“Myitkina” by Chan Sook Choi

The new version of “Myitkina” by Chan Sook Choi will be presented in November/19  at Seoul’s Coreana Museum of Art.

“Myitkina” is a story of 20 women in Myitkina, Burma. They appear at multiple photos and documents, but no witness was revealed. Myitkina in this work is a representation of single women, but at the same time it is a representation of prior discussions and results of research related to the Japanese Military “Comfort Women”. Testimonies of three Myitkinas in the video sometimes permeate or penetrate existing controversial arguments and subtly contradict each other at times. Therefore no word from one of three Myitkinas can be an ideal representation of the Japanese Military “Comfort Women”. 

Myitkina is not an “object” which can be captured or reproduced from a single point of view. It is a “living being” who have existed in various forms at a variety of moments.

Art work by Chan Sook Choi
Myitkinas:  Rosabel Huguet, Yon Natalie Mik, Kotti Yun
Curated by EunJoo-Lee
Coreana Museum of Art Seoul | 21st November – 22nd December 2019


Myitkina 2019 ©


Sous d’autres cieux by Maëlle Poésy


Aeneas must flee and leave a burning Troy behind with some of his loved ones. Guided by the Gods, pursued by Juno’s wrath, he begins his quest for a hospitable land where he can found a new city. Of the journey told by Virgil in the Aeneid, Maëlle Poésy and her accomplice, playwright and author Kevin Keiss, chose to keep only a few fragments from the first six books of the epic poem. Together, they imagined a narration of the memory, punctuated by departures, arrivals, and shipwrecks. A space and time where the past and future forever interlock with the present. A research into the perceptible and the physical, with both actors and dancers, and which explores the relationship of exiles with their journey and with memory. A play which keeps transforming, in which the dead talk to the living and gods talk to men, in which the sets fade away and the past resurfaces in the present, turning exile into a world between worlds, a state of stateless waiting.

An actress and director, Maëlle Poésy studied at the École supérieure d’art dramatique du Théâtre national de Strasbourg. After graduating, she founded the Crossroad company, with which she has explored what she calls a “theatre of confrontation” revolving around movement, a “rhythm factory” which questions society and its individual components.

A doctoral student in classical literature and a specialist of ancient theatre, Kevin Keiss is a writer, translator, playwright, and director. He co-wrote Those who wander aren’t wrong with Maëlle Poésy, which played at the 71st edition of the Festival d’Avignon.

A poet who lived through the end of the Roman Republic (70-19 B.C.), Virgil created a body of work at once clear and pure, still seen today as the most powerful of all Roman Antiquity.

With Harrison Arevalo, Genséric Coléno-Demeulenaere, Rosabel Huguet, Marc Lamigeon, Roshanak Morrowatian,Philippe Noël, Roxane Palazotto, Véronique Sacri

And the voices of Hatice Ozer

Adaptation Maëlle Poésy, Kevin Keiss

Text, translation, dramaturgy Kevin Keiss

Direction Maëlle Poésy

Choreography Maëlle Poésy, Juan Kruz Diaz de Garaio Esnaola, Roshanak Morrowatian, Rosabel Huguet Dueñas

Scenography Damien Caille-Perret

Lights César Godefroy

Video Romain Tanguy

Sound Samuel Favart-Mikcha assisted by Alexandre Bellando

Costumes Camille Vallat assisted by Juliette Gaudel

Direction assistant Aurélie Droesch Du Cerceau

Production Compagnie Crossroad

Co-production Théâtre Dijon Bourgogne Centre dramatique national, ThéâtredelaCité Centre dramatique national Toulouse Occitanie, Théâtre Gymnase-Bernardines (Marseille), ExtraPôle Provence-Alpes-Côte d’Azur, Festival d’Avignon, anthéa antipolis théâtre d’Antibes, Le Liberté Théâtre scène nationale (Toulon), Scène nationale du Sud  Aquitain, Théâtre Firmin Gémier/La Piscine (Châtenay-Malabry)

With the support for the 73rd edition of the Festival d’Avignon : Spedidam

With the participation of Jeune théâtre national

Residency La Chartreuse-CNES de Villeneuve lez Avignon



Photos by Jean-Louis Fernandez




Giudizio.Possibilità.Essere by Romeo Castellucci – Kunstfestpiele Herrenhausen

Romeo Castellucci / Socìetas
Exercises to “Der Tod des Empedokles” by Friedrich Hölderlin

In Giudizio.Possibilità.Essere Romeo Castellucci moves into a gym: a place that Castellucci calls a ‘false’ place for the theatre. But for him the very space to fulfil the unorthodox beauty of Hölderlin’s language. Here Hölderlin’s poetry can be experienced in a different way: as practice, discipline, as work on the present.

The Italian theatre-maker Romeo Castellucci, whose highly visual theatre usually refuses stage dialogue, approaches Hölderlin’s uncompleted tragedy ‘The Death of Empedocles‘ in a staged installation.

In the gym, the audience is provisionally welcomed on mats or high-jump cushions. They see and hear a textual score that is closely linked to Hölderin’s tragedy. A company of young women play the various characters. Are they schoolgirls? Or perhaps members of some female community? Are they rehearsing the performance behind closed doors? Who are these youngsters, what do they want and what are they portraying? They must be Empedocles, the heretic who leaves the community of the city to climb Mount Etna alone and throw himself into the crater, into the fire of being.

When the audience enters this ‘false’ place, they find themselves in the middle of a theatrical act, which resembles a contest between young women who dedicate the language of poetry to the theatre.

With Anja Becker, Silvia Costa, Laura Dondoli, Evelin Facchini, Rosabel Huguet, Greta Ipfelkofer, Maj Britt Klenke, Anne Mehlinger, Astrid Meier, Irene Petris, Andrea Rudolf, Laura Signoriello, Alice Torriani, Marie Zwinzscher


Photos by Irving Villegas | Kunstfestspiele Herrenhauses 2019 | 23.05.2019 Romeo Castellucci / Socìetas – Übungen zu ‚Der Tod des Empedokles‘ von Friedrich Hölderlin.

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 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 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!!

l’Ora Magica by Silvia Costa

Tic tac tic tac Tic tac Tic tac tic tac Tic tac Tic tac tic tac Tic tac
Finally! But where were you? Kids, you’re late!
I have the keys to get you in just at a precise time…
… and only at that magic time a strange character it will show to you. A ghost or spirit imprisoned in his grave? Something out of the earth made it a light substance, so bright that is not allowed anymore to go out in the sunlight. But he will tell you his story with his own words. Here, is the time to enter…

by Silvia Costa
with Laura Dondoli and Rosabel Huguet Duenas (for the catalan version)
xt by Silvia Salvagnini
music by Lorenzo Tomio
a production of Uovokids – Milano and Dadàbarcelona


photos by Iris Blumm

About Silvia Costa


World of Wolves 0.1 by Nuria Legarda | FESTIVAL GREC Barcelona

Research & Creation laboratory carried out in Graner Fábrica de Creación within Barcelona’s Grec Festival 2017 program. This work explores the social construction of identity from a contemporary perspective and from an eminently visual scenic format, where a narrative discourse through image and movement. 

Concept, Creation & Direction Nuria Legarda

With Ruben Ametllé, Rosabel Huguet, Pedro Mas 

Dramaturgy Marc Villanueva Mir 

Sound Ramón Ciércoles, Sam Gillett 

Light Carles Rigual 

Scenic space Elise Vigneron 

Video Toni Vidal 

Costume Helena Lucas 

Photography Felipe Mena 

Artistic Production Montse Prat 

Executive Production La Brutal 

Production assistant Judit Ferrer Ribas

“It’s hard to believe that a piece so well finished is material from a research laboratory. Not only on a visual level, since the staging presented a quality and quantity of wonderful ideas; the emotion and the message were, if possible, more powerful and not to mention the cast that made that evening an unforgettable experience. Nuria Legarda creates this piece with a ‘savoir faire’ that immediately captures the audience and invites them to want more.”

Javier Ly

MORE about the creation

“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

‘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!