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T H E D U T C H O N T O U R - Theater Instituut Nederland

THE DUTCH ON TOUR Drama and (youth ) dance


Drama and

The Dutch on tour

(youth) dance


Index

5 Foreword

6 Dance

12 Andrea Bozic

14 André Gingras

16 anoukvandijk dc

18 Bollwerk

20 Bruno Listopad

22 Club Guy & Roni

24 Conny Janssen Danst

26 Dance Works Rotterdam

28 Dansgroep Krisztina de Châtel

30 Dansity Amsterdam

32 Emio Greco | PC

34 Het Nationale Ballet

36 Introdans

38 Leine & Roebana

40 Lisa

42 Nanine Linning

44 Nederlands Dans Theater

46 NND/Galili Dance

48 Scapino Ballet

50 T.r.a.s.h.

52 Production houses: : Dansateliers,

Danshuis Station Zuid, DansWerkplaats

Amsterdam, Korzo producties

108 Colophon

56 Youth dance

58 Danstheater AYA

60 David Middendorp

62 De Stilte

64 Introdans Ensemble voor de Jeugd

66 ISH

68 Jeugddanstheater Plankenkoorts

70 Meekers Uitgesproken Dans

72 Merkx & Dansers

74 Drama

80 Dood Paard

82 Female Economy Foundation

84 MC

86 Nieuw West

88 Noord Nederlands Toneel

90 Onafhankelijk Toneel/Opera O.T.

(music theatre)

92 Orkater (music theatre)

94 PIPS:lab

96 RO Theater

98 Theater Rast

100 Toneelgroep Amsterdam

102 Toneelgroep Oostpool

104 Veenfabriek (music theatre)

106 Wunderbaum

The Dutch on tour Index


Foreword

Dear Reader,

Dutch drama and dance are popular in other countries. This is not only true of the big names,

such as Nederlands Dans Theater or Johan Simons and Ivo van Hove, but also of the smaller

companies and theatre-makers from the new generation. The Dutch tradition in diversity and

small-scale theatre goes back for decades. This applies to all disciplines, aimed at both adults

and young people: drama, dance, expressive theatre, site-specific theatre and so on.

Theater Instituut Nederland (TIN) has an equally long tradition in promoting Dutch theatre

at home in the Netherlands and abroad. It is our job to keep the international theatre world

up-to-date on developments in the Netherlands by means of publications, DVDs, our website,

electronic newsletters, the international visitors’ programme and showcases.

This edition of The Dutch on tour (with accompanying DVD) is a good example of how we work.

In compiling this publication, we made a very conscious selection: the companies mentioned

(and their productions) all have international experience or international ambition that we are

keen to support. They are companies that have already made an impression, or are set to make

one, on the international stage. In the first book we focused on physical, site-specific, object

and youth theatre, in this book the focus lies on drama and (youth) dance.

This publication is designed to provide information and hopefully stimulate (budding) enthusiasm.

The next step is to see a live performance for yourself, get to know the companies and

the makers or find out more about the possibility of programming Dutch theatre and dance on

your podium or at your festival. Please do not hesitate to contact my colleagues at the Theater

Instituut Nederland. We are here to provide information and facilities, including for international

collaboration opportunities. And we are very happy to do this.

Henk Scholten

Director Theater Instituut Nederland

The Dutch on tour Foreword


Dutch choreographers

lead audiences a merry

dance

In recent years, Dutch dance has been given every opportunity to develop to its full potential. Nederlands

Dans Theater and Emio Greco | PC are among the companies that have earned themselves

high-ranking positions on the international dance scene. Dutch companies and choreographers

increasingly reflect these developments in the dance world by performing on international stages and

at foreign festivals or by working with dance artists from other countries. So what sets Dutch dance

apart from the rest? What inspires Dutch choreographers to develop their talents in the field of dance?

Het Nationale Ballet paid tribute to choreographer Hans van Manen on his 75th birthday in 2007

by organizing a large-scale Hans van Manen festival, featuring highlights from not only his own

work with Het Nationale Ballet, but also that of other internationally renowned companies. The

company presented a number of traditional classics such as Romeo & Julia, Coppelia and The

Sleeping Beauty. But young talent from Het Nationale Ballet’s own stable was also given a chance.

More and more frequently, repertoire companies such as Scapino Ballet Rotterdam, Dansgroep

Krisztina de Châtel, Introdans and Galili Dance invite young dance-makers to create work for

them. The trend seems to be gaining momentum. Nederlands Dans Theater also presents

choreographies devised by budding talent incorporated into work by experienced makers such

as Jiří Kylián or Lightfoot Léon. These days, developing talent is high on the agenda of many

well-established companies.

This theme, which has crept gradually to the forefront, partly inspired the current variety in

Dutch dance. The traditional search for an individual movement idiom, which dominated Dutch

dancing for many years, has faded into the background. Dance is a perfect medium for working

together and experimenting with other disciplines. Music and expressive art are inextricably

intertwined with the development of the art of dance. But script has also become a must in the

performances of many choreographers, whether spoken or projected onto a video screen.

The Dutch on tour (Youth) dance


Current affairs feature more prominently on the dance stage. Alongside universal themes such

as human motivation, love and death, global developments and trends in image and popular

culture are also translated into dance productions. Science appears to form an eternal source

of inspiration for Dutch choreographers. They organize workshops, interview scientists or invite

them to the studio in preparation for a creative process. The relationship between dance and

music still works like a magnet to choreographers. Many dance-makers have a great liking for

working with live musicians on stage.

But the audiences have probably been given the biggest role in today’s dance world. It is striking

how important spectators have become. This is an area in which Dutch dance-makers do

not shy away from their relationship with the audience. Some choreographers try to get into

the minds of the public, while others place the audience on the set or invite members of the

public to take part. Dancers make witty comments or seduce the audience into self-reflection by

means of subtle insinuations. Whatever choreographers decide in this respect, the fact remains

that the aloof image of Dutch dance has been shaken off and many makers now aspire to direct

contact with their audience.

Audiences in the spotlight

In their production Theriak, Leine & Roebana invite members of the audience to take part in a

mini-choreography featuring the basic principles of time, space and movement. The makers

have moved away from pure, abstract dancing in favour of incorporating more emotion into

their work. They created Theriak, a production about human powerlessness, together with the

harpist Lavinia Meijer. A courageous combination in which the normally sweet sounds of the

instrument made way for experiments with music styles and a screwdriver.

At the beginning of the production Poetic Disasters by Club Guy & Roni, a dancer addresses the

audience, sketching various situations designed to make them fear the worst. Choreographers

Weizman and Haver used this chaos theory as the basis for a production in which they tried

to capture chaos and disaster in the form of poetry. The fact that the promises made by the

narrator are not kept is of a lower order; the audience has been primed.

Up-and-coming talent Pere Faura has made two refreshing productions; This is a picture of a

person I don’t know and Striptease, in which he cleverly and wittily dismembers the conditions

and codes of performance. He too leads the audience a merry dance. He secretly films their

reactions, which are then enlarged and analyzed in detail.

For many years, Keren Levi has been creating highly physical productions in which she explores

the relationship with her audiences. Her production Territory (2004) was awarded the BNG Prize.

She used her prize money to produce this season’s The Prize Piece, which is about the painful

ambiguity of living in a world without room for doubt. Levi uses this quandary to play with her

audience, whom she forces to make choices such as at the end of the performance when the

performers sing, leaving no time left for applause. Should they leave the auditorium or should

they stay?

This direct approach is typical of the Dutch dance world. Makers including André Gingras, Anouk

van Dijk and Dylan Newcomb also enjoy experimenting with this aspect.

Audience perception is at the crux of the powerful statement made by Ivana Müller (Lisa) in the

production While We Were Holding It Together. With the exception of a few sporadic changes of

attitude and positioning during the black-outs, the performers maintain their stance for almost

the entire performance. In this tableau vivant, they tell snippets of stories which, when repeated

and linked to other fragments or put into another context, take on a whole new meaning. But

the audience has to keep asking itself what is going on. Despite the lack of movement on stage,

all kinds of scenarios race through their minds. The sounds echoing around the auditorium

remind them of other places. And the action is so palpable that after a while, it is difficult to

believe that no-one has actually moved.

Müller trained at the School for New Dance Development in Amsterdam, which has also been

home to many an interesting newcomer on the dance scene, including Pere Faura. These

makers explore the boundaries of dance, often by commenting on the art of dance itself. For

example, Andrea Bozic used the film Blow-Up by Michelangelo Antonioni as the starting point

for Still Life With Man And Woman, in which she ingeniously intertwines video footage with live

performance. In her production, repetition (in this case repetition of movement fragments) is

one of the pillars of her narrative. Bozic allows her audience to analyze the medium of performance

from the film perspective.

Sometimes the vagueness of the boundaries between various forms of theatre makes it impossible

to classify the makers into any one category. This is why Andrea Bozic and the collective

Lisa appear in part I of The Dutch on tour under movement theatre, and in part II under dance.

Intensity of movement

Bruno Listopad is a dance-maker who allows himself to be influenced by theoretical concepts.

He explores ways of enhancing the intensity of the performance. Listopad craves authenticity

on stage; the dancers’ movements must be inherent to their inner drive, uniting thought and


The Dutch on tour (Youth) dance

The Dutch on tour (Youth) dance


action like the brush marks of an artist on the canvas. In the production erva daninha (which is

Portuguese for weeds), Listopad demonstrates the invincible and tenacious power of art which,

like weeds, refuses to be halted or restricted in its development.

Enhancing performance intensity is a subject that intrigues many dance-makers. Club Guy &

Roni’s work is also characterized by powerful, compelling dancing.

Ann Van den Broek developed a movement language that emphasizes the intensity of movement.

Her productions revolve around the psychological processes that drive human motivation

and instincts. Her performance Co(te)lette (2007) is about women’s urge and hunger for physical

and mental satisfaction. An insatiable hunger, emanating from sexual desire or ambition,

discharges from the bodies of the three dancers who shiver and shake with no prospect of relief.

Following on from Bacon, Nanine Linning examined the instincts, urges and emotions of

mankind. In Cry Love, the audience was led to their seats through the scenery, ducking between

dancers hanging up by their feet. The struggle facing mankind was depicted through a haze of

video images projected onto a transparent screen.

In The Autopsy Project, André Gingras uses powerful imagery and movement to show how control

of the human body manifests itself in both science and day-to-day life. An anatomical study

on the dissection table, spectacular leaps from scaffolding and stills of naked bodies randomly

distributed among the scenery as if in the aftermath of a bomb, illustrate his point of view.

But control of the body is most evident in the dynamic, seemingly nonchalant dance scenes

performed with impressive virtuosity.

Dance for young audiences

Alongside all this talent, the Netherlands also boasts a number of companies that create work

specifically for children and the youth. These companies are immensely popular and hardly

able to meet the current demand for youth productions in the Netherlands, as well as in other

countries where a lively interest in Dutch youth dance is emerging.

Introdans Ensemble voor de Jeugd has acquired a unique position in the youth dance sector

by bringing choreography from the traditional Dutch treasure trove to the attention of young

audiences. The company’s repertoire includes modern ballets specially created for children and

young people and choreography originally intended for adults. This season for example, the

Vanmanenmix programme was performed as a tribute to the ‘grand master’ Hans van Manen to

mark his 75th birthday. Artistic director Roel Voorintholt also commissions young dance-makers

to create the choreography for his shows.

Apart from this repertoire company, which also produces shows for adult audiences together

with another ensemble, the Netherlands lays claim to several highly motivated choreographers

who have been creating productions for children and young people for many years. The themes

their productions touch upon are often shaped by combining dance with script, song or live

music.

Meekers Uitgesproken Dans creates dance theatre in which funny, theatrical ideas give rise to unexpected

scenes. Arthur Rosenfeld’s Timboektoe Trios/Timbuktu Trios (8+) is actually an amusing

commentary on human relationships and amazement at the unknown. How do people pass the

time in a spaceship that has already spent centuries trying to bridge light years? How do aliens

from outer space react to finding a confused earthling on their planet? Poedelprijs/Poodle prize

(8+) is about competition, and for the production Murph! (4+), based on Murphy’s law, Rosenfeld

joined forces with the young dance-maker David Middendorp.

Choreographer Wies Bloemen from Danstheater AYA approaches the youth in a very direct

way, using a mixture of dance styles and acting. Honesty and humour are the tools she uses in

her work to address universal themes. She often relies on the personal experiences of the cast.

Pleasure and shame in a multicultural society form the starting point for Bronstsluier/Rutted Veil,

and Hartstocht/Passion (14+) revolves around the choice between life and love.

The productions created by Marco Gerris and his company ISH also tie in well with the world in

which children live. This young theatre-maker draws inspiration from the street and nightclub

scène, as well as from video clips, cartoons, games and films. ISH excites large-scale audiences

with dynamic performances in which skates, street dance, break dance and martial arts are a

guarantee for spectacular scenes. The production Balls was about being brave and following

your dreams. Gerris developed this theme by means of dance and ball-games like football and

basketball.

During the past decades, Dutch dance has been put on the international map by a flock of

headstrong, innovative dance-makers who enjoy exploring (and exceeding) the boundaries.

The boundaries of the human body. The boundaries of the theatre auditorium and the place

of the audience during a performance. The boundaries between dance and theatre, and far

beyond: between their own discipline and other art disciplines, such as music, expressive art

and video. And last but not least, the national boundaries. The Netherlands has become a

place where dance talent from every corner of the world comes together to create exciting

new dance, which can then be taken back to the furthest reaches of the world.

Marcelle Schots

10 The Dutch on tour (Youth) dance

The Dutch on tour (Youth) dance

11


Language

English

Contact

Artistic director: Andrea Bozic

T +31 (0)6 – 41 24 75 27

E andboz@yahoo.co.uk

I www.willmsworks.net

A union of old and

Andrea Bozic

new media

Andrea Bozic produces interdisciplinary and multimedia shows that balance on the border

between podium art and media art. They are compositions made from fragments of movement,

music, video, film and (sometimes) text. She usually works with video artist Julia Willms and

composer Robert Pravda.

She is fascinated by presence, embodiment, fiction and narrative, and what happens to these

elements when a space is configured with technology: how does our media-obsessed living

environment affect how it feels to live in this world?

In her projects, Andrea Bozic has developed several strategies for addressing these questions:

It’s Me But I’m No Longer There was an installation for two active spectators, but without a protagonist;

Ways To Multiply Yourself was a production for a far removed body that was being observed

by two cameras; Still Life With Man And Woman was an existential thriller, a film set within a live

performance. The new production Nothing Can Surprise Us (June 2008) follows on from the use

of film material as a ‘script’ for a show, whereby two art forms unite to produce an interdisciplinary

theatre discipline.

International

Over the last few years, Andrea Bozic has worked throughout Europe at festivals, conferences

and an on exchange platforms. Her last production Still Life With Man And Woman, a co-production

with Theater Gasthuis (Amsterdam) and the Plateaux Festival, Mousonturm (Frankfurt), was

further performed in Belgium, Germany and Hungary and continues touring to other European

countries. Ways To Multiply Yourself was performed in Germany and Croatia. Pulse Line, a dance

film made in collaboration with Julia Willms, was shown in Israel, Greece and South Africa.

Still Life With Man And Woman

Photo: Andrea Bozic

The Dutch on tour Dance

13


Language

English

Contact

Artistic director: André Gingras

Agency: Korzo producties

T +31 (0)70 – 363 75 40

E info@korzo.nl

I www.korzo.nl

Modern-day moral

André Gingras

dilemmas in dance

The Canadian-Dutch choreographer André Gingras can claim an impressive run of shows, in

which he proves time and time again that dance is a suitable vehicle for commenting on current

events. Gingras’ productions bring modern-day dilemmas into the theatre, with choreography

that combines energy and explosion with humour and absurdity.

Gingras scored his first Dutch choreographic hit with CYP 17

, (première CaDance festival 2000).

In the years that followed, the choreographer worked for Korzo productions creating The Sweet

Flesh Room (2002), The Lindenmeyer System (2004), Hypertopia (2005), trans.form (2006) and

The Autopsy Project (2007). Gingras also devised the choreography for large Dutch companies

such as Scapino Ballet (2003) and Nederlands Dans Theater (2004 and 2005).

André Gingras is planning to set up a new Amsterdam-based dance cooperative called Skin

together with choreographer Nanine Linning.

International

Gingras travels the world with his choreographies. He has presented CYP 17

at prestigious

festivals, including the Romaeuropa festival in Italy, and on famous stages in Europe and beyond,

including the Sydney Opera House in Australia and the Baryshnikov Arts Center in New York.

This performance earned dancer Kenneth Flak the prestigious Bessie Award (New York, 2007).

Alongside these achievements, Gingras has also worked as guest choreographer for the

Staattheater Nürnberg, Rambert Dance Company in London and Iceland Dance Company.

CYP 17

Photo: Ben van Duin

The Dutch on tour Dance

15


Language

None/English

Contact

Artistic director: Anouk van Dijk

T +31 (0) 20 – 528 97 23

E info@anoukvandijk.nl

I www.anoukvandijk.nl

Tangible people

anoukvandijk dc

in an abstract setting

Anouk van Dijk was for almost a decade a lead soloist with Dance Works Rotterdam and Amanda

Miller’s Pretty Ugly Dance Company. Since 1996, she has dedicated herself exclusively to the

creation and performance of her own work. She has been running her own dance company since

1998 and was awarded the prestigious Dutch Lucas Hoving Prize for her oeuvre in 2000. Anouk

van Dijk has created fifteen full evening works and more than twenty-five shorter choreographies.

She developed her own groundbreaking movement system, called the Countertechnique,

enabling her dancers to perform her demanding movement material in a breathtaking way.

The work of Anouk van Dijk intriguingly integrates virtuoso contemporary dance in a strong

conceptual context. With tangible people in an abstract setting, Anouk van Dijk creates powerful

worlds in which daily reality seamlessly merges with absurd fantasies and philosophical implications.

Her work takes the form of regular black box productions as well as large-scale productions,

site-specific works and process-oriented research projects.

International

Anouk van Dijk has been operating internationally from the start, premiering her first works at

international festivals such as Klapstuk and Springdance. Her international breakthrough was

Nothing Hurts (2000), a collaboration with German director Falk Richter. Since then her work has

been presented all around the world, from Russia to Australia, from America to Asia and all over

Europe. Besides its own productions the company has developed a great deal of international

collaborations. Recent successes were the residency versions of STAU in Moscow, Shanghai and

North-Adams as well as Women of the World, a coproduction with the Beijing Modern Dance

Company.

Situations

Photo: Jerry Remkes

The Dutch on tour Dance

17


Language

None/on request

Contact

Artistic director: Andrea Boll

T +31 (0)20 – 627 65 82

E info@hanshof.nl

I www.hanshof.nl

An ode to the imagination

BOLLWERK

and the absurd

Andrea Boll’s work does not focus on the aesthetics of the dancing body or on a conceptual

statement, but reacts directly to the world we live in. With her discerning sense of the tragiccomic

condition of human impotence, Boll creates situations and characters that speak to her

audiences. Her dance style forms the departure point for her work: improvisation alongside

set choreography, crudeness in movement paralleled with perfection in detail, wild acrobatics

coupled with vulnerability, and harmony juxtaposed with disharmony. Theatrical techniques

such as projection, voice, text and live music form an inseparable part of the choreographic

composition that depicts the beauty of life as well as its vulgar and repugnant elements.

The dancer is central to Boll’s work as a character and as a ‘performing’ personality.

Bollwerk runs a number of key ventures: Bollwerk Producties, Bollwerk Lessen & Workshops and

Bollwerk Lab., a mobile choreographic laboratory for research and development, which performs

shows for the general public.

Bollwerk is a Hans Hof Ensemble initiative. In 2009, following ten years of successful collaboration,

the choreographers of the Hans Hof Ensemble will part ways. Andrea Boll will continue

with Bollwerk when the Hans Hof Ensemble disbands.

International

Andrea Boll is extremely active throughout the whole of Europe and beyond. With the Hans Hof

Ensemble she performed in shows such as Stad bij Nacht/Night Town, Vrouwen in Bad/Women in

the Bath and Morgen Gestorben in a host of European countries. When she was not performing

with the ensemble, Boll was working with international companies such as the Studio for New

Music Ensemble in Moscow, and on productions such as the highly-acclaimed award-winning

Boxing Pushkin with orchestral accompaniment. ‘It feels as though you’re on a runaway rollercoaster.

As a member of the audience, you’re left reeling from the adrenaline rush’ (De Gelderlander,

newspaper review of Boxing Pushkin).

Bollwerk prizes intensive international exchange. Performances are available for international

tours, and workshops and Lab. presentations can be organized on request.

Morgen gestorben

Photo: Marco Borggreve

The Dutch on tour Dance

19


Language

English

Contact

Artistic director: Bruno Listopad

Agency: Korzo producties

T +31 (0)70 – 363 75 40

E info@korzo.nl

I www.korzo.nl

Profoundly human

Bruno Listopad

spirituality in movement

Bruno Listopad’s choreographies are widely praised for their profoundly human spirituality

and magical wealth of imagery and movement, like exquisite jewels captured in refined

compositions. His choreographies revolve around the idea of ‘thinking with your body’ and

are built on a foundation of artistic, philosophical and psychological perceptions.

Listopad made his choreographic debut with the duet Jesus Loves You, commissioned by the

Holland Dance Festival in 1998. He later devised various choreographies for Korzo productions,

including In Transit, First Form, Fairytales Reconfigured and erva daninha. In 2001, he won the

Phillip Morris Art Award. He has been resident guest choreographer with Dance Works

Rotterdam since 2003, and has devised guest choreographies for Dutch companies including

Dansgroep Krisztina de Châtel, Rogie & Company and Het Nationale Ballet.

Listopad’s work is so widely respected that his artistic development is closely followed in

avant-garde circles and by the large-scale companies. The appreciation for this choreographer,

who used to produce dance, can also be seen in the fact that the evening-long productions

he devises for Korzo productions have been selected for the Nederlandse Dansdagen annual

review festival for five years running.

International

Early on in his career, Listopad was awarded various prizes abroad, such as the Prize of Interpretation

(1997) and the Revelation Prize Ribeiro da Fonte (1999). Listopad’s performances have

been widely performed on podiums and at festivals abroad. He also creates choreographies

for foreign companies, such as the Ballet Gulbenkian (2000), Companhia Instavel (as part of the

Rotterdam-Porto Cultural Capitals exchange project 2001) and Nye Carte Blanche, Bergen in

Norway (2005).

Fairytales Reconfigured

Photo: Robert Benschop

The Dutch on tour Dance

21


Language

None

Contact

Artistic direction: Guy Weizman and Roni Haver

Agency: Grand Theatre Groningen

T +31 (0) 50 – 314 46 44

E produktie@grand-theatre.nl

I www.grand-theatre.nl, www.clubguyandroni.nl

Mysterious, seductive

Club Guy & Roni

and raw performance

Choreographers Guy Weizman and Roni Haver, both Israeli with an Arab background, focus

their work on current subjects with the aim of inspiring, confronting and touching the audience.

The duality in their background is reflected in their work. The recurring theme in their work is

personal liberation and their dance vocabulary is innovative, raw and exciting.

After starting in the Bat Sheva Ensemble in Tel Aviv, they worked with various dance companies

in Berlin, Barcelona and Brussels, inspiring themselves along the way. Club Guy & Roni was

founded in 2001. Devoted to the work of Roni Haver and Guy Weizman, the Club creates and

tours with a range of productions, all produced by Grand Theatre Groningen. The Club Works

with permanent employees such as Eva Puschendorf, Yvonne Weschke, Dunja Jocic (dancers),

Ascon de Nijs (scenery designer), Veerle van Overloop (dramaturgist) and Wil Frikken (lighting).

The choreographers work on the programming for the music together with Frits Selie (Prime),

with whom they write out commissions for contemporary composers.

Roni Haver has twice been nominated for the Zwaan (Swan) for the best dancing achievement.

International

Their mysterious, seductive and dynamic dance performances have made them a popular guest

at international festivals in places including Rome, Tallin, Marseille and Lausanne. In the summer

of 2007 the company performed at the prestigious American Jacob’s pillow festival, the Grec

Festival in Barcelona, the Schlossfestspiele in Ludwigsburg and at Oerol Festival on the Dutch

island Terschelling. The Münstersche Zeitung wrote about Myrrh and Cinnamon: ‘An intimate,

pulsating, seductive performance, an intoxicating illustration of modern-day love.’

In 2008 the company will perform Poetic Disasters in several European cities.

Poetic Disasters

Photo: Wim te Brake

The Dutch on tour Dance

23


Language

None

Contact

Artistic Director: Conny Janssen

T +31 (0) 10 – 452 99 12

E info@connyjanssendanst.nl

I www.connyjanssendanst.nl

Surprising all-round

Conny Janssen Danst

dance adventure

Over the last few years, a broad audience ranging from modern dance lovers to break dancers,

have been entranced by Conny Janssen’s surprising performances. Not only theatres welcome

Conny Janssen Danst with open arms, also many renowned Dutch festivals like Lowlands and

the Parade urge their audiences to get to know this dance company from Rotterdam.

Conny Janssen’s deep love for contrasts can be seen in her choreographies. She uses humour

to try and tackle deep emotions: being versus absurdism, tenderness versus coarseness, and

aesthetics versus daily life.

Conny Janssen sets her choreographies to a combination of live or recorded classical, contemporary

and pop music. This produces a fluid yet clashing combination of dance, theatre, design,

music and light. Another recurring conflict in her choreographies is the fragility of the individual

versus the power of the group.

International

Conny Janssen Danst has been invited to perform at many festivals and theatres across the

world. The company performed in Morocco, Russia, Germany, France, Canada, USA, Spain,

Hungary, Italy and the Czech Republic.

Rebound, a study in confinement, power, and social dynamics, is booked next season for the

Jacob’s Pillow dance festival in the USA.

Rena Shagan Associates Inc. on Conny Janssen Danst: ‘An edgy, Netherlands-based choreographer,

Conny Janssen has made her mark on European contemporary dance with striking,

intensely physical work. Contrasting humour with deep emotion, combining classical with

pop music, Janssen strikes a balance between pure dance and strong theatrics.’

Rebound

Photo: Leo van Velzen

The Dutch on tour Dance

25


Language

None

Contact

Artistic director: Ton Simons

T + 31 (0)10 – 436 45 11

E m.wouters@danceworksrotterdam.nl

I www.danceworksrotterdam.nl

Agency: US/Canada: Art Becofsky Associates,

ckdance@aol.com

Dance Works

Sublime refinement

Rotterdam

in movement

The sublime refinement in movement and choreography that Dance Works Rotterdam

continues to produce, elicits shivers of delight. Artistic director/resident choreographer of Dance

Works Rotterdam Ton Simons is widely recognized as a major dance artist with an extraordinary

gift for clear form and lyrical content. His work is extremely musical with an aesthetic quality,

characterized by a sense of the nitty-gritty: simplicity suffused with life. Within this clarity Simons

still manages a complexity in counterpoint to the music that is mind-boggling. Moreover, he

presents his technically excellent dancers as human beings on stage. The company radiates with

harmony, but the relationships portrayed are fervently exciting. The human aspect is eminently

present throughout.

The range of the company’s repertoire extends to include major works of internationally

acclaimed guest choreographers from the forefront of international dance innovation, including

Raphael Bonachela, Dana Caspersen, Stephen Petronio, Bruno Listopad and Sjoerd Vreugdenhil.

(Reference: Dance Europe, Ali Mahbouba: ‘Human Figures’, December 2007).

International

Since the appointment of Ton Simons as artistic director in 2000, Dance Works Rotterdam

has toured successfully in: The Czech Republic (Tanec Praha Festival, Prague 2002), Switzerland

(6 city tour, STEPS Festival, 2004), Cyprus (Laika, 2005 and Limasol, 2006), France (Toulouse

and Marseille, 2005), Romania (Sibiu, National Theater Radu Stanca, 2005 and 2007) and Russia

(Pushkin Theater, Moscow, 2006, Hermitage Theater, St. Petersburg, 2007).

Dance Works Rotterdam offers technique/repertory workshops as part of the company’s tour

programmes.

Human Figures/Das Wohltemperierte Clavier

Photo: Robert Benschop

The Dutch on tour Dance

27


Language

None

Contact

Artistic director: Krisztina de Châtel

T +31 (0) 20 – 669 57 55

E info@dechatel.nl

I www.dechatel.nl

Dansgroep

Dance in unusual locations

and

Krisztina de Châtel

combinations

Krisztina de Châtel is a prominent choreographer who distinguishes herself with a unique

oeuvre of a consistent high quality. Under her leadership, Dansgroep (dance company) Krisztina

de Châtel has become one of Holland’s leading contemporary dance companies with an exquisite

dancers’ tableau. Her performances, which are often set in unusual, sometimes outdoor,

locations such as the Van Gogh Museum or the Dutch dunes, combine dance, music and visual

art and provide a full evening’s entertainment. She is open to new cultural developments and

frequently seeks cooperation with other artists. She has also initiated projects with new media

and virtual space, skate boys, garbage men, and various other striking combinations.

Dansgroep Krisztina de Châtel is celebrating its 30th anniversary in 2008. Choreographers

Krisztina de Châtel and Itzik Galili are planning to launch a new dance company in Amsterdam,

The Netherlands called Dansgroep Amsterdam in January 2009.

International

Dansgroep Krisztina de Châtel has already made numerous successful tours around the globe,

ranging from Europe to Africa and the Far East. The company has been invited to perform at

several dance festivals during 2008 in the Middle East, Brazil and the Tanzmesse in Germany.

Amongst other shows, they will be performing the successful choreographic work Pulse.

Furthermore, a unique production will be presented at the MuseumsQuartier in Vienna,

combining the paintings of Egon Schiele, the performance art of Marina Abramović and the

choreography of Krisztina de Châtel.

The oeuvre of Krisztina de Châtel contains a vast number of works which can be performed

abroad. Furthermore, the dance company has often adapted site specific choreographies to

outdoor locations, as for instance at the Opera Estate Festival Veneto 2007 in Italy.

Pulse

Photo:Karel Zwaneveld

The Dutch on tour Dance

29


Language

None/on request

Contact

Artistic direction: Pieter de Ruiter and Eva Villanueva

T +31 (0) 20 – 777 04 80

E info@dansity.com

I www.dansity.com

Agency: De Zee Theaterproducties, www.dezee.nl

Powerful emotional

Dansity Amsterdam

and sensual dance

The Dansity Foundation was established in 1990 by its artistic director and choreographer Pieter

de Ruiter. The company is based in Amsterdam and has produced a large number of successful

performances both in the Netherlands and abroad. In 1998, choreographer Eva Villanueva joined

the artistic staff and has collaborated on all of the productions since.

De Ruiter’s and Villanueva’s choreographies are characterized by an intriguing movement

vocabulary based on interwoven classical and modern dance techniques. By adding everyday

movements, and through staging the choreography in extreme situations, they create a powerful

emotional and sensual dance. Their strength is to use this vocabulary in interdisciplinary

productions which deal with themes that are relevant to modern society.

De Ruiter and Villanueva work regularly with artists from different disciplines such as theatre,

visual art and music and often commission original music compositions which, whenever possible,

are played live during the performances. The different disciplines are always given equal

weight in the mise-en-scene.

International

Pieter de Ruiter and Eva Villanueva have created pieces for a number of international companies

such as Ballet Braunschweig and Ballet Mannheim in Germany, Aterballetto in Reggio Emilia

in Italy and for companies in the Czech Republic, Brazil, Turkey and France. Productions that

are currently up and running or coming soon, and some of the repertory work as well, can be

performed abroad.

In 2007, De Ruiter and Villanueva became official partners of Das Pumpwerk in Berlin, Germany.

It’s a new cultural venue that runs and programs a fully equipped theatre space in the monumental

water distribution station ‘Radialsystem XI’. Das Pumpwerk Berlin and Dansity Amsterdam

are developing a concrete plan of action to gradually build strong links between the Amsterdam

and Berlin dance scenes with the emphasis on crossover productions.

As well as initializing cultural projects with Das Pumpwerk Berlin, Dansity Amsterdam will

regularly present their productions at this location.

Ragna

Photo: Hans Gerritsen

The Dutch on tour Dance

31


Language

None

Contact

Artistic direction: Emio Greco and Pieter C. Scholten

T +31 (0) 20 – 616 72 40

E info@egpc.nl

I www.emiogrecopc.nl

Agency’s:

Italy: Francesca Zitoli, ATER,

http://ater.regione.emilia-romagna.it

USA: Cathy Zimmerman, MAPP,

www.multiartsprojects.com

The body creates

Emio Greco | PC

its own time and space

Emio Greco (EG) and Pieter C. Scholten (PC) have worked together since 1995. They present their

work under the name of Emio Greco | PC, which expresses the collaborative effort of their artistic

partnership.

In the productions of Emio Greco | PC, dance is regarded as autonomous with the body, having

an inherent logic and being capable of creating its own time and space. Dance and other theatrical

elements such as space, lighting, costumes, video, sound and music (all crucial within the

work of the company) are not simply used as media for conveying messages, nor for dressing a

theatrical space. This interdisciplinary approach of choreographers Greco and Scholten has led,

and still leads, to invitations to direct operas and theatre productions.

The company also promotes a broader attitude towards dance as an art form. It initiates and

organises debates on dance and discourse, edits publications on current dance and arts topics,

manages international research projects and has developed the Accademia Mobile, the nomadic

school of the company. As from 2009, all these different activities will be incorporated into the

Amsterdam-based International Choreographic Arts Centre of Emio Greco | PC (ICKAmsterdam).

International

Emio Greco | PC has received numerous national and international awards. The company enjoys

strong international recognition and tours extensively to international festivals and performing

arts venues. The work has been shown in over 30 countries all around the world and is cocommissioned

by major festivals and venues on a regular basis.

Hell

Photo: Laurent Ziegler

The Dutch on tour Dance

33


Language

None

Contact

Artistic director: Ted Brandsen

T +31 (0) 20 – 551 8225

E info@het-ballet.nl

I www.het-ballet.nl

Classical, modern and

Het Nationale Ballet

contemporary works

A unique repertoire and high technical and artistic standards have contributed to Het Nationale

Ballet (the Dutch National Ballet) becoming one of the world’s leading ballet companies. Despite

its name, Het Nationale Ballet is an international company with dancers who either come from

or are regular guests with other prestigious companies. Het Nationale Ballet is by far the largest

dance company in the Netherlands, with 80 dancers and more than 125 members of staff.

Het Nationale Ballet performs a mixture of classical, romantic, neo-classical, modern and contemporary

works and has made an important contribution to the emergence and development

of young choreographic talent, and thus to a contemporary Dutch style of choreography.

Ex-resident choreographers Rudi van Dantzig and Toer van Schayk and resident choreographer

Hans van Manen all experienced their first great international successes with this company.

Furthermore, Het Nationale Ballet has also produced a whole new generation of choreographers,

which includes artistic director Ted Brandsen, resident choreographer Krzysztof Pastor

and freelance choreographer David Dawson – all ex-dancers from the company. Their work is

performed by companies all over the world from the Washington Ballet to the West Australian

Ballet. Choreographers from the Netherlands and from abroad are also regularly invited to

produce new works exclusively for Het Nationale Ballet.

Since 1986, Het Nationale Ballet has been based in Het Muziektheater in Amsterdam, one of the

largest and best-equipped theatres in Europe.

International

Het Nationale Ballet frequently tours Europe and future planned tours include the USA and the

Far East.

Live

Photo: Angela Sterling

The Dutch on tour Dance

35


Language

None

Contact

Artistic director: Roel Voorintholt

T +31 (0) 26 – 351 21 11

E welcome@introdans.nl

I www.introdans.nl

Old masters, new

Introdans

partners, young talent

Introdans is dancing like never before. The company is now one of the top 3 in the Netherlands,

pursuing a healthy ambition to perform high-quality dance to audiences from all walks of life.

Introdans presents modern ballet productions on themes such as ‘Old masters’, ‘New partners’,

‘Young talent’. Based in the east of the Netherlands, the company tours Dutch theatres and

regularly performs on the international stage. Various choreographers are responsible for

creating Introdans ballets, in which classical elements are combined with modern techniques.

International

Internationalisation is a spearhead of Introdans policy. The company performs regularly on

foreign podia and at international festivals, and is often invited to accompany the Royal Family

on state visits.

Both ensembles, Introdans and Introdans Ensemble voor de Jeugd, perform productions across

the world. Introdans can often be seen in theatres in Belgium and Germany and the company

has made a number of appearances at the International Festival of Music and Dance in Bangkok,

Thailand. Their performance during HM Queen Beatrix’s state visit to Buenos Aires, Argentina

in 2006 was among their all-time high points, which also include Introdans Ensemble voor de

Jeugd’s repeated appearances at the International Children’s Theatre Festival in Edinburgh,

Great-Britain, the Steps Festival in Switzerland and in the New Victory Theatre on Broadway,

New York. Introdans Educatie gives workshops, practical lessons and master classes accompanying

productions by both ensembles. This specialized division of the company also organizes

symposia and conferences on its own initiative and on request. Introdans Educatie serves as an

international example in terms of promoting expertise in the field of dance.

Daylight

Photo: Hans Gerritsen

The Dutch on tour Dance

37


Language

None

Contact

Artistic direction: Andrea Leine and Harijono

Roebana

T +31 (0) 20 – 489 38 20

E dans@leineroebana.com

I www.leineroebana.com

Treat for the ears,

Leine & Roebana

feast for the eyes

Leine & Roebana is the modern dance company of the choreographers’ duo Andrea Leine and

Harijono Roebana. It has occupied a prominent place in the Dutch dance world for some years

now. The choreographers stand out for their special way of working with music. They use their

great knowledge of and passion for music in creating works in which a true symbiosis takes

place between music and movement. They use early music from around 1600 to contemporary

music, and they regularly invite composers to create works especially for the company. For each

production, they carefully search out musicians who both excel in their profession and are

interested in an intense collaboration between musicians, dancers and choreographers. This

produces performances that are ‘not only a treat for the ears, but also a real feast for the eyes’,

as the press described Merg/Marrow (2007). Merg/Marrow is a production which searches for

equality between opera and dance. Another production with great international success is

Sporen/Tracks (2003). This work is an example of how Leine & Roebana juxtapose contrasting

types of music in dialogue with their own specific style of movement.

International

Leine & Roebana’s work has been awarded several prizes and has been performed not only in

the Netherlands, but also in Europe, Canada, Brazil and the United States. In season ’07-’08 the

dance opera Merg/Marrow was performed in Dijon, France and Ludwigsburg, Germany

In the ’08-’09 season, Leine & Roebana will present Merg/Marrow in Annemasse, France. In spring

2008, Sporen/Tracks will go on a six-city tour of the United States of America. Bietigheimer

Zeitung, Germany wrote: ‘The roots of emotional life.’

Tracks

Photo: Deen van Meer

The Dutch on tour Dance

39


Language

English

Contact

Artistic direction: Nicole Beutler, Hester van Hasselt,

Ivana Müller, Paz Rojo and David Weber-Krebs

T +31 (0)6 – 12 93 54 32

E info@associationlisa.com

I www.associationlisa.com

Platform for reflection

LISA

and exchange

Lisa is an Amsterdam-based maker’s initiative and production facility belonging to the independent

dance and performance makers Nicole Beutler, Hester van Hasselt, Ivana Müller, Paz Rojo

and David Weber-Krebs. Lisa also serves as a platform for reflection and artistic exchange.

Ever since it was founded, Lisa’s aim has been to initiate discussion. The company does this

on the basis of its conviction that reflecting upon one’s own work and that of others, as well

as upon developments in the world of art as a whole, is both necessary and productive.

It is difficult to translate Lisa’s work into words. It sometimes features dance, sometimes video.

It is sometimes light-hearted, sometimes funny, and sometimes philosophical. Although all the

various lisas have their own specific, well-defined theatre language, their work also displays similarities.

For example, Lisa productions always leave as much room as possible for the audience’s

imagination. And they always pose questions, about perceived reality, for example,

or the effects of theatricality.

International

Lisa focuses as much on the Dutch theatre world as on foreign audiences. During the last

few years, Lisa has performed in almost every country in Europe (England, Belgium, Germany,

Spain, Scandinavia, etc). This is how things stand at the moment and little is expected to change.

On request, David Weber-Krebs will for example tour Brazil with various projects. Ivana Müller

is taking While We Were Holding It Together from Finland to Hungary and from Switzerland to

Singapore. Nearly all Lisa shows are made in co-production with foreign theatres/organizations.

Ivana Müller was recently presented with the Charlotte Köhler prize, and Lisa regularly receives

favourable reviews at home and abroad.

Enter Ghost

Photo: Anja Beutler

The Dutch on tour Dance

41


Language

None

Contact

Artistic director: Nanine Linning

Agency: Lewis productions

T +31 (0) 20 – 626 20 62

E info@lewisproductions.nl

I www.naninelinning.nl, www.lewisproductions.nl

An arresting

Nanine Linning

sensory experience

Nanine Linning choreographs intensely physical and arresting performances about basic human

instincts, passions and emotions. Survival mechanisms and human interactions are given shape

and form in a dynamic world where man is presented in all his insignificance and glory.

The human body and all its desires feature prominently in her work. On the one hand we see

the yearning for physical communication with the outside world, and on the other hand the

desire to retreat within oneself. Nanine Linnings’ performances are distinguished by her unusual

choice of presentation forms and locations and the theatrical events she presents alongside her

performances to give meaningful context to her work.

Linning is a choreographer who likes to work outside the normal contexts of theatre. Her work

is strongly multidisciplinary. She has worked with various contemporary artists, composers and

video artists, and her performances in the past have often featured actors, poets and musicians

as well as dancers. Linning has won a number of prizes including the prestigious Philip Morris

Art Prize. She was awarded the VSCD Zwaan (Swan) prize for Best Production 2005 for ‘Bacon’.

Together with André Gingras she is planning to set up a new Amsterdam-based dance cooperative

called Skin. Skin will be fully operative as of 2009, continuing to present their existing repertoire

and creating new interdisciplinary productions and events in an international context.

International

Nanine Linning performed her productions in numerous European cities, besides South-Africa,

Singapore and the USA. In 2007, she successfully presented Cry Love, a crossover between a

video installation and dance performance, in the museum MASSMoCa, USA. Award winning and

cutting-edge choreography Bacon, inspired by the paintings of Francis Bacon was presented in

Germany, Austria and Poland. Dolby, her latest hardcore explosive production will be premiering

at the Julidans Festival 2008.

Cry Love

Photo: Antoinette Mooy

The Dutch on tour Dance

43


Language

None

Contact

Artistic director: Anders Hellström

T +31 (0) 70 – 880 01 00

E info@ndt.nl

I www.nederlandsdanstheater.nl

Nederlands

Virtuosity and

Dans Theater

unparalleled expression

Under the dynamic leadership of artistic director Anders Hellström, Nederlands Dans Theater

is among the most prominent and innovative contemporary dance companies in the world.

The company is praised for its own repertoire works by resident choreographers Jiří Kylián and

Lightfoot León. Nederlands Dans Theater’s dancers display virtuosity and unparalleled expression

while performing a challenging repertoire. But Nederlands Dans Theater also performs

new creations by established choreographers and upcoming talent from within and outside

its numbers. The company comprises two ensembles representing two generations of dancers:

from budding talents in Nederlands Dans Theater II to fully matured dancers in Nederlands

Dans Theater I. The company contributes to various art forms with its use of visual art, music

composition, light and set designs, while also developing new choreographic talent. In Lucent

Danstheater in The Hague, all of these talents converge in surroundings regarded as an

important breeding ground, where they constantly progress to shape the future of dance.

The company inspires, engages and challenges audiences world-wide.

International

From the moment Nederlands Dans Theater obtained international recognition in the USA

in 1978 with Synfonietta by Jiří Kylián, the company has repeatedly been asked to perform

its repertoire in famous theatres and cities all over the world. The highlights of the last seasons

include performances at the Edinburgh Festival, the Jacobs Pillow Festival, and in many theatres

from Helsinki to Buenos Aires.

The company and its resident choreographers have won many prizes, including Kylián with

three Nijinsky Awards and the Benois de la Danse in Moscow and Berlin, and Lightfoot León

with the Benois de la Danse and the Herald Archangel at the Edinburgh International Festival.

Shoot the Moon

Photo: Joris Jan Bos

The Dutch on tour Dance

45


Language

None

Contact

Artistic director: Itzik Galili

T +31 (0) 50 – 579 94 41

E info@nnd.nl

I www.galilidance.com

An emotional and

NND/Galili Dance

rational challenge

The Dutch-Israeli choreographer Itzik Galili is the artistic director of this company, which

produces contemporary dance productions. The repertoire of NND/Galili Dance comprises

a colourful collection of diverse choreography, representing a broad spectrum of topics.

An abstract and theatrical language of movement knits these works by autodidact Galili

together, presenting the audience with an emotional and rational challenge.

Itzik Galili likes to combine a strongly physical language of movement with theatrical elements.

Pure dance and theatricality are generally put forward as opposing forces, but Galili is also

fascinated by their fusion. He uses the confrontation between dance and other art disciplines

(such as music, film, architecture, text and new media) to explore the boundaries of the term

communication.

International

Over the years, NND/Galili Dance has become increasingly impressive on international podiums.

The company is a frequent guest at foreign festivals, having appeared in Brazil, Germany, Italy,

Israel, France, Spain, Finland, Japan and Russia. During a five-yearly readers’ poll in 2003, readers

of the prominent British magazine Dance Europe voted Itzik Galili one of the year’s twenty best

artistic leaders.

‘Galili’s art lies in his capacity to balance abstraction and narration with finesse, creating works

that impress themselves strongly upon us. He is one of only a few choreographers working in

the Netherlands today who can structure a fragile equilibrium between humour, aggression,

lyricism, sex and elegance.’ (Ballettanz International Magazine)

Six

Photo: Karel Zwaneveld

The Dutch on tour Dance

47


Language

None

Contact

Artistic director: Ed Wubbe

T +31 (0)10 – 414 24 14

E info@scapinoballet.nl

I www.scapinoballet.nl

Touching the soul

Scapino Ballet

with magic, richness

Rotterdam

and beauty

Scapino Ballet Rotterdam wants its performances to touch the soul, to show people the magic,

richness and beauty of dance. The company is searching for authenticity, something to believe

in. Scapino Ballet Rotterdam produces dance that is right on the cutting edge. Exciting dance

by inspired artists and virtuoso dancers with something to say.

Scapino Ballet Rotterdam is one of the trendsetters in Dutch modern dance, presenting unique

repertoire by artistic director Ed Wubbe, resident guest choreographers Marco Goecke and

Georg Reischl and young, talented dance makers.

Ed Wubbe: ‘You can feel the inspirational chemistry. We all do very different things, but together

we form a solid base on which the company can build. We’ve invested a lot in people over the

last few years and now we’re reaping the benefits. We have found ourselves, everything is coming

together as it should.’

International

Since it was founded in 1945, Scapino has played an important role in the development of

modern dance. Apart from appearances in the Netherlands, the company performs at countless

international festivals and on foreign stages in Europe and countries including Israel, South-

Africa, Indonesia and Brazil. One of the foremost qualities of the present Scapino company is

the much-acclaimed international dancers’ group. The 21 Scapino dancers are praised for their

achievements, technical competency and feisty characters. They originate from all corners of the

world, from England to China and from Australia to Brazil. This year, Scapino will be returning to

America with The Green and De Bruiden/The Brides by Ed Wubbe, and Der Rest ist schweigen/The

Rest is silence and Äffi by Marco Goecke. Performances in New York and Portland (Oregon) have

also been planned.

The Green

Photo: Hans Gerritsen

The Dutch on tour Dance

49


Language

Multilingual

Contact

Artistic director: Kristel van Issum

T +31 (0) 13 – 581 03 75

E studio@trashweb.nl

I www.trashweb.nl

Agency:

The Netherlands: Bureau Berbee,

www.bureauberbee.nl

France: A Propic, l.rousseau@home.nl

Dance as sculpture

T.r.a.s.h.

in motion

The choreographer and artistic director Kristel van Issum, composer Arthur van der Kuip and

set-designer Paul van Weert are the brains and talent behind T.r.a.s.h. From an intense tangle

of disciplines, this young company creates performances which carefully and precisely marry

classical live-music and often violent physical language. T.r.a.s.h. produces contemporary,

vigorous and dynamic dance performed by a group of artists demonstrating extreme physical

and verbal qualities.

The work focuses on construction and deconstruction, disintegration, and order and chaos.

T.r.a.s.h.’s performances are born of ideas driven by the growing uncertainty about who we are

and our lack of perspective regarding the future. T.r.a.s.h. draws its inspiration from the individual,

his struggle with destiny and the accompanying state of convulsion.

International

Since their performance Pork-in-Loop (2005), T.r.a.s.h. has been travelling abroad increasingly to

France, Italy, Spain and Germany. Mischa Kroes in Ballettanz praised their performance To File

For Chapter 11: ‘One cannot help but gaze in fear and admiration at a performance that doesn’t

fail to move you.’ T.r.a.s.h.’s most recent performance íSA will premiere in June 2008 during the

Marseille Festival. íSA is a co-production of the Marseille Festival in France and the international

festival Antartica in the Netherlands run by Productiehuis Brabant. This will be T.r.a.s.h.’s first

experience of working in residency (Marseille, Le Manège - Maubeuge). They will also be making

a working visit to the Operaestate/B-Motion Festival in Bassano del Grappa, Italy. Pork-in-Loop,

To File For Chapter 11 and íSA will be performing in theatres abroad throughout 2008 and 2009.

To File For Chapter 11

Photo: Ernest Potters

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Young and adventurous

Production houses

contemporary dance

Alongside the companies, the Netherlands also boasts other places where makers are supervised

in their first steps on the national and international dance market, and which provide room for

experimentation. The role of these so-called production houses has become indispensable in the

development of dance talent.

Dansateliers

Contact

Artistic director: Amy Gale

T +31 (0) 10 – 436 99 37

E info@dansateliers.nl

I www.dansateliers.nl

Dansateliers is Rotterdam’s professional dance workplace; a laboratory that opens its doors to

both budding and experienced choreographers. Dansateliers offers talented choreographers

the opportunity to do research, to develop a personal signature, to work with artists from other

disciplines and to develop a dialogue with the audience. Dansateliers’ projects can take different

forms: in or outside the studio, and varying from two weeks to several months. Choreographers

can submit project proposals, but the organization also sometimes invites makers, and commissions

are given for special works. All projects are backed with funding, production facilities and

publicity. An artistic advisor is assigned to each project.

Dansateliers participated in extensive international collaboration during the project The Migrant

Body (sponsored by the EC), which took place in 2006/2007. This exchange project was a first

step towards building up an international network. Dansateliers is expanding its participation

in international projects in 2008-2012.

Danshuis Station Zuid

Contact

Artistic director: Marc Vlemmix

T +31 (0) 13 – 582 10 21

E info@stationzuid.com

I www.stationzuid.com

From a base in Tilburg, Danshuis Station Zuid focuses its professional and highly diverse skills

on developing production and audience appreciation in the dance sector. Station Zuid chooses

dance in which the technical and substantive qualities of the makers allow the creative process

to take shape, and give the finished product a distinctly aesthetic component. Dance exuding

craftsmanship, quality, perfection and eloquence. Station Zuid’s dance is human, and not afraid

to be grating or disturbing. It chooses makers who have devised their own dance language,

who are in the early stages of their career, with strong choreographic qualities in terms of form

and structure, with evident musicality and with their own story to tell.

Danshuis Station Zuid is a meeting place for people who make, perform and watch dance, and

the ‘station’ has ‘tracks’ leading to other artists and organizations. An international junction for

artistic exchange. So Station Zuid is keen to join in a European network of dance-houses.

Every year, Station Zuid presents around seventy productions (for large and small theatres and

on location). Dance productions by various makers are also produced and co-produced (including

Edward Clug, Stephen Shropshire, Václav Kuneš, Pia Meuthen).

52 The Dutch on tour Dance

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53


DansWerkplaats Amsterdam

Contact

Artistic director: Ger Jager

T +31 (0) 20 – 689 17 89

E ger@danswerkplaats.nl

I www.danswerkplaats.nl

DansWerkplaats Amsterdam (DWA) is a workplace and production house for young and adventurous

contemporary dance-makers. DWA makes a critical selection, provides expert guidance

and facilities, stimulates dance-makers in their individuality and craftsmanship and introduces

them into the national and international dance arena as professional, innovative choreographs.

The continuous stream of work and production forms at DWA provides a framework within

which they can build up their own broad-based professional practice as a choreographer/

dance-maker. The basic premise is: critical reflection on your own work, and development

of highly expressive concepts in a unique and distinctive dance language.

DWA has its own strong position within the Amsterdam, Dutch and international networks.

DWA is currently producing work by three talented makers within the production house:

Gabriella Maiorino, Giulia Mureddu and Hillary Blake Firestone. The work created by these

three women is theatrical, visual and conceptually strong, and based on a traditional ‘dansante’

approach. Available productions: Zoo (Maiorino); MightyMatPogo (Mureddu); Duiveldans II/Devil’s

dance II (Hillary Blake Firestone).

Korzo producties

Contact

Artistic director: Leo Spreksel

T +31 (0) 70 – 312 20 76

E info@korzo.nl

I www.korzo.nl

Korzo producties is the Netherlands’ largest production house for dance. Based in The Hague for

more than twenty years, it now has an important national function and a growing international

reputation. Korzo producties has set itself the task of signalling, mobilizing and supervising

choreographic talent. Alongside this, Korzo producties is the driving force behind events such

as the bi-annual CaDance festival and various initiatives designed to give new impetus to the

Dutch dance sector, including DansClick.

Korzo producties introduces new choreographers with the talent, substance and individuality

needed to elevate the future of Dutch dance. The production house also produces new shows

by makers who have already been winning national (and increasingly international) favour for

some time. Choreographers including André Gingras, Dylan Newcomb, Bruno Listopad, Ann Van

den Broek, Sjoerd Vreugdenhil and Kenzo Kusuda all embarked on successful careers thanks to

Korzo producties.

54 The Dutch on tour Dance

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55


Language

English/German

Contact

Artistic director: Wies Bloemen

Agency: Frontaal Theaterbureau

T +31 (0) 20 – 692 96 03

E mirjam@frontaal.nl

I www.frontaal.com, www.aya.nl

Contemporary dance

Danstheater AYA

freed from its ivory tower

Danstheater AYA has been creating successful ground-breaking dance theatre productions

for young people since 1996. The company is firmly rooted in today’s reality and has freed

contemporary dance from its ivory tower. AYA knows how to reach audiences via a language

that is popular on the young scene: dance.

Danstheater AYA communicates with the audience via recalcitrant dance theatre with humour.

The youth productions always deal with ‘major issues’ such as being in love, feeling rejected,

death, violence or fear; issues with an impact on life and therefore also on art. The dancers’

personal experiences make the dance appealing to young audiences.

International

Nowadays, AYA is one of the leading producers of serious youth dance theatre in the Netherlands.

But the company can also claim international success. They regularly perform in Belgium,

Germany, Sweden and North-America, as well as putting on productions with international

partners. Shows that have toured abroad include Bronstsluier/Rutted Veil, Angst/Fear, Drijfzand/

Quicksand.

Quicksand

Photo: Ben van Duin

The Dutch on tour Youth dance

59


Language

English

Contact

Artistic director: David Middendorp

Agency: Frontaal Theaterbureau

T +31 (0)20 – 692 96 03

E mirjam@frontaal.com

I www.frontaal.com

Movement bursting

David Middendorp

with deft humour

David Middendorp started dancing at 16 with the Koninklijk Conservatorium (Royal Conservatory)

in The Hague. He was drawn more to modern dance, and switched to the Rotterdamse

Dansacademie. After studying for three years at the Juilliard School, he danced for Introdans,

the ballet of the Saarländisches Staatstheater and Ballet Theater München in Germany. His piece

Dreamsketch, which he created for Ballet Theater München, became standard repertoire in 2005.

In 2004, he returned to The Hague and composed the pas de deux Bread-peace. ‘A dance piece

that will certainly stay with you because of its lack of pretension.’ (Haagsche Courant). He has

also danced in work by Thom Stuart, Sanne van der Put and Bianca Holdermans.

Frontaal Theaterbureau has been producing David Middendorp’s work for the youth for some

time now.

The work that really stands out is Droomschetsen/Dreamsketch, a compilation of earlier and

newly-created work. Two dancers perform a witty and cheerful dance together with a computer

animation, in which they portray a dream world in the drowsy area between fantasy and reality.

Whether loaves of bread are dancing or robots are falling in love with vacuum-cleaners, his

movements are always bursting with deft humour. Droomschetsen/Dreamsketch concludes

with an interactive workshop with the audience.

International

David Middendorp has regularly performed his productions abroad; some of his work has even

been produced in Germany. Droomschetsen/Dreamsketch, which is made up of three short

pieces of choreography, has toured countries including the US, Japan and Germany. In 2008,

the show will appear at a festival in Reims, France. Frontaal is planning a tour of the US and

Canada for 2009.

Dreamsketch

Photo: Ida Zenna

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Language

None

Contact

Artistic director: Jack Timmermans

T +31 (0)76 – 513 81 25

E jan@destilte.nl

I www.destilte.com

An effort to speak

De Stilte

the unspeakable

Taking children out of their concrete everyday world into the abstract world of the senses: that

is what dance company De Stilte (The Silence) has in mind. De Stilte wants to incite children to

create stories of their own. Boundless stories of the imagination. The language of dance is the

perfect way to open up amazing new horizons from a position of seeming abstraction.

No spoken words are needed, which explains the company’s name.

De Stilte aims to stimulate self-awareness in children without explanation. They try to speak the

unspeakable, to say the things you cannot say. And letting children feel and taste art is how they

achieve this goal. Performances will be accessible if children can recognize their own feelings

and experience their own imagination. De Stilte’s performances stimulate children’s imagination,

encouraging them to play and tell their own story; the story of the imagination. Children who

do not play will never learn.

International

De Stilte aims at children aged 4 to 12. The company performs 140 times a year in Holland,

Belgium, Germany and sometimes further abroad. In the last two years, they have has visited

Finland, Morocco, Hungary and Austria with the production Speelvogels/Madcap (4+). In

2008/2009 the productions Kartonbewoners/Carton dwellers (6+) and Speelvogels/Madcap will

be taken for international tours; in 2008 they will travel to Hungary and Turkey. The press wrote

about Speelvogels/Madcap under the headline ‘Play ingeniously incorporated in dance’: ‘The

dance performance is really beautiful. And moreover, the dancers are capable of holding the

tension for over 55 minutes.’ (Brabants Dagblad)

Carton dwellers

Photo: Hans Gerritsen

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Language

None

Contact

Artistic director: Roel Voorintholt

T +31 (0) 26 – 351 21 11

E welcome@introdans.nl

I www.introdans.nl

Introdans Ensemble

Treasure trove

voor de Jeugd

of dance for the youth

Introdans is dancing like never before. The company is now one of the top 3 in the Netherlands,

pursuing a healthy ambition to perform high-quality dance to audiences from all walks of life.

Introdans Ensemble voor de Jeugd (for the Youth) performs repertoire from the traditional

treasure trove of dance, alongside work that has been specially created for the ensemble. There

is no other company of their calibre in Europe that performs adult modern ballets for children

from the age of 6 with a permanent ensemble. Introdans Ensemble voor de Jeugd holds a

unique position and travels the world.

International

Internationalization is a spearhead of Introdans policy. The company performs regularly on

foreign podia and at international festivals, and is often invited to accompany the Royal Family

on state visits.

Both ensembles perform productions across the world. Introdans can often be seen in theatres

in Belgium and Germany and the company has made a number of appearances at the International

Festival of Music and Dance in Bangkok, Thailand. Their performance during HM Queen

Beatrix’s state visit to Buenos Aires, Argentina in 2006 was among their all-time high points,

which also include Introdans Ensemble voor de Jeugd’s repeated appearances at the International

Children’s Theatre Festival in Edinburgh, Great-Britain, the STEPS Festival in Switzerland

and in the New Victory Theatre on Broadway, New York.

Introdans Educatie gives workshops, practical lessons and master classes to promote the

productions of both ensembles. This specialized division of the company also organizes

symposia and conferences on its own initiative and on request. Introdans Educatie serves

as an international example in terms of advancing expertise in the field of dance.

The Envelope

Photo: Hans Gerritsen

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65


Language

None/English

Contact

Artistic director: Marco Gerris

T +31 (0)20 – 468 54 22

E pieter@olbe.nl

I www.ish-events.com

Agency: Theaterbureau Slot, www.totslot.nl

ISH

Street culture in theatre

ISH was founded in late 1999 by Marco Gerris. His idea was to create a production using

disciplines that had never been seen in the theatre before, or never in this combination. Street

culture and the nightclub scene; inspired by video clips and concerts, but also by cartoons,

video games and films. The final result was a production and a company of the same name: ISH.

The name is derived from the English suffix -ish, a word that is used when something cannot be

defined precisely. Which is how you could describe ISH: their work cannot be classified into any

one specific category. Street skate, flatland BMX and numerous other disciplines ‘from the street’

are combined to form incomparable shows.

ISH offers two-year training courses. This so-called ‘junior team’, Junior ISH, follows an intensive

course at the ISH Institute to develop all-round skills in a wide range of disciplines. Students

are given the opportunity of progressing into the professional cast. Junior ISH took part in the

productions Freestylish, W-ISH and StylISH

International

The company toured the United States and Canada with the productions ISH and ISH 2.

The production 4-ISH was a huge hit on international stages and was performed in the US,

Canada, Shanghai, Japan, Brazil and a number of European countries. In early 2008, 4-ISH went

on another small-scale tour of the United States and Canada. ISH receives highly favourable

reviews and positive reactions from audiences at home and abroad. Future plans at ISH involve

making more tours within the European borders.

Triple-ISH

Photo: Serge Ligtenberg

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Language

None

Contact

Artistic director: Katjoesja Siccama

T +31 (0)20 – 421 06 59

E info@plankenkoorts.org

I www.plankenkoorts.org

Agency: Prima Rima, www.primarima.nl

Jeugddanstheater

Poetic, spectacular

Plankenkoorts

and funny dance

Jeugddanstheater Plankenkoorts creates dance performances that make you want to jump up

and move around. Giving you the freedom to exercise your own imagination, the images will

touch your heart and soul.

Plankenkoorts dancers, by nature, like to climb, fly, jump and fall. Acrobatic elements are thus

always naturally incorporated in the performances. More than just spectacular tricks, they are

part of the Plankenkoorts dance vocabulary and convey meaning as well as beauty and awe.

Our challenge lies in combining abstract dance with narrative power. Abstract dance gives our

young audience plenty of space to fill with their own unique fantasy.

The narrative power stimulates and inspires the audience on an emotional and even philosophical

level. This makes our performances very appealing to both adults and children!

All performances are for children aged 4 and over.

International

Jeugddanstheater Plankenkoorts has performed in England, Belgium and Syria.

In 2006, Risico!/Risk! impressed the international audience at DACI (Dance and Child International).

With a gigantic climbing-frame, fabulous costumes, breath-taking aerial acrobatics,

and sparkling dance performances, Risico!/Risk! is a performance that will have you dancing in

the aisles. ‘A beautiful combination of craftsmanship, humour and emotion’ (Martin Overdrek,

Theatres of Almere).

2008 will see the premiere of Castles in the Air. Once again, Plankenkoorts succeeds in producing

a magical mix of modern dance and aerial acrobatics. The performance is set inside an amazing

transparent castle where your dreams take flight and reality can only be seen shimmering in the

distance.

Castles in the Air

Photo: Mieke Kreunen

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Language

English/German/French/Spanish

Contact

Artistic director: Arthur Rosenfeld

Agency: Frontaal Theaterbureau, www.frontaal.com

T +31 (0)20 692 96 03

E info@frontaal.com

I www.frontaal.com, www.meekers.nl

MEEKERS

Serious fun dance-

Uitgesproken Dans

theatre for young and old

Meekers Uitgesproken Dans (Meekers Outspoken Dance) makes dance accessible to a wide range

of audiences, especially the young, with a movement and theatre language that is familiar,

natural, and surprising. The Meekers repertoire is extensive and varied, but distinctive and

unmistakable.

Performances flirt with the boundaries between drama, cabaret and mime, and yet are always

distinctly dance. They address existential questions and challenging themes with a disarmingly

rebellious and touching (but biting) humour. They touch universal chords by being very personal,

very human and very imaginative. The pieces are layered, and can be understood at different

levels by different viewers. The narrative is clear, the manner of storytelling non-traditional.

Arthur Rosenfeld’s most recent award is the Merit Prize 2006 from the Dancers Fund for his

entire oeuvre and artistic direction of Meekers. According to the jury: ‘Perverse, cabaretesque and

spiritual performances… a refined style, permeated by bitter earnest.’

International

Meekers Uitgesproken Dans receives regular invitations to perform abroad. For example, the

production Timboektoe Trio’s/Timbuktu Trios (8+), a co-production with Tanzhaus NRW, opened

the Take-off Junger Tanz Festival in Düsseldorf in 2006. The Düsseldorf Stadt Leben newspaper

wrote ‘Mut zu skurriler Originalität…’ The performance of this production at a festival in Barcelona

was accompanied by an educative project, for which Meekers translated the workbook into

Catalonian.

The two most recent shows created by Meekers, Poedelprijs/Poodle Prize (8+) and Murph! (4+)

are equally suitable for international stages. Poedelprijs/Poodle Prize is set in a bright red arena

where six characters challenge and put each other to the test. In Murph!, three little Murphs do

everything they can to create havoc.

Murph!

Photo: Konrad Szymánski

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Language

On request

Contact

Artistic director: Wies Merkx

T +31 (0) 30 – 223 96 81

E info@merkxendansers.nl

I www.merkxendansers.nl

Sets the imagination

Merkx & Dansers

in motion

Merkx & Dansers (M&D) is a production centre that creates dance productions for young

audiences. M&D feels strong ties with children, can put themselves in their shoes effortlessly

and sets the imagination in motion. They are good at dance work that stirs children’s senses.

They feel strongly about: light-heartedness with profundity, and purity.

M&D’s work is not confined to a particular dance technique. The company is creating a new

category on the interface of drama and dance. Every piece is given its own colourful mixture

of dance, song, drama and anything else that happens to be on hand. The company’s basis is

modern classical dance, but M&D wants to move with the audience, often coloured children,

and so sometimes breaks out into contemporary dance from various cultural origins.

International

M&D is part of a close-knit, international network. The company has a permanent relationship

with Dansstationen from Sweden, for example, and their Salto youth dance festival. M&D also

works alongside Tanzhaus NRW from Germany, Scene Bunte Wahne from Austria, Dance South

West, Woking festival from England and Blickfelder from Switzerland. Accion Educativa is a new

partner from Madrid.

The company dances and debates at international festivals, often returning in subsequent years.

Mutual curiosity is nothing new to them. M&D sets great store by the interesting dialogue that

evolves. Their high quality is also recognized abroad. During the Blickfelder festival, the press

said: ‘In De Koning Danst/The King Dances, M&D plays a virtuoso performance on the keyboard

of vanity, jealousy and power. Wies Merkx, ‘grande dame’ of Dutch youth dance, manages to

combine baroque gestures with modern movements.’

Rock and The Rollies

Photo: Michael Kooren

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73


Headstrong drama

using every available

means

If you wanted to capture the wide diversity of Dutch drama in a few words, the phrase ‘headstrong in

style and content’ might spring to mind. Most Dutch theatre producers have an agreeable tendency

to use the widest range of theatrical material you could imagine (text, music, movement, high and

popular culture) to tell their own, unique story about the world. And preferably in a new and innovative

style.

Moreover, the Dutch theatre landscape features a very clear divide between what happens in

the larger theatres and the slightly more conservative large-scale theatre companies on the one

hand, and what happens in the smaller black box theatres, where the small-scale companies

perform their more innovative productions on the other. These black box productions are firmly

embedded in the history of the Dutch theatre system and attract large audiences. Ever since a

group of young theatre-makers literally rebelled against the conventional sixties style of theatre

in 1969, the system has always left plenty of leeway for experiments and innovation, giving rise

to a defiant attitude among many makers. And this defiance has gradually found its way into

the larger theatres. But the small theatres are still vital to the development and modernization

of Dutch theatre; they are a constant source of new impulses for far-reaching innovation.

Headstrong choices in large companies

As a result, makers in the large theatres and with large-scale companies, such as Toneelgroep

Amsterdam, Noord Nederlands Toneel and RO Theater, now also regularly opt for a defiant

approach to their material. In his productions, director Ivo van Hove from Toneelgroep Amsterdam

dissects major social institutions like marriage and politics. He took a long, hard look at

politics in Romeinse Tragedies/Roman Tragedies (2007), which featured a consecutive rundown

of nearly all Shakespeare’s Roman tragedies in one stage show. The form Van Hove chooses for

his explorations is often memorable, largely thanks to the monumental efforts of his permanent

scenery designer Jan Versweijveld. In the case of Romeinse Tragedie/Roman Tragedies, the stage

was transformed into a political lobby room, complete with seating areas, televisions and even

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a buffet and bar. The audience sat in a triangle between the politician/actors and unlike in most

Dutch theatres, they were able to swap seats or step out to get a sandwich.

Where Ivo van Hove often opts for an unusual style to tackle more traditional subjects but

retains the original scripts, Noord Nederlands Toneel (NNT) in particular is not afraid to take a

lighter and more unorthodox approach to the major classics. Artistic director Koos Terpstra is

convinced that a theatre-maker should leave no stone unturned in his wish to involve the audience

in the theme of the performance. And if this means drastically revamping a classic script,

then so be it. Over the last few years, this has led to a few interesting experiments that turned

out to hold wide appeal. For example, Terpstra added stand-up comedians to his productions of

Brecht and Beckett plays, and MacBeth (2006) was adapted into a giant puppet show in which

the actors played puppets in true style. It wasn’t blood that flowed during the performances,

but sawdust. This light-hearted and slightly critical approach to classic scripts is one of the NNT’s

strong points. The company is not only popular among adults (although many traditional

theatre-goers had difficulty with the MacBeth puppet show); large numbers of young people

are also regular visitors to their shows.

Artistic director of the RO Theater Alize Zandwijk is also fond of tearing up traditional scripts. But

having said this, she is certainly not afraid to present large theatre audiences in major theatres

with completely new stage scripts. A good example was Onschuld/Innocence (2007) by the

German playwright Dea Loher, which is about ordinary people trying to survive in a hard world.

Zandwijk gave Loher’s characters slightly clownish traits. This softened the hard script, while the

clumsiness of the characters served to magnify the tragedy of their situation. In Macbeth (2007)

too, Zandwijk sought refuge in trivia and buffoonery. This time by presenting an insane circus

of megalomania, in which an old man and an innocent child kind met with disaster. Zandwijk’s

wayward choices in terms of acting style and stage design, which are regularly based on

popular culture, circus and the grotesque, interestingly create different levels in the scripts she

uses on stage. The other RO Theater director, Pieter Kramer, also relies on popular culture. For example,

for the festive season he produced the hilarious Lang en Gelukkig/Happily Ever After (2007),

grafted from English pantomime and packed with references to fairy-tales, Paris Hilton and hit

musicals, and a performance on an ice rink: Daklozen on ice/Homeless on ice (2008).

Smaller theatre-makers: in touch with their inner self

The wilfulness of Dutch theatre-makers mainly manifests itself in their drive to use everything

they can get their hands on. It doesn’t matter whether this is popular culture, film or music, as

long as it can be used to fathom the depths of social relevance. This is not only the forte of large

venues, but also of the smaller Dutch theatres, where theatre-makers are often far more outspoken

in their choice of new vehicles for making their point. While large companies still base many

of their productions on the classic body of theatre works, makers in the smaller theatres are

often more in touch with their inner self. By writing their own scripts, basing their productions

on research and improvisation, or by using music as the basic premise for the show.

Some of this theatre is quite candidly political, such as pieces by Eric de Vroedt, who uses his

mightysociety series to explore phenomena on the interface of politics, society and identity. In

mightysociety2 and 3 (2005), De Vroedt looked at the motives for and the implications of suicide

terrorism. mightysociety5 (2008) was a theatrical installation about young people exploring their

identity and society (virtual or otherwise). The installation comprised a number of youngsters’

rooms, where visitors were able to walk in and out, getting to know the miscellaneous residents.

The young theatre company Wunderbaum also explores modern society. Their themes have

included the background to violence (De rollende roadshow/The Rolling Road Show (2005), fear of

asylum-seekers (Welcome to my Backyard, 2004) and the consumer society (Magna Plaza, 2007).

The company usually finds an unusual location to maximize the effect, such as a shopping mall

in the case of Magna Plaza, whereby the audience were seated on stools amongst the shoppers.

The young director Laura van Dolron invented the term ‘stand-up philosophy’ for her productions.

She often plays herself in her productions, using the tools of the stand-up comedian to

light-heartedly address the confrontation between her own thinking and that of politicians and

philosophers such as Sartre.

Making a stand for tolerance

Over the last few years, a wind of change has blown through the Netherlands’ attitude to a

multicultural society. Under the influence of the hardening political climate, the tolerance of the

nineteen-nineties has made way for a repressed fear of strangers, in which the imagined threat

of Islam features strongly. Various makers in the small theatre circuit with concerns about this

hardening are trying to make a stand for a more tolerant attitude, particularly with regard to

76 The Dutch on tour Drama

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77


Islam. The Egyptian-Dutch actor Sabri Saad el-Hamus produced a series of five shows based on

the five pillars of Islam, which aimed to help audiences to understand the beauty and complexity

of his religion. In Zekket/Charity (2008) he gave an impressive rendition of an alien being held

in an institution where he is taught to adapt his standards and values in line with Western thinking.

The nightmare script written by Ko van den Bosch and El-Hamus’ sensitive style of acting in

a setting that closely resembles a psychiatric hospital, cleverly offsets the notion that everyone

should think the same.

In her shows Is-man (2006) and De gesluierde monologen/Veiled Monologues (2003), theatremaker

Adelheid Roosen comments on the relationship between men and women according

to Islam. She spoke at great length with many Muslims (men and women) before incorporating

their stories into a theatre production. There are more companies that reflect upon multicultural

society, including MC (Cosmic/Made in da Shade) and DNA (where El-Hamus has recently been

made artistic director). These companies focus specifically on performances and subjects that

are not only interesting or relevant to white Dutch audiences.

Music enhances meaning

Music is often used to enhance the meaning of a production in the Dutch theatre world. Numerous

companies focus specifically on producing musical theatre, but not just moulded around

classical music, but often around contemporary music too. The Leiden company De Veenfabriek,

for example, has few political aspirations but is both musical and headstrong, going in

search of new ways to incorporate music into their productions. The company is led by musical

theatre-maker Paul Koek, who enjoyed previous successes during his days as joint artistic director

at ZT/Hollandia in Eindhoven with Johan Simons. The productions and small-scale shows

produced by Paul Koek vary from musical and colourful shows like a pop concert of Euripides’

rarely performed Smekelingen/Vagrants (2006), via a cross-over between poetry and tap dance

in Voet /Foot (2005/2007), to an intimate and moving portrait of Sjaan, a real-life working-class

woman from Leiden (Sjaan, geen Jeanet/Sjaan, not Jeanet (2006)). Koek has given a number of

young theatre-makers/musicians the opportunity to develop their talents within his company.

Under the name Touki Delphine, they work on productions that, although made difficult to describe

by the rebellious use of video, installations and music, always sizzle with the energy and

enthusiasm of the makers. Another musical theatre company that offers room for young talent

alongside its own activities is Orkater, an old hand on the Dutch stage. Music is an important

facet of their productions, which move from pop concerts, via movement theatre, to musical

drama featuring historical topics.

Young talent in production houses

Companies are not the only places where young theatre-makers are given room to develop.

They are also welcome in the so-called production houses and workplaces. These institutes

play a unique role in the Dutch theatre system in terms of nurturing young theatre-makers in

their development. Inside the protective walls of Theaterwerkplaats Gasthuis-Frascati (a recent

merger), Productiehuis Brabant or Generale Oost, for example, they can carry out research,

produce small shows and explore the reaches of their own language, often supervised by

coaches and/or dramaturgists. Even though the productions are never intended to appeal to

large audiences (they are after all only teaching projects), shows have been known to become

big hits. The dramatic productions Broeders/Brothers and Toe, Vader drink.../Come on father, drink...

made at Gasthuis by Jetse Batelaan, and Hokwerda’s Kind/Hokwerda’s Child by Madeleine Jutten-Matzer

attracted full houses throughout the country. Production houses also regularly work

together with a range of summer theatre festivals that draw in large crowds in the Netherlands

every summer. Festivals are the perfect vehicle for young talent to present new work to a wide

audience. And to confront the general public with innovative theatre. Production house festivals

are the ultimate place for young theatre-makers to develop autonomously and to search for the

style and content of theatre production that most appeals to them.

The fact that young makers are given the opportunity to develop their own language inside a

production house is an important aspect of the Dutch theatre landscape, as it allows them to

reinforce the diversity of Dutch theatre in their own way. It is their fresh perspective, their new

language for producing theatre and their sheer diversity that will again permeate the tiniest

capillaries of the very special and unique world of Dutch theatre.

Robbert van Heuven

78 The Dutch on tour Drama

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Language

English

Contact

Artistic direction: Kuno Bakker, Gillis Biesheuvel,

Manja Topper, Oscar van Woensel

T +31 (0) 20 – 421 49 90

E doodpaard@doodpaard.nl

I www.doodpaard.nl

Agency: Menno Plukker Theatre Agent Inc.,

www.mennoplukker.com

Toneelgezelschap

Energetic performances

Dood Paard

without director

Toneelgezelschap Dood Paard (Theatre Company Dead Horse) is a cooperative of actors that

devises productions without a director. Language and humour are the foremost weapons of

this politically engaged company. They explore the boundaries of theatre convention by means

of revised versions of classic Greek and Shakespearean scripts or brand new texts. Although the

productions can vary enormously in terms of concept, they are all fuelled by a common sense

of involvement, energy and awareness. The audience is more of a witness than a spectator, and

is constantly provoked to take up a stance. With regard to aesthetics, poetry is mixed with trivia,

classical with contemporary.

A vital element of Dood Paard’s productions is that performances must remain dynamic from

the opening to the closing night. The staging that develops during rehearsals is seen as a

starting point rather than the finished article.

International

Dood Paard has been touring Europe with its productions since 1995. medEia by Oscar van

Woensel, 40,000 sublime and beautiful thoughts based on Peter Handke and Titus based on

William Shakespeare have all been staged in various European countries. The company created

a performance using scripts by Gesine Danckwert to be performed in the Schauspielhaus

in Vienna. In the autumn of 2007, Dood Paard toured the United States and appeared at the

Melbourne Arts Festival in Australia. Productions are in principle put on in English, and projected

translations are provided in exceptional circumstances. In spring 2009, Dood Paard will be taking

Titus on a tour of the US, Canada and Singapore. The international repertoire comprises: Titus,

medEia, ECO and 40,000 sublime and beautiful thoughts.

Titus

Photo: Sanne Peper

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Language

Dutch/Turkish/English/German/French

Contact

Artistic director: Adelheid Roosen

T +31 (0) 6 – 16 78 80 08

E info@femaleeconomy.nl

I www.femaleeconomy.nl

Female Economy

Be touched by the

Foundation

beauty of the stranger

Based on the assumption that everything in life is an illusion, Female Economy Foundation (FEF)

is trying to inspire a new economic way of thinking via Art: ‘Come near, just come to me’, Hélène

Cixous. Adelheid Roosen, artistic director of FEF, is fascinated by the Arab culture and deeply

involved in the backgrounds of Islamic women and men living in Western Europe. ‘To really

meet and be touched by the beauty of the stranger.’

FEF is dedicated to producing international drama that focuses on cultural issues, hoping to create

a celebration of differences within society. Roosen uses personal accounts to create intimate

portraits of migrant life and rituals, which she then cleverly weaves into probing monologues,

embellished by dancing dervishes and music played on traditional instruments.

De Gesluierde Monologen/Veiled Monologues is a vigorous, startling and poetic portrait of intimacy,

sensuality and love. A cast of four women from Islamic backgrounds perform these hilarious,

shocking and moving monologues.

Is.Man unveils the secretive world and complex motivations that underlie the tradition of

honour killings in some Muslim societies.

International

FEF productions have been performed on various stages. Diverse audiences in theatres and

cultural centres, Dutch Parliament, the police department and social authorities, were either

deeply moved, enthusiastic, embarrassed or appalled.

De Gesluierde Monologen/Veiled Monologues (2003) has been performed in various European

cities, and in Turkey and the USA. English, Turkish and French translations (Gesluierde Monologen/

Veiled Monologues only) and German subtitles are available. Text and accompanying interview

were published in ‘Theatre’, on behalf of the Yale School of Drama.

Is.Man (2005) has been performed in the Netherlands, Belgium and New York and at festivals

in Amman and Istanbul in 2008.

Veiled Monologues

Photo: Joris van Bennekom

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Language

English/on request

Contact

Artistic director: Marjorie Boston

T +31 (0)20 – 606 50 50

E info@mconline.nl

I www.mconline.nl

Exploring the realities

MC

of urban Europe

Urban Europe is reflected in MC’s plays, the people the company works with and how it associates

with its audience. The result is as much visual and physical as it is literary, mixing classical

culture with street culture, and old-school theatre with multi-media technology.

MC develops new plays and theatre performances, runs projects in clubs and at schools, and organizes

multi-media events combining guest DJ’s, theatrical performances, art exhibits, movies

and live music. It has pioneered multi-media technology in theatre productions, produced short

films and video-clips and has its own record label for distributing music and video clips linked to

their theatre projects. Each project has a core artistic team, which includes guests from different

disciplines, depending on the theme: actors, directors, artists, DJ’s, musicians, writers, rappers,

painters, computer programmers, designers, young and old.

MC is a new company uniting the scope and ambition of Cosmic theatre, one of the first multicultural

companies in Europe, with the street savvy and artistic innovation of Made in da Shade,

pioneers in urban theatre. The company is presently building its own theatre in Amsterdam that

will open in 2009.

International

Over the last few years, MC has toured different projects abroad and has been involved in

numerous co-productions. Some recent examples include: Push which toured in Suriname in

2006 and will tour again in 2008 - the great response led to a Surinamese version of the play and

educational workshops; and Sleepwalking democracy which was an international coproduction

with the Los Angeles Poverty Department, developed and performed in Amsterdam in 2006.

MC has recently set up a project with the Royal Theatre Stratford East from London, that will be

presented in London and Amsterdam in 2008.

Conversations with Ice

Photo: Pepijn van den Broeke

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Language

English/German

Contact

Artistic director: Marien Jongewaard

T +31 (0)20 – 463 67 21

E postbus@nieuwwest.demon.nl

I www.nieuwwest.com

Takes people to

Nieuw West

unknown places

Nieuw West/Stichting Plotloos drama is the movement theatre company of performer-director

Marien Jongewaard. Nieuw West’s performances transport their audiences to unknown and

sometimes unnerving territory. The acting style is fanatical, physical, musical, theatrical and risky.

The texts vary between the banal and the philosophical, the poetic and the kitsch, and the

subjects can broadly be defined as ‘the modern man and his inhibitions and conventions’.

Marien Jongewaard studied dance/expression and mime (movement theatre) in Amsterdam.

In 1980, along with Dik Boutkan and Rob de Graaf, he founded the Nieuw West movement

theatre company.

International

Lautsprecher Arnolt by Nieuw West and Productiehuis Rotterdam is an ‘opera for loudspeakers’ by

Huba de Graaff (music) and Erik Ward Geerlings (libretto and direction). Bart Visser designed and

built the various speaker installations. Marien Jongewaard portrays a human loudspeaker interpreting

the provocative Austrian writer Arnolt Bronnen (1895-1959), who was friends with both

Bertolt Brecht and Joseph Goebbels. The life and work of agitator Arnolt Bronnen encompassed

all the political and artistic extremes of his age. Marien Jongewaard plays a neurotic man who

is trying to survive in a cacophonic world filled with speakers: he is friends with speakers, falls in

love with speakers, and manipulates and betrays speakers. As half a century of world

history passes by, the speakers build into a frenzy of numbers and noise.

Lautsprecher Arnolt was performed at the Fadjr Festival in Iran and in Belgium. Previous to

this work, Marien Jongewaard toured Europe and the United States as co-choreographer with

Truus Bronkhorst.

Lautsprecher Arnolt

Photo: Theater in beeld, René den Engelsman

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Language

English/German/on request

Contact

Artistic director: Koos Terpstra; with effect from 1

January 2009 Ola Mafaalani

T +31 (0)50 – 311 33 99

E info@nnt.nl

I www.nnt.nl

Noord Nederlands

From radical adaptations

Toneel

to new work

The Noord Nederlands Toneel (NNT) is a professional theatre company based in Groningen, the

Netherlands. The company produces an average of 13 productions a year, ranging from radical

adaptations of classical world theatre to contemporary new work, staged on location or in a

theatre.

New productions can take any shape or form. Each year, two productions will go on tour to

the larger city theatres of the Netherlands and Belgium; other productions are performed in

the company theatre in Groningen, Theater de Machinefabriek.

In January 2009, the internationally acclaimed director Ola Mafaalani will take over as the

company’s new artistic director. Mafaalani is a talented and committed artist. In her work she

charts the outer limits of the dramatic arts and integrates other forms like dance and music

into her performances. She is renowned for her expressive and emotionally explosive style.

International

The Noord Nederlands Toneel gained huge success with its radical adaptation of William Shakespeare’s

Macbeth. The tragedy was staged as a puppet theatre show and has been performed

in the Netherlands, Germany and Romania. The play was nominated for the Audience Favourite

Prize in the Netherlands and won the Star of the Year award in Germany.

The new artistic director Ola Mafaalani has a lot of experience working abroad. She has worked

in Germany, Switzerland and the USA. As artistic director, Mafaalani will strive to develop the

company’s international profile. Long term relationships with theatres, festivals and individual

artists abroad are crucial. The company has already set up contacts with Winterthur, Strasbourg,

Los Angeles, Boston, Brussels, Vienna and Oldenburg and plans to gradually expand this number

over the coming years.

Macbeth

Photo: Karel Zwaneveld

The Dutch on tour Drama

89


Language

English/on request

Contact

Artistic direction: Mirjam Koen, Ton Lutgerink and

Gerrit Timmers

T +31 (0) 10 – 478 02 81

E info@ot-rotterdam.nl

I www.ot-rotterdam.nl

Onafhankelijk

Interdisciplinary

Toneel/ Opera O.T.

theatre and opera

Onafhankelijk Toneel/Opera O.T. (O.T.) is led by Mirjam Koen, Ton Lutgerink and Gerrit Timmers

(from the worlds of theatre, modern dance and visual arts), and general manager Corry Prinsen.

In O.T.’s productions, these disciplines are put to innovative use, and since the eighties, performances

also incorporate live video. In 1988, O.T. began producing opera alongside theatre and

dance.

The company’s hallmark is its interdisciplinary mix of theatre or opera with visual arts and

dance. O.T. is one of the Netherlands’ leading companies, and not only in the field of opera. Its

productions have won many illustrious theatre prizes. For opera, O.T. has branched out to larger

theatres (such as the Muziektheater and Royal Theatre Carré in Amsterdam, and the Rotterdamse

Schouwburg) and has collaborated with the Nederlandse Opera or the Nationale Reisopera on

several occasions.

International

O.T. has staged performances (theatre, dance and opera) successfully abroad, for example in

the United States and at festivals in France. Commenting on the opera The Death of Klinghoffer,

Trouw wrote: ‘Was beauty ever more poignant?’ In 2008, the ISPA invited Opera O.T. to a Pitch

Session in New York for its most recent opera Kwasi & Kwame - The Two Hearts of Kwasi Boachi.

The Volkskrant wrote: ‘Opera O.T., which has a reputation to uphold when it comes to highquality

opera productions, aimed very high with this project, but has once again delivered.’

O.T. would like to continue international tours with their operas.

Kwasi & Kwame – The Two Hearts of Kwasi Boachi

Photo: Ben van Duin

The Dutch on tour Drama

91


Language

On request

Contact

Artistic direction: Marc van Warmerdam,

Nicolien Luttels, Stefan Dijkman

T +31 (0) 20 – 606 06 00

E info@orkater.nl

I www.orkater.nl

Shaping ideas

Orkater

about music theatre

Music Theatre Company Orkater primarily makes contemporary music theatre, which is always

newly written and newly composed. The freedom with which performances are conceived,

made and presented is paramount to Orkater. The venue can vary from studio theatre to

municipal theatre and from museum to summer festival, a versatility that allows Orkater to

reach a varied audience of around 60,000 visitors per year.

Although it could be said that the clear ‘Orkater signature’ makes their productions slightly

predictable, their shows always vary in character, scale and cast. Orkater does not work with

a fixed group of performers. To many actors, musicians, directors, composers and text writers,

Orkater is the place where they can shape their own ideas about music theatre.

International

Orkater aims to present suitable productions abroad, preferably in the language of the host

country. From 1997 on, several productions were performed not only throughout Europe but

also in Israel, Surinam and Indonesia. Valse Wals, Bankstel, Zucht (triptych, translated as Deafening

Silence) visited the International Theatre Festival in St. Peterborough. The press in Moscow wrote:

‘Beautifully simple, epic despite the absence of words, and brilliantly performed. This was easily

the best performance of the festival.’

Orkater is currently in contact with the Intercity Festival in Italy concerning the productions

susies haarlok – De saaiheid is te snijden/The Edge of Boredom, Koud Meisje/Miss Frost and Deafening

Silence. This latter production, a triptych by Ria Marks and Titus Tiel Groenestege,

was made into a film entitled False Waltz in 2006 and won the Prix Italia and the Canadian Rocky

TV Award. It was also nominated for an International Emmy Award.

Miss Frost

Photo: Ben van Duin

The Dutch on tour Drama

93


Language

English/German/French

Contact

Artistic direction: Keez Duijves, Thijs de Wit,

Stije Hallema, Daan van West, Steven van Hulle

T +31 (0) 6 – 48 15 82 70

E info@pipslab.nl

I www.pipslab.nl

Never a

PIPS:lab

comfortable ride

For the last ten years, PIPS:lab has been producing raw, expressive, visually stunning, interactive,

multimedia performances. The software they write themselves has put them at the forefront of

live video editing. Technology, particularly video and audio, plays a dramatic theatrical part in

their performances. The footage shot during a performance is swiftly cut and edited, the context

changed and set to music. This makes the ‘video’ as ‘alive’ as the actors and musicians. The ensuing

collaboration between actors, visuals, live music and the audience, in which the computer

serves as a mixer, is surprisingly innovative and a challenge to your powers of perception.

The music is eclectic; a combination of jazz, hip hop, nursery rhymes and pop. The audience

is never given a comfortable ride; they are expected to take an active part in the performance.

PIPS:lab is creating new interdisciplinary combinations such as video-rock-operas, internet-upload-sessions,

interactive installation, live-VJ-performances (lumasol) or whatever else springs

to their mind. The productions are always humorous and light-hearted, while touching upon

serious current topics such as religion, death and the reliability of the media.

International

PIPS:lab performs throughout Europe in countries such as Italy, Poland, Germany, Spain,

Hungary, France and Belgium. They also build interactive installations, which are shown

throughout Europe. The Lumasolator was recently bought by the ZKM Karlsruhe.

Alongside their live-VJ-performances, PIPs:lab also performs Wortal Combat III, The washing

powder conspiracy and DieSpace outside the Netherlands.

The Washing Powder Conspiracy

Photo: PIPS:lab

The Dutch on tour Drama

95


Language

On request (subtitles)

Contact

Artistic director: Alize Zandwijk

T +31 (0)10 – 404 68 88

E margo@rotheater.nl, tobias@rotheater.nl

I http://rotheater.nl/English

Three different styles

RO Theater

in one company

The RO Theater is one of the three largest Dutch theatre companies. Based in the city of

Rotterdam, the company travels all over the Netherlands and abroad. The company presents a

varied repertoire by a range of theatre makers for different audience groups. It has a permanent

actors ensemble and performs in large and medium-sized theatres.

Alize Zandwijk is the artistic director of the RO Theater and one of the permanent directors

along with Pieter Kramer. They are currently joined by the young guest director Jetse Batelaan.

Alize Zandwijk’s work includes Shakespeare as well as Brecht and contemporary playwrights

such as Marina Carr, Arne Sierens and Dea Loher. She is internationally renowned for her raw,

physical style which she creates with a strong group of actors. Pieter Kramer’s work is more playful,

with a nod to the musical and with a mix of popular and high art suited to a broad audience.

Jetse Batelaan’s work is pure and philosophical. With a minimal use of words, his performances

go straight to the heart.

The RO Theater has won many prizes and its productions are often selected for the Dutch and

Flemish theatre festival.

International

The RO Theater coproduces regularly with KVS Brussels (Belgium) and Thalia Theater in Hamburg

(Germany). During the last ten years, the company has performed at many international festivals

and on many international stages. Alize Zandwijk also directs at the Thalia Theater in Hamburg.

Jetse Batelaan is a new prodigy in international theatre (Wiener Festwochen 2008).

The following productions are available for international touring: Meiskes en Jongens/Girls and

Boys, Moeders/Mothers, Onschuld/Innocence, Baal (all directed by Alize Zandwijk) and Hoofd/Head

(directed by Jetse Batelaan).

Girls and Boys

Photo: Pan Sok

The Dutch on tour Drama

97


Language

Turkish/subtitles on request

Contact

Artistic direction: Şaban Ol and Celil Toksöz

T +31 (0) 20 – 580 03 84

E info@rast.nl

I www.rast.nl

Unexpected, unorthodox,

Theater RAST

intercultural theatre

Rast’s theatre performances have a story and form that straddles the borders of different

cultures. Their theatre productions present an unexpected and unorthodox view on present

day intercultural situations, and address the audience directly.

Rast wants to be a source of inspiration for a new generation of young theatre makers. They

want to contribute to the development and promotion of young people from mixed cultural

backgrounds that have a talent for acting and directing.

International

Rast promotes an international profile and places special emphasis on exchange, co-operation

and co-production with theatre partners in Europe and Turkey. The company performs across

Europe and has a close bond with Turkey. Both artistic directors are originally from Turkey, and

therefore most of their plays are either performed in Turkish with Dutch subtitles or in Dutch.

The plays De Kus van de Roos/Kiss from the Rose, Solitude/Solitude (Yalnızlıklar) and Noorderlicht/

Northern Light (Kuzey Işiği) have received positive reviews in the Turkish media.

Other international performances include: Ahmed Arif and Antigone in Turkey and Germany;

and Life, Lost, Love & Luggage by Jong Rast (the Rast academy for young theatre makers) in Turkey.

Tolken/Interpreters, a joint production by Rast and Toneelgroep Ceremonia, premiered in January

2008 and will travel through Belgium before ending its tour in the Netherlands. Next season, the

production Dilek will begin its tour of Turkey and Germany.

Besides theatre shows, Rast has set up a summer academy in West Turkey where they will hold

annual international theatre programmes.

Interpreters

Photo: Tania Desmet

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99


Language

On request (English, German, French)

Contact

Artistic director: Ivo van Hove

T +31 (0)20 – 531 84 84

E info@toneelgroepamsterdam.nl

I www.toneelgroepamsterdam.nl

Major theatre

Toneelgroep Amsterdam

for major audiences

Toneelgroep Amsterdam is the largest subsidized theatre company in the Netherlands. They are

resident at the Stadsschouwburg Amsterdam, from where they put on at least six large-scale

productions and several re-runs of successful performances per season. Tradition and innovation

go hand-in-hand at Toneelgroep Amsterdam, with adaptations of classics, new repertoire and

cross-over productions in which the company searches for a new theatre language through a

combination of drama, music and audiovisual art. Toneelgroep Amsterdam Works together with

national and international theatre-makers and partners. Guest directors are regularly invited

from the Netherlands and abroad.

International

For the last few years, Toneelgroep Amsterdam has been working actively with international

partners and guest directors including Krzysztof Warlikowski and Christoph Marthaler, and

performing in front of foreign audiences. They plan to continue along this path in the future, and

even extend their international focus. In the ’07/’08 season, Romeinse Tragedies/Roman Tragedies

was a guest performance at the Wiener Festwochen, Theaterformen and Le Festival D’Avignon.

An American tour has been planned for the ’08/’09 season: the performance Opening Night

will be performed at BAM (New York) and UCLA (Los Angeles) and Rouw Siert Electra/Mourning

becomes Electra at the O’Neill festival (Chicago). A co-production with the German festival

Ruhrtriennale is in the pipeline; an adaptation of the film Rocco e i suoi fratelli/Rocco and His

Brothers by Luchino Visconti, directed by Ivo van Hove. Preparations for collaboration with the

California Institute of the Arts are in full swing and the partnership with Hamburger Schauspielhaus

will be continued.

Roman Tragedies

Photo: Jan Versweyveld

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Language

On request

Contact

Artistic director: Rob Klinkenberg a.i.

T +31 (0)26 – 443 76 55

E info@oostpool.nl

I www.oostpool.nl

Comfort and

Toneelgroep

understanding in

Oostpool

a complex world

Toneelgroep Oostpool is an energetic and committed Arnhem company comprising young

theatre-makers who present their personal themes in the context of events in a complex world;

a world that we think we understand via technology, politics and rational thinking, but which

seems to be slowly slipping out of our grasp. They do this by means of theatrical metaphors,

which have been used to explain the inexplicable since the beginnings of time. Metaphors

that provide comfort and understanding, and make you feel less alone.

As from 2009, the company will have two young resident directors; Marcus Azzini and Erik

Whien, who will work under artistic director Rob Klinkenberg and business director Alex Kühne.

Toneelgroep Oostpool has an ensemble of eight actors.

International

Toneelgroep Oostpool has performed abroad on several occasions over the last few years.

They exchanged repertoire with ’t Arsenaal from Mechelen in the spring of 2005; a triptych

about loss was performed in Belgium as part of this exchange project. The musical success Brel,

about a Belgian singer of the same name, appeared in Belgium and Germany (Berlin, Munich)

on several occasions in 2006. De Nimfen/The Nymphs, about the relationship between sisters,

was performed twice in Wiesbaden in June 2006.

The production Oude Honger/Old Hunger is currently attracting attention from Spain; a translation

is available. Brel is also set to tour more extensively and will be translated into English.

Toneelgroep Oostpool’s future plans include a structural partnership with two foreign countries

that have triggered their interest: the neighbouring province of Nordrhein-Westfalen in

Germany and Marcus Azzini’s own native country, Brazil.

Brel

Photo: Ben van Duin

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103


Language

On request

Contact

Artistic director: Paul Koek

T +31 (0) 71 – 331 80 53

E info@veenfabriek.nl

I www.veenfabriek.nl

Progressive music

Veenfabriek

theatre ensemble

Veenfabriek is a music theatre ensemble founded in 2004 by composer and director Paul Koek.

Music and sound are among the core issues of the Veenfabriek’s artistic vision, which is why the

ensemble includes as many professional musicians as trained actors. Working within an interdisciplinary

framework, the Veenfabriek performs in theatres and museums, at festivals and on

specific locations. The company does not only produce high-quality musical productions, but

is also engaged in research into the use of music (more specifically pop music aesthetics) and

non-conventional instruments in a theatrical setting. For instance, the Veenfabriek has joined

forces with Leiden University to form and set up a new orchestra consisting exclusively of sirens.

The Veenfabriek is a place where reality is tangible and wilfulness rules. A place where artists,

scientists, new talent, students and professionals work together to convey their reflections on

society in an aesthetic form that will inevitably touch the audience.

International

The Veenfabriek has performed in Spain, France, Germany, Belgium and Greece. Euripides’

tragedy Suppliants was co-produced with the Greek Theseum Ensemble. It went on an extended

Dutch tour and two performances of the show in the antique theatre of Epidauros (GR) were

attended by 3,000 spectators. The Veenfabriek also maintains a close relationship with the Belgian

company Theater Antigone. Dédé le Taxi, a collaboration between the Veenfabriek, Theater

Antigone (BE) and Compagnie du Tire-Laine (FR), attracted crowds of over 15,000 spectators in

the Netherlands, Belgium and France. Further, Track Poetry, an accessible, poetic concert that

does not shun the confrontation between word and music, will be performed at the Palabras

y Musica Festival in Spain in 2008. Finally, Sharing the Same Shade, musical theatre based on a

survey of juvenile delinquents and inspired by pop music aesthetics, appeared at the Holland

Festival 2007.

Sharing the Same Shade

Photo: Jochem Jurgens

The Dutch on tour Drama

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Language

English

Contact

Artistic direction: Walter Bart, Wine Dierickx, Matijs

Jansen, Maarten van Otterdijk, Maartje Remmers,

Marleen Scholten

T +31 (0) 20 – 488 95 53

E marscholt@hotmail.com

I www.wunderbaum.nl

Serious emotional lines

Wunderbaum

with lightheartedness

Wunderbaum is an actors’ collective comprising five permanent actors and a designer. They

mainly create theatre on location with a social message. Never moralising, simply raising issues

with the audience and themselves. They shun cynicism, but fuel their work with the love they

feel for the characters representing their themes. Serious emotional lines run through their work,

driven by lightheartedness and humour. They write their own scripts on the basis of improvisation.

And they work with various dramaturgists, but without a director.

This actors’ collective opts for theatre on location because they want their work to be seen

within a social framework. Wunderbaum confronts the public with reality, generating a feeling

of alienation when people come together in a place that has no theatrical context. This also

attracts people who are curious about what is going on in their neighbourhood and would

not normally visit a theatre.

Once a year, the actors’ group Wunderbaum puts on one production in Rotterdam (Productiehuis

Rotterdam) and one in Gent (at NTGent). Themes of the ten productions and the film from

the last six years include: xenophobia, religion, issues surrounding asylum-seekers, urbanization

and poverty.

International

Wunderbaum has been performing abroad since 2002. The collective took the hit production

Lost Chord Radio to Ljubljana, Los Angeles and Basel, and they are set to go to Milan shortly.

Everybody for Berlusconi (in partnership with the Slovenian dance company Betontanc)

was performed in Berlin and Ljubljana, and Welcome in my backyard was staged in Udine.

In September 2008, Magna Plaza will tour in Budapest. This summer, a new production will

be taken to the Ukraine, Bulgaria, Rumania and Turkey. Wunderbaum has been invited to devise

a production for the European Capital of Culture Linz in 2009.

Magna Plaza

Photo: Fred Debrock

The Dutch on tour Drama

107


Colophon

Editor and producer

Moon Saris

Editorial board

Jennemiek Leijssen/Daniella Groenberg, TIN

Editorials

Robbert van Heuven, Moon Saris,

Marcelle Schots

English Translations

Vertaalbureau Taalcentrum-VU

Design

T2 Ontwerp

Nothing from this publication may be

reproduced or published by print, photocopy,

microfilm or any other means (including

electronic means) without the prior written

permission of Theater Instituut Nederland.

Theater Instituut Nederland

Theater Instituut Nederland provides information

and advice to Dutch and foreign theatre

and dance professionals. The activities focus

on promoting Dutch dance and theatre

abroad and providing a programme of artistic

exchange between Dutch and international

companies and theatre professionals.

Print

Drukkerij Wilco

DVD production

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© Theater Instituut Nederland

Herengracht 168, 1016 BP, Amsterdam, NL

T +31 (0)20 – 5513300

E info@tin.nl

www.tin.nl

108 The Dutch on tour Colophon

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