After the world premiere of "What the Body Does Not Remember" in 1987, it was only a short time before the stunned the dance world from London to New York. Wim Vandekeybus ´ innovative physical and confrontational movement pattern, commonly called "eurocrash", formed the closest school for many choreographers, and created a new trend among dance artists.
This is a unique opportunity to get up close acquaintance with one of the eighty's most influential and closest to the iconic performances. "What the Body Does Not Remember" is a reconstruction of the original production that constantly played all over the world. The show was called "a brutal and dangerous confrontation between dance and music" when it was awarded the Bessie Award.
Wim Vandekeybus is saying even though "What the Body Does Not Remember":
The intensity of the moment when you don't have any choice, when you no longer even determines, for example, to fall in love, or the moment before an accident occurs: suddenly it's there quite without our being prepared – this is important to me, more for its extremes of the situation than that of the consequences of it. The decision to use this as the base material in my performances are at the very least a paradoxical challenge, if one looks at performing arts as repetitive and controllable. Maybe it's a subtle illusion that the body remembers everything and anything, which helps define and exhausting game. "
This is a unique opportunity to get up close acquaintance with one of the eighty's most influential and closest to the iconic performances. "What the Body Does Not Remember" is a reconstruction of the original production that constantly played all over the world. The show was called "a brutal and dangerous confrontation between dance and music" when it was awarded the Bessie Award.
Wim Vandekeybus is saying even though "What the Body Does Not Remember":
The intensity of the moment when you don't have any choice, when you no longer even determines, for example, to fall in love, or the moment before an accident occurs: suddenly it's there quite without our being prepared – this is important to me, more for its extremes of the situation than that of the consequences of it. The decision to use this as the base material in my performances are at the very least a paradoxical challenge, if one looks at performing arts as repetitive and controllable. Maybe it's a subtle illusion that the body remembers everything and anything, which helps define and exhausting game. "
Cast and Creative Team for What the body does not remember at Dansens hus
Director, choreography and set design: Wim Vandekeybus.
Performed by: Ricardo Ambrozio, Damien Chapelle, Tanja Marín Friðjónsdóttir, Zebastián Marín, The Aymara Parola Méndez, Maria Balazova Kolegova, Livia, Eddie Oroyan, Pavel Masek. Music: Thierry De Mey And Peter Vermeersch.
Choreography Assistant: Eduardo Torroja.
Artistic Assistant: Greet Van Poeck.
Styling: Isabelle Lhoas ASSISTED BY Frédérick Denis.
Light: Francis Gahide/Davy Deschepper. Production: Ultima Vez
Performed by: Ricardo Ambrozio, Damien Chapelle, Tanja Marín Friðjónsdóttir, Zebastián Marín, The Aymara Parola Méndez, Maria Balazova Kolegova, Livia, Eddie Oroyan, Pavel Masek. Music: Thierry De Mey And Peter Vermeersch.
Choreography Assistant: Eduardo Torroja.
Artistic Assistant: Greet Van Poeck.
Styling: Isabelle Lhoas ASSISTED BY Frédérick Denis.
Light: Francis Gahide/Davy Deschepper. Production: Ultima Vez
News About What the body does not remember at Dansens hus
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