Solo's in het Vondelpark
To conclude the theatre season of 2007/2008 de Châtel presents four solos in the Vondelpark Openluchttheater: Solo in perspectief, Boerka in Landschap, Go, and Tranz.
Cirklo
 Cirko: meeting place of enchantment, colourfulness and versatility. The place where de Châtel’s dancers come together with derwish dancers, majorettes and musicians for the new on-location performance.
Dances in Concertgebouw
 Dansgroep Krisztina de Châtel makes its entry in one of the most famous concert halls in the world: the Concertgebouw in Amsterdam. Upon invitation of the Zaterdagmatinee (Saturday Matinée), Krisztina de Châtel seeks inspiration and direction from Louis Andriessen’s music and the impressive space of the Grote Zaal in the Concertgebouw.
Pulse en Beige in het Midden-Oosten
 Spring will bring Pulse by Krisztina de Châtel & Massimo Molinari and Beige by Giulia Mureddu to two countries in the Middle East.
Imperium (reprise 2008)
In addition to new choreographies every season, Krisztina de Châtel also makes space for a repeat performance of one of her classics. Premiering in Carré in 1990, Imperium promises to be just as startling and fascinating in 2008.
4 GO
 4 GO is de Châtel’s new guest choreographers’ programme: five young, talented choreographers reveal their sources of inspiration, convictions and development. Together with de Châtel’s dancers, they offer a diverse dance performance in Holland’s theatres.
Solo's op locatie
On the occasion of the Frisian edition of the 2007 Dance Week, four theatres, four museums, Galili Dance and Dansgroep Krisztina de Châtel have joined forces to create one unique dance event. 'Dancing on Location' offers four solo premieres, which are performed in four different museums in Friesland.
Pulse op Nederlandse Dansdagen en in Dansweek
 Nominated with the ‘Swan’ Award for the best dance production of the 2006-2007 theatre season, the choreography Pulse will be in the spotlight at the Dutch Dance Festival in Maastricht and during the countrywide Dance Week.
Onderstebavo en Pulse in de Westerkerk
Amsterdam’s Westerkerk forms the new décor for two of Krisztina de Châtel’s successful choreographies: Onderstebavo and Pulse. A performance full of contrasts and unusual combinations, which is being brought to Amsterdam in cooperation with Dansgroep Vanuit Marlies and the Kwartiermakersfestival Amsterdam.
Duet op Rode Loper
 Festival De Rode Loper (The Red Carpet) in East Amsterdam will be celebrating its seventh edition at the beginning of September. DansHuis Amsterdam will be prominently present with dance workshops and a show featuring choreographies by Krisztina de Châtel among others.
Solo V en Go in Italië
 The futuristic Bolle di Nardini is a perfect location for two of de Châtel’s solos: Solo V and Go. Together with Galili Dance, part of the dance company is heading to Italy at the beginning of September.
Pulse+
Music and dance merge on György Ligeti's music. Mechanical and organic dance movements are accompanied by virtuoso sound pulses. Ligeti's compositions form an invitation for dancers and musicians to explore their physical boundaries.
DANScombinatie
 Three generations of choreographers join forces in DANScombinatie: Krisztina de Châtel (1943), Conny Jansen (1958) and Ann Van den Broek (1970). Three women full of spirit, passion, charm and talent, but also with an unmistakable own signature.
Föld (reprise Dance Umbrella)
 Föld will be shown in London during the festival Dance Umbrella at October 24, 25 and 26. Föld, or 'Earth' in Hungarian, was produced in 1985 for the Holland Festival in Amsterdam.
Onderstebavo (reprise)
 In 2004, Krisztina de Châtel was a guest choreographer on the performance Onderstebavo, working with dance group Vanuit Marlies. On 4 and 5 October, Onderstebavo will again be performed as part of the Kwartiermakersfestival in the Grote or St. Bavo Church in Haarlem.
Frans Hals Museum als podium
 On 10 September 2006 Massimo Molinari, one of the company’s leading dancers, will perform a new choreography by Krisztina de Châtel in the Frans Hals Museum. The performance is part of De Stad als Podium (“The City as a Stage”), the Haarlem launch of the cultural season.
Zooi in Rotterdam
 In Zooi Dansgroep Krisztina de Châtel works with Roteb, the Rotterdam waste collection service. Featuring dancers, dust men, street sweepers and their equipment, Zooi is part of the (International) Choice of the Rotterdam Schouwburg and will be performed in September 2006 in the former engineering works on the RDM site at Heijplaat.
Tando
 Earth. European and African earth. Our roots and theirs, a tangle of roots. Dansgroep Krisztina de Châtel and the Salai nï Sedou dance company from Burkina Faso have joined forces to make Tando.
Inc. (gastchoreografieën)
 Krisztina de Châtel regularly gives young, talented choreographers a chance to work with her company. This season she has invited four choreographers, young people with diverging views and dance styles: Jens van Daele, Nora Heilmann, Inari Salmivaara and Massimo Molinari.
Concave (reprise)
 Three men are trapped behind the bars of two large metal balls. Three women dance around the balls. They seem to be free, but they too are tied: hand in hand they move according to strict spatial patterns.
Föld (reprise 2005/2006)
Föld, or “Earth” in Hungarian”, was produced in 1985 for the Holland Festival. Considered by many as a highlight of the festival at the time, the production has over the years grown to be a popular and timeless classic of Dutch modern dance.
Zooi
 When a dancer lifts a ballerina into the air and lets her glide through space, we can just call it art. But when a garbage man throws a bag through the air, we say they chuck them. Choreographer Krisztina de Châtel explores the beauty of garbage collection in Zooi ("Mess").
Schiele/Abramović/De Châtel
 On request of the Van Gogh Museum, Krisztina de Châtel and performance artist Marina Abramović created an unusual project with performances and choreographies around the work of Egon Schiele. The expressiveness of the human body connects Schiele’s work with that of de Châtel and Abramović.
Solo's
 Puppets, soldiers’ boots, a dark wooden chest, video images, light, sound… Three dancers interact with the objects and elements around them. Intriguing solos, made in close collaboration with (visual) artists.
Amai!
 In Amai! Krisztina de Châtel steps aside and gives her dancers the opportunity to be choreographers. In doing so, she wants to give dancers the chance to develop their own style and approach dance from a creator’s point of view.
Two for Us (gastchoreografieën)
 Krisztina de Châtel regularly gives young, talented choreographers the opportunity to work with her company. For the performance Two for us Krisztina has invited Sjoerd Vreugdenhil and Mauricio de Oliveira to make a choreography for her dancers.
Treden / Dansweek 2004
 The new solo Treden was performed during the Dansweek 2004 in the Cobra Museum in Amstelveen and in the Fries Museum in Leeuwarden.
Onderstebavo
In the framework of the Kwartiermakersfestival in Haarlem, Krisztina de Châtel made a choreography for the amateur dance company Vanuit Marlies. This dance company is largely composed of members with a psychiatric history.
Föld (reprise 2004)
 De Châtel realised a unique project in cooperation with the Hungarian dance company Budapest Táncszínház. As a modern dance classic, Föld (Hungarian for “earth”) was reproduced, with performances by a cast of Hungarian and Dutch dancers in Hungary and The Netherlands.
How much body does dance need?
 Despite many innovations and reforms, the body has managed to survive the whole history of dance. But what is the state of the dancing body in 2004, in the era of makeovers, burkas, silicon implants and Dolly the sheep? A debate and a workshop about these and other questions.
i-space
 In a set design by Niek Kortekaas seven dancers and four musicians find themselves at the mercy of conflicting forces that pull them in different directions. Thus the obeying of orders goes hand in hand with the listening to personal desires.
Move-trek
 This latest production, Move-trek, combines dance and object theatre in an unexpected manner. Move-trek is a choreography for one dancer, Keyna Nara, and various moving objects.
Typhoon (reprise)
 In Typhoon, Krisztina de Châtel's confront a set of wind machines designed by Peter Vermeulen. In a windless prologue, accompanied by rippling layers of piano by Simeon ten Holt (Canto Ostinato), the dancers prepare for the approaching storm. They stand at a slant, as if leaning into the wind.
Dance Venture
 Dance Venture is an online game in which the existing choreography Typhoon is transposed into virtual space. Highlighting the importance of concept, music and the representation of patterns, lines and atmospheric impressions, it carries the unmistakable signature of Krisztina de Châtel’s work.
Solo VI/Objectworx/Rooms (reprise)
 The choreographies Rooms, Objectworx and Solo VI were performed at the Days of Dutch Culture festival in St. Petersburg. This festival presented the state of the art of the Dutch performance and visual arts.
Waterlanders (reprise)
 After the successful performance Ló (1997),Waterlanders is Krisztina de Châtel’s second outdoor choreography. The décor of Waterlanders is formed by the landscape of the location, three wind machines and two transparent cylinders that are slowly filled with water.
Obscura
 Krisztina de Châtel always wanted to create a performance about contemporary and ancient rituals. She also wanted to work with a choir, which is after all the origin of all theatre. By emphasising the original, ritual nature of the choir, she was able to fulfill both wishes.
Tri_versie (gastchoreografieën)
Rooms
Six dancers and four musicians are locked in a metal construction that is made up of several small rooms. Enclosed in this metal frame, the dancers are isolated from each other and from the outside world. As the rooms gradually open up, they start to take control of their freedom of movement.
Slag
 Krisztina de Châtel was asked to make a guest choreography for the Dutch National Ballet. Her choreography, Slag – which means 'stroke' or 'blow' in Dutch – formed part of an evening of choreographies with music by the Dutch composer Louis Andriessen.
Bewogen Bomen
 Bewogen Bomen (Moving Trees) was produced with visual artist, musician and writer Armando and his Quartet. The performance is set in a museum space.
Waterlanders
 After the successful performance Ló (1997),Waterlanders is Krisztina de Châtel’s second outdoor choreography. The décor of Waterlanders is formed by the landscape of the location, three wind machines and two transparent cylinders that slowly fill up with water.
Objectworx
 In Objectworx the moving body is presented as an object. Not as a lifeless entity, but as part of an installation which emphasises the spatial qualities of the body.
Tell Me (gastchoreografie)
Dynamix
 The first time Krisztina de Châtel was confronted with the phenomenon of skating, she was on her daily cycle through the Amsterdam Vondelpark on her way to the studio. The way the skaters moved inspired her to make this production.
LinkAge
 Both the Japanese multi-media collective Nest and de Châtel were interested in ways of dealing with spatial constraints and the application of new technologies in their work. This shared interest resulted in the co-production LinkAge.
Grand Finale - deDANScombinatie
 Krisztina de Châtel made a Grand Finale specially for deDANScombinatie, together with Het Nationale Ballet and Leine & Roebana. Never before were dancers of such diverse background and style involved in one choreography.
Solo VII
 As part of a choreography by Martin Butler (production Daxce Wiurkk 2000 chaaxrtel nd giusts), de Châtel made a solo for Suzan Tunca. In close consultation with Martin Butler she placed this solo in his program.
Lara and Friends
 Lara and Friends
Lara and Friends continues where the successful choreography Lara left off. In contrast to Lara where the dancers are still controlled by a whiz kid, in Lara and Friends the dancers determine the development of the movements patterns.
Epoxy
 Epoxy is a choreography for 15 dancers from the Scapino Ballet and five dancers from Dansgroep Krisztina de Châtel. With music by Thom Willems and imagery by Frank Scheffer.
Solo VI
 Besides longer evening programmes, Krisztina de Châtel also makes pure dance pieces in which she concentrates on the specific qualities of her dancers. De Châtel made Solo VI for Wen Cheng Lee, seeking inspiration in his Taiwanese origins.
Lara
 Lara Croft is the heroin of the popular computer game Tomb Raider. To Krisztina de Châtel she is also the source of inspiration for her choreography Lara in which life-size images of the computer game are projected and played live on stage by a whiz kid.
Cyclo
 Krisztina de Châtel made a choreography to mark the opening of the 1998 World Cycling Championships, which took place in The Netherlands. Performances were staged on the Vrijthof in Maastricht with live music by the pop group Total Touch.
Blindside Block (film)
 In American Football a blindside block is an attack from an unexpected and unseen corner. When film producer Mart Dominicus initially proposed to make a film in which dancers and American Football players were confronted with each other’s 'language', it also had the effect of a blindside block…
Musica Sacra
 Musica Sacra is an annual festival in Maastricht devoted to sacred music. In 1998 the theme of the festival was 'Apocalypse' and Krisztina de Châtel was invited to make a short choreography on a piece by Pierre Henry.
Ló
 Ló – Hungarian for horse – is a choreography for seven dancers, seven horses and two projection screens. Sand is the décor; the footprints which the dancers and the horses leave in the sand determine the spatial structure.
Vide
 In Vide Krisztina de Châtel brought the external world inside, using video projections to show the Dutch dyke landscape. Vide was the first choreography in which Krisztina added a virtual space to the limited space of the theatre.
Solo V
 Krisztina de Châtel made her fifth solo for and with Massimo Molinari. Again, this solo reveals the unique understanding and collaboration that has developed between Krisztina and one of her inspiring dancers who is also a leading member of her group.
Vanitas
 Visual artist Conrad van de Ven designed the striking set in which fake cattle corpses form eye-catching décor pieces; otherwise the stage is empty. It is in these desolate surroundings that five female dancers try to survive.
Stalen Neuzen (film)
 In this dance film choreographer Krisztina de Châtel takes her dancers and her memories to Hungary, her native country. Bridges, squares, streets and inner courtyards are brought to life through dance. In search of peace and quiet they move to the countryside, the earth tears open and the journey continues with dancing and stamping.
Solo IV
 A choreography for dancer Ann Van den Broek for which de Châtel was inspired by Johann Sebastian Bach’s Chaconne.
Muralis
 Dansgroep Krisztina de Châtel was the first Dutch dance company to be asked to make a guest production for Het Muziektheater in Amsterdam. The starting point for this choreography is the String Quintet in C-Major by Franz Schubert.
Facetten
 This time it is not the décor but the music that plays an important role. Facetten, a choreography for seven dancers, features three sonatas for piano and violin by Beethoven. They are performed live. Trouw: 'Facetten is perhaps the most beautiful and in any case the most sensitive and open-hearted choreography that she has created since her début in 1976.'
Concave
 In Concave, three male dancers are caught in two large metal balls and the three female dancers are free to explore the surrounding space. While the men seem to wander aimlessly in the metal balls, the women move through space. But they too are not 'free' either.
Paletta
 The décor of Paletta is centred around three high cylinders in which three women are trapped. In the first part the men seem to be caught in a rigid pattern as they move between and around the cylinders. The women on the other hand discover a wide variety of movement patterns within the constricted space of the cylinders.
Weep, Cry and Tangle
 For the first time de Châtel made a choreography with music by Dmitri Shostakovich. NRC: 'This work deals with the effect that the demise of powerful regimes has on the man in the street. The impressive, spider-like object that is suspended over the dancers plays a central role (…).'
Sequence
 Back to minimalism, with jam pots as décor pieces and once again Philip Glass music. Het Parool: 'As though her old abstract style were coming back. The inventiveness of the movements and the orchestration of the whole, which are underscored by an excellent performance, establish the true value of Sequence.'
Imperium
 A Holland Festival production that was performed in the ring of Carré. De Châtel chose for early baroque music and an anecdotal starting point: court intrigue between successive queens. Love and jealousy, manipulation and scheming behaviour…
Dualis
 No minimal music this time, but music by the German pop and punk singer Nina Hagen. More space for emotions and interaction between dancers. The Haarlems Dagblad wrote: 'De Châtel goes dramatic.
Vortex
 A solo on electronic music by Andrew Poppy. Trouw: 'Vortex is a gem in the art of dance: the movement of every muscle and tendon is thought out and many kinds and layers of movement are incorporated in the dynamic, so that the dancer is caught up in the swirling rhythm.'
Change
 Computer and lighting artist Peter Struycken designed a lighting plan with six light circles. Just as the music and the choreography were divided in three parts, the lighting plan also consisted of three components.
Staunch
 'Sweat splashes round and gushes off the naked chests of five male dancers. A scorching heat gradually becomes tangible, even penetrating the front of the stage which is hermetically closed with perspex.' (Trouw)
Typhoon
 In Typhoon, Krisztina de Châtel's dancers confront a set of wind machines designed by Peter Vermeulen. In a windless prologue, accompanied by rippling layers of piano by Simeon ten Holt (Canto Ostinato), the dancers prepare for the approaching storm. They stand at a slant, as if leaning into the wind.
Trio
 Besides the importance of the design and spatial aspects in this choreography such as a sharp band of light that runs diagonally over the stage, there is also a marked field of tension between the dancers. 'De Châtel has not necessarily changed her style, but rather enriched her movement idiom by making the already present tension tangible through human emotions.' (Haarlems Dagblad)
Föld (1985)
 Föld, Hungarian for earth, was commissioned by the Holland Festival in 1985. Many considered this production as the highlight of the festival, and since then Föld has become a classic in the Dutch modern dance tradition. A round, earthen wall forms the setting of Föld. In that circle, the dancers engage in an exhausting battle.
Solo's (1985)
 Varied solos in which there is space for the individual personalities of the dancers. A solo full of tranquillity and stillness, a playful, more free solo and one filled with dynamism and pace.
Thron
 'It takes iron discipline, steel concentration and a stamina of reinforced concrete. Thron is a ninety-minute mathematical problem with an unpredictable outcome and endless possibilities.' (Haagsche Courant)
Per Aspera
 'Besides ‘the research’ – the style I have developed – I sometimes find it challenging to explore a different choreographic approach, in which a larger range of movements – more complex and more flowing – is possible.'
Wiederkehr
 In the triangular construct of music, dance and visual art, the emphasis lies on the music. This time de Châtel chose Bach instead of a contemporary composer. Matthias Vogels designed a décor with moveable screens covered in netting.
Forgó
 Forgó is Hungarian for 'turning', a movement that is recurrent in various forms in this play of light and movement. De Volkskrant: 'A flawless composition that is furthermore splendidly danced.'
Light
 Light is the follow-up of Lines (1979), with new lighting objects and a strong interplay of music and dance. The dancers indicate the spatial directions by carrying light objects and moving with them.
Afwijkend
 The title, Afwijkend – which means 'deviant' in Dutch – was not chosen randomly. This time de Châtel abandoned minimalism. 'The expressive and absurdist Afwijkend with punk-like, heavily made up female dancers dressed in strangely patterned body stockings…'
Variaties op een thema
 A solo that de Châtel made for herself and that focuses entirely on the movement of the arms... Haarlems Dagblad: 'She stands in the middle of the floor in a triangle of light, with two upright neon lights as only other decor.'
Lines
 Krisztina de Châtel wanted to create 'clenched tension' - tight as a fist. This was also the starting point for visual artist Jan van Munster, who created an abstract neon work. De Châtel was also inspired by the ideas of Bauhaus artist Oskar Schlemmer.
Voltage Control II
 In her first choreographies (Voltage Control I and II) de Châtel reverts to the expressionism from her youth. At the same time she discovers minimal art, which will come to play an important role in her work.
Voltage Control I
 In her first choreographies (Voltage Control I and II) de Châtel reverts to the expressionism from her youth. At the same time she discovers minimal art, which will come to play an important role in her work.
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