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Supported by the BNP Paribas Foundation

Muse of Jan Fabre back then, Lisbeth Gruwez made a permanent mark on our minds in the solo devised especially for her (and in much olive oil), Quando l’uomo principale è una donna in 2004.
Before that she had already been involved in other most original adventures of the contemporary Flemish stage, beside Wim Vandekeybus, Jan Lauwers or Sidi Larbi Cherkaoui. Birth of Prey is the second show created for herself by herself in collaboration with composer Marteen Van Cauwenberghe. Onstage, the percussionist and the guitarist build a wall of sound around her; a cage in the centre of which the dancer’s body goes through striking states of bestiality and suppressed violence.
From her huddled up position only revealing her naked back in a circle of light until the trance when she is standing and singing at the top of her voice, Lisbeth Gruwez is sublime. Spellbinding.