yoann Bourgeois
I wonder where the dreams I don’t remember go

Yoann Bourgeois (France) is a choreographer, dancer, acrobat and magician. He founded his Compagnie Yoann Bourgeois in 2010. Bourgeois’ works strongly depict his fascination with gravity, often through installations that defy the forces of physical strength. In 2016, Bourgeois became codirector of the CCN2 – Centre Chorégraphique National de Grenoble. In season 2019-2020, Bourgeois created his first work for NDT 2, Little song.

The work by Bourgeois and choreographic assistant Marie Bourgeois is an entanglement of disciplines that connects choreography, dance, acrobatics and magic. His movements, albeit dynamic and an exploration of the constraints of one’s physical forces, are counterbalanced by an indistinguishable precision and execution. I wonder where the dreams I don’t remember go was his first collaboration with the dancers of NDT 1.

Sharon Eyal and Gai Behar
Bedroom Folk

Creators Sharon Eyal and Gai Behar have been, together with musician Ori Lichtik, an innovative trio in the contemporary dance world for years. With this creation for NDT 1 they engaged in a first time collaboration with set and lighting designer Thierry Dreyfus. In this multi-disciplinary effort, movement, sound and lighting stand side by side, creating a work that exceeds the borders of ‘traditional’ contemporary dance and turns all the elements into equal protagonists.
“The group work Bedroom Folk is a reprise from 2015, but its expressiveness has become stronger with the pandemic and climate threat. Nothing less than the human condition is depicted by means of stumbling folk dance steps, culminating in a hypnotic exposé of grand expression of movement. The gist of it is a bit gruesome: on chilly electro beats the dancers rush on towards a dark end”  Trouw over Bedroom Folk

Marco Goecke
The big crying

“Those who know Marco Goecke’s works know that they always have to do with himself and with the time in which they were created. Perhaps The Big Crying is Goecke’s most personal piece, begun in Autumn 2020, shortly after the death of his father. It is a piece about parting and about everything we have to burn, says the choreographer, speaking of bodies that are like broken engines and of costumes that resemble the curtains of a hearse. It is not surprising that his choice of music includes a Death Lullaby; Blood Roses by the American singer Tori Amos whose music – sometimes confusing and not always comprehensible poetry is very close to Goecke’s dance – hits the mark. The fact that this piece nevertheless comes along with the tremendously fiery power of an entire company, nineteen outstanding dancers, is perhaps due to the fact that, despite all transience, the dance and the choreography celebrate the joy of life and the urge to be alive.” — Nadja Kadel