Score#21 — Method of Elimination, Thomas Steyaert (BE)

03.10.2014 / 21:00 / WASP
performance / 50’

Choreography: Thomas Steyaert
Performers: Andreea David, Elena Copuzeanu, Nicoleta Enache and Ruxandra Stanciu
Photography: Liviu Ștefan
Video trailer: Black Horse Mansion
Special thanks: Raúl Maia
Co-production: 4Culture, WASP and Life Long Burning, with the support of the Culture Program 2007 — 2013.**
*This project was financed by the Administration of the National Cultural Fund.
** This project has been funded with support from the European Commission. This communication reflects the views only of the author, and the Commission cannot be held responsible for any use which may be made of the information contained therein.

A living mechanism that explores the essence of today’s society in real time, the performance 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.

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.

Watch the trailer: