Fleur Bokhoven's Page

'Rosas danst Rosas' was superb, exciting, wow! At a certain moment I noticed I was nodding my head and tapping the beat, as if I were present at a rock concert. And I wasn't the only one! An enchanting performance resulted in an enchanted audience. At the end there was a thunderous applause, and the crowd was cheering!

An almost empty stage – white floor with raised edges and a grey back wall – is during sixty minutes ground for an enormous deal of theatricality. There is paint in multiple colours, confetti, uncooked spaghetti, an extreme fysicality and intense emotions. No doubt about it: this is theatre!



The five performers seem to look for a way to express their feelings - all the while looking at the audience with a scrutinizing look or rolling eyes, as if they want to say: hey, look at me!… Continue

A very supple body, virtuosity, organic movements. On a screen of angular, compelling mathematic lines. Alternately breathtakingly beautiful, unpleasant noise, fascinating, irritating, and so on. And, who/what is the controlling body? Is the dancer caught by the line pattern - as if light is of actual matter - or is it the other way around, does he master light and sound?

The synergy of movement, light and sound evokes an overdose of associations. In a science fiction-landscape I see a… Continue

The unique quality of theatre is that is here and now. However, in the opening performance of Springdance by Jérôme Bel history is at the centre. A personal history as well as a history of dance, bunched in the dancer Lutz Förster. This man offers us, the spectators, glimpses of his career. And how! With an enormous presence, charisma and elegance. In word and dance he cites himself, and with that the history of dance. It is beautiful to see how the body – of an old dancer – remembers the… Continue