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 Aanhanger Huren Voor Weekend Buitenland 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 Aanhanger Huren Voor Weekend Buitenland 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.
Een organisatie die de dingen samenhoudt. Hoe praat je erover, en hoe stuwt dat praten die ontwikkeling voort? Verbeelding is essentieel in wat jullie doen. Dat had je niet hoeven doen! De verhoudingen zijn omgedraaid. Campings op Corsica.
Nederlands
Ankleidekabine, de paskamer (de paskamers). organisatorisch raffinement van de Europese IS-aanhangers, zo blijkt uit een intern politierapport dat The New York Times onlangs in handen. weekend na mijn terugkeer tot de conclusie, dat er onder deze omstandigheden maar één oplossing is, nl. aanhangers (de aanhanger). Te voet of met de fiets, Ibbenbüren heeft voor elk wat wils. Wat gaat het worden? Anlage. een vertrek naar het buitenland Aanhanger van de. Een actieve vakantie in de natuur, een middagje shoppen, een. anheben, aufheben, (op-)tillen – tilde op – opgetild. anhören, luisteren (naar).Or, clad proud and stately in royal robes, enter boats which take them away out of our sight. Ik geef u een recept voor de apotheek. Er wordt met veel genoegen virtuoos gevallen. All the Way Around traces material and ideas from a long career in dance, coming together in a fluid form. Die beiden abgebildeten Personen symbolisieren Antwerpens Verbundenheit mit dem Fluss Schelde. Dat is inmiddels wel duidelijk geworden. Je puzzelt en tast naar betekenis maar vindt, voorlopig, enkel andere tastende handen Ook letterlijk. Misschien moet een dramaturg altijd een beetje antropoloog zijn, om voldoende afstand te houden? Er ist jünger. Voor ons is dat geen spirit, het is de enige mogelijkheid. In Brussel is de ruimte daarvoor schaars. At the microphone, Stuart introduces the "band" and the songs they play. Ich lief ihnen hinterher und fühlte mich ein bisschen überflüssig. Nets hang from the ceiling, filled with objects made of foam. Wouters gets the most out of the rotating stage and emphasises the improvised as an expression of artistic liveliness. It's been long. When Stuart knocks over one of the pyramids, she first offers a quick "Sorry," but soon the pair gleefully stomp through their sand constructions. Ik verzoek je stil te zitten. Gute Besserung! Ich bin älter. While much of the evening might seem dry and theoretical, it also holds moments of wit, playfulness, and tenderness. Quite nominally, a number of performances this year also had dancers on stage and a choreographer behind them. Het is jouw taak ervoor te zorgen dat iedereen in de groep weet wat hij of zij moet doen. Toch beschouwt Jozef Wouters A Day is a Hundred Years in zekere zin als zijn debuut: mid-career is dit de eerste voorstelling die hij met zijn eigen naam signeert. How long something last depends on whether it is completed or still needs to resonate — what counts is precision, perseverance, devotion to a process and to the moment, as in competitive sports. Daar willen we op inspelen. Dürfen wir bezahlen? Kijk naar het kader hieronder. Camping website. Wouters: DIY dansvloeren bouwen, is leuk. Ik heb lang geslapen.
