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Annex 1
PUUR (PURE)
Ultima Vez (Belgium)
R(A)
PROFILE OF ULTIMA VEZ
The first performance by Ultima Vez, What the Body Does Not Remember, premiered in 1987 and was
soon shown on stages around the world. Since then, the company has grown into a thriving and
internationally recognised company based in Brussels. The name Ultima Vez derives directly from this
piece which had many Spanish-speaking dancers. Ultima Vez means “the last time” in Spanish and the
words were often uttered during rehearsals in reference to the risky and physically exhausting brickthrowing scenes.
What the Body Does Not Remember earned Wim Vandekeybus the Bessie Award in New York in 1988.
In 1990 he received the Bessie Award for a second time for his creation Les porteuses de mauvaises
nouvelles. The 1990s marked a period of ever increasing success for Ultima Vez. The early pieces were
strongly body-centred, but gradually Vandekeybus would develop more thematic performances, exploring
themes such as man vs woman, seeing versus not-seeing, hallucination and insanity, the unconscious.
At the same time he started to insert theatrical, textual, and filmic elements into his work. He would mix
actors among his dancers, create videos for several performances, and ask Flemish author Peter
Verhelst to write texts for Scratching the Inner Fields (2001), Blush (2002) and Sonic Boom (2003). These
insertions from other disciplines created more intimacy and tenderness that counterbalanced the
aggressive dynamism that characterise the choreographer.
ARTISTIC VIEWPOINT
Ultima Vez is characterized by its radically physical, energetic and exuberant dance style, which is fueled
by Wim Vandekeybus’ boundless imagination and laced with the themes of life, death, nature, the
subconscious and instinct. The company’s work was quickly labeled as ‘savage’ as bodies were thrown
wildly on the floor, and performances contained high-risk moves that left the dancers exhausted. Intrigued
as he is by the force of instinct in extreme circumstances, Vandekeybus’ work abounds with risk and
conflict situations. Vandekeybus increasingly introduces theatrical and anecdotal elements into his work,
which lead to extreme and often poetic moments. More intimacy and tenderness is gradually nestling
between the violent and rough scenes.
The creative process usually starts with a good title: “It’s as if it puts everything into motion. I invariably
choose a title that is not closed, like a circle that remains open that allows things to enter.” (Vandekeybus
in De Standaard, 22 April 2000). A performance is usually partly choreographed by Vandekeybus, partly
formed through improvisations by the dancers. He makes a point of creating strong images that linger
long after the performance is over: a frozen shirt that slowly thaws out, dancers throwing eggs, bricks or
bags at each other, a shower of giant feathers.
“For me the energy is important, and also how people can surprise us with their texts. Dancers often
recite a text in a monotonous way, but when they do it while dancing, the text suddenly becomes much
more expressive. Some actors are able to make their text come to life, but they don’t feel it anymore
when they start to move about. A text needs to be choreographed, instead of plainly recited. I like the fact
that a dancer speaks, because he receives a totally new meaning and he has to transform himself. I
believe dance should always have a theatrical starting point, a theatrical argument, to be able to exist.”
- Wim Vandekeybus on the relationship between dance and theatre in “Inasmuch as Life is borrowed…”,
quoted in Tijd Cultuur, 26 April 2000.
REMARKABLE PRODUCTIONS
Ultima Vez has assembled a series of successful performances that toured internationally. What follows is
but a small selection.

What the Body Does Not Remember (1987), a dynamic, risky piece with music by Thierry De Mey
& Peter Vermeersch, was an instant success. The dancers threw bricks in the air, only to be caught
just in time by a 'chance' passer-by. Though seemingly nonchalant or random, all movements were
precisely timed. In 2002 Ultima Vez revived Wim Vandekeybus' debut performance for the Klapstuk
Festival in Leuven.

Immer das Selbe gelogen (1991). Vandekeybus’ unexpected encounter with the German artist
Carlo Verano formed the basis for this performance. Immer das Selbe gelogen is a sensitive portrait
of the 89-year-old artist and Vandekeybus’ friendship with the man. From this production onwards,
performances became more theatrical, with an increase in the use of text, literary and mythological
references, film and video images. Carlo’s presence in Immer das Selbe gelogen is never physical,
but he is captured in the film images that interact with the performance. Immer das Selbe gelogen
was performed more than a hundred times in Europe as well as in Canada and the U.S.A.. The
performance also brought Ultima Vez to Japan and Mexico for the first time.

Mountains Made of Barking (1994) is the second performance for which Vandekeybus worked with
blind performers. The encounter, in 1992, with the blind Moroccan Saïd Gharbi had an important
influence on the artistic development of Vandekeybus. Through Saïd’s perception of reality,
attention for the inner workings of the body and the mind, is introduced into Vandekeybus’
performances. Influenced by Paul Bowles Circular Valley and several encounters with the author in
Morocco, Mountains Made of Barking depicts a world beyond our rationally controlled, unmagical
reality. Film images, shot in Saïd’s home region, reinforce the impression that the performance
takes place inside his head.

In Spite of Wishing and Wanting (1999), a piece for 10 male dancers, explored our deepest,
ineffable desires and the way in which we deal with the subconscious. It was partly based on two
surrealist short-stories by Julio Cortázar, in which a man sells words, sighs and cries in the street.
The stories were turned into the short film The Last Words, directed by Vandekeybus, and which
also served as a source of inspiration for David Byrne who created the original music score. The
short film has won several international awards.

Blush (2002) features a mixed group of 10 performers, including Wim Vandekeybus himself. The
performance premièred in September 2002 at the Royal Flemish Theatre/De Bottelarij in Brussels.
Once again, Vandekeybus fuses intensely physical dance, theatre, film, text and music. Love in all
its states – lust, temptation, exhilaration and shame - is the subject of the performance.
Vandekeybus’ use of film blurs the definition between stage and screen as dancers dive into the
screen and seamlessly reappear on film, swimming under water. The soundtrack by David Eugene
Edwards and text by the Flemish author Peter Verhelst form the background to this avalanche of
images.

Sonic Boom (2003) attempted to bridge the gap between gut emotion and imagination, the physical
and verbal, images and stories, dance and theater. Ivo Van Hove, director of Toneelgroep
Amsterdam, invited Vandekeybus as guest director. Sonic Boom is based around a simple event
that is worked out in various possible scenarios. Vandekeybus cast three actors from Toneelgroep
Amsterdam next to his own dancers.
Annex 2
PUUR (PURE)
Ultima Vez (Belgium)
R(A)
PROFILE OF WIM VANDEKEYBUS
Director/Choreographer
After studying psychology and photography, Wim Vandekeybus came into contact with theatre through a
workshop. He started out as an actor with controversial Flemish theatre maker Jan Fabre. After working
with Fabre for two years, Vandekeybus went on to form Ultima Vez in 1987.
A self-made man, Vandekeybus, would soon develop into an artistic jack-of-all-trades, as director,
choreographer and video maker.
Central to Vandekeybus’ work is the instinctive body; the restless, unpredictable, powerful yet fragile
body; the body of reflexes.
Since the first production of the award winning, What the Body Does Not Remember, music has always
been a very important and inherent part of Vandekeybus’ performances. Vandekeybus rarely uses
existing music for his performances; most often he invites a composer to create a music score or a
soundscape to suit the performance. Vandekeybus has had music written by, among others, Peter
Vermeersch, Thierry De Mey, David Byrne, Marc Ribot and Eavesdropper.
Film and video are also part of the willful way Vandekeybus gives shape to his creativity. Through the
integration of film images in his performances, complex relationships often form between film and stage.
PROFILE OF PERFORMERS
Laura Arís
Laura Arís received her dance and choreography training at the Institut del Teatre in Barcelona. Between
1996 and 1999 she was part of the Lanonima Imperial dance company (Barcelona) for the creation and
performances of Identificación de un Paisaje (1996) and Cuerpo de Sombra y Luz (1998). In Barcelona,
she was also associated with the General Eléctrica arts centre, where she collaborated on various
productions by Tomas Aragay. Laura Arís has been a part of Ultima Vez since 1999. She was involved in
the creation and touring of “Inasmuch as Life is borrowed…”, Scratching the Inner Fields, Blush and
Sonic Boom and danced in the reprisal of What the Body Does Not Remember during the KLAPSTUK
festival in January 2002. She also regularly leads Ultima Vez workshops.
Tone Brulin
Tone Brulin studied scenography at La Cambre (1943-1946) in Brussels. The director of the Institute at
the time, Flemish writer Herman Teirlinck - became Brulin’s mentor. From 1946 to 1948 he studied at the
Studio of the National Theatre in Antwerp. Brulin co-founded the avant-garde literary magazines Tijd en
Mens (1948) with Hugo Claus and Louis-Paul Boon and Gard Sivik (1952) with Hugues Pernath and Paul
Snoek. In 1953 he co-founded the Nederlands Kamertoneel in Antwerp and directed its first small
experimental theatre play.
Brulin gained recognition as a playwright after having won the Prize of the Boekenweek (Week of Books)
in Amsterdam in 1953. He was also awarded the Cultural Youth Passport Prize, the Hegenscheidt Prize
of Sabam, the Hustinckx Prize, the National State Prize for Playwrights and the Medallion of Honor of the
Township of Brussels. Continuously looking for further self-development, Brulin traveled the world,
working in Congo, South-Africa, the United States and Malaysia. In 1975, Brulin established TIE 3, the
Theatre of the Third World, the first company in Belgium to assimilate the work of third world artists. The
company developed an engaged multicultural repertory of African and Asian pieces which toured to
festivals around the world.
Elena Fokina
Elena Fokina received her dance training at the University for Culture and the Russian Academy for
Theatrical Arts in Moscow. From 1997 to 2001 she danced with the Russian Chamber Ballet Moscow.
After an audition in Moscow in October 2001 she began working with Ultima Vez for the creation and tour
of Blush. In January 2002 Elena Fokina also danced in the reprisal of What the Body Does Not
Remember. She also participated in the creation and touring of Sonic Boom (2003).
Robert M. Hayden
Robert Hayden began his studies in movement and theatre at the University of New Mexico in
Albuquerque in 1991. Between 1995 and 1996 he was invited to work with the Mexican company
UTOPIA Danza-Teatro. Hayden continued his training throughout these years with a multitude of
divergent disciplines, workshops and forms (yoga, aidkido, contact improvisation, capoeira, crisis
negotiation, massage therapy etc). He also worked with various companies and independent
choreographers including Bill Evans (Albuquerque,) Keshet Dance Company (Albuquerque), Zack Fuller
and Company (New York), Trajal Harrell (New York) and Q-staff under the artistic leadership of Richard
Van Schouwen (Albuquerque). Prior creations with Ultima Vez include Blush (2002) and Sonic Boom
(2003).
Krijn Hermans
Krijn Hermans studied theatre at the Hogeschool voor de Kunsten (School for the Arts) in Utrecht and at
the theatre department Dora van der Groen of the Conservatory in Antwerp. He has been involved in
several projects as an actor/performer for De macabere moord op 15 toneelstukken – Monk (2001)
Sentimenti – ZT Hollandia (2003) and as a text writer for Los (2003), Een krijger valt uit een struik (2004)
while developing his own work.
Milan Herich
Milan Herich studied dance at J.L. Bellu Dance Conservatory, the Academy of Performing Arts in Slovakia
and at P.A.R.T.S in Brussels. During his studies he has been involved in several projects with Zuzana
Haijkova, choreographer of Slovakian Company Dance Studio and in choreographies by Peter Jasko,
David Zambrano and Anton Lachky.
Germán Jauregui Allue
From 1995 to 1998 Germán Jauregui Allue received theatre training in Bilbao. He participated in A
menudo en el bosque by Loïc Touze (Bilbao). At the same time he was active for two years with Jóvenes
Coreografos Vascos, a grant programme for young Bask choreographers. In 1998 Germán Jauregui Allue
began working for Ultima Vez after an audition. He performed in In Spite of Wishing and Wanting (1999),
“Inasmuch as Life is borrowed…” (2000), Blush (2002) and Sonic Boom (2003), and was the movement
assistant during the creation of Scratching the Inner Fields (2001). Germán Jauregui Allue also danced in
the revival of What the Body Does Not Remember during the KLAPSTUK festival 2002. In that same year
he collaborated with his brother Jorge Jauregui and Idoia Zabaleta in the performance El Rato de José.
Jorge Jauregui Allue
Jorge Jauregui Allue started dancing in 1997. He worked with the collectives Moare and Ikutu in Vitoria,
Basque Country. In 2001 he moved to Barcelona, where he participated in several productions by
Damian Muñoz Danza including Las mantiras del entusiasmo, Ansia, 79 pasos (2001) Lecciones de
tinieblas, Tres tristes stripteases (2002) 34 negro (2003). Together with Idoia Zabaleta and Germán
Jauregui Allue, he created the trio El rato de José in 2002. In the summer of 2003, Jorge Jauregui Allue
moved to Brussels to work with Jordi Galí for the project The song of silence and you. He joined Ultima
Vez in 2004 for the revival - in collaboration with the Portuguese Companhia Instável - of Wim
Vandekeybus’ second piece Les porteuses de mauvaises nouvelles. In 2004 he also participated in the
creation of Mujer, a performance by Giovanni Scarcella and Lisa Da Boit/Giolisu.
Linda Kapetanea
Linda Kapetanea received her BA in dance from the State School of Dance in Athens in 1993. As a
recipient of the State Scholarship Foundation of Greece (1996-1998), she moved to New York to pursue
further studies at the Merce Cunningham Studio, Movement Research and Dance Space.
Upon graduating she has worked extensively with numerous dance companies in Greece, most notably
with Sine qua non and Horeftes dance companies, performing throughout Europe. In New York, she
worked with the Swedish choreographer Irene Hultman (1998).
Linda Kapetanea joined Ultima Vez in 2002 and participated in the creation and touring of both Blush and
Sonic Boom. In the last couple of years she has been invited regularly to teach as a guest artist at the
State School of Dance in Athens.
Thi-Mai Nguyen
From 1995 to 1999 Thi-Mai Nguyen studied contemporary dance at the Conservatoire National Supérieur
de Musique et de Danse in Paris. During and after her studies she participated in numerous projects and
performances by various choreographers and companies in France. In June 2000 she participated in a
project by Nadia Bekani in Instanbul. She was accepted at P.A.R.T.S. in September 2000. Shiver, a duo
by Johan Thelander and Thi-Mai Nguyen, was performed during the Festival d’Automne in Paris in
October 2001. Thi-Mai Nguyen joined Ultima Vez in 2002 for the creation and touring of Blush.
Manuel Ronda
Manuel Ronda studied Industrial Design at the University of Architecture in Genova and modern theatre
and dance at the Theaterschool in Amsterdam. From 1994 to 1998 he was an actor for the children’s
theatre Teatro del Piccione in Genova. In 1998 he collaborated with Lindsay Kemp and David Haughton
for the opera The Magic Flute. He performed solo in CYP 17, choreographed by Canadian born Andre
Gingas, at several venues throughout Europe, in India and Canada. In 2004 he collaborated again with
Andre Gingras for The Lindenmayer System. From 2001 until 2003 he worked for Charleroi/Danses PlanK. More recently he was involved in the creation and touring of Zero Point by Angélique Wilkie and Andre
Gingras.
Helder Seabra
Helder Seabra studied dance at the Ginasiano Dance School in Portugal and at P.A.R.T.S in Brussels.
Apart from his formal education, he has attended several workshops, mainly in Belgium and Portugal.
While studying at Ginasiano Dance School, he performed in various projects amongst them those
initiated by Marcelo José, Ana Figueira, Cristina Moura. Between 2000 and 2003 he was involved in
projects with Pedro Carvalho (As Aventuras), Ronit Ziv/Companhia Instável (Undress) and Javier de
Frutos/Companhia Instável (Wade in the water). Helder Seabra joined Ultima Vez in 2004 for the revival
of Wim Vandekeybus’ second creation Les porteuses de mauvaises nouvelles.
Won-Myeong Won
Won-Myeong Won studied dance at the Seoul University of Arts and the Korean National University of
Arts. He has worked with the Korean Sung-soo Ahn Pick Up Group and the Paris based dance company
of Carolyn Carlson before joining Ultima Vez.
Annex 3
PUUR (PURE)
Ultima Vez (Belgium)
R(A)
PRODUCTION CREDITS
THE PERFORMANCE
Direction, choreography, scenography Wim Vandekeybus
Music David Eugene Edwards, Fausto Romitelli
Text P.F. Thomése & Ultima Vez
Created with and performed by Laura Arís, Tone Brulin, Elena Fokina, Robert M. Hayden, Krijn
Hermans, Milan Herich, Germán Jauregui Allue, Jorge Jauregui Allue, Linda Kapetanea, Thi-Mai Nguyen,
Manuel Ronda, Helder Seabra, Won-Myeong Won
Dramaturgy Titus Muizelaar
Assistant to the director Greet Van Poeck
Movement assistant Iñaki Azpillaga
Light design Ralf Nonn, Wim Vandekeybus
Sound design Benjamin Dandoy, Josh Martin
Stage manager Daniel Huard
Styling Isabelle Lhoas, assisted by Frédéric Denis
2nd assistant styling Heidi Ehrhart
3rd assistant styling Céline Gautron
Translation texts P.F. Thomése Elke De Rijcke (French), Sam Garrett (English), Barbara Fasting
(English)
Production Ultima Vez & KVS (Royal Flemish Theatre) (Brussels)
Co-production Singapore Arts Festival, Festival d’Avignon, PACT Zollverein/ Choreographisches
Zentrum NRW (Essen), Théâtre de la Ville (Paris) and Cankarjev Dom (Ljubljana)
With the support of the Culture 2000 Program of the European Union
Ultima Vez is supported by the Flemish Minister for Culture, Youth, Sports & Brussels Affairs and the
Flemish Community Commission of the Brussels Capital Region
THE FILM
Direction & script Wim Vandekeybus
Assistant script writers Bram Van Paesschen, Greet Van Poeck
Director of photography Lieven Van Baelen
2nd cameraman Ruben Impens
3rd cameraman Wim Vandekeybus
Trainee cameraman Marc Goyens
Editing Dieter Diependaele
Sound design Stéphan Dunkelman
Cast Laura Arís, Tone Brulin, Benny Claessens, David Eugene Edwards, Elena Fokina, Robert M.
Hayden, Krijn Hermans, Milan Herich, Germán Jauregui Allue, Jorge Jauregui Allue, Linda Kapetanea,
Thi-Mai Nguyen, Manuel Ronda, Helder Seabra, Wim Vandekeybus, Won-Myeong Won
Laura (old) Joke Muizelaar
Thi-Mai (young) Lula Mangelschots
Won-Myeong (young) Ka-Kin Pang
Benny (baby) Luke Gunstone De Bolle
Benny (newborn baby) Oskar Van Elsen
Extras Ariane Abrath, Nora Alberdi, Galina Baranova, Barbara Beernaert, Lieselot Boone, Pascale
Boone, Marius Boonen, Ugo Boonen, Gijs Brands, Guido Brands, Charo Calvo, Yahya Choua, Wai Shing
Chu, Max Clauwaert, Dayo Clinckspoor, NoaNoa Clinckspoor, Kristof Coenen, Ruth Collier, Dylan Darby,
Denis Davies, Miracle Davies, Stéphane Davies, Issac Davies, Steven De Belder, Don De Borger, Josse
De Borger, Kato De Keulenaer, Marie De Keulenaer, Tomas De Keulenaer, Katleen de Koning, Annemie
De Maeyer, Arthur De Roey, Hilde De Veirman, Celestes de Vlam, Emilie de Vlam, Eran de Vlam,
Frederik De Voet, Michel De Wilde, Lander Debrabandere, Lars Debrabandere, Christopher Decoste,
Diane Decoste, Otis Dehaes, Ghislaine Deroulez, Aumi Derycke, Anselm Eeckeloo, Isa Eko Noer
Mariyatno, Yasmine El Kabli, Kristof Engelen, Helene Erauw, Elena Fandiño, Guilia Fandiño, Annick
Fonteyne, Bart Gabriël, Oona Gabriël, Dana Garcia, Hans Geyens, Arjun Grolus, Johan Grolus, Lisa
Gunstone, Amber Haddad, Ibai Harrison Kerr, Joachim Herten, Flor Huybens, Sabine Huygebaert,
Philippe Janssens, Lore Laleman, Aristo Leenders, Pepijn Leenders, Jacoba Lewyllie, Raf Lewyllie,
Thierry Lewyllie, Sebastiaan Luttik, Jan Machielsen, Tessa Maeckelberghe, Michael Males, Lisa Man,
Avril Mangelschots, Laura Más, Lieve Matthijs, Simon Mayer, Lieve Meeussen, Menno Mertens, Totta
Mertens, Otman Meziane, Mike Michiels, Denis Michotte, Glenn Michotte, Agnes Moors, Ilja Moors,
Jascha Moors, Lewi Moors, Suliman Mushtaq, Bart Nagels, Eko Noer Mariyatno, Indira Nuñes dos
Santos, Jojuca Nuñes dos Santos, Mario Nuñes dos Santos, Ann Omloop, Lena Omloop, Marleen
Palmaers, Rodrigo Pardo, Sonja Peters, Lieve Pieters, Luna Pieters, Maria José Preciado Alman, Jean
Carlos Rambay Villalba, Luna Rous, Adel Sbihi, Yassine Sbihi, Axel Servaes, Linde Seutens, Jef Smets,
Chris Sonck, Marthe Sonck, Cristina Sosa, Lolita Struyve, Stéphane Struyve, Amber Suykerbuyk, Tine
Suykerbuyk, Koen Ubaghs, Stijn Ubaghs, Wouter Ubaghs, Stijn Van Asch, Titus Van de Walle, Michaël
Van den Bon, Noëmie Van den Bon, Patrick Van der Bruggen, Simon Van Laar, Zoë Marie Van Laar,
Ines Van Loock, Robin Van Loock, Jaco Van Robays, Kika Van Robays, Rosalie Van Waeyenberge,
Fernando Vandekeybus, Ivo Vangerven, Ilse Vanroy, Eva Verbeek, Moira Verbeek, Jenghiz Salvador
Verbeke, Jelle Vercruysse, David Verhaeren, Rudy Vermeulen, Tracee Westmoreland, Marita Wuyts
Script supervisor Greet Van Poeck
1st Assistant director Iao Lethem
2nd Assistant director Meikeminne Clinkspoor (trainee)
Assistants to directors Fabienne Beernaert, Rebecca De Backer
Art Director Patrick Clauwaert
Set dressers Daniel Huard, Ralf Nonn
Styling Isabelle Lhoas assisted by Frédéric Denis
2nd assistant styling Heidi Ehrhart
Make-up Catherine Clarinval
Trainee make-up artist Jill Wertz
Special effects Leon Dütz, Florence Thonet
Gaffers Wim Temmerman, Tim Janssens
Electricians Joost Henderieckx, Kim Van Hondschooten
Trainee electricians Simon Baele, Karen Bral, Stéphane Everaert, Sarah Hocquet
Grip Dries Leerschool
Sound engineer Marc Engels
Boom operator 1 Benjamin Dandoy
Boom operator 2 Josh Martin
Location hunter Fabienne Beernaert
Location manager Mark Heijen
Assistant location manager Simon Gerdesmann, Sven Verkissen
Trainee location manager Nina Brozek
Catering De Merode / Koen Theys
Night watch Edward Geers, Sven Goyvaerts, Mathieu Marck, Jeroen Sebrechts
Camera equipment B&L, David Hansenne, Pimpz, TV Connections
Grip equipment KGS
Lighting equipment EFF, Testoff
Filmstock Kodak S8 Vision 2
Laboratory Andec Filmtechnik
Telecinema Studio L’Equipe
Still photography Jean-Pierre Stoop
Post-production manager Bart Van Langendonck
Post-production ACE Editing Facilities
Production manager Emmy Oost
Producer Fabienne Beernaert for Ultima Vez
With the support of the Cultural Actions program of the SACD (Belgium)
The film was shot on location at the Louiza Metro Station (Brussels), Tour & Taxis (Brussels) and Les
Terrils de Sainte-Henriette (Morlanwelz).