Information on the activity

May 8, 2014 to May 10, 2014


Two different suggestions give rise to Occhi project. The first one is a black and white short video about mental patients in 50's American asylum. This suggestion grows more important for me because I'm starting to work with mental ill people. The second one is communication, eyes communication in particular. I asked myself, what would happen when I close my eyes. A person would find himself detached from the external world or at least apparently detached. When I enter in a new space I find reference point. It is automatic to study a space, and I find other people/presences, I find the “emergency-exit” : I use my eyes. It is reassuring to know where I am. It is instinctive and primordial. By closing one’s eyes you open many different sensations, time is perceived in a different way, the surrounding sound becomes acute, contact with others is suspended at least in the “normal” sense and therefore it has to be rebuilt. At first, his point of view would be concentrated onto himself: fears, inquietudes, memories come. Then I have asked myself, how a person can be influenced by his surroundings. Either the performer and the observer. What happens in the observer when suddenly the performer opens his eyes? He will be brought to dancer’s parallel world. I am very interested to analyse how these two parallel worlds can be united, those outside to come inside at the same moment.


asper van Luijk: “Recently one of the things that have really inspired me is the concept of death. Not the idea of afterlife, but the (social/emotional) situation that is caused by death. I am intrigued by how we respond to death, how we perceive life and our relations after death and how we socially reorganise because of the (sudden) occurrence of death. And, do we ourselves live differently, just before we die? Death brings our emotions to another level. We may find ourselves in shock, surely in a state of mourning, be confronted with a feeling of loss and being left alone at the same time. These states are not only mental but have a very strong effect on our physicality as well. I want to explore the physical layers of these emotions and put those in relation to the characters I plan to put on stage. I would like to find a way to sketch a piece in which the reoccurrence of death also creates new relations within a diminishing group.”


‘Dialogue’ is an ever-evolving work, where the drama is in what is happening right now. Inspired by Amanda Baggs’ moving film ‘In my language’, the work questions our modes of communication creating a live, ‘in the moment’, double act. For ‘Dialogue’, many performing artists and audiences have been invited to collaborate and contribute to the creation of the work. Their views and what has been lost or found in translation have directed the work, opening up the conversation: How do we communicate? What do we see? And what happens next?


4kg is an encounter between flamenco and contemporary dance, electroacoustic composition, flamenco musicians and robotics. The cadenced singing of cicada, its subterranean journey and its emergence form the poetic substratum of the piece. 4kg is the weight of dead skin cells a human sheds every year and concerns the inevitable time maturation needs. Moved by the perseverance human needs to proceed towards its specificity, Sarah Bronsard investigated the symbolism of cicada and its resonance with human life. As the insect evolves below ground for years, molts to reveal its imago and lives only a few days in the open air, human undertake a unique path no one can trace ahead, with uncertain conclusion. A silent work, blind and solitary, full of trial and error, resistances and confrontations, but also with areas of trust, exhuberance, playfulness and emancipation.


CONSTRUCTIONS is a choreographic attempt to re-express and question the relationship of modern man to his masculinity. Through this examination the aim is not so much to make a criticism of the archetypes inherent to masculinity and reject them, but rather understand how archetypes interfere with the construction of identity, sexuality, gender and ask through the moving and sharing body how to encompass them. CONSTRUCTIONS uses personal body and mind gender history of the performers and place it in discussion with the archetype of the western man strong, physical, effective, handy and decision making. The physical construction made of mechanical movements, direct and playful interactions, duets of strong manipulations and intimate solos allows each dancer to re-experience, re-think, in action, his identity as man and address his vulnerability, with, in front of and for the audience.