Online programmaboek Blast a universe

"It could be an interesting exercise, to trace and to document all the sleepless nights and hours, which we, creators, interpreters, assistants and all involved, have to endure in the course of making a new product, or a so called "Work of Art". These hours and nights will probably be countless….

Imagine, that we all would assign someone to accompany us at any time while we are creating, someone who will precisely measure the time in which we are awake or asleep.

Probably, this exercise would not be very revealing or practical, as I can imagine, that it must be very difficult to determine, to which degree a human beings are conscious or subconscious, awake or asleep, or to which degree they are aware of their activities, or how accountable they are for their actions….

Sleepless is a work for the young dancers of NDT 2. And creating this work was equally challenging and rewarding, (For them as well as for myself). Basically it comes down to the simple fact, that teaching and learning are just the two sides of the same coin. The dialog between generations is always fascinating.…. It brings a certain feeling of "Maturity" to the young ones , and a feeling of ‘’Rejuvenation’’ to the older ones....

The Work of Lucio Fontana, the Argentinean artist, had an indirect influence on my creation of Sleepless - His “Incisions” which he inflicted on his paintings have created a “New Dimension” in the “Two Dimensional” world of painting:

His action of cutting through the canvas, thus declaring, that the canvas is not necessarily the only thing to behold but that there might be something more important lying behind or beyond it, was a revelation and an achievement which left a deep scar in my mind….

Dance is an art form, which totally relies on our physical, emotional, mental and spiritual awareness.

It is totally dependent of the three dimensions which are available to us (until now), and which determine the entire space in which we move, live and exist….

Lucio Fontana took a knife, with which he destroyed the monochrome surface of his paintings.

But his "Kill" gave his paintings a new life….

He gave the two dimensionality of painting a third dimension. He opened the secret door to the "Unknown".... But this was just the beginning…. We will look for other "Dimensions", physical, emotional, philosophical or spiritual, as long as we possess the energy to do so…."

Den Haag, April 2, 2010

"Sleepless is one of Jiří Kylián’s many pieces that as a student, I have learnt about in school, dreaming about dancing one day. Getting to know its world this season has expended my knowledge and imagination regarding how one can transform on stage and dive into this unknown for both them and the audience, not needing to be anything more than they are now, staying true to themselves and allowing the present moment to influence any next step.

The way I see the piece is an honest exploration of oneself. It makes me feel a lot, it has such an incredible intensity and sacredness. When I feel most is when I’m most connected to that moment, when a certain flow state and sharpness is reached. Aurélie gave us images and feelings to play with, such as existing in our bodies in the present moment on stage as being enough, though not knowing if you are really there, if you were there before, feeling traces of yourself and the ones who have been there before you, and having this desperation of what you’ll leave behind. What I love about the piece is that it is bigger than us, its dancers, and often times what I see watching my colleagues dancing is that there’s a certain moment when you stop recognizing if the dancers are dancing the piece or if something else is moving them. We are just there, humans on stage. The feelings it evokes inside are extremely spontaneous and genuine, and different every time. What I have learnt most in this process is that less is always more.

The rehearsal process has been a constant learning experience, maybe the most beautiful one I’ve witnessed. There are things that will forever stay with me: how two people can coexist in the same space, each having its own universe, though when meeting, they become one world, and every touch and partnering is full of truth, delicacy and gentleness. Both my partner, Joan, and I have transformed our perception on what’s possible and learnt to compromise and care about each other more than anything else, and the best answer to all our questions has always been…less. I’m grateful for learning from him and with him. There was something in the way that Aurélie has passed on her knowledge as the original cast of this piece that had such incredible humanity and pureness. We’ve not only learnt steps from her, but also so much on a human level, we shared emotions, frustrations and we found that the only thing that is needed is to be present there and then, embracing all those emotions and being us. She taught me that the stage isn’t a place where you must act all the time, you don’t need to always transform and put on a suit. It’s the place where you can be yourself, and where vulnerability becomes the biggest strength. I am eternally grateful for getting to experience this process and to all the knowledge that has been passed on, that opened the door into Jiří Kylián’s world, making us understand it better and being hungry for more, but also getting the honor of passing it forward. It is a legacy!

I really hope that the piece will make the audience curious, present and will be an opportunity to connect and share what often times is kept inside for too long."

"Being part of Jiří Kylián’s Sleepless has been a magical journey of discovery. It has opened my eyes to a different way of understanding movement and what it means to be present, both as a dancer and as a person.

What I admire most about this process is that everything I’ve learned can be applied to any other choreography. I can truly say that this experience has made a difference in my artistry. I’ve also learned so much from my colleagues, and it has been very special to see how in every rehearsal, everyone brings something special. It’s beautiful to see the growth we’ve experienced together as a group.

Throughout this journey, I’ve also discovered how images, intentions and attention to detail can transform the quality of movement. I’ve also come to understand more deeply the importance of the connection between mind and body, as well as the trust and sensitivity shared with my partner, which are essential to bringing the piece to life.

Working with Aurélie has been an incredible opportunity to get to know Kylián’s world more deeply and to understand the importance of honesty, simplicity, and vulnerability. She has taught me that sometimes the most powerful thing we can do is simply be ourselves and trust the moment.

I feel incredibly grateful and lucky to be part of this experience and to have the opportunity to share such a meaningful piece with the audience."

“Wie de werken van Marco Goecke kent, weet dat ze altijd met hemzelf te maken hebben en met de tijd waarin ze zijn gemaakt. Misschien is The Big Crying wel zijn meest persoonlijke werk, waaraan hij begon in de herfst van 2020, kort na de dood van zijn vader. Het is een stuk over afscheid en over alles wat we moeten achterlaten, zegt de choreograaf, sprekend over lichamen als kapotte motoren en over kostuums die lijken op de gordijnen van een lijkwagen. Het is niet verwonderlijk dat zijn muziekkeuze een Death Lullaby omvat; Blood Roses van de Amerikaanse zangeres Tori Amos, wier muziek – soms verwarrend en met niet altijd begrijpelijke poëzie die heel dicht bij de dans van Goecke ligt – een schot in de roos is. Dat dit stuk niettemin gepaard gaat met de enorm vurige kracht van een heel gezelschap, negentien uitmuntende dansers, is misschien te wijten aan het feit dat ondanks alle vergankelijkheid, de dans en de choreografie de vreugde van het leven en levensdrift vieren.”
- Nadja Kadel