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Social.PlanetNews - Wim Vandekeybus: Menske-Ultima VezÈ sempre un evento per il forum delle Muse par-lare di opere.social.planetnews.it/story.php?title=wim-vande-keybus-menske-ultima-vez - 33k - Copia cache - Pagine simili

Wim Vandekeybus/Ultima Vez ::: BLUSH ::: - [ Traduci questa pagina ]In January 2002, Ultima Vez revived Wim Vande-keybus’ debut performance “What the Body Does Not Remember” in the frame of the KLAPSTUK 10 Festival in Leuven ...www.dancetouringpartnership.co.uk/blushtour/biographies.htm - 31k - Copia cache - Pagine simili

Wim Vandekeybus: Menske-Ultima Vez

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Social.PlanetNews - Wim Vandekeybus: Menske-Ultima VezÈ sempre un evento per il forum delle Muse par-lare di opere.social.planetnews.it/story.php?title=wim-vande-keybus-menske-ultima-vez - 33k - Copia cache - Pagine simili

Wim Vandekeybus/Ultima Vez ::: BLUSH ::: - [ Traduci questa pagina ]In January 2002, Ultima Vez revived Wim Vande-keybus’ debut performance “What the Body Does Not Remember” in the frame of the KLAPSTUK 10 Festival in Leuven ...www.dancetouringpartnership.co.uk/blushtour/biographies.htm - 31k - Copia cache - Pagine simili

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Cultura e SpettacoloLaura has assisted Wim Vandekeybus for numerous workshops, auditions and projects. In 2008 she is touring Ultima Vez’ latest productions Spiegel (2006) and ...www.culturaespettacolo.com/att_spec.asp?id=3431 - 17k - Copia cache - Pagine simili

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Scenario Pubblicoultima vez/wim vandekeybus [bel]. web: -. Wim Vandekeybus fonda nel 1986 la compagnia Ultima Vez, con sede a Bruxelles. Nel giugno del 1987 debutta What the ...www.scenariopubblico.com/index.php?idPagina=1-2&idArtista=43 - 8k - Copia cache - Pagine simili

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Angeles News ... - [ Traduci questa pagina ]30 Apr 2008 ... Wim Vandekeybus’ Ultima Vez @ Royce. SpiegelVandekeybus%5B1%5D.jpg. Photo by Jean-Pierre Stoop, courtesy of UCLA Live ...laist.com/2008/04/30/wim_vandekeybus.php - 33k - Copia cache - Pagine simili

[PDF]Teatro Comunale di Ferrara Due coreografie di Wim Vandekeybus ...Formato file: PDF/Adobe Acrobat - Versione HTMLDue coreografie di Wim Vandekeybus/ Ultima Vez. martedì 28 ottobre, ore 21. Du feu dans le sang. giovedì 30 e venerdì 31 ottobre, ore 21 Menske ...www.cultureteatrali.org/news/78-danza-contem-poranea.pdf - Pagine simili

Wim Vandekeybus “Menske”Wim Vandekeybus, Compagnia Ultima Vez. Il nuovo lavoro di Wim Vandekeybus regista, coreo-grafo, performer e fotografo belga è una creazi-one energica, ...www.auditorium.com/eventi/4924700 - 60k - Co-pia cache - Pagine simili

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Biography Wim VandekeybusDirector, choreographer, actor and photographer Wim Vandekeybus was born on June 30th, 1963 in Herenthout (Belgium). Brought up in a rural envi-ronment as a son of a veterinarian, Vandekeybus was often in contact with animals in their natural environment. These experiences had a great emo-tional impact on him. Animals, their movements, their instinctive reactions and their trust in their own physical power are often integrated into his performances.

He began his studies in psychology in Leuven, but did not complete them, irritated, as he says himself, by the surplus of ‘objective science’. His interest in the complex relationship between body and spirit remained. A workshop with the Flemish theatre director and playwright Paul Peyskens brought him into contact with theatre. He followed some dance courses (classic, modern, tango) and took up film and photography.

In 1985 he auditioned for Jan Fabre. Vandekeybus was chosen and during two years he travelled the world with the The Power of Theatrical Madness, playing one of the two naked kings. While tour-ing with Jan Fabre he met painter/photographer Octavio Iturbe in Madrid, who later became an important artistic collaborator.

In 1986 he withdrew for several months in Madrid with a group of young, inexperienced dancers calling themselves Ultima Vez (Spanish for ‘Last Time’) to work on his first production. In June 1987 What the Body Does Not Remember premièred at the Toneelschuur in Haarlem (the Netherlands). The dancing in What the Body… was powered by the music of Thierry De Mey and Peter Vermeersch. With tempestuous energy and strength the performers made daring leaps, launched themselves into the air and smartly intercepted each other’s falls. Bricks were thrown above each other’s heads. Every gesture had to stick to an absolutely precise timing; the perform-ers put their trust in and surrendered to their instincts.

Although the première was received with scepti-cism, the performance was soon being presented on international stages. In 1988, Wim Vandekey-bus received the Bessie Award in New York for this production, which was credited “a brutal confrontation of dance and music: the dangerous, combative landscape of What the Body Does Not Remember.”

Since What the Body… Wim Vandekeybus has created nearly twenty performances with chang-ing international casts and has made nearly as many film and video productions. From his very first performance, music has been an important stimulus for his productions. He has commissioned works from, among others, Peter Vermeersch,

Thierry De Mey, David Byrne, Marc Ribot, Eaves-dropper and David Eugene Edwards.

In 1989, after a residency at the Centre National de Danse Contemporaine d’Angers, he created Les porteuses de mauvaises nouvelles. For this creation Wim Vandekeybus received his second Bessie Award. The Weight of a Hand (1990), an on-stage con-frontation of actors and musicians, was based on the choreographic material of the first two productions. In that same year Wim Vandekeybus also created - with Walter Verdin and Octavio Iturbe - the dance video Roseland, placing the choreographic material of his first two works in the remarkable setting of a dilapidated Brussels cinema.

Immer das Selbe gelogen (1991) was a sensitive portrait of 89 year old German variety artist Carlo Verano and of Vandekeybus’ friendship with the man. While the first performances are character-ized by a lack of coherence or storyline, more narrative and theatrical elements crawl into his creations: texts, literary, mythological and philo-sophical references. In June 1992 Wim Vandekeybus and Walter Ver-din directed La Mentira, a dance video based on Immer das Selbe gelogen, recorded at deSingel in Antwerp, and in the rough and deserted landscape around Granada in the south of Spain.

For Her Body Doesn’t Fit her Soul (1993) Wim Vandekeybus collaborated with non-seeing danc-ers for the first time: blindness becomes a meta-phor for the submission of the body to its in-stincts, for vulnerability and the fragility but also the strength of the body.The short film Elba and Federico, also directed by Wim Vandekeybus, was part of the performance. From this moment onwards film became a con-stant value in Vandekeybus’ work.

From 1993 until 1999 Wim Vandekeybus was artist in residence at the KVS (Royal Flemish Theatre).

A film - shot in Morocco - and short stories by Paul Bowles and Milorad Pavic, formed the theme for Mountains Made of Barking (1994).

In 1995 Wim Vandekeybus made Alle Grössen decken sich zu (1995), based on the life of Carlo Verano. This performance was considered as a theatre rather than a dance piece. During that same year Wim Vandekeybus also revived his debut choreography What the Body Does Not Remember.

Bereft of a Blissful Union, a large-scale piece which brought together on stage twelve danc-ers and twelve musicians, incorporating film and acting sequences, followed in 1996. The short film Dust, based on a scene from Mountains Made of Barking and part of Bereft of a Blissful Union as a video, was later released separately.

As a guest choreographer for the Israeli Batsheva Dance Company, Wim Vandekeybus created Ex-haustion from Dreamt Love (1996).

For the first time since The Power of Theatrical Madness, he worked again with Jan Fabre in 1997 Body, Body on the Wall… is a solo written and directed by Jan Fabre for Vandekeybus, integrat-ing a short film.

With Ultima Vez, Wim Vandekeybus made 7 for a Secret never to be told in 1997. Silver, a video ad-aptation of one of the scenes of the performance was released in 2001.

In 1998 Wim Vandekeybus and Franz Marijnen, stage director and artistic director of the Royal Flemish Theatre, worked together on The Day of Heaven and Hell, a performance about the life and work of Pier Paolo Pasolini. Franz Marijnen withdrew during the rehearsal period and Vande-keybus continued alone.

From 2000 until 2002 Wim Vandekeybus and Ultima Vez were guest dance company at Teatro Comunale di Ferrara (Italy).In Spite of Wishing and Wanting, a performance with male dancers only and with music by Da-vid Byrne, premièred in 1999. The performance incorporated the short film The Last Words, based on two surrealist short-stories by Julio Cortázar. A dance video adaptation was released in January 2002.

The decease of his father strongly influenced “Inasmuch as Life is borrowed...” (2000), life and death becoming the central themes of the perfor-mance and short-film that is part of it.

For Scratching the Inner Fields (2001) Vandekey-bus collaborated with the Flemish author Peter Verhelst, a collaboration that was continued for Blush (2002) and Sonic Boom, a co-production with the Dutch theatre company Toneelgroep Amsterdam (2003).

In 2002 What the Body Does Not Remember was revived in the frame the 10th edition of the KLAP-STUK festival in Leuven.

Inspired by the author Djuna Barnes, the young German actress Nicola Schössler directed Wim Vandekeybus in the solo ‘s NACHTs in the frame of the laboratory project De Stokerij (KVS/de bot-telarij) during that same year.

Also in 2002, Wim Vandekeybus was asked by dancer and choreographer Sidi Larbi Cherkaoui to create a solo for him in the frame of Le Vif du Sujet (SACD / Festival d’Avignon 2002). Starting point for it was the short story The Circular Valley by Paul Bowles.

15 years after its première, Wim Vandekeybus revived his second creation Les porteuses de mau-vaises nouvelles in collaboration with the Portu-guese Companhia Instável.

A dance film adaptation of Blush, filmed in Corsica and Brussels, was released in January 2005.

PUUR, Wim Vandekeybus’ latest creation for 13 performers, premièred during the Singapore Arts Festival in May 2005.

In 2002 a workshop with youngsters in the frame of the Brussels’ literature festival Het Groot Beschrijf was the starting point for a series of projects with children and youngsters, lead by Wim Vandekeybus: Bericht aan de Bevolking/Avis à la Population (2002), Viva! (2004), Rent a kid, no bullshit!. After a few workshop projects, he is now preparing his first children’s production based on Bêt noir, an adaptation of the Oedipus myth by Jan Decorte.

Vandekeybus is currently working on the scenario of his first feature film.

Ultima VezUltima Vez was founded in 1986 as the company and organisation of choreographer, director and filmmaker Wim Vandekeybus. Since its foundation, Ultima Vez has intensively developed its activities as an international con-temporary dance company with a strong base in Brussels and Flanders. While, during the first years, Ultima Vez focussed mainly on the production, promotion and distri-bution of the artistic work of Wim Vandekeybus (dance, theatre, film), the organisation has inte-

grated many other activities. Ultima Vez has always functioned as an autono-mous and independent structure, relying however on a network of co-producers and partners to realise its projects.

Currently the activities of Ultima Vez are focussed around the following pillars:

- the creation, production, the national and inter-national distribution & promotion of the artistic work of Wim Vandekeybus (dance/theatre cre-ations, film & video, kids & youth projects, …);

- the organisation of art educational activities (classes, workshops, repertory projects…) for vari-ous target groups (professional dancers, perform-ers, dance amateurs, children, …);

- the ulti’mates programme: the support and counselling of choreographers/theatre makers on the level of (financial) management, administra-tion, production, promotion and/or distribution.

For more information about the different Ultima Vez activities, we refer to the respective pages on this website. An overview of the partnerships and networks Ultima Vez relies on or is member of can be found on the synergies pages.To contact us, click here.

Ultima Vez is supported by the Flemish authorities and the Flemish Community Commission of the

Brussels Capital Region.Ultima Vez is member of the Brussels Arts Discus-sion Platform and danceWEB Europe.

Les porteuses de mauvaises nouvelles (1989)World première 02.02.1989, Le Théâtre d’Angers / C.N.D.C., Angers (F)Première revival 10.09.2004, Teatro Carlos Al-berto, Porto (P)

Very often, the person who brings news – good or bad – feels an emotional charge more intense than the person for whom it is destined… Les porteuses de mauvaises nouvelles is a study of the physical and theatrical implications of this state. It explores and develops the confrontation between the actor and the imminent, inescapable elements of reality: weight, duration, falling, breath.

In 1989, after a residency at the Centre National de Danse Contemporaine d’Angers (France), Wim Vandekeybus created this performance, for which he received his second Bessie Award as well as the London Dance and Performance Award.

Angeles News ... - [ Traduci questa pagina ]30 Apr 2008 ... Wim Vandekeybus’ Ultima Vez @ Royce. SpiegelVandekeybus%5B1%5D.jpg. Photo by Jean-Pierre Stoop, courtesy of UCLA Live ...laist.com/2008/04/30/wim_vandekeybus.php - 33k - Copia cache - Pagine simili

[PDF]Teatro Comunale di Ferrara Due coreografie di Wim Vandekeybus ...Formato file: PDF/Adobe Acrobat - Versione HTMLDue coreografie di Wim Vandekeybus/ Ultima Vez. martedì 28 ottobre, ore 21. Du feu dans le sang. giovedì 30 e venerdì 31 ottobre, ore 21 Menske ...www.cultureteatrali.org/news/78-danza-contem-poranea.pdf - Pagine simili

Wim Vandekeybus “Menske”Wim Vandekeybus, Compagnia Ultima Vez. Il nuovo lavoro di Wim Vandekeybus regista, coreo-grafo, performer e fotografo belga è una creazi-one energica, ...www.auditorium.com/eventi/4924700 - 60k - Co-pia cache - Pagine simili