It is about isolation, an unfulfilled longing for warmth and the inability to love. According to the press it is a choreography full of emotions and dramatic tension. Instead of minimal music, De Châtel chose music by the German pop and punk singer Nina Hagen.

First the public is confronted with itself through a giant screen of reflecting foil that is placed on the stage. Then halfway through the piece the foil is melted down with glowing stakes, so that it is torn apart to form a glistening, stringy structure (…). This looks wonderful (…). It is surprising that de Châtel uses the spoken word. This is unprecedented (…). The sentences are – intentionally – incomprehensible but the effect is strong, as though we are dealing with someone who is so lonely that she talks to herself (…) later a glowing stove becomes the symbol of the passion that smoulders under the surface.’ (de Volkskrant)

In her latest choreography Dualis Krisztina de Châtel and her seven dancers manage to evolve in one hour from total silence and immobility to ultimate ecstasy. (De Telegraaf)

Dualis forms a turning point. It has a dramatic angle with an autobiographical core. (Het Parool)

premiere 24 March 1989, Theater Bellevue, Amsterdam
choreography Krisztina de Châtel
dance Janine Dijkmeijer, Juliette van Ingen, Peter van de Logt, Oerm Matern, Karin Post, Dries van der Post
stagedesign Niek Kortekaas
light Henk van der Geest
music Nina Hagen – Naturträne
costumes Bob Verhelst
photography Jannes Linders