With seeming casualness, If You Could See Me Now sets a chilled-out club dance into one dizzying wave-like motion. The three performers see no limits to what they take out of their bodies, propelled by the rhythm of the beat.

 

Progressing continuously, the vibes accumulate and electrify, drawing the audience deeper and deeper into the performance. At maximal exertion and sweaty physicality, the incessant movement flow audaciously redefines itself as luminous and versatile impressions. The performance space dilates and shifts. Time gets chopped up then reshapes.

 

From ecstasy to turmoil, from build-up to its dismantling, If You Could See Me Now challenges expectations and appeals for another look, to look again, and it transforms an exact spontaneity into a hypnotic sensory experience.

Arno Schuitemaker was born in 1976 in The Netherlands and is based in Amsterdam. His creations include EXIT (2009), TIDE (2011), The Fifteen Project | DUET (2012), I is an Other (2014), Together_till the end (2015) and the trilogy for three performers While We Strive (2015), I will wait for you (2016) and If You Could See Me Now (2017). His most recent and largest scale work to date, The Way You Sound Tonight, premiered at the Holland Festival in June 2018.

 

Compelling, mesmeric, intense — he creates works one has to experience. Using ongoing, perpetual movement, his perception-based performances become immersive and transformative encounters that speak about life and the time we live in. In collaboration with various extraordinary performers, composers and lighting designers each work shapes its own identity and perspective. Often characterized as interdisciplinary, they transcend dance and push its boundaries.

 

The performances have been presented at renowned theatres and contemporary performing arts festivals in over 15 countries across Europe and beyond. In Theatermaker magazine, both The Way You Sound Tonight and I will wait for you were selected in the critics’ lists featuring among the best performances of the season. Tanz magazine selected him as one of the most promising choreographers in their yearbook 2017 and Dance Europe characterized him as “one of the leading dance makers in The Netherlands.” He is a winner of the Dioraphte Encouragement Award and of the 2nd Jury Prize at [re]connaissance 2016.

 

Concept & Creation: Arno Schuitemaker
Performers: Stein Fluijt, Ivan Ugrin, Noemie Wagner
Dramaturgy: Guy Cools
Music composition: Wim Selles
Lighting design: Vinny Jones
Costumes: Inge de Lange
Technique: Natasja Giebels

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If You Could See Me Now is a production by SHARP/ArnoSchuitemaker in co-production with HELLERAU – Europäisches Zentrum der Künste (Dresden, Germany), O Espaço Do Tempo - Associação Cultura (Montemor-o-Novo, Portugal), CND Centre National de la Danse (Pantin, France), KLAP Maison pour la Danse (Marseille, France) and Tafelhalle im KunstKulturQuartier (Nuremberg, Germany). The performance is created with contributions by Performing Arts Fund NL, Fonds 21, VSBfonds and Prins Bernhard Cultuurfonds.

Since its birth in the Mississippi’s Delta, at the same period with modern dance, jazz music has always been a space of creativity and mixing. Since then, these two arts rarely come across despite having a lot in common, from improvisation to freedom that constitute their essence.

 

Brahim Bouchelaghem created Tracks for dansewindows (dance for everyone and everywhere) and approaches jazz music by creating this piece. With Brahim Bouchelaghem, hip hop is confronted with jazz music and contemporary dance in the thick of the Roaring Twenties. The piece is a breath-taking mix, which brings together a former jazzman, an ambitious singer, a lost musician and a brigand. With their own dreams, hope and faith, they are going to try to tame each other… Funny, unpredictable or serious attempts create an energetic rhythm that will enchant the audience.

Choreography: Brahim Bouchelaghem
Assistant choreographer: Vincent Delétang
Performers: Fouad Atzouza, Chinatsu Kosakatani, Alhouseyni N’Diaye, Brahim Bouchelaghem
Music: On the sunny side of the street (Louis Armstrong) / Yesterday (Billie Holiday) / Erroll’s bounce (Erroll Garner) / My funny Valentine (Gerry Mulligan) / Imagine (Vijay Iyer) / Take five (Dave Brubeck), Nicolas De Zorzi, Put A Lid On It (Caspar Remix – Squirrel Nut Zippers), Booty Swing et Rough Cuts (Parov Stelar)
Music mix and advice: Nicolas De Zorzi
Costumes: Emmanuelle Geoffroy

Production: Compagnie Zahrbat, Centre Chorégraphique National Roubaix Nord-Pas de Calais

With the support of:  Communauté d’Agglomération Artoiscomm., Conseil Général du Pas-de-Calais

Zahrbat company is supported by: City of Roubaix, Region Hauts de France, DRAC Hauts de France.

Creation 2012 - Recreation 2014

Alone and with a sense of defeat and loss of belief, six men are seeking for their new faith. In a timeless and lonely landscape, in a place where memory becomes a nightmare and the present a deep painful wound, they struggle violently, but at the same time quietly, to rediscover their body, their truth... the light.

 

The bodies fall, hug, tremble, stay still, breathe, shake, explode, sway, fight, dance, crave, hope, promise and sacrifice. Moments and encounters that come and go and others that are lost forever into the dark, leaving them alone again, confronted with their passions, their desires and their fears.  Always confronted with one single enemy, themselves.

 

A dark, pagan and poetic journey for the search of identity, the need for tenderness, the sense of belonging somewhere, belonging to someone, co-existing. A melancholic journey, hidden behind shadows and darkness but filled with desires, cravings, rage, fragments of memory and sudden shadows of light. A look into the hidden desires and untold stories of the tender male soul.

 

 

DESIRES

Like beautiful bodies of the dead, who had not grown old

and they shut them with tears, in a magnificent mausoleum,

with roses at the head and jasmine at the feet --

that is how desires look that have passed

without fulfillment; without one of them having achieved

a night of sensual delight, or a moonlit morn.

C. P. Cavafy

 

Concept - Choreography: Fotis Nikolaou
Music: Dimitris Spyrou
Set design:  Elena Kotasvili, Alexis Vayianos
Costumes:  Constantina Andreou
Lighting design:  Panagiotis Manousis
Promo videos:  Nikos Nikolopoulos

 
Dancers - Performers:Tasos Karachanidis, Panos Malactos, Fotis Nikolaou, Giannis Economides, Alexandros Stavropoulos, Dimitris Spyrou

Commissioned by the Cultural Services of the Ministry of Education & Culture of Cyprus, within the framework of the Terpsichore 2018 programme for the research and development of contemporary dance.

Tereza Hradilková found inspiration for the physically demanding challenge of Swish while working on the dance film Beating. Fascinated by the ease with which the boxers jump over the rope, their rhythm and the interplay of their hands and feet, she started exploring her own boundaries. The jump rope is more than just a game for children; it also symbolises ambition, desire for performance, self-improvement. “Do you skip over yourself, go beyond your borders, or are you trapped in a repeating circle from which you cannot escape?” asks the performer, whose work won the “Dance Piece of the Year” award at Czech Dance Platform 2017.

 

“I was fascinated by how boxers jump rope. I enjoyed the lightness of their movements, their changing rhythm, the movement of their arms and legs, which was a kind of dance all of its own. I was enchanted by the different kinds of jumps and skips; and what really got me was the sound of the jump rope that accompanied their movements,” Hradilková explains.

Tereza Hradilková started dancing as a child in the Valášek folkdance group and then decided to study at the Duncan Centre Conservatory and, later on, at the Theaterschool Amsterdam. She embarked for two months to New York in search of experiences and then started dancing for various choreographers in the Czech Republic and abroad. Her first work, the duet Variable with Einat Ganz, was immediately accepted for Aerowaves Spring Forward. To engage in further experimentation, she co-founded the Truhlárna space, where she also created her most successful solo so far, Swish, awarded by the international jury at the Czech Dance Platform and was invited to many prestigious international festivals, such as Rencontres Chorégraphiques Internationales de Seine-Saint-Denis, Julidans NEXT, TANEC PRAHA festival or Tanzmesse 2018.

 

Filip Míšek is a musician and composer. He is a founding member of the band Khoiba with which he recorded, participated as an author on two albums, two EP and concerted in the Czech Republic and Europe. Nowadays, he creates under the pseudonym Dikolson. His debut album, The Bear is Sleeping Now was released in 2011 by the Minority Records and later, in 2013, in Japan by Friend of Mine Records. He composes music for films (Restart, Day of the Dragon, Pleasure, Lichožrouti), as well as for theatre and dance performances (Termination condition, Anticodes, Boys & Girls, Guide, Swish).

 

Concept, choreography, interpretation: Tereza Hradilková
Dramaturgy and directional cooperation: Biljana Golubović
Live music: Filip Míšek
Costumes: Marjetka Kürner Kalous
Lighting design: Pavel Kotlík
Sound engineer: Michal Sýkora
Consultation: Lukáš Jiřička
Production Manager: Veronika Hladká
Producer: Jakub Hradilek

Co-production: Tanec Praha / PONEC - dance venue, Studio Truhlárna

Thanks to: Daniel Wunsch, Petr Horký, Jakub Hradilek, Jan Horák, Palo Kršiak, Festival Bazaar, Dan Gregor
Supported by: Ministry of Culture of the Czech Republic, Život umělce Foundation

This virtuoso dance work, inaudible, won a Swiss Dance Award 2017 in the Current Works Competition. In his work, Swiss-Belgian choreographer Thomas Hauert touches the common ground between dance and music. Thomas Hauert takes the notion of ‘interpretation’ as a starting point for this group performance for six dancers (2016). The choreographer uses existing pieces of music that he closely relates to choreographic scores, structured improvisations linked to the music. Here, the dancers confront themselves with George Gershwin’s Concerto in F and Ludus de Morte Regis by contemporary composer Mauro Lanza. Always looking for new approaches to dance, Hauert reverses the principle of ‘mickeymousing’ and lets the movements follow the music directly. The result is a condensed and detailed choreography, a fascinating series of movements that make tangible the musical experience.

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ZOO/Thomas Hauert is a Brussels based contemporary dance company. In 1998, the Swiss dancer Thomas Hauert from the canton of Solothurn decided to form his own company and has since then created more than twenty pieces, e.g. Cows in Space, Verosimile, Modify, Walking Oscar, Accords, MONO, (sweet) (bitter), inaudible, which have toured all over the world. His last creation How to proceed celebrates the 20th anniversary of the company and was premiered last February in Théâtre de Liège. Outside the context of ZOO, he has created pieces for e.g. P.A.R.T.S., the Zurich Ballet, Toronto Dance Theatre, Candoco Dance Company and CCN Ballet de Lorraine. Thomas Hauert is the artistic director of the bachelor degree in contemporary dance at the school La Manufacture in Lausanne since 2014. Thomas Hauert is “artiste en compagnonnage” at Théâtre de Liège (2018-2022) and artist in residency at Théâtre Les Tanneurs. (145 words)

 

 

Performers: Fabian Barba, Thomas Hauert, Sarah Ludi, Albert Quesada, Gabriel Schenker, Mat Voorter

Technical Manager: Bert Van Dijck

Music: George Gerswhin Piano Concerto in F, Mauro Lanza Ludus de Morte Regis

Costumes: Chevalier-Masson

Light: Bert Van Dijck

Sound: Bart Celis

Musical collage: Thomas Hauert

Informatical musical collaboration: Ircam - Martin Antiphon

 

Production: ZOO/Thomas Hauert

Coproduction: Kunstenfestivaldesarts (BE) / Charleroi Danse (BE) / PACT Zollverein (DE) / La Bâtie – Geneva Festival (CH) / Centre chorégraphique national de Rillieux-la-Pape – direction Yuval Pick (FR) / Théâtre Sévelin 36 (CH) / CDC Atelier de Paris-Carolyn Carlson (FR) / Ircam – Centre Pompidou (FR)

 

With the support of: Fédération Wallonie-Bruxelles – Service de la danse / Pro Helvetia – Swiss Arts Foundation / Loterie Nationale / Vlaamse Gemeenschapscommissie / Ein Kulturengagement des Lotterie-Fonds des Kantons Solothurn / Wallonie-Bruxelles International

 

Studio: Charleroi danse, La Raffinerie (BE) / Grand Studio (BE) / Centre chorégraphique national de Rillieux-la-Pape – direction Yuval Pick (FR)

 

Thanks: Les Cris de Paris (direction Geoffroy Jourdain), who commissioned and performed Ludus de Morte Regis from Mauro Lanza in festival ManiFeste (Ircam – Centre Pompidou), 2013

A dance performance on the borders of theatre and music; a poetic swarming speech unwinding the thread of the female narrative on stage.

 

Speechless is inspired by public speeches, manifestos, articles and texts, bringing to the fore the fragmentary and unofficial voice of women as it has travelled through the centuries before reaching the present day.

 

Female emancipation and independence, gender equality issues are constantly recurring and seem more and more relevant to our days. How does the female speech travelling through time sound today? How do we connect with the female narrative?

 

Sofia Mavragani, persevering on a socio-political problematic, with her subtle humorous approach and a disposition for ludic exploration, returns to her collaboration with Martha Mavroidi, known for the fusion of traditional and contemporary music. In Speechless, Martha Mavroidi creates vocal compositions for a chamber orchestra where the performers themselves are the musical instruments. Chara Kotsali, Giorgos Kotsifakis and Sania Stribakou alternate in a challenging performance on the fundament of dance that sometimes draws towards theatre and sometimes towards music. With a distinctive lyricism and among pop raptures, Speechless becomes the channel through which we follow the voice of women, as it has travelled through the years.
 

Sofia Mavragani is an exceptional case in the field of dance as she has not followed the regular dance curriculum. She graduated from the “Athens School of Economics” (Bachelor in Business Administration (2000)) and from the EDDC-European Dance Development Centre, ArtEZ-University of Arts, Arnhem, NL, (Bachelor in Dance Making), 2005.

Her works, known for their socio-political focus, have been presented at several festivals and venues in Greece and abroad (Aerowaves19, Documenta 14,  Athens & Epidaurus Festival, Megaron: the Athens Concert Hall, Kalamata International Dance Festival, Dimitria Festival (Thessaloniki), MIRfestival (Athens), State Theatre of Northern Greece, Park your ID festival (Maastricht), Dance Days International Festival (Chania), Apollon Theatre (Syros), Τeatro Belisario (Buenos Aires), Teatro Labrade (Madrid), Cacoyiannis Foundation (Athens), etc.).

Being fondly interested in the field of education and exchange, she develops experimental workshops on improvisation and composition, such as the research project playforPLACE which has travelled to 17 cities, in Europe, Latin America, Africa and Oceania, which is a workshop of creative collaboration between young choreographers and musicians-composers annually held at Megaron – The Athens Concert Hall. In parallel, she teaches dance improvisation and choreography at dance schools and dance centres in Greece and abroad. She is a founding member of Fingersix, an international artistic network, and of the non-profit organization Fingersix/Athens.

Aerowaves Twenty19 Artist

Concept, Choreography: Sofia Mavragani

Performers, Co-makers: Hara Kotsali, Giorgos Kotsifakis, Sania Stribakou

Music composition: Martha Mavroidi

Set and costumes: Paul Thanopoulos  

Lighting: Vasilis Klotsotiras

Dramaturgy advisor: Ioanna Valsamidou

Research: Ioanna Valsamidou, Varvara Mitsi, Sofia Mavragani

Publicity, Communication: Yorgos Katsonis

Production: FINGERSIX

 

With the financial support of the Ministry of Culture & Sports of the Hellenic Republic.

 

With the support of Duncan Dance Research Centre & Theatro Technis Karolos Koun

Silent Lines draws upon Maliphant’s studies and explorations in dance and anatomy using a unique mix of movement, projection and lighting. Silent Lines celebrates the range of poetic possibilities in movement, drawing on methodologies from internal and external movement disciplines, psyche and soma, and explores the visually rich and resonant connections between the microcosm and the macrocosm.

 

Russell Maliphant Dance Company was established in 1996 as the framework to initiate productions and to work with its own ensemble of dancers. Since that time, the company has received two Olivier awards, three South Bank Show awards and three Critics’ Circle National Dance awards for best modern choreography and one for best independent company, amongst many other national and international awards and nominations.

 

Russell Maliphant's work is characterised by a unique approach to flow and energy and an on-going exploration of the relationship between movement, light and music. For 20 years, Maliphant has worked closely with pioneering lighting designer Michael Hulls to explore and realise these ideas. Russell Maliphant and Michael Hulls are both Associate Artists of Sadler’s Wells.

 

In April 2018, the Russell Maliphant Dance Company became one of the Arts Council England’s National Portfolio Organisations. This brings an exciting new chapter to the company’s history, becoming Company in Residence at DanceEast, Ipswich.

 

Director, Choreographer: Russell Maliphant

Collaborative Assistant: Dana Fouras

Executive Producer: Martin Collins

Video projections designer: Panagiotis Tomaras

Costume Design: Stevie Stewart

Photographs By: Julian Broad

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Silent Lines is co-produced by Sadler’s Wells and supported by Arts Council England, Cockayne, The London Community Foundation, Ipswich Council, Lancaster Arts and DanceEast.

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Private supporters: Jules & Cheryl Burns, Denis Shafranik, Jake & Sandi Ulrich.

PARTY is an interactive performance where the public and the performers dance together. PARTY takes place in a special room, with huge spills of colour installed on the floor and the ceiling, with a live DJ and adults dressed with masks and suits. In PARTY the public is not the audience, they're the party! No seating, no chilling, just sweat.

 

PARTY is our personal invitation to let loose, to be wild and to shake it up. Together we will build a space where we can dance and go crazy. We'll take everybody to the max, we'll dance till we drop, and then we will enter a new world together. A world where everyone can dance the way they really want. With PARTY we cross the borders of language and culture, everybody is invited to come and every child is part of the party. By guiding the participants, the performers will encourage every child to take decisions and to express themselves through the unspoken language of dance. PARTY is an unconventional ritual for our contemporary wish for communality.

 

From and with: Alfredo Zinola, Maxwell McCarthy, Julia B. Laperrière

Music: DJ Sarah Adorable

Scenography: Vladimir Miller

Light: Marek Lamprecht

Technical Director: Paul Friedrich

Production: Micaela Kühn Jara

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PARTY is a dance performance initiated by Alfredo Zinola and Maxwell McCarthy, created in collaboration with Julia B. Laperrière and the DJ Sarah Adorable. The work of Alfredo Zinola Productions is based on collaborations with different artists. With McCarthy, they previously created Nero, a dance performance about darkness for children and Naked Body and Reflections, a work about light reflections for two naked bodies. The organisation of the company is carried by the producer Micaela Kühn Jara.

The workshop will focus on practical ways to explore fascia and tensegrity in movement and relationship to gravity, breath and quality of movement. Exercises will look at positional strategies in different movement regimes which may be applied to techniques that people are already aware of, or which may affect qualities such as shape, flow and dynamics.

 

This will be an exploration of movement that draws on Maliphant’s training in bodywork (particularly as a practitioner of the Rolfing method of Structural Integration), and various movement practices such as classical ballet, yoga and martial arts as explored in his own choreographic work.