Akram Khan_Gnosis
Isadora Duncan Dancers
Dada Masilo_Swan Lake-Odette
Merce Cunningham_Antic Meet
Eva Yerbabuena_Federico segun Lorca
Maureen Fleming_Flower
Blanca Li_Elektro Kif
Maurice Bejart_Bolero (Ravel)
Mats Ek_ Appartement (2005))
Montalvo, Hervieu_babelle Heureuse
Pina Bausch_Cafe Mueller (Intro)
Abou-Lagraa_El-Djoudour
Saburo Teshigawara_Absolute Zero
Dorna Aslanzade_A Hundred and One
Girl Walk  All Day_Chapter 1
Mamela Nyamza
Tamango_Rhizomes,Hommage an Edouard Glisssant
Alonzo King_Meyer und Writing Ground 
NicholasBrothers_DanceSequence
THEATRALIK
DANCE
Compagnie XY_Il n'est pas encore minuit
Alain Buffard_Good Boy (Excerpts)
Kubilai Khan_Mexican Corner (Mexico)
Noa Wertheim_Vertigo 20
Paul Lightfoot & Sol Leon_Shutters Shut
From A Gertrude Stein Reader:
IF I TOLD HIM:
A COMPLETED PORTRAIT OF PICASSO

If I told him would he like it. Would he like it if I told him.
Would he like it would Napoleon would Napoleon would would he like it.
If Napoleon if I told him if I told him if Napoleon. Would he like it if I told him if I told him if Napoleon. Would he like it if Napoleon if Napoleon if I told him. If I told him if Napoleon if Napoleon if I told him. If I told him would he like it would he like it if I told him.
Now.
Not now.
And now.
Now.
Exactly as as kings.
Feeling full for it.
Exactitude as kings.
So to beseech you as full as for it.
Exactly or as kings.
Shutters shut and open so do queens. Shutters shut and shutters and so shutters shut and shutters and so and so shutters and so shutters shut and so shutters shut and shutters and so. And so shutters shut and so and also. And also and so and so and also.
Exact resemblance to exact resemblance the exact resemblance as exact as a resemblance, exactly as resembling, exactly resembling, exactly in resemblance exactly a resemblance, exactly and resemblance. For this is so. Because.
Now actively repeat at all, now actively repeat at all, now actively repeat at all.
Have hold and hear, actively repeat at all.
I judge judge.
As a resemblance to him.
Who comes first. Napoleon the first.
Who comes too coming coming too, who goes there, as they go they share, who shares all, all is as all as as yet or as yet.
Now to date now to date. Now and now and date and the date.
Who came first Napoleon at first. Who came first Napoleon the first. Who came first, Napoleon first.
Presently.
Exactly do they do.
First exactly.
Exactly do they do too.
First exactly.
And first exactly.
Exactly do they do.
And first exactly and exactly.
And do they do.
At first exactly and First exactly and do they do.
The first exactly.
And do they do.
The first exactly.
At first exactly.
First as exactly.
At first as exactly.
Presently.
As presently.
As as presently.
He he he he and he and he and and he and he and he and and as and as he and as he and he. He is and as he is, and as he is and he is, he is and as he and he and as he is and he and he and and he and he.
Can curls rob can curls quote, quotable.
As presently.
As exactitude.
As trains.
Has trains.
Has trains.
As trains.
As trains.
Presently.
Proportions.
Presently.
As proportions as presently.
Father and farther.
Was the king or room.
Farther and whether.
Was there was there was there what was there was there what was there was there there was there.
Whether and in there.
As even say so.
One.
I land.Two.
I land.
Three.
The land.
Three.
The land.
Three.
The land.
Two.
I land.
Two.
I land.
One.
I land.
Two.
I land.
As a so.
They cannot.
A note.
They cannot.
A float.
They cannot.
They dote.
They cannot.
They as denote.
Miracles play.
Play fairly.
Play fairly well.
A well.
As well.
As or as presently.
Let me recite what history teaches. History teaches
Raimund Hoghe_Pas de Deux
Raimund Hoghe
Anne Teresa De Keersmaeker -
Music: Steve Reich (1936-)_Violin Phase (1967)
Yoann Bourgeois_Celui qui tombe (Extro)
Dada Masilos Carmen (2014 excerpts)
Tomeo Verges_Troubles du rythme
Jan Fabre_L'Histoire des Larmes
Geschichte der Traenen
History of Tears (Intro)

In his 'Fragments d'un discours d'amoureux', Roland Barthes asked 'Who is going to write the history of tears?' In 'Histoire des larmes', Jan Fabre is taking up this challenge. An undiminished fascination for the potential and significance of the human body has run like a thread through his performances since the eighties. He examines and disentangles the many cultural and historical layers that define our image of the body. In 2001, in 'Je suis sang', Fabre focused on bodily fluids and took a close look at the inside of the body. In 'Histoire des larmes' he extends this study. With his unbridled imagination and deep admiration and veneration for Flemish painting, this wizard here works on an iconography of tears, the embodiment of a wide range of emotions. In 'Histoire des larmes', Jan Fabre once again consistently and dauntlessly shifts the boundaries of his extraordinary oeuvre with its central theme of metamorphosis.
DANCE
THEATRALIK
THEATRALIK
GODS OF MUSIC
SIAVASH MALEKI
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