Needcompany: Dance to the Origin of the World – Impulstanz 2022

All good goes back to work, because the private body is political, and in Needcompany this also means that art is not based on rules of political correctness. Or, as Lauers put it provocatively: “What do we do when the world interferes with art?” Instead, he is concerned with identity, and especially his own, whether the stories are true or not, because ultimately the stage is exactly where illusion triumphs over truth.

In Lauers’ view, something like beauty can be made even in extreme conditions. The statue, made of 800 blue and green glass spheres, initially appears as a “useless” installation, yet is immediately charged with meaning. Mahmoud, a window pane in the formerly prosperous glass-making city of Hebron, made balls for Needcompany, beautiful objects that must first find their purpose. Lauers would like to talk about him, a picture that shows him in action, but not much more can be said, the situation in the West Bank is very delicate.

Martin Vanden Abell

The balls were specially made in Hebron for the company of the needy

Beauty has a price

Grace Ellen Barkey, choreographer (her piece “Malam/Night” will be shown at ImPulsTanz on July 20), Needcompany co-founder and wife of the Lauwers, finds all kinds of interpretations of blue-green artwork: in Christianity they will be Christmas balls, in the tears of Islam And without completely believing a religion, just a profitable source of income.

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“All the Good” will be shown again on July 19 at 9:00 pm at the Volkstheater as part of the ImPulsTanz Festival.

However, for performers, they are very risky, as performers continue to injure themselves on a broken ball. Her bleeding wounds show that beauty has a price. But until the end of the two-hour show, the colossal statue turns several times, this is a fragile transparent roundabout in the form of a stegosaurus, which is credited with having a small brain in the head and a second in the pelvis.

art or sex

Following the thesis that art is a transcendental impulse, Lauwers abandons sexuality. His neglectful wife, who ultimately bears the consequences, tells us about this decision with less bitterness than irony. She and her daughter Rumi are looking for a lover on the dating platform Tinder who, fortunately, is a member of the band.

Scene from Jan Lauwers/Needcompany (BE), All the Best

Martin Vanden Abell

“All Good” is part of the family’s fictional history

The brief relationship ends in disaster, after a young Martin belongs to the theater family, which Laures believes should not be in danger – certainly not in this way. As Barkey amuses the odd situation, it becomes clear that the self-importance of the fashion designer and father Familias inevitably comes at the expense of others. And last but not least, the role of the Lauwers is the only one played by the actor (Benoit Gob), while the others play theirs, because beware, one thing should be clear: your illusionist.

Associations and chaos

In many ways, the performance leaves out Lauwers’ central question, “What does the vagina say about the state of the world?” In doing so, he draws the seemingly logical arc from Gustave Courbet’s famous depiction of a female womb from 1866’s The Origin of the World into his daughter’s deepest being.

In doing so, he touches upon the Baroque painter Artemisia Gentileschi, who was previously neglected by the history of patriarchal art and was the first woman to paint in oil paint. Reducing female creativity to their biology meant that Gentileschi was not only ignored for her art, but also tortured, punished, and raped. While ex-model Ingie asks Lauers’ son Victor to re-enact scenes of sexual violence, Lauers reflects on his struggle as a father when his daughter Rumi falls in love with former Israeli elite soldier Elek Nev.

Scene from Jan Lauwers/Needcompany (BE), All the Best

Phil Depres

As always, private becomes political at Needcompany

“We don’t say kill”

“How many people did you kill?” Parents want to know. “We don’t say kill, we say collect the ears,” Elick replied evasively. Today he is a dancer and it is impossible to say whether anything in this story is true or not. Thus, in an almost chaotic synchronization of movement, music, and dialogue, difficult topics and difficult questions are casually hinted at, picked up again and dropped.

At the end of the show, Lauers declared Dutch master Rogier van der Weyden’s “Descent from the Cross” the pinnacle of art: beauty lies in its freedom, without any warning of the trigger. Not bad that he forgot the need for dramaturgy in this sprawling feat. ImPulsTanz fans enthusiastically praised the performance.

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