Interview Krisztina de Châtel - Podium Hoge Woerd
February 10, 2025
Interview Krisztina de Châtel – Podium Hoge Woerd Magazine. Choreographer Krisztina de Châtel takes you on a journey in the revival of the iconic 1986 performance Typhoon, a dance production filled with power and simplicity, accompanied by the piano sounds of Simeon ten Holt. Exactly 39 years after its world premiere, the production will be revived in co-production with Introdans. We spoke with Krisztina and Roel Voorintholt (Artistic Director) about their expectations, themes, and the creative process behind the performance.
Typhoon by Introdans will be showcased on Wednesday, April 30, at Podium Hoge Woerd. This special performance is not to be missed!
On April 30, Typhoon will be on our stage. What can we expect?
Krisztina:
“Three wind machines are on stage. Five dancers enter with clenched fists, ready to perform to the soft piano sounds (on tape). The first dancer begins with a basic movement that gradually builds throughout the choreography, going from calm to storm. The other dancers follow, and combinations quickly emerge: two against three dancers, four against one, and so on, until they move forward together in unison as a group of five. Soon, their circling arms resemble propellers—an idea inspired by airplanes.”
Roel:
“A fascinating work from Krisztina’s rich repertoire. With minimalist movements, the dancers battle against the inevitable ending.”
How do you feel about Introdans reviving this piece, which you created quite some time ago?
“I was thrilled when I received Roel’s quick and positive response—I could barely believe it. He also secured a performance period in a short time, of course in consultation with his colleagues. He was familiar with my work. For me, it’s truly fantastic that Typhoon is coming back. What also makes it so special is the company’s strong belief and willingness to give other choreographers opportunities. I’m also so happy with the dancers’ quality and with the entire team: they’re committed and incredibly kind.”
The revival of Typhoon comes 39 years after its premiere. Do you think the themes of struggle and movement are still relevant today? Why or why not?
“They are definitely relevant! More than ever, we’re living in a fierce storm. Dance companies are being blown away from the art world. It’s an ongoing battle for creative people to keep going. We constantly face headwinds with strange and unconvincing arguments. But you don’t (easily) give up, just like the dancers, who only stop when the wind dies down, and they’re physically at their limit.”
What does the creative process look like when combining live music, unique sound designs like wind machines, and powerful dance in a performance? In other words, how did everything come together in this production/choreography?
“I had worked with Philip Glass’s music several times before. I personally got to know Simeon ten Holt and was a huge fan of Canto Ostinato. He gave me a lot of freedom in arranging the music. The dance starts quietly, with a single dancer and a hand gesture, evolving with great variety—that was very inspiring. I built the choreography with spatial patterns that constantly change, much like Simeon’s music. This isn’t easy for the dancers. The continuously shifting structures and gradual transitions were all influenced and inspired by the music. The wind machines stay off for the first 20 minutes, but then the wind picks up, softly at first and gradually becoming intense. It’s a physically demanding piece to perform, but over the years, all the dancers have thoroughly enjoyed it.”
How do you balance the physical intensity of the dance with the subtle impact of the music and sound?
“In the beginning, the dancers often perform separately, but as more sounds and variations from the four pianos emerge, they are forced into complex patterns, even though there are only five dancers. When the music becomes very intense, I’ve chosen to respond with subtle movements at certain moments. Always being parallel with the music becomes predictable. Of course, it remains intense—especially with the circling arm movements, which become even more powerful due to the music. Then comes the ending: a circular pattern where the dancers can no longer move against the wind, as if they are being blown away into infinity. Exhausted but satisfied, because they’ve fought a tough battle.”
Can you tell us about the choice of Simeon ten Holt’s music and how it fits the energy of the dance?
“It fits incredibly well, especially the energy of the four pianos combined with the wind machines. However, live music wouldn’t be possible because the wind machines would overpower it. So, there are three competing elements: the dance, the music, and the sound of the machines. It’s precisely this combination and confrontation that gives Typhoon its strength.”
What do you hope the audience will take away from watching Typhoon?
Krisztina:
“That they experience all the elements as a whole and realize that we must constantly strive for harmony, beauty, and coherence in everything that happens to us. With the body and music on stage, we can engage in this struggle, expressing the pursuit of harmony, beauty, and coherence—the same factors we encounter in our daily lives.”
Roel:
“That they allow themselves to be carried away by Krisztina’s minimalist movements and Simeon ten Holt’s meditative composition.”
Who should not miss this performance?
Krisztina:
“Those who are curious about repetitive yet strongly developed and varied dance and music, combined with intriguing wind machines. People who enjoy complexity and spatial confrontations. Those who appreciate concentration and attentiveness. There’s a lot happening, so as a spectator, you need to stay alert and surrender to the music and dance. And, of course, those who admire beautiful dancers and their physical beauty and strength.”
Roel:
“Anyone who wants to drift away without overstimulation!”