Mette Ingvartsen
to come (extended)
octoberoct 5 – 8
© to come (extended) © Jens Sethzman ©
© to come (extended) © Jens Sethzman ©
© to come (extended) © Jens Sethzman ©
Concept and choreography, Mette Ingvartsen
Performers, Johanna Chemnitz, Katharina Dreyer, Bruno Freire, Bambam Frost, Ghyslaine Gau, Elias Girod, Gemma Higginbotham, Dolores Hulan, Jacob Ingram-Dodd , Anni Koskinen, Olivier Muller, Calixto Neto, Danny Neyman, Norbert Pape, and Hagar Tenenbaum
Replacements, Alberto Franceschini, Manon Santkin
Lighting, Jens Sethzman
Musical arrangements, Peter Lenaerts, with music by Benny Goodman
Stage design, Mette Ingvartsen & Jenz Sethzman
Costumes, Emma Zune
Dramaturgy, Tom Engels
Lindihop teachers, Jill De Muelenaere & Clinton Stringer
Technical direction, Emanuelle Petit
Sound, Adrien Gentizon
Production assistants, Elisabeth Hirner & Manon Haase
Company manager, Kerstin Schroth
Produced by Mette Ingvartsen / Great Investment
Coproduction Volksbühne (Berlin) ; Steirischer herbst Festival (Graz) ; Kunstencentrum BUDA (Kortrijk) ; Dansehallerne (Copenhague) ; CCN2 – Centre chorégraphique national de Grenoble ; Dansens Hus (Oslo) ; SPRING Performing Arts Festival (Utrecht) ; Le phénix, scène nationale de Valenciennes ; Les Spectacles vivants – Centre Pompidou (Paris) ; and Festival d’Automne à Paris In association with Les Spectacles vivants – Centre Pompidou (Paris) ; and Festival d’Automne à Paris
With support from The Flemish Authorities & The Danish Arts Council
First performed on 22 September 2017 at Steirischer herbst Festival (Graz)
After 69 positions and 7 pleasures, pieces dedicated to representations and discourse about sexuality, Mette Ingvartsen returns with one of her former works, to come (2005). In this extended version, she will be updating its unsettling representations of pleasure and desire.
Twelve years have gone by since to come, and its “extended” version this year. During this time, the hyper-sexualization of reality has continued to take hold, notably through the internet. In this retroactive re-reading of the original, Mette Ingvatsen has increased both the number of performers and its sensitivity horizon. What place should we give to these highly sexualized images that unceasingly embed themselves in the circuits of our imagination and physical selves? By means of bodies moving around a stage, how can we embody the questions posed by this uninterrupted flow of bare flesh and genitalia? How does it format our modes of sexual pleasure? How can we make its onstage representation the place of a reflection on an economic order founded on sexual pleasure and also, simultaneously, that of a process of subjective re-appropriation? “To come”, with its double meaning of “to ejaculate”, is likened to a continually arising moment. Hovering on the brink of this threshold, this climatic instant that begins over and over again, the piece uses the modes of indistinction and porosity. By making the contours of the bodies disappear, mixing their surfaces, Mette Ingvartsen shapes them into organic and orgasmic masses. They continually speed up and slow down, thereby conveying the throb of our intimate desires: a diffracted form of ecstasy from which emerge ambiguous states of excitement and pleasure.
In the same place