RUSH, a solo performance for Manon Santkin, is a captivating exploration rooted in 20 years of collaboration within Mette Ingvartsen’s choreographic realm. This piece serves as a jubilant commemoration of the two artists’ enduring partnership, elevating the act of performing itself. By revitalizing and rewilding pivotal moments from past works, RUSH envisions artistic practice as a precious wilderness that demands safeguarding—a shared ecosystem crystallizing their collective efforts.
Manon Santkin masterfully revisits and interprets materials and scores from previous performances, weaving them into a narrative tapestry. As a chameleon of movement, her body undergoes transformative shifts, traversing an intimate history while contributing to a broader body of work. The performance interlaces the monstrous qualities from “Manual Focus”, the natural environments of “The Artificial Nature Project”, and the sexual politics of “to come” and “7 Pleasures”, among other works. The interconnections unveil an unexpected chronology, a surge of energy that captures the nuances and joys of performance.
RUSH reflects on the distinctive universes within each creative process. As Santkin forges new passages between past and present, materiality and fiction, and utopia and realization, RUSH invites audiences to immerse themselves in the enchanting evolution of her and Ingvartsen’s collaborative artistry.
https://www.metteingvartsen.net/
Reviews
Fritz de Jong wrote a very positive review about RUSH for the Dutch newspaper Het Parool: “Dance performance RUSH is such a hypnotising solo: one unparalleled dancer is enough.”
RUSH received four starts in Dutch newspaper NRC: “Naked dance and raw primal force during the impressive opening of SPRING-festival”
RUSH was proclaimed the critic’s choice in Theaterkrant (Dutch): “A timeless crash course in reversal of values.”
RUSH was also reviewed in Dutch newspaper de Volkskrant: “For an hour and a half, Santkin leads the viewer through highlights of their oeuvre. With infectious enthusiasm, she depicts opposing scenes, from sexualizing and anonymizing to brutalizing and activating bodies.”
