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Ultima Vez Vocabulary – Space, conflict and catastrophic imagination
"In the performances of Vandekeybus the body is at stake in a world of conflict. It is an arena of tensions and contrast: horizontal/vertical, high/low, hard/soft, virtuosity/vulnerability, active/passive, man/woman, body/mind, man/animal, order/chaos, intellect/instinct, nature/civilisation, etc. On the basis of these types of contrasts where formal, physical and existential categories overlap." – Erwin Jans
This workshop will approach the work of Ultima Vez from Laura’s personal experience with the company. We will explore some themes of different creations and some of the energetic physical vocabulary of Wim Vandekeybus and his troupe; a taste and flavour of Ultima Vez work.
OTHER WORKSHOPS OF Laura Aris
Technical exercises and games will be the starting point for group and partner work. We will work with set up situations to explore and practice different contact tools that will help us to fully trust the other, to act under risk, speed, power, etc. We will use recognisable human relationships and specific images that will help us to comprehend given tasks and solve technical-mechanical problems. Participants will explore some given elements and steps but will be invited to play with their own material within a defined context.
Play Full Body
Technical exercises and improvisations with clear framework will be the starting point for the work in a group, as couples or individually. We will look for creative impulses that, when released, offer us new possibilities for achievement. We will observe how, sometimes, extreme qualities maintain a balanced tension, that the tension attracts attention, and that many times, silence speaks.
"Teaching requires a dynamic interplay between what is happening inside the teacher's mind and what happens with the group in the room. The act of teaching and my professional artistic practice has for long been interconnected: They are in constant relation and evolving together. I often borrow ideas from my artistic work according to how relevant they are on a pedagogical level. I then invent work sessions and exercises that support the mechanisms and technical needs of the scenic idea. I select concepts that can be taken out of context and appropriated by other bodies, other minds – keeping the essence but also becoming filters for new, freshly arising materials. Teaching has undeniably become an important part of my professional life. Now, I strongly believe that the relationships between the act of teaching and one’s artistic practice is often undervalued."
Revisiting and building up / a contemporary dance class
A re-visit to the basis of physical laws in action, the use and awareness of the space, the breath, the intentions, the speeds, the silences, the others. The three fundamental A are a must on this field: being Aware, Awake and Alert.
A contemporary class that runs smooth but energetic. I will propose set-up sequences of movement for most of this class but being open enough to allow space for reinterpretation. The emphasis of the work will be placed on the use of the body's centre, our big power source. The use of the skeleton structure and muscular chains will help to find fluidity and freedom in our movements, helping us to recycle energy and gain endurance. Slowly some theatrical inputs will give intention or meaning to the movements and will help us to dive in a state of performance, rather than exercising dance steps, through a specific energy and clear kinaesthetic images not just from a merely technical vision of dance.
Most of this class will be individual work but also playing the double role of becoming observers, eyewitnesses, audience, assistants, and act in function of an other body.
ARTISTBIO: Laura Aris
Her performing experience includes a decade as a formal member of the renowned Belgium company Wim Vandekeybus / Ultima Vez, for the creations and touring of: "Inasmuch as life is borrowed", "Scratching the Inner Fields", "Blush", "What the body does not remember" (reprise 2002), "Sonic Boom", "Puur", "Spiegel", “Menske”, “Whats the Prediction” and in the dance films: "Blush", "Here After" and the short film: "Inasmuch as Life is Borrowed”.
She was also part of the Spanish dance company Lanònima Imperial and associated with General Elèctrica artistic collective in several performances of Tomás Aragay, in Barcelona. She has been assistant of Wim Vandekeybus for several collaborations with Ivo Van Hove (2017/2019). Currently she is working as a freelance artist developing her own creative practices, leading commissioned works, creating several solo works, as collaborative performances.
"I use dance as Tool and not as Goal, and though it is not my intention, dance shapes my spirituality. I like to create theatrical discourses that are sustained by movement – constantly seeking generators of physicality and then setting necessary filters that maximise the content of my proposals. In dance, I find an ephemeral logic that reveals particles of truth. Sometimes, the particles disappear at the end of the performative act, but sometimes, they endure. I am interested in the echo of movement".
GOOD TO KNOW
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