PREMIERE Co-production "Score#21 - Method of Elimination" by Thomas Steyaert
'"Score#21 - Method of Elimination" is created by Belgian choreographer Thomas Steyaert and blends minimalism with the honesty and authenticity of five Romanian performers to a surprising effect, both for those onstage, as well as for their public.
It is a living mechanism that explores the essence of today’s society in real time. Using a score that was created in collaboration with his performers, Thomas Steyaert approaches human dependency in such a way that he tests, punctuates and transforms the perception of basic human values. Bodies, states and emotions receive new meanings while the composition regenerates itself ad infinitum, deconstructing abstract ideas like teritory, rebellion, or justice.
Performers: Andreea Belu, Andreea David, Elena Copuzeanu, Nicoleta Enache and Ruxandra Stanciu.
CV Thomas Steyaert
Known as a dancer for Wim Vanderkeybus’ Ultima Vez, as well as for his Blush (2002) appearance, choreographer Thomas Steyaert was born in 1978 in Belgium. He currently resides between Bruxelles and Sarajevo, working on his own material. Intensively collaborating with his artistic partner Raúl Maia, who took part in documenting Score#21 — Method of Elimination’s concept, he brought the The Ballet of Sam Hogue and Augustus Benjamin shows to live, of which the latter was presented within eXplore dance festival 2011 in Bucharest, iDANS 2012 in Istanbul, and ImPulsTanz Viena, in 2012.
Founder of the Ponyhill vzw collective, Thomas explores various mediums, from dance/performance to painting, drawing, music, photography and film, approaching each from a different perspective. As a choreographer, he takes great interest in the real-time concept, as well as in the physical non-representative communication between his performers. Simultaneously, he dives into using theatric elements and their role in suggesting meaning, identification and different perceptions. “Real-time choreography is fragile and it demands a high concentration and focus of the performers. It’s more than an execution of an arranged series of movements in time and space. It’s a constant negotiation without ever really knowing where the physical output of the other performer might bring you. For the project score#21 — Method of Elimination we discovered that not the movement itself is the focus, but rather the anticipation and expectation of the movement to come or the “silence” in between the articulation. Real-time choreography is unpredictable. One day the score has an uncanny character, the other day there is agreement and harmony. Something to value!”, he says.