Kidd Pivot, Betroffenheit. Photo by Michael Slobodian.

Betroffenheit – SOLD OUT

Kidd Pivot and Electric Company Theatre (Vancouver)

Following three sold-out performances in 2016, the internationally acclaimed and breathtaking Betroffenheit returns to the DanceHouse stage. A creative collaboration between Kidd Pivot Artistic Director and choreographer Crystal Pite and Electric Company Theatre Co-Artistic Director Jonathon Young, Betroffenheit immerses audiences into the world of shock and bewilderment that encompasses us in the wake of a disaster. Don’t miss the rare return of this innovative, boundary-stretching hybrid of theatre and dance.

Winner…

Olivier Award – Best New Dance Production (2017)
The Georgia Straight Critic’s Choice Innovation Award at the Jessie Richardson Theatre Awards (2016)
Outstanding Dance Production – Dora Mavor Moore Awards (2016).
Outstanding Performance in Modern Dance: Jonathon Young – Critic’s Circle National Dance Awards (2016).

 

Post-show Social Sponsor

Cappelleria Bertacchi

Top image: Kidd Pivot and Electric Company Theatre, Betroffenheit, performers (L-R): Jermaine Spivey, Tiffany Tregarthen, Bryan Arias, David Raymond, Cindy Salgado, Jonathon Young © Michael Slobodian.

March 14 – 17, 2018 | 8pm

Vancouver Playhouse

600 Hamilton Street

Runtime

Running time: 120 minutes (with intermission)

Pre Show Chat

Speaking of Dance Pre-show Talk 7:15PM each night in the Vancouver Playhouse Upper Lobby.

March 14: Susan Mertens and Max Wyman
March 15 – 17: Guest: Crystal Pite. Host(s): Susan Mertens/Max Wyman.

Post Show Social

Post-show Social after the performance on Friday night in the Playhouse Salons.

Other Activities

“Betroffenheit is a stunning testament to what can happen when life turns into art.”

Martha Schabas, The Globe and Mail

“…Betroffenheit is not only a timeless portrait of grief and loss, but an unforgettable union of dance and theatre that achieves more than what either would be able to on their own.”

Kelsey Klassen, Westender

“Pite’s special genius is in choreographing the body language of emotion in the distorted, lifting, folding shapes of her dancers’ bodies. In the sharply specific rhythms of trauma and comfort we can read whole narratives of suffering and recovery… The brilliance of this work lies in its refusal to offer any easy insights or promise of redemption.”

Judith Mackrell, The Guardian

About The Company
About the Choreographer
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