Archives for category: dramaturgy

 Photo: Vincent Wijlhuizen

As  an independent dance dramaturge, text writer and international project developer I’m a forceful and committed ally in the realisation of artistic projects. Together with Vincent Wijlhuizen and Ieme Soes I’ve initiated What You See Festival, I’m artistic associate of Bitter Sweet Dance and advisor of the Dutch Performing Arts Fund. I reflect on the activities of the European Dancehouse Network and am part of Springback Magazine and am experienced in artistic work, dance dramaturgy, moderation, producing, budgeting, writing, project development and management.

My interests are broad, but I have a soft spot for the representation of gender, age and cultural diversity, cultural structures that influence our thinking and tools that stretch the conventions of what is considered normal. I’m always interested in new collaborations so contact me via


 Photo: Yuri Huijg / Soopknife

The second edition of What You See Festival took place from November 22 – 24 in the city of Utrecht. Initiated by Vincent Wijlhuizen, Ieme Soes and myself, this multidisciplinary and international festival presented a brand new program fueled with urgency and joy. Through dance, theatre, film, exhibitions, music and more, the festival questions and stretches deep ingrained norms on gender and identity.

“Still humble in means, yet rich and ambitious in its programming, this festival is diverse in its core – the main focus lying on the topics of (gender and sexual) identities – but also diverse in poetic approaches to the themes at hand.” – Jordi Theunissen,

Next festival is November 19 – 22 in Utrecht, NL
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Passible means being capable of feeling or suffering, being susceptible to sensation or emotion.

Together with 16 young talents from the third year of the Modern Dance Education at the Theater School in Utrecht, choreographer Liat Waysbort and I continued working on group dynamics, compositional ideas and dramaturgical lines related to a large body of dancers.
With the dancers, the domains of feelings and emotions as an active activity was explored. In the journey of creation, we looked at various ways to provoke material and bodily expressions through the filters of emotional tension, exploring how those result in movement and motion of the individual and of the group. 

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@Soopknife / Yuri Huijg


From the 23rd till the 25th of November the very first edition of the international What You See Festival took place in Utrecht. Initiated by Vincent Wijlhuizen, Ieme Soes and myself, the festival questioned and stretched deep ingrained norms on gender and identity in a challenging program fueled with urgency and joy. The different theatre and dance performances, the film program, the exhibitions and a symposium offered new perspectives on gender which resulted in in-depth conversations and new connections between various people. The sold out performances, committed audiences, open and generous atmosphere,  curiosity and beautiful encounters underlined the necessity of and the need for this festival. On November  22-24 2019 the second edition will take place.

The dancers are overwhelmed by disaster, but they don’t go down without a fight. Instead, they radically embrace every option and opportunity to influence their ending. Powerful and explosive, vulnerable and bounded, they draw us into their struggle, mortal fear, resignation and solidarity. During this bittersweet performance – alongside the inevitable crack of human lives – hope and comradeship emerge.

Liat Waysbort saw Ohad Naharin’s ‘The Sinking of the Titanic’ as a teenager, and was deeply moved by the oppressive power of the work. The production was inspired by the unshakeable orchestra that played on while the iconic ship went down. The impact of the strong images, set against Gavin Bryars’ all-embracing soundtrack evoked a whole array of emotions.

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A reflection on my experiences at Spring Forward Festival 2017

‘It don’t matter if you’re black or white’ was the ideological soundtrack of my youth. Somewhere along the line, while imitating Michael Jackson moves, we somehow forgot that what he was singing about was an ideal and not yet a reality. I, and many others, grew up with the illusion that we don’t see skin colour, and that it really doesn’t matter if you’re black or white. But it does matter and, by ignoring that, we are at risk over overlooking systematic iniquities in our society. As Anousha Nzume’s writes in her recently-published and very accessible book Hallo witte mensen (Hello white people), ‘if you claim you don’t see colour, you will also not see power structures created on the base of colour.’[1] In order to unravel power structures we have to talk about skin colour, including within the dance field. So here we go.

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True Colors / Backbone Connects
‘Look at me. Admire and envy me. In True Colors, choreographer Alida Dors goes in search of the real person behind our online identities. Nothing is what it seems. Her characteristic, innovative hip-hop vocabulary, stripped of show and bravado, unpicks the stories behind social media images. We see what normally is hidden.’

making of

Premiere: 28th of January 2017, Theater Bellevue Amsterdam

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The diptych Please me Please of Bitter Sweet Dance is going to be shown on traveling festival De Parade in Amsterdam as well as in Utrecht.

Utrecht: 3 – 6 August
Amterdam: 12 – 15 August

More info on: 


See here the trailer of Please me Please – the Solo. Wanna see the Duet at well? Go and check it here: Please me Please – The Duet / Liat Waysbort



choreography: Liat Waysbort
dancers: Ivan Ugrin, Amy Gale and Angela Linssen
dramaturgy: Annette van Zwoll
producer: BitterSweet Dance
co-producer: Dansmakers Amsterdam
production manager: Jannita Jáuregui

Although shown through the lens of male intimacy, the feeling Vassiliou and the performers tries to channel is something that is beyond sexuality or gender: the beatitude of total absorption in another being.’
Rachel Donnelly / blog Dublin Dance Festival

Alexis Vassiliou – a series of three
In 2013, choreographer Alexis Vassiliou started his research on the connection between physical sensations and the emotional en relational consequences of that. In every performance he took one clear physical action, turned that upside down and inside out, and used it to evoke a range of associations and emotions, for the performers as well as for spectators. The diffused intimacy and playfulness that arose between the male performers became tangible for the audience.

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