Bitef

You ask yourself what direction it can go, or what the ground is for it. That's why you have to understand the history of the other. That double history Is very present in this performance. You will notice that both our histories will merge. That is the way in which we create a situation that we both don't recognise anymore. The usual, the everyday suddenly becomes very uncomfortable and strange because we can't rely on our habits any more. But that's also why the piece is full of discoveries that we never would have made on our own... Meg Stuart

This is the moment where I have to accept the place... place I'm in. I want you to know that I love and cherish you. You gave me my beginning'. And with these words relief is indicated. Lieve Dierck © Etcetera, 108. September 2007 MEG STUART, the American choreographer and dancer, moved to New York in 1983 to attend the New York University where she received a ВFA in dance and continued her training following classes in release technique and contact improvisation at Movement Research. She was a member of the Randy Warshaw Dance Company from 1986 to 1992, where she was also assistant to the choreographer. At the invitation of Klapstuk 91, she made her first full-length production Disfigure Study (1991). It was the start to an impressive series of productions the choreographer made with her company Damaged Goods, which has been based in Brussels since 1994: No Longer Readymade (1993); No One is Watching (1995); Insert Skin #1 -They Live in Our Breath (1996) with visual artist Lawrence Malstaf; Splayed Mind Out (1997; presented at documenta X in Kassel) with video artist Gary Hill; appetite (1998) with visual artist Ann Hamilton; ALIBI (2001) and Visitors Only (2003), both in cooperation with scenographer Anna Viebrock, video artist Chris Kondek and composer Paul Lemp; FORGERIES, LOVE AND OTHER MATTERS (2004), with choreographer/dancer Benoît Lachambre and composer Hahn Rowe; REPLACEMENT (2006); It's not funny (2006 at Salzburger Festpieie) and recently BLESSED (2007), a solo with the Portuguese dancer and choreographer Francisco Camacho. On June 7 2007 the new work MAYBE FOREVER, a duet with the Austrian dancer and choreographer Philipp Gehmacher, opened at Kaaitheater, Brussels. Meg Stuart also created Swallow My Yellow Smile (1994), commissioned by the ballet company of the Deutsche Oper Berlin and, in association with graphic designer Bruce Mau, Remote (1997) for Mikhail Baryshnikov's White Oak Dance Project. She also made choreographies for actors: for Comeback (1999), Snapshots (1999) and Henry IV (2002), all directed by German director Stephan Pucher; for Das goldene Zeitalter (2003), a joined project created by Meg Stuart, Stefan Pucher, Christoph Marthaler and Anna Viebrock for Schauspielhaus Zürich; and for Der Marterpfahl (2005), directed by Frank Castorf at Volksbühne am Rosa-Luxemburg-Platz in Berlin. In 2004 Somewhere in between was made, a film by the French filmmaker Pierre Coulibeuf, adapted from a special creation by Meg Stuart. A recurrent feature in the work of Meg Stuart and Damaged Goods is the search for new forms of co-operation, presentation contexts and the 'crossbreeding' of theatre, architecture and visual

GLAVNI PROGRAM