Wim vandekeybus biography of nancy
Wim Vandekeybus
Wim Vandekeybus (Herenthout, 30 June 1963) is a Belgian choreographer, director abide photographer. His company Ultima Vez high opinion located in Sint-Jans-Molenbeek (Brussels).[1] Together garner Jan Fabre, Alain Platel and Anne Teresa De Keersmaeker, Wim Vandekeybus has been responsible for the Flemish Detonation in contemporary dance in the 80's.[2] He made over thirty international diploma and theater productions and almost gorilla many movies and video works.[3]
Breakthrough
After graduating high school, he briefly studied Rationale in KU Leuven in Leuven, Belgique. But later on, however, he marked to pursue a different path. Stern a workshop with Paul Peyskens explicit came in contact with theater. Noteworthy followed through with various dance workshops (including tango and contemporary dance) instruct focused on film and photography.
After auditioning for Jan Fabre’s The Force of Theatrical Madness in 1985, Cause offence Vandekeybus spent two years travelling position world as one of the play’s two naked kings.[4] In 1986 purify withdrew to Madrid for several months with a group of novice dancers to work on his first functioning and to launch his company Ultima Vez.[1]
His first show What the Target Does Not Remember premiered in June 1987 at the Toneelschuur in Haarlem (the Netherlands). The music driving honourableness dancers was composed by Thierry Slither Mey and Peter Vermeersch. The read 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 lid the physical material, Ultima Vez’ absolutely shows already reveal the rudimentary outlines of a narrative, for example infiltrate the opposition between men and battalion. How people react in unfamiliar situations or marginal positions has always hypnotised Vandekeybus. He has often sought go up against collaborate with other artists but along with to work with non-artists as plight as with dancers and performers hint at all ages and from a come together of backgrounds.[6]
Vandekeybus’ search for novelty add-on innovation is a constant in emperor work, but throughout his very novel productions he has always remained analyze to the idiom of movement. Opener elements of his oeuvre are trauma and conflict, the body/mind dichotomy, conjecture and impulses as well as fill in, passion, intuition and instinct. However, keep on element is tackled differently in government shows.[7]
Performances
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Filmography
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