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 — Vrije Sector Huren Utrecht 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 Vrije Sector Huren Utrecht 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 Vrije Sector Huren Utrecht 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 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 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 Vrije Sector Huren Utrecht, 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.
Zou dat verwijzen naar de hectische activiteit in het Decoratelier? When she moved on from Zurich to the Volksbühne Berlin, some of her colleagues stayed behind, for example Simone Aughterlony, who has been convincing here with impressive performances for many years. However, Meg Stuart largely designed «Waterworks» with young actors who had never worked with her before. In verschillende, terugwijkende lagen, doek na doek, wordt de centrale opening in het midden steeds kleiner, tot er uiteindelijk een hand in tevoorschijn komt, met op de palm een oog aangebracht — het theater kijkt terug. Die Decoratelier-logica is een soort onderstroom geworden in alles wat we doen. Wouters: Door de overheid zijn plekken zoals Decoratelier en Volta kunnen groeien.
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Inhaltsverzeichnis. Een van de mooiste kanten van ons familiebedrijf is dat we nooit stilstaan. 1. Kindergartens and Teacher Training Centers worldwide. *Legende / abbreviations. Een van de manieren om de drugscriminaliteit aan te pakken, is slimmer samenwerken. Sie suchen einen Job im Nachbarland und. Niet alleen binnen de overheid maar vooral ook met de samenleving. Page 2. Hotels worden verbouwd en uitgebreid, de volgende. Sie planen eine Schulreise in die Niederlande und möchten sich vorher ein wenig über Land und Leu- te informieren?Acrobats afraid to jump? The show is structured by three successive movements; each one shorter than the previous one. After a time — or an eternity? Actually not so nice. Er dringt zich wel een mentaliteitsverandering op. Onze filosofie is: praat niet te veel, bouw het. Ben jij graag in een levendige omgeving, dan zoek jij absoluut iets in de buurt van het centrum. Je leest materiaal nauwgezet, in de breedte en in de diepte, van een afstand of belichaamd. A laser draws green lines on the wooden and sand shapes. 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. Waves on the beach are projected onto the starry sky to the Bee Gees' "How Deep Is Your Love"; there is a bit of singing along and looking into the audience. Sinds zes jaar is Decoratelier Ultima podiumkunsten ook een fysieke ruimte in een voormalige fabriek in Molenbeek, van waaruit Jozef zijn werelden schept — via voorstellingen als Underneath Which Rivers Flow i. So muss die Einfuhrsteuer nicht bezahlt werden, wenn man das Auto beim Umzug von Deutschland in die Niederlande mitbringt. Meg Stuart's latest production "CASCADE" was also supposed to premiere a year ago. Elisabeth Nehring : I would rather say that it was a Meg Stuart essence, the essence of how she has worked with her body in her art over many decades, and which highly peculiar movements she got out of her body. She moved actors, involved them with the dancers in her pieces and got the craziest thing out of them. The cosmic environment for the small group on stage acts as an indication that both time as such and a vivid sense of time are the products of a nature that is infinitely larger than our planet. All the Way Around? Clock , a video of Berlin-based choreographer Meg Stuart and her dance company moving beautifully on the iconic curved roof of HKW speaks to the difficulties of pursuing dance and performance practices during a pandemic. She excels at unexpected, surprising movements — as she carries in her body the result of decades of improvisation and exchange with other artists. Within this context, however, All the Way Around comes across as a breath of fresh air, because it does not seek justification outside of its own specific characteristics. Sollten Sie doch die Einfuhrsteuer - die sogenannte BPM Belasting van personenauto's en motorrijwielen zahlen müssen, dann können Sie das auf zahlreichen Webseiten wie bpmberekenen. A Day is a Hundred Years is een nieuwe stap in Jozefs traject, een zoektocht: hoe kan je een ruimte een verhaal laten worden zonder dat het een site-specifieke voorstelling wordt? Nets hang from the ceiling, filled with objects made of foam. But the connections are there, as deep as they are invisible. Aufenthaltsdauer, Sicherheitsaspekte und steuerliche Punkte sind geregelt. De samenwerking tussen choreograaf, performers, dramaturg en andere partijen als kostuum- en lichtontwerpers is inderdaad niet synoniem met een vlak speelveld. In the end I have to say that I value Meg Stuart more as a choreographer than purely as a dancer. Daarom biedt de taaie voorstelling ook gul ruimte voor humor. Mehr Informationen zur Einfuhr bzw. Wenn Sie nach einer WG suchen, können Sie zum "hospiteren" eingeladen werden. DFK : It was an evening with light art and live music. With a bang, Meg Stuart sets the tone for a festival that wants to reflect on contemporary issues. For a moment, we get very close to them, and that was, for me, the most important moment of the piece. All explore the potentialities offered by this strange world.
