Double bill: Brace for Impact / Ways of being ready
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za 14 jan16:00Grote Zaal
Credits
Brace for Impact
artists Britt Timmermans, Mario Kunzi, Tijs Bastiaens
concept, choreography, dramaturgy, scenography Britt Timmermans, Mario Kunzi, Tijs Bastiaens
external eye Merel Heering
with the support of Kim Jomi-Fischer, Marta Alstadsæter
co-production Circonstruction, Zirkus ON
Ways of being ready
concept, regie Hendrik Van Maele
outside eye Esther Snelder, Margot Jansens, Floor van Leeuwen
artiesten Elliot Dehaspe, Hendrik Van Maele
producent TENT huis voor hedendaags circus
techniek Cahit Metin
coproducenten Miramiro, Cirklabo, PERPLX, Provinciaal Domein Dommelhof, Veem House for Performance
Meer over de makers
Knot on Hands (Britt, Mario, and Tijs) are three young circus artists from The Netherlands, Germany, and Belgium. Having come from separate youth circuses and meeting at Codarts circus arts, they bring a whole entourage of ideas and skills into their acrobatic trio, Knot on Hands. Britt with her delightful playfulness and sheer bravery is the flyer of Tijs, a powerful and dynamic base whose energy and motivation keeps the wheels turning. Then there’s Mario, a perfectly balanced and equally powerful middle. His openness and willing make him the third and final piece to the puzzle. Knot on Hands graduated in 2019 from Codarts circus arts in Rotterdam with a 10-11 minutes version of Brace for Impact.
Hendrik Van Maele graduated from the Academy of Circus and Performance Arts (ACAPA) in Tilburg where he focused mainly on partner acrobatics. Together with classmates he founded the collective Familiar Faces. They won the BNG Circus Prize and were nominated as laureates of the European circus label Circusnext. With Ways of being ready Hendrik makes his debut as a director. Currently Hendrik is a maker at TENT and works simultaneously on a solo, duet and trio. During this maker's trajectory, he investigates the relationship between director and performer, circus maker and practitioner. By asking the question: "What does the circus practice of the future look like?", he sets in motion a process that demands a rethink of one's own creative practice, as well as the way circus looks at itself.