Natieven 1989
The first professional production was immediately a very successful one. Consisting of a remarkable tableau of three dancers, two singers, and five pigeons the performance generally deals with the concept of love. In this early work, the paradox of dependency versus freedom is absurdly portrayed by comparing the love of women with the love of birds.
The first part or prologue has been inspired by the story of the phoenix and was performed separately during the Dutch choreography competition in Groningen in 1990. It won the Prize of the Audience. The prologue Natieven has since been revived in an elaborated cast of five dancers and presented by students of the Dance Academy in Rotterdam in 1993 and 1999. In 2003, it became part of the repertoire of Durban based Phenduka Dance Theatre in South Africa which was performed in cultural centers, in townships, and other venues.
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La Forteresse 1991
Inspired by notions about filmmaking of the French cineaste Jean Luc Godard, La Forteresse seeks to translate the informal and transparency of dance to theatre. There is no story line, only a fundamental concept to built different ideas about dance on. The novel Women in the Sand by Kobo Abe and the famous film adaptation of the novel, serve as guidelines for different images dealing mostly with the both vigorous and intimate clash between the sexes. Cryptic text, live-music and one hundred sandbags set the tone, which is reflective rather than imaginary.
Reviews
Natieven
"With Natieven Feri de Geus creates a strong performance"
"...The three [men] with naked torsos perform an amazing choreography on the small surface of wooden pillars, self-assured and powerful..."
"...After a few minutes African rhythmic voices appear and the movements become richer in variation and the rhythm accelerates. The three leave their small surface to meet each other in the theatre space. The atmosphere between the men is challenging, cheeky and a bit homo-erotic..."
"...One of the female singers hangs upside down on the neck of a male, singing 'Ein Freund, ein guter Freund, das ist das höchste was es gibt auf der Welt'. But these men are trying to find their own way and are not waiting for (these)women..." Volkskrant, Gerdie Snellers, November 1989
La Forteresse
"Lively eruptions of energy, silent modesty, supple cat-like movements: a dynamic stage set full of surprising turns. Breathtaking are the risks the dancers take: a timing in fractions of seconds."
Brabantia, Frans Mulder, May 1991
"There is a lot of talking going on. They encourage, challenge, instigate and fool one another constantly. The playfulness in which this takes place is refreshing: a frolicsome gang. The tempo is fast and the timing sharp".
Telegraaf, Chris Houtman, 7 June 1991
"With Natieven Feri de Geus creates a strong performance"
"...The three [men] with naked torsos perform an amazing choreography on the small surface of wooden pillars, self-assured and powerful..."
"...After a few minutes African rhythmic voices appear and the movements become richer in variation and the rhythm accelerates. The three leave their small surface to meet each other in the theatre space. The atmosphere between the men is challenging, cheeky and a bit homo-erotic..."
"...One of the female singers hangs upside down on the neck of a male, singing 'Ein Freund, ein guter Freund, das ist das höchste was es gibt auf der Welt'. But these men are trying to find their own way and are not waiting for (these)women..." Volkskrant, Gerdie Snellers, November 1989
La Forteresse
"Lively eruptions of energy, silent modesty, supple cat-like movements: a dynamic stage set full of surprising turns. Breathtaking are the risks the dancers take: a timing in fractions of seconds."
Brabantia, Frans Mulder, May 1991
"There is a lot of talking going on. They encourage, challenge, instigate and fool one another constantly. The playfulness in which this takes place is refreshing: a frolicsome gang. The tempo is fast and the timing sharp".
Telegraaf, Chris Houtman, 7 June 1991