I have seen a lot of genre mash-ups in my lifetime. But I think a danced documentary about a musician was a first for me. The focus of choreographer Jan Martens in his new dance solo Elisabeth Gets Her Way is the famous harpsichordist Elisabeth Chojnacka. The Polish left for Paris at the age of 23. There she set her sights on...
Last week, Theatre Festival Boulevard announced the first performances as well as the theme 'Hack the horizon'. Today at noon, online ticket sales start for a large part of the programming. The programme is still under development and will be announced through online channels in the coming weeks. Fans can buy tickets for Jan Martens/GRIP, Nastaran Razawi Khorasani,...
Theatre Festival Boulevard 's-Hertogenbosch will take place from Thursday 5 to Sunday 22 August 2021. The 37th festival edition features over 120 different performances, concerts, performances and installations in theatres, at unique locations and in the Zuiderpark. We also move into the night with Fomo Fatale, club nights with steaming sounds. The Zuiderpark serves as a new, spacious festival heart, including the...
The trans-drama Girl, Belgium's Oscar entry, is on a veritable victory lap. Filmmaker Lukas Dhont on the struggles of trans girl Lara, who is mostly an ordinary adolescent. On his personal struggle with stereotypes, and on his love of dance. "A place on the Oscar shortlist would already be very nice," he says.
The Association of Theatre and Concert Hall Directors and Festival de Nederlandse Dansdagen announce the annual nominations for the VSCD Dance Awards (the Swans). Nominated for the Swan 'most impressive dance production' are: Rule of Three, choreography: Jan Martens, by GRIP The hidden floor, choreography: Franck Chartier, by Nederlands Dans Theater We Are Nowhere Else But Here, choreography: Stephen Shropshire, by Stephen Shropshire Foundation,...
Rule of Three is a piece for three dancers: Steven Michel, Julien Josse and Courtney May Robertson. NAH makes the music live, the lighting is by Jan Fedinger and there are some lyrics by Lydia Davis. Rule of Three was released last month at De Singel in Antwerp, and its Dutch premiere is today at the Stadsschouwburg in Amsterdam....
What happens when you take someone's head off? Little, you will say, since the accompanying body dies. But then you are wrong. Because at the first GRIP evening at Utrecht's Theater Kikker, Steven Michel showed that the rest of the body then just takes over. Fascinating to notice how you go from a bare back to...
The first bare female breast I consciously observed in my life was the happily swishing boob of the girl in the Fa advertisement. It must have been sometime deep in the 1970s. The same time the Pacifisties Socialistiese Partij also did something similar with a cow in the background. Now, a good forty years later, the...
While Jan Martens' latest work, The Common People (2016), was at Amsterdam's Stadschouwburg last weekend, Utrecht's Theater Kikker is showing two older hits this week: Sweat Baby Sweat (2011) and The dog days are over (2014). Sweat and Dogdays are blockbusters and have already toured the world. At Kikker, they can now be seen as part of a...
Het Veem is a small but important theatre and unofficial production house overlooking the Houthavens in Amsterdam. The house has long been home to internationally operating contemporary performing arts. A place where the artist and his or her experimental work are still central. Since Anne Breure became director in 2014, it bears the addition House of Performance. With...
It is a new and important trend within the programming of international dance and performance festivals in the Netherlands: not only showing relevant work by international choreographers, but also paying explicit attention to dance makers connected to Dutch dance practice. Spring Utrecht opened in May with Nicole Beutler and closed with Jan Martens, while during Julidans Pere Faura was allowed to kick off with sin baile no hay paraíso (no dance, no paradise).
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.
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...
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,...
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...
It's dance, but not as we know it. That's the best way to describe the current edition of Korzo and Nederlands Dans Theater's dance festival Spring Awakening. With two wonderful standouts, by choreographers Tom Weinberger and Kenzo Kusuda.
Putting a man and a boy on stage together - upper body bared; in today's times, that means asking for trouble. Our gaze, saturated by paedophilia scandals, leaves little in the way of intimacy between what could also be father and son, brothers or friends. But 'Victor' by choreographer Jan Martens and director Peter Seynaeve is no good, politically correct repartee. In their search for a loving look at the relationship between husband and child, they also consistently push the boundaries of what is permissible.
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