Scala & Limited

Scala & Limited

Choreographer Krisztina de Châtel’s double bill Scala & Limited features five female dancers in Scala and a male solo in Limited. With this two choreographies, De Châtel seeks to express a feeling that is in her view becoming increasingly widespread these days.

“Movement doesn’t necessarily become richer when a person has more space. On the contrary, as the space becomes more limited, it becomes more intense.” (Krisztina de Châtel)

The restrictions of the past two years suddenly made people’s eternal struggle with their limitations – a recurring theme in Krisztina de Châtel’s choreographies – very timely and relevant. However, the events around the Covid-19 pandemic have also intensified a much greater social problem: the feeling of being existentially trapped – as a man or woman, as white or black, as a human being. It is surfacing everywhere as a result of global threats such as polarisation, terror and climate change and because of the lack of perspective and opportunities for physical and spiritual growth. People’s individual creative space appears to be shrinking in time and space.

De Châtel articulates this sense of imprisonment in the double bill Scala & Limited: in Scala, five women try to gain a foothold on a revolving spiral staircase; in Limited,a male dancer trapped in a glass cylinder explores his range of movement.

Krisztina de Châtel quotes on Scala & Limited:
“The plexiglass cylinder in Limited is close to the dancer’s skin. You can see the exceptional possibilities of the human body as it confronts this material. There is no way of escaping. The human body writhes and manoeuvres, grows fierce and explores the minimal space it still has.”

“In Scala the varying widths and heights of the steps and the movement of the stair form a great danger that the women try to confront together.”

It is typical De Châtel: assertive women, fully focused on performing minimalist patterns. It is also de Châtel today: inspired by spatial challenges, as well as social and geopolitical developments. (Francine van der Wiel, NRC about Scala)

It is amazing how de Châtel uses contrasts: man-machine, light-dark, sensitive-hard. The stair is like a war machine: once it has been activated, it cannot be stopped. (Sander Hiskemüller, Trouw about Scala)

choreography Krisztina de Châtel dance Marina Bilterijst, Patricia van Deutekom, Alice Gioria, Martina Orlandi, Federica Panariello intern Hannah Badura music J.S. Bach, Han Otten idea and concept staircase Krisztina de Châtel (2018) scenography Theun Mosk | Ruimtetijd realization staircase Marq Claessens en Florain Verheijen (2018) realisation stage design Merijn Versnel | Ruimtetijd lighting Bernie van Velzen costumes Min Li photography Dingena Mol With special thanks to the Dutch Dance Days for helping to make the stairs possible

choreography Krisztina de Châtel dance Ivan Montis stage design Peter Vermeulen lighting Bernie van Velzen photography Dingena Mol

Tour dates

October 2022
8 – Amsterdam, ITA
9 – Amsterdam, ITA
22 – Amsterdam, VU Griffioen
29 – Leeuwarden, Stadsschouwburg De Harmonie

November 2022
1 – Enschede, Wilminktheater
11 – Groningen, SPOT Groningen
12 – Den Haag, Het Nationale Theater | Theater a/h Spui
18 – Haarlem, De Schuur
19 – Haarlem, De Schuur

December 2022
1 – Alkmaar, TAQA Theater De Vest
9 – Wageningen, Theater Junushoff
11 – Utrecht, Stadsschouwburg Utrecht

dates are object to change