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Images

We're pretty fuckin' far from okay © Christophe Raynaud de Lage

We're pretty fuckin' far from okay © Christophe Raynaud de Lage

We're pretty fuckin' far from okay © Christophe Raynaud de Lage

We're pretty fuckin' far from okay © Christophe Raynaud de Lage

We're pretty fuckin' far from okay © Christophe Raynaud de Lage

We're pretty fuckin' far from okay © Christophe Raynaud de Lage

We're pretty fuckin' far from okay © Christophe Raynaud de Lage

We're pretty fuckin' far from okay © Christophe Raynaud de Lage

We're pretty fuckin' far from okay © Christophe Raynaud de Lage

We're pretty fuckin' far from okay © Christophe Raynaud de Lage

We're pretty fuckin' far from okay © Christophe Raynaud de Lage

We're pretty fuckin' far from okay © Christophe Raynaud de Lage

We're pretty fuckin' far from okay © Christophe Raynaud de Lage

We're pretty fuckin' far from okay © Christophe Raynaud de Lage

 

Presentation

  • We're pretty fuckin' far from okay explores our fears and anxieties. By choosing to have the audience face two dancers caught in a simple set-up—a man, a woman, two chairs, corridors of light...—Lisbeth Gruwez does not intend to talk about couples but about the individual, about his or her emotional, psychological, and physical reactions when he or she experiences fear. Through a gesture language made up of our natural and everyday reflexes, the choreographer invites every one of us to see ourselves in and identify with the dancers. The starting point of the show: Alfred Hitchcock's horror films, and in particular The Birds, because “the fear it is about is irrational. It is a phobia, a paranoia. It resonates strongly with what's happening in our world.” Through a progressive rise in the intensity of the movements, through the well-known feeling of needing the other more and more, through layers of sound that are adjusted in real time, and through this shared act that is breathing, the show offers an immersive experience. Fear has the power to put the body in a state of trance, to obstruct the mind, and to disconnect it from “the will and the doing,” which makes it a fertile playground for the dancers. The third step in a research about the body in a state of ecstasy, We're pretty fuckin' far from okay is a duo that echoes the solo It's going to get worse and worse and worse, my friend (2012) and the collective show AH/HA (2014). As we're trying today to control what can't be controlled, does it remain true that when thought loses itself, so does the body?

    Lisbeth Gruwez
    Lisbeth Gruwez starting learning ballet when she was 6, before studying contemporary dance at the PARTS school. In 1999, she started working with Jan Fabre within the company Troubleyn, where she met musician and composer Maarten Van Cauwenberghe. Together, they founded the company Voetvolk, with which they presented their first creation, Forever Overhead, in 2007, before beginning a research mixing dance and music composition, with an aesthetics inspired by street style. Anarchy and control are the keywords of their research. Voetvolk has so far produced seven shows, from solos to collective plays, including Birth of Prey (2008), HeroNeroZero (2010), or L'Origine (The Origin, 2011) and It's going to get worse and worse and worse, my friend, which is still touring. In 2014, they created the collective piece AH/HA, which was followed by the solo Lisbeth Gruwez dances Bob Dylan (2015). “Dance as a simple method is no longer enough for creation. Contemporary dance cannot be separated from performance, in the largest sense of the word. We think that in order to reach what has to be said, every single aspect of our physical practice has to be considered.” Lisbeth Gruwez and Maarten Van Cauwenberghe are artists-in-residence at Jan Fabre's Troubleyn/Laboratorium, in Antwerp.

  • Distribution

    Conception, choreography and costumes Lisbeth Gruwez
    Composition and sound Maarten Van Cauwenberghe
    Lights Harry Cole, Caroline Mathieu
    Dramaturgy Bart Van den Eynde
    Stage design Marie Szersnovicz, Lisbeth Gruwez, Maarten Van Cauwenberghe
    Assistant Choreographer Lucius Romeo-Fromm

    With Lisbeth Gruwez, Nicolas Vladyslav

    Production

    Production Voetvolk
    Co-production Festival d'Avignon, La Bâtie Festival de Genève, KVS Bruxelles, Le Phare Centre chorégraphique national du Havre Normandie, Theater Im Pumpenhaus, Les Brigittines Bruxelles, Tandem Arras-Douai, Weimar Kunstfest, Troubleyn|Jan Fabre, MA Scène nationale Pays de Montbéliard
    Artistic residences Troubleyn|Jan Fabre, Buda Kunstencentrum, Stuk, Les Brigittines
    With the support of Nona, Flemish Community Commission, BNP Paribas Foundation, gouvernement of Flanders and Antwerp City

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On tour

  • Montréal
  • from 28-09-2016
    to 30-09-2016
  • Usine C