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The starting point of the Research cycle is the deepening of the skills and the knowledge of the student, and their application in creative contexts. The final goal is to reach a point where technical mastery coincides with a specific artistic personality and a particular movement or choreographic language.

The structure of the program is relatively open – the student constructs a personal trajectory through the courses offered by the school and periods of personal work. Students can also propose trajectories outside of the school. 

To a large extent, the program of the Research cycle is built from the artists who are invited to teach, and it can therefore change from generation to generation. Of course a number of principles are recurring, but often with a different approach and a variable weight within the totality of the program.

The total volume of studies is 1200 to 1300 hours per year.

 

DANCE TRAINING

The daily dance training is a fundamental feature of the education at PARTS. Dance technique refers to four different fields of study:

Contemporary dance: this is taught every day, with classes of 90’, 129’ or 180’. A teacher is giving class five days a week, in blocks of one to five weeks. Different teachers represent very different approaches, and throughout the trajectory of the technique classes, the focus varies from improvisation, movement scores, long phrases, performing skills to the development of personal vocabulary, partnering, bodywork… 

Teachers contemporary 2008-2010: Khosro Adibi, , Laura Aris, Iñaki Azpillaga, Lance Gries, Miguel Gutierrez ,Thomas Hauert, David Hernandez , Diane Madden  Jeremy Nelson, Chrysa Parkinson, Salva Sanchis, Katrina Warren,Gwen Welliver

Teachers contemporary 2010-2012: Khosro Adibi , Laura Aris, Florence Augendre, Shannon Cooney, Kathleen Fischer, Josef Frucek & Linda Kapetanea, Lance Gries, Matej Kejzar, Mia Lawrence, Jeremy Nelson, Rasmus Ölme, Chrysa Parkinson, Salva Sanchis, David Zambrano, Abby Yager

 

Ballet: the ballet classes continue the approach that has been built in the Training cycle, and focus on the refreshment, maintenance and deepening of these skills. The ballet classes are mostly optional, and are offered for 8 to 10 weeks per year, with classes of 90’ per day.

Teachers ballet 2008-2010: Elisabeth Farr, Norio Yoshida, Douglas Becker, Janet Panetta

Teachers ballet 2010-2012, Elisabeth Farr, Janet Panetta, Anne-Linn Akselsen

 

Independent technical work: in certain periods, student scan propose an independent technical trajectory, alone or in small groups. The time in the studio can be used for the processing or development of skills learnt in technique classes, for an independent training practice or for experimenting with ways to develop personal training methods and ways to transmit them to others.

ITW is an optional during a number of morining blocks. 

 

CREATIVE PRACTICES

Repertoire: the repertoire workshops focus on the recreation of an existing work, under the guidance of members of the original casts of the work. In this way a choreography is investigated and dissected from inside out. The results of these workshops are usually performed in public.

In the 4th year, the recreation of an evening-length work can be a graduation work, which takes three months of rehearsal. Here, the focus is even more on the construction of the experience of the performer through rehearsals and public performances.

Repertoire projects 2008-2010: Set and Reset by Trisha Brown, directed by Lance Gries, Katrina Warren and Abby Yager, Rain by Anne Teresa De Keermsaeker, directed by Cynthia Loemij and Ursula Robb, The show must go on by Jérôme Bel directed by Dina Ed Dik and Peter Vandenbempt, Drumming by Anne Teresa De Keersmaeker directed by Marta Coronado and Jakub Truszkowski

Repertoire projects  2010-2012: Set and Reset by Trisha Brown, directed by Kathleen Fischer and Abby Yager, Zeitung by Anne Teresa De Keersmaeker, directed by Mark Lorimer

 

Guest artists: PARTS invites artists to work with the students for longer or shorter periods. Different approaches are possible: the creation of a new work, experimenting with different approaches of composition, improvising together… Sometimes the students’ creations can be the starting point. 

Gues artists 2010-2012: Jonathan Burrows (composition), Xavier Le Roy & Bojana Cvejic (composition and contemporary music),Mia Lawrence (creation in situ), David Hernandez (creation), Kyle deCamp (workshop on large groups), Thomas Hauert (creation), Salva Sanchis (creation), John Jasperse (creation)

Guest artists 2010-2012: Etienne Guilloteau & Claire Croizé (creation), Lia Rodrigues (artistic exchange), Eleanor Bauer (creation), Tino Sehgal (artistic exhcnage), Davis Freeman (theater), Xavier Le Roy & Marten Spangberg (creation), Robert Steijn (artistic exchange), Julyen Hamilton (instant composition), Thomas Hauert (improvisation and composition), Jonathan Burrows (composition), Tiago Rodrigues (theater), David Zambrano (artistiec exchange)

 

Personal work: in the Research cycle there is ample place for the personal work of the students. During six blocks per year, students can take three to six weeks to develop their own projects. The projects are defined by the students: it can be research or creation, it can be a collective process  or led by someone who takes up the role of choreographer. The students receive studio time and a coach, who is appointed in dialogue between the school and the students. 

In the 4th year, the personal work is the core of the graduation work. There is a rehearsal period of twelve weeks, in order to give the projects all chances to develop according to a professional logic and working methods. The graduation works form the core of the programs which are presented to the general public during a six-week international Graduation Tour.

 

REFLECTION

The theory program consists of collective and optional courses. In general, theory takes the form of intensive seminars of one to four weeks, which start from a specific topics or text collection. It can be lectures, collective reading, project work or theory-studio-experiments. 

In the 4th year there is a course on ‘management’, which discusses the practical aspects of the professional career of dancers and choreographers.

Theory program 2008-2010: Rudi Laermans (political and social theory, performance studies), Aaron Schüster (philosophy, film and literature), Bojana Cvejic (performance studies), Matteo Fargion (art theory), Ludo Abicht (philosophy), Lieven De Cauter (philosophy and politics)

Theory program 2010-2012: Johan Thielemans (theater history), Herman Parret (philosophy), Ludi Abicht (philosophy), Nadia Fadil (sociology), Jeroen Laureyns (visual arts), Rudi Laermans (political and social theory), Bojana Cvejic (performance studies), Christophe Wavelet (performance art, performance analysis), Raimundas Malasauskas (visual arts), Tom Paulus (film)

 

PERFORMANCE

The confrontation with the audience is an essential element of the program. The students of the Research cycle have several opportunities to present their work (own creations and work made with teachers) to the audience. This takes place in PARTS itself during the half-yearly Student Performances, but equally in professional theatres in Belgium and abroad.

At the end of the 4th year there is a six-week Graduation Tour that visits professional theatres in Belgium and abroad, in which the graduation work and a selection of works created previously is shown. Often these presentations serve as a first step to get in touch with artists and organisers which is useful for the start of the students’ professional career.

2008-2010: performances in Brussels (BE), Ostend (BE), Utrecht (NL), Bruges (BE), Antwerp (BE), Graduation Tour in Brussels (BE), Frankfurt (DE), Leuven (BE), Istanboel (TR), Bruges (BE), Antwerp (BE), Lisbon (PT), Essen (DE), Amsterdam (NL), Ghent (BE), Ostend (BE), Kinshasa (DRC), Vienna (AT), Berlin (De) and Tallinn (ES)

2010-2012: performances in Brussels (BE), Venice (IT), Graduation Tour Belgium, Germany, Holland, Portugal, Turkey and others.

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