Performance during the Le MOI de la danse.
A piece for eight dancers, How to Proceed is based on Thomas Hauert himself and brings together Fabian Barba, Liz Kinoshita, Sarah Ludi, Albert Quesada, Gabriel Schenker, Samantha VanWissen and Mat Voorter, whose faces and bodies are familiar to those who follow the work of the great Belgian and international companies. It starts with the haunting anxiety of the world as it is: uncontrollable, unhinged. Backed up by a vehement desire for harmony – destined to slip up and run into one obstacle after another. It all starts with stripes on a black background, the very large stage hung with uneven strips of cloth. They will be the piece’s gimmick: heaped on the bodies, wound into skeins, barring the way as they softly twist and turn.
Conception and direction : Thomas Hauert
Created and interpreted by : Fabian Barba, Thomas Hauert, Liz Kinoshita, Sarah Ludi, Albert Quesada, Gabriel Schenker, Samantha Van Wissen, Mat Voorter
Music : Mauro Lanza (Commande Ircam-Centre Pomidou), Mina / Beatles, J.S. Bach
Sound : Bart Celis
Dramaturgical Collaboration : François Gremaud
Scenography : Chevalier-Masson, Bert Van Dijck, ZOO
Costums : Chevalier-Masson
Costums production : Isabelle Airaud
Lighting : Bert Van Dijck
Production ZOO : Thomas Hauert, DC & J Création
Coproduction : Théâtre de Liège (BE) / Charleroi danse – Centre Chorégraphique de la Fédération Wallonie-Bruxelles (BE) / Ircam – Centre Pompidou – Institut de Recherche et de Coordination Acoustique / Musique (FR) / Les Spectacles vivants – Centre Pompidou (FR) / Les Susbistances – Laboratoire International de Création Artistique
Avec le soutien de la Fédération Wallonie-Bruxelles – Service de la danse / Fondation suisse pour les arts / Ein Kulturengagement des Loteries – Fonds des Kantons Soleure / Wallonie-Bruxelles International / GC De Kriekelaar et l’abri fiscal du gouvernement fédéral belge gouvernement
Studio Charleroi danse, La Raffinerie (BE) / Grand Studio (BE) / GC De Kriekelaar (BE)
Avec le soutien de l’Onda – Office national de diffusion artistique.
After a career as a dancer with e.a. Anne Teresa De Keersmaeker, David Zambrano and Pierre Droulers, Swiss dancer Thomas Hauert founded his own company, ZOO, in Brussels. In 1998, he initiated Cows in Space, a piece for five dancers that immediately won the Rencontres de Seine-Saint-Denis. Since then he has created some fifteen shows with ZOO, including Jetzt (2000), Verosimile (2002), Modify (2004; 2005 Swiss Dance Prize), Walking Oscar (2006), Accords (2008), You’ve Changed (2010), From B to B (with Àngels Margarit, 2011), Like Me More Like Me (with Scott Heron, 2011), the piece for young audiences, Danse étoffée sur musique déguisée (2012), Mono (2013), Le Solo (sweet) (bitter) in 2015, Inaudible (2016) and How to Proceed, his latest group creation for 8 dancers (2018). In 2010, Thierry De Mey also directed the film La Valse, co-produced by the Arte channel, based on the final part of Zoo’s Accords. While working for ZOO, Thomas Hauert also created Hà Mais (2002) in Mozambique, as well as several pieces for the students at P.A.R.T.S and Laban School in London. His show for the Zurich Ballet, Il Giornale della necropoli, premiered in fall 2010. Pond Skaters, commissioned for the Canadian company Toronto Dance Theatre, premiered in 2013. In 2014 he created Notturnino for Candoco, an English company of disabled and non-disabled dancers. Performed in 29 countries on more than 200 different stages, ZOO’s work develops from research on movement, with particular emphasis on writing based on improvisation and exploring the tension between freedom and constraint, individual and group, order and disorder, shape and shapelessness. Regularly invited to participate in improvisation events, Thomas is also deeply interested in the relationship between dance and music. He teaches frequently at P.A.R.T.S. and held the Valeska-Gert Visiting Professor Chair at Freie Universität Berlin in winter 2012-13. In 2012 Thomas Hauert was invited to participate in the “Motion Bank” project, initiated by the Forsythe Company to stimulate research on choreographic practice and thought. Since 2013 he has been the academic head of the high school program in dance at the Haute École de Théâtre La Manufacture in Lausanne.