FLATLAND
RAAK
CASUALTIES OF MEMORY
FIER!
LINES
KALOTA
PULSE
VARIATIES OP EEN THEMA
BOERKA IN LANDSCHAP
DUET IN PLEXIGLASEN KOKER
GO
SUB
SIX
UNTIL.WITH/OUT.ENOUGH
PEELED
DRUMMING
CHAMELEON
THE UPPER ROOM
FRAGILE

DANSGROEP AMSTERDAM

LINES

In Lines (1979), Krisztina de Châtel looks back on her minimalist period. A cage of light tubes designed by Jan van Munster determines the spatial displacements of five female dancers who move to Philip Glass’ music. De Châtel’s idea to create a feeling of “clenched tension” tight as a fist, was the starting point for Jan van Munster’s abstract neon work which demarcates the square dance floor with sixteen upright light boxes.

In 1979, Critic Eva van Schaik wrote about Lines: “Five dancers dressed in white visualise constantly shifting spatial patterns: strict and imperturbable they shape circles, diagonals, crosses, squares and straight lines... the energy is ever-present. It is the minimal force that allows us to walk upright, breathe and therefore makes us persevere.”

For de Châtel this utterly minimalist choreography is ideally suited to the current generation of dancers, including three of Itzik Galili’s favourite female dancers: “The total command of the body is the ultimate challenge: no fierce expressive movements but an unconditional return to nothing. It is the dancer’s quest to evoke maximum tension with minimal means.”


Hungarian-born Krisztina de Châtel is driven by a rare urge for innovation, while always remaining true to herself and her beliefs. Her performances combine dance, music and visual art providing a full evening’s entertainment. She is open to new cultural developments and frequently seeks cooperation with other artists such as performance artist Marina Abramović. She has also initiated projects with new media and virtual space, skate boys, garbage men (as in Zooi), whirling dervishes and other striking combinations. In Krisztina de Châtel’s dance performances two worlds collide as fragile bodies are confronted with natural elements such as wind, earth and water. But there is also a struggle within the body itself as passion and control fight for supremacy. In the last 30 years she has made close to 60 choreographies.

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