Guy Cools

Christel Stalpaert

Hildegard De Vuyst

Introduction / Christel Stalpaert, Guy Cools and Hildegard De Vuyst -- A dramaturgy of stuttering / Guy Cools -- 'An experiment in democracy' : Alain Platel's collaborative dramaturgy / Katalin Trencsényi -- Alain wins a prize / Hildegard De Vuyst -- Being alone together : Alain Platel and the 'disturbance of violent relatedness' in La Tristeza Complice (1995), pitié! (2008) and tauberbach (2014) / Ann Cooper Albright -- Desire amongst the dodgems : Alain Platel and the scene of seduction / Adrian Kear -- Alain Platel's quest for embodied salvation : a musical perspective on C(H)ŒURS / Francis Maes -- Skin tests : views on nicht schlafen / Claire Besuelle -- Platel is a barbarian / Hildegard De Vuyst -- Bernadetje, catastrophes and gestures / Erwin Jans -- Choreic gesture : virtuosic angularity, alterkinetic dance in Platel's Out of context--for Pina / Kélina Gotman -- Staging the precarious : vulnerability and sexual identity in Alain Platel's Gardenia / Miriam Dreysse -- tauberbach, a diagrammatical reading : the body between self and language / Piet Defraeye -- Schizophrenia and resistance : on tauberbach / Jeroen Donckers -- Mourning a Europe in crisis : les Ballets C de la B's En avant, marche! (2015) / Lourdes Orozco -- Troubled pasts and presents, differential futures : Alain Platel's choreopolitics with les Ballets C de la B / Christel Stalpaert -- Offspring / Hildegard De Vuyst, Christel Stalpaert and Guy Cools.

Emotions, Gestures, Politics

The Choreopolitics of Alain Platel's Les Ballets C de la B

Les Ballets C de la B was founded by Alain Platel in 1984. Since then it has become a company that enjoys great success at home and abroad. Over the years, Platel has developed a unique choreographic oeuvre. His motto, 'This dance is for the world and the world is for everyone', reveals a deep social and political commitment. Through the three topics of emotions, gestures and politics, this book unravels the choreopolitics of Platel's Les Ballets C de la B. His choreopolitics go beyond conveying a (political) message because rather than defending one opinion, Platel is more concerned about the exposure of the complexity within the debate itself. Highly respected scholars from different fields contribute to this book to provide an interdisciplinary perspective on the intense emotions, the damaged narratives, and the precarious bodies in Platel's choreographic oeuvre.

Hildegard De Vuyst

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