PAPER IN MOVEMENT

author: Mr. Motley | Wieke Teselink - 05 May 2015
An article with images about the booklets that accompany our theatre-works. Graphic designer Connie Nijman. Bij de deuren naar de zaal ontvangt elke toeschouwer een klein boekje. In het begin was er niks. Woorden in zwarte inkt vullen de zwartmatte voorpagina van het kleine boekje. De woordenreeks start met niks, helemaal niks, de kleur blauw wordt als het eerste ‘iets’ genoemd. Het proces wat daarop volgt probeert de woordenstroom in losse woorden te beschrijven, wat eigenlijk niet te beschrijven valt: het ontstaan van de wereld. In de dansvoorstelling 3: The Garden van Nicole Beutler wordt de woordenstroom uit het boekje uitgesproken door ...
Choreographer Nicole Beutler and dramaturge Felix Ritter discuss their inspirations for 3: The Garden, which examines the distinction between nature and culture. 3: The Garden is on from 15 to 19 March in Frascati 1. Filosophy about nature NB: “I went to a humanist grammar school, so I’m used to returning to ancient sources. For this production I took another look at the pre-Socratic natural philosophers – especially Pythagoras, Parmenides and Anaxagora. The natural philosophers were trying to capture the workings of the world in language. For example, they tried to describe the sound of the universe, a specific sound that can ...

On making art in the present tense

author: Alena Alexandrova
A reflection on the lecture series THE OLD BRAND NEW Repositioning I am sitting in the Stadsschouwburg in Amsterdam and the main hall is full. What I am about to see, however, is not exactly a dance or theatre performance. Instead, I will hear a lecture on making art from the very stage that usually hosts it. At the heart of the lecture series is the notion of the “new”, in several variations: new idealism, new beauty, new virtuosity, new knowledge, new subversion, new centre and the meaning of new. These issues are framed by the title of the lecture series – The ...

Ghostly

author: André Lepecki
adressed to its dedicated readers; preceded by three necessary warnings and two preliminary definitions, followed by a discussion on the social aspects of the ghostly, its politics, an unexpected diversion, and concluding with some remarks on the ghostly in dance. A. Three necessary warnings Some warnings are in order, dear Reader, so we may begin. The first warning is that I will be writing here about the ghost and the ghostly (and rest assured that I will be defining these terms in a moment) thanks to three main sources of inspiration. Source 1 is my involvement with dance theory and history by the way of ...

BEING (T)HERE

author: Igor Dobricic
A text in response to our work on The exact position of things. for Hester and Esther They are clinging to what they are used to as if there is nothing else to preserve them but the habit of the days. They are repeating what they know as if there is nothing else to be known but what they can copy from each other. And yet they are loosing it. Between each repetition something is lost and every time the cycle starts again there is less and less to cling on. As if there is a hole in the fabric of time ...

Teasing the strip. An attempt at surfacing.

author: writer/choreographer Martin Nachbar
Prologue When Neneh Cherry did a cover version of “I want you under my skin”, the video showed a dancer all dressed in black latex, dancing in between two massive, black loudspeakers. The dancer’s sex remained invisible. It went through an exotic dancing routine with a chair, following the heavy, rhythmic bass coming out of the loudspeakers on either side. The totally dressed and hairless dancer got under my skin each time I watched the video. But nothing of the dance seemed more than skin deep. The dancer represented a black version of the mannequin, no holes to enter its body. What ...

author: Francine van der Wiel