kwaad bloed | ugo dehaes

DMNT (2015)

*** The modest approach makes this a delicate yet touching piece on losing your way in your own mind.


Grafted (2013)

**** In Grafted, Dehaes has steered the dancers towards a beautiful, breathtaking result that is moving, overwhelming and memorable.


GIRLS (2013)

**** GIRLS is an incredibly beautiful experience. The best thing of all is that these inexperienced teenagers manage to succeed where young adult professionals sometimes fall down: on stage, instead of being self-obsessed, they are immersed in the story they want to tell us. And that story is disarmingly beautiful.


WOMEN (2011)

**** WOMEN is highly recommended for anyone who is moved by subtle things like a nuance in a breath. Ugo Dehaes translates this essence into a choreography that balances expertly between melancholy and humour.




read all the press articles below:

RATS

DMNT

All in all DMNT is a moving performance and offers an insight into Dehaes’ personal story, with what are probably taboo-busting values.
12/01/2016 - Dansmagazine

'We move like neurons that are communicating.'
11/11/2015 - Interview Knack

Captivating to see how dementia leads to total solitude, how the dance trio knows to show the disconcerting
31/01/2016 - Theaterkrant Review

Preview in De Standaard
07/11/2015 - De Standaard Preview

"But DMNT sticks close to a recognisable pathology and that means one can imagine oneself with dementia. This is precisely why DMNT should be shown not only in theatres, but also to people who are engaged in this struggle. This sort of recognition could be a great comfort to those who live in such isolation."
16/11/2015 - De Standaard Review

De uitvoering is ingetogen en consciëntieus en vooral de slow motion-momenten zijn prachtig. Daardoor lukt het dit trio een michaamstaal te introduceren die raakt en waar je langzaam aan went, ook al is die voor de meeste toeschouwers volkomen vreemd.
16/02/2016 - Het Parool

"It is as if Dehaes had created a carousel of danced portraits of the brain in which the dancers become increasingly entwined with one another and ultimately move apart again."
18/11/2015 - Knack Review

"Barely touching, the dancers wrap themselves into each other, only to shut themselves into their own arms, and that is of a staggering beauty. And the despair in their eyes turned towards us is stirring."
10/07/2015 - La Provence

Grafted duet

WOMEN

Grafted

"As if their heads are taped together - the central axis in this choreography - a fluent, rhythmic play of letting loose and entwining, of carrying and being carried, of attracting and rejecting, unfolds, from which rigorously all pathetic seriousness is filtered."
02/05/2013 - De Morgen

"The best dance performance I've seen in ages. The unusual choreography was powerful and comical, teasing and sweet. Dehaes gave me a sincere and hopeful understanding of the relationship that can exist between two people."
30/05/2014 - www.ongekunsteld.net

"Joy, humour, eroticism, and a sigh in an ironic reference to Women: Dehaes knows how to keep a silent choreography interesting."
02/05/2013 - De Standaard

" **** In Grafted, Dehaes has steered the dancers towards a beautiful, breathtaking result that is moving, overwhelming and memorable. The suppleness with which these artists manoeuvred their bodies elicited a series of shocked cries from the audience. After the performance, the dancers received no fewer than four curtain calls. Bravo!"
02/05/2013 - CJP

"Incredibly beautiful and poignant."
01/05/2013 - De Theaterkrant

"We are told that his new choreography is full of winks to his earlier work, and now again Dehaes would be fatiguing his dancers physically, in order to create a wonderfully sober mix of ballet and acrobatics."
27/04/2013 - De Standaard

Before, Dehaes always drew creatures/objects, which the dancers animated afterwards. "Now I depart from the dancers themselves. I draw their improvised movements and build my choreography on that. My drafts are my scores. I mostly draw while rehearsing."
24/04/2013 - Knack

WOMEN

"Their movements are quite determined and powerful, even empowered by the sounds the women produce. Dehaes is using their breaths as music. The women are taking deep breaths, gasping, groaning. They're like musicians bringing forth their scores."
28/10/2011 - De Volkskrant

"The play is quite cold, yet captivating throughout. The choreography encourages the audience to fit in the bigger whole in its own way. And that seems to work!"
21/10/2011 - Nieuwsblad van Geel

"The spectator sees his own body reflected on stage. The breathing thematised by Dehaes is a powerful way of achieving this. He adroitly makes the dancing body tangible and involuntarily drags the audience along with him. Women is not only beautiful, but also moving. Mission accomplished."
01/10/2011 - rekto:verso

"With Women, Ugo Deheas presents some nice material, with a proper simplicity and a relieved self-relativation. The people on the waiting list who didn't make it, have certainly missed something."
28/09/2011 - Goddeau.com

Poetic review in Corpus Kunstkritiek
02/09/2011 - Corpus Kunstkritiek

Announcement in CJP Magazine
01/09/2011 - CJP magazine

"Women's bringing the viewer a dance performance which does not only focuses on the individual characteristics of the dancers, but also knows how to make them one - by mixing rhythm, sound and dance."
01/09/2011 - cuttingedge.be

"De Morgen called WOMEN the most exciting discovery of the Flemish Theatre Festival 2011: This is an ingenious choreography in which performers also have the freedom to start with a blank canvas, to perform the movement in a way which fits with their body and with their way of thinking."
25/08/2011 - De Morgen

Announcement on cobra.be
23/08/2011 - cobra.be

Where do you have to go? Five tips...
21/08/2011 - De Standaard

Announcement in De Standaard
27/05/2011 - De Standaard

Finally, Het Theaterfestival is showing the best (again)
26/05/2011 - Knack

"Every last frill, decoration and effect has been thrown overboard. With this group of women, Ugo Dehaes tries to return to the essence of the dance’s dynamic and to the strength of its performers by means of a detailed symbiosis of breathing and timing in the movements. He succeeds beautifully in this."
23/04/2011 - TheaterMaggezien

"WOMEN is highly recommended for anyone who is moved by subtle things like a nuance in a breath. Ugo Dehaes translates this essence into a choreography that balances expertly between melancholy and humour."
08/04/2011 - De Standaard

Announcement in Pas Uit Oost-Brabant
01/04/2011 - Pas Uit Oost-Brabant

Announcement in Uit in Leuven
01/04/2011 - Uit in Leuven

"A fundamentally physical, dansant performance of unbelievable pride"
25/03/2011 - TAKT#6

"Through his duet Couple-Like (in collaboration with Keren Levi), we know Dehaes as a master in putting down simple, yet very smart and flawless physical situations and images"
24/03/2011 - < H >ART

GIRLS

"The group's togetherness is emphasized by the breaths of the dancers. Without music, it's the only rhythm we can hear. And it's almost hypnotizing the audience."
27/05/2014 - Potsdamer Neueste Nachrichten

VORSCHAU AUF DIE POTSDAMER TANZTAGE
Schnell, konzentriert und nackt
 
Man merkt es sofort, wenn man das diesjährige Programmheft in die Hand nimmt: Kaum bekannte, lauter neue Gesichter! Nur die Companie von Lia Rodrigues aus Rio de Janeiro war bereits vor vier Jahren mit ihrer großartigen „Welle“ in Potsdam zu Gast. In diesem Jahr wird die Choreografin, die in Brasilien in einer Favela in Rio Pionierarbeit leistet, die Zuschauer in der Schinkelhalle hautnah am letzten Teil ihrer Trilogie – „Pindorama“ – teilh
13/05/2014 - Potsdamer Neueste Nachrichten

Girls & Victor
  Lapsi on poliittinen viesti Lapset näyttäytyvät usein silmiinpistävän poliittisina esityksissä, jotka on tehty aikuisille. Lapset ovat toisia, toisesta maailmasta ja valosta kuin me. Samalla kun aikuiset yrittävät antaa lapsille mahdollisuuden näyttää, keitä he ovat, aikuiset usein tahattomastikin määrittelevät heitä.   Zodiakin Sivuaskel-festivaalilla nähtiin kaksi aikuisten esitystä, joissa lapset olivat pääosassa. Paljon lasten kanssa
07/02/2014 - Teatteri & Tanssi + Sirkus

"In the expression of the girls there is genuine indulgence and easygoingness towards movement. As performers they still seem quite professional."
06/02/2014 - Helsingin Sanomat

"This time, Dehaes is working with eight young girls. He's looking into the moment the dancing germ contaminates their young bodies."
30/04/2013 - De Morgen

"Mostly, the girls look all natural and professionally focused on their breathing and steps. And on each other, being a solid unity. Girls is a wonderful portrait of the friendship between girls."
25/04/2013 - NRC Handelsblad

"I think there should be more recycling in the world of dance. I don't see the problem with that. GIRLS is roughly the same performance as WOMEN, but danced by girls. Why shouldn't you let your own creations come to life again? Certainly when you think it could even get better than before."
01/04/2013 - Dans Magazine

"As much as they're trying to shout each other down while eating, as disciplined do they transform into an organic, focused, collective body an hour later. That's what choreographer Ugo Dehaes does to this whole lot of giggling GIRLS: he's creating an ensemble of individuals."
21/02/2013 - De Morgen

"The eight girls carry the choreography and each other perfectly."
21/02/2013 - De Morgen

"Following on from Women, which was selected for the 2011 Theatre Festival, GIRLS (Fabuleus) is a remarkable piece of dance performed by (and not only for) young people that at once raises the bar by a few kilometres. The audacious step of letting young girls dance this incredibly demanding choreography, which renders them taut with concentration as they absolutely dance their socks off, delivers rock-solid dance on a bare stage."
19/02/2013 - KNACK

"GIRLS is an incredibly beautiful experience. The best thing of all is that these inexperienced teenagers manage to succeed where young adult professionals sometimes fall down: on stage, instead of being self-obsessed, they are immersed in the story they want to tell us. And that story is disarmingly beautiful."
18/02/2013 - De Standaard

"GIRLS is a sure-fire hit. With movements that are a detailed symbiosis of breathing and timing, these young girls keep you transfixed for an entire hour. Isn’t that wonderful?!"
18/02/2013 - Theaterkrant

"GIRLS is a trip through different moods, which all want to project another emotion to the audience."
14/02/2013 - Knack Focus

Announcement in De Streekkrant.
13/02/2013 - De Streekkrant

"With Girls, Dehaes creates the ultimate counterpart of WOMEN. This time, eight young girls between 10 and 14 years old are stealing the show."
13/02/2013 - Rondom Leuven

"After having created WOMEN, Ugo Dehaes wanted more. So he created the perfect prequel of this pure and warmly welcomed dance performance. GIRLS will premiere on February 15 at OPEK and is promising to be wonderfully beautiful."
01/02/2013 - Uit In Leuven

"A performance about passion and our heart beat and about the vulnerability every beginning starts with."
05/01/2013 - De Standaard

"Past year, Ugo Dehaes created WOMEN, a dance performance with eight women older than 30. Now he's working on the prequel GIRLS, the same piece performed by eight girls between 9 and 14 years old."
14/11/2012 - cobra.be

"The vivacity, energy and passion inside these girls are giving this choreography a unique touch. We discover new personalities in all their beauty and vulnerability."
Nouvelles De Danse

FORCES

couple-like #2

couple-like

Somerszene Salzburg 'Couple-Like'

Im Rahmen der sommerszene salzburg führten Keren Levi und Ugo Dehaes in der ARGEKultur ihr erfolgreiches Stück „Couple-like“ auf. In diesem Konzepttanz der beiden Tänzer versuchen sie das Bedürfnis mit seinem Partner zu verschmelzen darzustellen. Um nicht von der Performance der beiden Künstler abgelenkt zu werden, wurde die Bühne schwarz gehalten und gänzlich leer belassen.
Zu Beginn bewegen sich die beiden Künstler langsam auf den Boden kriechend zueinander,
03/07/2009 - Dorf Zeitung

Kampf und Leidenschaft

Atmen, Stöhnen, Keuchen und immer wieder das Aufeinanderprallen und Ineinanderknallen zweier Körper: Keren Levi und Ugo Dehaes sind mit ihrer darstellerischen Präzenz eine Traumbesetzung für diese inTanz verwandelten Szenen einer Beziehung. Im Rahmen der "sommerszene 09" gastieren Levi und Dehaes (Amsterdam/Brüssel) mit ihrem Programm "Couple-like" in der ARGEkultur Salzburg, Josef-Preis_allee 16, heute Donnerstag, 2. Juli, um 21 Uhr. Karten under Tel. 0662/84 37 11
02/07/2009 - Salzburger Nachrichten

Keren Levi & Ugo Dehaes

Die Bühne is schwarz, schnörkellos. Am leeren Tanzboden bewegen sich ein Mann und eine Frau auf Knien aufeinander zu bis sich ihre Köpfe berühren, schwer aneinander pressen und scheinbar verschmelzen.
Von diesem Moment an beginnt ein 45-minüter Kampf aus körperlicher Reibung, Leidenschaft und Schmerz und der ständigen Sehnsucht nach dem Einswerden, die sich nie erfüllen kann; dieser Zustand ist weithin auch bekannt unter dem Begriff "Beziehung".
Das Motiv, das Keren Levi un
01/07/2009 - belgische botschaft - flämische repräsentanz, author


29/04/2009 - Revizor, SISSO KRITIKAJA

"Their breathing gets more heavy, they mount eachother. The piece is a whirlpool of movements that seem to be created on the spot."
28/04/2009 - Noordoos Polder

"They're twisting, colliding, rolling, dancing lightly. We rarely see dance being so intimate, yet so adventurous, being unconventional, yet impregnated by a desire that moves every spectator."
20/03/2009 - Leids Dagblad

"It is fascinating to see what kinds of positions, challenges and confrontations are possible between these two people. You could describe it as acrobatic, but the dancers are not actively seeking to create a spectacle. This dance is too personal and too internal for that. There is scarcely any music and that’s a good thing."
11/10/2007 - Het Leidsch Dagblad

"Couple-Like is a very successful experiment of Levi and Dehaes. With minimal resources (a bare dance floor and just a few lights), they obtain optimal results."
19/06/2007 - www.theatercentraal.nl

"In Couple-Like, Ugo Dehaes and Keren Levi explore the boundaries of being together. By moving, they initiate a discourse that's navigating between businesslike research and intimacy, between beastliness and humanity."
31/03/2007 - www.urbanmag.be

"As spectator, you're immediately carried away by the absurd images created by their bodies."
08/03/2007 - www.urbanmag.be

"Their non-stop contact is taking many forms. They push and pull, roll and balance, without losing physical contact."
08/03/2007 - www.urbanmag.be

"There's more variation in their movements, and they mix in a more organic manner. Also beautiful to see is the moment when the dancers are thrown onto the scene and they look back in doubt to the audience."
08/03/2007 - www.urbanmag.be

"Couple-like is a strong bit of 'contact improvisation'. Furthermore, it's a pretty piece of artisan, conceptual dance, prosaic and subtle."
27/01/2007 - NRC Handelsblad

"Them being man and woman says enough. Their bodies are the ingredients, not much more."
25/01/2007 - www.urbanmag.be

"In terms of dance, Couple-like offers some strong, inventive moments, but does not always succeed in sustaining your interest. As a spectator, you remain an outsider: this encounter has nothing to do with you."
27/10/2006 - De Morgen

"Twisting choreographies, everything is fusing and even their breaths seem to be adjusted to each other."
25/10/2006 - ktjefloke.web-log.nl

"How to make two bodies, two different energies, two persons into one?"
13/10/2006 - Zagreb, Z. Ra.

Bleu Bleu

A la dérive

Tandis que le théâtre Océan Nord crée Bleu Bleu, une comédie grunge, les Halles préparent une méga teuf artistique, invitation "à la dérive collective". A chacun son lyrisme. Dans Bleu Bleu, Stéphane Arcas nous emmène à Toulouse, en 1992, où il s'est formé aux arts plastiques. Le pitch: "Hades, à la dérive, brûle la vie et la noie dans les stupéfiants, le sexe et la mouvance grunge. Avec 3 amis artistes, ils
23/01/2014 - Le Vif

Trois pièces sur la fragilité psychique, à partir de cas vécu. Touchant, délicat, parfois inégal.
 
  "Bleu Bleu" Stéphane Arcas - (c) Michel Boermans Bleu, bleu de Stéphane Arcas: "grunge" attitude ***
Il était une fois un artiste, dans les années 90, vivant ses 20 ans au milieu d’une bande potes aussi paumés que lui.
Entre la chute du mur de Berlin et avant le 11 septembre, le début d’un "
23/01/2014 - rtbf.be

BLEU BLEU ( THEATRE OCEAN NORD)

 
Cette  magnifique chanson  composée et  interprétée par Mouloudji a été diffusée en radio  pour la première fois le 14 janvier 1992. 

 
BLEU BLEU / STEPHANE ARCAS
 
 

 
 
Toulouse, 1992. Hades est un jeune home à la dérive. Il brûle la vie par tous les bouts et la noie dans les stupéfiants, le
19/01/2014 - Les feux de la rampe

STÉPHANE ARCAS A l’occasion de la création de Bleu Bleu au théâtre Océan Nord, le metteur en scène et plasticien Stéphane Arcas nous parle de sa jeunesse, de son travail et de son approche du théâtre.
L’aspect autobiographique est très important dans Bleu Bleu ?
Cet aspect est “déjà loin”. L’ayant ré-écrit plusieurs fois, moi-même je ne me reconnais plus vraiment dedans. C’est tout l’intérêt de l&
19/01/2014 - Le Comedien

Drogue, grunge, art, voilà le cocktail qui a fait de Bleu Bleu une pièce attendue par bon nombre. Offrant donc salle comble dès sa première.
Nous sommes plongés dans la pénombre, un vaste intérieur d’appartement -plutôt semblable à un squat- se profile. La seule source de lumière est un lustre qui diffuse son aura sur un anti-héros inspiré, imbibé, trippé trippant. Premier monologue d’introduction qui fait écho à qui a pu activement faire la fête
18/01/2014 - Culture Remains

Petite révolution dans l’Hades’ Factory Une kyrielle d’acteurs talentueux, trop nombreux pour les énumérer bien qu’ils le méritent amplement, occupent la scène métamorphosée du théâtre Océan Nord, déguisée pour un soir en vieil appartement d’artistes avec un réalisme surprenant. « Ma génération m’emmerde », est le leitmotiv de la soirée, les jeunes artistes passent leur temps à « faire le parall&e
17/01/2014 - Demandez Le Programme

Voyage en pays grunge, à l’Océan Nord

"Bleu Bleu" de Stéphane Arcas, création plastique et métaphorique.
scènes Critique Marie Baudet
Les années 1990 sont, plus qu’une époque, un pays. Un territoire. À Toulouse, en 1992, Stéphane Arcas est étudiant aux Beaux-Arts et, en parallèle, noircit des carnets. Qui deviendront un scénario, seront perdus, retrouvés… À Bruxelles, en 2014, Stéphane Arcas - p
17/01/2014 - La Libre

BLEU BLEU

Les acteurs sont là chez eux, dans leur squat d'artistes et nous, spectateurs, y entrons littéralement. Le décor nous y invite et nous happe presque comme le provoquerait une absorption d'hallucinogènes! Les dimensions rétrécissent, les barrières sautent! Nos sens sont en éveil! en réveil?

La vue est sollicitée de multiples façons. Par le cadre: un intérieur bourgeois délabré, les styles vestimentaires hétéroclites des pe
16/01/2014 - Le Bourlingueur Du Net

Les années 90 en mode stupéfiant

Comédie grunge prévient le sous-titre de « Bleu Bleu » de Stéphane Arcas. Promesse vite tenue par Nicolas Luçon qui entame cette pièce sous acide, titubant avec une folie douce dans une fascinante envolée lyrique sur les reflets bleutés d’un bouquet de bouleaux dans la nuit. La logorrhée du camé s’envole ensuite vers des considérations plus terre à terre mais sans se départir de ses allures
16/01/2014 - Le Soir

Conflits d'une génération sacrifiée

Bleu Bleu dresse le portrait d'une époque et d'une génération. Celle du Grunge dont Stéphane Arcas a bien humé l'air, même si sa chanson est un peu longue.

Au milieu d'un appartement clashé de peinture et méticuleusement sacragé, vivotent trois aspirants artistes toulousains allumés : Hades, un grand corbeau halluciné entre Nick Cave, Thurston Moore et Mathieu Amalric; Nico, genre skateur à b
16/04/2013 - L'écho

Jeudi

coupure

Symballoo

Among the multitude

LA FORÊT, Vert Presque Vert

THE GREAT PUBLIC SALE ...

POINT BLANK

Théâtre  "Point blank", d'Edit Kaldor : Le sens de la vie à travers l'objectif Cheveux blonds tombant sur les épaules, mains dans les poches de son jean, une jeune femme s'avance sur le plateau du Beursschouwburg. Un peu gauche, elle se présente et explique sa présence sur le plateau.  "Mon nom est Io et je connais Edit depuis que j'ai cinq ans." Edit, c'est Edit Kaldor, conceptrice du spectacle.
Thu 12-05-2005 : Le Soir, WYNANTS,JEAN-MARIE

Edit Kaldor in gesprek met Elke Van Campenhout
Thu 10-05-2007 : www.kfda.be, Elke Van Campenhout

Point Blank In your earlier plays, Or Press Escape and also in New Game, technology plays an important role. Or Press Escape takes place entirely on a computer desktop, and in New Game we find ourselves in the world of a videogame. In this play too, Point Blank, the main character looks at the world through a camera. How important is this technological mediation in your work? When I'm creating a play, I don't start from the medium, in any case. With Or Press Escape, for instance, I wanted to make a performance about being alone. But of course, as soon as you address the public directly, then
Thu 10-05-2007 : www.kfda.be, Elke Van Campenhout

Ze is geboren in Boedapest, woonde lange tijd in New York en vestigde zich via Gent in Brussel, waarmee ze van meet af aan op gespannen voet leefde. Daarom pendelt ze nu regelmatig tussen Brussel en Amsterdam. Een gesprek met Edit Kaldor, wereldburger, theatermaakster en voor de derde maal te gast op het KunstenFESTIVALdesArts met de performance 'Point Blank'.   "Ik ben eerst in Gent beland omdat ik op dat moment werkte bij het New Yorkse Love Theatre, en op uitnodiging van theaterhuis Victoria maakten we daar een producti
Thu 20-07-0205 : Agenda, Patrick Jordens

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