Academic literature on the topic 'Win Vandekeybus'

Este artigo discute como as noções de coreografia, corporeidade e performatividade vem sendo exploradas de um modo experimental desde os anos 1960. Discute-se a noção de performativo na dança através de uma breve análise da peça What the body does not remember (1987), do coreógrafo belga Wim Vandekeybus. Do ponto de vista teórico, Féral, Schechner, Preston-Dunlop e Hantelmann são as principais referências propostas para esta discussão.

Abstract During their residence in Vienna, the editors of this magazine visited a part of the ImpulsTanz festival in order to map international trends in contemporary dance. They established that, following an increase in the production of contemporary dance, interest in theory (the Maska magazine being an important part of this scene for several years now) experienced a decrease. They divided the production into three categories: A Dance of Great Names (mentioning Ivo Dimchev with Selfie Concert, Jonathan Burrows with Rewriting, a piece by Wim Vandekeybus/Ultima Vez Go Figure Out Yourself and a classic by DD Dorvillier/Human Future Dance Corps: No Change, or »Freedom Is a Psycho-kinetic Skill«), the position of the viewer and the hermeticisms of the current contemporary dance (analysing Anna Juren's 42, a solo performance by Dani Michel Cutlass Spring and Compass by Simone Augherlony, Petra Hrašćanec and Saša Božić) and new formalisms and contemporary repetition (Tatiana Chizhikova and Roman Kutnov: Time to Time and Ellen Furey and Malik Nashad Sharpe: SOFTLAMP.Autonomies).

The Belgian theatre-dance company Ultima Vez – founded by the director and choreographer Wim Vandekeybus – presented Booty Looting in 2012, at the Venice Biennale Danza. On the stage, a complex and apparently disordered narrative rhapsody, brings into play complementary diegetic coefficients: while a story straddles the real and the imaginary, the dancers become consumed actors, the actors dance and live music fills the empty spaces. But the real beating heart of the show is the photographer, who is entrusted with the delicate task of deciphering the feverish dynamism of the scene to move the public's attention elsewhere, as if to give them a relaxing break from the chaos. The photographic image, taken and reported in real time on the screen at the bottom of the stage, freezes some salient moments of that convulsive movement, almost to break it down anatomically into parts of a 'muybridgian' conception. The photographer, always active during the representation, is an integral part of the story, becoming a performer himself so that his intervention determines the dramaturgical development of the plot. The visual quality of the scene is strongly enhanced by live photographic images, which are often attributable to known visual models. Booty looting literally means stealing what has already been the object of theft, exactly as it happens in the art world, according to the perspective of Vandekeybus. Photography is seen here as an instrument that on the one hand makes it useful to prove the reality of facts, but at the same time declares its ability to lie, to deform memory, to create false memories, to become misleading echoes of experiences actually lived. Between truth and deceit, the photographic image plunders the world and gives us the feeling of being able to know and know it in depth - as Susan Sontag teaches - but it is only a distorted memory that confuses and falsifies the real.

Wim Vandekeybus est l'un des chorégraphes majeurs de la nouvelle danse belge. Nous proposons à travers cette étude d'analyser son Œuvre sous l'angle de la démesure. Nous nous sommes attachés à un corpus limité d'œuvres appartenant à son travail chorégraphique et cinématographique. La fougue chorégraphique de ses débuts transparaît-elle toujours dans ses pièces les plus récentes comme Blush ou Sonic Boom, où la place de la narration est réévaluée ? Tout d'abord, nous nous sommes focalisés sur la violence du propos chorégraphique. Une temporalité de l'urgence ordonne les actions des interprètes. Les rapports humains sont eux-aussi emprunts d'une certaine tension, notamment les rapports hommes/femmes. Puis, nous nous sommes penchés sur les obsessions du chorégraphe, à la recherche d'un corps au comportement instinctif. La mise en scène d'un corps exacerbé, poussé jusque dans ses retranchements prédomine. Outre une recherche chorégraphique, Wim Vandekeybus s'intéresse à la création d'une image scénique, obtenue par les éclairages ou l'intrusion d'un écran de projection cinématographique. Au contact du médium audiovisuel le corps se déchaine et atteint un état dionysiaque. Le corps filmé dans Blush détient la même force, la même énergie excessive, qui caractérise sa scène. Enfin, la réintroduction du verbe, par les diverses collaborations avec des auteurs contemporains, comme Peter Verhelst, P. F. Thomèse ou Jan Decorte exacerbe les passions et ne conduit point à un assagissement du corps, ni même du propos chorégraphique.

Invoking the methodology of the act of spectating as a practice, an idea developed from Skantze’s Itinerant Spectator/Itinerant Spectacle, this chapter examines reenactment from the perspective of the active spectator. The archive and the document common to reenactment present the spectator as practitioner with interpretive tools, and yet often the reception of reenactments becomes stronger by way of the mix of spectator memory with the not quite accurate or faithful in the representation. Wim Vandekeybus’s Booty Looting, a dance performance that not only stages a reenactment, but also confronts the spectator with the material of memory, forms the basis for thinking through the paradox of the truth in approximations and flawed enactments.