

Toured in the UK and Europe from June to October 1995, and Australia in March 1996.
Revived in 1997, and toured to the USA, Canada and France from September to November.
Re-revived in 1998, and toured in Europe, Northern Ireland, Russia and Japan from August to December.
world première ..... 7th June 1995 ..... Vienna Festwochen, Vienna, Austria
UK première ..... 15th September 1995 ..... Newcastle Playhouse, Newcastle
run time ..... 75 minutes, no interval
C O - P R O D U C E R S
Co-produced by Wiener Festwochen and the Royal Festival Hall with Dance Umbrella,
with a contribution from Bayerische Staatsoper/Labor, Bayerische Staatsschauspiel/Marstall
The 1997 revival tour was funded in part by a grant from the New England Foundation
for The Arts with major support from the National Endowment for The Arts (USA).
DV8 acknowledges the support of The British Council for its overseas touring.
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C A S T + C R E W
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Original Production
directed by ... Lloyd Newson
assistant director ... Liam Steel
performers ... Gabriel Castillo, Jordi Cortez Molina, David Emanuel, Ross Hounslow, Jeremy James, Juan Kruz Diaz de Garaio Esnaola, Liam Steel, Robert Tannion
set design ... Ian MacNeil
composer ... Adrian Johnston
lighting design ... Jack Thompson
costume design ... Christopher Oram
design assistants ... Tim Sykes, Paul Atkinson
production manager ... Steve Wald
stage ... John Burgess, Matthew Cole
sound ... Mike Casey
lights ... Jack Thompson
production electrician ... Paul Colley
set construction ... Simon York and Miraculous Engineering
additional engineering ...
Delstar Engineering Ltd
tour manager ... Louisa Watkins
general manager ...
Leonie Gombrich for Artsadmin
UK publicity ...
Judy Lipsey at Poole Edwards Ltd
assisted by ... Jo Jenkins
UK graphic design ... Jane Joyce
photography ... Max Jourdan,
Jane Joyce, Gadi Dagon
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1997 Revival
directed by ... Lloyd Newson
performers ... Gabriel Castillo, Paul Clayden, Ross Hounslow, David McCormick, Liam Steel, Robert Tannion, John Paul Zaccarini
set design ... Ian MacNeil
composer ... Adrian Johnston
lighting design ... Jack Thompson
costume design ... Sam Mealing
sound design ... Mike Casey
design assistant ... Tim Sykes
production manager ... Steve Wald
senior stage manager ... Matthew Cole
technical stage manager ... Adrian Peacock
sound operator ... Mike Beer
production electrician ... Ivan Morandi
set construction ... Simon York and Miraculous Engineering
additional engineering ...
Delstar Engineering Ltd
tour manager ... Delia Barker
general manager ...
Leonie Gombrich for Artsadmin
project administrator ... Katie Judge
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1998 Re-revival
directed by ... Lloyd Newson
assistant director ... Liam Steel
performers ... Mike Ashcroft, Gabriel Castillo, Paul Clayden, Chris Haring, Ross Hounslow, David McCormick, Robert Tannion, John Paul Zaccarini
set design ... Ian MacNeil
composer ... Adrian Johnston
lighting lesign ... Jack Thompson
sound design ... Mike Casey
design assistant ... Tim Sykes
production manager ... Steve Wald
technical stage managers ... Will Harding, Alastair Mcleod
sound operator ... Mike Beer
chief electrician ... Dexter Tulett
production assistant ... Joanne O'Connor
set construction ... Simon York and Miraculous Engineering
additional engineering ...
Delstar Engineering Ltd
tour manager ... Matthew Cole
general manager ... Leonie Gombrich
project administrator ... Katie Judge
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special thanks to ....
Claire Anderson, Scott Clark, Alban Curran, Bianca van Dillen, Gloria, Tony Gordon, Robert Hale,
Andrew Howarth, Wendy Houstoun, Kate Mayne, Chris and Willy, Dorothea Pelham, Eva Pepper, Simon Watney,
White Light (Electrics) Ltd, Matt Costain, Joep Winters, Eric at the Warehouse,
DV8's dedicated and hardworking Board of Directors.
and thanks to ....
Dance Productions in association with New Moves in Glasgow for providing research time and space.
We are also grateful to the dancers involved in the research period for their contributions.
In particular we would like to thank Tom Ward for his participation, which extended
into the beginning of rehearsals.
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T O U R D A T E S
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Original Production
SLOVENIA
... 30th May - 1st June 1995
... Cankarjev Dom, Ljubljana ... PREVIEWS
AUSTRIA
... 7th - 11th June 1995
... Wiener Festwochen, Vienna
GERMANY
... 22nd - 24th June 1995
... Künstlerhaus Mousonturm, Frankfurt
CZECH REPUBLIC
... 30th June - 1st July 1995
... Archa Theatre, Prague ... Tanec Praha
THE NETHERLANDS
... 7th - 10th July 1995
... Stadsschouwburg, Amsterdam ... Julidans
GERMANY
... 14th - 16th July 1995
... Theater im Marstall, Munich
ISRAEL
... 22nd - 26th July 1995
... Performing Arts Centre, Tel Aviv
GERMANY
... 4th - 6th August 1995
... Hebbel Theatre, Berlin ... Tanz im August
UK
... 15th - 16th September 1995
... Newcastle Playhouse, Newcastle
UK
... 20th - 23rd September 1995
... Arnolfini, Bristol
UK
... 27th - 30th September 1995
... Royal Northern College of Music, Manchester
UK
... 9th - 10th October 1995
... Oxford Playhouse, Oxford
UK
... 13th - 14th October 1995
... Festival Theatre, Edinburgh
UK
... 18th - 21st October 1995
... West Yorkshire Playhouse, Leeds
UK
... 27th - 30th October 1995
... Queen Elizabeth Hall, London
AUSTRALIA
... 12th - 17th March 1996
... Playhouse, Adelaide ... Adelaide Festival
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1997 Revival
FRANCE
... 28th - 29th September 1997
... Le Vulcan, Le Havre
... octobre en normandie
CANADA
... 8th - 11th October 1997
... Premiere Dance Theatre, Harbourfront Centre, Toronto
USA
... 14th - 15th October 1997
... Ted Mann Concert Hall, Minneapolis
... presented by Walker Arts Center
USA
... 21st - 22nd October 1997
... Thurber Theater, Wexner Center,
Columbus, Ohio
USA
... 30th October - 2nd November 1997
... Freud Theater, UCLA Center for the Performing Arts, Los Angeles
USA
... 6th - 9th November 1997
... Yerba Buena Center for the Arts,
San Francisco
... presented by San Francisco Perfomance
FRANCE
... 20th - 22nd November 1997
... Maison des Arts de Créteil, Paris
... Festival d'Automne
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1998 Re-revival
DENMARK
... 13th - 16th August 1998
... Kanonhallen, Copenhagen ... PREVIEWS
... Københavns Internationale Teater
SWEDEN
... 21st - 23rd August 1998
... Pulsterviksteatern, Göteborg
... Göteborg Festival
GERMANY
... 28th - 29th August 1998
... Kampnagel Fabrik, Hamburg
... Hamburg Summer Festival
FINLAND
... 4th - 6th September 1998
... Kaapelitehdas/Cable Factory, Helsinki
... Helsinki Festival
RUSSIA
... 10th - 11th September 1998
... Mariinsky Opera & Ballet Theatre, St Petersburg
... funded by The British Council
FRANCE
... 18th - 20th September 1998
... Château Rouge, Annemasse
... Geneva Festival "la bâtie"
SPAIN
... 30th October - 1st November 1998
... Theatre Nacional de Catalunya, Barcelona
ITALY
... 6th - 8th November 1998
... Teatro Olimpico, Rome
... Roma Europa Festival
FRANCE
... 12th - 14th November 1998
... Maison de la Danse, Lyon
UK
... 18th - 21st November 1998
... Stranmillis Theatre, Belfast
... Belfast Festival at Queen's
JAPAN
... 4th - 6th December 1998
... Seishonen Centre, Yokohama
... Kanagawa Festival
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O R I G I N A L T E X T
written in 1995
What does it mean to be 'A Man'? DV8's next project [ Enter Achilles] intends to look beyond issues of sexuality to the fundamental question of what constitutes masculinity. Our premise is to show how feelings, thoughts and actions deemed to be 'unmanly' are hidden by men only to manifest themselves, albeit subliminally, in other ways. What are the compensating actions that men take when they deny their feelings?
'Unmanly' behaviour is often considered threatening, particularly by those who uphold rigid precepts of how men should behave. Why should non-conformity produce so much abhorrence and fear? Perhaps it reflects the fragility of masculine identity which has traditionally been about control men controlling themselves and therefore needing to control others. Men have historically oppressed women, but the question explored in DV8's new work is: how oppressive have men been to themselves?
Through dance, DV8 will review male interactions. Using public bars as a starting point, we will look at how the pint, shared between men, can become a metaphor for bodily fluids / our life source, and how the qualities of the glass (the pint) can represent our rigidity, fragility and transparency. By juxtaposing the elements of intoxification/sobriety, soft/hard, straight/curved, beautiful/violent, we hope to discover the commonality that could bind men together rather than set them against themselves and one another.
This work will present itself as a poetical (movement) response, embracing the complexities and contradictions of the above ideas rather than reflecting didactic theories. The piece will concentrate on the personal in relation to stereotypical images, drawing on the individual experience, personality and movement vocabulary of each of its performers.
Lloyd Newson
H A N D B I L L C O P Y
written in 1995
DV8's new project [ Enter Achilles] looks beyond the issues of sexuality to the fundamental question of what constitutes masculinity. Why do men police each others' behaviour, ever-ready to detect and eliminate unmanly activity, be it through ridicule, intimidation and/or threat? Why should non-conformity produce so much abhorrence and fear?
"In men's silence there is always the possibility of violence, infecting men's social relationships with an element of wariness. Under such conditions, what men will not allow in themselves they must deny in others." Rutherford Men's Silences
The straightjacket of masculinity defines itself in "don'ts": don't walk like that, don't talk like that, don't wear particular clothes or colours, don't show certain feelings. It's not that men don't express feelings it's just that the feelings they show are often not the ones they actually feel.
Is it a problem? Or is all this just a series of gross generalisations?
Questioning the boundaries between the personal and the stereotypical, DV8 place eight men in a pub for a night and play the thin line between reality and fantasy and ask you to tell the difference.
Men have historically oppressed women, but how oppressive have they been to themselves and one another?
Lloyd Newson
R E V I V A L T O U R S
written in 1997
"Work of genius that resonates with relevance to the human condition." The Scotsman
"DV8 must be the most exciting dance group in the world at the moment." The Age Melbourne
Hate dance? ... So do the guys in Enter Achilles. Ever been to a British pub? Ever drunk 18 pints of beer at once? Ever wanted someone who could hurt you? Do you own a sex doll? Do any of your friends? Would they tell you if they did?
DV8's Enter Achilles exploded onto European stages two years ago, shoving pub culture, spitting and pissing, into the rarified and pristine face of contemporary dance.
Questioning the boundaries between the personal and the stereotypical, DV8 place eight men in a pub for a night and play the thin line between reality and fantasy and ask you to tell the difference.
"I remember something a woman I was going out with had told me a week or two before: that she didn't think men ever made lasting friendships .... 'You think you're talking about something else when you're talking about guitars and car engines and all that shit,' she told me, 'but really you're just talking about guitars and car engines.' " Details
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