Kristel van Issum. Artistic Director & Choreographer.
Kristel van Issum works like a sculptor, peeling away the layers of the body right down to the core. She sees performers as sculptures, moved by energy, sound and instinct. She asks herself where conscious behaviour ends and instinct begins. She seeks a language of movement which seemingly allows the body to break natural laws. A language of dance in which the performer turns into a plaything rolling between body and soul.

Dance is filled with raw elements, often violent but sometimes also subtle. It is about outbursts which are controllable. The distorted body is an unmistakable part of the idiom of T.r.a.s.h. Van Issum wants to be open to everything which goes against logical and rational thought. In this process, she does not use traditional organised principles, but applies the concept of deconstruction, disintegration and construction of new structures of meaning; theatre becomes a sounding board and textual landscape.

The uncontrollable desire to separate everything from each other and then replace them in a different context; a world of ideas in which theatrical ingredients are peeled away, as it were, and then pieced back together. The emphasis lies on intertextuality and contextuality.

Paul van Weert. Set Designer.
The sober style of the set designs created by Paul van Weert is thematic; for him the lack of a multimedia story is a conscious choice. The design is both aesthetic and realistic. The choice is related to the definition of time, which emerges from the world of codes and thus supports the desired interiors of the performance. The visual creates scope for associative strength. The desired theatricality is contemporary, without any frills. The emphasis is thus placed on the physicality of the performers.

The decor is important for the atmosphere. At the same time it is also a choreographic medium, because it directly influences the choreography. Over time, the set designs have become more theatrical; a modern, almost opera-style theatricality in huge spaces increasingly determines the visual element.