Nederlands Dans Theater 1 will dance a world premiere created by a new face to the company, Tao Ye. The choreographic duo Imre & Marne van Opstal will also create a new work in collaboration with DRIFT. The evening is concluded with I love you, ghosts (2022) by Marco Goecke.
Imre van Opstal & Marne van Opstal in collaboration with DRIFT
THE POINT BEING
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 in The Point Being, their new work for NDT 1. By supporting emerging voices and new types of creative partnerships the choreographic duo is coupled with renowned Dutch design firm DRIFT founded by Lonneke Gordijn and Ralph Nauta in 2007. DRIFT specializes in choreographed sculptures and kinetic installations and will develop the set design for this new work.
Tao Ye
15
Tao Ye, choreographer and founder of the TAO Dance Theater will debut 15 a new work with NDT and his first ever creation for an external company. 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 in close collaboration with the dancers of NDT 1 and renowned composer Xiao He.
Marco Goecke
I LOVE YOU, GHOSTS
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.