In/with/in
In/with/in is a triptych of works in which different creators usher in season 2023-2024 with their diverse artistic ideas, prevailing crossovers between dance, visual art, design and music. NDT 1 will dance the world premiere of 15 by new face to the company, Tao Ye. The choreographic duo Imre van Opstal & Marne van Opstal will also create a new work in collaboration with Studio Drift with the world premiere of The Point Being. The evening is concluded with I love you, ghosts (2022) by Marco Goecke.
Run time 150 minutes, including 2 intermissions
Genre dance
Language language no problem
In Gesprek Fri November 10
In/with/in
What happens when multiple, seemingly unrelated events collide? How do they overlap as one breathable entity that consistently morphs into new ways of being? Inspired by spaces that actively engage with an audience, Imre van Opstal & Marne van Opstal explore the idea of synchronicity with the world premiere of The Point Being. By supporting emerging voices and new types of creative partnerships the choreographic duo is coupled with renowned Dutch design firm Studio Drift founded by Lonneke Gordijn and Ralph Nauta in 2007. Studio Drift specializes in choreographed sculptures and kinetic installations and will develop the set design for this new work.
Tao Ye, choreographer and founder of the Tao Ye Dance Theater will debut a work for NDT and with that his first ever creation for an external company with the world premiere of 15. For the choreographer, the act of repetition as a ritual of the natural sequence of the body progresses into, as he describes, “a state that is pure and minimal.”-|-Tao Ye works in numerical form, marking this the fifteenth creation within his oeuvre, that he will be creating for fifteen dancers in close collaboration with the NDT 1 dancers and renowned composer Xiao He.
I love you, ghosts (2022) by Marco Goecke was the choreographer’s first creation in the then recently opened Amare. Impressed by the grandeur of the new building, it simultaneously evoked memories of the old rehearsal rooms of the Lucent Danstheater, and the many impressions that remained even after that theatre’s demolition. “What may have happened to the good house spirits? Have they also moved to the new building?”, Nadja Kadel, Marco Goecke’s dramaturg, writes. In the work, nine dancers go in search of those ghosts through Goecke's quintessential movement language as familiar gestures from earlier spaces and earlier pieces, like protective ghosts.
