Anton Lachký Company
Anton started his career at top speed with the show Ma created by Akram Khan. At barely twenty, he goes around the world and dances in 48 countries. A few years later, he co-founded the collective Les SlovaKs. In three creations, the collective acquires a planetary fame. Anton founded his own company in 2012. Praised and invited by some of the most important institutions, Anton has created some fifteen dance performances over the last ten years.
Anton Lachký was nominated for best choreographer at the Griman Awards in Reykjavik (IS) for Fortunevillein 2018. Cartoonwas awarded by the price of the Culture Minister Alda Gréoli in 2017. Anton was awarded best choreographer at the Griman Award (IS) for A perfect day to dreamin 2013. Anton was nominated for best choreographer in Zagreb for Kids in a play.
Choreography: Anton Lachky
Light and sound design: Tom Daniels
Costumes: Britt Angé
Perfomed by: Angel Duran (SP), Lewis Cook (UK), Patricia Rotondaro (CH), Guilhem Chatir (FR), Hyaejin Lee (KR), Anna Karenina Lambrechts (BE), Ioulia Zacharaki (GR), Maria Manoukian (GR)
Understudy: Maria Manoukian
Production: Anton Lachky Company
Coproduction: La Balsamine Théâtre (BE), CHARLEROI-DANSE/Centre Chorégraphique de la fédération Wallonie-Bruxelles (BE), Step Festival/Migros (CH), Produced with the support the Belgian Federal Government’s Tax Shelter, and La FEDERATION WALLONIE BRUXELLES (BE)
The citizen of Ludum love to wander and get lost into the wild of virtual reality. Filled with an intense joy, they dive head first into this very attractive and fascinating vortex, where the reproduction of reality is so much more addictive and fascinating that reality itself. Their true dreams, their wildest fantasies, come true. Finally, true happiness is at a hand reach! Superb, ravishing dancers suddenly appears. They dance quickly, they seem to set themselves free from the bleak edges of the physical world. They are beautiful, powerful, immortal. The realm of reality seems to extend, unfold, and reach an infinite horizon. Playing with the limits between what is possible and what is not, to the point of dissolving them, raises questions. What will happen to Ludum and its inhabitants? At a time where the virtual and the real generates each other, are we still able to distinguish them? Are we still equipped with such a thing as a “sense of life”?