Week #2 of VERS&GERS is over! During three weeks of performances in HUIS Conny Janssen Danst young makers and established choreographers showed their work. In week two, almost 300 visitors came to see the works by Dalton Jansen, Hiro Murata, Mariko Shimoda and Remy Tilburg. Since week #2 is now over, it’s time for a little recap!
Inner Self pt. 2
De performance started each day with the work by Dalton Jansen named ‘Inner Self pt. 2’. In 2020 Dalton created Inner Self pt. 1, for which he researched the animal aspect in humans. This year, for VERS&GERS, he created Inner Self pt. 2. The performance is about the relation between humans and technology. Are the dancers robots struggling with their human side? Or are they humans who sometimes forget they aren’t robots?
A Silent Rattle
The work by Hiro Murata named ‘A Silent Rattle’ premiered during this week of VERS&GERS.Hiro: ‘The piece was generated by the exploration of the pure physicality in collaboration with the objects we have on stage. I refined those movements until they started to tell the narrative themselves. It reflects inner conflict between uncertainty of delusion and beauty of imagination.’
In week two the solo is performed by Pedro Ricardo Henry and in week 3 by Pommelien Van Hees.
Nukegara
The third work that could be seen each night was made by Mariko Shimoda. For Mariko, the starting point for Nukegara were her daily ongoing thoughts and the music of Vivaldi. Nukegara is about three women coping with their overwhelming thoughts, their environment and each other. She explored the connections between thoughts and movement: how we can move along with the sounds of our voices and with the emotions of our thoughts.
Debussy’s Dream
The last work that could be seen each night was Debussy’s Dream by Remy Tilburg. He guides us through Claude Debussy’s fictional sketches of thought and nightmares. The dancers emerge as characters, while they move in a rhythmic, articulate way, in search of an existence in which freedom prevails with room for a personal identity. Not unlike the chemical process of taste, colour and texture, that manifests itself in the kitchen to become a tasty dish, does the movement in Debussy’s Dream manoeuvre itself into dance. The world of dreams reveals a recipe in which the traveling bodies establish new forms of movement.