Since 1959, NDT has created contemporary dance works that move, surprise, draw you in, or inspire you. We work with both upcoming choreographers and celebrated voices from the world of dance, and are committed to research, collaboration, creation, and talent development.
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The work examines and celebrates life – even when it is not easy to digest. It lets us experience the rich, percussive language of movement Zelner has developed and honed, and offers glimpses into the creation of a new dance style that invites audiences into a daring and delightful world full of wonder.
British-Israeli Hofesh Shechter is one of England’s most acclaimed artists. In 'Clowns', his first creation for NDT 1, Shechter explores the boundary between humour and cruelty. Set to stirring, hypnotic rhythms from music composed by Shechter himself, the dancers depict an explosion of energy, in which playfulness seemingly transforms into fighting and shooting. With 'Clowns', Shechter succeeds in gripping the audience from the very first moment and never letting go.
For his new creation with NDT 2, Ethan Colangelo began with the idea of escapism. Together with scenographer Cristina Nyffeler and composers Hologramme and Ben Waters, he started thinking about how young people these days seek ways to step outside of reality – through nightlife, music, and spaces that feel like alternate universes. That sense of escape became the seed for the work.
'Figures in Extinction [1.0] the list' confronts us with everything disappearing from our planet.
'Figures in Extinction [2.0] but then you come to the humans' is a searing examination of our need for connection in a divided world.
'Figures in Extinction [3.0] requiem' confronts our distance from death and those we’ve lost.
Ekman’s FIT (2018) is a playful and dynamic exploration of what it truly means to 'fit in'—what happens when the pieces of life’s puzzle align, and what unfolds when they don’t.
A pulsating visual and auditory landscape, Folkå takes us on a journey of human sounds, chants, and skin drums, where our feet make the ground move. It presents a ritual for our time, where looking to the past reminds us of our place in the endless cycle of life and we celebrate mankind's relationship to nature.
In 2019, associate choreographer Crystal Pite was one of the creators of the full-evening work Kunstkamer. Now, her poetic quartet from that evening is presented as a stand-alone piece entitled Four Solitudes.
In Horses, Morau invites you to reflect on what it means to survive in our increasingly complex world—one filled with turmoil, transformation, and the paradox that sometimes, losing our way is part of moving forward.
NDT 1 and Sharon Eyal Dance (S-E-D) join forces for this XL-edition of Into the Hairy (2023). Originally created for 7 dancers, the work is now performed by 28 dancers exploring the boundaries of contemporary dance by connecting classical dancing with underground club culture.
For his first NDT 1 creation, Martens will collaborate with a large ensemble of dancers, set to Julia Wolfe’s Pretty and Hanna Kulenty’s GG Concerto, two bold, punk-infused compositions that interact with each other and amplify the movement on stage. KID IN A CANDY SHOP is a celebration of stamina, resistance, brilliance, and rebellion.
What happens to the body when it becomes conditioned by a constant state of anticipation, shaped by the continuous flow of stimuli in contemporary life. The dancers shift between excitement and exhaustion, attention and distraction, repeating unfinished movements with increasing urgency. Their search for intensity gradually dissolves into emptiness. The work invites us to step outside this cycle of stimuli and to consider the possibility that life truly begins to unfold once the noise subsides.
Mist is a a multidisciplinary dance film. It was created in close collaboration between choreographer Damien Jalet, Japanese visual artist Kohei Nawa and videographer Rahi Rezvani. Damien Jalets works are visually stunning, kinetic and thought provoking. Jalet was inspired by the Dutch landscape; fog banks, wind and sea are depicted in the flowing movements of NDT 1 dancers.
Set to a live score composed by Milko Lazar, performed on stage by a quartet, the dancers explore connections and the ease and support they offer, revealing moments of unexpected beauty, subtle humour, and finely detailed movement.
Kylián’s magnificent farewell piece Mémoires d’Oubliettes (2009), was the last work he created for NDT 1. With nostalgic sounds and whispers, this compelling work references Kylián’s signature style and poetic language, full of elusive emotions. It explores the nature of memory, what is forgotten, what remains, and how time influences our perception of reality.
Associate choreographer Jermaine Spivey is renowned for pushing boundaries, challenging both dancers and audiences to experience movement in new ways. His creative process blends structure with spontaneity, using improvisation to spark new, innovative ideas.
Exuding passion and vulnerability, the work unfolds through hypnotic movement, evocative lighting, and the irresistible groove of composer Ori Lichtik. SAABA is another brilliant example of Eyal’s daring choreographic voice, seamlessly transforming classical ballet and contemporary dance into something beyond imagination.
In Sleepless, Kylián explores the conscious and subconscious within us, through complex duets and refined musicality; a celebration of his ability to let the poetry of the body speak.
Set to a score by Tori Amos, the dancers’ bodies move like broken engines in Goecke’s complex and emotionally charged language. The Big Crying celebrates the urge to be alive, even in times of loss, a powerful work.
Set in an ominous, domestic space that slowly distorts, the boundaries between reality and illusion begin to blur. Everyday actions transform into unsettling situations, where the emotional cracks in the characters grow ever more pronounced.
With striking gestures and razor-sharp expressions, the dancers will keep you on the edge of your seat. The Statement is a timely and urgent reminder of what goes on behind closed doors in the halls of power.
In his work Ties Unseen, Christos Papadopoulos delves into our subtle everyday social connections that shape human experiences. It finds its roots in observing the simplicity of shared moments — the unspoken understanding between friends, the unnoticed nods of solidarity among strangers, and the quiet resilience threaded through collective struggles.
Ravel’s famous Boléro has been imbued with a somewhat erotically charged character in the worlds of art, dance, and opera, which inspired Johan Inger to create his own interpretation. This resulted in Walking Mad, a ballet exploring relationships in various forms and circumstances. A rotating wall transforms the space into smaller, ever-shifting rooms, leading to constantly changing situations. Walking Mad is a journey through time, confronting us with universal fears and desires, interwoven with humor and the lightness of existence.
“For me 'Watch Ur Mouth' is something in between darkness and hope. That tough moment in your life where you have a big desire to change, but the only way depends on your ability to use your will power to come up and face the challenges that life is putting you through. The broader focus of your life is to avoid being discouraged by endings, and to see them as an opportunity for new beginnings.
NDT’s associate choreographers Imre van Opstal & Marne van Opstal created a duet especially in honor of the Amare anniversary, set to Journey (CP 1919) by Max Richter. The duet, performed by former NDT dancers Chloé Albaret and Benjamin Behrends, presents a raw and emotional dialogue between dance and music and can only be experienced on this evening.
The work exudes a restless vibration, in which the body is surrendered to intoxicating tremolos, resembling the flutter of butterfly wings. The fast-moving virtuoso dancers effortlessly communicate in Goecke's language, gesticulate in peculiar ways, weave their steps through the music, and let the audience experience a sensation of both attraction and disquiet.
With brilliant composition, our dancers are drawn into an acoustic world, surrendering themselves to the unknown like young lovers. Urgent vibrations ripple through their bodies, capturing a raw tension and vulnerability, while Buckley’s guitar licks act as an accelerating heartbeat.
An immersive dance and sound experience in an intimate space where there is no longer any distance between audience and dancer. In ZŌ, the audience is fully immersed in Naharin’s world, filled with theatricality, multilingual singing, dynamics, and humanity.
