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18:00- PROGRAMME 1


Everyone knows what it means to think
Performed and choreographed by: Wai Lok Chan

If dance/body/movement (DBM) is a coded signifier, how do we de-code it? Decompose and deconstruct the actions of thinking and unfold the literacy and readability of DBM. In these processes, both readers and authors are entitled to read and give meanings to DBM.

Rosas Danst Rosas- 2nd movement
Original choreography: Anne Teresa De Keersmaeker (1983)
Rehearsal director: Fumiyo Ikeda
Performance: Alban Ovanessian, Cassandre Cantillon, Gustavo Gláuber, Aminata Diallo, Hanako Hayakawa, Thomas Higginson, Cheyenne Illegems, Eimi Leggett, Stanley Ollivier, Carolina Ferreira, Cintia Sebök, Judith Van Oeckel and Mooni Van Tichel

Rosas Danst Rosas’
combination of precise minimalism and theatrical female touch makes this piece an absolute classic in the history of contemporary dance. What you will see is the result of a four-week workshop led by Fumiyo Ikeda, one of the dancers in the original work. The workshop was also open to male performers, which echoes the project ‘re:rosas’, in which Anne Teresa De Keersmaeker invited the general audience worldwide to develop their own interpretation of the second movement of the piece. See www.rosasdanstrosas.be for more!

Let It All Out
Choreography: Cristian Duarte
Assistant: Bruno Freire
Music: Tom Monteiro
Performance: Audrey Mérilus, Fouad Nafili, Margarida Marques Ramalhete, Mariana Miranda De Oliveira Silva, Rafael Galdino Dos Santos, Rita Gouveia Alves, Robson De Sousa Ledesma, Timothy Nouzak, Wai Lok Chan

Let It All Out
aims at bringing together dance archives from the histories of dance training of the dancers, using current memories and those that remain subconscious or neglected. These memories appear as marginalia, no longer owned by anyone. They become a footnote, liberated and recycled into new sensations and perceptions.

The soundtrack was composed for this creation by Brazilian musician Tom Monteiro, starting with the song Shout (1985) by Tears for Fears as reference.


Short works with Ivana Müller
Led by: Ivana Müller
With: Lydia McGlinchey and Robson De Sousa Ledesma

Two Rocks

In the 2nd and 3rd years at P.A.R.T.S. some of our students chose to participate in workshops with Ivana Müller. During these weeks, Ivana and the students collaborated to make short format works, develop scores and make sketches of ideas to become. The main focus was the concept of ‘time’- duration, slow motion, memory, waiting. We will be reviving and presenting five of these short works.

Self/Unnamed- Film
Made by: Assia Turquier-Zauberman
Performed and choreographed by: Georges Labbat

My biggest flaw is that I’m too authoritative in my opinions. Georges’ biggest flaw is that he likes himself too much. So he made a statue of himself to embrace and kiss and I directed him and made it mine. But also, we broke from habit by creating something that didn’t require words- “je ne te félicite pas, je te montrerai” I said to him after seeing his solo for the first time (I won’t congratulate you, I’ll show you). Also, we broke from habit by breaking with our didactic tendencies and desire for narration. By embracing the arythmic flow of the soundtrack to Cocteau’s “le sang d’un poète”, accepting him as patron. We affirmed our ease too, by allowing the fortuitous encounter with a bible bit read by an Armenian man to stand as proudly and randomly as it liked. And then we went home and laughed a lot a lot. En tout cas bravo.

This film accompanies the next performance…

20:45- PROGRAMME 2


Performed and choreographed by: Georges Labbat

A work performed by one body and his double.

Developed around the encounter of the subject with his reflecting object, this solo or duet presents those two different bodies and their intricate relation through movement within the time and space of the performance.

Inspired by narratives from the German writer Léopold Von Sacher Masoch and reflections upon them from Gilles Deleuze.

In the Solitude of the Cotton Fields
Performed and choreographed by: Synne Elve Enoksen and Némo Flouret

A work that finds itself in dialogue with the theatre play “In the Solitude of the Cotton Fields” by Bernard-Marie Koltes. While lingering in the intersection between movement and text, a space of ambiguity unfolds.