Escolar Documentos
Profissional Documentos
Cultura Documentos
#1)
General information
Name: David
Surname: Van Dijcke
Mailing address: Rue de la Caserne 1, 1000 Brussel
Phone number: +32494779905
Email: david.van.dijcke@gmail.com
Project title: Outwards (Exploration #1)
Duration: 25-30 minutes
Participants: on video: Jano Vulbeau, Zehra Proch; live: Eleonore Van Godtsenhoven
Biography
David Van Dijcke is a young performance artist, dancer and actor based in Brussels. Currently he
is finishing his Bachelors degree in Drama at the KASK School of Arts in Ghent, where he has
created two pieces so far, a solo work and a work for two dancers and a physical actor. Apart from
this he is also enrolled in a Training Cycle for contemporary dance in Dance center Jette, in
Brussels, where he has had the chance to work with teachers and groups such as David
Zambrano, Fighting Monkey, Peeping Tom, Iaki Azpillaga, among many others. The last two
summers he was also a participant at the P.A.R.T.S. summerschool.
As a performer, David has played with fABULEUS, a theatre and dance company with which he
toured through Belgium and the Netherlands; with cie Woest, a Dutch dance company; and in
Spheres, a piece by Simon Van Schuylenbergh and Siska Baeck, based on the work of Peter
Sloterdijk. He also played the main role in Its not about you anymore, a short movie by Louise De
Groef that played on festivals in countries such as Greece, Portugal, China, Germany among
others.
His interests lie with philosophy and literature and the space they occupy within Western tradition
and the concept of human consciousness developed therein. Less than thinking a distinction
between body-mind or theory-practice, David believes that these disciplines constitute within the
human a place that is beyond thinking, beyond consciousness, beyond the traditional concept of
liberalist humanism. Performance is in this perspective not a literary tradition, as it has been for
long in European theatre. It is exactly that activity that occupies the space literature and philosophy
constitute within the human subject, which is a space in which an image of the not-yet-human
arises, a transgressive space that allows us to think new futures for ourselves and confronts us
with a radical otherness - the real - not to be transcended.
Performance guide
There is a renewal, it will flourish, be reborn, but there is also a
cut, the broken stone on the threshold from where the backward
glance, the obsession with the traces, originates. Forwards there
is a promise that cannot be fulfilled, backwards there are only
your own traces. (Alain Badiou, The Century)
On a roof I saw large, sturdy hooks placed halfway up. Suppose
someone falls from a rooftop couldnt he maybe catch hold of
one of these hooks with an arm or a leg? If I fell from a rooftop, Id
plummet to the ground. But if a hook was there, Id come to a stop
halfway down!
Just a little later I might say to myself: Once an architect
planned this hook, and without it Id be dead. I should be dead,
but Im not at all - in fact, Im alive. A hook was put there.'
Lets say my presence, my life, are inescapable. Something
impossible and incomprehensible would still be its principle.
I understand now - picturing the moment of falling - that theres
nothing in this world unless it meets up with a hook.
Usually we avoid seeing a hook. We confer an aspect of
necessity on ourselves, on the universe, on the earth, on people.
With a hook arranging the universe, I plunged into an infinite
play of mirrors. This play had the same principle as a fall blocked
by a hook. Can anyone get more into the core of things? I shook. I
couldnt go on. Rapture within me, emotion welling up to the point
of tears, rituals of darkness that defy description, every orgy in
the world and all times blending inthis light. (Georges Bataille,
Chance)
Over the course of several
studios. I gave them specific
months, Eleonore and I have
scores, challenges, tasks and texts
received video recordings of 20
to work with, but in the end they
minutes sessions which Zehra
were as free as they managed to
Proch, a dance student at the
be, the only limitations being their
own bodies and thoughts, the
conservatory in Antwerp and Jano
room they worked in and the
Vulbeau, dance student at the
impossible question to try and
conservatory
of
Lille,
have
establish a connection through the
recorded alone in their schools
Technical requirements
-
Presentational preferences
- the piece is created with the intention of showing it as a continuous performance, by playing it
three times every two hours for example
Price
- price to be determined in mutual agreement
- expense reimbursement is minimal demand
Video links
https://vimeo.com/139134269#t=0s
https://vimeo.com/126501684