Ultima Vez / Wim Vandekeybus: Mountains made of barking (programme from the performance)
Vandekeybus' Frantic Picture of Aggression (MF Dnes)

The other performances of Ultima Vez in the Archa Theatre




Ultima Vez / Wim Vandekeybus
Mountains made of barking

A brutal confrontation of music and film.
March 30 and 31, 1995 in the Archa Theatre

Performance
Choreography and directed by: Wim Vandekeybus
Music: Charo Calvo, Yves Delattre, George Alexander Van Dam, Peter Vermeersch
Performing: Inaki Azpillaga, François Brice, Said Gharbi, Mary Herbert, Thomas Lehnhart, Lieve Meeussen, Nienke Reehorst, Florence Rougier, Ana Stegnar, Wim Vandekeybus
Assistant of director: Jan Goossens
Stage Design: Wim Vandekeybus
Light Design: Gerhard Maraite
Costumes: Isabelle Lhoas
Masks: Maggy Jacot
Artistic assistant: Octavio Iturbe
Chief of technique: Gerhard Maraite
Stage Manager: Herman Geys
Sound Design: Lieven Callens


Film
Performing: Said Gharbi, Mary Herbert, Thomas Lehnhart, Abderrahim Asra, Abderzak Asra, Nouh Asra, Abdelaziz Mohamar
Stage design, directed by: Wim Vandekeybus
Director of Photography: Philippe Guilbert
Assistant of Director of Photography: Aliocha Vanderavoot
Sound: Pierre Mertens
Sound Mix: Thomas Gauder
Edited by: Tudi Maerten
Production: Anne Quirijnen
Assistant of production: Abdellah Gharbi, Abdelaziz Mohamar, Tayeb
Postproduction: Rudi Maerten
Produced by: Louise De Neef





Vandekeybus' Frantic Picture of Aggression

The multi-media performance of the Flemish group, Ultima Vez, hosted by the Archa Theatre and entitled Mountains Made Of Barking, definitely did not fill the lovers of graceful movement with enthusiasm. It was full of expressive and frantic gestures, as if the dancers had been struck by a current. Dancer, choreographer and director Wim Vandekeybus depicted the chaos which rules the today's world, putting forth people's aggression. Also, many scenes ended in aggression, and were accompanied several times by ridicule. The girl, who her ears were cleaned, took pleasure in how well she heard, even the most subtle sounds. She was surrounded by the deafening roar of others; naked men, as they carefully washed themselves, were showered with earth.
          But the aggression was not balanced by anything; also the music scarcely left a nervous cacophonic position. That is also the reason why the end was very predicted - not having lost the power, the bland had to run on the end. It is true, only on the film screen, when the blind dancer Said Gharby, whose performance was incredible, killed the hen to appease the head of dog's prey…
          The performance showed other esthetic movements and that was the contribution of this rather one-string performance.

Alex Švamberk, MF Dnes, 1. 4. 1995