About
Set amongst rows of wooden chairs, with a huge chandelier hanging overhead, Broken Chords is a visually striking portrait of breaking up and breaking down by an international, multi-tasking ensemble of performers.
Heartbreaking in its honesty, full of dark humour, sublime dancing and playful theatricality, Broken Chords shifts effortlessly between the bleakly comic and the beautifully tragic, charting the director’s devastating divorce with rebellious and hysterical results.
Teasing the audience at every turn, Broken Chords represents Vincent Dance Theatre’s coming of age as a company that has consistently surprised, challenged and delighted audiences.
Broken Chords was originally commissioned by Sheffield Theatres and the Nuffield Theatre Lancaster and funded by Arts Council England and the Esmée Fairbairn Foundation.
Broken Chords was about the most harrowing yet inspiring transmutation of personal pain into artistic achievement that I have encountered.
New York Times
Credits
Directed and Designed by
Charlotte Vincent
Artistic Director & Chief Executive (She/Her)
Charlotte formed Vincent Dance Theatre (VDT) in 1994 and has directed all the company’s collaborative work to date, on stage and on film. Vincent has also designed the work since 2005 and performed with the company until 2002. Vincent’s distinctive, contemporary choreography ‘stages ideas’ and embeds her own and her collaborators’ lived experience within the work, raising awareness of personal and political issues, breaking down the barriers between professional and non-professional performers and in VDT’s film installation and engagement spaces, between audience and participant.
Vincent is recognised as a sector leader in movement based socially engaged creative practice and creative health, particularly around her work with care-experienced young people and women at risk, championing gender equality and advocating for best practice to support parents and carers working in the performing arts. Her pioneering work on film ensired VDT were ‘covid ready and able to work through Covid and consequently allows Vincent’s work to be purposefully ‘applied’ in non-arts settings as well within conventional arts venues and settings.
Charlotte is an experienced speaker, lecturer and Mentor, working with early and mid-career artists to develop their creative practice and production work. Vincent has also worked as a director, dramaturg, and facilitator for other artists and companies, most notably Two Destination Language (Near Gone, winner Total Theatre Awards for Innovation and Experimentation 2014), Keira Martin (Here Comes Trouble Sadlers Wells Wild Card and Good Blood) and facilitating early R&D for Sue MacLaine’s Can I Start Again Please (2013).
In the past, Vincent has performed and collaborated with Professor Liz Aggiss as V&A Artefacts, curated an inaugural 4-week festival of experimental performance practice, Juncture at Yorkshire Dance in Leeds and co-hosted The Table, a forum to nurture dialogue across disciplines between established female artists with Dr Claire Macdonald. Charlotte sat on the Artists Advisory Group at Yorkshire Dance for several years and Steering Group for Dance UK’s National Choreographic Conference in 2013. Most recently she has been a driving force behind the development of the London Road Network in Brighton, a collaborative group of organisations and individuals working towards deeper interaction between arts orgs and grassroots organisations in one of Brighton’s more deprived areas.
Vincent is Safeguarding Lead for VDT, trained in Trauma Informed Practice, Mental Health First Aid, therapeutic parenting, and First Aid. She completed a Clore Leadership Short Course (2010), the Clore Programme for CEO/Artistic Directors (2011) and Clore Brave Conversations Programme (2013). Vincent is also trained in FA Football Coaching.
Vincent has written chapters and been written about in several Routledge Publications (resources) and PhD’s, and her work Art of Attachment lies at the heart of Dr Cath Lambert‘s imminent publication Troubling Adoption.
In 2023, Dr Vincent gained a PhD in Performing Arts from Canterbury Christ Church University, reflecting on VDT’s socially engaged practice, supervised by Professor Angela Pickard, Director of the Sidney de Haan Centre for Arts and Health.
Dr Charlotte Vincent lives in Brighton with her son, who loves mountain biking, fishing and gaming.
Composed by
Additional music
Lighting Design
Costumes
Dramaturgy
Artistic Associate
Devised and Performed by
Aurora Lubos
Artistic Associate
As an independent artist she created solo performances “Knife, Horse and Stairs.”, “Unfinished” and “Zanzibar”, and installation/performances “Still Alive” (2011) and “Food Cycle” (2011), ” Four corners” (2010), ” .No 1″ (2003), and several short animations “winter 2010”. In 2005 she was nominated to The Rolex Mentor and Protégé Arts Initiative. In the past she has worked extensively with Dance Theatre of Gdansk and Dada von Bzdülöw. She collaborated with Avi Kaiser, Tatiana Baganowa, Jerzy Mazzoll, Bronek Duży. With other three artist Jacek Staniszewski, Oskar Martin and Patrycja Kujawska she co-founded KLM’S Group and created “Te Takie Te”.
Aurora first came across VDT’s work when Charlotte was invited to Gdansk to workshop choreographic ideas as part of the Baltic University of Dance Winter Explosion festival. For VDT Aurora has performed in Caravan of Lies (1999), made and toured Drop Dead Gorgeous (2001), Let The Mountains Lead You To Love (2003), Punch Drunk (2004), Broken Chords (2005), Fairy Tale (2006), Look At Me Now, Mummy (2007), If We Go On (2009) and Motherland (2012-2014). Aurora lives in Poland.
Janusz Orlik
Artistic Associate
Janusz Orlik is a performer, choreographer and dance practitioner.
After graduating from ballet school in Warsaw, Janusz became a student of Brucknerkonservatorium Linz in Austria. During his studies he became a founding member of x.IDA Dance Co. and performed in productions created by Olga Cobos, Peter Mika, Catherine Guérin, Rebekka Murgi, Nicole Caccivio and Charlotte Vincent. Since 2002, Janusz has been a regular member of Vincent Dance Theatre. Simultaneously, Janusz creates his own choreographic works, including “Exérèse monobloc” (2004), “and thy neighbour as thyself” (2006), “Live on stage” (2008), “The Rite of Spring” (2011), “Insight” (2013) awarded by The Minister of Culture and National Heritage of the Republic of Poland for Janusz Orlik and Joanna Leśnierowska for the best choreography granted as part of Polish Dance Platform 2014, “Mute” (2018) and “Koda (a tribute)” (2019). In 2007 he performed in “nothing” by towarzystwo gimnastyczne and in 2009 in “Happy” by Nigel Charnock, in which he was also involved as choreographer’s assistant.
In 2010 Janusz joined Kwaad Bloed Company performing in “Forces”. In 2011 he joined Nigel Charnock + Company to create new work “Ten Men”. In the same year, he collaborated and performed in “Reconstruction” by Joanna Leśnierowska and in 2012 with Gary Clarke performing in “Horsemeat”. In 2013 he began a collaboration with Daniel Landau. In 2014 he performed in “… (Rooms by the sea) from the series Exercises in Looking” by Joanna Leśnierowska, in “Unintended Consequences” by Sjoerd Vreugdenhil, “Back to bone” by Rosalind Crisp and “Collective Jumps” by Isabelle Schad. In 2015 he performed in an excerpt of “Shirtology” by Jérôme Bel. In 2016 he worked as a movement director in “Ojczyzna” (Polish Theatre in Poznań), collaborated and performed in Polish-Brazilian production “Yanka Rudzka Project: Leavining”. In 2018 he collaborated and performed in Polish-Brazilian-Georgian-Armenian production “Yanka Rudzka Project: Polyphonies”.
Janusz is an author of a series of dance and movement workshops “Moved” which in a cyclical form took place throughout 2018 in cooperation with various institutions in Poland. Other works include “High heels” for the ballet ensemble of The Opera House in Kraków, “Alpha” for The Contemporary Dance Scene in Poznań, “Adagio” for the Musical Theatre in Poznań. As well as performing Janusz delivers movement and choreographic workshops in various venues, dance schools and community centres in Poland and abroad. Scholar of the Ministry of Culture and National Heritage of the Republic of Poland in 2011 and 2018.
Explore the production
Photos
A man in a suit tenderly embraces a woman in a black dress on a dimly lit stage. Their expressions convey deep emotion and intimacy against a dark background.
A woman with light face paint and a serious expression holds a cello. She wears a sheer black dress, creating an intense, dramatic atmosphere.
A man in formal attire solemnly carries a woman in a flowing black dress under dramatic stage lighting, evoking a sense of intensity and drama.
Dancers in motion blur leap over stacked chairs under a glowing chandelier on a dimly lit stage, creating a dynamic and surreal atmosphere.
A woman in a flowing dress dances expressively on a dimly lit stage, with shadowy chairs in the background, conveying emotion and drama.
A woman in a dark dress, eyes closed, stands under spotlight with a serene expression. A blurred figure in the foreground hints at a dramatic scene.
A woman holds a microphone, speaking intently, while a man sits beside her with a cello. The dimly lit room is filled with empty wooden chairs.
A woman in a black dress poses dramatically, lit by stage lighting. Her expression is contemplative, with one hand near her face, creating a theatrical atmosphere.
A woman with a serious expression sits in a theatre full of empty wooden seats, wearing a dark dress. The stage lighting is warm, creating a tense atmosphere.
A woman in a black dress is gracefully lifted by a man in a suit among rows of chairs, under a chandelier. The scene is dynamic and theatrical.
A dancer in mid-air leap above a backdrop of stacked wooden chairs, exuding energy and movement. Another person stands in front, looking downward.
A focused violinist playing passionately under dim lighting, with a woman gently guiding her arm. The scene is intimate and intense, conveying cooperation and concentration.
A woman intently plays a violin in the foreground, conveying focus and passion. Behind her, another woman sings into a microphone, adding a dramatic flair. The setting is dark and theatrical, with a subdued and intense atmosphere.
A woman in a dark dress sits on stage with flour on her lap, holding a bowl. Fabric covers her face, creating a surreal and dramatic scene.
Two dancers perform on stage; one lifts the other in an expressive pose. Dark backdrop with stacked chairs. The scene conveys drama and fluidity.
A woman in a dark dress sits in a dimly lit setting, with tissues hanging from her nose, spooning food, conveying humour and absurdity.
A person with a shaved head speaks into a microphone, wearing a rolled-up grey button-up shirt against a dark background, conveying focus and intensity.
A focused woman playing a violin passionately, set against a dark background. Her expression conveys deep concentration and emotional intensity.
A man with a beard and intense gaze sits in dim lighting, wearing a black jacket. The atmosphere is contemplative, with a dark background enhancing the mood.
Two dancers on a dimly lit stage; one gracefully lifts and carries the other, who appears relaxed and trustful. The scene exudes strength and intimacy.
A dancer in mid-air leaps confidently against a backdrop of stacked wooden chairs. He wears a casual shirt and pants, conveying a sense of dynamic movement.
Two actors sit in the foreground, looking serious, while two others sit behind them on a dark stage, creating an intense and dramatic atmosphere.
Dimly lit theatre with a sparse audience; six people scattered among many empty chairs. A warm light fixture hangs above, creating an intimate, sombre atmosphere.
A dancer in a dimly lit setting gracefully tilts her head, eyes closed, with her hand near her neck. The scene conveys elegance and introspection.
A dancer in a dark setting leans back gracefully, arms entwined, creating a dramatic and expressive pose. The scene conveys intensity and emotion.
Concert stage with empty wooden chairs under a chandelier. A person plays the violin on the left while blurred figures leap energetically across.
A person in motion blurs as they move among a chaotic arrangement of scattered chairs in a dimly lit space, creating a sense of urgency and disarray.
Four people stand in a dimly lit theater, facing forward, with an audience of empty chairs behind them. A woman points a prop gun while holding a microphone, creating a tense atmosphere. All are dressed in dark, casual clothing.
Blurred people in motion frantically stack wooden chairs on a dark stage, creating a chaotic and intense atmosphere.
A woman in a dark dress holds a gun to her chest, extending a microphone towards a seated man with a guitar. The scene is tense and dramatic.
A woman with a solemn expression stands in focus on a dimly lit stage, while two men sit on chairs behind her. The scene conveys tension and drama.
Two men wearing grey shirts stand closely on a stage. The man in front speaks into a microphone, while the man behind him leans in with a playful expression.
Two dancers are in motion, with one man lifting the other in a dimly lit performance space. A seated woman watches, surrounded by stacked chairs. The scene conveys dynamic energy and drama.
Two dancers are in motion, with one man lifting the other in a dimly lit performance space. A seated woman watches, surrounded by stacked chairs. The scene conveys dynamic energy and drama.
A woman in a dark dress stands on stage against a black background, with an intense expression. Chairs are scattered around, creating a dramatic atmosphere.
Two male dancers in shirts and trousers lift a female dancer in a dress high above their heads. They are surrounded by a chaotic pile of chairs on stage, conveying a sense of dynamic movement and theatrical intensity.
Four dancers on stage with a sombre tone; one crouches over another lying on the floor. Background features stacked chairs in dim lighting.
A barefoot man lifts a woman gracefully under warm chandelier lights onstage. Two seated figures fade into the dim, moody background.
Press
“An intelligently constructed and emotionally complex piece... an incredibly rich and satisfying journey.”
Jane Vranish, Pittsburgh Post Gazette, 3 May 2010
“The blending of movement, live music, text and humor proved the wit and smarts of the company. Charlotte Vincent showed the ultimate bravery in leaving her broken heart on the stage.”
Adrienne Totino, Pittsburgh Dance Examiner, 3 May 2010
“In two full-evening works, British choreographer Charlotte Vincent matched desperation and humor in equal measure.”
Wendy Perron, Dance Magazine, 18 April 2010
“Rows of wooden chairs fill the stage. There must be over a hundred of them. A huge cluster of lightbulbs pretends to be a chandelier. Two soft chords are repeating: low-high, low-high. Patrycja Kujawska, barefoot and wearing a dark dress, makes her way slowly, bent over, between the first two rows of chairs.”
Deborah Jowitt, The Village Voice, 3 April 2007
“Vincent’s 90-minute dance, performed on Thursday night as part of the Montclair State University’s adventurous Peak Performances series, is astonishingly original in the way it takes the familiar and turns it on its head. In the process Broken Chords shows the subtlety with which expressive movement, choreographed by an experienced and inspired artist, can cut to the heart of everyday reality.”
Jennifer Dunning, New York Times, 24 March 2007
“The vitality of Britain's independent dance scene is a thing of wonder to dance watchers abroad, particularly in America, where there is no equivalent of our Arts Council to help keep small companies afloat. Most weeks of the year the Robin Howard Dance Theatre at The Place hosts productions by those companies, whose work - tiny budgets notwithstanding - is often imaginatively ambitious.”
Jenny Gilbert, The Independent, 19 March 2007
“Broken Chords is hilarious and sad all at once. Amongst all the action, a woman (Aurora Lubos) makes several incompetent attempts to kill herself by various means – once by pulling her skirt over her head and smoking frantically under it, and when this inexplicably fails, ‘hanging’ herself by attaching her leg to a chair, putting her head in a suitcase and kicking the chair away – amazingly, this attempt fails too.”
Ann Williams, Ballet.co.uk Magazine, 30 March 2006
“Vincent pulls off a powerful feat - creating a moving portrait of grief while making us laugh.”
Judith Mackrell, The Guardian, 11 March 2006
“Charlotte Vincent has struck gold with Broken Chords, which unflinchingly charts the collapse of her marriage. This is her break-up album and, hewn from the heart, it’s a work of rare beauty.”
Keith Watson, Metro, 9 March 2006
“Charlotte Vincent (from Sheffield) is also a practitioner of physical theater, but with a far more disturbing emotional range. Her Broken Chords was about the most harrowing yet inspiring transmutation of personal pain into artistic achievement that I have encountered.”
John Rockwell, The New York Times, British Dance Review Edition, 25 February 2006