Seven women race over the stage like vultures, wild horses or wolves. They fill a miraculous fairy tale-like darkness with movement. They bury themselves in the earth, withdraw frightened into roughly built housings and build fires against their fears. Thousands of spirits seem to fill this stage with them. Thousands of spirits and a thousand movements, and the audience can decode very few of them.

Breathlessly they spin a web of prophesies, magic words and wild calls on the stage. Passages from the story »Zwellend Fruit« of the Belgian writer Peter Verhelst fill the room between insane gyrations and cryptic games. A text from the depths of the myth. »They say it will rain incessantly. The others say: fairy tales come true.« Of course, the topic of female intuition is in danger of being close to a cliché. But, here it is successful at maintaining a balance between the demonstration of the »mystery of the feminine« and immersing oneself lightning-quick in irony to destroy the cliché with humour.

»Vandekeybus disturbs the audience with his wild women who literally perform witches dances, coarse, unbelievably fast and no-holds barred. There are no moments of tender convergence. They don’t hug here, they fight« (Alexandra Albrecht, Weser-Kurier, 12.03.2001).

Wim Vandekeybus is among the outstanding representatives of the Flemish avant-garde in the theatre. He should be mentioned in one breath with de Keersmaekers, Platel, Fabre and Lauwers. In his latest work, he takes a step away from compact images to a fascinating network of dance, symbolic action and playing. A glance in the depths of the soul of the human body that one cannot experience, but feel them at best.

Wim Vandekeybus was born in 1963. He began studying psychology, although he spent more time at theatre, dance and photography. An audition with Jan Fabre brought the breakthrough to the theatre. After working with Fabre for two years, he founded his own Compagnie Ultima Vez in 1987. In the following years there were the dance productions »What the Body does not remember« (1987), »Her Body Doesn’t Fit Her Soul« (1993, where Vandekeybus worked with blind dancers for the first time), »Exhaustion from Dreamt Love« (1996, for the Batsheva Dance Company) and »Body, Body on the Wall« (1996, a Vandekeybus solo, written and directed by Jan Fabre).