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At the same time, Walter Verdin, Octavio Iturbe and Wim Vandekeybus were directing Roseland, a video which places the choreographic works of Wim Vandekeybus in the remarkable setting of a dilapidated Brussels cinema which had been abandoned for the past twenty years. This video was awarded with Dance Screen Award 1991 (IMZ, Frankfurt) and the Prague d'Or. January - February 1 991 : a six-week tour in the USA concluded the trilogy What the Body Does Not Remember, Les porteuses de mauvases nouvelles and The Weight of a Hand. In July 1 991, a new creation Immer das Selbe gelogen was first performed during the SommerSZENE festival, Salzburg, followed by more than 100 performances in most of important European cities, Canada, USA, and for the first time, Ultima Vez was a guest at festivals in Japan and Mexico. This show was a sensitive portrait of 89 year old Carlo Verano and of Vandekeybus' friendship with the man. From

this production onwards, the medium of film took an important place in Vandekeybus' work, in this instance through the images collected on video and film of Carlo Verano. In June 1 992 Wim Vandekeybus and Walter Verdin directed La Mentira, a video-film based on Immer das Selbe gelogen , recorded in deSingel in Antwerp, and in the rough and deserted landscape around Granada in the south of Spain. In January 1 993, Wim Vandekeybus and his company started working on a new creation Her Body Doesn't Fit Her Soul, a performance in which Vandekeybus worked with non-seeing dancers for the first time and which premiéred at the Theatre der Welt festival in Münich on June 25th, 1 993. Part of this production is the projection of the short movie Elba and Federico, which Vandekeybus directed in the same year. The film received the Special Prize of the Jury at the International Filmfestival of Brussels.