ULTIMA VEZ / WIM VANDEKEYBUS
21 & 22.8.2020 | 22:00 | 105'
Kalamata Castle Amphitheatre
In his latest production entitled Traces, Wim Vandekeybus follows his own traces and looks back to the intuitions that spurred his search: the drama of impulses and instincts, the game of energies and intensities. In the wilderness of Romania, where Europe’s last primeval forests survive, Vandekeybus searches for traces older than mankind and human memory, traces of nature that the body has forgotten or repressed. It is a search for ‘the inner story’, which unfolds before and beyond language and can only be told through dance and music. How much nature still lives in humankind? How much animal survives in the human body? What happens when we are at risk or in danger, when we must take intuitive decisions to survive?
Ten dancers move to a soundtrack composed by Trixie Whitley (author of the music for TrapTown), Shahzad Ismaily, Ben Perowski and Daniel Mintseris, recorded with special guest Marc Ribot on the guitar (who wrote the music for Inasmuch as Life is Borrowed and Vandekeybus’ feature film Galloping Mind).
Direction & choreography: Wim Vandekeybus
Created with & performed by: Alexandros Anastasiadis, Borna Babić, Maureen Bator, Davide Belotti, Pieter Desmet, Maria Kolegova, Kit King, Anna Karenina Lambrechts, Magdalena Oettl, Mufutau Yusuf
Music composed & recorded by: Trixie Whitley, Shahzad Ismaily, Ben Perowsky, Daniel Mintseris
Special guest on guitar: Marc Ribot
Movement assistant: German Jauregui, Iñaki Azpillaga, Flavio D’Andrea
Storyline: Wim Vandekeybus
Dramaturgy: Erwin Jans
Costume design: Isabelle Lhoas, assisted by Isabelle De Cannière
Scenography: Wim Vandekeybus & Tom de With
Stage management: Thomas Glorieux
Sound engineer: Christian Schröder
Light design: Wim Vandekeybus & Francis Gahide
Light on tour: Helmut Van den Meersschaut
Bear costume design: Jan Maillard
Set paintings: Patrick (Bob) Vantricht
Production: Ultima Vez
Co-production: Europalia Romania, Concertgebouw Bruges, KVS Brussels, La Rose des Vents Villeneuve d’Ascq
With the support of Tax Shelter measure of the Belgian Federal Government, Casa Kafka Pictures Tax Shelter empowered by Belfius. Ultima Vez is supported by the Flemish Authorities & the Flemish Community Commission of the Brussels Capital Region.
Wim Vandekeybus is a choreographer, dancer, filmmaker, and photographer. He founded his dance company Ultima Vez in the mid-1980s. His debut performance What the body does not remember (1986) won a Bessie Award for ground-breaking work. His second performance, Les porteuses de mauvaises nouvelles (1989), was also honoured with a Bessie Award. His performances over the last few decades are considered milestones in the development of modern dance. Vandekeybus’s unique style and language of movement juxtapose intuition, impulse, and instinct with energy, risk, and danger, exemplifying a Weltanschauung full of dynamics and conflict—conflict between body and mind, feeling and intellect, man and woman, nature and culture, man and animal, group and individual, illusion and reality. Vandekeybus’s work is characterised by almost obsessive reiterations of a single concern: how man responds to extreme situations. In this context, he attaches special importance to what he refers to as “the moment of catastrophe”, which ironically does not preclude the inclusion of humour, playfulness, and even light-heartedness in his work.
SOLO: REVOLUTION WITHOUT MUSIC
23.8.2020 | 19:45 | 45'
Kalamata Castle Amphitheatre
With Solo, Israel Galván reinvents traditional flamenco. His aim is to take every possible freedom in order to bring dance back to its essence. Following in the steps of Vicente Escudero, he uses no musical accompaniment. He listens intently to his own body and creates a sound score with his feet, clapping hands, snapping fingers, and, occasionally, his voice. His brisk footwork, body inflexions, and sharp stillness are the image of control and purity. Stripped of clichés yet deeply rooted in and bound by a strong tradition, his style is audacious and resolutely avant-garde.
Choreography & performance: Israel Galván
Sound: Pedro León
Technical direction: Pablo Pujol
Production: Marcos Avilés
Distribution: Mondigromax, cultivos de cultura
Israel Galván de los Reyes was born in Seville to flamenco dancers José Galván and Eugenia de Los Reyes. He grew up amidst tablaos, fiestas, and flamenco dance academies, and in 1994 joined the Compañía Andaluza de Danza, directed by Mario Maya. He has worked on projects of very different nature with artists as diverse as flamenco masters Enrique Morente and Manuel Soler, dancers Akram Khan and Sol Picó, and musicians Sylvie Courvoisier, Pat Metheny, Vicente Amigo, and Lagartija Nick, among many others. In 1998, he premiered as a choreographer with ¡Mira!/Los Zapatos Rojos and has since presented La Metamorfosis, Galvánicas, Arena, La Edad De Oro, Tábula Rasa, Solo, El final de este estado de cosas – Redux, Israel vs Los 3000, La Curva, Lo Real/Le Réel/The Real, Torobaka, Fla.co.men, La Fiesta, Amor Brujo, Coplas Mecánicas, and La consagración. He was presented with the National Dance Prize for Creation (Spain) in 2005, the Grand Prix de la Danse (France) in 2009, the Gold Medal of Fine Arts (Spain) in 2012, the New York Bessie Performance Award for Outstanding Production in 2012, and the National Award for Exceptional Artistry (United Kingdom) in 2015, among others. Galván is an associate artist of Théâtre de la Ville (Paris).
DAME DE PIC / CIE KARINE PONTIES
23.8.2020 | 22:00 | 60'
Alternative Space / Kalamata Dance Megaron
A ramshackle heron, trussed up in its feathers, perched on a peak. A snake eagle swirling in large, paced circles before it collapses. This is their wild side.
Nothing defines human beings better than their tendency to accomplish absurd acts in order to obtain results that are just as improbable. In a world where reason is a nice façade, the bursting in of non-sense brings us to confront our relationship with normalcy and allows us to open up to untrodden paths. Somewhere between burn out and brown out, two women, exposed to each other, like a palindrome in a distorting mirror, lose their direction and reignite their innate wild animal.
In this unexpected duo, theatre director Petra Tejnorová shares the stage with leading creative dancer Tereza Ondrová. Their joint interest in exploring the boundaries of subtle humour, irony, and absurdity, while respecting the intricacies of human relationships, is underlined by the directorial-choreographic leadership of choreographer Karine Ponties, who present her work in Greece for the first time. Inspired by Buster Keaton, they move us with their depth and sincerity, despite the lightness of the form.
Concept & choreography: Karine Ponties
Performers: Tereza Ondrová, Petra Tejnorová
Light designer & artistic advisor: Guillaume Toussaint Fromentin
Technical director: Katarina Duricová
Light technician: Zuzana Režná
Production: Temporary Collective & Dame de Pic/Cie Karine Ponties
Co-production: Tanec Praha & Le 140
With the support of: Ministry of Culture Czech Republic, Prague City Hall, ALT@RT, Truc Sphérique/Stanica Žilina, Culture Ministry of Fédération Wallonie-Bruxelles
The performance Same Same is presented at 26th Kalamata International Dance Festival with the support of the Ministry of Culture of the Czech Republic.
Artistic director of Dame de Pic, choreographer and performer Karine Ponties has created more than 40 dance pieces. Her work is characterised by a flair for the absurd, exploring intimacy and interlacing relationships. Tereza Ondrová is a founder of the dance ensemble VerTeDance, for which she has created, together with Veronika Kotlíková, more than sixteen projects. In 2010 and 2019, she received the Dancer of the Year award at the Czech Dance Platform. Petra Tejnorová is searching for a new role for theatre in today’s world and experimenting with physical and documentary theatre and theatrical conventions. She guest directs and creates her own theatrical projects.
GRIFFON DANCE COMPANY / IOANNA PORTOLOU
25.8.2020 | 22:00 | 55'
Alternative Space / Kalamata Dance Megaron
Ioanna Portolou and Griffón Dance Co.’s dives into Greek history with ΚΑΟS, an explosive performance about our complex cultural roots and how they survive in the present. Toying with the aesthetics of retro “Made in Greece” tourist souvenirs, KAOS speaks of how cultural baggage can be burdensome. Vivid, often surrealist images and symbols of our past, history, mythology, tradition, and multiple cultural influences come alive on stage and outline an identity that we do not control. In this contemporary Greek Babel wander Adam and Eve, the remnants of gods and heroes, under the sounds of ingeniously harmonised diverse musical genres ranging from electronica to traditional music. KAOS draws from memory in order to construct an individual present, before turning to collective identity and responsibility. Its purpose is not to comment on fragments of Greek history but on the weight that it may represent for each one of us. How does this past affect us? Who are we today? Can we escape from what happened before us?
Choreography: Ioanna Portolou
Music: Anthony Palaskas
Performers: Cecile Mikroutsikou, Theano Xydia, Yiannis Nikolaidis, Ilias Chatzigeorgiou
Costume & set design: Ioanna Tsami
Lighting design: Tasos Palaioroutas
Assistant Choreographer: Rania Kapetanaki
Production Manager: Manolis Sardis/PRO4
Production Manager Assistant: Christina Polychroniadou
Co-production: Athens and Epidaurus Festival 2019, Griffón Dance Co
Thanks to Haris Politopoulos
Theano Xydia will replace Ioanna Apostolou, co-creator and dancer of KAOS, for this performance.
Founded in 2000 by Ioanna Portolou, Griffόn Dance Company has performed in Greece (Onassis Stegi, Athens and Epidaurus Festival, Megaron Athens Concert Hall, Karolos Koun Greek Art Theatre, Kalamata International Dance Festival, Dimitria Festival) and abroad (United Kingdom, Germany, Serbia, Egypt, Northern Macedonia etc.). In 2000-4, the company collaborated with Amore Theatre, where it presented five performances. In 2012, it was commissioned to choreograph and present Beethoven’s Creatures of Prometheus ballet in cooperation with the Camerata – The Friends of Music Orchestra at the Onassis Stegi. Other commissions include the performances Lapland (2004) and Apple Tree (2006), both presented at the Megaron Athens Concert Hall. The company’s last three performances—Risk (Onassis Stegi, 2018), Elizabeth (Megaron Athens Concert Hall, 2019), and KAOS (Ancient Epidaurus Little Theatre, 2019)—mark the beginning of a new artistic era for the company. The company is now working on their new production GRIMM, which is scheduled to premiere in 2020.
26.8.2020 | 22:00 | 60'
Kalamata Castle Amphitheatre
Tamata: offerings and tributes given to gods or saints in exchange for grace, a favour, or the fulfilment of a wish. Alone, feeling defeated, and having lost their faith, six men search for something to believe in. In a timeless and lonely landscape, a place where memory becomes a nightmare and the present a deep and painful wound, they struggle violently but quietly to rediscover their body, their truth, their light. Their bodies fall, hug, tremble, stay still, breathe, shake, explode, sway, fight, dance, crave, hope, promise, and sacrifice. Moments and encounters come and go, some lost forever into the dark, leaving them alone again, confronted with their passions, their desires, and their fears. Face to face with single foe, themselves. A dark, pagan, and poetic journey in search of identity, the need for tenderness, the sense of belonging somewhere, belonging to someone, coexistence. A melancholic journey, hidden behind shadows and darkness, but filled with desires, longing, rage, fragments of memory, and sudden bursts of light. A look into the hidden desires and untold stories of the tender male soul.
Concept & choreography: Fotis Nikolaou
Music: Dimitris Spyrou
Set design: Elena Kotasvili & Alexis Vayianos
Costumes: Constantina Andreou
Light design: Panagiotis Manousis
Performers: Anastasis Karachanidis, Ilias Bageorgos, Giannis Economides, Fotis Nikolaou, Alexandros Stavropoulos, Dimitris Spyrou
Commissioned by the Cultural Services of the Cyprus Ministry of Education and Culture within the framework of the Terpsichore 2018 and Culture 2015-2020 programmes for the research and development of contemporary dance.
The performance TAMATA is presented at 26th Kalamata International Dance Festival with the support of the Cultural Services of the Cyprus Ministry of Education and Culture.
Fotis Nikolaou was born in Famagusta, Cyprus. A graduate of the National School of Dance in Athens, he continued his studies in New York with a scholarship from the Pratsika Foundation. As founder and choreographer of the X-it Dancetheatre, he produced the shows HeartLand – A dark forest, A Room To Grow, These Gentle Hearts Are Like Shot Birds Falling, Inland, unravelling, Narcissus – Mirror In The Mirror, I Am And I Am Not, Windstrasse, Lamentu, Spiegel im Spiegel, Waltz, Amen, Ninth Hour, Not Yet, and Love Shots. He co- directed with Thanasis Georgiou and choreographed the production A Little More for the Experimental Stage of the Cyprus Theatre Organisation (THOC). He also collaborated with the THOC in the productions of Hippolytus (director Neoklis Neokleous), The Threepenny Opera (director Stefanos Kotsikos), Electra and Orestes: The Trial (director Hanan Snir), for which he was awarded the THOC Choreography Prize for 2011-3. He collaborated with Balich Worldwide Shows for the choreography of the production Giudizio Universale: Michelangelo and the secrets of the Sistine Chapel in Rome. He also choreographed the productions 7even (Black Box Dance Company, Denmark, nominated for the Arets Reumert award for best dance production of the year) and Lonely Room (Greek National Opera), the opera Jenufa (director Nicola Raab, Greek National Opera), and, by director Stephen Langridge, the operas Electra (Götenborg Opera), Salome (Malmö Opera), Carmen, and Orpheus and Eurydice (Greek National Opera). He was also a member of the creative team and choreographer at the opening and closing ceremonies of the 2004 Summer Olympics in Athens and a permanent member of Dimitris Papaioannou’s dance company Omada Edafous (1994-2005). As movement director and dancer he has collaborated with many more renowned directors and choreographers.
LALI AYGUADÉ & GUILHEM CHATIR
27.8.2020 | 22:00 | 55'
Alternative Space / Kalamata Dance Megaron
HERE. In time and space we arrive. We were preceded and we will be outlived. Others will continue after our demise in the ‘here’. We are just a segment within the bigger picture. Defined existence allows us to start from scratch and live towards something. Our being, inside and out, is shaped throughout our lifetime. It is molded into a shape we believe ourselves to be responsible for. Too often, we are not aware of the fact that this process is subject to external forces. The ‘other’ is a critical entity that not only decides how the outer world perceives us, but also creates the image we have of ourselves. But the ‘other’ is also influenced by others. We all belong to a bigger structure of rules, norms, values, prejudices, culturally defined characteristics, language, and hierarchy, created and maintained by none other than ourselves.
Lali Ayguadé and Guilhem Chatir explore the process of birth and development in a structured environment through the transforming search for truth. An undefined force (soprano Astrid Stockman) seemingly directs their everyday life and process of development. Coming from the outside, its voice and presence trigger the mechanisms of awareness and realization. The two newly born personalities thus grow physically and emotionally. They interact and shape one another like molded clay. The outer force inspires and destroys, provokes and stabilizes the dancers, who slowly become emancipated. They no longer passively obey the soprano’s sudden whims and outdated realities. As they break away from prescribed rules, they discover their inner force and instincts, and step out of the structure, reinstating their earthy impulses and intuition.
Concept & choreography: Lali Ayguadé & Guilhem Chatir
Performers: Lali Ayguadé & Lisard Tranis Soprano: Maria Casellas Artigas (covering for Astrid Stockman)
Music: Joana Gomila
Dramaturgy: Aïda Gabriëls
Scenography & artistic assessment: Martina Cabanas
Light design: Davy Deschepper
Sound engineer: Julián D’Avino Anido
Technical director & light engineer: Gervasio Juan Colet
Executive production: Elclimamola
Agency & Tour management: Big Story Productions
Co-producers: Pyrénart and ICI-CCN de Montpellier-Occitanie – Project Life Long Burning (supported by the EU Creative Europe Programme), Festival Grec Barcelona 2019, Temporada Alta 2018, Charleroi danse – Centre chorégraphique de Wallonie-Bruxelles
In collaboration with: Temporada Alta 2018, CIRCa – Pôle national cirque à Auch, ZGZ Escena – Festival internacional de Artes Escénicas, KLAP Maison pour la danse à Marseille, La Place de la Danse – CDCN Toulouse-Occitanie
With the support of: Generalitat de Catalunya – Departament de Cultura
Lali Ayguadé is presented at the 26th Kalamata International Dance Festival with the support of Acción Cultural Española (AC/E) through the Programme for the Internationalisation of Spanish Culture (PICE), in the framework of the Mobility grants.
Lali Ayguadé is a Catalan performer and choreographer. She trained at the Liceu Conservatory (Barcelona), the Institut del Teatre (Barcelona), and PARTS (Brussels). She has since worked with the Publik Eye Company (under Carmen Mehnert), the Akram Khan Company, Hofesh Shechter, Marcos Morau, Roberto Olivan, and Baró d’Evel, among others. She founded her own company in 2013 and has since created full-evening pieces, such as Kokoro and iU Mi (the latter presented at the Kalamata Dance Festival last year). In 2018, she collaborated with Guilhem Chatir in the creation of HERE.
Guilhem Chatir is a French performer and choreographer. He started training in hip hop and circus, which led him to the Conservatoire à Rayonnement Régional de Toulouse. He then joined the Conservatoire national supérieur de musique et de danse de Paris (2010) and PARTS (Brussels, 2013). In 2015, he began working with Wim Vandekeybus/Ultima Vez and performed in the revival of What the Body Does Not Remember and In Spite of Wishing and Wanting. In 2018, he started working with Yoann Bourgeois for his new creation Requiem and in 2019 performed in Ludum, a new creation by Anton Lachky Company. He recently founded his own company Guilhem Chatir.
Guilhem Chatir, who recently joined the Akram Khan Company, will be replaced by Catalan dancer Lisard Tranis. Tranis trained at the Oriol Martorell School and the Institut del Teatre in Barcelona, where he performed in choreographies by Emilio Gutiérrez, Pau Aran, Joan Lopez, and Lali Ayguadé. He won first prize in the Certamen Internacional de Dansa competition, which awarded him a scholarship to the Peridance Capezio Dance Centre (New York). He then joined Verve company (Northern School of Contemporary Dance), where he performed in works by Kerry Nicholls, Luca Silvestrini, and Douglas Thorpe.
28.8.2020 | 22:00 | 40'
Alternative Space / Kalamata Dance Megaron
The artistic duo kóka&panú perform in Kalamata the world premiere of their latest creation Μateria. The piece unfolds inside a sound installation. An environment built of industrial materials, much like a city landscape, transforms into a projection of the nature that surrounds us. Cold metal embraces the warm human body. Motion is matter’s mode of existence: ‘to be’ means ‘to be in motion’. The two artists attempt to capture the archetypical relationship between music and dance through the connection between action and reaction. Movement creates sound, its echo feeds the moving body. Panú creates for the stage an impressive visual environment, a huge musical instrument that comes to life through the moving artistry of Konstantina Efthimiadou. Μateria is a co-production of the Kalamata Dance Festival, with the support of the Hellenic Ministry of Culture and Sports.
Concept, creation, choreography: kóka&panú (Konstantina Efthimiadou & Panagiotis Manouilidis)
Music composition & sound installation: Panú (Panagiotis Manouilidis)
Performers: Konstantina Efthimiadou & Panú (Panagiotis Manouilidis)
Costume design & props: Eleni Stroulia
Lighting design: Tassos Paleoroutas
Sound operation: Orestis Patsinakidis
Costume design assistant: Zaira Falirea
Tailoring: Francesco Infante
Promo video & photography: Mike Rafail
Filming & editing: Nefeli Papaioannou
Production management & communication: Yorgos Katsonis
Produced by: kóka&panú
Co-produced by: Kalamata International Dance Festival
With the financial support of the Hellenic Ministry of Culture and Sports
With the kind support of Baumstrasse/Dromos me Dentra
26th Kalamata International Dance Festival
Kalamata Dance Megaron – Alternative Space
28 August 2020
Special thanks to: Tassos Karachalios, Natalia Manta, Eliza Alexandropoulou, Tassos Dimitropoulos, Dimitris Bechlivanidis and Margarita Dossoula.
kóka&panú is the artistic duo formed in 2018 by dancer-choreographer Konstandina Efthimiadou and musician- composer Panagiotis Manouilidis. Konstantina Efthimiadou has collaborated with some of the most important personnalities of contemporary dance, including Akram Khan, Wim Vandekeybus/ Ultima Vez, Roberto Olivan, RootlessRoot, and Jukstapoz. She has traveled to and performed in festivals and venues worldwide. Her work as a choreographer began in 2012. Panú (Panagiotis Manouilidis) is a musician, composer, and performer based in Athens. Over the years he has collaborated with the Münchner Kammerspiele, the National Theatre of Greece, the National Theatre of Northern Greece, the Athens and Epidaurus Festival, the Onassis Stegi, RootlessRoot, and many important Greek musicians in recordings and live concerts in Greece and abroad. Since 2019, he has been designing and creating large-scale instruments, which function as sound installations.
29.8.2020 | 19:30 | 40'
Alternative Space / Kalamata Dance Megaron
Pli brings together 22 conference chairs, obsessive rhythm, and one devoted man. On a small platform, Viktor Černický dives resolutely into the struggle for indefinite construction, reconstruction and deconstruction of the universe. The result is an intelligent and playful solo, a physical metaphor for endless human dynamics, patience, and striving that turns even the most ordinary objects into incredible pieces of architecture. Inspired by Gottfried Wilhelm Leibniz, the iconic Baroque philosopher, and Gilles Deleuze’s stirring The Fold: Leibniz and the Baroque, Pli is an unpredictable and humorous performance that twists our imagination and takes our breath away. Černický likens Leibniz’s thought to a magical performance without magic tricks, in which the philosopher brings together the seemingly impossible, approaching the complexity and refinement of this world with very simple principles, which he multiplies and folds in every possible way. Creation thus appears as a sophisticated piece of architecture, extremely rich in details, highly elaborate in style, robustly shaped, hard to believe, and yet simple, modest, and absolutely true. Following Leibniz’s approach, Pli replaces baroque robustness with spatial modesty and material minimalism, yet is neither narrow in form nor straightforward in expression.
Concept/choreography/performance: Viktor Černický
Lighting design: Zuzana Režná
Dramaturgy: Lukáš Karásek
Technical realisation: Drahomír Stulír
Co-production: Tanec Praha/PONEC – dance venue
In collaboration with: BuranTeatr Brno, CNK Záhrada Banská Bystrica, Théâtre de L’Arsenal Val-de-Reuil, CIRQUEON Praha, Alfréd ve dvoře Theatre, Studio Alta and Festival Bazaar, Pôtoň Theatre, Festival Kiosk, CSC – Centro per la Scena Contemporanea Bassano del Grappa
With the financial support of: Ministry of Culture of the Czech Republic, City of Brno
Viktor Černický creates works that straddle the fine line between dance, performance, circus, and physical theater. He heads the long-term research project The Body as Object/The Object as Body, which looks at the dynamics of relationships between the object and the performer’s subjective individuality. His first solo performance Parolapolea earned him nominations in the categories of Dancer of the Year and Dance Performance of the Year at the 2017 Czech Dance Platform, and was presented with a special award in the form of participation in the Choreographic Research Week at the B-Motion Festival in Bassano del Grappa. Presented in November 2018, his latest solo piece Pli received the Audience Award and Total Award of the Czech Dance Platform 2019. With this performance, Černický has become a part of the Aerowaves Twenty20 selection. He has also collaborated and performed with Jaro Viňarský, Dominique Boivin, Daniel Gulko, and Compagnie Mossoux-Bonté, among others. He is currently working on a new piece Prima (working title), which will engage the public instead of professional performers.
29 & 30.8.2020 | 22:00 | 75'
Kalamata Castle Amphitheatre
In Diptych, Gabriela Carrizo and Franck Chartier reimagine two short pieces created with the Nederlands Dans Theater 1: The Missing Door (directed by Gabriela Carrizo) and The Lost Room (directed by Franck Chartier). Living between reality and imagination, several characters battle with time, space, and memory, led by natural forces towards an uncertain destiny. They all seek an ideal, follow a dream, have hope but end up lost, wandering through a mysterious and macabre labyrinth from which they cannot escape. In The Missing Door, a dying man anxiously searches for a way through the intricate maze of his thoughts. In The Lost Room we find ourselves on a ship at sea where freedom and entrapment go hand in hand, as the characters seemingly exist in every time and every place. Carrizo and Chartier create a disturbing, dark, and claustrophobic world, while putting a unique and extreme language of movement and performance at the centre of their pieces.
Concept & direction: Gabriela Carrizo & Franck Chartier
Performers: Konan Dayot, Fons Dhossche, Lauren Langlois, Panos Malactos, Alejandro Moya, Fanny Sage, Eliana Stragapede, Wan-Lun Yu
Artistic assistance: Thomas Michaux
Sound design & arrangements: Raphaëlle Latini, Ismaël Colombani, Annalena Fröhlich, Louis-Clément Da Costa
Lighting design: Tom Visser
Set design: Gabriela Carrizo & Justine Bougerol
Costume design: Yichun Liu, Louis-Clément Da Costa
Technical coordination: Pjotr Eijckenboom (creation) & Hugues Girard (tour)
Technicians: Emily Brassier, Bram Geldhof (lights), Tim Thielemans (sound), Giuliana Rienzi (stage manager), Clement Michaux (stage assistant)
Tour manager: Thomas Michaux
Production manager: An Van Der Donckt
Communication manager: Sébastien Parizel
Company manager: Veerle Mans
Production: Peeping Tom
Co-production: Opéra national de Paris, Opéra de Lille, Tanz Köln, Göteborg Dance & Theatre Festival, Théâtre national Wallonie- Bruxelles, deSingel Antwerpen, GREC Festival de Barcelona, Festival Aperto/Fondazione I Teatri Reggio Emilia, Torinodanza Festival/ Teatro Stabile di Torino – Teatro Nazionale, Dampfzentrale Bern
With the support of: the Flemish authorities, the Tax Shelter of the Belgian Federal Government
Distribution: Frans Brood Productions
Based on Adrift, created with the dancers
of NDT I: Chloe Albaret, Lydia Bustinduy, César Faria Fernandes, Fernando Hernando Magadan/Spencer Dickhaus, Anna Hermann, Anne Jung, Marne Van Opstal, Roger van der Poel, Meng-ke Wu, Ema Yuasa/Rena Narumi
Gabriela Carrizo and Franck Chartier founded Peeping Tom in 2000. Together they created their first project Caravana (1999), with would-be long-time collaborator Eurudike De Beul, followed by the film Une vie inutile (2000). The company’s hallmark is a hyperrealistic aesthetic anchored to a concrete set: a garden, a living room, and a basement in its first trilogy (Le Jardin, 2002; Le Salon, 2004; and Le Sous Sol, 2007), two trailer homes in a snow-covered landscape in 32 rue Vandenbranden (2009), or a burned theatre in À Louer (2011). The huis clos of family situations inspired their second trilogy titled Vader (Father), Moeder (Mother), and Kind (Child). Peeping Tom’s artistic directors have also collaborated with other groups, including the Nederlands Dans Theater (The Missing Door, 2013; The Lost Room, 2015; The Hidden Floor, 2017), the Opera of Göteborg (33 rue Vandenbranden, 2013), and the Residenztheater in Munich (The Land, 2015). In 2007, the company received the Mont Blanc Young Directors Award during the Salzburg Festival and the Patrons Circle Award at the Melbourne International Arts Festival. Le Salon was awarded the Prix du Meilleur Spectacle de Danse (Best Dance Show Prize) in France in 2005, Vader the Premio de la Crítica Barcelona (Best International Dance Production) in 2014, and 32 rue Vandenbranden the prestigious Olivier Award (Best New Dance Production) in 2015.