V.-Nightmares / Fluid Mechanics


Inspired by Vivaldi’s Four Seasons, Thierry Smits devotes 2007 to the making of a series of four creations that will finally form a near three-hour epic. The seasons are not considered in a descriptive manner, but rather in their relation to the different states of the body, as opposed to the delicateness generally associated with the Four Seasons.

Fluid Mechanics is the first part of this quadriptych. Here, Thierry Smits studies the theme of spring through body fluids, sexual desire and games of seduction. He directs his work within two axis: one ‘kitsch’; the other more formal, both linked by an English text (by Peter Verhelst), either spoken live or recorded, Sexuality reveals itself through a “pop” aesthetics and the omnipresent nudity changes according to the rhythm of multiple colours. This lost paradise that the choreographer unveils to us, sometimes like a contemporary peepshow, develops itself around a light corporality before closing with a much more violent and explosive vision of the body. In a liberating chaos of plastics, feathers and various liquids, this piece thus announces the summer.



Of the four parts, Fluid Mechanics is doubtless the most emblematic of the camp aesthetics…that Compagnie Thor sometimes cultivates…The dancing, which at times is seminal, often espouses the acting.  The introduction may shock the more timorous, but that is also how everything begins in life. V-Nightmares continues the course under the searing, pure burning of TAN – passionate, devouring, pyrotechnic summer.  Then comes the autumn of Moss & Mould, with its words, hurts, and stratified deliquescence; still lifes, mists, cracklings, reddenings, and smells that appear almost to spring out of a magnificent pictorial universe.  Life advances, the return to the soil has begun.  When the winter of ICE comes…death, in black and white, has gained ground.  Its fascinating shadows and implacable snow blanket everything in silence. Climaxes and pains, births and disappearances:  The ambitious and ambiguous substance of these troubling nightmares is haunted by time, which binds and unbinds, passes and suspends.

La Libre Belgique, Marie Baudet, 9/11/07

The Belgian choreographer Thierry Smits concludes his highly carnal and murky reading of Vivaldi’s Four Seasons, a score in which the violins’ scrolls are judiciously pitted against Maxime Bodson’s inventive electronics. Under the title V.-Nightmares…, this quartet plunges you into a simultaneously mysterious and sensual/sexual world in four tableaux, a world in which the choreographer uses very performance-oriented accents with great precision.  The form will surprise more than one spectator, as the artist continues to defend his taste for ‘truly’ choreographic dance.  This makes the moments of ‘pure’ dance (for there are such moments) more gripping, if not magnetic.

Zone 02, O. Hespel, 31/10-13/11/07



Première 09/05/2007 CC Evergem Evergem
15/05/2007 Theater Het Vervolg/Derlontheater Maastricht (NL)
17/05/2007==>19/05/2007 Théâtre Varia Bruxelles
24/05/2007 De Velinx Tongeren
06/11/2007/21/11/2007 Kaaitheater Bruxelles
15/12/2007 De Velinx Tongeren
08/01/2008 Stadsschouwburg Groningen
17, 18/02/2008 Musiekteater Baltoppen Ballerup (DK)
22,23/02/2008 New Territories Glasgow (UK)
02,03/06/2008 International Dance Week Festival Zagreb (CRO)
09/12/2008=>13/12/2008 Théâtre Varia Bruxelles
23/01/2009 CC Berchem Antwerpen
31/01/2009 Les Ecuries Charleroi
07/03/2009 Kortrijkseschouwburg Kortrijk
27/05/2009 Arnhemseschouwburg Arnhem (NL)

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