The first time Krisztina de Châtel was confronted with the phenomenon of skating, she was on her daily cycle through the Amsterdam Vondelpark on her way to the studio. The way the skaters moved inspired her to make this production.

Where she compared the dynamics of dancers and those of American football players and computer graphics in previous productions, she now examines the dynamics of dancers and skaters.

Krisztina de Châtel on skating: ‘Every day, while riding my bike, I’m overtaken by them. Damn! But it is lovely to see their small group passing me smoothly. Those movements, those three-dimensional patterns, that speed! I immediately envisaged it. The skaters’ elbows moving back and forth and the dancers’ arms rotating. The incredible speed of skating contrasting with the human pace of dance. But no freaking and stunts, because that is not what I like.’

Inspired by her fascination for three-dimensional patterns, Krisztina de Châtel chose two revolving projection screens. The screens with the projected images of real-time computer graphics create, both physically and virtually, a changing room. They formulate challenges and limitations within the choreography.

It is an intriguing, very cleverly choreographed game where as an additional variety two independently revolving projection screens roam the area and transect the group formations in an unpredictable manner. (NRC Handelsblad)

De Châtel always goes past the obvious. She dissects her material meticulously and creates a new construction with the characteristics thereof. An intriguing, poetic rather than spectacular performance. (de Volkskrant)

premiere 8 December 2000, Theater aan het Spui, The Hague
concept Krisztina de Châtel, Han van Poucke
choreography Krisztina de Châtel
dance Isabel Ariel, Eva-Maria Christ, Nicolas Legrand, Benjamin Petitjean, Suzan Tunca
skaters Marco Gerris, Chris Knibbe
art direction Geert Mul
computer graphics Daniel Dekkers
music Dirk Haubrich
light Mike van de Lagemaat
costumes Emmy Schouten
photography Deen van Meer