Following the enormous success on the cour d'honneur at the Festival van Avignon, the large audience in Belgium and the Netherlands can finally get acquainted with the latest creation by Jan Martens: FUTUR PROCHE.
In contrast to Avignon, we present FUTUR PROCHE in dialogue with Tempus Fugit by Swedish choreographer Johan Inger, whose B.R.I.S.A. we brought to you in 2018.
For OBV, Johan Inger creates an updated version of Tempus Fugit with new costumes and new music
While in FUTUR PROCHE contemporary compositions are played on a harpsichord, Tempus Fugit centers on the chaconne by Johann Sebastian Bach, but in an adaptation for piano.
Tempus Fugit premiered worldwide in 2013 at Theater Basel but for OBV, Inger creates an updated version with new costumes and new music.
In Tempus Fugit we see a man and a woman at the end of a relationship. While the woman wants to put an end to the relationship, the man is not ready to let her go and goes through different stages of grief. 'Even though all this happens on a large stage, it is my aim to convey the intimacy of their relationship,' says Inger about his choreography. 'Tempus Fugit is about life and death, about something that concerns us all.'
In FUTUR PROCHE by Jan Martens - who becomes associate artist at OBV from this season - we see fifteen dancers, two children and harpsichordist Goska Isphording. Like his two previous successful productions – any attempt will end in crushed bodies and shattered bones (2021) and ELISABETH GETS HER WAY (2021) – Jan Martens also builds his new creation FUTUR PROCHE around contemporary harpsichord music. For Jan Martens, the baroque instrument is a symbol of positive evolution. By being pushed to the wings by the piano, the instrument gained a dusty image, but contemporary compositions make it exciting again. 'FUTUR PROCHE is about the great challenges that await us, such as climate change, epidemics and war, and how we don't really take action on them,' says Martens. 'Only when we think outside our fixed frameworks and look for solutions there can we assert ourselves. The parallel with the harpsichord is clear: from the margins we can reinvent ourselves.'
"Jan Martens fascinates and disarms"Le Monde
FUTUR PROCHE triumphed in Avignon with rave reviews in the (inter)national press. 'Jan Martens fascine et désarçonne,' headlined Le Monde, while Le Soir titled: 'Un FUTUR PROCHE séduisant et inquiétant.' De Morgen gave four stars and saw 'a production of contrasts, in which every dancer celebrates his own style and identity, while at the same time the importance of the group is emphasized.' La Libre Belgique was also full of praise for our dancers: 'Il faut saluer dans cette entreprise la bravoure et la plasticité des interprètes, plaçant leur virtuosité au service d'un langage chorégraphique aussi précis que déconstruit.' And Radio France finally called the production: 'Une tempête chorégraphique d'une minutie millimétrée et d'une délicatesse inouïes.'
In short, with Tempus Fugit and FUTUR PROCHE we present the audience with a fascinating, moving, intelligent and virtuoso production with which the ballet season opens.
production will also be shown in Turnhout, Brugge, Amsterdam, Den Haag, Parijs and Sankt-Pölten.fri 23, sat 24, wed 28, thu 29, fri 30 sep, sat 1 oct at 20:00
sun 25 sep at 15:00
fri 18, sat 19, tue 22, thu 24, fri 25, sat 26 nov at 20:00
sun 20 nov at 15:00
ITA AMsterdam*
wed 21, thu 22 dec
FESTSPIELHAUS SANKT-PÖLTEN
sat 25 march
fri 21 april
wed 10 may
Click on the links to order tickets for this production.