What the Body Does Not Remember
4.6.2014. / 18:00 / MSU
WHAT THE BODY DOES NOT REMEMBER
Ultima Vez (BE)
Originally created in 1987. Revival 2013 -2014.
DIRECTION,CHOREOGRAPHY & SCENOGRAPHY: Wim Vandekeybus
PERFORMED BY: Ricardo Ambrozio, Tanja Marín Friðjónsdóttir, Zebastián Méndez Marín, Aymara Parola, Maria Kolegova, Livia Balazova, Eddie Oroyan, Pavel Mašek, Jorge Jauregui Allue
ORIGINAL MUSIC: Thierry De Mey & Peter Vermeersch
REHEARSAL DIRECTOR: Eduardo Torroja
STYLING: Isabelle Lhoas
ASSISTED BY: Frédérick Denis
TECHNICAL COORDINATION: Davy Deschepper
LIGHTING DESIGN: Francis Gahide / LIGHTING ON TOUR: Davy Deschepper
SOUND ON TOUR: Davy Deschepper, Bram Moriau
PRODUCTION: Ultima Vez
WITH THE SUPPORT OF: Charleroi Danses, Centre Chorégraphique de la Fédération Wallonie -Bruxelles
CO - PRODUCTION: KVS
Anna Kisselgof, New York Times, November 22nd, 1987
The amazing debut of Wim Vandekeybus and Ultima Vez in 1987 stunned the world of dance of the time. In New York Vandekeybus and composers Thierry de Mey and Peter Vermeersch received the prestigious Bessie Award for this ‘brutal confrontation of dance and music: the dangerous, combative landscape of What the Body Does Not Remember.
Now, 25 years later and with a new cast, the show
will once again go on a world tour. Vandekeybus’ first choreography balances on the razor edge of attraction and repulsion. Sometimes this results in a confrontation between two dancers, then between two groups, between dancers and music, and between dancers and a compelling set of lines. But throughout there is an explosion of aggression, fear and danger. Dance history on stage and not to be missed, even today.
The intensity of moments when you don’t have a choice, when other things decide for you, like falling in love, or the second before the accident that has to happen; suddenly they appear, with no introduction, important for me because of their extremeness rather than for the significance to be given to them. The decision to use this as a basic material for a theatrical composition is at least a paradoxical challenge, considering a theatrical event as repeatable and controllable. Perhaps when all is said and done, the body doesn’t remember either and everything is a subtle illusion of lack which helps to define or exhaust the game.
Wim Vandekeybus
