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Ultima Vez received numerous applications form the Jardin Hungarian artists Dorottya Uljszászi, nominated by Workshop Foundation. The d’Europe partners for this workshop with Jorge Jauregui and chose the
participants explored Wim Vandekeybus' movement language through floor work, contact- and partner work and movement as a 'theatrical act' rather than as a 'technique'. The extensive warm-up was followed by some floor work and exercise for strength and combinations. The second part was dedicated to
individual work. Ultima Vez covered accommodation, per diem, travel as well as
the workshop fee.

The participants were made familiar with the vocabulary of the international acclaimed dance company Ultima Vez from Wim Vandekeybus, e.g. of partner and floor work. Jorge Jauregui introduced the 15 dancers to some
improvisations, duets and situations from the repertoire as well. Besides the acquirement of technical dance skills, Dorotta Uljszászi could profit from the exchange with international dance students and get an insight into the working methods and of the Belgian dance company.

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feedback report Dorottya Uljszaszi

It was a very special experience to travel to Brussels to Ultima Vez studio at Borrens Straat and rehears at the same studio where the company and Wim Vandekeybus work day by day. Specially because Ultima Vez represents one of my favourite styles that I have also been trying to develope in my own works with the same natural and physical idea. Furthermore, I consider it a priviledge that I could learn from the best dancers. During my professional career I have learned many modern dance styles − mostly about technical dancing. This workshop was very different, and I was already thirsty for this kind of simple but at the same time very professional work.

The workshop lasted from 10 am till 15.30 pm, divided into two parts with a short lunch break in the middle. Usually the firts part was warming up, floorwork, some excersises for strength, and some combinations. The second part was more about individual work. Some improvisations, duettes, or situations from the repertoire.

Jorge was very cool and easy but at the same time he pushed us hard to feel where our limits were. He built up the workshop with great care from the first day till the last. We never did exactly the same warm up exercises, he took our tireness into consideration, and each day we worked gradually from easier to more difficult tasks. Each day finished at the same level or even on a higher level. He motivated us very well.

The only criticism that I can think of concerns the group itself. They were all very nice people, but the distance between the technical of the participants was very big. I think it would have been better for everyone to work with dancers who are at similar techinal levels, specially since for some applicants this was the first time that they took part in a dance workshop. Being at different levels can be very dangerous sometimes and lead to injuries when we do groupwork. But after a few days everyone found an appropriate partner, including me, and I hope we will find the way to create something together in the future.

The secretary was very helpfull, and my accomodation was also very comfortable, even if it was a room of a family. They were very kind and flexible people, both of them artists with similar interests and lifestyle.

 I wish to thank everyone who helped me to get this scholarship to Jardin d’Europe, and the Ultima Vez, from my country to Workshop Foundation. It opened up a lot of possibilities for me, and gave me a lot of energy to go on with my own work. It was very fascinating to realise how active dancelife is in Brussels with all its facilities, even during the summer holidays. I would love to return during school-year to exploit all the advantages.

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