Exploring Dance Repertoire

Jrme Bel
> Pina Bausch Jos Limn
Boris Charmatz
> Merce Cunningham
Fabin Barba
> Mary Wigman
Nicole Beutler
> Mikhail Fokin
Rachel Krische
> Deborah Hay
United Sorry
> Martha Graham Trisha Brown
Xavier Le Roy
> Igor Stravinsky
deufert+plischke
> deufert+plischke
Vincent Dunoyer
> Vincent Dunoyer
Jonathan Burrows & Chrysa Parkinson

a Kaaitheater festival
in association with the Beursschouwburg

2 - 13 | 02 | 2010
Kaaitheater + Kaaistudios + Beursschouwburg

Contents

I N T R O D U C TI O N

A G E N D A R E : M O VE

P R O G R A M M E RE : M O VE BY G E N RE

P R A C T I C A L I NF O

P R O G R A M M E RE : M O VE

8-21

Jrme Bel - Lutz Frster

deufert+plischke - ANARCHIV #2: second hand

Fabin Barba / Busy Rocks - A Mary Wigman Dance Evening

10

Ruedi Gerber - Breath Made Visible

12

Xavier Le Roy - Le Sacre du Printemps

13

Thierry De Mey - Prlude la Mer

14

United Sorry (Robert Steijn / Frans Poelstra / Martin Siewert) - feminine delight

15

Vincent Dunoyer Encore

16

Deborah Hay/Rachel Krische - The Swimmer

17

Nicole Beutler - Les Sylphides

17

Boris Charmatz - Flip book

18

Jonathan Burrows & Chrysa Parkinson Dogheart

19

Re:Move Ball! - U Dancing Through History

20

Re:Move Talks!

20

Re:Movies
Movies!
Movies!

21

Re:Move Colloquium!

21

ON RE:MOVE
M a ri an n e Van Ke rk h ov en

22
2

Exploring Dance Repertoire

2 - 13 | 02 | 2010
2010
Kaaitheater + Kaaistudios + Beursschouwburg
a Kaaitheater festival in association
association with the Beursschouwburg

------------------------------------------------------------------------------

TOP INTERNATIONAL CHOREOGRAPHERS

PRESENT A NEW VIEW OF THE 20TH-CENTURY DANCE REPERTOIRE
10 DANCE PRODUCTIONS,
PRODUCTIONS, 2 PREMIRES + FILMS
FILMS + TALKS + COLLOQUIUM + BALL
BALL!

The Re:Move dance festival is bringing a very promising group of international dancedancemakers to Brussels: Jrme Bel, Boris Charmatz, Fabin Barba, Nicole Beutler, Rachel Krische,
United Sorry, Xavier Le Roy, Jonathan Burrows & Chrysa Parkinson, deufert+plischke, DD
Dorvillier and Vincent Dunoyer.
In their productions they will be offering new interpretations of key moments in the history
of twentiethtwentieth-century dance,
dance by such artists as Pina Bausch, Merce Cunningham, Trisha
Brown, Mary Wigman and Deborah Hay, and also of Igor Stravinksys Le sacre du printemps.
The festival is also intended to be a tribute to the choreographers Pina Bausch and Merce
Cunningham, who both passed away this summer.
Re:Move is a festival organised by Kaaitheater, in association with the Beursschouwburg,
Beursschouwburg and
is on at three Brussels venues the Kaaitheater, the Kaaistudios and the Beursschouwburg
from 2 to 13 February 2010.
All information on Re:Move can be found at www.kaaitheater.be/remove

Dance is an eminently transient art form because it is hard to note down. However, the
performers in Re:Move have made the transfer or reconstruction of dance the subject of their
performances:
performances
Jrme Bel invites the dancer Lutz Frster to look back at his career with Pina Bausch.
The young dancer Fabin Barba has reconstructed the solos from Mary Wigmans

Schwingende Landschaft cycle (1929) for A Mary Wigman Dance Evening. (coproduced by Kaaitheater)

 Xavier Le Roy took a close look at the movements made by the conductor Simon
Rattle in Le Sacre du Printemps, Stravinskys 1913 masterpiece, and used them as the
basis for this choreography.
The trio comprising Steijn, Poelstra and Siewert who together form United Sorry
examines the most feminine of all art forms from a male point of view, focusing on
such female pioneers as Martha Graham and Trisha Brown.
Boris Charmatz took inspiration from a photographic book on that great master of
postmodern dance, Merce Cunningham, and has created a piece of choreography that
forges together the images in these photos as if in a flipbook.
Rachel Krische has adapted a solo by the American choreographer Deborah Hay:
Hay The

Swimmer.
Nicole Beutler is presenting a remake of Mikhail Fokins 1907 work Les Sylphides
the first classical ballet not to tell a story.
Handing down ones own dance material is also the subject of several productions.
deufert+plischke work with performers DD Dorvillier and Cecilie Ullerup Schmidt to
reformulate their work. (PREMIERE! co-produced by Kaaitheater).
In Encore, Vincent Dunoyer takes up the role of choreographer to teach five dancers
parts he had previously performed himself.
Jonathan Burrows continues to work on the notion of translation, one of his
favourite subjects. Together with Chrysa Parkinson he has made Dogheart
(PREMIERE! Coproduced by Kaaitheater).
In each case, the starting point is the here and now the artists own methods rather than
performing an historical reconstruction.
After some of the performances, several choreographers will talk about the work of the
artists who inspired them. Re:Move Talks On Pina Bausch, Archiving Dance, On Mary

Wigman, On Nijinski, The Memory of the Body and On Merce Cunningham 6 free events in
all.
Re:Move also includes film: Ruedi Gerber made Breath Made Visible, a documentary on the
dance icon Anna Halprin, and Thierry De Mey created Prlude la Mer, inspired by Nijinskys

Prlude laprs-midi dun faune, with the choreographer Anne Teresa De Keersmaeker.
The Re:Movies series of free films includes dance videos on Pina Bausch and Merce
Cunningham.
The Kaaitheater is organising a Re:Move Colloquium,
Colloquium on the re-enactment of dance, in
association with Ghent University.
And, to bring the festival to a festive close, the public will get the chance to learn to dance
highlights from the twentieth-century dance repertoire at the Re:Move Ball.
Ball
Info & tickets www.kaaitheater.be/remove

Agenda Re:Move Dance Festival

DI/MA/TU 2

20:30

Jrme Bel, Lutz Frster

Kaaitheater

DI/MA/TU 2 >> ZA/SA/SA 13

Re:Movies!

WO/MER/WE 3

deufert+plischke ANARCHIV #2: secondhand

Kaaistudios

DO/JE/TH 4

VR/VEN/FR 5

ZA/SA/SA 6

20:30
20:30

Jrme Bel, Lutz Frster

Kaaitheater

22:00

Re:Move Talks: 'On Pina Bausch'

Kaaitheater

19:00

deufert+plischke ANARCHIV #2: secondhand

Kaaistudios

21:00

Re:Move Talk: 'Archiving Dance'

Kaaistudios

20:30

Jrme Bel, Lutz Frster

Kaaitheater

20.30

Ruedi Gerber, Breath Made Visible

Beursschouwburg

20:30

Fabin Barba, A Mary Wigman Dance Evening

Kaaistudios

22:00

Re:Move Talks: 'On Mary Wigman'

Kaaistudios

19:00

Fabin Barba, A Mary Wigman Dance Evening

Kaaistudios

19:30

Re:Move Talks: 'On Nijinski'

Kaaitheater

20:30

Xavier Le Roy - Le Sacre du Printemps

+ Thierry De Mey - Prlude la Mer

Kaaitheater

20:30

United Sorry, feminine delight

Kaaistudios

20:30

Vincent Dunoyer, Encore

Kaaitheater

20:30

United Sorry, feminine delight

Kaaistudios

20:30

Vincent Dunoyer, Encore

Kaaitheater

22:00

Re:Move Talks: The Memory of the Body

Kaaitheater

DO/JE/TH 11

20:30

Deborah Hay/Rachel Krische, The Swimmer

+ Nicole Beutler, Les Sylphides

Beursschouwburg

VR/VEN/FR 12

11:00

Colloquium UGent

Kaaitheater

20:30

Jonathan Burrows & Chrysa Parkinson, Dogheart

Kaaistudios

20:30

Deborah Hay/Rachel Krische, The Swimmer

+ Nicole Beutler, Les Sylphides

Beursschouwburg

20:30

Boris Charmatz, Flip book

Kaaitheater

22:00

Re:Move Talks: 'On Merce Cunningham'

Kaaitheater

19:00

Jonathan Burrows & Chrysa Parkinson, Dogheart

Kaaistudios

20:30

Boris Charmatz, Flip book

Kaaitheater

22:00

Re:Move Ball! - U Dancing Through History

Kaaitheater

DI/MA/TU 9

WO/MER/WE 10

ZA/SA/SA 13

Programme Re:Move by genre

PERFORMANCES
PERFORMANCES
Jrme Bel - Lutz Frster

deufert+plischke - ANARCHIV #2: second hand

Fabin Barba / Busy Rocks - A Mary Wigman Dance Evening

10

Xavier Le Roy - Le Sacre du Printemps

13

United Sorry (Robert Steijn / Frans Poelstra / Martin Siewert) - feminine delight

15

Vincent Dunoyer Encore

16

Deborah Hay/Rachel Krische - The Swimmer

17

Nicole Beutler - Les Sylphides

17

Boris Charmatz - Flip book

18

Jonathan Burrows & Chrysa Parkinson Dogheart

19

FILM
Ruedi Gerber - Breath Made Visible

12

Thierry De Mey - Prlude la Mer

13

Re:Movies!
Movies!

21

TALKS
Re:Move Talks!

20

BALL
Re:Move Ball! - U Dancing Through History

20

COLLOQUIUM
Re:Move Colloquium!

21

Practical Info
Press
Contact
Katelijne Meeusen
T 02 274 03 64
M 0497 88 36 27
E katelijne.meeusen@kaaitheater.be

High res images can be found on www.kaaitheater.be/press

A d dresses & C ontact

Kaaitheater
Sainctelettesquare 20 square Saintelette 1000 Brussels

Kaaistudios
Onze-Lieve-Vrouw van Vaakstraat 81 rue Notre-Dame du Sommeil 1000 Brussels

Tickets
Ticketshop:
Sainctelettesquare 19 square Saintelette 1000 Brussels
T 02 201 59 59
DI/MA/TU-VR/VEN/FRI

11:00-18:00

tickets@kaaitheater.be
www.kaaitheater.be
www.kaaitheater.be/remove
www.kaaitheater.be/remove

------------------------------------------------------------------------------

Jrme Bel [FR]

Lutz Frster
2, 3, 4/02/2010 20:30

Kaaitheater

dance theatre | in English | 60 min. | 15/12

-----------------------------------------------------------------------------concept Jrme Bel | by and with Lutz Frster | production Springdance (Utrecht), R.B. Jrme Bel (Paris) | R.B.
Jerome Bel is supported by the Direction rgionale des affaires culturelles dIle-de-France (French Ministry of
Culture and Communication) and by Cultures France (French Ministry for Foreign Affairs) for its international tours

With extracts from pieces by Pina Bausch (Kontakthof, 1980 - Ein Stck von Pina Bausch,

Nelken, Ahnen, Fr die Kinder von gestern, heute und morgen), Jos Limn (The Moors
Pavane)
In Lutz Frster, the French choreographer Jrme Bel will be bringing Lutz Frster to the
stage, one of the dancers of Pina Bauschs Tanztheater Wuppertal. Frster will review his
career as a dancer with Pina Bausch, Susanne Linke, the Jos Limon company and Bob
Wilson.
The work Lutz Frster (2009) is part of a series: Vronique Doisneau (2004), Pichet
Klunchun and myself (2005), Cdric Andrieux (2009). Each piece is named after the artist by
whom it is performed. Their work embraces a variety of traditions: classical ballet, classical
Thai dance, American modern dance and German Tanztheater. They tell a personal story of
their personal experience with the important developments of Western or Asian
choreography.
extraordinarily beautiful solo () a splendid icon of a dancers self-assurance - de

Volkskrant
www.jeromebel.fr
www.catalogueraisonne-jeromebel.com

+ Re:Move Talk: 'Pina Bausch': 3/2, 22:00

------------------------------------------------------------------------------

deufert+plischke / DD Dorvillier
Dorvillier
ANARCHIV

[DE/US]

#2: second hand

3/02/2010 20:30

premire

4/02/2010 19:00

Kaaistudios

dance | 12,5/10

co-produced by Kaaitheater

-----------------------------------------------------------------------------Give me your material and I will show you what you are not doing with it; this could be the
motto for ANARCHIV. In this series, the artistwins Kattrin Deufert and Thomas Plischke look
back at the works they have made together over the last eight years. They reformulate
characteristic themes and motifs in a new work.
For each ANARCHIV project they cooperate with other artists who are familiar with their
work. They offer their material and let their guests open it up, analyse it, adapt it, and
change it to suit themselves. For this production, they work together with New York
choreographer DD Dorvillier and Cecilie Ullerup Schmidt.
www.artistwin.de

DD Dorvillier,
Dorvillier Choreography, a Prologue for the Apocalypse of Understanding, Get Ready!
19 & 20/03/2010 - Kaaitheater
DD Dorvillier will be returning to the Kaaitheater in the early spring. Now with her own
company and the composer Zeena Parkins, she will be presenting a sparkling dance
production on the theme of our defective communication (see the splendid title).

+ Re:Move Talk: 'Archiving Dance', with Kattrin Deufert, Thomas Plischke, DD

Dorvillier, Cecilie Ullerup Schmidt & Timmy De Laet (interview): 4/02 21:00

------------------------------------------------------------------------------

Fabin Barba / Busy Rocks

[EC/BE]

A Mary Wigman Dance Evening

(previously announced as Shifting Landscape)

5/02/2010 20:30

Kaaistudios

6/02/2010 19:00
dance | 12,5/10

co-produced by Kaaitheater

-----------------------------------------------------------------------------concept & dance Fabin Barba | production K3 - Zentrum fr Choreographie (Tanzplan Hamburg) | co-production
wpZimmer (Antwerp) Kaaitheater (Brussels), fabrik Potsdam (Tanzplan Potsdam: Artists-in-Residence) | support
PACT/Zollverein (Essen), Mary Wigman Gesellschaft | executive producer Caravan Production vzw | thanks to
Katharine Sehnnert, Irene Sieben, Susanne Linke, Stephan Drschel, Timmy De Laet & 'many other thanks to the
many other people that have come to see rehearsals and had given me their time to let me know about their
impressions, comments and share their knowledge with me.' | costumes Sarah-Christine Reuleke | music Hanns
Hasting (Anruf, Pastorale, Seraphisches Lied, Sturmlied, Sommerlicher Tanz),

Sascha Demand (Raumgestalt,

Zeremonielle Gestalt, Drehmonotonie)

While studying, the young Ecuadorian choreographer Fabin Barba became fascinated by one
of the pioneers of modern dance: the German dance artist Mary Wigman. In the early 1930s
she took her expressionist dance recitals across the ocean for the first time. She changed
American dance forever and even today still has an influence on the artistic life of Ecuador.
Fabin Barba was still a student at P.A.R.T.S. when he started working on Wigmans

Schwingende Landschaft, a series of seven dance solos created in 1929. He reconstructed

three of them on the basis of sketches done by Wigman herself. For A Mary Wigman Dance
Evening he quotes from the whole of her oeuvre. The challenge lies in the tension between
his reconstruction and the original.
Fabin Barba is a member of the Busy Rocks collective together with Marisa Cabal, Tuur
Marinus, Franziska Aigner and Gabriel Schenker.
www.busyrocks.org

+ Re:Move Talk: 'On Mary Wigman', interview with Fabin Barba by Christel
Stalpaert

10

Programme
Aus dem Tanzcyklus Schwingende Landschaft (1929)
From the Dance Cycle, 'Shifting Landscape'
1 . Seraphisches Lied / Seraphic Song
2 . Gesicht der Nacht / Face of the Night
3 . Pastorale / Pastorale
4 . Anruf / Invocation
5 . Sturmlied / Storm Song
6 . Sommerlicher Tanz / Summer's Dance
Intermission - Eight Minutes
Aus den Visionen - From 'Visons'
7 . Raumgestalt (1928) / Space Figure
8 . Zeremonielle Gestalt (1925 / Ceremonial Figure
Aus der Feier / From 'Celebration'
9 . Drehmonotonie (1926) / Monotony Whirl Dance
Fabin Barba:
Only about a century ago modern dance started to exist in Europe. Important innovators
like Rudolf von Laban, Isadora Duncan, Ruth St Denis and Mary Wigman, among others, tried
to break with the conventions of classical ballet by devising new techniques and movement
languages. Challenging the values and conventions of bourgeois societies, they sought to
create a dance that would express the new and freer spirit of the time, their time. In this
manner, their work set into the dance world some modernist imperatives such as innovation,
authenticity and individuality, notions with which weve been busy all along up to our days.
For A Mary Wigman Dance Evening, I took as a starting point the performances Wigman
offered during her first tour through the United States in 1930-31. Thus, Ive come to gather
a recital composed of nine short soli. Three of those were learned from videos of Wigman
dancing herself. For the other dances I had access to three different kinds of sources:
photos, texts written by Wigman and newspaper reviews of the period. From these sources
its not possible to recuperate something such as an 'original', but it's possible to deduce the
themes, moods, movement qualities and gestural vocabularies based on which I created new
dances myself.
For these new creations, I placed myself on the fictional set-up that I was a student in the
Wigman School in the thirties and that I was creating these soli to present them in that
school, with that audience. To help me out, I made use of yet two other sources: the work
with three ex-students of the Wigman school in the sixties, with their memories and body
knowledge, and my former training in modern dance in Quito from which I've derived many
technical tools that have helped me to create and perform these dances.
Some texts that talk more extensively about the motivations, method and questions that
have appeared throughout this project can be found at www.busyrocks.org

11

------------------------------------------------------------------------------

Ruedi Gerber

(CH)

Breath Made Visible

Beursschouwburg

5/02/2010 20:30
film | 2009, in English, French subtitles, 80 min. | free

------------------------------------------------------------------------------

A probing documentary on the fascinating life of the dance icon, pioneer and performer
Anna Halprin. Last season, Anne Collod and guests presented a tremendous reinterpretation
of Halprins 1965 piece Parades and Changes. Halprin sees dance as a response to our social
and natural surroundings. Art and life fuse in her work and her attitude to life. Ruedi
Gerbers film is a stunning tribute to this magnificent dancer, choreographer and teacher.
The film was one of the highlights of the Locarno film festival earlier this year.

12

------------------------------------------------------------------------------

double bill

Xavier Le Roy

[DE]

Le Sacre du Printemps
+

Thierry De Mey

[BE]

Prlude la Mer

presented by Charleroi Danses & Kaaitheater

6/02/2010 20:30

Kaaitheater

performance + film | 70 min. + intermission + 17 min. | 15/12

-----------------------------------------------------------------------------Le Sacre du Printemps concept, performance Xavier Le Roy | music Igor Stravinsky | sound design Peter Bhm |
recording Berliner Philharmoniker, conducted by Sir Simon Rattle | production in situ productions (D), Le Kwatt (F) |
co-production Centre chorgraphique national de Montpellier Languedoc-Roussillon (Xavier Le Roy Associated
Artist 2007/08), Les Subsistances / Residence (Lyon), Tanz im August / Internationales Tanzfest 2007 (Berlin), pact
Zollverein Choreographisches Zentrum NRW (Essen) | supported by the national performance network with funding
provided by the German Federal Cultural Foundation as part of its project Dance Plan Germany

When the choreographer Xavier Le Roy discovered pictures of rehearsals of Le Sacre du

Printemps by the Berlin Philharmonic on a dvd, he was immediately fascinated by the

movements of the conductor, Simon Rattle. Without any musical knowledge, he started on an
analysis of Stravinskys masterpiece and more especially Rattles interpretation, which he
analyses as a work of choreography in its own right, one whose signs and movements seem
both to lead and to follow the music. This double interplay brings a reversal of the usual
relationship of cause and effect: what came first, the music or the movement? To what
extent do you play the music and to what extent are you played by it? This is a virtuoso solo
in which you, the spectator, are stimulated by a clever and witty interaction of visual and
auditory sensations.
Un solo unique, sensuel, musical, absurde et burlesque Le Monde de la Musique
www.insituproductions.net

+ Re:Move Talk: 'On Nijinski', introduction by Christel Stalpaert: 6/02, 19:30

13

Prlude la Mer a film by Thierry De Mey | choreography Anne Teresa De Keersmaeker | music Prlude l'aprsmidi d'un faune, Claude Debussy | played by the Brussels Philharmonic Vlaams Radio Orkest | direction Michel
Tabachnik | created and danced by Mark Lorimer, Cynthia Loemij | production Charleroi/Danses, Sophimages,
Eroca productions, Rosas | support Vlaams Audiovisueel Fonds, Arte France, Cit de la Musique/Paris,
Flagey/Brussels, CBA | www.charleroi-danses.be

Thierry De Meys Prlude la Mer is a dance film with music by Claude Debussy. Anne
Teresa De Keersmaeker's choreography is inspired on Nijinskys Prlude laprs-midi dun

faune.

Thierry De Mey:

Le Prlude laprs midi dun faune sur la musique de Claude Debussy daprs le texte de
Stphane Mallarm, est le sublime pome musical de lphmre, de labsence, de la
disparition.
Un faune se demande si les nymphes qui ont chapp ses assiduits amoureuses ntaient
pas aprs tout, quune chimre : aimais-je un rve ?...Perptuer ces nymphes, faire durer
lphmre, sapproprier ce qui ne peut que disparatre
Nous avons le projet de confronter la chorgraphie dAnne Teresa De Keersmaeker, servie
par deux interprtes de rve Marc Lorimer et Cynthia Loemij la duret dun lieu
catastrophe : le site dune mer en voie de disparition, la mer dAral.
Un faune androgyne (par jeu de substitution homme/femme) se perd dans la qute
impossible de retenir ce qui ne peut que disparatre. Il/elle trace les mouvements de son
inassouvissement, en errant dans lempreinte de la mer qui fut : steppe de sel, paysages
au sol craquel, temptes de sable, cimetire dpaves de bateaux, phares en plein dsert,
villages fantmes ensabls sous le vent.
Lorsquil/elle trouve enfin le rivage actuel, au dernier plan du film, limage de la mer son
tour disparat en un long fondu au blanc. Peuvent alors rsonner les premiers accords de La

Mer de Debussy par exemple.

14

------------------------------------------------------------------------------

United Sorry

[NL/AT]

Robert Steijn / Frans Poelstra / Martin Siewert

feminine delight
9, 10/02/2010 20:30

Kaaistudios

dance/performance | in English | 105 min. | 15/12

-----------------------------------------------------------------------------by Robert Steijn, Frans Poelstra, Martin Siewert | production Studio Entre Nous / Andr Agterof | co-production
steierischer herbst (Graz), Tanzquartier (Vienna), CNDC Angers, Centre Chorographique National de Montpellier
Languedoc-Roussilon | support Nederlands Fonds Podiumkunsten
with the extra support of

Three men put the role of women in modern dance under the microscope, with plenty of
added humour. The dramaturge and writer Robert Steijn plays a woman who believes
devoutly in everything she does. He becomes a Martha Graham and thereby reaps great
success, until he goes out of fashion and takes to drink. He dies, but is reincarnated as a
Trisha Brown, who takes a postmodern approach to seeking contact with a new audience.
The dancer and choreographer Frans Poelstra remains his supportive muse throughout this
transformation process. Martin Siewert provides live musical accompaniment for the duo.
The result is an absurdly comical musical on suffering, working hard and living as a diva.

www.unitedsorry.com

15

------------------------------------------------------------------------------

Vincent Dunoyer

[BE]

Encore
Kaaitheater

9, 10/02/2010 20:30
Dance | 15/12

co-produced by Kaaitheater

-----------------------------------------------------------------------------concept, choreography Vincent Dunoyer | performers Eva Baumann, Helena Golab, Veli Lehtovaara, Tuur Marinus,
Guillem Mont de Palol | production Mokum vzw | co-production Kaaitheater, PACT Zollverein, Dans in Limburg | in
association with Rosas | support Vlaamse Gemeenschap
choreographic material:
Anne Teresa De Keersmaeker, Etienne Guilloteau, Raimund Hoghe, Steve Paxton, Wim Vandekeybus

The title of Vincent Dunoyers latest work is Encore, and in French this also sounds like en
corps, literally meaning in the body. Vincent Dunoyer is interested not only in movement
itself, but in how movements are handed on and change depending on the body, the story,
time and the context.
In developing his repertoire as a dancer, Dunoyer has worked with such choreographers as
Steve Paxton, Anne Teresa De Keersmaeker, Wim Vandekeybus and Raimund Hoghe. In

Encore he has this work danced by five other dancers, which is a double change of role: five
young dancers take over Dunoyers role as a dancer, while Dunoyer takes on the role of
choreographer. By reorganising this dance material in time and space, his aim is to create
new, unexpected poetic associations.
De Morgen: Encore provides a crash course in recent dance history. It is also a melancholy
musing on the transience of dance.
www.mokum.be

+ Re:Move Talk: The Memory of the Body, with Vincent Dunoyer a.o.:
10/02, 22:00

16

------------------------------------------------------------------------------

Deborah Hay/Rachel Krische

(GB/US)

The Swimmer
+
Nicole Beutler

(D)

Les Sylphides
11 + 12/02/2010 20:30

Beursschouwburg

dance | double bill: 22 + 30 min. + intermission

12/10 (advance sale 10/8) | tickets at Beursschouwburg or Kaaitheater
-----------------------------------------------------------------------------The Swimmer choreography Deborah Hay | adaptation, dance Rachel Krische
Les Sylphides concept, remake, direction Nicole Beutler | performers Bojana Mladenovic, Charlotte van den Reek,
Marta Reig Torres

For The Swimmer, the London dancer and choreographer Rachel Krische adapted a solo by
Deborah Hay. In the sixties Hay was a member of the legendary Judson Dance Theatre. In her
dance, Krische liberates herself entirely from any structured, interpretable movement and
aims for total freedom. Her comical, sometimes grotesque solo is the result of fruitful
collaboration with Hay herself.
Nicole Beutler is presenting a remake of Les Sylphides (Mikhail Fokin, 1907), the first
classical ballet not to tell a story. She is fascinated by the beauty and precision of the
original, and wishes to re-experience its essence and magic. The audience is almost literally
on top of the dancers and witnesses the metamorphosis from person to performer. The
choice of dancers and the unusual position of the audience create friction between past and
present.

17

------------------------------------------------------------------------------

Boris Charmatz
Charmatz

[FR]

Flip book
(previously announced as 50 years of dance)
12, 13/02/2010 20:30

Kaaitheater

dance | ca. 60 min. | 15/12

-----------------------------------------------------------------------------concept Boris Charmatz | lighting Yves Godin | performers Raphalle Delaunay, Olivia Grandville, Marlne Monteiro
Freitas, Laurent Pichaud, Boris Charmatz, Pascal Queneau a.o. | production Muse de la danse / Centre
chorgraphique national de Rennes et de Bretagne - direction Boris Charmatz | support Ministre de la Culture et de
la Communication (Direction Rgionale des Affaires Culturelles / Bretagne), la Ville de Rennes, le Conseil rgional de
Bretagne et le Conseil gnral dIlle-et-Vilaine, Culturesfrance | thanks to LiFE (St Nazaire), HZ (Berlin), Centre de
dveloppement chorgraphique (Toulouse)
with the extra support of

In his latest project, Flip book, the French choreographer Boris Charmatz is using the work
of Merce Cunningham, the great American master of postmodern dance. The starting point
for this piece is David Vaughns book Merce Cunningham: Fifty Years, containing photos and
drawings of all his creations and portraits of him and his dancers too.
Charmatz: All these pictures together represent almost his entire oeuvre, but also form a
piece of choreography in themselves, in a way that is very similar to the method
Cunningham uses in his creative process: dance is to be found between two poses or
positions. I think it must be possible to create a piece that starts from this sequence of
images, performed from beginning to end.
In this way, Flip book is the story of a lifes work captured in a book which in its turn is
transformed into a performance by a handful of dancers.
www.museedeladanse.org

+ Re:Move Talk: 'On Merce Cunningham', interview with Boris Charmatz by

Danille de Regt: 12/02 22:00

18

------------------------------------------------------------------------------

Jonathan Burrows & Chrysa Parkinson

[BE]

Dogheart
12/02/2010 20:30

premire

13/02/2010 19:00

Kaaistudios

dance | 15/12

co-produced by Kaaitheater

-----------------------------------------------------------------------------For the past ten years Jonathan Burrows has been concentrating on one-to-one
collaborations, as powerful as they are witty, with other artists, beginning with Weak Dance

Strong Questions with theatre director Jan Ritsema, followed by five duets (to date) with the
composer Matteo Fargion, including the Both Sitting Duet trilogy, and the diptych Cheap
Lecture and A Not Very Subtle Representation of Resilience through Dance.
For Re:Move Burrows will create a piece with the dance artist Chrysa Parkinson, taking as
its starting point a love of translation and a curiosity about narrative. Chrysa Parkinson is
known to Brussels audiences from her work with Zoo, as well as other artists including
Deborah Hay (see p. 22) and Mette Ingvartsen. She previously worked with Jonathan Burrows
on the Kaaitheater version of Thomas Lehmen's Schreibstuck.

19

Ball!
------------------------------------------------------------------------------

U Dancing Through History

13/02/2010 22:00

Kaaitheater

Using some kind of copy-and-paste, Maria Clara Villa Lobos lets you dance some of the big
moments from the 20th-century dance repertoire yourself.

Talks!
Talks!
-----------------------------------------------------------------------------Five evenings when, watching videos and talking, we examine the work of the
choreographers who are quoted and/or adapted in Re:Move. Free! (all talks in English)

3/02,
3/02 22:00, Kaaitheater: 'On Pina Bausch
Bausch

4/02,
4/02 21:00, Kaaistudios: 'Archiving Dance',
Dance' interview with Kattrin Deufert,
Thomas Plischke, DD Dorvillier & Cecilie Ullerup Schmidt by Timmy De Laet

5/02,
5/02 22:00, Kaaistudios: 'On Mary Wigman',
Wigman' interview with Fabin Barba by
Christel Stalpaert

6/02,
6/02 19:30, Kaaitheater: 'On Nijinski',
Nijinski' introduction by Christel Stalpaert
10/02
10/02,
/02 22:00, Kaaitheater: The Memory of the Body, with Vincent Dunoyer a.o.

12/02,
12/02 22:00, Kaaitheater: 'On Merce Cunningham',
Cunningham' interview with Boris
Charmatz by Danille de Regt

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Re:Movies!
Re:Movies!
------------------------------------------------------------------------------

2>13/02/2010 before & after the performances

Kaaitheater

free!
Before and after the performances at the Kaaitheater you can watch a superb selection of
dance films and videos in the foyer. Free!
- CHANTAL AKERMAN, Un Jour Pina a demand. On tour with Pina Bausch (1982)
- CHARLES ATLAS, A Video Tribute to Merce Cunningham (2009)
- NAM JUNE PAIK, Merce by Merce by Paik (1978)
- WALTER VERDIN, Goldberg Variations (1992)

Colloquium!
------------------------------------------------------------------------------

Re-enacting the Dance: Reconstruction or

Critical Intervention?
12/02/2010 11:00>17:30

Kaaitheater

in Dutch and English | free | please book on 02 201 59 59

organ. Kaaitheater & Department of Performance and New Media Studies of Ghent University
programme details as from January 15 on www.kaaitheater.be

How can dance be reconstructed? Is it desirable? Can or should one update dance material or
use it in a new context? These are some of the many questions asked at this free colloquium.

21

The Memory of the Body in Times of the Internet

Marianne Van Kerkhoven
-----------------------------------------------------------------------------Within contemporary dance, there is growing interest in re-enactment: the reconstruction of
choreographies or productions that were created in the past especially the 20th century
and investigating what this legacy (still) has to say today.
Re-enactment is a term that was initially used to indicate the practice by which important
historical events are repeated some time after they took place: to keep alive in the
collective memory the significance of these events, to allow new generations of a population
to experience what was of concern to their ancestors. Thus, for example, in 1920 a reenactment was staged in St. Petersburg of the storming of the Winter Palace, a crucial
moment in the Russian revolution that had taken place three years earlier. Thousands of
extras acted out the event, some of whom had really participated three years earlier.
Today this type of awareness raising or memory work has been recuperated by the
amusement park industry in the form of theme parks where one can choose to be
submerged in the life of the Romans, those living in the Middle Ages or in the fight between
cowboys and Indians
In dance, contemporary interest in re-enactment originated mainly in the 1990's within socalled conceptual dance. The body was seen as a collection of signs, an archive that defined
the identity of the dancer. But every identity refers to a context and a previous history, which
also has to be examined to be able to grasp this identity.
But there are several motives underlying this interest in re-enactment: one of them is the
need to develop for the pre-eminently volatile dance medium a repertoire, a legacy as this
is present in other performing disciplines.
Opera for example exists by the grace of its repertoire: this musical genre's great
masterpieces of the past centuries are continually performed again, always with new musical
interpretations and/or stagings. In traditional European text theatre culture it is also an
established custom to frequently draw on the reservoir of pieces built up over time. Classical
ballet also has a limited number of works whose choreography was handed down to later
generations of dancers and that (such as for example Swan Lake) regularly appear on the
programme.
Compared to these other performing disciplines, development of a contemporary dance
repertoire is a much more complex task. In any case, registering a dance score is more
difficult than in the case of a text or a musical score. Dancing is a spatial discipline, and
space simply does not allow itself to be captured in linguistic characters or in an audio
recording. Even the various types of visual recording that are technically possible today
usually remain two-dimensional. Classical ballet also has a coded language at its disposal,
concerning a repertoire of steps, as well as the use of space, dealing with music etc. The
22

internal functioning of the classical ballet company (star dancers, soloists, corps de ballet)
takes place according to strict rules that we see reflected on stage. In modern, postmodern
and contemporary dance, all of these codes were gradually abandoned:
- Today, any possible movement can be used as material in productions, including, for
example, everyday acts.
- Structurally/compositionally, there is no restriction concerning the patterns used.
- Music and dance follow their own logic, sometimes even separately from each other.
- Dancers are often the co-creators of the choreography.
- Within the various modern dance forms, the improvisatory element has secured its right to
exist as essential materials of the creation process, etc.
All of this only further complicates the reconstruction of these dance forms. In addition to
consulting all possible sources, when remaking recent choreographies one can call upon the
memory of those who were involved in the original creation. Not only our mind, but also our
body has a memory. In their work, dancers often rely on this body memory. But we also
experience this in our daily lives: once we, for example, know how to swim or ride a bicycle,
we remember it immediately, even if we have not engaged in the activity for years
Thus, the preparatory work to arrive at a re-enactment can consist of interviewing or
physically working with those who played a role in the original creation. For parades &

changes, replays, presented last season in the Kaaitheater, initiator Anne Collod held various
discussions with the then 88-year Anna Halprin, who created Parades & Changes with her
dancers in 1965.
What are the driving forces of choreographers and dancers in investing so much energy
today in remaking works from 20th century dance history?
Sooner or later each artist asks about the historical roots of his or her own practice. Even
those who live and create with a focus on the future, eventually are confronted with the need
to create their own past, with the need to relate to their predecessors in the history of art.
Today, however, more appears to be happening than just this normal longing within one's
artistic development.
We live today in a society in which changes take place at an enormous speed. Within
professional practices (of whatever kind), this speed demands thoroughgoing flexibility,
short term thinking. There is no time to consolidate, no long periods available to work on
something, no time for permanence. One work is not yet delivered and three new future
projects must be developed. This puts pressure on the past and the cultural legacy: precisely
because we are unable to do much with these within the economic patterns of contemporary
society, which especially favour investments in speed and flexibility. Hence, a reaction
against this loss of historic awareness was inevitable. The recent and continuously recurring
discussions on the canon, the repertoire, final attainment levels etc. must be seen in this
light.
One of the paradoxes of this society is that the knowledge and communication technology
that has radically changed our lives finds its focus in creating a gigantic memory bursting
with information. Computers, Internet, GPS etc.: they are also examples of self-regulating
artificial memories that combine stored data.

23

These artificial memories dominate and change human practice: we no longer seek our way
via experience based on trial and error, but we find it thanks to the knowledge amassed in a
digital memory. Artists and certainly performing artists for whom immediate, living
communication with an audience is primary cannot but question these developments. How
do we perceive the world today? Via which images and in what way do we apprehend
society? How do we relate to the past? What does experience mean today? Hence, the reenactment movement in dance must be understood in relation to these types of questions.
What does my body think? What does it see, hear, feel? What does it store and what does it
remember? And how can we transfer what we remember to the audience?
The re-enactment movement thus is a part of this never-ending dialogue between past,
present and future.

What strikes me most about memory is not that it retells the past but that it feeds the
present.
Paul Valry

What distinguishes works of art from all other things is the fact that they are at the same
time future things, things whose time has not yet come.
Rainer Maria Rilke

You surely don't throw away important art when it is no longer new?
Jan Joris Lamers

24