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Vader

Director
Company
Collection
Year of production
2016
Year of creation
2014

With poignancy and wit, Vader explores the moment when the memories (or are they fancies, hallucinations?) of an old man constantly threaten to tip the realities of daily life into fantasy.

Vader is set in the visiting area of an old-folks home whose towering walls accentuate the fact that the action takes place deep underground. At the centre of this netherworld, somewhere between the world of the living and the dead, stands the figure of the father, who seems to be distancing himself gradually from the human community. His fading is drawn, not from the story of one individual, but from the mythology of the father, and in scenes that explode into action, and just as suddenly stop, this figure appears at once as God-like and ridiculous, as possessed of a rich mental life, and as disconnected, decaying, empty. His past may harbour a deep secret, or maybe he is simply mad or delusional. The other residents and the staff wonder at him, regarding him with amusement and hatred, affection and indifference. The piece plays on the widening gap between perception and reality, on the way time for the old appears to slow down so as to correspond to the lagging rhythm of their gestures, or articulate speech is received as static and music as noise, or the world itself seems to make sense only insofar as it is the embodiment of a memory. With poignancy and wit, Vader explores the moment when the memories (or are they fancies, hallucinations?) of an old man constantly threaten to tip the realities of daily life into fantasy.

Vader is the first part of the trilogy Father-Mother-Children. It premiered on 10 May 2014 in Theater im Pfalzbau (Ludwigshafen, DE). The piece got selected for the Theaterfestival 2015, gathering the most remarkable productions of the past season in Belgium and The Netherlands. and was elected Best Dance Performance of 2014 by Dutch newspaper NRC Handelsblad. In 2015 it was awarded a Premio de la Critica Barcelona (Barcelona Critics Award) in the category ‘Best International Dance Production’.

Source : www.peepingtom.be

Director
Company
Collection
Year of production
2016
Year of creation
2014
Secondary artistic direction
Seoljin Kim, Camille De Bonhome
Artistic advice / Dramaturgy
Gabriela Carrizo
Lights
Giacomo Gorini, Peeping Tom
Original score
Raphaëlle Latini, Ismaël Colombani, Eurudike De Beul ; Yannick Willox (Mixage audio)
Other collaboration
Hjorvar Rognvaldsson, WoutRous, Amber Vandenhoeck (Techniciens), Anastasia Tchernokondratenko (Tournée et production), Sam Loncke (Communication et production), Quentin Legrand ‘Administrateur)
Performance
Leo De Beul / Jef Stevens, Marie Gyselbrecht / Tamara Gvozdenovic, Hun-Mok Jung, Simon Versnel, Maria Carolina Vieira, Yi-Chun Liu, Brandon Lagaert // Figurants : Renée Bregigeon, Claude Claudy, Danielle Gillouin, Anne-Marie Moreira, Madelys Porche, Christine Rabourdin, Marie-Noëlle Sachot-Drouhin, Jean Bailly, Paul Chartier, Daniel Lachenal
Production of video work
Maison de la Danse – 2016
Scene setting
Franck Chartier, Gabriela Carrizo
Production of choreographic work
Production Peeping Tom // Coproduction Theater im Pfalzbau – Ludwigshafen, KVS / Théâtre Royal Flamand – Bruxelles, Festival GREC – Barcelone, HELLERAU – European Center for the Arts Dresden, Les Théâtres de la Ville de Luxembourg, Théâtre de la Ville – Paris, Maison de la Culture – Bourges, La Rose des Vents – Villeneuve d’Ascq, Printemps des Comédiens – Montpellier, avec l’aide de Sommerszene, Szene Salzburg – Salzburg // Theater im Pfalzbau est le partenaire principal dans la réalisation de la trilogie Vader – Moeder – Kinderen // Avec le soutien des Autorités flamandes // Frans Brood Productions (Diffusion) // Remerciements à Héloïse da Costa, Blandine Chartier, Emiliano Battista, Diane Fourdrignier et Seniorencentrum Brussel vzw.
Technical direction
Filip Timmerman
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