Ann Van den Broek

After completing her dance education at the Rotterdam Dance Academy, Ann Van den Broek danced with the Elisa Monte Company in New York, Dansgroep Krisztina de Châtel, Galili Dance and Charleroi/Danses. In the ten years she worked as a dancer, she was always researching and developing her own dance idiom, and in December 2000 she decided to dedicate herself to developing her own choreographic work. At this moment she works independently from her own non-profit organizations WArd/waRD vzw ( Belgium ) and, from the end of 2008 established WArd/waRD foundation (The Netherlands) and has she specifically chosen a Dutch-Flemish structure. The choreographies that Ann Van den Broek made the last years are a.o.
FF + REW 60:00, E19 (richting San Jose), Co(te)lette, I SOLO MENT, We Solo Men, Ohm, LIstEn & See (LIES), Solo for Tim (Persent), Kamepa and Domestica. Co(te)lette won the ‘Zwaan’ (Swan Award) for most impressive dance production in 2008. Ann Van den Broek has also received the Mouson Award 2009/2010 for her works. She has also won awards with The Co(te)lette Film during film festivals in Los Angeles, Nicosia, Brussels and San Francisco.

Aside from her work as a choreographer, she is also a teacher and regularly invited to give training courses and workshops that focus on her vision on contemporary dance and her own style.

The Memory Loss Collection is a big project that Ann Van den Broek is working on over the next two years. It means to draw attention to how the brain functions and the effects of memory loss. The project will encompass three new productions and several related events. Blueprint on Memory is the first production in this series, and previously used elements such as live music and the use of cameras will be further explored. The blueprint will literally be visible on the floor and the performers will have to find their way between the cords, cables, pedals and triggers. This complex chaos tests the mental and physical memory of the performers, yet at the same time it gives them something to hold on to in their movements.

A seminal piece in a body of work casts a large shadow and heralds things to come. FF+Rew 60:00 made in 2005 is such a piece for Ann Van den Broek. In this creation five women gradually realize what has happened to them, slowly but surely they become aware of the emotional and physical impact. Bewilderment. Rigid bodies. Turning away reflexively. Turning back. Baffled. A delayed shock.

The shock in FF+Rew 60:00 Revisited is more universal; now there are women and men on stage. Ann Van den Broek also examines how some of the ingredients she has used in her work these last few years – cameras and live projections – affect the old material. So FF+Rew 60:00 Revisited is not a reprise. Ann observes and dissects, uses the theater as a lab. ‘Revisited’ becomes ‘renewed’.

Much of the movement material from FF+Rew 60:00 is characteristic of Ann’s work: masking poses, bouncing, fear, and communicating with gestures. While Ann is heading in the direction of Gesamtkunstwerk which blur the lines between disciplines, she now revisits the period where she laid the foundation of her movement language, emotional minimalism, curious to see how she responds to her old work. 

For her new creation Accusations, Ann Van de Broek collaborates with a very diverse group of performers. In an intriguing, almost endless relay of live movement, image, film, sound, and text, they explore the boundaries between success and failure. Inspired by the text Self-Accusation by Austrian playwright Peter Handke, Ann proceeds from an autobiographical reading and sounds out the boundaries between dance and theatre, concert and performance. The performers draw the spectator into a critical self-reflection and go in search of a better version of themselves. Is the idea that everything is malleable a painful illusion? A performance that questions man and society; examines choices never made, opportunities never taken, desires yet to be fulfilled.

In her latest performances, Ann regularly collaborates with the Flemish band Dez Mona. Lead singer Gregory Frateur interviews Ann about the influence of music in her work. 

In 2011 Ann created the performance Q61 made up of six solo lines moving next to each other. In Korzo’s foyer a niche from the sets of Q61 has been placed where dancer Judit Ruiz Onandi will show one of the solos.  

Ward/waRD celebrates its fifteenth birthday! This company led by the Flemish choreographer Ann Van den Broek achieved success after success with daring, confrontational, and prize-winning performances. The anniversary performance Pushing the Wheel is an intimate memory of the last fifteen years that also eagerly looks forward to the future. Balancing between control and surrender, euphoria and disillusion, self-mocking and hubris, this performance is an unending celebration careening onwards, carrying emptiness as well as hope. Together with cameraman Bernie van Velzen, who will be filming live, Ann Van den Broek will take you on an almost psychedelic trip. With a view fixed on both past and future, the boundaries fade between spectator and performer in the now.

Black. Reassuring, encompassing, safe and intimate. This black is pregnant with movement, full and empty at the same time. Powerful, layered. Bodies in chaos. Bodies in fantasy.

In The Black Piece, Ann Van den Broek uses black as a fil rouge in a dance production that doubles as a dance film. A group of dancers and a cameraman take the audience to the black that constantly attracts, draws attention, intrigues, and takes root. The camera reveals and exposes that which would otherwise remain unseen and unheard. The spectator is constantly set on the wrong foot. Isn’t reality always stranger than you think? Images, light, movement, the soundscape by Arne van Dongen, the voice of singer Gregory Frateur; all this makes The Black Piece a performance that heightens your senses. Enchanting, compelling, and surprising.

The living kitchen is the warm beating heart of Korzo theatre. People eat, cook, and drink here; dancers, actors, and technical staff have meals together before the start of the performance. Preceding the concert of Dez Mona on Wednesday 18 September you can join De Keuken van Ann, a theatrical dinner full of surprises and interesting encounters.

A workshop for dance amateurs that examines Ann’s typical movement language. Based on the rhythms, metres and intentions of the movement material from The Red Piece.

duration: 3 hours


In 2010, Ann Van den Broek created the commanding performance Ohm for the Cover Festival. Ohm was inspired by Mijn solo voor Marie (Vernietigd) by Belgian artist Marc Vanrunxt. We see resistance, loss, action, and tranquillity; a driving relay race without end. In Ohm, Van den Broek strips the extraneous emotions from her work to get to the essence. In an incessantly repetitive dance idiom, three dancers try to retain control over their bodies. Van den Broek spurs them on, stamping rhythmically on a metal plate. Ohm feels like an endless tunnel in an atmosphere of desolation and loneliness. This lasts until the moment a hand rests on a shoulder. Penetrating and topical, Ohm resonates long after the performance.

Fiery, dynamic, and passionate; in her new performance Ann Van den Broek explores the passion present in all emotions, passion that smoulders and ignites. The Red Piece also marks a collaboration with the Belgian band Dez Mona. Gregory Frateur’s exceptional voice is the sound of pure passion. The rhythms made by the six dancers, together with a forceful aesthetic, make for a detailed puzzle of human emotions. A fine opening for Korzo’s new season.

In its first weekend, CaDance opens the doors of the new Korzo theatre. With a special opening program for the theatre and the new performance by Ann Van den Broek, we introduce you to the new building and the future of the dance in the Netherlands.

program at Korzo theater 

19:30 – 20:30 
The Opening
20:30 – 21:00
21:00 – 22:15  Ann Van den Broek – Q61


The new performance Q61 is by one of today’s most successful choreographers: Ann Van den Broek. Her performances Co(te)lette, I Solo Ment and We Solo Men have received nothing but praise. She has many nominations and prizes to her name, such as the Swan Prize for ‘most impressive dance performance 2007-2008’ for Co(te)lette.

With Q61 she concludes a ten-year period of research in which she has brought extreme emotions such as pain, lust, aggression, and fear to the stage. Q61 zooms in on these emotions, themes and developed movements from previous pieces, and proceeds from the point of climax. Three men and three women fight individually, as soloists, within their own cocoon. Swelteringly, but at the same time dismal, Q61 shows the battle, the suffering, the loving; meaningless or filled with hope.



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