Threshold (2025) - Tumbleweed
The fourth production by Tumbleweed, Threshold focuses on the direct relationship between sound and movement. Using a non-linear, fragmented approach to writing, the show revolves around the theme of latency.
Working in collaboration with the sound artist Daniel Bleikolm, Micaël Florentz and Angela Rabaglio research areas including voices, loops, sound produced by the body, acoustic illusions and psycho-acoustic effects. The two performers take turns and support one another, without ever falling into step. Interwoven within two distinct musical scores, they are linked to one another through resonance. Threshold is a piece suspended in the void, which highlights the essential role of the environment in the emergence of any form of relationship.
After The Gyre (2018), A Very Eye (2022) and Dehors est blanc (2023), Threshold is Tumbleweed’s fourth project. It premiered on October 8 & 9, 2025 at the Biennale de Charleroi danse.
The company is currently developing research for a group piece with children, Un Monde Réel (creation 2027).
Website : www.cietumbleweed.com
Threshold - a project by Tumbleweed (45’, 2025)
Creation & Performance: Angela Rabaglio, Micaël Florentz
Sound Design: Daniel Bleikolm, Micaël Florentz
Light & Stage Design: Arnaud Gerniers
Costumes Design: Catherine Somers
Artistic advice: Marion Sage, Garance Maillot
Bad conscience: Pierre Giorgi
Technical Direction: Yorrick Detroy
Sound: Daniel Bleikolm
Administration: Camille Collard
Distribution & Communication: Quentin Legrand (Rue Branly)
Production: Tumbleweed
Coproduction: Charleroi danse - Centre Chorégraphique de la Fédération Wallonie-Bruxelles, Les Tanneurs (BE), Le Triangle - Cité de la danse, Châteauvallon-Liberté, scène nationale (FR)
Residency Partners: Charleroi danse, Grand Studio, Théâtre Varia, Studio Thor, Le Labeur - Dame de Pic (BE), Villa Cléa, Lavanderia a Vapore (IT), Tanzhaus Zuerich, Dansomètre, Dampfzentrale Bern, STAMM (CH), Châteauvallon-Liberté, scène nationale (FR), airBurgenland (AT)
With the support of Fédération Wallonie-Bruxelles, Wallonie-Bruxelles International and Grand Studio
Photos: Stanislav Dobak, Simon Dardenne
UPCOMING DATES
12.11.2026 | Cultuurcentrum Hasselt, Hasselt (BE)
Nov 2026 | TanzinOlten, Olten (CH) - in option
20.11.2026 | Festival TNB, Le Triangle, Rennes, FR
27.11.2026 | (short version), Tanzfestival Winterthur, Winterthur (CH)
Jan 2027 | Faits d’Hiver, Paris (FR) - in option
March 2027 | Les Printemps de Sévelin, Théâtre Sévelin 36, Lausanne
PREVIOUS DATES
08.10.2025 | Biennale de Charleroi danse, Les Ecuries - Charleroi danse, Charleroi (BE) - PREMIERE
09.10.2025 | Biennale de Charleroi danse, Les Ecuries - Charleroi danse, Charleroi (BE)
14.04.2026 | Les Tanneurs, Bruxelles (BE)
15.04.2026 | Les Tanneurs, Bruxelles (BE)
16.04.2026 | Les Tanneurs, Bruxelles (BE)
17.04.2026 | Les Tanneurs, Bruxelles (BE)
18.04.2026 | Les Tanneurs, Bruxelles (BE)
PRESS EXTRACTS
[ Review ] “The fourth production by Tumbleweed, following ‘The Gyre’ (2018), ‘A Very Eye’ (2022, winner of the Maeterlinck Critics’ Award for best dance performance of the season) and ‘Dehors est blanc’ (2023), Threshold uses the gap, an empty space, between the two performers as a catalyst inviting the audience to cross a threshold. The piece explores latency (the time lag) and saturation (the moment when matter reaches maximum capacity and begins to degrade, sometimes to the point of disappearing). The duo tears apart, takes turns, and distorts, without ever synchronising perfectly. The piece also links movement and sound. The soundscape, created in collaboration with the artist Daniel Bleikolm, who manages the sound live during the performance, blends voices, loops, body sounds and psychoacoustic effects, creating a fragmented choreographic and sonic composition. (…) The soundscape directly influences the perception of movement, which becomes a site of friction, dissonance and imbalance between what is heard and what is seen. The lighting by Arnaud Gerniers, a collaborator from the very beginning, intensifies this sense of disorientation by contracting or expanding the space, creating zones to traverse like thresholds to be crossed.”
Didier Beclard, Le Suricate, 19.04.26
[ Review ] “The duo formed by Angela Rabaglio and Micaël Florentz presents a tense piece, in which movement arises from a constant interplay with sound. Between moments of emergence and withdrawal, they create an unstable space that blurs our bearings and stretches our perception of time. (....) With these two artists, even as the movement becomes more complex, nothing disrupts the fluidity of the choreography. The bodies glide from one state to another with a disconcerting ease. Without touching, they move in a tense proximity, driven by a shared impulse that never quite coincides. (...) Gradually, the motifs repeat, intensify and become denser. The variation drifts towards a form of trance. The bodies accelerate, draw closer; the energy flows with greater intensity, without ever erasing the gaps. The movement becomes hypnotic. The trajectories eventually respond to one another with unsettling precision, as if a zone of harmony were emerging on the edge of imbalance. Osmosis surfaces, fragile. (...) In this succession of suspended moments, something is gradually revealed: a way of being made up of shifts and adjustments, of thresholds crossed without ever settling. The dance builds as it goes, until it tips over into a kind of ecstasy – finding, in this effacement, a sense of rightness."
Olivier Frégaville-Gratian d'Amore, Coups d’Oeil, 18.04.26
[ Interview ] “For us, the stage is a space for experimentation: a place where we test, where we try things out, where we observe the effects of what we bring into play, and where we accept that things may change along the way. One concept, however, runs through all our projects: interdependence. We are interested in what unfolds between bodies, between people, between elements, rather than in form or aesthetics for their own sake. We often work with frameworks and constraints, not to set things in stone, but to create conditions for connection, listening and movement, and to seek out possibilities and new directions within these limits. Working together involves a process of continuous reinvention. Each creation shifts our relationship, challenges our habits and helps us better understand our place in the world and our relationship with others. We seek to shift our focus away from ourselves and place relationships at the heart of our artistic work."
Interview with Wilson Le Personnic, January 2026
[ Review ] “On a stage dominated solely by a few sound diffusers, the voice of Micaël Florentz, alone in the darkness, multiplies and blends with sound effects created with Daniel Bleikolm. The tone is set, plunging the audience into a mysterious atmosphere where anything seems possible. When Angela Rabaglio appears in turn, she does so in silence, with her back to the audience, for a generous, bouncing dance, far removed from any familiar movements. Soon, the two accomplices come together for new bursts of astonishing fluidity. At Tumbleweed, even when the movement becomes complex, leading the body into tortuous undulations, everything seems to flow naturally. Between controlled nonchalance and delicate harmony, the duo occupies the space with an irresistible lightness. Without touching each other, they move back and forth, somewhat reminiscent of the footsteps of the horses that once occupied these places. Their bodies move separately but remain infinitely close. They cross paths, brush against each other, move apart, then come closer together in a choreography whose repetitions are enriched by multiple variations. It feels like discovering calligraphy in motion, then, a moment later, a kind of planetary race, in a universe where each person's balance depends on the movement of the other. A perpetual, constantly expanding movement, until this race amplifies and finally disappears into the darkness. All that remains is the vibrant echo of their vanished presence.”
Jean-Marie Wynants, Le Soir, 14.10.25