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Fransien van der Putt

Fransien van der Putt is a dramaturge and critic. She works with Lana Coporda, Vera Sofia Mota, Roberto de Jonge, João Dinis Pinho & Julia Barrios de la Mora and Branka Zgonjanin, among others. She writes about dance and theatre for Cultural Press Agency, Theatererkrant and Dansmagazine. Between 1989 and 2001, she mixed text as sound at Radio 100. Between 2011 and 2015, she developed a minor for the BA Dance, Artez, Arnhem - on artistic processes and own research in dance. Within her work, she pays special attention to the significance of archives, notation, discourse and theatre history in relation to dance in the Netherlands. Together with Vera Sofia Mota, she researches the work of video, installation and peformance artist Nan Hoover on behalf of

Though dated, Pina Bausch' Nelken still impresses #HF16

This way from row nine, it is like being knee-deep in carnations yourself. The heads of the audience in front of me merge silently into a forest of stems crowned with pink, through which dancers carefully step back and forth like leggy chickens.

The find is great: Nelken by Pina Bausch depicts paradise as a place where you have to be careful or things will go wrong. The carnations force the dancers to be careful. As a spectator, you go along with them, without all the underlying thoughts immediately coming through to you.

Ça Ira: political theatre with the allure of House of Cards #HF16

Over four hours long Ça ira (1) Fin de Louis, a performance by French director Joël Pommerat, to be seen this weekend at the Holland Festival. He reconstructed events in France between 1789 and 1794, better known as The French Revolution. What begins as a sometimes hard-to-follow, animated history lesson culminates in an impressive 'whodunnit', balancing between re-enactment and live television.

McBurney's The Encounter points visitor #HF16 to a different way of life

The Encounter, a large-scale solo performance by British multi-talent Simon McBurney, had its Dutch premiere at the Holland Festival on Thursday. The Encounter combines the dramatic power of a Hollywood blockbuster with the polished simplicity of 20th-century, stripped-down, edited - call it Brechtian - theatre.

Meg Stuart at Holland Festival: 'The sacred theatre is gone, but the expectations remain.'(HF16)

The show Sketches/Notebook (2013), which has its Dutch premiere at the Holland Festival on 6 June, is virtuosic, radical and extremely gentle. Choreographer Meg Stuart loves small scale, even when she occupies the biggest stages with partners like the Volksbühne (Berlin), Théâtre de la Ville (Paris) or the Münchner Kammerspiele. Details win out over big lines and often play a leading role in pieces that scrutinise human behaviour incredulously.

Sketches/Notebook stands out

Choreographer Jan Martens on Spring: 'I hold my heart every time, how it turns out'

Choreographer Jan Martens' new performance, The Common People, is on show in Utrecht this weekend during Spring. Dozens of volunteer performers have a blind date on the stage of the Stadsschouwburg's main auditorium. The audience can walk in and out between performances, drink a beer for the duration of one or more duets or browse on the back stage and... 

Festival Spring opens with disappointing play by Nicole Beutler

The honour of opening Utrecht's dance and performance festival SPRING fell this year to choreographer Nicole Beutler[hints]Nicole Beutler (Munich, 1969) is a choreographer and theatre maker. After studying Fine Arts at the Art Academy (Münster and Munich), she came to Amsterdam for the AHK's School for New Dance Development, where she graduated in 1997. Her work is at the interface of visual art, theatre and dance(source)[/hints]. The performance 6: The Square ve...

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Choreographer Erik Kaiel: 'No longer controlling everything from my laptop'

On 30 January, choreographer Erik Kaiel was presented with the prestigious Victor Award at IPAY, an international youth theatre fair in Canada, for his performance Tetris. "It's a kind of Buchmesse for youth theatre. If you get picked up there, you go around the world" says Kaiel. Kaiel (1973) has been working in the Netherlands since 2003 and has so far produced his work at... 

something raw logo

This was Something Raw 2016: less rebellious, more social

The raw in Something Raw can mean all sorts of things. The first thought might be something rough, as in the effect of sandpaper on skin or the havoc left by an elephant in the china shop. But rough is a derivative meaning. Raw first of all means unprocessed and fresh. There is a certain hope in the combination of rough and raw: artists who like... 

Contemporary trends in theatre and performance at Something Raw Festival 2016

Three mongols playing Mongols. Dschingis Khan, the opening performance of Something Raw, is provocative and consequential. With this performance by German theatre collective Monstertruck, or the also Berlin-based Man Power Mix by Sheena Mcgrandles and Zinzi Buchanan, the festival Something Raw lives up to its name. Something Raw is a festival in which Amsterdam theatres Frascati, De Brakke... 

Loïc Perela and Jan Martens: As a spectator, you are finally faced with a question again

As I wrote in my earlier article about the Nederlandse Dansdagen, choreographer Loïc Perela won this year's Nederlandse Dansdagen Maastricht Prize. It earned him 12,000 euros to put into his new project HASHTAG. The award has helped some previous winners on their way (Monique Duurvoort, Joost Vrouenraets, Erik Kaiel, Muhanad Rasheed, Joeri Dubbe,... 

Berlin plays Tagfish, poetic documentary theatre about emptiness, and more emptiness

From today, the documentary performance Tagfish tours the Netherlands. The Belgian theatre collective Berlin has been making finely crafted theatre installations since 2004, playing on the border of documentary and fiction, television and theatre, current affairs and eternity. Tagfish is ostensibly about the perils surrounding the redevelopment of a piece of wasteland near Essen. Die Zeche Zollverein already had a monumental... 

Dutch Dance Days show artistic challenge only on fringes of programme

The first weekend of October saw the Netherlands Dance Days (NDD) take place in Maastricht. As Ruben Brugman reported, important prizes for the dance world are awarded there. But the Dance Days seem mainly intended to promote Dutch dance, more than being a critical evaluation or artistic boost. At the Dance Days, no pithy speech on the State of Dance as... 

The great Jihad or tearful dying: "Mom, are you ready?"

Last night Nazmiye Oral, together with a large group of Turkish colleagues, played the performance Niet Meer Zonder Jou for the third and, for now, last time. It is an intimate and overwhelming theatre production by Adelheid Roosen, Female Economy & Zina, co-produced by and performed during the Holland Festival at Broedplaats De Vlugt, far west in Amsterdam-Slotermeer. Tearing die Nazmiye Oral calls... 

24 Hours of Urbo Kune @HollandFestival Tonight wake and sleep with Morton Feldman's For Philip Guston

'Urbo Kune' is esperanto for 'common city'. Klangforum Wien presents 24 hours of contemporary music and ideas today at the Muziekgebouw, focusing on the future of Europe and ideas about the ideal capital of the United States of Europe. At 12:12 today afternoon, the event started with an incomprehensible statement from the roof. Mayor Van der Laan, Arnon Grunberg, Francine Houben alternate... 

Manger by Boris Charmatz: spectators remain spectators

Manger, the new performance by Boris Charmatz and Musée de la Danse, gives spectators all the space they need. Where you line up to watch or just to listen, who or what you watch and for how long, is up to you. The Purification Hall on the Westergasfabriek site, majestically empty and echoing, creates a wondrous atmosphere in this for Charmatz'... 

The Book of Sand: unprecedented computational speed invisible behind singing woman in layers

Inspired by stories by Borges, whose widow was present at the launch of the online interactive musical piece at the Holland Festival, The Book of Sand still looks most like an elaborate, very chic music video. Is that a bad thing? "Neither the book nor sand possess a beginning or an end." Borges' story, to which the title refers, is about... 

Extremalism BNM ICKamsterdam © Alwin Poiana

Usury and Zen - Greco and Scholten bet high with premiere Extremalism @Holland Festival

Emio Greco and Pieter Scholten rehearse their new performance Extremalism in Marseille. The two dance companies under their direction, ICKamsterdam and Ballet National de Marseille, have merged for this occasion: 30 dancers on stage, six authors and designers in the auditorium, and the crew of technicians is also made up of Amsterdamers and Marseillais. They are working together on the biggest production that Greco and... 

Ritual dance around digital Calf: M.U.R.S. by Fura dels Baus at Holland Festival

Visiting M.U.R.S. without the app on your smartphone is a challenge. The performance by the infamous Barcelona-based theatre collective is a commentary on how people are unwittingly becoming part of a SMART society run by international corporations via all sorts of gadgets. Are you in or out? Is there actually anything to choose? M.U.R.S. in Barcelona According to Jürgen Müller, one of... 

Radical vulnerability and listening with eyes open - Vanrunxt stages Morton Feldman

Festival Rumor 80, an irregular regular in Utrecht at three different locations each time, will show choreographer Marc Vanrunxt's new work Real, So Real this Friday at Theater Kikker. Starting point is Three Voices, a 1982 composition by Morton Feldman. A wonderful Flemish collaboration by Kunst/Werk and ChampdAction. Dancer Marie De Corte and singer Els Mondelaers shine in Real, So Real. The... 

The Great War Machine and Swamp Club: contemporary activist theatre

In early March, The Great War Machine, director Joachim Robbrecht's new play, premiered at Theater Frascati. A week earlier, the Rotterdam Schouwburg showed Swamp Club, by French director Philippe Quesne. Both performances address the current political climate. Whereas Swamp Club is explicitly silent about the world it calls into question, The Great War Machine is instead a rhetorical spectacle, constructed from quotes from TEDtalks. Both performances show mech...

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PopArts Festival: Vest pocket intimacy, poetry and bitter irony

No foreign performances at the sixth PopArts festival. Are the budget cuts making themselves felt? The festival programmes internationally every other year, and this year it is staying close to home. With Nicola Unger, there were the other Dutch 'usual suspects' like Duda Paiva and guest artists from the Ulrique Quade Company. But the De Krakeling and the Ostadetheater also featured young makers... 

Super-sympathetic performance by Phillipe Quesne: Next Day

The children introduce themselves one by one. They build sets, make music and play scenes. A catastrophe is imminent. They speculate loosely: will it be a nuclear or biological attack, a plane or a missile, a tsunami or a bombing? In Next Day, shown last weekend at Theatre Frascati, they rehearse an attack by 'aliens'. That... 

Anne Teresa De Keersmaeker and Brian Eno during rehearsals for Golden Hours, 12 December 2014, photo © Anne Van Aerschot

Rosas away from Brussels? The political game has begun.

Choreographer Anne Teresa De Keersmaeker sends out an alarming press release. Following the decision by the Brussels theatre De Munt/La Monnaie to stop programming dance, she wonders whether Rosas is still welcome in Brussels. "The news that the management of La Monnaie is scrapping all dance fills me with disbelief. Historically, ... 

Questions, stillness and resistance: choreographer Nicole Beutler's new Echo and earlier work on tour in the Netherlands

5:Echo, choreographer Nicole Beutler's most recent production, is a curious show. All focus is on two famous pioneers of Dutch dance in the 60s and 70s: Ellen Edinoff and Bianca van Dillen. Yet Echo mainly shows how impossible (and perhaps undesirable) it is to want to revive past glories. Dancer Kelly... 

La Bronkhorst and very young Van Noten dance Ende der Zukunft: bold initiative with ditto outcome

Dancer and choreographer Truus Bronkhorst initiated a collaboration between Antwerp-based Kunst/Werk and Tilburg-based T.R.A.S.H. The double programme and duet combines choreographies by Marc Vanrunxt and Kristel van Issum. Ende der Zukunft has become a wondrous staging of gaping gaps: of time of life, of artistic experience, but above all of artistic conception. Intergenerationality (oui, c'est un mot) concerns relationships that... 

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