WOVEN STATE by NDT1 at Amare in The Hague and on tour

Opens 3rd December.

The dates and times have been rescheduled as a result of the new restrictions. They can be found on the NDT website here

 

William Forsythe (USA) conquered the dance world with his innovative and dynamic approach to the art form, which put him in the international spotlight. As a maker, Forsythe embodies a mastery of space and masterly grasps the history and development of ballet and dance, both of which characterize every work he creates: “If dance only does what we suppose it can do, it will cease to exist. I will always push the boundaries of what the word choreography means.”

Woven State marks a renewal of the relationship with Forsythe in a triptych of works. For example, the program includes the return of Of Any If And (1995), last performed by NDT in 2010, N.N.N.N (2002), and One Flat Thing, reproduced (2000). The works are accompanied by music composed by Thom Willems, a creative partner of Forsythe.

In the quartet N.N.N.N. (2002) the sound comes directly from the dancers’ bodies, which are in constant contact with each other. All four dancers participate in a rhythmic game that enlivens the composition; together they bear the responsibility of preserving the score. N.N.N.N. is a wonderful example of Forsythe’s iconic style, where craft and imagination are used to explore the boundaries of dance and where the body, refined and curious, interprets the space. Of Any If And, originally created in 1995, was first performed by NDT in 2005. The intimate and virtuoso duet stimulates the relationship between two dancers, guided by a series of enigmatic words spoken by two actors from the back of the stage. . The same words are projected on different screens on the black background. The duet embodies forensic intensity in the dancers’ attempt to relate to classical technique while simultaneously deconstructing this framework. Due to its astonishing accuracy and image of dancers moving between straight lines of tables, One Flat Thing, reproduced from 2000, stays true to Forsythe’s theme of contrast between order and disorder. The work is set up as a counterpoint created by the interaction of three organizational systems: movement material, cueing and tuning. The dancers are enclosed by a maze of tables, but this maze is also the playground into which they break free. Games are played in which a domino effect unfolds when one dancer sets another in motion, so that one table crashes into the other and the encounters become more and more dramatic.