Both the American and the French choreographer began their careers in the s and are considered two of the most influential artists of their generation. In the work of these year-olds, dance history resonates — memories intertwine with imagination. In steal you for a momentMeg Stuart continues her collaboration with Francisco Camacho. The Portuguese performer danced in her first piece, and in she created the solo BLESSED for him, a work that dealt with the climate crisis. According to the program Zaal Huren Voor Verjaardag Feest Amsterdam, the starting point for this duet was the Nuragic ruins in Sardinia — mysterious remnants of a vanished culture. However, none of this is visible on stage. Instead, objects made of plywood are scattered across the Radialsystem stage. What unfolds is a continual process of reconfiguration: the artifacts are shifted and rearranged. His body takes on the appearance of a fragile construct, and soon enough, the precarious little tower collapses. Amidst scenes of quiet humor, there are also tender moments. Despite the theme of impermanence, the dancers find solace in their friendship. Stuart and Camacho work together seamlessly. His angular movements give him the appearance of a comic book character at times, while her silver mane and melancholy air evoke the image of a sorrowful clown. When Camacho offers her a miniature pyramid as though it were a precious gift, she gazes at him, bewildered. The two play with their little forms like children in a sandbox, waving papyrus reeds, communicating in a secret sign language, and navigating through emotional landscapes. They are outstanding performers, but by the end, the duet loses its focus and veers into overly personal territory. The choreographers and dancers Meg Stuart and Francisco Camacho lose themselves performatively in their friendship in steal you for a moment. Inspiration is fleeting - it can be found everywhere, but its traces are lost. Choreographers and dancers Meg Stuart and Francisco Camacho sought inspiration for their creation steal you for a moment in Sardinia. The stone towers of the Bronze Age Nuragic culture reign there, mighty statues guarding gigantic tombs, with design elements such as spiral shapes. A pendulum hangs from the ceiling, sand is piled up and grasses are stuck to the back wall like a scrapbook. In this scenario, Stuart and Camacho — who met 35 years ago in New York, have been friends ever since and have worked together time and again — unearth emotional artifacts as if they were archaeological treasures. What is the artistic result of a friendship? How can we effectively present our private relationship on stage for others? There are no clear answers, steal you for a moment remains closed to us. At first, the US-American, who has lived in Berlin for 20 years, and the Portuguese, who runs a production house in Lisbon, perform without touching — sitting stiffly next to each other, toppling over like mannequins. Later, there is a comic duet of gestures and vocalizations, and Meg Stuart, who is a great comedian, scolds Camacho, who kindly hands her a pyramid as a gift. She excels at unexpected, surprising movements — as she carries in her body the result of decades of improvisation and exchange with other artists. Her movements are soft, not quite as elastic as they used to be, but lightning fast. When Camacho brings her a pile of sand, she looks stern, then suddenly turns one of the hollow forms around, transforming it from a sculpture to a sand mold. He is always on stage himself, building landscapes out of wooden figurines or projecting a laser grid across the action, which creates a maze of green lines that slowly tilts to one side. At some point, Meg Stuart briefly makes contact with the audience, not all of whom stay until the end. You can Zaal Huren Voor Verjaardag Feest Amsterdam from the laughter how grateful everyone is for this moment that breaks through the devout contemplation of art. In the end, Zaal Huren Voor Verjaardag Feest Amsterdam Stuart and Camacho lie on their backs and send an intimate dialogue into the room - I was in love with you when we first met, she says; this is how friendship can begin, he replies - the audience is once again left out. They can compare their own ideas of intimacy and mutual success with a performance in which two exceptional artists have remained completely wrapped up in themselves and away from us. This might be because so little is known about the prehistoric culture of the Mediterranean—today, we mostly know about the Nuragic tower structures built around BC on Sardinia, though their exact function remains a mystery. In this way, the reference makes sense: it is only through architectural remnants that we can glean anything about that ancient culture. Vanishing lines are drawn on the floor and walls, a pendulum swings from the ceiling, and mounds of sand give rise to small pyramids shaped using wooden templates. The choreographers offer no explanations, instead maintaining a deliberate restraint. They step onto the stage quietly, without fanfare, moving slowly into the space, whimpering, slurring their speech. Gradually, recognizable movement patterns emerge: the swinging of arms echoes the motion of the pendulum, an outstretched leg aligns with the vanishing lines on the wall. Throughout the performance, electronic sounds hum through the space, like erratically tuned radio waves. You catch fleeting snatches of meaning—a brief melody, a fragment of dialogue—only for it to vanish just as quickly.
Dat zijn er net iets te veel. Samen met een groep bouwers, muzikanten, performers en dichters bouwen ze aan een wereld tussen nacht en dag, tijdelijkheid en toekomst, zichtbaarheid en onzichtbaarheid. Stuart listens to the sounds, and Weiss and Carvalho also react to Stuart's dance — it is a constant communication. They move slowly, excruciatingly slowly most of the time, sinking in the water, toppling, head over heels, drifting. This can happen stealthily, in deceptive serenity, or in the form of violent eruptions. Zo ontstaat een infini: een vluchtend perspectief dat een eindeloos diepe ruimte suggereert.
FOTOS VON UNSEREN LUXUS-LEUCHTBUCHSTABEN VOR ORT
geleverd. op mijn verjaardag, ging het officieel open. Er was geen ruimte om na het rijden wat te drinken. De manege was in die tijd alleen bedoeld om paard te rijden. Alles wordt met kabels etc. Dan hebben wij de perfecte oplossing voor u! Verjaardag, Verjaardagsfeest, Buurtfeest, Straatfeest, Communie, Speakers huren zaal of Café met +/man aan. Er waren twee stallen voor 17 en 12 paarden. Ik was inder- daad nog jong, maar had al veel werkervaring opgedaan in Hotel Eindhoven waar ik. evenement, feest of presentatie? Wij bieden de verhuur van de Electro-Voice EKX 12P actieve speakerset met de.Moeten er wel pintjes zijn? Dat eresaluut hadden ze wel verdiend. The piece oscillates between lively dancing and self-contained movements. Je zou daarom kunnen beweren dat de scenograaf altijd de echte regisseur is van een voorstelling, al wordt dat zelden of nooit erkend. The water makes you lose control. Als je in de AB of in de Botanique wilt optreden, moet je een heel profiel hebben. Ik zou die denkwijze ooit wel eens willen uittesten in een groot huis. Tegenover die grote huizen stellen jullie een nieuw soort energie. Leider sind wir nie lange genug vor Ort, um das Endergebnis zu sehen. When Camacho offers her a miniature pyramid as though it were a precious gift, she gazes at him, bewildered. De aanleg was nogal kostbaar en werd bekostigd uit vrijwillige bijdragen van de leden. Ze vraagt het publiek te doen wat we ook als samenleving moeten doen: met alles wat ons rest plus onze vrijgevochten verbeelding een nieuwe werkelijkheid puzzelen. Overal vonden de heeren sympathie g voor hunne plannen. In her book "Using the Sky: A Dance" Deborah Hay, one of the most important actors of the experimental Judson Dance Theater in the 60s in New York, describes the perception of time and space and how it is visualized in the body. Van de ene droom in de andere. Het is er ci om te doen eene verbinding te krijgen, , die, wat betreft de plaatselijke ligging, het midden houdt tusschen de door de stad Aken voorgestelde en die van Krefeld. De meeste mensen die bij Decoratelier werken maakten nog nooit een creatie mee. Thanks to the QR-code the state gives to the double vaccinated and that is scanned by the theater crew at the entrance, we can assume this room is a safe space, pandemically speaking at least. Dat zie je bij grote instituten, hoe meer mensen je in dienst neemt, hoe verder die van het verhaal komen te staan. Deshalb ist es immer ein Vergnügen, wenn wir Bilder erhalten, um sie in ihrer ganzen Pracht mit Luftballons, Blumen und allen Lichteffekten um sie herum zu sehen. The stage reflects this — it's white, bright, and open, with various small objects made of chipboard or sand piles that have been pressed into molds, forming geometric shapes. Forming a collective, an "ecosystem", does not allow one to escape the forces at work. All the Way Around began as a duet between the two, and you can feel their complicity. En ik voel me sterker als we dat samen kunnen doen. But it rather seems like we have collectively ended up in a sci-fi movie, where even hugs and giving hands have lost the everyday innocence they once had. The more so as «Waterworks» is inspired by an almost uncanny aesthetics: drops of water glittering on the skin, dust swirling up, scarves floating through the water, and sequins reflecting the light.
