In 2016 Ton Wiggers and Roel Voorintholt received the Jiří Kylián Ring for their great services to dance in the Netherlands. This was a crowning glory for the work of the Introdans general director and artistic director. So in the programme KYLIÁN4ALL they now proudly present a selection of highlights from the oeuvre of this master choreographer. The family show takes you on an attractive and fun journey through time and through the multifaceted work of the maestro: from theatrical Trompe L'Oeil, by way of the humorous Sechs Tänze, to the amazing Indigo Rose. And as the cherry on the cake, Introdans dances the exuberant Chapeau, a premiere for the company.

Introdans premiere of Chapeau

Jiří Kylián’s Chapeau is a vibrant and celebratory occasional piece. Set to music by Prince, among others, it was made to mark the 25th jubilee of Queen Beatrix in 2005. With this ballet the master choreographer ‘doffs his hat’ in response to everything that the former queen has meant for the Netherlands and for Dutch dance. Here he drew inspiration from her extensive collection of hats, of which about twenty replicas are featured in the choreography. Chapeau is light-hearted, witty and exuberant but with its focus on even the smallest details it also presents a great challenge to even the best dancers.

Trompe L’Oeil

Introdans is the first dance company in the world, after the Nederlands Dans Theater, to acquire the rights to Jiří Kylián’s Trompe L’Oeil. The ballet is a masterful, light potpourri of mime-like scenes, including a dance for wind-up dolls and a duet which makes fun of people who never stop using their mobile phones. Kylián originally made the work for the 40+ ensemble NDT3, but with its bizarre jokes and inventive movement it can be enjoyed by audiences of all ages.

Sechs Tänze

In the absurdist Sechs Tänze, Kylián presents his most playful and exuberant qualities. The choreography is set to Mozart’s Deutsche Tänze and can be seen as an ode to the composer, who in Kylián’s eyes is the ultimate example of someone who, despite an early death, understood life in all its richness, imagination, clownery and craziness. In Sechs Tänze Kylián pulls out all the stops – farcical humour, dusty powder wigs, hooped skirts on little wheels, sweet curtseys and glum pouting lips – in order to emphasise, in line with the spirit of Mozart, that life is actually nothing more than a masquerade or a dress rehearsal for something that should go deeper and should have much more meaning.

Indigo Rose

Indigo Rose is a wonderful insight into the inexhaustible inventiveness and imaginativeness of Jiří Kylián’s movement idiom. This choreography, originally made for the junior ensemble Nederlands Dans Theater 2, seems like a diverse and colourful exercise for young dancers, with Kylián switching with equal ease between Bach and a languid jazz song and between stylised ballet movements and staccato or even hip-hop-like steps. Moreover, the dancers play with their metres-high silhouettes on a large diagonal curtain. But all good things come to an end: the sensitive video portraits at the close of the chorography seem to underline the ephemeral nature of youth and human relationships.


As ‘intermezzi’, two film excerpts from Kylián’ hilarious choreography Birth-Day, set to various compositions by Mozart, are shown in between the ballets in KYLIÁN4ALL. In the first film the dancers Sabine Kupferberg and Gérard Lemaître enter a kitchen in a highly dignified manner, where they then begin making a birthday cake with great bravura and total lunacy. The eggs and flour fly through the air and the way the two treat each other can hardly be described as gentle. In the second film Gioconda Barbuto and David Krügel play a crazy game of pursuit on and around a bed. She wants him, but he obviously has other ideas.