The urgent quality of myth lies in its potential for creating clarity in the mechanisms of a classic conflict. Not by what the myth portrays, but by what it doesn’t. Free from the daily interference of news bulletins and opinions, myths offer insight into humanity in its purest form. It’s those archaic souls of ours that can’t get used to modernity and still turn things upside down today.
Wim Vandekeybus’ fascination with the universality of antique myths started with the figures of Orpheus and Eurydice in Blush (2002). His new creation TrapTown transports you to a parallel universe, free from defined time and space. Age-old conflicts dominate, the necessity and (im)possibility of emancipation rise to the surface. For this mythology of dance Vandekeybus set to work with writer Pieter De Buysser and a legion of Ultima Vez performers. The performance is underscored by a filmic soundtrack by Trixie Whitley and Phoenician Drive, transporting the audience past oracles, melancholy, purgatory and euphoria.