Benieuwd naar de programmering van seizoen 2024-2025?
Na een succesvolle eerste editie van het bijzondere project Crossings stond ook dit jaar de eerste week van juni in het teken van ontmoeten en verbinden. Met 25 jonge deelnemers uit alle windstreken is er intensief gewerkt om samen een performance te maken met de Grote Kerk in Veere als decor.
Geacht publiek,
Welkom bij In/with/in. NDT 1 danst twee wereldpremières, waarin internationale makers ons nieuwe seizoen inluiden met hun uiteenlopende artistieke ideeën.
Wat gebeurt er als meerdere, aanvankelijk ongerelateerde gebeurtenissen botsen? Hoe overlappen ze elkaar als één ademend geheel? Imre van Opstal & Marne van Opstal onderzoeken het idee van synchroniciteit in hun nieuwe werk. The Point Being is gemaakt in nauwe samenwerking met de bekende Nederlandse ontwerper Lonneke Gordijn en DRIFT. In deze multidisciplinaire creatie genereren choreografie, scenografie en muziek zowel frictie als harmonie.
Een nieuwe stem bij NDT: deze avond introduceert choreograaf en oprichter van het veelgeprezen TAO Dance Theater, Tao Ye, met zijn wereldpremière 15. Tao Ye werkt in numerieke vorm, waarmee dit zijn vijftiende creatie is en zijn eerste werk voor een gezelschap buiten Azië. Voor Tao Ye is het lichaam de meest betekenisvolle interpretatie van het begrip moderniteit. Het leidende principe in dit werk is de handeling van herhaling, dat ontplooit tot iets dat puur en minimalistisch is.
I love you, ghosts (2022) van Marco Goecke was de eerste creatie van de choreograaf in het toen net geopende Amare. Onder de indruk van het imposante nieuwe gebouw, riep het tegelijkertijd herinneringen op aan de oude studio’s van het Lucent Danstheater, en de indrukken die na de sloop van dat theater zijn achtergebleven.
Het was een eer en een genoegen om dit programma te maken. Veel dank gaat uit naar Imre, Marne, Lonneke, DRIFT, Marco, Tao Ye, Duan Ni, Jun Jun, Qiqi en de fantastische medewerkers, dansers, en aan het NDT-team voor hun inzet en passie bij het realiseren van deze bijzondere avond.
Veel plezier!
Emily Molnar
Artistiek directeur
DRAMATURG
Nadja Kadel
MUZIEK
Harry Belafonte: Try To Remember, Danny Boy. Sony Music Entertainment and Warner Cappell Music.
Alberto Ginastera: Concerto per Corde, Opus 33: IV, finale furioso (for strings). Licensed by Chandos and © Boosey & Hawkes, Londen / Albersen Verhuur B.V., ’s-Gravenhage.
Mieczyslaw Weinberg: Chamber Symphony No. 2 op. 147: I. Allegro molto. Performed by Gidon Kremer (Principal Violin), Andrei Pushkarev (Timpani) & Kremerata Baltica. Used by arrangement with ECM Records. Licensed by © Peer Music Classical GmbH, Hamburg / Albersen Verhuur B.V., ’s-Gravenhage.
Einojuhani Rautavaara: An epitaph for Bela Bartok (for strings). Licensed by Ondine and © Fennica Gehrman, Helsinki / Albersen Verhuur B.V., ’s-Gravenhage.
LICHT
Udo Haberland
DECOR & KOSTUUMS
Marco Goecke
NDT REHEARSAL DIRECTOR
Francesca Caroti
WERELDPREMIÈRE
3 februari 2022, Amare Den Haag
DUUR
28 minuten
Alexander Andison, Pamela Campos, Thalia Crymble, Chuck Jones, Madoka Kariya, Charlie Skuy, Yukino Takaura, Luca Tessarini, Theophilus Veselý
“It is Marco Goecke’s eleventh creation for Nederlands Dans Theater, but the first in the recently opened Amare. There is a new smell in the huge building, heavy doors connect the countless rooms with the long corridors, and construction pits are still being filled in here and there. Impressed, you look into the light-flooded studios on the second floor and of course, at the same moment, you remember the old rehearsal rooms in the Lucent Danstheater, the familiar dark Studio 5 in the basement that had no windows, the many impressions that remain even after the demolition. What may have happened to the good house spirits? Have they also moved to the new building? Nine dancers go in search of them with Marco Goecke. “Try to remember”, sings Harry Belafonte. The dancers move to this song at a rapid pace, using Goecke’s language of movement to track down not only the dark and unknown, but also many memories: familiar gestures that are evoked from earlier spaces and earlier pieces, like protective ghosts.
One dancer brings another one to the front of the room, carefully grasps her wrists. “Somebody plays you,” Goecke says to her in a rehearsal. And later to another dancer: “It’s a bit like what is said in Das Geisterhaus: ‘Don’t touch her, she’s dead'”. Like when Goecke conjures up ghosts. And when the dancers whisper something that sounds like “I love you…”, you are no longer sure whether they are quoting the phrase “I love you so” from Belafonte’s Danny Boy or whether they are saying “I love you, ghosts” in order to connect with the invisible.”
– Nadja Kadel
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“It is nice to revisit I love you, ghosts a year and half from the creation time. Since I last danced this piece, I can feel that the way I think, what is important to me and my curiosity has somewhat shifted.
We went through 5 new programs in the meantime and entered in many different creator’s worlds. I would like to think that we have also grown through the journey a little bit more!
For example, before I was very particular on dancing specific steps in a certain way. That felt very essential to me.
However, now my mind has shifted and for some of those steps, I am more open to dance them differently. Of course, some steps really important to me have not changed since.
I like the feeling of that subtle change in me and I like seeing the changes in the other dancers too.
To me, this Ghost is not scary but instead welcomes us with a big warm heart.
The identity of the piece is so strong that the Ghost invites us to explore more in the studio and on stage.”
“Ghosts connect me to time. They bring my past to life. They appear in many forms: memories, feelings, and fears. With their hauntings, they protect me and hold me close to those I no longer have at physical reach. I love you, ghosts is an ode to the wildest recollections that we follow and that follow us our whole lives. Throughout this work, translucent figures appear at every turn, summoning glowing realizations. We chase spirits, searching for answers. They chase us when we run from what we cannot avoid. On this stage, we engage with the most peculiar aspects of our consciousness. Here, we celebrate all that mystifies us.”
CHOREOGRAFIE
Imre van Opstal, Marne van Opstal
MUZIEK
New composition by Amos Ben-Tal
@offprojects
LICHT
Tom Visser
DECOR
DRIFT
KOSTUUMS
Imre van Opstal, Marne van Opstal in collaboration with the costume atelier
NDT REHEARSAL DIRECTOR
Tamako Akiyama
WERELDPREMIÈRE
21 september 2023, Amare Den Haag
DUUR
30 minuten
Anna Bekirova, Conner Bormann, Thalia Crymble, Scott Fowler, Barry Gans, Nicole Ishimaru, Kele Roberson, Yukino Takaura, Luca Tessarini
“Wat gebeurt er als meerdere, aanvankelijk ongerelateerde gebeurtenissen botsen? Hoe overlappen ze elkaar als één ademend geheel dat steeds nieuwe vormen aanneemt? In The Point Being onderzoeken choreografen Imre van Opstal & Marne van Opstal het idee van synchroniciteit: het ogenschijnlijk vluchtend moment waarin alles lijkt te kloppen. Met een multidisciplinaire aanpak, waarin zowel de choreografie, scenografie en muziek beide frictie en harmonie moeten opleveren.
Het werk is gecreëerd in nauwe samenwerking met Nederlandse ontwerper Lonneke Gordijn en DRIFT, begeleid door muziek van Amos Ben-Tal (@Offprojects) en lichtontwerp van Tom Visser. Met als hoeksteen de nauwe samenwerking met de NDT 1-dansers, hopen Imre en Marne bezieling te geven aan abstracte ruimte en de visualisatie van synchroniciteit. Hoe maken we het onzichtbare, zichtbaar? We nodigen je uit in deze visuele verbinding waarin we proberen de tijd even te stoppen in een wereld die continu aan het moment lijkt te ontvluchten.”
– Imre van Opstal & Marne van Opstal
“Synchronicity – this was the initial prompt Imre and Marne introduced on our first day in the studio. We were tasked to, in accordance with this definition, research and create meaningful coincidences or contradictions, in the body and with one another – fleeting unions that come and go, from few to many.
This was physically contextualized over the course of the process in many ways. What became especially vital over these weeks was the realisation of synchronicity as a conduit for diversity – of an opportunity to bring together, the feeding into a common goal or shared environment.
To further this concept, the collaboration with the Amsterdam-based DRIFT – proved to also be synchronous in its own right. Their contributions have been crucial, both in igniting our imaginations and expanding the possibilities of our creative world.
Hopefully, as dancers and audiences alike, we are left to reflect upon each ecosystem we find ourselves in and every perfect happenstance we encounter. Perhaps we even take a moment to acknowledge that our importance to one another is not only apparent, but poignant – not simply causal, but cosmic.”
“Hearing how in depth the conversations between DRIFT, Imre, and Marne were prior to the start of the process, an exciting momentum was created to see how we, as dancers could aid in the discovery of synchronicity in a live performance. In the midst of a strong marriage of many moving parts – the set, music, movement – a singular voice and collective identity emerged from the mist. The beauty of this creation was in the day to day – tasked with different states of being and finding complexity within simplicity, ‘The point being’ became a resonant question we were looking to understand and the strength of connection became our most valuable tool. When it is something you find in relationship to your environment, there’s a euphoric essence that permeates your entire being – that exact moment of presence, where we feel one another shifting through time, simultaneously. In this discovery, we find ourselves on the brink of what it really means to encapsulate these moments.”
ASSISTENTEN VAN DE CHOREOGRAAF
Huang Qiqi, Duan Ni
MUZIEK
New composition by Xiao He
LICHT
Ellen Ruge
DECOR
Tao Ye
KOSTUUMS
Duan Ni
PROJECT MANAGER & VERTALER TAO DANCE THEATER
Jun Jun
NDT REHEARSAL DIRECTOR
Francesca Caroti, Emily Molnar
WERELDPREMIÈRE
21 september 2023, Amare Den Haag
DUUR
25 minuten
Alexander Andison, Fay van Baar, Jon Bond, Pamela Campos, Emmitt Cawley, Matthew Foley, Surimu Fukushi, Chuck Jones, Madoka Kariya, Genevieve O’Keeffe, Paxton Ricketts, Theophilus Veselý, Nicole Ward, Sophie Whittome, Zenon Zubyk
In August 2023, choreographer Tao Ye was invited by Nederlands Dans Theater (NDT) to create a new work 15 for fifteen dancers of NDT 1. This is the first time that Tao Ye collaborates with a European dance company. Tao Ye created three extremely challenging acts of this work using the movement concepts of group drift, dynamic flow and space shuttle to develop the work to different extremes.
Tao Ye believes that triangles have the characteristics of solidity, structure and mathematics. In 15, he combined the imaginative space of Eastern and Western dance, making random and logic co-existing. He also tried to explore a new kind of body vocabulary based on his body technique – Circular Movement System.
One important concept of this work is about the changes and richness of rhythm. Based on this, Tao Ye developed three kinds of live sound – dancers’ slaps, falls and vocals. Meanwhile, combining with the dynamic textures of the dancers’ turning, twisting, spiraling and folding, he hoped to share the experiences and feelings of relaxation, hardness, consumption, regeneration, concentration and meditation.
数位系列《15》
2023年8月，编舞陶冶受邀荷兰舞蹈剧场（NDT）为1团15位舞者创编新作品《15》，这是数位系列首次与欧洲舞团合作，陶冶以三角阵列的方式为NDT舞者创排了三个极具挑战性的舞段，分别以群体漂移、动态流动、空间穿梭的运动概念让作品层层递进，推进极致。
陶冶认为，三角形具有坚固、结构与数理性的特点，此次创作结合了东西方在舞动上的想象空间，使写意与逻辑共生，试图在陶身体圆运动体系的基础上，探索出一种全新的身体语言。
作品整体聚焦在节奏的变化和其丰富性，由此，陶冶发展出了拍击、坠落、人声三种现场的物理声场，同时，结合舞者们拐、拧、曲、折的动势质感，传达出松弛与坚硬、消耗与再生、专注与冥想的深邃体验。
“The work of 15 is an experience of the seven senses: sight, hearing, touch, taste, smell, awareness and time. Through this process, we have continuously dived deeper into the connection of these senses and to the connection of each other. 15 depends on the connection and presence of each and everyone involved to take the work to a place that is more than just movement on stage. Personally, the question I am most interested in is the one of what is happening during this moment on stage: A game of mental, physical and psychological stamina or a complete surrender into the trance of inertia and never ending flow of energy. It is both, but the experiential and transformative feedback while performing the work and how it evolves in and under the skin, in the air around and between us, and the depletion and regeneration of energy is what I hope the audience can hope to witness and experience as well.”
“15 by Tao Ye has been a unique challenge for a multitude of reasons. In addition to having language and cultural differences, the piece itself is one of the most physically and mentally demanding pieces I’ve done in my twelve year dance career with NDT. 15 requires multiple physical and mental states. These include meditation, fortitude, body awareness, and total relaxation of the body. Despite these demands and difficulties, I am incredibly proud of all the work done by my colleagues and I hope that the audience will enjoy our efforts.”
“Like a pendulum that could swing infinitely, we are tasked with listening to the inertia created through the weight of our body’s in motion. From the first days of sinking into this new language I was intrigued by the prospect of this highly physical endeavour merging seamlessly with a repetitive meditative state of being. I could see how the cyclical nature of the movements, the articulation through our individual bodies and our synchronicity could produce a hypnotic world.
We have been challenged with a language that at times felt very foreign to us and one of my favourite parts of this process has been seeing all of us rise to the occasion. Thinking back to the early weeks, with the amount of new information we were devouring, I remember feeling so overwhelmed which at times made it hard to believe we would one day be able to digest it all. Then day after day I could feel the language seeping into everyone’s bodies and “small wins” arising, whether it was finally remembering a sequence of steps or our bodies trusting the weight/relaxation required to inhabit the movements. Looking at where we are now and entering our final layer of the process I feel an immense sense of pride in the deep understanding we have all cultivated in relation to the elements required in this world.”
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