Hands do not touch your precious Me
DIRECTION AND CHOREOGRAPHY
CREATED WITH AND PERFORMED BY
Olivier de Sagazan, Lieve Meeussen, Wim Vandekeybus, Maria Kolegova, Mufutau Yusuf, Borna Babić, Maureen Bator, Davide Belotti, Pieter Desmet, Anna Karenina Lambrechts and Pjotr Nuyts
ARTISTIC CREATION WITH CLAY
Olivier de Sagazan
MUSIC COMPOSED AND PRODUCED BY
ADDITIONAL ORIGINAL MUSIC (RED DANCE)
ADDITIONAL ORIGINAL MUSIC
Jeroen Van Herzeele
Isabelle de Cannière
Cèline de Schepper
TECHNICAL COÖRDINATION AND STAGE MANAGEMENT
SOUND ENGINEER AND LIVE VIDEO OPERATOR
Wim Vandekeybus and Thomas Glorieux
KVS Brussel, Teatro Comunale di Ferrara
WITH THE SUPPORT OF
Tax Shelter measure of the Belgian Federal Government, Casa Kafka Pictures Tax Shelter empowered by Belfius. Ultima Vez is supported by the Flemish Community & the Flemish Community Commission of the Brussels Capital Region
A dialogue between the universes of Wim Vandekeybus, Olivier de Sagazan and Charo Calvo
With Hands do not touch your precious Me, Wim Vandekeybus creates a mythical tale of confrontation and transformation, light and darkness, death and rebirth. For this he collaborates with the composer Charo Calvo, eight dancers and – for the first time – with performer and visual artist Olivier de Sagazan. Together they create a world in which bodies balance like living, fleshly sculptures between the utopian and the gruesome, the powerful and the fragile.
The poetic, mysterious title is a verse taken from a hymn by the Sumerian High Priestess Enheduanna to the goddess Inanna. Of all the myths surrounding the goddess Inanna, her spectacular descent into the underworld is the most intriguing. Innana is the divine embodiment of the paradoxes of human existence, and her deeds are a reflection of the tensions and contradictions that every person is forced to navigate in life. Inscribed on clay tablets in cuneiform over 4,000 years ago, these are some of humankind’s most ancient stories.
Regardless of their different styles, the performances by both Wim Vandekeybus and Olivier de Sagazan balance on the line of what it means to be ‘body’ and ‘man’. Vandekeybus developed his movement language based on impulsive and instinctive reactions when confronted with situations of physical risk and danger. At the core of de Sagazan’s work is the transfiguration of the body and the face with clay and paint into a lump of anonymous flesh. Vandekeybus’ and de Sagazan’s exploration of human limits finds a musical echo in the material and physical texture of Charo Calvo’s electroacoustic music.