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 momentKot In Leuven Huren 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, Kot In Leuven Huren 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 gift. 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 Kot In Leuven Huren 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 is 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 can 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. They step onto the stage quietly, without fanfare, moving slowly into the space, whimpering, slurring their speech. Gradually, recognizable movement patterns emerge: the swinging of arms echoes the motion of the pendulum, an outstretched leg aligns with the vanishing lines on the wall. Throughout the performance, electronic sounds hum through the space, like erratically tuned radio waves. You catch fleeting snatches of meaning—a brief melody, a fragment of dialogue—only for it to vanish just as quickly. At one point, the room goes dark, and the two performers don headlamps, suddenly evoking scientists navigating uncharted terrain—archaeologists in a landscape of symbols.
Het is belangrijk om in dit ecosysteem een lijn uit te stippelen en elkaar aan te vullen. Het lijken het brokstukken van oude, Griekse tempels. Of course there is room for improvisation. Dat blijkt trouwens genoeg om de meest diverse literaire tropen uit te proberen: het lange citaat, de brief aan bevriende kunstenaars, dagboeknotities, essays en een fragment van een theatertekst. Verbeelding is essentieel in wat jullie doen. Brill Wageningen Academic.
Erfahrungsberichte vom Auslandsstudium an den Universitäten in Groningen, Leuven und Leiden
Der moderne Körper der französischen Farce 73 | Teufel im französischen. Yfaat Weiss Zur Untermiete. Aufsätze. Information der Leserinnen und Leser. Inhalt. [Church chorus as a group] Huren, Roboter. Theater des Spätmittelalters 77 | Der badin der Farce 83 | Die. Was will dieses Schiller-Handbuch? Vorran- giges Ziel ist die schnelle, präzise und kompakte. Körper der Moderne in der. Leuven Peer: Alamire (Yearbook of the kot skupina”. Über Metaphern von Existenzerfahrungen bei Hanna Krall. Musik. Weimarer Beiträge 66()1. Die ein-.Zur Geschichte seiner Vermittlung in der Neuzeit Niels WERBER: Medien des Krieges. Om het contrast met die schuine zienswijze te verhogen, begint de voorstelling met een mise en abyme van het meest centralistische theaterdecor uit de architectuurgeschiedenis: het Teatro Olimpico uit van Palladio en Scamozzi. Forming a collective, an "ecosystem", does not allow one to escape the forces at work. In each scene, which lasts a few minutes, Stuart manages to approach the music — which forms the backbone of the performance — with a different quality, which she consequently deepens, transforms and explores throughout the scene. View Expanded. Ook letterlijk. A continuous gauging of possibilities and triggered feelings without following a single or clear narrative. De onzichtbare spelers in de crisis zijn toch de grote instituten geweest. Und geregnet hat es viel. Uit die sessies ontstaat een weefsel van verhalen en geluiden, en uiteindelijk een voorstelling. Was the evening a Meg Stuart retrospective? Amorfe luchtkussens veranderen constant van vorm, een glijbaan lijkt de poort tussen het heelal en de aarde, toekomst en verleden. Meg Stuart enters the stage from the same corner and stands next to Weiss. Their movements seem to be the result of a necessity. Ze wilden niet dat mensen achteraf hun beklag zouden maken over wetenschappelijke vergissingen. Die meisten davon befinden sich auf dem Oude Markt. Maar als je vertrekt vanuit de organisaties die er al zijn, kan er wel een mooie dynamiek ontstaan. All the Way Around began as a duet between the two, and you can feel their complicity. Specialty Products. Het was een geliefd motief in de barok, maar ook Wouters heeft er een voorliefde voor. They move slowly, excruciatingly slowly most of the time, sinking in the water, toppling, head over heels, drifting. But within this stimulus satiation, it manages to keep its urgency concerning the current situation of the world, talking about misuse of power, war, scarcity of resources, and climate catastrophes. View Table. So, there are very different light moods. COVID Collection. Het is in zekere zin de crux van dit boek. The second extatic moment differs from the first in the sense that the movements of the performers are a bit less uncontrollably all over the place. In Brussel is de ruimte daarvoor schaars. The latter is by Nico de Rooij and Elodie Dauguet, and together with the galactic-organic sound of the sound artist Mieko Suzuki helps the audience to hold on to something when they tire in their efforts to decipher the many discourses broached. Latest Key Figures. Daarna heeft Damaged Goods mij onder zijn vleugels genomen. Despite their simplicity, even the changes in position are characterized by their dance-like quality, as they respond to the music in unpredictable ways. Voorts staat er een steile, houten skaterhelling. Das International Office der Universität vermittelt Wohnheimzimmer für ausländische Studierende. Corporate Governance. Het boek wemelt van dit soort gedachtesprongen of -experimenten, telkens geformuleerd in relatief korte, en puntige paragrafen.
