Eulalia Ayguade
Rasmus Ölme
Thierry Baë
Douglas Becker
Anne-Marie Blink
Benjamin Boar
Tobiah Booth-Remmers
Dominique Duszynski
Ernesto Edivaldo
Leif Firnhaber
Ori Flomin
Jozef Frucek
Cassiel Gaube
Renate Graziadei
Lance Gries
Julyen Hamilton
Saju Hari
Robert Hayden
Milan Herich
David Hernandez
Roxane Huilmand
Peter Jasko
Hun - Mok Jung
Linda Kapetanea
Matej Kejzar
Martin Kilvady
Kurt Koegel
Anton Lachky
First Name Last Name
Tijen Lawton
Susanne Linke
Renan Martins de Oliveira
Cruz Isael Mata
Piergiorgio Milano
Marielle Morales
Thi-Mai Nguyen
Claire O'Neil
Janet Panetta
Chrysa Parkinson
Shi Pratt
Sten Rudstrom
Arthur Stäldi
Rakesh Sukesh
Milan Tomášik
Armand van den Hamer
Céline van der Haegen
Shosha van Kranendonk
Alexander Vantournhout
Sun Xiao Jun

Alexander Vantournhout


Alexander Vantournhout (Brussels (Be), 1989) studied the single wheel at l‘Ecole Supérieure des Arts du Cirque’ (ESAC) in Brussels. In 2010 he enrolled at P.A.R.T.S (Performing Arts Research and Training Studios), the Brussels-based dance school of Anne Teresa De Keersmaeker.
Alexander created several solos: Caprices (2014), a chorographical circus solo, dedicated to the music of Salvatore Sciarrino. As well as Don’t run away, John (2012), a performance with the musican Niko Hafkenscheid (Meg Stuart, Kopergietery, … ) and did improvisations with Harald Austbo (Heimat, Skagen) like WAK. His recent solo creation ANECKXANDER (cocreated with Bauke Lievens) is laureat of Circus Next 2014.
As an interpreter/ actor he has worked for Rolf Alme (founder of the Norwegian Theatre Academy, Fredrickstadt(NO)) in A Clockwork Orange, Fucking Men (2013) and Alexander will work for Cie Cecilia/Arne Sierens in 2016. Alexander teaches regularly circus and dance at ESAC (since 2013) and ACAPA (since 2010), Tilburg (Nl) and he is also writing a book on circus.


The class will emerge out of a long warm-up; focusing on the complexity of touch/dealing with another body (manipulating ‘dead’ and ‘half-dead’ bodies and reciprocal touch) and ways to fall (the seed from which contact grew in the seventies)

I will propose very specific exercises, where we aim to derive principles rather than forms. The class will switch between my repertoire (known), first-time-tested research, and exercises borrowed from Steve Paxton, Lisa Nelson, Fransesco Scavetta, judo technique…. all woven with my background in circus and acrobatics.

I believe no interaction with another body takes place without understanding, reflecting upon, predicting, improvising… I propose to get deeper into this, and unconsciously this class aims to take contact improvisation a little further….