wry smile dry sob

WRY SMILE DRY SOB by Silvia Costa


conception and set Silvia Costa
music Nicola Ratti
costumes Laura Dondoli
collaboration for the set Maroussia Vaes
artistic collaboration Rosabel Huguet Duenas

with Gregoire Gros, Zoe Hutmacher, Fabienne Trussel
and Rosabel Huguet Duenas, Silvia Salzmann, Leonie Humitsch

a production of Landestheater Bregenz

” The scenic installation I am imagining is a distillate of the feeling and the sensation I always had reading the theater Beckett’s text Spiel. In particular this sentence is always touching me deeply
U: ….not merely all over, but as if… never been “
The circular situation Beckett has created, from which it looks like there’s no exit for the three characters, has inspired me the conception of a set, that as an island it will be occupying the centre of the space.
It is like a condensed house, a domestic situation that becomes too tight and concretely it will consists of a assemblage of furniture, wardrobes, chairs, dressers – the domestic image of a complex, obscure dimension in which the actors will dive into and which offers them no way of escape. They are close to each other and separated at the same time. Like in the Beckett text: they speak apart but during the chorus they overlap, they are together.
The dramaturgy of the duration of the installation will be developed in a musical and choreographic way. I have the will to transform into gestures and actions the memory of the text the audience will have listened right before. It is like to show the inside or the three characters, the part that is not shown. For that reason each characters will be complicated, amplified, and duplicated by additional presences: three danders will be stuck amidst the furniture, acting as a mass, emanating from the actors themselves.
These other bodies carry a sense of suffocation into the scene: they represent the impossibility to take the decision to get away. They are at once the black shadow of the characters, once the desires and pulsions, they are consuming the bodies of the character until when they will disappear, as if there no other solution. No leave traces, in fact, as if never been.”




photos by anja köhler | andereart.de


In between

In Between by Mikel Aristegui

In Between” is the first dance performance by Mikel Aristegui produced in Galicia. The creation process began last February through some meetings between the interpreters in Allariz – Ourense: Nuria Sotelo, Rosabel Huguet and Mikel Aristegui.

‘In Between’ is that space between gender canons, between the masculine and the feminine; the definition of the non-binary genre, the need to enter a fluid gender dynamic that protects the person as such, beyond the sex that one represent.

Premiere the 15th of November at the Auditorium of Ourense, Spain.


Direction & choreography: Mikel Aristegui

Performance: Rosabel Huguet Dueñas, Nuria Sotelo & Mikel Aristegui

Light design: Octavio Mas Ibañez

Music: Gabor Csongradi

Video: Camila Rapetti

Graphic design: Marta Romero

Production: Mikel Aristegui

In collaboration with: Galicia Contemporary Dance & Municipal Auditorium of Ourense

Show performed in a safe environment of respect for LGTBIQ collective

Photos by Rubén Vilanova


More info!


CORBEAUX by Bouchra Ouizguen in the frame of “Claiming Common Spaces” @ Berliner HAU

Glad to have the opportunity to perform in the Berlin version of this fantastic work!
The Moroccan choreographer Bouchra Ouizguen teamed up with Corbeaux, meaning raven or craw, and developed a performance specifically designed for public spaces. After having been performed in Marrakesh, New York, London, and Paris, the performance will be specifically adapted for Berlin. The project focuses on singing and choreography and will start out with a workshop for a group of Berlin-based women. Together, they will develop a living sculpture: wearing black robes and white headscarves, they will move through the city in silence, only in order to then disrupt the silence through jerky movements and screams. In continuous repetitions and modulations, they will traverse various trance-like collective movements and sound expressions that rise increasingly and ultimately culminate in a primal scream. Inspired by their liberated and wise image of the role of women and femininity’s societal meaning Ouizguen will draw from old Moroccan rituals in order to create an intimate experience. 
Photos by Dorothea Tuch 
El prometeo

El Prometeo at Opéra de Dijon

El Prometeo, by the Italian composer Antonio Draghi, has not been performed since 22 December 1669! Composed on a Spanish libretto based on the play by Calderón, it was performed only twice that same year, at the Imperial court of Vienna, for the birthday celebrations of Maria Anna of Austria, queen of Spain.

Today, only one manuscript of the score still exists. It is from this manuscript, in Vienna, that Leonardo García Alarcón, who has made a speciality of bringing to light forgotten masterpieces, has restored and updated this missing link in the history of Opera, between the Venetian lyric tradition and that which reigned in Vienna over the following centuries.

MUSIC Antonio Draghi / Leonardo García Alarcón

LIBRETTO Antonio Draghi, based on the play by Calderón


MUSICAL DIRECTOR Leonardo García Alarcón 

STAGING Laurent Delvert, according to working sketches from Gustavo Tambascio

STAGE SETS Ricardo Sánchez Cuerda
LIGHTING Felipe Ramos

CHOIR CONDUCTOR Thibaut Lenaerts



STAGE SETS ASSISTANT Juan José González Ferrero


PROMETEO Fabio Trümpy
PELEO Scott Conner
TETIS / LA ESTATUA Mariana Flores
NISEA Giuseppina Bridelli
SATYRO Borja Quiza
MERCURIO Zachary Wilder
MINERVA Ana Quintans
HERCULES Kamil Ben Hsain Lachiri
NEREO Victor Torrès
PANDORA Anna Reinhold
JUPITER Alejandro Meerapfel
ARACNE Lucía Martín Cartón

DANCERS Daniel Alarcon, Rosabel Huguet, Anna Romaní, Vladimir Hugot

Photo Credit: Gilles Abegg – Opera de Dijon






Hommage à Lorca | Opéra de Dijon

This concert is an homage to a poet who remains one of the most intimately anchored in the heart of the Spanish: Federico García Lorca. Around his poems and texts, the 12 Spanish songs that he composed for voice and piano, the evening will present all forms of artistic expression, from dance to painting, to celebrate the poetic and human commitment of the artist.

The Dijon Opera has called upon stage director & designer Damien Caille-Perret (Orphée & Eurydice 2017, The Ring in 2013 at the Dijon Opera) reader and long-time admirer of the poet, and Nicolas Chesneau (Curlew River in 2016) as musical director: emotion is on the programme. 

CREATION & STAGING Damien Caille-Perret

SOPRANO Natalia Labourdette
GUITARS Thomas Keck
ACTOR Vladislav Galard
DANCER Rosabel Huguet
LIVE PAINTER Gaël Davrinche

With the participation of the “Maîtrise de Dijon” choir members

More HERE!!

Democracy in America by Romeo Castellucci #1

“Democracy in America” at FIND Festival, Berliner Schaubühne

Democracy in America

by Romeo Castellucci (Cesena)
freely inspired by the book by Alexis de Tocqueville

Co-production during FIND 2017 | 8th & 9th of April 2017

»This performance is not political. This performance is not so much a reflection on politics, as – if anything – on its end. In 1835, for the fi rst time, a European turns his eyes away from Athens. Alexis de Tocqueville witnesses the birth of the United States of America at the time when a new Democracy was being created from the seeds of the principles of Puritanism and a true equality among individuals. This implies the decline of Tragedy, understood politically as an awareness and comprehension of being. The great artificial laboratory of the negligence of being – tragedy – has thus been dismissed, forever. The vital and antibiotic experiment inherent in Athenian democracy has been relegated to the archive, along with the attempt – for the brief duration of a performance at the Theatre of Dionysus – to situate oneself beyond the limits of democracy itself, so as to listen, time and time again, to the dysfunction of existence, the lament of the expiatory victim, whom no politics is able – even today – to save. No more sacrifi ce, but still no politics. No more Gods, but still no city of man. The Scapegoat has been driven out, the knife has fallen out of our hands, and the sky is empty, new, blue and cold. All that remains is the empty ceremony that celebrates the grandeur of this loss.« Romeo Castellucci

In »Democracy in America«, one of the fundamental texts underpinning the contemporary Western world’s political vision, Tocqueville described a new model of representative democracy, even while pointing out its dangers, such as the tyranny of the majority, a weakening of intellectual freedom when faced with populist rhetoric, and the ambiguous relation between collective interests and individual ambitions. Romeo Castellucci (born in Cesena in 1960) follows his example and positions himself in a time, which precedes politics.

Direction , Set Design, Lighting Design, Costume Design: Romeo Castellucci 
Texts: Claudia Castellucci / Romeo Castellucci
Music: Scott Gibbons
Maître Répétiteur: Evelin Facchini
Assistant Director: Maria Vittoria Bellingeri
Stage sculptures and mechanisms: Istvan Zimmermann und Giovanna Amoroso

With: Olivia Corsini, Giulia Perelli, Gloria Dorliguzzo, Evelin Facchini, Stefania Tansini, Sofia Danai Vorvila

Dancers: Virág Arany, Emmanuela Dolianiti, Michèle Even, Lisanne Goodhue, Claudia Greco, Rosabel Huguet, Raisa Kröger, Elia López, Tatiana Majia, Sofie Roels, Roberta Ruggerio, Elisabeth Ward

Choreography freely inspired by the folk traditions of Albania, Greece, Botswana, England, Hungary, Sardinia.

Executive production: Socìetas – Cesena A coproduction with: deSingel International Artcampus, Wiener Festwochen, Festival Printemps des Comédiens à Montpellier, National Taichung Theatre in Taichung (Taiwan), Holland Festival Amsterdam, Schaubühne Berlin, Festival d’Automne à Paris with MC93 Maison de la Culture de Seine-Saint-Denis à Bobigny, Le Manège – Scène nationale de Maubeuge, Teatro Arriaga Antzokia de Bilbao, São Luiz Teatro Municipal (Lisbon), Peak Performances Montclair State University (NJ-USA).
With the participation of: Théâtre de Vidy-Lausanne and Athens and Epidaurus Festival.

More info HERE

© Fotos: Gianmarco Bresadola

by Chan Sook Choi

‘NON論DA多{play} #9 A matter of time B‘

‘NON論DA多{play} #9 A matter of time B‘ is a lecture-performance and presents at NON Berlin as a prologue to the performance of Yin Yang Su Wha, which will take place in the opening ceremony of Asia Pacific Week 2017

Artist: Chan Sook Choi
Performer: Rosabel Huguet
Sound: Simon Goff
Photo Installation: Roger Rossell
Curator: Keumhwa Kim I Keum Art Projects

Making the incomprehensible comprehensible

In “A matter of time B”, digital and bodily language mesh to create a dialogue. The point of departure for the performative installation by Chan Sook Choi and Rosabel Huguet is Qi, which understands the origin of life through Chinese and Korean philosophy. Qi has forever existed in Daoism and is omnipresent, like fabric in uninterrupted movement and change, uniting life and death, order and chaos, the four seasons and the beginning and end of the universe.

In her video, the artist Chan Sook Choi uses the laws of modern physics to translate the invisible energy of Qi into 180,000 digital signs, which unfold in geometric patterns and computer-generated formations on the body of the performer, Rosabel Huguet. They then disappear in an instant, passing into a different structure and emerging in a new guise. The dancer’s body is the medium that records this uninterrupted transformation of energy and connects it to the metaphysical form of the pyramids.

“A matter of time B” is a Daoist reflection on the relationship of humans to their digitally networked environment. It exposes our Western mindset – which divides the world through language and logic, naming and explaining things –¬ to an interstitial space that exists above and beyond the dichotomy of inside and outside, of light and shadow. In consideration of the rapidly developing technologies for storing and sharing of data, Chan Sook Choi and Rosabel Huguet take poetic inspiration to pose pressing questions: How does digital technology influence human nature? Can the digital revolution be reconciled with human autonomy?


Chausseestr. 11 / Entrance Tiekstr. 10115 Berlin-Mitte

More info HERE!


Opera de Dijon

Orphée & Eurydice at Opéra de Dijon

Orphée & Eurydice

Gluck | Tragedy in three acts

With the Euridice of Caccini and Peri, and above all L’Orfeo of Monteverdi, the myth of Orpheus has presided over the birth of opera, which has continued to draw inspiration from the tale ever since. What more iconic symbol of the power of music and song than that of the poet’s voice opening the gates of hell itself?

“I’ve lost my Eurydice”… between amorous passion, courage and disobediance, Gluck’s Orphée & Eurydice revisits the myth. The young Maëlle Poésy, very much in the spotlight in recent years, here directs her first opera after several stage productions at the Théâtre Dijon Bourgogne and a show presented at the Festival d’Avignon during the summer of 2016.

LIBRETTO Pierre-Louis Moline

MUSIC Christoph Willibald Gluck




SCENOGRAPHY Damien Caille-Perret
CHOREOGRAPHY Mikel Aristegui
COSTUMES Camille Vallat
LIGHTING Joël Hourbeigt


ORPHÉE Anders J. Dahlin
EURYDICE Elodie Bonnard
AMOUR Sara Gouzy

DANCERS Rosabel Huguet, Théo-Mogan Gidon, Alice Kinh

WITH THE SPONSORSHIP of Cercle d’entreprises of Dijon opera


Photo Credit: Gilles Abegg – Opera de Dijon





The rejection of the strange brings it to our midst. The rejection is the ghosts we call and apparently cannot cast off. The nurture for the ghosts is the rejection. The nurture for the rejection is our fear of the strange. Overcoming not in sight….
But where is the fear of strangeness exactly coming from?
Johanna Roggan´s upcoming piece will be facing ´the strange´ as a daily phenomenon which is part of our individual surroundings – it irritates, attracts attention, amazes and always leaves a bit of uncertainty for each and every one.

Choreography: Johanna Roggan
Dance: Nastia Ivanova, Rosabel Huguet
Acting: Matthias Wagner
Music/ Sound: Simon Ralph Goff
Costumes: Julia Pommer
Dramaturgy: Célestine Hennermann
Production Management/ Choreographic Assistant: Josefine Wosahlo
Public Relations: Dana Bondartschuk
Financial Management: Judith Hellmann
Production Assistant: Heike Zadow
Documentation: Benjamin Schindler

Funded within the Doppelpass Fund of the Federal Cultural Foundation, by the Kulturstiftung des Freistaates Sachsen, the Landeshauptstadt Dresden – Amt für Kultur und Denkmalschutz and the Kulturstiftung Dresden der Dresdner Bank.

Residency schloss bröllin e.V. funded by the Ministerium für Bildung, Wissenschaft und Kultur des Landes Mecklenburg-Vorpommern and the Landkreis Vorpommern-Greifswald.

Source photo:
Franzmagazine: „Es kommt: DAS FREMDE – Ausgabe 2 des 39NULL-Magazins“ 21.02.2014


PREMIERE | November 25th at the Societaetstheater, Dresden

ABOUT The Guts Company, here!!!



Photos by Benjamin Schindler


by Guido Mencari

“Natura e origine della Mente” at FIND Festival, Berliner Schaubühne

Natura e origine della mente

Conception and Installation: Romeo Castellucci
Text: Claudia Castellucci

Guest performance during FIND Festival 2016 at the Berliner Schaubühne

Italian theatre-maker Romeo Castellucci, who has already worked with the Schaubühne ensemble several times, is presenting an installation with his Italian group Socìetas Raffaello Sanzio as part of FIND 2016. The work premiered very recently, in March 2016. A woman is hanging from a steel cable high above the ground. When we look more closely, we realise she is only holding on by her left forefinger. At any moment she could take a fatal tumble into the void. And yet the woman does not seem to be distressed or panicking. Instead, she appears to be fully in control of the situation and of her own fear – as if a fall were not imminent, as if she can float and at any moment powerfully launch herself upwards. A dog saunters through the crowd which is standing watching events from the ground below her. The animal roams aimlessly, freely and randomly through the scene, slipping through the legs of the spectators. And miaows. A dialogue arises between the cat-dog and the suspended woman. It turns out to be a conversation between a television camera and the light – and is about an increasingly clear realisation: they are all the product of the audience’s inner vision. The installation is based upon Ethics by Baruch de Spinoza (1632-1677), the second chapter of which, like Castellucci’s work, is entitled »Of the Nature and Origin of the Mind«. In it, the philosopher investigates the nature of higher thinking and the impact of the mind which forms reality for itself: whoever thinks is at one with reality.

Conception and Installation: Romeo Castellucci
Music: Scott Gibbons
Sculptures on stage: Istvan Zimmermann, Giovanna Amoroso
Technical management: Massimiliano Peyrone
Sound technician: Matteo Braglia
Production management: Benedetta Briglia
Organization and Communication: Valentina Bertolino, Gilda Biasini
Administration: Michela Medri, Elisa Bruno, Simona Barducci, Massimiliano Coli

With: Silvia Costa, a dog, the voice of Bernardo Bruno and Martina Borroni, Marcella Giesche, Rosabel Huguet, Pia Koch, Feline Lang, Christina Wintz (Extras)

Duration: ca. 45 minutes

Production: Socìetas Raffaello Sanzio in co-produktion with T2G-Théâtre de Gennevilliers, Théâtre de la Ville, Festival d’Automne à Paris and La Biennale di Venezia. Developed in Venice as part of La Biennale College-Teatro in August 2013.



Venice Biennale | Falk Richter | The Earth Shakes: DRESDEN

The Earth Shakes (La terra trema), the Neorealist masterpiece by Luchino Visconti, is the title chosen by Àlex Rigola (director of the Venice Biennale Teatro), which embodies the meaning of the 7 workshops conducted by Christiane Jatahy, Antonio Latella, Jan Lauwers, Fabrice Murgia, Milo Rau, Falk Richter, Agrupación Señor Serrano with the actors selected for the Biennale College. Each of the 7 directors must choose as the title and theme for their workshops one of the many geographical areas in crisis in our own time. The workshops will end on the last day of the Festival on August 9th, with the presentation to the public of a sequence of performances that will involve various locations in the city of Venice.

Our workshop presentation Falk Richter | The Earth Shakes: DRESDEN – IN SEARCH OF A EUROPEAN IDENTITY

Together with Berlin-based, Israeli choreographer Nir de Volff/Total Brutal & Schaubühne Berlin dramaturg Nils Haarmann

In today’s modern globalized world, conservative models of life, relationships, and identities are questioned and re-defined by the majority. Western societies seem to be giving up more and more of their traditional, normative ways of belonging, national and religious beliefs, ideologies, languages, cultures, gender and sexual identities. People are beginning to experiment more and more, and explore what a family in 2015 could look like, explore what heritage and home means when you live between different cultures, and explore how you define yourself as a man or a woman, while new reactionary and right-wing parties and their spokesmen and -women aggressively propagate a simple, hetero-normative, repressive, patriarchic white-dominated conservative society, which conflicts with the every day life experiences of most people in Western society in the year 2015. Dresden, capital of the German state of Saxony, the only Catholic capital in Prussia, baroque town, that was completely destroyed in WWII, reconstructed after the Reunification and today one of the most dynamic and international municipalities of the former GDR, yet haunted by a new rise of right-wing ideology, culminating in large demonstrations against the so-called “Islamization of the West” is an emblematic place in Germany for these new reactionary forces.

How do we define our identity and our values today outside these trembling concepts? Where could the search for a new, more complex, European identity begin?

The individual personal freedom of choosing where to best fit in is one of the promises of our new world. The struggle to find a base, a relationship, a family, or simply a place of belonging in all these different choices and possibilities is one of its challenges. At the same time, reductionist senses of belonging continue to be misused for political purposes, to discriminate, preach hatred, oppress minorities, or even to kill. All of the Western societies who, on the one hand, experience liberty, are seeing the rise of reactionary, extreme-right wing parties, institutions, and spokesmen and women, who are against the European Union, fight against sexual and cultural diversity. These groups want to go back to ideologies of nationalism, they try to re-install traditional religious values, and seek simplistic definitions of what a relationship, a family, and the power structure between men and women should look like, and how a man and a woman should act and behave. What is a “real” man? What is a “real” women? What is a “family”?

Where do I fit in? Where do I belong? Who do I refer to when I talk of “I”. Who am “I”? To whom, or to what does this “I” belong?

Sunday 9th Augut at 4:45 / 5:45 / 6:45 pm


Campo San Fantin, 1965, 30124 Venezia









For the fifth time, nine partners and twelve venues have teamed up to present this festival dedicated to dance in and from North Rhine-Westphalia in eight cities. The biennial platform tanz nrw is a coalition of dance producers from NRW interested in increasing both regional and international awareness of the NRW dance scene.

Artists from different generations – new faces and famous names alike – will present their latest choreographic projects here. This year’s tanz nrw programme puts 17 artistic positions up for discussion that signify various experiences and ways of thinking. They examine reality in its relationship to physicality, devote themselves to pressing issues or reflect upon the underlying paradigms of society and art production.

I have the pleasure to be performing with the Ben J. Riepe Kompanie on the following shows:

DER LETZTE SCHREI – 3. Edition (PACT Zollverein/ Essen)
DER LETZTE SCHREI – 4. Edition (Generatorenhalle/ Viersen)

WHITE VOID SERIES: Im Nebel – Ein Raum (Alte Feuerwache/ Kölln)



The expression “Der letzte Schrei” (“the Dernier Cri”) comes from the world of fashion – it is a reference to and a promise of a life full of glitz and glamour, a life in the moment. When taken literally, however, it means the opposite: the end. Death. The last cry to ring out before silence prevails. In theatre, the human body poses the centre of art and reality. It is used by dancers as a tool. In the fashion industry, it is celebrated. Stylised into an object of desire, it permeates our thoughts as a surface upon which we project all of our ideals and aspiration. We use it to create and revise identities. It rebels against our preconceptions. It is vulnerable. And finite.
As a sonorous, ornamental work of choreography, each edition of “Der letzte Schrei” plumbs the boundaries – beginning with the performance space – between the genres anew: Visual art with people, perhaps, or musical theatre with dancers? Or a comprehensive choreographic moment comprised of movement, bodies, objects and sound?

The Ben J. Riepe Kompanie will present the 3rd edition of the project as a stage version at PACT Zollverein.
In the city of Viersen, the venue Generatorenhalle, a multifunctional space whose exact purpose defies categorisation, will become a key protagonist in the formation of bodily object-based tableaus.

Ben J. Riepe studied dance and choreography at Essen’s Folkwang University. He has worked for the ensemble Neuer Tanz in Düsseldorf in addition to serving as a guest performer in Pina Bausch’s ensemble Tanztheater Wuppertal. The Ben J. Riepe Kompanie was founded in 2004. In its most recent works, the Düsseldorf-based choreographer has engaged in intense explorations of exhibition spaces that allow for different viewing and movement dynamics.

COMPOSITION / Timo Kreuser
COSTUME / Anna Kleihues
OBJECTS / Mithu Sen
PERFORMERS / Lenah Flaig, Simon Hartmann, Jbid Hatschaduryan, Rosabel Huguet, Sudeep Kumar Puthiyaparambath, Daniel Ernesto Müller, Kathrina Wilke, Danilo Tesi
PRODUCTION / Ben J. Riepe Kompanie zum 25. Jubiläum der  Kunststiftung NRW
CO-PRODUCTION / PACT Zollverein in Kooperation mit dem Düsseldorfer Schauspielhaus
FUNDED BY / Kunststiftung NRW, Ministerium für Familie, Kinder, Jugend, Kultur und Sport des Landes NRW, Kulturamt der Landeshauptstadt Düsseldorf, Kunst- und Kultur Stiftung der Sparkasse Düsseldorf
SUPPORTED BY / Goethe-Institut/Max Mueller Bhavan


WHITE VOID SERIES: Im Nebel – Ein Raum

What makes a good atmosphere? How can a space develop its own temperament, and who gets caught up in its vibes? Since 2013 the Ben J. Riepe Kompanie has used its “White Void Series” to experiment with moving arrangements that perceive choreography as a compositional process comprised of objects, bodies, sound and atmosphere. Neither an exhibition nor a performance, it generates landscapes in time and space, powerful imagery and music, silhouettes in the fog. The dissolution of the familiar, the generation of utterly new realms of experience – this evening has much in store. Dancers, singers and unexpected guests invite audiences to take a momentary step beyond the familiar.

IN COLLABORATION WITH / Lenah Flaig, Simon Hartmann, Daniel Ernesto Müller Torres, Jonathan Auth, Rosabel Huguet, Sudeep Kumar Puthiyaparambath,
Hasti Molavian, Carolina Rüegg, Kathrina Wilke, Emily Dilewski
PRODUCTION / Ben J. Riepe Kompanie
CO-PRODUCTION / Theaterfestival FAVORITEN 14
FUNDED BY / Kunststiftung NRW, Fonds Darstellende Künste, Stiftung Kulturhauptstadt RUHR.2010, Ministerium für Familie, Kinder, Jugend, Kultur und Sport des Landes NWR
THANKS to PACT Zollverein


Check all the infor here!!!

Festival Tanz NRW 15

Ben J Riepe Kompanie


Photos by Ursula Kaufmann