SOME SENTENCES WRITTEN ABOUT HUYGHE HER WORK.
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THEATER KRANT (Eva Van Weerdt)
Eva Van Weerdt about Danielle Huyghe as performer in MORE HUMAN THAN HUMAN (WYF) at the Theaterkrant. 'All three performers are excellent mimers with good physical expression, with Huyghe in particular brilliantly portraying the increasingly human robot. She shows a rock-solid control over her body in the minute changes of a wooden machine that learns more and more. In a fight against her own program, she makes spectacular falls and, when she gets up again, is just a little more flexible, down to the finest details.'
MOMENT DAGBLAD (Niels Dewil)
“Ik wil dat erover gesproken kan worden en dat mensen sneller hulp gaan zoeken bij mentale problemen.”
''I want to talk about Insomnia, I want people to search for help and to speak about there problems, before it ends up like me, being out for several Months". Interview met Danielle Huyghe over Into the Blue (door Niels Dewil)
HAARLEMS DAGBLAD;
Flemish artist, Danielle Huyghe with 2 performances to BORING Festival, Schuur Haarlem.
"Few years ago Danielle was suffering from severe INSOMNIA, the performance INTO THE BLUE, is about this experience. "
"Danielle Huyghe is only twenty-six, her resume is impressive. Since completing her bachelor's degree in dance and choreography at ArtEZ in Arnhem in 2020, she has already danced in twenty performances, some of which she created herself."
REVIEW `INTO THE BLUE`, MARIA DOLORES PESCE.
`It is a work which is the final fruit of a two-year elaboration, and it is a rare thing in terms of intensity and complexity, starting from a real existential condition of the choreographer.` `This double combination, of images that recall surrealist films from Antonin Artuad (such as the ambivalent La coquille et le Clergymen) to Man Ray, but also suggests the contemporary Dutch director Lars Von Trier, author of the film Melancholia of 2011, with the bodies of the performers produces, beyond psychology, or psychologism, which is only the occasion, an effect of emotion, in the sense of sudden participation in the irreducible interiority of the human being who thus, metaphysically, precisely, it shows a shared existential substrate from which to start over.`
REVIEW `INTO THE BLUE`, PAOLO VERLENGIA.
Belgian choreographer (assisted on stage by Jill Kupers) transfers all the painful complexity linked to sleep disorders from the narrative and confessional dimension (towards which traditional canons would direct her) to the non-verbal ones of the film image and dance. Meticulous work, full of details, which as a whole allows some points of reflection to emerge: the body treatment gives the addressed theme expressive power as a dominant colour; every immaterial subtlety of psychological implication is rendered through the paroxysm of bodies that know no rest. A sound carpet, now nervous now explosive, combined with the definition of close-ups expanded on the giant screen, helps to complete the paradoxical result of a show with a high level of spectacularity, which in its unraveling according to ever more perfect synchronic mechanisms tends to produce in the spectator a process almost hypnotic and persuasive, gradually removing the initial sense of restlessness. From discomfort as a response of the bodily intelligence in the face of the typical evils of our time to the material itself of the time.
REVIEW INTO THE BLUE`, BY VINCENZO SARDELLI
'The festival curated by Lemming and directed by Massimo Munaro opens at the Teatro Sociale in Rovigo with Danielle Huyghe.
In “Into the blue”, the Belgian choreographer, together with the dancer Jill Kupers, stages the state of insomnia of two young women. Insomnia has often affected the life and even limited the art of Danielle Huyghe. In this work of dance and cinema, the dreamlike dimension is given by the images of the film "L'Heure bleu", made by the choreographer herself. There are two hospital beds, two sleeping women, and the hysterical marking of time through the ticking of a clock. It is at that moment that the dance of neurotic bodies begins. It is a performance at times violent and sclerotic. Angular movements and gestures, violent background noises dilate a sense of irrepressible energy.
"Into the blue" is also, if you think about it, a metaphor of art and artistic tension, always insufficient, in search of a perfective stillness that is in fact unattainable.'
REVIEW `INTO THE BLUE`, BY LUIS ALBERTO SOSA BERLANGA.
''And of course, if all this is represented with elegance, commitment, rigor, intelligence and truth, well, Into the blue stands as one of those good works, in which focusing on the correct execution of the movements of its interpreters is, precisely, it is which makes it more eloquent."
REVIEW `OUT OF THE BLUE`, BY KINFA BUDAKOWSKA.
"Danielle Huyghe and Alexandra Verschuuren are an amazing, multidisciplinary duo that will surely be remembered by the audience of the 16th edition of the Zawirowania International Dance Festival. "Out of the blue" provides everything - sophisticated, beautiful choreography in a great performance, a sublime atmosphere in which the viewer is simply immersed from the very first moments of the performance. It is also a spark to consider the reality of dreams, the subconscious and dreaming.
......
The whole is really impressive. I strongly encourage you to face your dreams and fears in "Out of the blue", especially as the performance received the Jury Prize at this year's edition of the International Masdanza Festival for Best Choreography."
Eva Van Weerdt about Danielle Huyghe as performer in MORE HUMAN THAN HUMAN (WYF) at the Theaterkrant.
'All three performers are excellent mimers with good physical expression, with Huyghe in particular brilliantly portraying the increasingly human robot. She shows a rock-solid control over her body in the minute changes of a wooden machine that learns more and more. In a fight against her own program, she makes spectacular falls and, when she gets up again, is just a little more flexible, down to the finest details.'
'De performers zijn alle drie uitstekende mimers met een goede fysieke expressie, waarbij vooral Huyghe de steeds menselijker wordende robot briljant neerzet. Ze laat een ijzersterke controle over haar lichaam zien in de minieme veranderingen van een houterige machine die steeds meer leert. In een gevecht tegen haar eigen programma maakt ze spectaculaire vallen en is ze, wanneer ze weer opstaat, net weer wat soepeler, tot in de fijnste details.'
Read the full interview here:
INTERVIEW ON INTO THE BLUE
DANIELLE HUYGHE BY NIELS DEWIL
Haarlems dagblad over Danielle Huyghe
Danseres en choreografe Danielle Huyghe met twee voorstellingen naar Boring
,,Ik wilde méér dan alleen stapjes leren’’
Een jaar of wat geleden, tijdens haar studie, leed de in Rotterdam wonende Vlaamse danseres en choreografe Danielle Huyghe aan een serieuze vorm van insomnia. Slapeloosheid. Daarover gaat de voorstelling ‘Into the Blue’, waarmee ze vrijdag op Boring te zien is.
,,Mensen zeggen wel eens: ’Slapeloosheid, dat heeft iedereen zo nu en dan.’ Maar insomnia is echt héél ingrijpend. In deze dansvoorstelling put ik mijn lichaam uit en dat voelt het publiek.’’ Het is één van de twee programma’s waarmee Huyghe dit weekeinde op het festival te zien is. Zaterdagavond danst ze in ‘More Human Than Human’ van theatercollectief WYF.
Bij ‘Into the Blue’ worden dans en film gecombineerd. De film ‘L’Heure Bleue’ representeert het nachtelijke proces van niet kunnen slapen. De choreografie ‘Into The Blue’ laat de uitputting en het disfunctioneren gedurende de daaropvolgende dag zien. Samen tonen ze het complete etmaal van de insomnia.
,,De voorstelling is een combinatie van filmbeelden en dans, al is er ook een langere versie van de film die op filmfestivals wordt getoond. En voor festivals als Boring hebben we weer een verkorte variant met zowel film als dans gemaakt. We beginnen met een fragment film. Dat voelt voor het publiek nog wel comfortabel. Maar zodra we gaan dansen richten we onze blik heel nadrukkelijk op de mensen in de zaal. Het publiek ziet onze uitputting en voelt zich machteloos. Dat is ook de bedoeling. Andere mensen kunnen je niet helpen bij insomnia. Je kunt het alleen zelf doen.’’
Danielle Huyghe is pas zesentwintig, maar op haar dertiende danste ze reeds professioneel. Haar cv is indrukwekkend. Sinds het afronden van haar bachelorstudie dans en choreografie bij ArtEZ in Arnhem, in 2020, danste ze reeds in een twintigtal voorstellingen en een aantal daarvan had ze zelf gemaakt. Ze deed een masteropleiding in Maastricht waarbij ze zich meer op de combinatie van dans met theater en film richtte.
,,Zoals bij alle dansopleidingen leerde ook ik eerst ‘compagnie dansen’. Maar ik wilde méér dan alleen stapjes leren. In het vijfde studiejaar moesten we ook zelf voorstellingen maken en toen begon het voor mij interessant te worden. Welke beweging past bij het concept? Welk beeld? Welke muziek?’’
Aanstaande zaterdag danst Huyghe wederom op het festival; dan in de voorstelling ‘More Human Than Human’ van Collectief WYF onder leiding van Marieke Heerema. Het wordt omschreven als ‘pastelkleurige Science Fiction’ waarin het onderscheid tussen mensen en robots verdwenen is. Of toch niet?
,,Ja dat is ‘theater’, zegt Huyghe. ,,Maar Marieke is heel ‘mime’. Alle taal is uit de voorstelling verdwenen. Hoe druk je dat verhaal uit in beweging? Het allerstrafste vind ik hoe die robot steeds meer naar de grens van het menselijke kruipt. En om dat karakter da anderhalf uur lang fysiek te spelen…’’
Peter Bruyn
Into The Blue. Vr 26 jan 2024, Schuur, 20.45u
More Human Than Human, za 27 jan 2024, Schuur, 22:00u
'Into The Blue', Review written by Maria Dolores Pesce.
'Into The Blue', Review written by Maria Dolores Pesce. Choreography and dramaturgy are on stage as if imprisoned in that space of time that we cross to arrive at sleep and the dream that elaborates us, the space and time that Jean Paul Sarte in his famous essay L'imaginaire conceived entrusted to what he calls "hallucinations hypnagogic”, that is the images in which the sensations of waking precipitate over which control is gradually lost to entrust oneself to the freedom of associations before turning into sleep: the thought lets itself be absorbed by the image “like water in the sand”.
In the anguish of imprisonment in this limbo, which we call insomnia, against the immobility in this land between two borders (wakefulness and sleep), the body of the two dancers develops a sort of movement, or counter-movement of contrast, which it is the desire to free oneself from the chains that bind him and, with the movement, he produces images that reflect him and that mark his horizon like a rainbow.
This double combination, of images that recall surrealist films from Antonin Artuad (such as the ambivalent La coquille et le Clergymen) to Man Ray, but also suggests the contemporary Dutch director Lars Von Trier, author of the film Melancholia of 2011, with the bodies of the performers produces, beyond psychology, or psychologism, which is only the occasion, an effect of emotion, in the sense of sudden participation in the irreducible interiority of the human being who thus, metaphysically, precisely, it shows a shared existential substrate from which to start over.
Hic sunt Leones, one could say, here the game is being played (not yet in its final time) to try to get out, with art, of an existential condition that unfortunately in modernity increasingly resembles that suspended state of anguished captivity in which freedom shows itself, or rather it is shown to us, to be immediately taken away from us.
It is a work which is the final fruit of a two-year elaboration, and it is a rare thing in terms of intensity and complexity, starting from a real existential condition of the choreographer.
'Into The Blue', Review written by Paolo Verlengia.
'Into The Blue' van Danielle Huyghe weeft meerdere van de genoemde motieven door elkaar.
De Belgische choreografe (op het podium bijgestaan ​​door Jill Kupers) verplaatst alle pijnlijke complexiteit die verband houdt met slaapstoornissen van de narratieve en biechtdimensie (waarheen de traditionele canons haar zouden leiden) naar de non-verbale dimensies van het filmbeeld en de dans. De scène is in feite tweedelig, dubbel gespeeld tussen de verticaliteit van een bioscoopscherm en de horizontaliteit van het podium. Twee verdiepingen die volgens verschillende tijden worden geactiveerd, voor een dualiteit die wordt gerepliceerd in de aanwezigheid van de twee artiesten op het podium.
Zorgvuldig werk, vol details, dat als geheel enkele reflectiepunten naar voren laat komen: de lichaamsbehandeling geeft het aangesproken thema zeggingskracht als dominante kleur; elke immateriële subtiliteit van psychologische implicaties wordt weergegeven door de uitbarsting van lichamen die geen rust kennen. Een geluidstapijt, nu eens nerveus nu explosief, gecombineerd met de definitie van close-ups uitgebreid op het gigantische scherm, helpt om het paradoxale resultaat te voltooien van een show met een hoge mate van spektakel, die in zijn ontrafeling volgens steeds perfecter synchrone mechanismen heeft de neiging om bij de toeschouwer een bijna hypnotiserend en overtuigend proces teweeg te brengen, waarbij het aanvankelijke gevoel van rusteloosheid geleidelijk wordt weggenomen.
Van ongemak als reactie van lichamelijke intelligentie tegenover het typische kwaad van onze tijd tot de kwestie van tijd tout court.'
'Into The Blue' by Danielle Huyghe weaves together a plurality of the motifs mentioned before. The
Belgian choreographer (assisted on stage by Jill Kupers) transfers all the painful complexity linked to sleep disorders from the narrative and confessional dimension (towards which traditional canons would direct her) to the non-verbal ones of the film image and dance. The scene is in fact bipartite, played out doubly between the verticality of a cinema screen and the horizontality of the stage. Two floors that are activated according to separate times, for a duality that is replicated in the presence of the two performers on stage.
Meticulous work, full of details, which as a whole allows some points of reflection to emerge: the body treatment gives the addressed theme expressive power as a dominant colour; every immaterial subtlety of psychological implication is rendered through the paroxysm of bodies that know no rest.
A sound carpet, now nervous now explosive, combined with the definition of close-ups expanded on the giant screen, helps to complete the paradoxical result of a show with a high level of spectacularity, which in its unraveling according to ever more perfect synchronic mechanisms tends to produce in the spectator a process almost hypnotic and persuasive, gradually removing the initial sense of restlessness.
From discomfort as a response of the bodily intelligence in the face of the typical evils of our time
to the material itself of the time.
'Into the blue', Review written by Vincenzo Sardelli.
'The festival curated by Lemming and directed by Massimo Munaro opens at the Teatro Sociale in Rovigo with Danielle Huyghe.
In “Into the blue”, the Belgian choreographer, together with the dancer Jill Kupers, stages the state of insomnia of two young women. Insomnia has often affected the life and even limited the art of Danielle Huyghe. In the hall we already find the dancers stretched out on stage. They are motionless and silent bodies.
In this work of dance and cinema, the dreamlike dimension is given by the images of the film "L'Heure bleu", made by the choreographer herself. There are two hospital beds, two sleeping women, and the hysterical marking of time through the ticking of a clock. It is at that moment that the dance of neurotic bodies begins.
It is a performance at times violent and sclerotic. Angular movements and gestures, violent background noises dilate a sense of irrepressible energy.
The music by Alberto Granados Regulión and Max Kelm underline a sense of unease. To mitigate it, blurred images, a sort of autumn mist.
Even the live bodies on stage awaken. Huyghe and Kupers reproduce the same explosive choreography. They move mirror-like. It is a rebound of impetuous and frenetic gestures.
"Into the blue" is also, if you think about it, a metaphor of art and artistic tension, always insufficient, in search of a perfective stillness that is in fact unattainable.'
'Into The Blue', Review written by Luis Alberto Sosa Berlanga
''And of course, if all this is represented with elegance, commitment, rigor, intelligence and truth, well, Into the blue stands as one of those good works, in which focusing on the correct execution of the movements of its interpreters is, precisely, it is which makes it more eloquent."
'Out of the blue', Review written by Kinga Budakowska (Brygada Tańca)
"Danielle Huyghe and Alexandra Verschuuren are an amazing, multidisciplinary duo that will surely be remembered by the audience of the 16th edition of the Zawirowania International Dance Festival. "Out of the blue" provides everything - sophisticated, beautiful choreography in a great performance, a sublime atmosphere in which the viewer is simply immersed from the very first moments of the performance. It is also a spark to consider the reality of dreams, the subconscious and dreaming.
......
The whole is really impressive. I strongly encourage you to face your dreams and fears in "Out of the blue", especially as the performance received the Jury Prize at this year's edition of the International Masdanza Festival for Best Choreography."
