Trajal Harrell
February, 13th to February 29th - residence on the CCNCB
for Twenty Looks or Paris is Burning at The Judson Church (L)
DESCRIPTION
Twenty Looks or Paris is Burning at The Judson Church is the collective and shared title of five dances to be choreographed by Trajal Harrell.
"What would have happened in 1963 if someone from the Voguing ball
scene in Harlem had come downtown to perform alongside the early
postmoderns at Judson Church?" Rather than illustrating a historical
fiction, these new works transplant this proposition into a contemporary context and debate about seduction of the audience. What we experience was neither possible at The Balls nor at Judson, but a third possibility is created. Twenty Looks or Paris is Burning at The Judson Church comes in fives sizes- Extra Small (XS), Small (S), Medium (M) also known as (M)imosa, Large (L), and Extra Large (XL).
The (L) confronts the postmodern antagonism against tragically dramatic dance epitomized by Martha Graham's mythological Greek dramas by presenting an all-male contemporary dance version of Sophocles' "Antigone". By imagining a theoretical meeting between Voguing and Post-modern dance, much of Yvonne Rainer's 1965 "No Manifesto" is put into crisis. Most of the no's become definite maybe's: maybe to spectacle, maybe to transformations and magic and make-believe, maybe to the glamour and the transcendency of the star image, maybe to the heroic, maybe to involvement of performer or spectator, maybe to style, maybe to trash imagery, maybe to camp, maybe to seduction of the spectator by the wiles of the performer, and maybe to moving or be moved. The only thing we know for sure is yes to the heroic and we're adding yes to the tragic.
The main characters, including Antigone, will be performed by a cast of
five men in an investigation of the links between voguing and the classic Greek theater where men played male and female roles.
In the case of the (L), I wish to re-imagine the classical theater of ancient Greece. Is it possible that voguing and this theater of antiquity were not so far apart in their performative strategies? It is easy today when we see men performing as women to classify these forms as drag, camp, travesty, or to base our conclusions on notions of sexual identity; but sexual identities in Ancient Greece did not fall into the categories we prescribe today. Therefore, perhaps this performance of mixing genders had it’s own codes and references. Can we imagine that there was “Greek Theater realness” where like voguing, gender and class or social status were revealed as constructions of codes of fashion and movement? It is also easy to forget through layers of classical interpretations that the theater of antiquity was a intrinsically political theater whose purpose was to educate and potentially problematize the important responsibility bore by the citizens of Athens (all men).
Furthermore, how did cross-dressing in theater roles function as activism to debate potentiality of female citizenship? Did these artists – actors, directors, and writers – use this particular performativity to shift the political beliefs of the day? In Antigone, a young woman, albeit royal, goes against the highest ruler of the land, the king, not only in action and law, but in debate and intellect. Although her status as a woman makes her actions even more antagonistic, I wish to explore her femalehood as a trope of politicization to rethink both gender rights in Ancient Greece, but also this ancient performative context itself as a kind of “gender trouble” perhaps not so different from the discourses of our today.
Therefore, the central aesthetic questions become: how do we vogue the play Antigone? What new meanings are produced from this operation as well as new relations with the contemporary theater audience? Furthermore, what would it have meant to vogue Antigone in the context of 1963 Judson Church? Would this had created an aesthetic anachronism that further divided our Harlem traveler from these new Judson colleagues? Or maybe by voguing Antigone something closer to Judson aesthetics rather than Graham aesthetic might be created that in turn gives us an even more “authentic” representation of classical Greek theater? And might this authenticity further problematize the ways in which we have assimilated and re-imagined Judson aesthetics? These are the questions which we will investigate in our creation. There is no possible way to know exactly what this theater was like. Video did not exist, but by reimagining the possibilities, perhaps we reimagine the notions we have today in respect to gender, class, and sexuality.
VOGUING
The Voguing dance tradition refers to the competitive balls staged in Harlem dance halls beginning in the late 1960's. The balls, structured around participants belonging to “houses” named after the most captivating member of the house or most often after the prestigious houses in the fashion industry (Saint Laurent, Chanel, Armani, etc.), blur the boundaries between social dancing and social performance. The "walkers," the moniker for participants, compete for huge trophies in complex categories designed to test the walkers' ability to transform through dress, behavior, and movement into archetypal social identities. Categories such as Military Realness, Butch Jock, Executive Realness, Best Bangee Boy, Town and Country, and Butch Queen Realness are examples of the layers of gender, ethnicity, and class which are simultaneously performed and critiqued within the structure of the competition. A panel of judges score walkers as they walk the runway, "vogue," demonstrate flexibility, and/or show off their dancing ability with elaborate movement routines. In some cases, two competitors close in points battle on the runway, pitting their movement verve and attitudes against each other. Participants use 'dressing the part' and 'walking the walk' to contest the authenticity of archetypal American social and gender roles. That the participants are primarily Latino and African-American gay men, transvestites, and transsexuals, who are mainly poor, lends the scope of these performances their sociological acclaim.
'The balls are opportunities to use theater to imitate the theatricality of everyday life---a life which includes show girls, bangee boys, and business executives. It is the endless theater of everyday life that determines the real: and this theatricality is soaked through with racial, sexual, and class bias. As one [participant] explains, to be able to look like a business executive is to be able to be a business executive. Within the impoverished logic of appearance, 'opportunity" and "ability' can be connoted by the way one looks. But at the same time, the walker is not a business executive and the offs are that his performance of that job on the runway of the ball will be his only chance to experience it. The performances, then, enact simultaneously the desire to eliminate the distance between ontology and performance---and the reaffirmation of that distance."
Phelan, Peggy, "The Golden Apple: Jennie Livingston's Paris is Burning," Unmarked. Routledge, (London) 1993.
Within the contexts of the balls, the word voguing is used in two manners of speaking. Voguing can refer to a specific movement form demonstrated by participants consisting of flamboyant displays of arm and hand gestures which swirl around the head miming gestures of make-up application or framing the face as if posed for the cover of a glossy fashion magazine. The word is also used more generally to refer to the overall forms of runway walking and posing performed by ball participants. Other movement forms exhibited by contestants include elaborate floor work consisting of spinning on the back while executing highly articulate legwork. The floor work is highly influenced by hip hop and break dancing but retains a layer of high fashion posing generally not found in the hip hop lexicon.
Artistic statement:
I was stunned to find out that voguing and Judson era postmodern dance starting around the same historical time in the 1960’s—one downtown in Greenwich Village and one uptown in Harlem. Therefore since 2001, my work has been imagining that the two actually came together in dialogue to question and reflect together both politically and aesthetically. By hosting this conversation on the architectural stage space of the fashion runway (an ode to both traditions’ use of pedestrianism), I have tried to invent performative strategies oscillating between voguing’s “realness” and early postmodernism’s “authenticity.” Of course, dance history as it has been written speaks about Judson but not voguing, as Gérard Mayen has written, “Judson reunited middle and upper-middle class artists and audiences, white and culturally selective, politicized, and convinced of the democratic scope of their privilege for an everyday gesture and body - one that was neutral and full of ‘authenticity.’ The voguing ballrooms brought together poorer artists and audiences, non-white, inspired by pop and fashion culture and a search for the ‘realness’ of gesture” which turns out to reveal the artificiality being performed at the root of all social identities. I am most interested in how the imagination can re-think the “omissions” of history. In this way, performance can be a way in which we collectively reimagine the impossibilities of history and thus make room for new possibilities in the world we make today.
When I started, I used these ideas as a formal device to explore cultural or performance topics such as: how cool gets written on the body; the representation of sincerity on the contemporary stage; and competition within dance community. I also employed it two dance works based on works of literature: Notes on Less than Zero by Bret Easton Ellis and Giovanni’s Room by James Baldwin. The historical imagination was the foundation of the work but operating in the background. As my work began to tour and reach audiences who weren’t familiar with its development over time, I realized that audiences had no idea what the work was based upon even if it was written in program notes. Thus in 2009, my work made a big shift and the historical imagining between voguing and postmodern dance became the subject of the work itself. I initiated this long-term project, Twenty Looks or Paris is Burning at The Judson Church which comes in five sizes from Extra Small to Extra Large. Each project although different in form and content share the same proposition: “What would have happened in 1963 if someone from the voguing dance tradition had come downtown from Harlem perform alongside the early postmoderns at Judson Church?” This shift from background to foreground has raised the stakes for the audience as well. Although I am not trying to do a historical re-creation, the clarity of the work’s theme has engaged the audience’s imagination in a much more active way.
Privileges and Omissions
by Gérard Mayen Dramaturg,
Twenty Looks or Paris is Burning at The Judson Church (S)
Twenty Looks or Paris is Burning at The Judson Church (L)
Translated from the French by Ben Evans
Any informed European audience of contemporary dance is more or less familiarized with the Judson Church Theater movement, which took place in New York in the early 1960s. During this time, choreographic artists including Trisha Brown, Yvonne Rainer, Steve Paxton, Lucinda Childs, and Simone Forti, made a clean sweep of the established rules of dramatic representation in dance practice. This moment was quite short, but its radical experimentation was such that it continues to provide a benchmark for a significant amount of dedicated research around performance, release technique, contact improvisation, interdisciplinary practices, etc. even today.
The history of art has not had the same consideration for another dance movement, which started developing at the same time, also in Manhattan, but this time in Harlem. This was the phenomenon of ball rooms, in which young and poor African Americans and Latino Americans, most often gay, competed in extravagant performances of imitation; rather, a decoding, of the most exaggerated postures of the white world of fashion, of stars, and of glamour. From this movement, at once lower-class and underground, one could distinguish the figures of the drag queen, and voguing.
Judson reunited middle-class artists and audience, white and culturally selective, politicized and convinced of the democratic scope of their privilege for an everyday gesture, neutral and full of “authenticity.” The ballrooms brought together poorer artists and public, non-white, fed by pop culture and a frantic search for the “realness” of gesture. In a skillful way, this marginal approach reversed the very terms of their stigmatization.
Do not all these concepts call for a dialogue, each of which is critically charged, in place of the codes of representation? Twenty looks or Paris is burning at the Judson Church puts these two movements in friction, each a rebel in its own right; a meeting that could only seem impossible. The durability of these social and cultural divisions can do nothing but question, and central elements of current European choreography reactivate specifically this reference to New York’s Judson Church. Which privileges, which omissions, have tainted the readings and interpretations of history?
In this way, it is incredibly valuable that a choreographic artist from New York comes to record his own “autofictional” presence, honing these stimulating contradictions. Trajal Harrell himself still remains quite rare: non-white in the ranks of an informed American contemporary dance practice, who is also well-acquainted with European practices of performance. Each delicate step, each studied look, each of his subtle transgendered inflections, pushes the boundaries, with the force of a knowing caress, light and ironic.
BIOS
Trajal Harrell’s work has been presented at many venues including The Kitchen, Danspace Project, Dance Theater Workshop, P.S. 122, Institute of Contemporary Arts (ICA) Boston, Dance Mission (San Francisco, CA), the former San Francisco Institute of Choreography, Cornell University’s Schwartz Center for the Performing Arts, Brooklyn Arts Exchange (BAX), Snug Harbor Cultural Center, and CUNY’s Martin Segal Theater and Proshansky Auditorium, among others. Internationally, his work has toured to international festivals in France, Austria, the Netherlands, Belgium, Germany, Poland, Croatia, and Mexico. In October 2011, his work will be presented for the first time in Africa in a festival in Madagascar.
A graduate of Yale University with a B.A. in American Studies with a concentration in Creative Processes, he has been an artist-in-residence at The White Oak Residency and Dance Center, Snug Harbor Cultural Center, Movement Research, Bennington College, CDC Toulouse, ICA Boston, PACT Zollverein (Essen, Germany), Workspace Brussels, Wp Zimmer (Antwerp, Belgium), Impulstanz Vienna International Dance Festival, Tanzhaus Düsseldorf, TanzWerkstatt-Berlin, Skite 2010 (Caen, France), CCN de Montpellier Languedoc-Rousillon, CCN de Franche-Comté à Belfort, and CNDC Angers. He has been a guest artist in the studios of Mains d’Oeuvres (St. Ouen, France), an interdisciplinary art center just outside of Paris, as well as a space grant recipient at Le Centre National de la Danse (Paris). He has received grant support from The James E. Robison Foundation (2011, 2006, 1999); Foundation for Contemporary Arts Emergency Grant (2011, 2006); The Jerome Foundation (2010); The MAP Fund (2009, 2007); US Artists International (2009), NYC Department of Cultural Affairs (2008-2010), The Trust for Mutual Understanding (2008), The Mary Duke Biddle Foundation (2008); The Alfred Meyer Foundation (2006-2010, 2003, 2001); The Zacks Family Foundation (2006-2008, 2002, 2000); Allied Domecq Inc. (2002); JP Morgan Chase Foundation (2001); Harkness/Purchase College (2000-2004), People PC Inc (2000), National Foundation for Advancement in the Arts (1999), and Georgia Council of the Arts (1993).
His training in dance has taken place primarily in the following institutions: Movement Research, The Trisha Brown School, Centre National de la Danse (Paris) with Yvonne Rainer, City College of San Francisco, the former San Francisco Institute of Choreography, Martha Graham School of Contemporary of Dance, Brown University, Roger Williams University (Bristol, RI), and Trinity Rep Conservatory (Providence, RI). As well as a primary research in the Voguing ballroom scene, he has also studied voguing and whacking with master teachers Archie Burnett and Lassandra Ninja.
His first full-evening length work Notes on Less Than Zero premiered at Danspace Project in June 2004 followed by Before Intermission, a half-evening creation, which premiered at The Kitchen in February 2006. Showpony, premiered at Danspace Project in January 2007, and has toured internationally to Melkweg Theater (Amsterdam, the Netherlands), Prisma Forum (Mexico City, Mexico), InTransit Festival 2009 (Berlin, Germany), and CNDC Angers (Angers,France). In 2007, he was awarded a FUSED (French-US Exchange in Dance) grant to support the presentation of Showpony and the creation of Quartet for the End of Time. This work takes the story of Olivier Messiaen’s famous music of the same name (composed and first performed by Jewish and Christian musicians in a Nazi prisoner-of-war camp) as a foundation for investigating the antagonism between sincerity and irony in contemporary expression, behavior, and stage representation. Quartet for the End of Time premiered October 2008 at Dance Theater Workshop and was chosen by TimeOut New York Magazine as one of the best dances of 2008.
In 2008, he was appointed co-artistic mentor for the DanceWeb program at The Impulstanz Vienna International Dance Festival. He has also been active in artist-led curatorial and educational initiatives. In January of 2012, he will end his five-year tenure as the guest artist editor-in-chief of The Movement Research Performance Journal. At Danspace Project, he was recently the artist-curator of a six-week festival “certain difficulties, certain joy” a part of Danspace Project’s Platforms 2010. During the platform he also led sixteen choreographers in a choreographic lab called The Adventure. He has taught, mentored, and/or led workshops and master classes in contemporary dance in the following contexts: Gati Dance/Goethe Institute, New Delhi, India (2011); Impulstanz Vienna International Dance Festival, Vienna, Austria (2011, 2009, 2008); Performing Arts Research and Training (P.A.R.T.S) Exchange, New York, NY and Brussels, Belgium (2009); International Contemporary Dance Conference and Performance Festival, Bytom, Poland (2008); Cornell University, Ithaca, NY (2008); Director of Education, Movement Research, New York, NY (1999-2004); Dancemakers in the Schools, New York, NY (1996-2001); Bennington College, Bennington, Vermont (1998); Coalition for Hispanic Family Services Summer Program, Brooklyn, NY (1998); Urban Horizons Summer Arts Program, Bronx, NY (1997); New England Citybridge/Concord Academy, Concord, MA (1994); and Project Harvest Summer Program, Eatonton, GA (1991). During the fall of 2011, he will be a guest teacher in the dance department at Colorado College.
During the fall of 2009, he premiered the first work in a new series entitled Twenty Looks or Paris is Burning at The Judson Church at The New Museum, co-presented by Danspace Project and Crossing the Line Festival. This work, Twenty Looks or Paris is Burning at The Judson Church (S), has also been shown in international festivals and at The Institute of Contemporary Arts Boston in partnership with Summer Stages Dance/Concord Academy. It was also chosen by Time Out New York Magazine as one of the best dances of 2009. Most recently, he premiered Twenty Looks or Paris is Burning at The Judson Church (M) aka (M)imosa, also supported by a FUSED grant, and Twenty Looks…(XS) at The Kitchen in February 2011.
Besides the New Museum, where he was the first performing artist to have a work invited back for an encore performance-run, he has also shown work in visual art contexts such as The Margulies Art Warehouse (Miami), The Newhouse Center for Contemporary Art (Staten Island, NY), The Bronx Museum of the Arts, and Art Basel-Miami Beach where he collaborated with visual artist assume vivid astro focus. His ongoing performance projects, Tickle the Sleeping Giant and The Ambien Piece, both permanent works-in-progress, have been shown in galleries in New York and Berlin. Currently, he is busy at work on a new performance work in collaboration with visual artist Sarah Sze that will premiere at ICA Boston in November 2011 and Twenty Looks or Paris is Burning at The Judson Church (L) to premiere at New York Live Arts (formerly Dance Theater Workshop) in April 2012.
ERIK FLATMO (set designer) is a San-Francisco based set designer. He is a lecturer in the theater department at Stanford University. Erik has worked on four productions with Trajal Harrell: Notes on Less Than Zero, Before Intermission, Quartet for the End of Time. Besides working in dance and theater, Erik also has designed projects for San Francisco Opera.
ROB FORDEYN (dancer) has danced at Lyon Opera Ballet, Royal Ballet of Flanders, as well as for choreographers and theater makers William Forsythe, Alain Buffard, Christian Rizzo, Jean Luc Ducourt, Claudia Castalucci/Society Rafaello Sanzio, Andros Zins Browne, Sidi Larbi Cherkaoui.
THIBAULT LAC (dancer) studied architecture at Ecole Nationale Supérieure d'Architecture et de Paysage de Bordeaux before completing the Performing Arts Research and Training Studios program in Brussels from 2006 to 2010. Alongside his studies, he performed with the professional cast of The Show Must Go On by Jérôme Bel in 2009, and assisted Tino Sehgal on preparations for his 2010 exhibit at the Guggenheim Museum in New York. Next to performing Little Perceptions by Noé Soulier, A Dance for the Newest Age by Eleanor Bauer and Zombie Aporia by Daniel Linehan, he is now joining Ariane Loze and Elisa Yvelin's Vantage Point, as well as taking part in Trajal Harrell's new piece : 20 Looks or Paris is Burning at the Judson Church (L).
JAN MAERTENS (lighting designer) works predominantly as a lighting designer within the international contemporary dance and performance field. He recently created designs for Meg Stuart -“Do Animals Cry”, “BLESSED”, “MAYBE FOREVER”; for Arco Renz - “1001”, I!2”, “Bullitt”, “heroïne” and for Claire Croizé -"Affected", “the Farewell”, all of them well received with international recognition and still on tour in Europe and abroad.
He has also created light designs for theatres and operahouses, including work for Peter Verhelst / NTG (Ghent) – “Headbanger’s Wall” and Piet Arfeuille / Het Paleis (Antwerp) - “De Storm” as well as for Festival d'Art Lyrique (Aix-en-provence) - "Les Madrigaux" and De Munt/La Monnaie (Brussels) - "Soirée Poulenc". Other than designs for formally staged performances, there have also been collaborations on site specific projects, such as recently “The Loop” and “THINGS”, both theatrical events for genuine locations by Anat Stainberg; “Fault Lines”, a performative installation project by Meg Stuart, Philipp Gemacher and Vladimir Miller and “ALL TOGETHER NOW”, a participative performance by Meg Stuart for the Helmut List Halle in Graz .
A full scenographic approach and integrating new media digital tools within traditional light design concepts are strong points of interest and also form the basis for an engagement in a.pass - advanced performance and scenography studies- an Antwerp based post graduate research environment.
GERARD MAYEN (dramaturg) is a journalist and dance critic. He contributes regularly to journals and magazines such as Danser, Mouvement, Quant à la Danse, Pref, and Mouvement.net. He wrote the accompanying text or discussion, platelets, for many choreographic structures or venues such as: Théâtre de la Ville (Paris), Pompidou Center (Paris), Centre National de la Danse, Arcadi, National Choreographic Centres of Rennes, Montpellier, Angers, and Belfort, Lyon Biennale, Festival Montpellier Danse, Danse Uzes, etc. He is currently in a part of the organizing leadership for the 30th anniversary of the CNDC in Angers and is preparing a book on this subject. He designed and moderated the conference that AIDS had to dance, what dance has AIDS, at the Festival Montpellier Danse 07. He holds a masters of dance from the department at the University Paris 8. He devoted himself particularly to the analysis of performance. He has published two books in this framework: From march dance in the piece Déroutes by Mathilde Monnier (L'Harmattan, Paris, 2005), and contemporary dancers from Burkina Faso (L'Harmattan, Paris, 2006). He is a practitioner of the Feldenkrais method of awareness through movement. It integrates practical activities mediate the development of dance culture, offering the audience to dance an articulate reflection on the learning practice of perceptual awareness. In this context he regularly leads workshops taken at the request of a large number of French national theaters, SCC, and festivals.
ROBIN MEIER (sound designer) is a Swiss artist and composer living in France. His interests lie in the emergence of natural and artificial intelligence and the role of humans in a world of machines. Meier tries to make sense of these questions through musical compositions and installations. Referred to as “Artist of the future” (le Monde), “Vuvuzela of contemporary art” (Liberation) or “pathetic” (Vimeo) his works are shown around the globe, most recently at the Palais de Tokyo and the Museum of Modern Art in Paris, SIGGRAPH in Yokohama, Japan and the Auditorio Nacional de Musica in Madrid.
STEPHEN THOMPSON (dancer) is an internationally recognized dancer, choreographer, and pedagogue originally from Calgary, Alberta. His introduction to movement and performing was through competitive figure skater where he also competed at the 1998 Canadian Olympic Trails where he received a “Golden Blades” award for outstanding choreography and performance. He received a Bachelor of Kinesiology (art and science of movement) minor in Contemporary Dance from the University of Calgary.
Stephen has worked as an interpreter, collaborator and co-choreographer with numerous companies and artists across Canada and Europe including Decidedly Jazz Danceworks, Nicole Mion, Foundation Jean- Pierre Perrault, Le Groupe de la Place Royale, Production LAPS (Martin Bélanger), Par B.L.eux (Benoit Lachambre), Lee Su-Feh, DANS.KIAS (Austria), Fabrice Lambert (France), Fabrice Ramalingom (France), Dick Wong (Hong Kong) and Antonija Livingstone and Jennifer Lacey in Impulstanz festival Vienna (2009). He recently collaborated as performer, assistant dramaturge and rehearsal director in Benoit Lachambre’s O OUI, is participating in Un Gout Exquis, an inquiry into queer esthetics for the 2013 Montpellier Festival Danse with Fabrice Ramalingom and Antoine Pickles, is performing in Trajal Harell’s (New York) Large version of Twenty Looks or Paris is burning at the Judson Church as well as with Fabrice Lambert in Solaire presented by Theatre Des Abbesse in 2012. He is collaborating within the visual arts context with various artists including Xavier Veilhan and Laurent Goldring.
Stephen has signed several choreographies including works for Decidedly Jazz Danceworks, Calgary Cares, Alberta Dance Explosions, Montreal’s Pixel Projects and Fluid Festival Calgary. He has received grants from the Canada Council, for research (06) to informally present _________ + NOW and a little bit before and for the production of *You aRe HERE performed in France, Montreal and Calgary. He recently performed in Hasselt, Belgium within Kendell Geers No Government No Cry exhibition at the CIAP Actule Kunst Gallery.
He frequently teaches workshops and classes in Canadian (Calgary’s Community Collective, Montreal’s Regroupement de la Danse, Toronto’s Love-in) and European (Tanz Quartier(Vienna) French companies) schools, communities and Universities (Concordia, U of A and U of C).
ONDREJ VIDLAR, born in the Czech Republic, has trained in latin, modern and contemporary dance. After working as a performer in dance theater-Studio Tanca, in Slovakia, he studied at Performing Arts Research & Training Studios (P.A.R.T.S.) in Brussels, graduating in 2008.
Vidlar is currently active as a freelance dancer, performer, assistant, collaborator and dramaturg on projects in Moscow, Hamburg, Vienna, New York and Brussels. He is a member of Monkey Production with Olga Dukhovnnaya (Moscow). He works for company As Palavras, founded by choreographer Claudio Bernardo and he also works in close collaboration with choreographers such as: Trajal Harrell, Milka Djordjevich, Robin Jonsson, Doris Stelzer, Moriah Evans and Will Rawls.
Twenty Looks or Paris is Burning at The Judson Church (L)
Choreographer: Trajal Harrell
Dancers: Trajal Harrell, Stephen Thompson, Thibault Lac, Rob Fordeyn, Ondrej Vidlar
Set Designer: Erik Flatmo
Lighting Designer: Jan Maertens
Sound Designer: Robin Meier
Dramaturg: Gérard Mayen
Co-Production: New York Live Arts, CNDC Angers, and CCN Belfort,
Residency Support: WpZimmer- Antwerp, Workspace Brussels, Pact Zollverein - Essen, New York Live Arts, Dansen Hus- Stockholm, and others tba
http://betatrajal.org
