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Standalone

NDT 2

Standalone

NDT 2
Postscript Sol León & Paul Lightfoot
Black Milk Ohad Naharin
George & Zalman Ohad Naharin
IMPASSE Johan Inger

Unfortunately the Dutch tour of Standalone has been cancelled prematurely as a result of the updated measures taken by the National Government against the spread of the coronavirus. Click here to get the latest information. 

Initially brought to life to feed the first company with young talent, NDT 2 has grown into its full autonomous potential with its own repertoire over the years. Standalone celebrates makers that adhere to this level of independence.

Johan Inger has created numerous choreographies for the company. For Standalone, Inger will present a world premiere. NDT 2 also presents two creations by the world-renowned choreographer Ohad Naharin. Black Milk (1985), was originally created for five women but is now danced by five men. George & Zalman (2006) will be performed by five female dancers. Lastly, Standalone offers Postscript (2005) by house choreographers Sol León and Paul Lightfoot. Postscript is set to music by Philip Glass which will be performed live on stage with the dancers.

Made possible by: KUNSTENISRAEL and Stichting Will en Rita Jaeger Fonds.

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Performance dates

Season 2019-2020 | February 28 – April 11, 2020
The Hague, Eindhoven, Haarlem, Leeuwarden, Amstelveen, Heerlen, Breda, Amsterdam, Nijmegen, Amersfoort, Rotterdam, Utrecht, Tilburg and Enschede

In this performance

POSTSCRIPT – SOL LEON & PAUL LIGHTFOOT

Postscript premiered in 2005 in the Lucent Danstheater. A pas-de-trois and two duets full of innovative partner work take place in separate worlds that do not seem to meet. Live on stage, a violinist and pianist present the music of Philip Glass.

Fantastic visual partner work, musical, sharp and almost acrobatic.

de Volkskrant about Postscript
Black Milk – Ohad Naharin

“[…] The dancers are my colleagues, we discover the work together, what they offer is very meaningful to the end results. They are creative, intelligent, talented dance makers and the work depends and benefits by it. In order to be able to write the narrative of dance, the dancers and me are called for many tasks such as to find our delicacy, ability to let go, the use of explosive power, the ability to transform strong feeling into a clear form, and always to connect to our passion and the power of our imagination.” – Ohad Naharin

George & Zalman – Ohad Naharin

“[…] I like when other companies in addition to Batsheva perform my work for the reason that when the works are performed they are always in the choreographic process, they constantly evolve and develop, it also enables me to meet many dancers and help them go beyond their familiar limits and help them to write their own narrative in the work.” – Ohad Naharin

IMPASSE – Johan Inger

How do we bridge the gap that grows as we stagnate?

Our world today feels defined by a situation in which no progress seems possible. IMPASSE by Johan Inger illuminates that the baseline of human behavior is rooted in peer pressure and a loss of self, determined by a seduction of unending streams of “newness”. The piece problematizes the ease with which we seem to fall into what others say or do and how we lose the opportunity for fruitful growth in the process. Can we nurture the ability to seriously interrogate the world together, and find the capacity to reimagine it?

The world première of Johan Inger’s Impasse was a wonderful kaleidoscope of images and influences which had a very American feel to it. […] Great stuff.

Arts Talk Magazine about IMPASSE

The dancers on 'Standalone'

Photo: Rahi Rezvani. Dancer: Austin Meiteen.
Photo: Rahi Rezvani. Dancer: Thalia Crymble.
Photo: Rahi Rezvani. Dancer: Mikaela Kelly.
AUSTIN MEITEEN On BLACK MILK:

“Black Milk is driven by effort and the physical brink it brings us to. Our greatest challenge is to find pleasure in the exhaustion it demands. Ohad’s vision, under the guidance of Rachael and Ian, is to strip us to our most natural form, no decoration, only the animals that we are. As the dancers, we are invited to experience the work at all times, and have a personal journey within the form, to find love, fear and distance with our brothers and the space. This work is ritualistic, animalistic, raw, and incredibly human. It is constantly challenging our bodies and minds to find the depths we can allow ourselves to move. I hope you can experience Black Milk as deeply as we do. We are all discovering it together.”

THALIA CRYMBLE OVER GEORGE & ZALMAN:

“Working on George & Zalman by Ohad Naharin is an endless physical research. Each movement is infused with attitude and various textures making it a beautiful challenge to dive into. The whole process has been rewarding; from the repetition we do in the studio to the repetitions we show on stage, his language allows us to never stop exploring. I care about this work a lot so it has been very enjoyable to experience this process.”

MIKAELA KELLY OVER POSTSCRIPT:

“The process for Postscript has been a very special one because it’s given me the freedom to find my own personal interpretation of a role in an existing piece without losing any of the intention or purity of the original 2005 creation. The relationship of this pas de deux feels as though it’s in the present; the tension that arises makes it impossible not to feel the sharp intake of breath. But it seems as if all of these moments must have happened before and are being remembered, and I watch as they all pass through me. So there must also be an exhale,his piece has been extremely gratifying, and exploring a physicality outside of my natural propensities has been a beautiful challenge and one that will remain an ongoing process.”

Photo: Rahi Rezvani. Dancer: Tess Voelker.
TESS VOELKER OVER IMPASSE:

“Like in life, time is telling of one’s character. Johan’s is full, pure, and generous while his work mimics the same. Staying away from the abstract, he’s far more interested in a quality of life that lies in all of us. A quality that tells the familiar sides, both the beautiful and truthful. This allows us as dancers to approach the work from a more personal side rather than a technical one. Exploring nuances of nostalgia to desperation and circumstances of person to people, he reminds me that dance is nothing more than a poetic, universal language that we all choose to speak. With the stage as a canvas, Johan paints his image using brushes of pure physicality and colors of deep emotion. As a dancer, I’m honored to have been a brushstroke within.”

Programme booklet & Music

Programme booklet (NDT 2 | Standalone)

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