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Hans van Manen timeline

Hans van Manen has created over 150 choreographies, including his television ballets. His work is performed by more than 100 dance companies worldwide. This timeline provides an overview of his life and his most significant works. For a complete list of all his choreographies, click here

Han and Lex in Twilight

1970-1979

1970

Situation
Situation | Photo: Jean Paul Vroom

Situation

For Van Manen, the seventies start immediately with a hit: Situation – an unusually expressionist ballet for him. For this work, he deliberately opts not for music, but for irritating sounds, like a volley of gunshots, the roar of fighter jets and the whine of mosquitos. “Because”, says Van Manen, “the whole ballet is about aggression and violence.” 

Situation

Situation

For Van Manen, the seventies start immediately with a hit: Situation – an unusually expressionist ballet for him. For this work, he deliberately opts not for music, but for irritating sounds, like a volley of gunshots, the roar of fighter jets and the whine of mosquitos. “Because”, says Van Manen, “the whole ballet is about aggression and violence.” 

The work is not only about the visible restriction of the space, represented by three austere walls that mark off the playing field – or rather battlefield (a phenomenal design by Jean Paul Vroom). It is mainly about the emotional space that people sometimes give one another, but more often do not. When the ballet is revived in 2019, the newspaper Trouw writes, “(..) there are wild goings-on in the oppressive six by eight-metre room that defines the stage space. In it, one new couple after another gets caught up in a sparring match of power and submission, entering and leaving through the only door to the ‘battlefield’ (..) What a delightful surprise that Nederlands Dans Theater is presenting Situation again after fifty years.”

Mutations
Mutations | Photo: Anthony Crickmay

'You can't choreograph a penis'

Shortly after Situation, Van Manen collaborates with Glen Tetley (who has now succeeded Benjamin Harkarvy as co-artistic director) on the co-production Mutations, comprising three films (made by Van Manen and Jean Paul Vroom) and a live ballet (choreographed by Tetley). Initially, the production is intended for the celebration of the 25th anniversary of the liberation of the Netherlands after World War II, and in view of the theme – freedom – Van Manen decides that Gérard Lemaître should also dance in the film in complete freedom; i.e. naked. 

Mutations | Foto: Anthony Crickmay

'You can't choreograph a penis'

Shortly after Situation, Van Manen collaborates with Glen Tetley (who has now succeeded Benjamin Harkarvy as co-artistic director) on the co-production Mutations, comprising three films (made by Van Manen and Jean Paul Vroom) and a live ballet (choreographed by Tetley). Initially, the production is intended for the celebration of the 25th anniversary of the liberation of the Netherlands after World War II, and in view of the theme – freedom – Van Manen decides that Gérard Lemaître should also dance in the film in complete freedom; i.e. naked. 

In the duet for Lemaître and Anja Licher, however, Van Manen deliberately chooses to keep her clothed (in contrast to the stereotypical gender division). Tetley copies the idea, but unlike Van Manen’s concept, has both dancers perform a duet naked on stage. This leads not only to a commercial success, but also to strong protests. In London, for instance, activists throw glass wool onto the stage, which results in unbearable itching and infections for the dancers. After the American premiere, in The Village Voice, dance critic Deborah Jowitt pens the apt – and oh so true – words, “You can't choreograph a penis.”

 

Rudi van Dantzig and Hans van Manen
February 1970

Van Manen resigns

In later publications about Van Manen, the theme of Situation (see above) is often linked to the relations within Nederlands Dans Theater at the time, which had worsened in the preceding years. Managing director Carel Birnie – known for his obstinacy and stinginess – goes his own way, often does not involve the artistic director in decisions and provides no insight into what he spends the company’s money on. In February 1970, two months before the premiere of Situation, Van Manen has had enough and decides to resign from Nederlands Dans Theater in September. 

Rudi van Dantzig and Hans van Manen | Private archive
Rudi van Dantzig and Hans van Manen Rudi van Dantzig and Hans van Manen Open afbeelding in een nieuw tabblad

Rudi van Dantzig and Hans van Manen | Private archive

Rudi van Dantzig and Hans van Manen
February 1970

Van Manen resigns

In later publications about Van Manen, the theme of Situation (see above) is often linked to the relations within Nederlands Dans Theater at the time, which had worsened in the preceding years. Managing director Carel Birnie – known for his obstinacy and stinginess – goes his own way, often does not involve the artistic director in decisions and provides no insight into what he spends the company’s money on. In February 1970, two months before the premiere of Situation, Van Manen has had enough and decides to resign from Nederlands Dans Theater in September. 

Afterwards, however, he will still make several works for the company as a freelancer. In the early seventies, he also choreographs works for Scapino Ballet and Ballett am Rhein, in Düsseldorf. There is also talk of reconciliation between Van Manen and Dutch National Ballet, where Rudi van Dantzig is now artistic director – following on from Sonia Gaskell – and where Van Manen’s muses Alexandra Radius and Han Ebbelaar have just signed contracts as principal dancers, on returning from America.

Knight in the Order of Orange-Nassau
Knight in the Order of Orange-Nassau

Knight in the Order of Orange-Nassau

It is undoubtedly coincidence, but shortly after his decision to relinquish the artistic directorship of Nederlands Dans Theater, Van Manen is appointed Knight in the Order of Orange-Nassau. The following year, the Ministry of Culture, Recreation and Social Work awards him a prize for his ballet Snippers, created in 1970 for Scapino Ballet to Terry Riley’s In C, through which Van Manen introduces this iconic composition to the Netherlands (much later, the German choreographer Sasha Waltz will choreograph a work with the same name as the music, which is taken into Dutch National Ballet’s repertoire in June 2025). 

1971

Grosse Fuge
Grosse Fuge | Photo: Tony van Muiden

Grosse Fuge

Of the works created by Van Manen in the early seventies for Nederlands Dans Theater, Grosse Fuge is the undisputed highlight. The ballet is almost immediately hailed as “the most interesting European ballet of the decade”, and it is still Van Manen’s most often performed creation worldwide today (The Royal Ballet, in England, took the ballet into its repertoire as early as 1972). 

Hans van Manen during the revival of Grosse Fuge in Cologne in 1977 Hans van Manen during the revival of Grosse Fuge in Cologne in 1977 Open afbeelding in een nieuw tabblad

Hans van Manen during the revival of Grosse Fuge in Cologne in 1977 | Photo: Gert Weigelt

Grosse Fuge | Photo: Tony van Muiden
Hans van Manen during the revival of Grosse Fuge in Cologne in 1977

Grosse Fuge

Of the works created by Van Manen in the early seventies for Nederlands Dans Theater, Grosse Fuge is the undisputed highlight. The ballet is almost immediately hailed as “the most interesting European ballet of the decade”, and it is still Van Manen’s most often performed creation worldwide today (The Royal Ballet, in England, took the ballet into its repertoire as early as 1972). The exciting double quartet to Beethoven’s Cavatina and Grosse Fuge deals with the battle of the sexes, whereby the women – as usual in Van Manen’s works – are always a match for the men. In the clear movement idiom now so typical of Van Manen, the choreographer expresses suppressed desire, and erotic tension and release, thus adding a whole new dimension to Beethoven’s music. At Dutch National Ballet’s performance of the ballet in the Hans van Manen Festival, in 2021, the newspaper NRC writes, “After fifty years, Grosse Fuge still gives you goose bumps.”

Twilight, with the original backdrop
Twilight, with the original backdrop | Photo: Jorge Fatauros
October 1971

First works for Dutch National Ballet: Vijf schetsen and Twilight

In October 1971, Dutch National Ballet presents its first Van Manen: Vijf schetsen, created in 1966 for Nederlands Dans Theater, performed then as now by the dancing married couple Alexandra Radius and Han Ebbelaar. It is followed, eight months later, by Van Manen’s first creation for the company: Twilight, with which Radius and Ebbelaar enjoy overwhelming international success – like many generations of dancers after them.

Twilight, with the original backdrop | Photo: Jorge Fatauros Twilight, with the original backdrop | Photo: Jorge Fatauros Open afbeelding in een nieuw tabblad

Twilight, with the original backdrop | Photo: Jorge Fatauros

Alexandra Radius and Han Ebbelaar during the first run-through of Twilight Alexandra Radius and Han Ebbelaar during the first run-through of Twilight Open afbeelding in een nieuw tabblad

Alexandra Radius and Han Ebbelaar during the first run-through of Twilight | Photo: Jean Paul Vroom

Twilight, with the original backdrop | Photo: Jorge Fatauros
Alexandra Radius and Han Ebbelaar during the first run-through of Twilight
October 1971

First works for Dutch National Ballet: Vijf schetsen and Twilight

In October 1971, Dutch National Ballet presents its first Van Manen: Vijf schetsen, created in 1966 for Nederlands Dans Theater, performed then as now by the dancing married couple Alexandra Radius and Han Ebbelaar. It is followed, eight months later, by Van Manen’s first creation for the company: Twilight, with which Radius and Ebbelaar enjoy overwhelming international success – like many generations of dancers after them. 

For this new ‘ballet for two’, Van Manen’s eye is caught by The Perilous Night for prepared piano by John Cage. The composition gives him the brilliant idea of having Radius dance part of the ballet in high heels. Han Ebbelaar says, “Hans wanted to ‘prepare’ the ballerina in a similar way to the piano.” Besides that, Van Manen is taken with the way the heels (and thus the different leg position) have a special effect on his movement idiom. Twilight is an instant hit. “A fascinating dance duet; inventive in its movement, clever in its construction, clear in its lines and perfect in its execution”, writes Het Parool. The ballet thus paves the way for a long-term collaboration between Van Manen and Dutch National Ballet. 

1973

Henk van Dijk (in the middle) during the summer course in Cologne
Henk van Dijk (in the middle) during the summer course in Cologne | Photo: Annet Löffler
January 1973

Resident choreographer with Dutch National Ballet

Following Twilight and his first group work for Dutch National Ballet – Daphnis and Chloé: a remarkably lyrical ballet for him – Van Manen is appointed the company’s second resident choreographer, alongside artistic director Rudi van Dantzig, starting in January 1973. Van Manen himself, incidentally, originally chooses the rather vague title of ‘coach/ballet master’. Another significant detail is that Van Manen dedicates Daphnis and Chloé, with the words ‘dedicated to my love’, to Henk van Dijk, later to become his husband, who he met at a summer course in Cologne in 1972. 

Monique Sand and Henny Jurriëns during the television recording of Adagio Hammerklavier
Monique Sand and Henny Jurriëns during the television recording of Adagio Hammerklavier | Photo: Nederlandse Omroep Stichting
4 October 1973

Adagio Hammerklavier: an ode to deceleration

The first work created by Van Manen (then aged 41) as resident choreographer, Adagio Hammerklavier, is still regarded today as a marvel of tranquillity and beauty. On a tour to London, too, the Beethoven ballet is a triumph for the six principal dancers – Monique Sand and Henny Jurriëns, Sonja Marchiolli and Francis Sinceretti, and Alexandra Radius and Han Ebbelaar – and is now counted among the ‘classics of 20th-century dance’. 

television recording of Adagio Hammerklavier television recording of Adagio Hammerklavier Open afbeelding in een nieuw tabblad

Monique Sand and Henny Jurriëns during the television recording of Adagio Hammerklavier | Photo: Nederlandse Omroep Stichting

Adagio Hammerklavier Adagio Hammerklavier Open afbeelding in een nieuw tabblad

Adagio Hammerklavier | Archive Dutch National Ballet

television recording of Adagio Hammerklavier
Adagio Hammerklavier
4 October 1973

Adagio Hammerklavier: an ode to deceleration

The first work created by Van Manen (then aged 41) as resident choreographer, Adagio Hammerklavier, is still regarded today as a marvel of tranquillity and beauty. On a tour to London, too, the Beethoven ballet is a triumph for the six principal dancers – Monique Sand and Henny Jurriëns, Sonja Marchiolli and Francis Sinceretti, and Alexandra Radius and Han Ebbelaar – and is now counted among the ‘classics of 20th-century dance’. 

Inspired by Christoph Eschenbach’s extremely slow performance of Beethoven’s Piano Sonata No. 29 in B-flat major, Van Manen wanted to investigate just how slow a movement can be. He once described the result as “a wheel that is still just moving after a push, just before it falls.” 

At its premiere on 4 October 1973, the ballet is met with a seven-minute ovation, and Anton Koolhaas writes in the Dutch newspaper Vrij Nederland, “Adagio Hammerklavier is a big event in Dutch art and the biggest in the Dutch dance world. Those who pass it by or who don’t at least go and see it are depriving their own soul.”

1974

Prijs van de Kritiek, news article from Het Parool, 5 September 1974
Prijs van de Kritiek, news article from Het Parool, 5 September 1974

Dutch Theatre Critics’ Prize

In 1974, Van Manen receives the ‘Prijs van de Kritiek’ from the Dutch Theatre Critics’ Circle. Meanwhile, his work is also presented increasingly often abroad. In January 1974, The New Group of The Royal Ballet dances his Septet Extra, in March, Dutch National Ballet triumphs in London with Van Manen’s Twilight and Adagio Hammerklavier and in April, Nederlands Dans Theater even dances four Van Manen works in Paris: Squares, Septet Extra, Grosse Fuge and Solo for Voice 1

Le sacre du printemps
Le sacre du printemps | Photo: Jorge Fatauros

Le sacre du printemps

Following the scandalous original version by Vaslav Nijinsky in 1913 and Maurice Béjart’s successful version from 1959, Van Manen also takes on Stravinsky’s masterpiece Le sacre du printemps, for the 1974 Holland Festival. The cast of 32 dancers is his largest to date. Rather than basing his ballet on the story of the sacrifice of a young virgin, Van Manen opts for an abstract version inspired purely by the music. 

Le sacre du printemps Le sacre du printemps Open afbeelding in een nieuw tabblad

Le sacre du printemps | Photo: Jorge Fatauros

Le sacre du printemps

Le sacre du printemps

Following the scandalous original version by Vaslav Nijinsky in 1913 and Maurice Béjart’s successful version from 1959, Van Manen also takes on Stravinsky’s masterpiece Le sacre du printemps, for the 1974 Holland Festival. The cast of 32 dancers is his largest to date. Rather than basing his ballet on the story of the sacrifice of a young virgin, Van Manen opts for an abstract version inspired purely by the music. 

Although he is not completely satisfied with the result himself, the leading German dance critic Horst Koegler notes, in a comparison to the “permanently orgasmic” version created by Glen Tetley at more or less the same time, “In Amsterdam, Van Manen tries to master the complex music through big forms and movements in unison, and to make them audible through clarity (..) An incredibly beautiful and clear piece of choreography that can almost be called classic for its concentration and economy.”

1975

 Four Schumann Pieces
Four Schumann Pieces | Photo: Jorge Fatauros

Four Schumann Pieces

Having previously taken some of his ballets into its repertoire, The Royal Ballet asks Van Manen to come and make a new work in London, in 1975. The choreographer knows immediately who he wants for the main role: star dancer Anthony Dowell. “A true classical dancer, with enormous assurance and aplomb, and beautiful lines. A man who could do wonderful turns and big movements, and was a really fine actor. What you could call a cool dancer.” The ballet, which is now one of the best loved Van Manen classics, revolves not around ‘that eternal ballerina’, but around the ‘ballerino’ instead. 

 Four Schumann Pieces  Four Schumann Pieces Open afbeelding in een nieuw tabblad

 Four Schumann Pieces | Photo: Jorge Fatauros

Rehearsal Four Schumann Pieces Rehearsal Four Schumann Pieces Open afbeelding in een nieuw tabblad

Rehearsal for Four Schumann Pieces with Anthony Dowell and Wayne Eagling | Photo: David Warner Ellis

 Four Schumann Pieces
Rehearsal Four Schumann Pieces

Four Schumann Pieces

Having previously taken some of his ballets into its repertoire, The Royal Ballet asks Van Manen to come and make a new work in London, in 1975. The choreographer knows immediately who he wants for the main role: star dancer Anthony Dowell. “A true classical dancer, with enormous assurance and aplomb, and beautiful lines. A man who could do wonderful turns and big movements, and was a really fine actor. What you could call a cool dancer.” The ballet, which is now one of the best loved Van Manen classics, revolves not around ‘that eternal ballerina’, but around the ‘ballerino’ instead. 

Over the years, the main role has been interpreted by a wide range of dancers, including Rudolf Nureyev, Han Ebbelaar, Wayne Eagling and Boris de Leeuw. After the world premiere in 1975, Richard Glasstone writes about the male duet in Four Schumann Pieces in the Dutch newspaper NRC, “A love dance between two men can create many problems for a choreographer, with regard to both dance technique and aesthetics, but in my view no choreographer has ever solved them so stunningly as Van Manen in his latest ballet.”

Henk van Dijk (with camera)
June 1975

Henk van Dijk - videomaster

Through Van Manen’s intercession, Henk van Dijk is appointed video master with Dutch National Ballet, in June 1975. Since around 1967, Van Manen has been recording all his ballets and many rehearsals himself, being one of the first choreographers to do so. Van Dijk’s appointment makes Dutch National Ballet a forerunner in recording ballet repertoire on video; something that is now widely done all over the world.

Henk van Dijk (holding the camera) | Photo: Sven Ulsa
The three choreographers with the full cast of Collective Symphony
The three choreographers with the full cast of Collective Symphony | Photo: Jorge Fatauros

Collective Symphony

For the occasion of the 700th anniversary of the city of Amsterdam in 1975, on commission from the municipality, Van Manen creates his first – and only – joint ballet with Rudi van Dantzig and Toer van Schayk: Collective Symphony, whereby they divide up Stravinsky's Symphony in C into different musical phrases. The ballet is hugely successful, and not only for the challenge it poses to ballet enthusiasts to work out which excerpts are created by which choreographer. 

The three choreographers with the full cast of Collective Symphony The three choreographers with the full cast of Collective Symphony Open afbeelding in een nieuw tabblad

The three choreographers with the full cast of Collective Symphony| Photo: Jorge Fatauros

The three choreographers with the full cast of Collective Symphony

Collective Symphony

For the occasion of the 700th anniversary of the city of Amsterdam in 1975, on commission from the municipality, Van Manen creates his first – and only – joint ballet with Rudi van Dantzig and Toer van Schayk: Collective Symphony, whereby they divide up Stravinsky's Symphony in C into different musical phrases. The ballet is hugely successful, and not only for the challenge it poses to ballet enthusiasts to work out which excerpts are created by which choreographer. 

The British dance critic John Percival writes in The Times, “Collective Symphony turns out to be a real ballet, not just a gimmicky hotchpotch, and a good ballet at that”, and about one of Van Manen’s choreographic contributions he says, “Nobody but Van Manen could have invented that high stepping march on full point”.

1976

Mr. Hendrik-Jan Reinink-penning
Distinguished with the Mr. Hendrik-Jan Reinink medal for 'exceptional contributions to the promotion of cultural exchange with foreign countries'| Photo: ANP

Reinink medal for special merit

In 1976, Van Manen is the first winner of the Mr. Hendrik-Jan Reinink medal for ‘special merit in promoting cultural exchange abroad’, founded by the Holland Festival. Van Manen seizes the opportunity of the prize ceremony at the Stadsschouwburg, in Amsterdam, to emphatically plead for better and bigger accommodation (ten years before the opening of The Music Theatre, now Dutch National Opera & Ballet!). He says, “Tonight, we confirm that our dancing is of an international standard. In contrast to this, the theatre accommodation in Amsterdam cannot even be called provincial.” 

1977

5 Tango's
5 Tango's | Photo: Jorge Fatauros

Lieder ohne Worte and 5 Tango's

In 1977, Van Manen creates two special works: for Nederlands Dans Theater he makes the subdued piano ballet Lieder ohne Worte, which is impressive for its simplicity, and for Dutch National Ballet he makes the dazzling 5 Tangos. Although both works are afterwards taken into the repertoires of companies abroad, it is 5 Tangos that grows to become an international hit. The ballet, with starring roles for Clint Farha and Sonja Marchiolli at the world premiere, is still danced all over the world today. 

Hans van Manen and Clint Farha during a rehearsal for 5 Tango's Hans van Manen and Clint Farha during a rehearsal for 5 Tango's Open afbeelding in een nieuw tabblad

Hans van Manen and Clint Farha during a rehearsal for 5 Tango's | Photo: Kors van Bennekom

5 Tango's
Hans van Manen and Clint Farha during a rehearsal for 5 Tango's

Lieder ohne Worte and 5 Tango's

In 1977, Van Manen creates two special works: for Nederlands Dans Theater he makes the subdued piano ballet Lieder ohne Worte, which is impressive for its simplicity, and for Dutch National Ballet he makes the dazzling 5 Tangos. Although both works are afterwards taken into the repertoires of companies abroad, it is 5 Tangos that grows to become an international hit. The ballet, with starring roles for Clint Farha and Sonja Marchiolli at the world premiere, is still danced all over the world today. 

Through the ballet, Van Manen also introduces the Netherlands to the music of Astor Piazzolla at the end of the seventies. It is striking that the Dutch dance critics of the day struggled with the innovative, now widely acclaimed compositions by the ‘king of tango nuevo’, and thus also with the choreography. Even Ine Rietstap, the respected dance critic for the Dutch newspaper NRC, describes Piazzolla's tangos in 1977 as “banal, simplistic to sultry music”. 

For a revival of 5 Tangos in 2017, SeeingDance writes that the ballet – “probably Van Manen’s most popular work” – “dispenses with stereotypes and gets to the very essence of the music. Each dancer finds their individuality in the flash of red in the black skirts, the swagger of hands on hips, the bold statement of a pointe stabbing the floor or the haughty épaulement, but when they come together in unison the power is breathtaking.”

1979

Live
Coleen Davis in Live | Photo: Jorge Fatauros

Live

A subsequent, although totally different, highlight is Van Manen’s Live: the first – and unsurpassed – video ballet in Dutch history, created in 1979 for the double bill Live/Life and performed at Theater Carré, which is sold out night after night (also for its revival in 1980). Whereas Life, by Rudi van Dantzig and Toer van Schayk is a large-scale, politically engaged spectacle (which is never revived after 1980), Van Manen’s Live excels in its intimacy. The audience sees a female dancer (at the world premiere, the sublime Coleen Davis, aged just 18) both live and in close-up images filmed live, in which she reacts to and plays with the cameraman (Henk van Dijk).

Coleen Davis in Live Coleen Davis in Live Open afbeelding in een nieuw tabblad

Coleen Davis in Live | Photo: Jorge Fatauros

Live rehearsal Live rehearsal Open afbeelding in een nieuw tabblad

Henk van Dijk, Coleen Davis and Henny Jurriëns during a rehearsal for Live | Photo: Jorge Fatauros

Coleen Davis in Live
Live rehearsal

Live

A subsequent, although totally different, highlight is Van Manen’s Live: the first – and unsurpassed – video ballet in Dutch history, created in 1979 for the double bill Live/Life and performed at Theater Carré, which is sold out night after night (also for its revival in 1980). Whereas Life, by Rudi van Dantzig and Toer van Schayk is a large-scale, politically engaged spectacle (which is never revived after 1980), Van Manen’s Live excels in its intimacy. The audience sees a female dancer (at the world premiere, the sublime Coleen Davis, aged just 18) both live and in close-up images filmed live, in which she reacts to and plays with the cameraman (Henk van Dijk). The audience is also witness, both live and in flashback, to her encounters with a man (principal dancer Henny Jurriëns) – which are charged with pain and aggression. 

“Masterly”, “revolutionary”, “an absolute masterpiece”: critics cannot find enough superlatives for this masterpiece, which is still moving audiences in the Netherlands and abroad today. One critic writes that Van Manen has struck a ‘gold mine’ with his inventive use of video, from which he can draw for years to come. The choreographer, however, leaves it at that, as he has never been interested in repeating himself. Other artists, on the other hand, have often taken inspiration from the concept of Live. Henk van Dijk has achieved a record in the dance world with his performance in Live: he was the first to be cast as cameraman and has been the only cast for the role for around forty years.

Jaar
1970