Horses

About the work

"It seems that we live halfway between the animal and the human being, between freedom and control, between intuition and the rational, between what we have learned to show and what we really believe we are. And in the midst of this mourning we look for references, we seek to be unique in the midst of the multitude that crosses the world, we look for a focus that illuminates us, but this light not only tells us that there are many paths, it also shows us the fragility of how we are today: Lost.

And clumsy, lost and trained to survive in an increasingly complex world, our steps mark the path of others, our feet take us from here to there, alone, in packs, at a gallop or at a brisk pace.

Because being lost is also a direction.

Among many things we have something in common with horses: A tough skin that needs strong caresses. Maybe it’s just that."
– Marcos Morau

Credits

Choreography: Marcos Morau
Music: Andrzej Panufnik: 'Arbor Cosmica: IV '. Prestissimo possible, XII. Presto, Tragic Overture, 'Nocturne ': published/licensed by © Boosey & Hawkes, Londen/Albersen Verhuur B.V., ’s-Gravenhage
Caroline Shaw, arranged by Julian Azkoul: 'and the swallow ', recorded version: United Strings of Europe, directed by Julian Azkoul on BIS Records (BIS-2549)
Niels Mudde: 'Basis For Marcos ', text by Marco Morau spoken by Genevieve O’Keeffe.
Niels Duursma: '4 '.
Sound Design by Niels Mudde, Thijs Scheele.
Pauline Oliveros: 'Sound Patterns ', Sony Music publishing
Lighting design: Tom Visser
Set design: Max Glaenzel
Costume design: Silvia Delagneau

NDT rehearsal directors: Francesca Caroti
Music Advisor: Jan Pieter Koch
Duration: 30 minutes
Premiere date: May 24, 2024
Premiere location: Amare, The hague

Original cast

Alexander Andison, Conner Bormann, Pamela Campos, Emmitt Cawley, Casper Mott, Scott Fowler, Genevieve O’Keeffe, Kele Roberson, Theophilus Veselý, Rui-Ting Yu, Zenon Zubyk

This production is co-sponsored by Ammodo Art

Zenon Zubyk on 'Horses'

“In Horses, we play the line between restriction and unmeasured freedom in the body. A delicate balance of responses through reactionary instinct and deliberate decision-making. The spaces between become the essence of the work, influencing both the phrasing of the movement and the creation of distinct, individualized worlds on the stage.

We communicate through subtle queues; the right hand pointing to the light, the left foot tracing an upwards arc, a click of the tongue. Each action motivated by an endless search, unified by the pursuit, though weary of wandering too far.”