Sensual, playful and instinctual, 7 Pleasures is an appeal to contagious, liberating hedonism. A feast of the senses where the naked body asserts its rightful place.
They number 12, or maybe one, their naked bodies touching, connecting, exulting. Together, they are movement. A fascinating human tide surges forth alluringly in what looks like an everyday setting. The most basic pleasures assert their rightful place in 7 Pleasures by Danish choreographer Mette Ingvartsen, making her Canadian début. A delightful feast of the senses for an informed audience.
At a time when all sorts of promises of pleasure are on offer, are we masters of our bodies and our desires? With her dozen naked dancers forming improbable constellations, Ingvartsen questions our conditioning and assumptions about sexuality. In an undulating mass of organic matter, dancers pulsate to hypnotic percussion, convulsions, moaning and sensual play. Sexual but far from pornographic, the very lack of seduction is surprisingly subversive; this highly sensuous experience destabilizes. Its meticulously composed beauty elevates nudity to a grand mystery of life.
Produced by Mette Ingvartsen / Great Investment
Concept and choreography Mette Ingvartsen
Performed by Johanna Chemnitz + Katja Dreyer + Bruno Freire + Elias Girod + Gemma Higginbotham (replacing Marie Ursin) + Dolores Hulan + Calixto Neto (replacing Ligia Lewis) + Danny Neyman + Norbert Pape + Pontus Pettersson + Manon Santkin (replacing Sirah Foighel Brutmann) + Hagar Tenenbaum
Lighting design Minna Tiikkainen
Music and soundtrack Peter Lenaerts
Orignal music Will Guthrie including Breaking Bones + Snake Eyes
Set design Mette Ingvartsen + Minna Tikkainen
Dramaturgy Bojana Cvejić
Choreography Assistant Manon Santkin
Lighting design Assistant Nadja Räikkä
Technical directors Joachim Hupfer + Nadja Räikkä
Sound technician Adrien Gentizon
Manager Kerstin Schroth
Production Assistant Manon Haase
Co-produced by steirischer herbst festival (Graz) + Kaaitheater (Brussels) + HAU Hebbel am Ufer (Berlin) + Théatre National de Bretagne (Rennes) + Festival d’Automne (Paris) + Les Spectacles vivants – Centre Pompidou (Paris) + PACT Zollverein (Essen) + Dansens Hus (Oslo) + Tanzquartier Wien + Kunstencentrum BUDA (Kortrijk) + BIT Teatergarasjen (Bergen) + Dansehallerne (Copenhagen)
With the support of Flemish Authorities + Hauptstadtkulturfonds (Berlin) + Danish Arts Council
Research and residency supported by APAP through the support of Culture Programme of the European Union
Presented in association with Usine C
Written by Elsa Pépin
Translated by Neil Kroetsch
Premiered at steirischer herbst, Graz, on September 26, 2015
Mette Ingvartsen (Copenhagen + Brussels)
Audacity, research and transcendence. Mette Ingvartsen, a graduate of the Performing Arts Research and Training Studios (P.A.R.T.S.) in Brussels, opens up surprising spaces in contemporary dance.
The Danish choreographer has performed in pieces by Xavier Le Roy and Boris Charmatz, and creates a sensation with her own works that repurpose choreography, taking it to ever grander, more distant heights. In solos or ensembles or in installations devoid of any human presence, her art of movement may place perceptions and sensations of nature in the spotlight (The Artificial Nature Project, 2012), or take the form of a carnal ode or sensual anthropology (69 positions, 2014). Ingvartsen’s repertoire has attracted much attention in major European contemporary arts festivals over the past 15 years.
Invited to perform for the first time in North America by the FTA, she continues to pursue her research on affects and feelings that she began in her most recent projects – IT’S IN THE AIR, GIANT CITY and evaporated landscapes. The second component of the The Red Pieces cycle, which explores perceptions of the body and nudity, 7 Pleasures questions individual and collective points of physical connection. After 69 positions, a solo where she was nude amidst a crowd of spectators, Ingvartsen now invests sexuality, eroticism and pleasure with power, a vital and rejuvenating force that surpasses conventional imagery. Questioning our free will in a society that incessantly capitalizes and manipulates desire, her new cycle of work invites us to reinvent our ways of being together, to physically form one body.