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 www.li-ma.nl.
The Dutch Dance Days are not yet a mad hive of dance, but for Maastricht they are increasingly a fun tourist attraction. Day trippers and weekend tourists come from all over the country to combine the delights of the South with those of the art of dance. For that matter, all of Maastricht seems to float on VVV leaflets. In this sphere of promotion, is there still room for...
Regisseur, actrice en theatervormgeefster Sarah Moeremans houdt een jaar lang kantoor in de hal van de Rotterdamse Schouwburg. Onder de titel “My First Camp” heeft zij haar intrek genomen in het voorhuis, om meer in contact te staan met de verschillende gebruikers en bezoekers in het gebouw en de wereld daar omheen. Is de publieke ruimte een wildernis geworden, die…
Holland Festival, Julidans, IT's, Over 't IJ. End-of-season theatre is always strewn across Amsterdam. Between April and September, international performance offerings migrate from Utrecht (Springdance and Festival aan de Werf) via Amsterdam to Rotterdam (Internationale Keuze). If you want to experience something of contemporary, international dance, Springdance, HF and Julidans are the places to be. [For...
Composer Wolfgang Rihm and choreographer Sasha Waltz, two familiar faces at the Holland Festival and big names in European performing arts, released a performance together in 2008 that could not be missing from a Holland festival programme this year. The festival not only has a focus on some great contemporary composers (Xenakis, Rihm), but is also making considerable headway on the...
This year, the Holland Festival brings the extraordinary French-Algerian co-production Nya, which combines achievements of modern and classical dance with hip-hop and, in addition, Ravel's Bolero sounds alongside Houria Aïchi's Algerian evergreens.
Nothing is more uplifting than singing a canon together. French choreographer Boris Charmatz's Frère Jacques, seen as the bouncer on the final night of Springdance, is a special case, though. 'Levée des conflits' has no recurring refrain, but has no fewer than 25 stanzas, which are danced by each of the 24 dancers. The insane polyphony that rises from this monster canon of dancing bodies slowly rattles the viewer apart over 1 hour and 40 minutes, at least if they keep following the multitude of movements and manipulations. 'Levée des conflits' presents the audience with a dilemma: does it surrender to the inimitability of interlocking phases and versions of a composition that it cannot possibly oversee? Or does it frantically search for structure, something to hold on to, something to orientate itself in this hall of mirrors of repetition and multiplication?
“I don’t care about the body, I make music,” zei Savion Glover gisteravond, geleund tegen de deurpost van zijn kleedkamer na afloop van de voorstelling Bare Soundz. Het danspubliek in de Utrechtse Stadsschouwburg had moeite zich de mores van een jazzpubliek eigen te maken. Naarmate het concert vorderde, produceerde het steeds vaker aanmoedigende yels wanneer de drie tapdansers los gingen…
From left to right, single people move across the stage, unceasingly and in droves sometimes, for an hour. It is addictive, this locomotion in Sideways Rain, the endless forward motion in one and the same direction of what appear to be ever-new people. Through subtle costume changes, a dark lighting scheme and Murcof's dramatic drones, it is very difficult at first to tell the 15 dancers apart. They become a fascinating stream of passers-by, on their way from somewhere to nowhere. Unlike the view along the public road, the dancers do not carry the usual bags, umbrellas and hats and, moreover, they move mainly on four legs.
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