Three ballets, three perspectives

In Monument for a Dead Boy (1965), Rudi van Dantzig sketches the inner struggle of a boy grappling with his homosexuality, just as Van Dantzig had in his youth. The work, composed of nightmarish scenes, was so groundbreaking at the time that it caught the attention of ballet legend Rudolf Nureyev . His performance of the role of the "dead boy" led to the international breakthrough of both Van Dantzig and the Dutch National Ballet. 

Zest for life and emotion  

In 1986, Toer van Schayk drew inspiration from Beethoven's Seventh for his 7th Symphony , creating a ballet full of zest for life, dynamism, and vitality. In some sections, the twenty dancers swirl across the stage to rhythmically driving music, while in the second, more contemplative section, Van Schayk paints an emotional portrait of two men who are ultimately unable to reach each other. His critically acclaimed 7th Symphony won the VSCD Choreography Prize.  

Contemporary view on gender identity  

Alongside both masterpieces, we present the world premiere of IN FLUX by Juanjo Arqués , set to new music by composer (and Project Rembrandt winner) Thomas van Dun . As part of a new generation of dance makers, Arqués approaches gender identity with a contemporary, open perspective. He believes we still cling too closely to binary notions of gender and identity. Using an abstract, poetic dance language, he advocates in IN FLUX for greater recognition of "fluid" identities, so that everyone can feel seen and valued. 

Photo: Hugo Thomassen