Key Performance Year Book 20112012

2011.2012Available productions

PREFACE

CONSTANZA MACRAS/DORKY PARK

Hell on Earth

Megalopolis

Oedipus Rex

Berlin

You Are Here!

CULLBERG BALLET

JJ’s Voices

True Stories ...

LOD

The Brodsky Concerts

Muur

De Gehangenen

Middle East

POSTE RESTANTE

Chopin’s Heart

The Dinner Club

: [insert title]

LISBETH GRUWEZ/VOETVOLK

Birth of Prey

HeroNeroZero

Ranting / The Body

CREDITS

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2011.2012

Dear Programmer,

We are very proud to present you the digital version of our brochure with the available projects for 2011-2012.

During the first year of its existence Key Performance has built up genuine trust with artists and programmers alike.

The organizations and artists we collaborate with are all known internationally for their outstanding quality and for

their willingness to innovate and take bold creative risks. We cherish their work and try to market them the best way

possible, protecting their creative processes fromcommercial burdens.

At the same time, we aim to meet your needs as aprogrammer and we therefore insist on providing excellent

communication and exceptional attention to detail. Your suggestions on how we can further improve this

communication are always welcome.This brochure is just a teaser. More in-depth information,

dramaturgical texts, bios, interviews etc. will be gladly sent to you on request or can be found on

Key Performance’s website.We hope you enjoy leafing through this brochure and we

are very much looking forward to hearing from you.

Koen VanhoveManaging Director

[email protected]

2011.2012

CONSTANZA MACRAS |DORKY PARK »GermanyConstanza Macras is an Argentine choreographer who oper-ates from Berlin. In that city she has found a fertile biotope for her creations, which are a fusion of dance, music, text, and video, often high in camp, always socially engaged, and ex-pressing a critical worldview.

With “Megalopolis” Constanza Macras has beennominated for the prestigious German Theatre PrizeDER FAUST 2010 in the category Best Choreography.

“Hell on Earth is impressive for its rapid danc-ers and abrasively funny statements. Macras has achieved the perfect union between empathy and enlightenment. And the young actors are head of their class!”– Der Tagesspiegel

“This astonishingly exhilarating work kaleido-scopically plays on all the scary undersides of hormonal change and dreams. Often, it is more like a peek into how Hieronymus Bosch might have painted hell if he’d been living today. It’s surreal, playful, serious and seriously bizarre, and it holds your focus tight for 90 minutes. The work is loud, shrill, fast, and like a comic strip.”– Berliner Zeitung

PREMIERE » 10 April 2008, Hebbel am Ufer,Berlin (DE) Produced by Constanza Macras/DorkyPark and Hebbel Theater am Ufer in co-production with Kampnagel Hamburg

// HELL ON EARTHDIRECTION & CHOREOGRAPHY » Constanza Macras

GENRE » Theatre/Dance

STAGE » Big stages

PERFORMERS » 20 performers

PERIOD » Available on demand

“The new piece from Constanza Macras “Mega-lopolis” at the Schaubühne is a collage of nested, compact snap-shots of a global mega city.Nervous, melancholic, strange.”– Tip Berlin

“Constanza Macras has developed her method. The choreographer works with exaggeration and excessive demands until overkill. She connects trash, tragedy, humor and reflection to a furious dancing evening about the city, the garbage and the bodies.” – Der Tagesspiegel

With “Megalopolis” Constanza Macras has been nominated for the prestigious German Theatre Prize DER FAUST 2010 in the categoryBest Choreography.

PREMIERE 16 January 2010, Schaubühne am Lehniner Platz, Berlin (DE)A production by Constanza Macras/DorkyPark and Schaubühne am Lehniner Platz, in coproduc-tion with HELLERAU – Europäisches Zentrum der Künste and MESS Sarajevo.

// MEGALOPOLISDIRECTION & CHOREOGRAPHY » Constanza Macras

GENRE » Dance/Theatre

STAGE » Medium & big stages

PERFORMERS » 10 performers + 3 musicians


// OEDIPUS REXDIRECTION & CHOREOGRAPHY » Constanza Macras

MUSIC » Igor Stravinsky

LIBRETTO » Jean Cocteau

GENRE » Opera

STAGE » Big stages

PERFORMERS » 5 singers, 8 dancers, 1 conductor + (local) chorus & orchestra

PERIOD » Available on demand, collaboration needed with local chorus & orchestra

”Constanza Macras sends a squadron of dancers with camouflage jackets into the choreographic combat zone in action against the young men from the Dresden chamber choir.”– Der Tagesspiegel

“The dancers of Macras’ company DorkyPark wince, jump, fall, roll and wrench to express the tortured folk. They express the complex web of human pairings in vigorous duets.”– Die Tageszeitung

PREMIERE » 19 November 2009, HellerauDresden (DE)A production by Constanza Macras/Dorky Park, Hellerau - Europäisches Zentrum in co-production with Hebbel am Ufer Theater Berlin and Théatre de la Place Liège

// BERLINDIRECTION & CHOREOGRAPHY » Constanza Macras


STAGE » Medium & big stages

PERFORMERS » 10 performers + 3 musicians


CREATION 2011

Arrest and incarceration mark an important turning point in the history of human irrationality. Insanity and mental dis-ability were now perceived against the social background of poverty, the inability to work and to integrate properly into society. This new meaning of ‘poor’ as well as the meaning that was attributed to work and all the ethical val-ues that were associated with it, have strongly influenced our experience of madness and ultimately advanced its development. “Berlin” is the assumed location of this dark story. It exists between imprisonment, madness and strug-gle. Insanity, unemployment and the loss of civil rights – how is our society affected by the condition of being im-prisoned? Strangers meet in a place of mental captivity in “Berlin”: an elderly woman remembers the outbreak of the second world war, the son if a Vietnamese immigrant and three young Palestinians attempt to break free from their lives and escape to a better future, a group of Brazilians in a shopping centre and an Argentinean political prisoner are lost in their new home. A Japanese woman and a Korean woman piece together their different histories, a man and a woman struggle with depression. They all hope for new horizons, try to find work, to forget their old jobs, try to get residence permits, maybe even a parking space, try to forget what the city itself, in which they live, is also trying to leave behind.

PREMIERE » 13 April 2011, Schaubühnr am Lehniner Platz, Berlin (DE)A production by Constanza Macras/DorkyPark and Schaubühne am Lehniner Platz, in coproduction withHELLERAU – Europäisches Zentrum der Künste andMaison des Arts de Creteil

“A smaller scaled piece with 5 performers on agora-phobia”

This piece is conceived in the frame of the general artistic project of the company DorkyPark, focusing on the issue of the relationship between the subject and its space. As such, “You are here!” will focus the research on a particular angle: the possibility of a “pathological” experience of this relationship, con-ceived as the fear or rejection of the public space, a phobia of the « outside ». Can we think of agorapho-bia as a modern disease? For sure it has its own diag-nosis criteria, its medical treatments and medications. Though the medical corpus tends to consider it as a psychological and even as a physiological malfunc-tion of the individual, some critical studies oppose the need for an effort to consider the causes of this “disease” trough the nature and qualities of the space itself – to analyze the city as a probable cause. Is the space of the city threatening by itself? On one hand, some aspects of modern architecture and urban plan-ning are the result of a conscious research to build the public space as an “empty” and transparent space. Le Corbusier’s work, both practical and theoretical, is perhaps the stronger example. And it is indeed the feeling of “emptiness” that is the most related to what is experienced by the agoraphobic panic. We could consider this idea of “emptiness” through the com-mon images of the city square, the highway, the park-ing, the mall...

“The word agoraphobia means ‘fear of the market-place’. (...) For people suffering agoraphobia one of the oddest places to be and the most difficult task to overcome is a shopping mall as in shopping malls the arrows on the store maps signaling “YOU ARE HERE“ seem to be more inclined to raise existential questions and existential angst than offer directional comfort.“– K. Milun, Pathologies of Modern Space

Premiere: November 2011, Hebbel Theater am Ufer, Berlin (DE)A production by Constanza Macras and Hebbel Theater am Ufer Berlin, in coproduction withHELLERAU – Europäisches Zentrum der Künste.

// YOU ARE HERE!DIRECTION & CHOREOGRAPHY » Constanza Macras


STAGE » Adaptable to different size of stages

PERFORMERS » 4 performers + 1 musician

PERIOD » Available from November 2011 onwards

CREATION 2011

CULLBERG BALLET »Sweden

Cullberg Ballet is in its fifth decade on the front line of modern dance. The ensemble has performed in more than forty countries and is an im-portant cultural ambassador for Sweden. The composition of the com-pany’s dancers has always been international and the dancers’ tech-nical proficiency and strong stage personalities are some of Cullberg Ballet’s main characteristics. In 2010 Anna Grip has been appointed as the new artistic director of the company.

J’s voices was created for Cullberg Ballet by chore-ographer, artist, improviser, teacher and artistic direc-tor of Par B.L.eux in Montréal – Benoît Lachambre in 2009. The piece is inspired by the voice of JanisJoplin. The dancers carry her songs through their bodies. Benoît Lachambre has been a part of the in-ternational dance community for the past thirty years, and devoted himself to an exploratory approach of movement and its sources. Elements of the visual and performance arts are inseparable from dance in his works. Benoît Lachambre has participated in films and been awarded several times for his works. JJ’s voices with Cullberg Ballet was his first work in Sweden.

PREMIERE » 25 November 2009, Dansens Hus,Stockholm (SE)A production by Cullberg Ballet

// JJ’S VOICESCHOREOGRAPHY » Benoît Lachambre

MUSIC » Songs with Janis Joplin

STAGE» Black box, small & medium stages

GENRE » Dance

PERFORMERS » 7 Dancers


”…a luminous beginning to a new era for Cullberg Ballet.”– Dagens Nyheter

”In JJ’s voices, Lachambre has created an incisive por-trayal of contemporary man, an individual who swings between repressed anonymity and desperate self-expres-sion. It is a heavy yet simultaneously highly liberating ex-perience to be confronted by someone who dares to see what we have become.”– Nummer

// TRUE STORIES OF CASTAWAYS AND OTHER SURVIVORSCHOREOGRAPHY » Ina Christel Johannessen

GENRE » Dance

STAGE » Small & medium stages

PERFORMERS » 9 dancers


CREATION 2011

”I will work close with the dancers, they will influence and color the creation a lot. As always, I want to put opposites on stage, something that may seem strong, turns out to be very frag-ile, or the other way. Something beautiful changes to ugly, or dangerous, just like we humans are. We are all filled with dif-ferent qualities, emotions, experiences, needs, some of them we don’t like or don’t want to show, but they are there. I like to touch these ”secrets”. I have an ambition to create an ambiva-lent pleasure in the audience. The audience are entertained, but simultaneously the images are displaced in a slightly dis-turbing way. Ambiguous is my favorite word”, says Ina Christel Johannessen.

Ina Christel Johannessen is the artistic leader and choreo-grapher of the Zero Visibility Corp, based in Oslo, Norway. A very important part of Ina’s artistic profile and work has been the close relationship with the Norwegian national company of contemporary dance Carte Blanche. Ina has also worked with several international companies and institutions, among them Helsinki City Dance Company, The Royal Swedish Opera, Scottish Dance Theatre, Iceland Dance Company, TheNational Theatres in Oslo and Bergen, Norway, Dance and Theatre Academy of Helsinki, Finland, and the National College of Performing Arts, also in Oslo. Ina’s work is characterized by high energy in the physical movements merged with very po-etic and often theatrical elements. She is involved in and coop-erating on the creating of visual elements such as lighting and scenography, which play crucial parts of her work as a whole. The musical elements are always composed of electronic works from international composers, either new or rewritten works. In the creation for Cullberg Ballet Ina ChristelJohannessen works together with set designer Kristin Thorp.

PREMIERE » February 2011, Dansens Hus, Stockholm (SE)A production by Cullberg Ballet

POSTE RESTANTE »Sweden

Poste Restante is a collaboration between Swedish artists Linn Hilda Lamberg, Stefan Åkesson and Erik Berg. They create interactive performances where the audience’s participation and individual experiences are the focal point. Their work is site-specific and made up of activities that are unexpected and wholly true to life. With the support of the performers thevisitors work personally with those challenging life questions, to which there are no answers.

Chopin’s Heart – Emergency Retreat offers the visitors a safe-haven from their everyday con-straints, where they can reflect on mortality and face the despair that follows. As a visitor to the retreat, you book a personal appointment and in consultation with the staff you decide how long your stay will be. A visit may range from 2-12 hours. Beds stand prepared for those who whish to stay until the morning. During the stay, the visi-tor will take part in different activities that seek to help the visitor reflect on the temporality of being, loss and melancholy. Activities provided are for instance ”A Choir in the Dark”, ”Mallorca – As It Should Be” and ”Writing a Letter of Conscience”.

The purpose of the retreat is to offer a place where the visitor is relieved from the social shame that often comes with melancholia. At Chopin’s Heart we assume that everyone is suffering, and that all suffering requires respect and patience. The staff of the retreat seeks to ease the suffer-ing of existence and grant some dignity to those who grieve without knowing why they do it. At Chopin’s Heart – Emergency Retreat compassion is strictly professional.

PREMIERE » 21 October 2010, Palace of Culture and Science, Warsaw (PL)A production by Poste Restante in coproduction with Teatr Dramatyczny / Warszawa Centralna 2010 “Migrations” and in collaboraton withPropaganda Foundation (PL)

// CHOPIN’S HEART – EMERGENCY RETREATCONCEPT » Poste Restante

GENRE » Site-specific, interactive

PERFORMERS » 1 performer per 5 visitors


// THE DINNER CLUBCONCEPT » Poste Restante


PERFORMERS » 1 performer per 4 visitors


“The audience are active participants in the game”– Dagens Nyheter

The Dinner Club is a fully interactive performance shaped as an evening class. In practical workshops, participants learn how to enjoy themselves at a dinner party with strangers. Men and women learn how they can, and should, affirm each others. Good manners and social etiquette are taught and the workshops in-clude exercises such as ‘Basic social dancing’ or ‘The A to Z of Mingling’. A three-course dinner then dou-bles as the exam for the session. In The Dinner Club, Poste Restante carves into our longing for “a pleasant time”, “good manners”, and the fear of what the price might be.

PREMIERE » March 2009, Polish Institute,Stockholm (SE)A production by Poste Restante, commissioned by Mossutställningar

// :[INSERT TITLE]CONCEPT » Poste Restante



PERIOD » Available on demand, suitable for festivals

The festival situation can be both physically and so-cially exhausting. There are new people to meet, first impressions to make, and a tight schedule of acts and events to keep up with. Barely stopping to catch their breath, festival-goers are continually expected to present a fresh and sociable appearance.

:[INSERT TITLE] is redesigned, bespoke, for each new festival it attends. It could set up shop in bathrooms, bars, and popular hot-spots around a festival. Rates are reasonable, and almost any request can be ac-commodated, whether it’s the desire to take a nap, get a new pair of socks, discover strategic networking information, or gain an instant entourage to enhance your social capital. Visitors don’t have to pay a thing as the bill goes straight to the festival organisers.

What :[INSERT TITLE] strives to do is to recognise the needs of each individual visitor and address those needs with understanding and respect.

PREMIERE » 27 October 2009, Perfect Performance, Stockholm (SE)A production by Poste Restante commissioned by Perfect Performance

LOD »Belgium

LOD is a Belgian production house for opera and musical theatre. For twenty years already, it has guaranteed the creation of pioneering artistic work. The residentartists of LOD are known for their contemporary approach of musical theatre. Together they work on different kinds of productions in which a wide array of artistic genres meet. Their work is hybrid and hard to label, but it is always the result of profound artistic investigation and great artistic and creative joy.

“Muur is an excellent and intriguing piece of work. It should tour far and wide, wherever there are audi-ences willing to reflect on myth-making both ancient and modern.”– The British Theatre Guide

// MUURCONCEPT » Inne Goris – Pieter De Buysser –Dominique Pauwels [LOD]

GENRE » Outdoor, site-specific installation


PERIOD » Summertime

In 2010 four children left everything behind to settle down on a piece of wasteland. In this for-mer no man’s land they have constructed a cir-cular wall, a gigantic, absurd ‘O’ that exerts a strange attraction on the city and its inhabitants. The performance begins in 2064 at the moment when new children come to take the place of the wall’s now aging residents to continue their quest. Director Inne Goris, author Pieter De Buys-ser and composer Dominique Pauwels allow their highly individual theatrical idioms to interact. The result is a composition, the musicality of which lies not only in the dynamics of the script, the bodies or the space, but primarily in the harmonic balance between these three particular idioms. Muur (Wall) is an installation, a stage perfor-mance, a teeming vault of stories and a distorted oratorio. But most of all, Muur is a happening that confronts us with our need of walls and of telling utopian stories.

PREMIERE » 13 May 2010,KunstenFestivaldesArts, Brussels (BE)A production by LOD (Ghent) & Beursschouw-burg (Brussels), in coproduction with Kunsten-FestivaldesArts (Brussels), with the support of Goethe-Institut Brüssel in the context of ‘After the Fall’, Interdisciplinair Studiecentrum voor Kritiek en Actualiteit (ISKA) – Studium Generale (Ghent) & ONDA

According to the Russian Nobel Prize winner JosephBrodsky, a poem is a conversation between the writer and the reader, who share two solitudes with one another. In The Brodsky Concerts, actor Dirk Roofthooft communi-cates the essence of Brodsky’s poetry to the audience. Kris Defoort’s music reveals that which is impossible to say with words. Together they create an homage toBrodsky’s poetry, to its melody and rhyme, and to the great metaphysical themes that his poetry invokes: the meaning of life, and of death, with or without loved ones, you move through time and space, at one with something or nothing, being between someone or no one.

PREMIERE » 14 September 2010Festival La Bâtie, Geneva (CH)A production by LOD in co-production by Grand Théâtre de la Ville de Luxembourg, deSingel (Antwerp) and Centre de Recherche et de Formation Musicale de Wallonie;in collaboration with Festival la Bâtie-Genève

// THE BRODSKY CONCERTSCONCEPT » Dirk Roofthooft - Kris Defoort

GENRE » Music theatre

STAGE » Small & medium stages, good accoustics, max. 400 p.

PERFORMERS » 1 actor + 1 musician

PERIOD » On demand

“The Brodsky Concerst is interpreted with sharp bravura by Dirk Roofthooft. To do this, the actor strikes a balance between the extremes of detached delivery and careful in-terpretation. He executes this delicate balancing act to per-fection. He turns his acting talent into a perfect vehicle for bringing Brodsky’s poetry to life.”– Knack

“The Brodsky Concerts suck you into a whirlpool of sounds and sensations, an intimist radio play full of melancholy and sharp self-analysis.”– De Standaard

De gehangenen [Hanged] are the doubting Thomasses, who dare to ask questions aloud. For them, what is al-ready known or is written in stone is not enough. They search because they want to know for themselves. Their attempts do not get them thanks. They must often pay for their curiosity with their lives.

On set, the musicians of the Royal Chamber Orchestra of Wallonia play one of Jan Kuijken’s compositions, a musi-cal story that creates a field of tension through the interac-tion of the orchestra, actors, singers, and voice and sound recordings. Two actors and three singers hang above the musicians’ heads. Josse De Pauw has written both spo-ken and sung texts for them. The Latin songs are pleas for mercy, fearful lamentations, but also broad narratives that provide context. The actors’ text, written in Dutch, articu-lates the thoughts and feelings of explorers, scientists and the curious. Their findings alternate with well thought-out accusations addressed to the leaders that judged them. De gehangenen is an homage to all those who were hung, tortured, burned or locked away for their visionary ideas.

PREMIERE » 30 April 2011, KVS, Brussels (BE)A production by LOD in coproduction with KVS, Théâtre National Bruxelles, Grand Théâtre de Luxembourg, Le Maillon Strasbourg, Maison de la Culture d’Amiens,Orchestre Royal de Chambre de Wallonie and VocaalLAB Nederland

// DE GEHANGENENTEXT/DIRECTION » Josse De Pauw

MUSIC » Jan Kuijken


STAGE » Big stages

PERFORMERS » 2 actors, 3 singers, 1 conductor &orchestra (18) + 1 musician

PERIOD » 1 October – 10 December 2011

CREATION 2011

// MIDDLE EASTCOMPOSITION » Frank Nuyts

LIBRETTO » Philippe Blasband

DIRECTION » Johan Dehollander


STAGE » Medium stages (300 – 500 p)

PERFORMERS » 2 actors, 1 singer, 1 conductor &Spectra ensemble (7)

PERIOD » 20 September 2011 – 1 October 2011 &13 December 2011 – 17 December 2011 & on demand

CREATION 2011

MIDDLE EAST is a hybrid chamber opera for two actors, a singer and an ensemble. The music is composed by Frank Nuyts. The director, Johan Dehollander, brings the situation into the here and now.

PREMIERE » 26-27 May 2011, Flemish Opera, Ghent (BE)A production by LOD in coproduction with SPECTRA,Operadagen Rotterdam & De Vlaamse Opera (Ghent)

In June 2000, the American President, Bill Clinton, held a summit at Camp David with Yasser Arafat, President of the Palestinian National Authority, and Ehud Barak, Israeli Prime Minister, to continue the peace negotiations and bring these to a positive outcome. The first negotiations were so promis-ing that Barak even agreed to give up East Jerusalem. But when the discussions turned to Palestinian refugees and the right of return, the talks deteriorated to such an extent that the situation became critical. Peace seemed impossible. Dur-ing the previous years, Israelis and Palestinians had never been so close, yet so far away, from peace as at that mo-ment. It is impossible to ever know what exactly happened at Camp David. The Israeli and Palestinian negotiators lived in two parallel universes that were never going to come into contact with one another. Both parties blamed the negotia-tions’ impasse on the other party. We can, however, make one assumption: they all - Israelis and Palestinians - tried to achieve peace as if they were trying to win a war.

In MIDDLE EAST, Philippe Blasband (an author and the scriptwriter of various films, including La femme de Gilles, Une liaison pornographique and Irina Palm) describes the failure of the peace negotiations between arch rivals Israel and Palestine. He focuses on the moment when both protag-onists take their places at the negotiating table: the moment at which no one has spoken yet. What are they thinking? How can they discuss a reality that is so different for the both of them?

LISBETH GRUWEZ | VOETVOLK » Belgium

Having worked as a performer with Wim Vandekeybus, Sidi Larbi Cherkaoui, Jan Lauwers and Jan Fabre, among others, dancer/choreographer Lisbeth Gruwez founded her own dance and performance group Voetvolk in 2006, together with the composer Maarten Van Cauwenberghe. Since its inception, Voetvolk has developed its activities as an international con-temporary dance and performance company with a strong base in Antwerp and Flanders. Voetvolk functions as an autonomous and independent structure, relying on a network of co-produc-ers and partners to realize its projects. Lisbeth Gruwez and Maarten Van Cauwenberghe are currently artists-in-residence at the Troubleyn/Laboratorium of Jan Fabre. Main themes and interests lie in the ideas of resistance, permeability, and krautrock: music that provokes an instant physical reaction.

Their motto is:THROW YOUR BODY IN THE FRONTLINE

// BIRTH OF PREYCHOREOGRAPHY » Lisbeth Gruwez

MUSIC » Maarten Van Cauwenberghe

GENRE » Dance

STAGE » Small to medium stages

PERFORMERS » 1 dancer + 2 musicians


“Gruwez is her own secret weapon. She has a fascinating stage presence you are not able to get around.” – De Standaard

“Lisbeth Gruwez’ solo is hard fare, yet exuding a quality that is hard to elude. No matter how self-tormented the dancer stages herself, steeped in pain, this is matched by her protean flexibility, the perfect control of her body and her theatrical effectiveness. In her powerful yet morbid self-production she confronts the audience radically with all too human anxieties, impulses, spleen. This finally re-sults in her ultimate feat: to personify perpetrator and vic-tim alike with equal intensity — a dance performance that will not easily fade.” – Allgemeine Zeiting

PREMIERE » 21 November 2008, Buda Arts Center, Kortrijk (BE)A production by Lisbeth Gruwez/Voetvolk in co-production with Buda Kunstencentrum and Troubleyn/Jan Fabre

// HERONEROZEROCHOREOGRAPHY » Lisbeth Gruwez


GENRE » Dance

STAGE » Small & medium stages

PERFORMERS » 2 dancers + 1 musician/performer


If you are a fan of the sturdy, raw solos of Lisbeth Gruwez, formerly a dancer with Jan Fabre and Wim Vandekeybus, you will find that her first group choreographyHeroNeroZero is up your alley as well. This work for two men and a woman (Gruwez herself) proves that her talentreaches beyond her own performance power. – De Volkskrant

‘When Gruwez and Fordeyn sing We could be heroes, just for one day, taking their cue from David Bowie, they man-age to grab us by the scruff of the neck again. While sing-ing, their embrace turns into groaning, their groaning be-comes fighting, their fighting dancing. This is typical of the strong performer epitomized most prominently by Lisbeth Gruwez: she knows how to choose her images. And she knows when she has to give a full whack in order to win.”– De Standard

HeroNeroZero analyses how the body disintegrates in time, leaving memories behind, and sometimes just a foot-print of life. Human beings pursue success and search constantly for more, bigger and better. They search for meaning and are always on the lookout for signs that con-firm their existence and significance. We offer resistance and we fight, sometimes we’re heroic, sometimes humili-ated, always hunted down by the fear that we might disap-pear into oblivion. We are Hero, Nero or Zero.

PREMIERE » 23 September 2010, Buda Arts Center,Kortrijk (BE)A production by Lisbeth Gruwez / Voetvolk incoproduction with Buda Kunstencentrum, Troubleyn/Jan Fabre & Theater im Pumpenhaus & La Rose des Vents

// RANTING / THE BODYworking title

CHOREOGRAPHY & DANCE » Lisbeth Gruwez


GENRE » Dance/Performance

STAGE » Small stages

PERFORMERS » 1 dancer


A new solo piece with the fascinating Lisbeth Gruwez!

In this new creation for 2011 Lisbeth Gruwez will work with a text that is repeated constantly until the moment that words lose their meaning, sentences collapse and the text is only carried by the body. Ranting / The Body will inves-tigate the moment of decay, the moment when sentences become chunks of words and a possessed body is the only thing that is left.

CREATION 2011PREMIERE » Spring 2011, TBC

KEY PERFORMANCE

KOEN VANHOVEOwner & Managing Director

+46 760 49 42 [email protected]

MAARTEN VAN CAUWENBERGHE

Art Project Manager+32 495 52 12 88

[email protected]

CECILIA PERESWETOFF-MORATHFinancial Manager

[email protected]

ANNA DIEHLWeb & Newsletters

[email protected]

CREDITS

Layout:Ulf Berlin/Silverwww.silver.se

Photographers:Constanza Macras | Dorky Park: Thomas AurinCullberg Ballet: Urban Jörén, Carl Thorborg (JJ’s Voices),Kristin Torp (True Stories...)Poste Restante: Fanny Oldenburg,Martina Hoogland Ivanow (Dinner Club)LOD: Kurt Van Der Elst (The Brodsky Concerts, De Gehangenen,Middle East), Koen Broos (Muur)LisbethGruwez | Voetvolk: Luc Depreitere (Birth of Prey),Klaartje Lambrechts (HeroNeroZero)

KEY PERFORMANCES:t Eriksgatan 84, 3tr.

113 62 StockholmSweden

+46 760 49 42 [email protected]

Documents

Key Performance Year Book 20112012