For further details or booking, please visit at:

https://www.eyefilm.nl/film/cinedans-non-fiction?program_id=11813899

Thu 09 Feb 2017

FRASCATI ISSUES: ENFANTS TERRIBLES

My future life. 3 solos and a duet. Thu 9 until 11 February

My future life, 3 solos and a duet is the result of a short work period of a theatre maker and a child. Departing from the perception of the performers - situated somewhere between child and adult - they looked ahead with them into the future. In five short repetitions they created a 15 minutes solo (and a duet). My future life, 3 solos and a duet was developed in collaboration with Alexandra Broeder.
Performance:

9 until 11 Feb 8PM
11 Feb 5PM

FRASCATI

Mon 23 Jan 2017

COME TOGETHER #3 - review

"The open workplace concept of Come Together #3"

Last week the third edition of Come Together, a three-day initiative of the Amsterdam-based choreographers Nicole Beutler, Keren Levi and Andrea Božić, took place in Theater Frascati. Artists from the capital could enlist to contribute. They were encouraged to especially present new ideas in short performances.


Whereas their own work was at the centre of the first two editions of this small festival, the three ladies now, encouraged by partners in the city, opened the doors for the whole dance- and performance scene of Amsterdam, making this event an extension of dance- and performance platform BAU, which has also been created partly thanks to their efforts. In the end, fifty artists were selected for Come Together. During three long nights their work-in-progress was on display in a tightly directed program, produced by NBprojects and Frascati.

We should be glad anout these kinds of initiatives in Amsterdam, which – when talking about support of young artists in the dance- and performance – has lost a lot. How is this city supposed to continue now that both Veem House for Performance and Dansmakers have lost the biggest part of their budget, and also ICK has let go of their residence places for young artists. Hopefully, a solution for this acute gap will arise. Still, Come Together #3 did not only focus on young artists. The program offered a stage to midcareers and older artists like Robert Steijn and Ivgi & Greben. Rightly so, since also independent artists with a track record feel the need for dialogue, especially when it concerns going into new directions. Good that this is taken into account.


Artistic research was well represented in lecture performances, installations, films, and music performances. The program was diverse, pure dance performances were limited. In particular, the performance-network around SNDO (School voor Nieuw Dansontwikkeling), DAS Theatre (master of the Amsterdam School of the Arts), and the mime school were well represented. New ideas were launched and tested among colleagues. Some performances had yet to find a definite shape, others were already further along in the process. Not only artists, but also dramaturges found a connection. Among them, Jochem Naafs, became a second Nico Dijkshoorn, reflecting on what he experienced in his pop-up poetry.

The dance- and performance scene in Amsterdam is, despite the minimal infrastructure, very active, not only in theatres but also in galleries and churches. On the same day, for instance, I attended a meditative dance performance of choreographer Niels Weijer in the Oosterkerk. Often artists do find a way to present their work, but creating with limited means is reality too. Come Together facilitates the meeting, but primarily the open workplace concept of ‘trying-out’ and ‘stimulating’ serves a function. It creates positivism in a circuit that struggles.

By now, dance- and performance platform BAU, a new Amsterdam-based initiative coordinated by Eva Villanueva, which also rents out two dance studios and managed to arrange a complementary budget of the municipality of Amsterdam to compensate for the expensive studio rent in the city, has launched a website: www.bau.amsterdam. On that site all dance- and performance activities in the city, jobs and calls, as well as a complete database of people in the scene, are collected. That way, the field is now creating its own, digital archive.

© Moos van den Broek

Thu 10 Nov 2016

The very last show of DECLARATION OF LOVE

10 & 11 November at OPEK Leuven (BE)

The time has come... tonight and tomorrow night will be the very last performance of DECLARATION OF LOVE at OPEK Leuven, with our young stars Jonas Vermeulen, Bastien Bodarwe, Laetitia Janssens, Stephanie Peeters, Siska Bouwen and Allen Assi.

DECLARATION OF LOVE by Nicole Beutler and Magne van den Berg became an absolute hit over the last three years. The piece was selected for the Theaterfestival 2015, had an extensive tour in Belgium, The Netherlands, Germany, Italy, and returns now for its very last performance to OPEK in Leuven, where it was produced in collaboration with fABULEUS. Six young people deliver an ode to the publiek. A piece that makes you fall in love.

Last week Y Generation Festival wrote: "At the end of the show comes the difficult farewell, which puts a strain on both actors and audience. Difficult as is any gap between those who have lived a common experience."

Although this farewell is also difficult on us, we are very proud to have been able t enjoy the piece for two years!

Tue 01 Nov 2016

Program COME TOGETHER #3

COME TOGETHER #3 presents works from more then 50 performance makers from Amsterdam. Download our program booklet with information about each work and the program schedule!

program booklet

Tue 11 Oct 2016

COME TOGETHER #3 - open call

18-20 January at Frascati

From January 18 till 20, we are organising the third edition of Come Together at Frascati Amsterdam. For the first edition in 2014, we showed our works alongside each other to show and discuss similarity and difference. For the second edition in 2015 we opened up the festival to a broader scene of Amsterdam performance makers from different disciplines like dance, music and art.

For this third edition, we are inviting 50 performance makers to take part in a three day festival at Frascati Amsterdam.

Choreographers, musicians, artists, dramaturgs: you are all very welcome. Let's come together and exchange knowledge, develop new formats, meet colleagues, present ideas, test theories and brainstorm with the audience. Use this space and time to explore or present something you might not otherwise be able to do.

If you are interested in taking part, contact cometogether@nbprojects.nl for more information and a application form.

COME TOGETHER is een initiatief van Keren Levi, Andrea Bozic en Nicole Beutler, wordt geproduceerd door NBprojects, Frascati, Neverlike, BAU in samenwerking met TILT en Veem House Voor Performance.

Sun 25 Sep 2016

6: THE SQUARE

Did you know that...

The square isn't found in nature? It's a man-made shape.

Tetrafobia, the fear of the number 4, is particularly prevalent in East Asia, where the pronunciation of the word for 'four' sounds very similar to the word for 'death'?

The populist texts in the performance are fragments from political speeches by, among others, Donald Trump, Geert Wilders and Marine Le Pen?

Square Dance has its roots in Scottish folk dance and was once danced only by men, and that it wasn't declared a national folk dance in the US until 1982?

The number 4 is the number representing order and stability? 4 seasons, 4 winds, 4 elements.
There are 158 squares to be seen in 6: THE SQUARE?

The music was composed specially for the performance by Gary Shepherd/DJ Streamer, known also for his Big Night Out evenings in Paradiso?

6: THE SQUARE is the second part of Nicole Beutler's Bauhaus trilogy about the basic geometric shapes of circle, square and triangle?

International Square Dance day is on November 29th every year?

Wed 21 Sep 2016

Nicole Beutler on 6: THE SQUARE

an interview by We Are Public

During the Uitmarkt we showed a fragment of 6: THE SQUARE, and We Are Public interviewed Nicole in the dressing room after te show!

Watch the interview here>>

Tue 13 Sep 2016

6: THE SQUARE 2 x kort

7 Sep Paradiso Noord & 9 Sep Vondelpark Openlucht Theater

This week we present 2 times a short version of 6: THE SQUARE in Amsterdam, in the run-up to our full show at the Stadsschouwburg Amsterdam on 25 September! On 7 Sep. we are part of ROCKY, the new performance festival Paradiso Paradiso North hall Tolhuistuin, and on 9 Sep. we present part of the piece in the open air of the Vondelpark Openluchttheater.

Tue 13 Sep 2016

Metropolis M on 6: THE SQUARE

a review on Rocky Festival at Paradiso Noord

"Choreographer Nicole Beutler opens with the strong performance 6: THE SQUARE, an excerpt from her second piece in her Bauhaus trilogy. The previously mentioned yellow square provides the framework for a study of form, physicality and narrative into performance art, functioning both as a stage as artistic context. Eight dancers and a 'MC' from the American Square Dance scene, are literally pushing the boundaries. The in traditional square dance outfit dressed MC (including cowboy hat), stirred up the audience and accompanied the dancers from an abstract and anonymous rhythmic dance to a teeming orgasmic climax."

Read the complete review here!

photo ©Pieter Kers

Tue 06 Sep 2016

Actor Jonas Vermeulen on Liefdesverklaring

A short radio interview on Omroep Flevoland

On 6 September, one of our star actors Jonas Vermeulen spoke about Liefdesverklaring on Omroep Flevoland. This months is the last chance to see the piece in Holland: 17 September in Corrosia Almere and 18 September during Festival Musica Sacra Maastricht!

Listen back >> (in Dutch)

Tue 19 Apr 2016

Award for Antigone

Lalka Też Człowiek Festival in Poland

On 16 April Nicole Beutler and Ulrike Quade recieved the audience award at the Lalka Też Człowiek Festival in Poland for their performance Antigone. This annual international festival represents puppet theatre and animated movies. The award went to Antigone for the emotions expressed in the piece.

Keep an eye on our calender to see when Antigone will be performed again!

Thu 04 Feb 2016

Creative Talks: Dance, Music and Visual Arts

with Nicole Beutler, Gary Shepherd and Felix Ritter

Nicole has been invited to talk about her work practice at the Apple Store Amsterdam on Thursday 4 February, together with long time collaborator DJ/composer Gary Shepherd. His electronic beats and her strong visual language make for surprising, award-winning performances on the thresshold of fine arts, dance and music. In this Apple Store talk they offer a peek into Nicole’s company NBprojects. Joining them are dramaturg Felix Ritter and dancer Hillary Blake Firestone, who have partaken in the creation of 3: THE GARDEN, shown at Stadsschouwburg Amsterdam on 8 February.

>> more on Gary Shepherd
>> more info

Tue 02 Feb 2016

Springvossen: Interview with Nicole Beutler

The geometry of dance

Robert van Altena interviews Nicole Beutler. In this broadcast she talks about the influence of tradition in her own work, and her usage of the elementary geometrical forms the square, the triangle and the circle.
The interview is in Dutch.

Springvossen Interview

Fri 22 Jan 2016

A new perspective on 3: THE GARDEN

photos by Stephen Wright

During the Nederlandse Dansdagen, photographer and Rambert dancer Stephen Wright gave us a new perspective on 3: THE GARDEN. Tour starts February 8th in Stadsschouwburg Amsterdam!

Check the photos here

Mon 30 Nov 2015

Review Theaterkrant (in dutch)

by Moos van den Broek
Fri 03 Oct 2014

SHIROKURO wins Dioraphte Dansprijs op Nederlandse Dansdagen

'dance performance with the greatest international potential'

During the Nederlandse Dansdagen, the dance concert SHIROKURO - a collaboration pianist Tomoko Mukaiyama, lighting designer Jean Kalman and with dancer Mitchell Lee van Rooij - has won the Dioraphte Dance award for the performance with the greatest international potential.

The jury: “The production most suitable for an international tour is a multidisciplinary performance, that in an ingenious way brings together music, dance and visual arts. The hallucinating and raw music, the strength of the dancer, set and light design, come together in an overwhelming experience".

Tue 15 Jul 2014

AT5 Amsterdamprice | Nominations Stimuleringsprijs

Nicole Beutler nominated for the Stimuleringsprijs

not yet translated...

Wed 04 Jun 2014

Nominated for the AMSTERDAM PRICE FOR THE ARTS

Nicole Beutler is nominated for the Amsterdam price for the Arts

FRASCATI ISSUES: ENFANTS TERRIBLES

My future life. 3 solos and a duet.

My future life, 3 solos and a duet is the result of a short work period of a theatre maker and a child. Departing from the perception of the performers - situated somewhere between child and adult - they looked ahead with them into the future. In five short repetitions they created a 15 minutes solo (and a duet). My future life, 3 solos and a duet was developed in collaboration with Alexandra Broeder.

Performance:

9 until 11 Feb 8PM
11 Feb 5PM

FRASCATI