THE BASEMENT
DON'T TOUCH ME!
Credits
Choreography Wies Merkx
Live Music Guy Corneille, Daan Crone (La Corneille)
Light Werner Wallner
Production Management Cornelia Baumgart
With Guy Corneille, Daan Crone, Claire Lamothe, Enrico Paglialunga, Wannes de Porre, Josephine van Rheenen
Age 13 years and older
Duration 70 minutes
Time & Location
- 04/25/17 6:30 pm
THEATER STRAHL.Halle Ostkreuz
accessible - 04/26/17 11:00 am
THEATER STRAHL.Halle Ostkreuz
accessible - 04/26/17 7:00 pm
THEATER STRAHL.Halle Ostkreuz
accessible
Supporters
Funded by: The German Federal Performing Arts Fund (3-year concept funding), FONDS PODIUM KUNSTEN | PERFORMING ARTS FUND, The Netherlands
Six people, two musicians and four dancers, encounter each other on stage. Moving between different styles, they depict the difficulties and the fascination that the notion of togetherness carries. In doing so, they enter into conflict with each other and then immediately retreat and hide themselves. They move quickly, aggressively, rigorously, but also slowly and quietly. They scream, whisper, injure one another and fight in struggle for closeness and distance until they are completely exhausted.
THE BASEMENT describes a place that is filled with darkness. It is a place where one does not feel free and unfettered. It is, in fact, a cellar in which no one wants to stay for long, yet where one possibly may not find their way out (alone). This piece of dance theater tells the story of interpersonal relationships and feelings, of being alone and coming together. It also explores the conflicts associated with all of these ideas and how too much closeness can bring about stress and fear as well as how impossible life is without this closeness. It illustrates the processes of being injured and seeks to provide consolation, so to speak, by showing the consequences of anger and fighting. On stage, the live musicians of La Corneille and the dancers encounter one another as equal partners and together create an impressive visual and acoustic experience.
The Dutch choreographer Wies Merkx has developed dance for a broad audience over the last 25 years. As the founder and artistic director of De Dansers, she has made a fundamental contribution to the further development of dance for young audiences in Europe. She has developed a large number of internationally successful productions; most recently, her production *R O S E S – einsam.gemeinsam** (THEATER STRAHL in cooperation with SZENE BUNTE WÄHNE, Austria) won the IKARUS prize, an award for outstanding theater productions for children and young people.
THE BASEMENT was invited to the Tweetakt Festival in Utrecht, De Krakeling Festival in Amsterdam, Zeeland Nazomerfestival in Middelburg & Terneuzen (all in The Netherlands), to the THINK BIG! Festival in Munich and to the Starke Stücke Festival in Frankfurt.
Vote
They propel themselves throughout the space in broad movements and yet they are constrained, wedged into the basement of their selves. They search again and again for interpersonal contact, but as soon as they begin, it seems a restraint to them, if not an outright threat. The gestures, ranging from the friendly holding out of one’s hand and gently approaching to harshly grabbing and angrily pushing away, have a fatal consistency. After all, the security of an embrace is always also something that can take one’s breath away. Raising each other up is a prelude to mutually tearing each other down. The solidarity of the group is always found in its actions against the excluded individuals.
THE BASEMENT shows a cycle of attraction and repulsion, a desire for closeness and the defense of one’s distance. The (failed) attempts to escape also reveal the emotional immurement; away from the hamster wheel of the human condition of our present, in which two female dancers and two male dancers seem to run on empty and to overheat, so to speak. Brutal, tender, it relinquishes itself directly. And so, as one continues to run into walls in the most literal sense of the word, on stage they also journey to the ends of their physical limits.
Running against limitations, reaching one’s own limits: nothing is given away in THE BASEMENT – and that is a gift to the audience. This production, with its mixture of choreographic stipulations, contact improvisation, war dance and acrobatics, brings a critical dynamic into play, which itself owes a great deal to the two musicians who accompany it live. After all, no matter how much the performance would like to tell the story of futility, it does so with a strength and energy that is passed on, that is contagious. At the end of the day, this is an adrenaline transfusion which may explode basements but at least removes cramps.
Steffen Georgi