(b Herentals, Flanders, 1964)
Belgian dancer, choreographer, film-maker, and company director. He studied psychology at the University of Leuven, before turning to theatre and film. He worked for two years with the theatre director Jan Fabre (with whom he would later collaborate on Body, Body on the Wall, 1997) and in 1985 founded his own company, Ultima Vez. Two years later he premiered What the Body Does Not Remember (mus. Thierry de Mey and Peter Vermeersch). The work's raw athleticism, its high impact partnering and apparent risk–taking (the dancers hurled bricks) established Vandekeybus at the forefront of a new genre of extreme dance theatre. His subsequent works have tended to use an equally visceral dance language and have often incorporated film and text to explore intense emotional themes, including blindness (Her Body Doesn't Fit Her Soul, 1993), death (In As Much As Life Is Borrowed, 2000), and eroticism (Blush, 2002, filmed 2003). Vandekeybus was artist in residence at the Royal Flemish Theatre in Brussels (1993–99) and Ultima Vez were company in residence at the Teatro Comunale di Ferrara (2000–2). For Batsheva Dance Company he choreographed Exhaustion from Dreamt Love (1996). Other works for his own company include Les Porteuses de mauvaises nouvelles (1989), Immer das Selbe gelogen (1991), Mountains Made of Barking (1994), Bereft of a Blissful Union (1996), 7 for a Secret Never to be Told (1997), In Spite of Wishing and Wanting (1999), and Sonic Boom (2003, in collaboration with the Dutch theatre group Toneelgroep Amsterdam). Since 2002 he has additionally worked on children's projects including Bet Noir, an adaptation of the Oedipus myth.
http://www.ultimavez.com Website for Ultima Vez