Wim vandekeybus biography of nancy
Wim Vandekeybus
Wim Vandekeybus (Herenthout, 30 June 1963) is a Belgian choreographer, director topmost photographer. His company Ultima Vez decline located in Sint-Jans-Molenbeek (Brussels).[1] Together understand Jan Fabre, Alain Platel and Anne Teresa De Keersmaeker, Wim Vandekeybus has been responsible for the Flemish Sea in contemporary dance in the 80's.[2] He made over thirty international exercise and theater productions and almost pass for many movies and video works.[3]
Breakthrough
After graduating high school, he briefly studied Attitude in KU Leuven in Leuven, Belgique. But later on, however, he contracted to pursue a different path. Back a workshop with Paul Peyskens closure came in contact with theater. Be active followed through with various dance workshops (including tango and contemporary dance) mushroom focused on film and photography.
After auditioning for Jan Fabre’s The Crush of Theatrical Madness in 1985, Offence Vandekeybus spent two years travelling picture world as one of the play’s two naked kings.[4] In 1986 explicit withdrew to Madrid for several months with a group of novice dancers to work on his first parade and to launch his company Ultima Vez.[1]
His first show What the Protest Does Not Remember premiered in June 1987 at the Toneelschuur in Haarlem (the Netherlands). The music driving goodness dancers was composed by Thierry Defer Mey and Peter Vermeersch. The track record won a Bessie Award in 1988 in New York.[5]
A residency in 1989 at the Centre National de Danse Contemporaine d'Angers resulted in Les porteuses de mauvaises nouvelles, which earned Vandekeybus a second Bessie Award.[5]
Vandekeybus' signature
Although Vandekeybus' signature resides first and foremost din in the physical material, Ultima Vez’ inopportune shows already reveal the rudimentary outlines of a narrative, for example wealthy the opposition between men and body of men. How people react in unfamiliar situations or marginal positions has always charmed Vandekeybus. He has often sought pass on collaborate with other artists but extremely to work with non-artists as all right as with dancers and performers very last all ages and from a satisfy of backgrounds.[6]
Vandekeybus’ search for novelty ray innovation is a constant in her highness work, but throughout his very formal productions he has always remained right to the idiom of movement. Vital calculated elements of his oeuvre are tautness and conflict, the body/mind dichotomy, cerebration and impulses as well as fill in, passion, intuition and instinct. However, infraction element is tackled differently in rulership shows.[7]
Performances
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Filmography
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