Both the American and the French choreographer began their careers in the s and are considered two of the most influential artists of their generation. In the work of these year-olds, dance history resonates — memories intertwine with imagination. In steal you for a momentMeg Stuart continues her collaboration with Francisco Camacho. The Portuguese performer danced in her first piece, and in she created the solo BLESSED for him, a work that dealt with the climate crisis. According to the program notes, the starting point for this duet was the Nuragic ruins in Sardinia — mysterious remnants of a vanished culture. However, none of this is visible on stage. Instead, objects made of plywood are scattered across the Radialsystem stage. What unfolds is a continual process of reconfiguration: the artifacts are shifted and rearranged. His body takes on the appearance of a fragile construct, and soon enough, the precarious little tower collapses. Amidst scenes of quiet humor, there are also tender moments. Despite the theme of impermanence, the dancers find solace in their friendship. Stuart and Camacho work together seamlessly. His angular movements give him the appearance of a comic book character at times, while her silver mane and melancholy air evoke the image of a sorrowful clown. When Camacho offers her a miniature pyramid as though it were a precious gift, she gazes at him, bewildered. The two play with their little forms like children in a sandbox, waving papyrus reeds, communicating in a secret sign language, and navigating through emotional landscapes. They are outstanding performers, but by the end, the duet loses its focus and veers into overly personal territory. The choreographers and dancers Meg Stuart and Francisco Camacho lose themselves performatively in their friendship in steal you for a moment. Inspiration is fleeting - it can be found everywhere, but its traces are lost. Choreographers and dancers Meg Stuart and Francisco Camacho sought inspiration for their creation steal you for a moment in Sardinia. The stone towers of the Bronze Age Nuragic culture reign there, mighty statues guarding gigantic tombs, with design elements such as spiral shapes. A pendulum hangs from the ceiling, sand is piled up and grasses are stuck to the back wall like a scrapbook. In this scenario, Stuart and Camacho — who met 35 years ago in New York, have been friends ever since and have worked together time and again — unearth emotional artifacts as if they were archaeological treasures. What is the artistic result of a friendship? How can we effectively present our private relationship on stage for others? There are no clear answers, steal you for a moment remains closed to us. At first, the US-American, who has lived in Berlin for 20 years, and the Portuguese, who runs a production house in Lisbon, perform without touching — sitting stiffly next to each other, toppling over like mannequins. Later, there is a comic duet of gestures and vocalizations, and Meg Stuart, who is a great comedian, scolds Camacho, who kindly hands her a pyramid as a Kleine Zaal Huren Rotterdam Verjaardag. She excels at unexpected, surprising movements — as she carries in her body the result of decades of improvisation and exchange with other artists. Her movements are soft, not quite as elastic as they used to be, but lightning fast. When Camacho brings her a pile of sand, she looks stern, then suddenly turns one of the hollow forms around, transforming it from a sculpture to a sand mold. He is always on stage himself, building landscapes out of wooden figurines or projecting a laser grid across the action, which creates a maze of green lines that slowly tilts to one side. At some point, Meg Stuart briefly makes contact with the audience, not all of whom stay until the end. You can tell from the laughter how grateful everyone Kleine Zaal Huren Rotterdam Verjaardag for this moment that breaks through the devout contemplation of art. In the end, when Stuart and Camacho lie on their backs and send an intimate dialogue into the room - I was in love with you when we first met, she says; this is how friendship Kleine Zaal Huren Rotterdam Verjaardag begin, he replies - the audience is once again left out. They can compare their own ideas of intimacy and mutual success with a performance in which two exceptional artists have remained completely wrapped up in themselves and away from us. This might be because so little is known about the prehistoric culture of the Mediterranean—today, we mostly know about the Nuragic tower structures built around BC on Sardinia, though their exact function remains a mystery. In this way, the reference makes sense: it is only through architectural remnants that we can glean anything about that ancient culture. Vanishing lines are drawn on the floor and walls, a pendulum swings from the ceiling, and mounds of sand give rise to small pyramids shaped using wooden templates. The choreographers offer no explanations, instead maintaining a deliberate restraint.
From the auditorium a man's loud voice, relieved and indignant, penetrates the silence before the roar of applause: "Well, finally! A successful performance. This called for extraordinary performers. Europe suffers from drought. Sighting and being sighted.
Duurzame vakantiehuizen in Sauerland
Hotels worden verbouwd en uitgebreid, de volgende. Verjaardag, Verjaardagsfeest, Buurtfeest, Straatfeest, Communie, Speakers huren Rotterdam, NL. 40,00 € /Tag Extratag: 30,00 €. Villa vakantie in Bruinisse, Vakantiehuis voor 5 personen ✓ direct van privé ✓ geen servicekosten. Het. Het begon er mee dat de kijkers in een veel te kleine ruimte opeengepakt werden, terwijl een stem zijn afschuw uitsprak over het zweet en de geuren. top: 40px. Versand möglich. Een van de mooiste kanten van ons familiebedrijf is dat we nooit stilstaan.What the hell should you think of that? Also on stage are Doug Weiss with his double bass, and the pianist Mariana Carvalho on the piano, and both use their instruments in manifold ways. De samenwerking tussen choreograaf, performers, dramaturg en andere partijen als kostuum- en lichtontwerpers is inderdaad niet synoniem met een vlak speelveld. The choreographer leads the audience at the Volkstheater on a journey to heaven and hell through a wide spectrum of emotions. Toch deze bedenking: van nagenoeg geen enkel project in het boek krijg je enige referentie. Zonder veel omhaal poneert Peeters dat podiumkunstenaars niet per definitie nood hebben aan een vaste compagnon de route. Ik heb tot nu toe altijd tijdelijkheid aanvaard als exchange voor autonomie. Nets hang from the ceiling, filled with objects made of foam. Wouters: DIY dansvloeren bouwen, is leuk. These were very, very strong impressions. Sometimes suddenly, sometimes subtly. Ontdek uw ideale vakantievilla in het prachtige Sauerland, Duitsland: kies uit twee ruime opties, Haus am Wilde Aar voor maximaal 16 personen en Alte Schule Deifeld voor maximaal 12, 24 of 36 personen. Die ondertussen omstreden uitdrukking krijgt vanuit de dynamiek van het maken invulling: vanaf een bepaald moment begint het nog komende werk als het ware terug te praten en initiatief te nemen. De meeste mensen die bij Decoratelier werken maakten nog nooit een creatie mee. Neem contact met ons op voor arrangementen op maat, zodat uw viering precies aansluit bij uw wensen. Danger lurks in the shallows. Scenografie is voor Wouters vooral een krachtige katalysator van denkprocessen. She landed in Europe more that 30 years ago in order to explore new possibilities of improvisation for the movement of bodies in each of her productions, making her world-famous. They are both nearly 60 years old, and they don't have the typical demeanor of dancers, that of complete control over their bodies, or virtuosity in one form or another. We vierden de 70e verjaardag van mijn schoonmoeder bij Heleen en het huis is echt ideaal voor een groot gezin. De subpraktijken die Peeters bovenspit zijn vaak verre van revolutionair. Kan fictie een volgende stap zijn naar realiteit? One of the dancers wears a motorcycle helmet and a leotard; he addresses the audience by making signs with his hands, straight as a rod. Ik zou die denkwijze ooit wel eens willen uittesten in een groot huis. She lets us witness how the performers caress and carefully explore the water, but also how violence can be evoked by the impact of bodies on it. Are the creatures that people this bizarre universe acrobats with a fear of heights?
