I Can See Myself Through Your Eyes

A critical duet

Director and choreographer Cecilia Moisio and vocal improviser Ineke Vandoorn explore systems of power and gaze in their duet I Can See Myself Through Your Eyes. In today’s society, uncensored speech has become a norm and easy digital access has given each individual a voice. These parallels create a challenge, especially as an artist: how do we deal with constant critique? And do we change our behaviour when we know we are being watched?

Typical for Moisio’s work, the performance zooms in on the human psyche from a sociological standpoint, and transfers this to a theatrical form and choreographic space. Vandoorn translates this to music that gives voice to the inner world of both performers. As they exchange practices, they create a new language that incorporates both voice and movement. The result is an original, multidisciplinary experience, dance performance and concert in one, posing the existential question: Are we autonomous people or just a mirrored image of the opinions others have of us?

concept & performance Cecilia Moisio and Ineke Vandoorn dramaturgy Vincent Wijlhuizen music Ineke Vandoorn choreography Cecilia Moisio soundscapes Joni Vanhanen video Mark Thewessen light design Reynoud van der Molen technique Reynoud van der Molen, Bauke Moerman & Jaap Schledorn marketing Marjo van Lijssel & Bora Sirin production & acquisition Hedi Legerstee business management Diana Roos photography Sofie Knijff & Bart Grietens campaign design Esther Noyons registration & trailers Paul Sixta with support of Amsterdams Fonds voor de Kunsten, Prins Bernhard Cultuurfonds, BNG cultuurfonds and Dansmakers Amsterdam special thanks Hofplein Rotterdam

I Can See Myself Through Your Eyes is a production by Stichting Cecilia Moisio.

 

DATES & VENUES

Premiere: 26 January 2018, Theater Kikker, Utrecht, The Netherlands                         TICKETS

                   27 January 2018, Theater Kikker, Utrecht, The Netherlands                           TICKETS

            6 February 2018, Theater Bellevue, Amsterdam, The Netherlands                      TICKETS

       8 February 2018, Schouwburg de Lawei, Drachten, The Netherlands                     TICKETS

15 February 2018, Rotterdamse Schouwburg, Rotterdam, The Netherlands               TICKETS

                15 June 2018, Theater Korzo, The Hague, The Netherlands                                TICKETS

           21-23 June 2018, Theater Rotterdam, Rotterdam, The Netherlands                       TICKETS

       6 July 2018, Theater Bellevue, Amsterdam, The Netherlands                                        TICKETS

 

 

 

“You can feel how deeply critique touches a human being in I Can See Myself Through Your Eyes.” **** (Volkskrant)

” Wonderful performance, meaningful work”  ****  (Theaterkrant)

 

 

ERROR HUMANUM by Cecilia Moisio
Premiere 14 June 2017, Kuopio, Finland

Error Humanum speaks of how failure doesn’t want to be admitted or displayed. Society teaches us to be survivors and winners, that only succeeding is a positive thing. We learn to hide our feelings, become individualists who never needs others. The survival techniques to cope with failure are unfamiliar to us. Can a seeming failure become a success by approaching it in a different way?
Three strong performers manoeuvre at a speeding pace from one failure to the next: they are frustrated, desperate but also amusing. Error Humanum is an ode to our fear of failure and endless incompetence. Error Humanum is a contradiction between our actions and speech, hilarious determination and a fall into disgrace.

Concept, direction and choreography: Cecilia Moisio
Performers: Sannamaria Kuula, Antti Lahti and Lasse Forsgren
Texts: Cecilia Moisio, Sannamaria Kuula, Antti Lahti and Lasse Forsgren
Music: Joni Vanhanen
Light and video: Ainu Palmu
Costumes and props: Ella Suuronen
Decor: Jari Hautamäki
Photography: Petra Tiihonen
Trailer: Kim Saarinen
Production: team and Itä-Suomen Tanssin Aluekeskus
Funded by: Taiteen Edistämiskeskus, Suomen Kulttuurirahasto and Pohjois-Savon Rahasto

 

 

Mommy Issues by Cecilia Moisio 

Mommy Issues, a theatre and dance piece choreographed for the Bytom-based company ROZBARK by Cecilia Moisio. The piece was produced in collaboration with the Institute of Music and Dance as part of the Choreographic Commissions 2016 programme.

Cecilia Moisio’s piece touches upon such issues as love, lies, dependence on parents and letting go of the past. The personal experience of performers starring in Mommy Issuesact as a starting point for Moisio’s story. The stage is filled with rooms in which male dancers interpret various behaviours, emotions and psychological patterns rooted in their family houses.

Mommy Issues is based on the concept of the Oedipus complex, introduced by psychoanalyst Sigmund Freud. This psychoanalytical notion implies a child desires a sexual relationship with a parent of the opposite sex, thus sparking a rivalry with the parent of the same sex as the child. According to the theory, the rivalry stage is vital for the proper development of boys and lays an important foundation for their interactions and relationships in adult life. The Oedipus complex is perceived as the apex of the individual’s drive for success and love.

With Mommy Issues Cecilia Moisio continues her inquiry into psychological patterns within the family structure. She began to work on this issue in 2015 with Mum’s The Wordand the dance film SHE/HER, in which she explored the mother-daughter relationship. In Mommy Issues, Moisio will delve into the masculine perspective, examining how each performer deals with the eponymous question in their own life. What are the repercussions of being stuck in a dysfunctional mother-son relationship? How do men express (or repress) their problems? Can they address their fears and their past, or will they hold it all up within? Text, movement, acting and voice production will be interconnected within a powerful and emotionally charged performance, intended to encourage the audience to contemplate their own familial relationships and the patterns that inform them.

Choreography and direction: Cecilia Moisio 
Performers: Angelika Tomasiak, Artur Bieńkowski, Kamil Bończyk, Szymon Dobosik, Kamil Pilarski, Alexey Torgunakov, Piotr Mateusz Wach
Artistic director: Anna Piotrowska
Music: Joni Vanhanen 
Costumes and scenography: Cecilia Moisio
Light design: Pawel Murlik
Technique: Dastin Greczyło, Marcin Aleksiej, Bartosz Napieracz
Video edit: Mark Thewessen and Aleksander Joachimiak
Trailers: Aleksander Joachimiak
Photos: Krzysztof Kadis

Premiere: 26 November 2016

Length: 65minutes

 

 

OMGYES by Cecilia Moisio

Created for the FAM programme of Tanzmainz, Germany.

In OMGYES two women delve into the sexual psychology of women and the feminine meanings behind the word ‘yes’. What does the word ‘yes’ mean as a concept and for women in a societal context? Admitting to pleasure and your urges is not often allowed for women: How do we deal with this constant conflict between protecting ourselves versus totally letting go?

With OMGYES Cecilia Moisio wants to confront the public with the contradiction of over-sexualising the female body on one hand while totally denying the vulva and it’s biological functions on the other. In our society, women are portrayed as highly sexualised beings that evoke feelings of fantasy and desire that are shown in all aspects of media. But contemporary women don’t want to be seen as victims of  their own gender but want to acknowledge their sexuality as something valuable and individual. OMGYES speaks about these taboo’s and looks at the female sexual urges in an informative, funny, raw and emotional way.

Choreography, direction and text: Cecilia Moisio

Performers: Alessandra Corti and Ada Daniele

Music: Joni Vanhanen

Costumes and props: Lucia Vonrhein

Photos: Andreas J. Etter

Premiere: 19 September 2016

Length: 27minutes

 

 

 

WE HAVE TO TALK

SHE/HER is a film about the balance of power and the deep underlying emotions of a mother-daughter relationship: the uncertainties, manipulation, dependence and ultimately love.

10 minute cross disciplinary dansfilm SHE/HER made by choreographer Cecilia Moisio and director Sonja Wyss and the support of Mediafonds, Fonds voor Podimkunst, NTR, Cinedans.

The leading roles: Lineke Rijxman and Jorijn Vriesendorp. 

Premiere 19 March 2016 during Cinedans Festival in Amsterdam. 

<p><a href=”https://vimeo.com/155369962″>She Her – Teaser</a> from <a href=”https://vimeo.com/sonjawyss”>sonja wyss</a> on <a href=”https://vimeo.com”>Vimeo</a&gt;.</p>

Mum’s The Word, meaning to keep a secret and not to tell anybody, is a performance about mothers and daughters. The complex bond that already starts in the womb, the secrets and the behavior between mother and daughter. In a house full of memories these personal stories are brought to light. Moisio challenges the audience to reflect on the most basic form of love.
Mum’s The Word speaks about taboos like manipulation, jealousy and hidden rivalry. But it also speaks about the intimacy and the emotional inheritance that is passed on from generation to generation and forms a fundamental element of our behavior and our look upon life.

After the successful performances Juxtapose and L.O.V.E. Cecilia Moisio now comes with Mum’s The Word, a full-length dance and theater performance for four generations of female performers.

Cecilia Moisio is artist in residence at the production house Dansmakers Amsterdam. In 2014 she received the Award of the Dutch Dance Festival in Maastricht for upcoming choreographic talent. Mum’s The Word, as part of this prize, will premiere at the Dutch Dance Festival 2015 in Maastricht.

 

      

Premiere 3 October 2015 Nederlandse Dansdagen

Concept, choreography and direction: Cecilia Moisio
Performers: Arnica Elsendoorn, Sylvia Poorta, Soosan Gilson, Katarzyna Sitarz and Yulia Kalinchenko
Video and light design: Mark Thewessen
Set Design: Malin Moisio
Music: Joni Vanhanen
Advice acting: Vincent Wijlhuizen
Artistic advice: Suzy Blok
Technique: Marcel Slagter
Production/tour management: Hit Me Productions​
Publicity: Lisa Reinheimer, Lisette Brouwer
Coach Singing: Ineke van Doorn
Costumes: Margot Koudstaal a.o.
Photography: Jamain Brigitha – Associatives & Jochem Jurgens

 

Supported by De Nederlandse Dansdagen, Fonds Podiumkunsten, Amsterdams Fonds voor de Kunsten, Prins Bernhard Cultuurfonds, Stimuleringsfonds Creatieve Industrie, BNG Bank

 

Sleazy, hard and dirty. This summer Marcus Azzini and Toneelgroep Oostpool will make a big performance for the Parade festival and it’s 25^th jubilee. Partymonster combines theatre, dance, music and performance to give an ode to the night and the perfect high. The piece is based on the infamous Club Kid, Michael Alig who was a provocative figure in the New York party scene of the 90’s. He crated extravagant parties with endless freedom for self-expression that broke all the rules. In the night nothing is impossible until he pushes himself to the limits and murders one of his co- Club Kids. Patymonster will tour four cities during the Parade festival: Rotterdam, Den Haag, Utrecht and Amsterdam

Premiere: 18 June 2015 at Parade Rotterdam

Director: Marcus Azzini

Choreography: Cecilia Moisio

Music: Joost van Bellen

Text: Hannah van Wieringen

Actor: Nik van den Berg

Performance: Dennis Vanderbroeck/Bas Kosters Studio, Anton van der Sluis, Joep Hendrikx

Dance: Luca Cacitti, Johannes Lindh, Lorenzo Capiodeci and Pedro Alves

Photo’s: Sanne Peper

 

 

    

 

Y.E.S.

Y.E.S. is a movement and voice performance that dives into one of our most basic psychological needs: to feel happiness. An emotional rollercoaster through boundless euphoria and our quest to make the positive feelings in our lives last. What do we find when these emotions are magnified and held on to for too long? Does real joy exist without its counterpart, sadness? Y.E.S. is based on a part of Cecilia’s latest evening length piece L.O.V.E. and adapted to the 2^nd year students of Modern Theatre Dance of the Theater school of Amsterdam.

Premiere: 10 June 2015

Choreography and Direction: Cecilia Moisio

Music: Joni Vanhanen & Geert Oddens

Assistants: Karin Frankel & Erin Harty

Rehearsal director: John Taylor

Photo’s: Nellie de Boer

 

 

THIS IS THE END

As a part of ‘Jubel’ – the 25th jubilee performance by Danstheater AYA, Cecilia Moisio, Alida Dors and Giulio D’Anna react on the older works of Wies Bloemen. Cecilia chose Eindtijd (2000) and made her own intake on the subject of death and how this is still a taboo within our society. Repeated ways of dying, an analytical approach to the decay of the body and the intense emotional mourning of another where the theme’s that Cecilia used to make this work. 

 

Premiere: 4 June 2015

Choreography and Direction: Cecilia Moisio

Performers: Regilio Sedoc and Gwen Langenberg

Music: Joni Vanhanen, Mark Lanegan Band, Jelly Roll Morton, Willem Breuker Kollektief

Light: Erik van Raalte

Photo’s: Ben van Duin

 

 

       

       

 

 

 

Explosieve danstaal tijdens Jubel van Danstheater AYA

Resa Oomen- Dans Magazine

In het kader van het 25-jarig jubileum van Danstheater AYA heeft Wies Bloemen drie jonge choreografen gevraagd een dialoog aan te gaan met werk uit het rijke oeuvre van 25 jaar AYA. Deze dansvoorstelling Jubel ging 5 juni in première bij Dansmakers aan het IJ in Amsterdam. Elke choreografie begint met een mondelinge dialoog op het scherm tussen Wies Bloemen en de choreografen. Cecilia Moisio presenteert This is the end, haar interpretatie op Eindtijd (2000). Giulio D’Anna laat zijn interpretatie op Harnas (2013) zien, Har(t)nas, en Alida Dors maakt Bronsttijd (1996) eigen door haar gelijknamige bewerking Bronsttijd. Alle drie zijn ze explosief en met veel humor gebracht.

Cecilia Moisio schudt haar publiek wakker met This is the end

Cecilia Moisio wordt in de dialoog met Wies Bloemen benoemd als een choreografe die het publiek wakker schudt en ongemak bezorgt. Zelf vertelt Moisio dat ze heel theatraal werkt. Ze vergroot emoties uit en laat de dansers snel schakelen om het publiek wakker te schudden. Ze werkt multidisciplinair en combineert haar sterke dansvakmanschap met stemgebruik en acteren. Typerend voor haar dansvoorstellingen is het dynamische karakter met enerzijds de rauwe emoties en anderzijds een strakke, beheerste choreografie.

 

Ik ben wakker geschud door This is the end. Zittend op het puntje van mijn stoel heb ik de dansers een achtbaan aan verschillende manieren van sterven zien beleven. In het begin is het luchtig en worden de doodsoorzaken benoemd door de dansers en direct getoond. Duizeligheid, hartaanval, slangenbeet, kwelling en flauwte zijn oorzaken die zoal worden genoemd en herhaald gedurende de dansvoorstelling. Kerkklokken op de achtergrond maken het soms zwaar. Jaren 20-muziek maakt het weer licht en lachwekkend. Dit terwijl de heftige manieren van sterven steeds worden herhaald.

 

De grote schakels in This is the end waar Cecilia Moisio zo om bekend staat zitten vooral in het immense verdriet van de rouwende die heel snel overgaat naar een lach omdat het leven verder gaat. Het constant herhalen van de verschillende manieren van sterven zorgt dat ik niet om de dood heen kan. Gek genoeg geeft deze dansvoorstelling me, misschien juist daardoor, veel energie. Respect voor de dansers Gwen Langenberg en Regilio Sedoc die een uitputtingsslag leverden door zeer geloofwaardig steeds opnieuw te sterven.

 

Het jubelt van binnen dankzij Jubel van Danstheater AYA

Dansvoorstelling Jubel van Danstheater AYA bestaat uit drie totaal verschillende choreografieën waar ik veel energie van heb gekregen. Confronterend, wakker schuddend en ontroerend. Alle drie met veel verve en energie gemaakt in een explosieve danstaal die blijft hangen. Danstheater AYA kan een prachtige nieuwe productie toevoegen aan een al indrukwekkende lijst. Met Jubel kan het 25-jarig jubileum van Danstheater AYA jubelend gevierd worden.

In L.O.V.E., the new full-feature dance and theater performance by Cecilia Moisio, the main theme is the boundless, euphoric feeling of happiness and love. Cecilia shows us not only how we can lose ourselves in the quest for love, but also to what extent expectations of society and the media affect our love behavior. The viewer is confronted with the questions: do we believe in pure love or do we confuse our love behavior with what we see and hear around us? What does real happiness look like? Has romance become a substitute for love? Can clichés about love and happiness also lead to the actual experience of these feelings?

In L.O.V.E. four performers express their feelings of love and happiness. They try to find their own identity in love by looking for connections with each other and the audience. The popular ‘love song’ plays a central role in L.O.V.E.. Lyrics and vocals are decomposed, repeated and modified by the performers in order to find new meanings.
L.O.V.E. is introvert and vulnerable, as well as confrontational. The feeling of happiness is magnified and glorified, but does too much euphoria and ecstasy eventually lead to its own downfall?

Premiere 9 October 2014

Concept, choreography and direction Cecilia Moisio

Performers Erin Harty/Karin Frankel, Jorijn Vriesendorp, Shay Partush, Lorenzo Capodieci

Trainees short version Lili Kok, Amy Pender, Serano Pinas, Marnix Lenselink

Actingadvice Vincent Wijlhuizen

Artistic advice Suzy Blok, Krisztina de Châtel

Voice coaching Ineke van Doorn

Music Joni Vanhanen

Costumes Samuji, Delikatessen

Light design Vinny Jones

Technique Marcel Slagter

Production Mette Stam and Hit Me Productions 

Photo’s Jamain Brigitha – Associatives and Sigel Eschkol

Co-producers Dansgroep Amsterdam, ITs Festival

Thanks to: Dansgroep Amsterdam, Stichting Imperium, ITs Festival, Ministerie van Onderwijs, Cultuur en Wetenschap, Fonds Podiumkunsten, Amsterdams Fonds voor de Kunsten and the Prins Bernhard Cultuurfonds

   

 

Cecilia made 2 by 2 as a part of Distinguished Dreams project of FASHIONCLASH and Nederlandse Dansdagen. She collaborated with designer Sara Vrugt and she worked with dancers from ArtEZ Vooropleiding Dans Venlo. 

‘We imagine how we must appear to others. We imagine the judgment of that appearance. We develop our self through the judgments of others.’

How doe we mimic the images we see around ourselves on a daily basis? How does this mirroring behavior change our perception of self? Two couples are literally bound to each other, mirroring each other in movement and expression. Wanting to escape but not being able to.  

Music by: Jonne Kuusisto

Photo’s: Team Peter Stigter 

   

“Dit jaar stond naast mode ook dans centraal tijdens het festival. Zaterdag begon de dag met “Distinguished Dreams”. Vijf korte stukken werden gedanst door studenten van Opleiding Dans Maastricht en ArtEZ Vooropleiding Dans Venlo. Deze samenwerking tussen Fashionclash en de Nederlandse Dansdagen was zo tof, niet normaal. Ik heb met open mond gekeken naar ieder zijn optreden. Wat Clean zo mooi vond was dat in ieder stuk kleding, of in elk geval stof, centraal stond. Ik heb het meest genoten van “2 by 2″.” 

– Cleanmag.com

http://www.nederlandsedansdagen.nl

http://fashionclash.nl