55

A gem of fragile beauty with a rationalist approach.

“A sober and pure debut”, wrote De Standaard about the first choreography of the young Moroccan-Belgian dancer Radouan Mriziga. The solo 55 seems simple but consists of an ingenious movement language. A dance phrase is always repeated, which leads to a game full of subtle variations that continuously surprise your eyes. In the second part of 55 Mriziga uses his body as a measuring instrument : his arm becomes a pair of compasses, his leg a ruler, points are fixed on the floor with chalk, tape connects them to a complex geometric pattern. Like Da Vinci measured with his 'Uomo Universalis', Mriziga takes the measurement dancing in a sober but rich and sensual choreography built around the figure 5. 55 is a gem of fragile beauty with a rationalist approach.

Mriziga : “I go in search of functionality and the form functionality can take. 55 is an almost architectural approach. A lot of dancers are interested in architecture. I myself am especially influenced by the Maghreb school (the geometric approach) but at the same time I love Western minimalism very much. In 55  I question myself as a performer ánd a maker. What happens when I have no work instruments at my disposal ? No scenography, no theatre lighting, no video, no music, no money ? How can I still make something interesting that captures people's attention ?

Radouan Mriziga followed dance training in Marrakech and Tunis before continuing his education at P.A.R.T.S., the school of dance of Anne Teresa De Keersmaeker. After graduating in 2012, he danced a.o. in the performance Half Elf Zomeravond of Bart Meuleman at Toneelhuis, in Primitive by Claire Croizé and in Re:Zeitung, a remake of the well-known Rosas piece. Mriziga was artist in residence at Moussem Nomadic Arts Centre and will be artist in residence at Kaaitheater from 2017 to 2021. His first group piece 3600 is also to be seen at NEXT.