The citizen of Ludum love to wander and get lost into the wild of virtual reality. Filled with an intense joy, they dive head first into this very attractive and fascinating vortex, where the reproduction of reality is so much more addictive and fascinating that reality itself.
A choreographic performance by Fanny Brouyaux and Sophie Guisset. Dance and theatre artists, Fanny Brouyaux and Sophie Guisset stage the journey of emancipation. Starting from the feeling of an impeded speech, of a muffled cry, they create two tragic-comic figures, an expression of their own contradictions.
Parachuted into the heart of a dreamlike plot, a dreaming girl falls from one imaginary space into another, pursuing a strange nursery rhyme in a series of closed-door scenes. Accompanied by a mysterious and large sheet of white cardboard, she is caught up in a game of manipulations with incessant reversals, a maze of luminous and vibrant situations, with sound entirely live.
Caressed, hit, brutalised, and most often diverted from its traditional representations, the Lea Petra's upright piano sings, screams, grinds, dialogues with Ayelen Parolin, the slender and exuberant dancer whose curves have been accentuated by an all-white, stuffed costume: fake bum, pasty face.
FOVEA is the rewriting of a body swept through by holes, by glimmers, by moments of incoherence. A poetical language much like a perishable form of what goes through our body, escapes us and overwhelms us. Ares D’Angelo throws himself head- and "body"long and his entire body headlong into the struggle, without hesitation, or markers, without limits or restraint, he lets that stranger inhabiting the back of our heads fully invade him.
Golem is the continuation of an encounter between dancer/choreographer Julien Carlier and sculptor Mike Sprogis. This dialogue between two artists of different disciplines and ages creates an ongoing performance, digging up the analogies between their respective artistic practices.
Caroline Cornélis and her performers interrogate the schoolyard's microcosm as well as the material that hides within it. Spontaneously, several elements that act as precious choreographic fuel appear. With 10:10, the choreographer leans on this concrete and familiar reality to guide the audience through a poetical and sensory experience.
The earth is shaking. Everything leaks. Black. A child ends up alone facing a gigantic blank page. Where is he coming from? Where is he going to? He doesn’t know. There is nothing anymore. But this emptiness in front of him becomes the foundation of a new way of being and belonging to the world.
Leslie Mannes, Isabella Soupart, Alessia Wyss, Marion Sage, Vilma Pitrinaite
In Louise Vanneste, the relation to nature is an original and powerful link that is diffused in the dancing bodies and the scenic space. His shows vibrate the elements that compose them (music, lights, body, ...) with their direct entourage, the public.
In computer language, a glitch means a failure or a short interruption in the operational flow of a system. This dysfunction in the reading of a file produces visual or audible accidents, aesthetic aberrations. "It's the primal scream of data," as Rosa Menkman, a theoretician of Glitch Art, describes it..
" - Tell us a bit more, Emilienne.
- Well, it's quite simple: I filmed young children in playgrounds and public gardens, while they were playing or just doing nothing. Then I took a group of adult actors and we tried to copy their exact moves, sometimes re-creating entire scenes very precisely and faithfully..."
In a brightly lit common space, we discover a trio of dancers already there and a guitarist on the edge of the stage who starts playing saturated notes, elongated in time. The starting point of this piece is a childhood memory buried deep within the body of Meytal Blanaru who grew up on a kibbutz in Israel.
El pueblo unido jamás será vencido, (The people united will never be defeated) is a Chilean song written by the group Quilapayun, symbol of unity and solidarity for popular oppressed citizens of any country fighting for freedom and equality. This is shown perfectly in the dance piece by Alessandro Bernardeschi and Mauro Paccagnella in a comical, superior and moving expression.
Focusing on the concept of touch, Piel questions the implicit prohibitions and permissions that form part of our social codes. What is right, not right, consensual or prohibited. The distances to be respected. Which parts of the body can be touched or not.
All matter is vibration and subject to change. An endless amount of possible forms arises and collapse from this incessant flux, conducted by an urgent need to exist and transmit.
THE GYRE is a duet evolving from one basic action: walking.
Initially, there is Ida Rubinstein, legendary dancer of the Ballets Russes, muse of Serge Diaghilev, who caused a sensation in Paris at the beginning of the 20th century by its charisma, its beauty and its sulphurous presence. In Oscar Wilde's Salomé, which made her famous, the dancer stripped off her costume and stripped herself: immediate triumph and fame.
i-clit, a performance-manifesto of the body, in the flesh, and in which the sexual object becomes the subject. A new wave of feminism was born — ultra-connected, ultra-sexualised, and more popular. However, facing the ambivalent power of pop culture, where and how to position oneself in this battle as a young woman? What weapons should be used?
La Raffinerie | Charleroi danse
Rue de Manchester, 21
+32 (0)71 20 56 40
Place de la Chapelle, 5
+32 (0)2 512 68 91
Charleroi danse, Les Écuries (Charleroi)
Boulevard Mayence, 65c
+32 (0)71 20 56 40
Maison des Cultures et de la Cohésion Sociale de Molenbeek
Rue Mommaerts, 4
+ 32 (0)2 415 86 03