'Into The Blue', Review written by Maria Dolores Pesce. 

Into the blue is, in fact, the story of a double insomnia, in which the theme of the mirror and the double is continually reiterated, in the language that is articulated in effective dramaturgy between the initial film and the dance that follows it, up to the protagonists who , previously motionless and hidden by a blanket, suddenly give life and body to the images occupying the stage in a sort of pas des deux played however, coherently, on mutual harmony and on the synchrony of movements, as if to indicate in this existential synchrony the way to possible exit from a long-prepared trap.

Choreography and dramaturgy are on stage as if imprisoned in that space of time that we cross to arrive at sleep and the dream that elaborates us, the space and time that Jean Paul Sarte in his famous essay L'imaginaire conceived entrusted to what he calls "hallucinations hypnagogic”, that is the images in which the sensations of waking precipitate over which control is gradually lost to entrust oneself to the freedom of associations before turning into sleep: the thought lets itself be absorbed by the image “like water in the sand”.

In the anguish of imprisonment in this limbo, which we call insomnia, against the immobility in this land between two borders (wakefulness and sleep), the body of the two dancers develops a sort of movement, or counter-movement of contrast, which it is the desire to free oneself from the chains that bind him and, with the movement, he produces images that reflect him and that mark his horizon like a rainbow.

This double combination, of images that recall surrealist films from Antonin Artuad (such as the ambivalent La coquille et le Clergymen) to Man Ray, but also suggests the contemporary Dutch director Lars Von Trier, author of the film Melancholia of 2011, with the bodies of the performers produces, beyond psychology, or psychologism, which is only the occasion, an effect of emotion, in the sense of sudden participation in the irreducible interiority of the human being who thus, metaphysically, precisely, it shows a shared existential substrate from which to start over.

Hic sunt Leones, one could say, here the game is being played (not yet in its final time) to try to get out, with art, of an existential condition that unfortunately in modernity increasingly resembles that suspended state of anguished captivity in which freedom shows itself, or rather it is shown to us, to be immediately taken away from us.

It is a work which is the final fruit of a two-year elaboration, and it is a rare thing in terms of intensity and complexity, starting from a real existential condition of the choreographer.

'Into The Blue', Review written by Paolo Verlengia.  

'Into The Blue' van Danielle Huyghe weeft meerdere van de genoemde motieven door elkaar.
De Belgische choreografe (op het podium bijgestaan ​​door Jill Kupers) verplaatst alle pijnlijke complexiteit die verband houdt met slaapstoornissen van de narratieve en biechtdimensie (waarheen de traditionele canons haar zouden leiden) naar de non-verbale dimensies van het filmbeeld en de dans. De scène is in feite tweedelig, dubbel gespeeld tussen de verticaliteit van een bioscoopscherm en de horizontaliteit van het podium. Twee verdiepingen die volgens verschillende tijden worden geactiveerd, voor een dualiteit die wordt gerepliceerd in de aanwezigheid van de twee artiesten op het podium.
Zorgvuldig werk, vol details, dat als geheel enkele reflectiepunten naar voren laat komen: de lichaamsbehandeling geeft het aangesproken thema zeggingskracht als dominante kleur; elke immateriële subtiliteit van psychologische implicaties wordt weergegeven door de uitbarsting van lichamen die geen rust kennen. Een geluidstapijt, nu eens nerveus nu explosief, gecombineerd met de definitie van close-ups uitgebreid op het gigantische scherm, helpt om het paradoxale resultaat te voltooien van een show met een hoge mate van spektakel, die in zijn ontrafeling volgens steeds perfecter synchrone mechanismen heeft de neiging om bij de toeschouwer een bijna hypnotiserend en overtuigend proces teweeg te brengen, waarbij het aanvankelijke gevoel van rusteloosheid geleidelijk wordt weggenomen.
Van ongemak als reactie van lichamelijke intelligentie tegenover het typische kwaad van onze tijd tot de kwestie van tijd tout court.'

'Into The Blue' by Danielle Huyghe weaves together a plurality of the motifs mentioned before. The
Belgian choreographer (assisted on stage by Jill Kupers) transfers all the painful complexity linked to sleep disorders from the narrative and confessional dimension (towards which traditional canons would direct her) to the non-verbal ones of the film image and dance. The scene is in fact bipartite, played out doubly between the verticality of a cinema screen and the horizontality of the stage. Two floors that are activated according to separate times, for a duality that is replicated in the presence of the two performers on stage.
Meticulous work, full of details, which as a whole allows some points of reflection to emerge: the body treatment gives the addressed theme expressive power as a dominant colour; every immaterial subtlety of psychological implication is rendered through the paroxysm of bodies that know no rest.

A sound carpet, now nervous now explosive, combined with the definition of close-ups expanded on the giant screen, helps to complete the paradoxical result of a show with a high level of spectacularity, which in its unraveling according to ever more perfect synchronic mechanisms tends to produce in the spectator a process almost hypnotic and persuasive, gradually removing the initial sense of restlessness.
From discomfort as a response of the bodily intelligence in the face of the typical evils of our time
to the material itself of the time. 

'Into the blue', Review written by Vincenzo Sardelli. 

'The festival curated by Lemming and directed by Massimo Munaro opens at the Teatro Sociale in Rovigo with Danielle Huyghe.
In “Into the blue”, the Belgian choreographer, together with the dancer Jill Kupers, stages the state of insomnia of two young women. Insomnia has often affected the life and even limited the art of Danielle Huyghe. In the hall we already find the dancers stretched out on stage. They are motionless and silent bodies.

In this work of dance and cinema, the dreamlike dimension is given by the images of the film "L'Heure bleu", made by the choreographer herself. There are two hospital beds, two sleeping women, and the hysterical marking of time through the ticking of a clock. It is at that moment that the dance of neurotic bodies begins.

It is a performance at times violent and sclerotic. Angular movements and gestures, violent background noises dilate a sense of irrepressible energy.

The music by Alberto Granados Regulión and Max Kelm underline a sense of unease. To mitigate it, blurred images, a sort of autumn mist.
Even the live bodies on stage awaken. Huyghe and Kupers reproduce the same explosive choreography. They move mirror-like. It is a rebound of impetuous and frenetic gestures.

"Into the blue" is also, if you think about it, a metaphor of art and artistic tension, always insufficient, in search of a perfective stillness that is in fact unattainable.'

'Into The Blue', Review written by Luis Alberto Sosa Berlanga 

''And of course, if all this is represented with elegance, commitment, rigor, intelligence and truth, well, Into the blue stands as one of those good works, in which focusing on the correct execution of the movements of its interpreters is, precisely, it is which makes it more eloquent."

'Out of the blue', Review written by Kinga Budakowska (Brygada Tańca)

"Danielle Huyghe and Alexandra Verschuuren are an amazing, multidisciplinary duo that will surely be remembered by the audience of the 16th edition of the Zawirowania International Dance Festival. "Out of the blue" provides everything - sophisticated, beautiful choreography in a great performance, a sublime atmosphere in which the viewer is simply immersed from the very first moments of the performance. It is also a spark to consider the reality of dreams, the subconscious and dreaming.

...... 

The whole is really impressive. I strongly encourage you to face your dreams and fears in "Out of the blue", especially as the performance received the Jury Prize at this year's edition of the International Masdanza Festival for Best Choreography."