21 Years / 21 Works

In 2015 VDT celebrated 21 years of making provocative, collaborative performance work by restaging two live productions Look At me Now, Mummy (originally created in 2008) and Underworld (originally created in 2012), which toured alongside screenings of VDT’s short film Glasshouse (originally created in 1998) and a new Archive & Engagement Space.

The A&E Space was an instruction based, staged environment that encouraged participants to explore props, materials and sketchbooks from past productions as well as delve into newly created online resources and reflections created especially to mark VDT’s 21 Anniversary. 21-years-21-works/”>21 Years/21 Works toured to Warwick Arts Centre in Coventry, Dance Xchange (now Fabric) in Birmingham, Shoreditch Town Hall and Southbank Centre London and Brighton Festival 2015.

Watch Vincent explain the 21 Years / 21 Works Collection below

You can also listen to The Observer Dance Critic / author Luke Jennings and Guardian Dance Critic / author Judith Mackrell discuss the impact of Charlotte Vincent’s work over 21 Years below and on VDT’s YouTube Channel.

Credits

Directed and Designed by

Rehearsa DIrector

Anna Williams

Performer

Azzurra Ardovini

Performer

Robert Clark

Performer

Antonia Grove

Performer

Patrycja Kujawska

Performer

Silvia Mercuriali

Performer

Janusz Orlik

Performer

Phil Sanger

Performer

Josh Wille

Composer

Gavin Bryars

SOund Design

Mic Pool

Production Manager

Mat Ort

SOund Technician

Elb Hall

Videos

A three minute interview with Artistic Director Charlotte Vincent explaining why she put this collection of live and online work together for Vincent Dance Theatre's 21st Anniversary year to be shown across London, Coventry, Birmingham and Leeds.

Photos

Eight silhouetted individuals stand solemnly on a dimly lit stage with spotlights above and smoke in the background, facing rows of empty chairs in the foreground.

Silhouettes of people stand among scattered chairs in a dimly lit room, with a bright light casting shadows and creating a mysterious, contemplative atmosphere.

A dimly lit stage with a large pile of wooden chairs at the center, surrounded by silhouetted figures. Smoke and soft lighting create a dramatic, mysterious atmosphere.

A man in a suit crouches beside a wooden chair on a dimly lit stage, arms crossed, conveying tension and introspection in a misty atmosphere.

A dimly lit stage scene shows a group of actors. One holds a box overhead, another pretends to duck, while a violinist plays. Seated individuals surround a table filled with bottles, creating a dramatic, tense atmosphere.

A dimly lit scene depicts a woman playing a violin in the background. In the foreground, a person weaves threads between two chairs, creating a tense atmosphere.

A person curled inside a large basket with legs stretched out, surrounded by a smoky, dimly-lit room. Two figures in the background create a sombre, introspective mood.

A woman in a floral dress holds a flaming object in a disheveled room. The table is cluttered; her expression is surprised and tense.

A woman in a floral robe stands on a cluttered stage with scattered papers and objects, arms raised in an expressive, dramatic pose. The setting is theatrical.

A dancer strikes a dramatic, expressive pose in a cluttered room, surrounded by papers and kitchen items. The atmosphere is dynamic and chaotic.

A woman in a tattered outfit holds a blue balloon, standing amidst a messy room with scattered papers and objects, conveying a lively, chaotic scene.

Press

“Funny, fearless and flintily determined, Vincent inspires unshakable loyalty in her dancers, and is one of the most important feminist artists working in Britain today. Contemporary dance fans should beat a path to her door. ★★★★ ”

Luke Jennings, The Observer, 15 March 2015

“Given the cultural and financial vicissitudes of the past two decades, it’s pretty remarkable that Charlotte Vincent has kept her own independent dance company running for 21 years… It’s superb performances such as these, as well as Vincent’s own choreography, that have ensured the company’s survival.”

Judith Mackrell, The Guardian, 6 March 2015