Xx-63

part of Julidans 2025

Theater Bellevue, Amsterdam

12.07-13.07.2025

multidisciplinary dance performance, 50 min
dance, theatre, sound and visual installation

choreography ↓

Neda Ruzheva

dramaturgy ↓

Nikola Stoyanov

performers ↓

Ana Szopa
Ming Jou Chen
Nazar Rakhmanov
Sueuga

set design ↓

Aron Lodi & Szilvia Bolla — Alagya

sound design ↓

Manolis Elijah Sueuga — Sueuga

light design ↓

Erik van de Wijdeven

styling ↓

Michalina Górnik

photography ↓

Roman Ermolaev

Xx-63 is the second major production by Trevoga Collective, developed by choreographer and artistic director Neda Ruzheva together with co-director and dramaturg Nikola Stoyanov. The multidisciplinary performance enters the fragmented affective world of Generation Z through dance, theatre, sound and visual installation. It is a choreographic hallucination shaped by pop trauma, endless scrolling, synthetic desire and the exhausted afterlife of counterculture.

The work begins from a generational condition rather than a linear story. Movement stutters, repeats and collapses like a corrupted digital file. Choreography appears as reaction, symptom and emotional residue: bodies convulse under the pressure of overstimulation, become trapped in circuits of repetition and search for an exit that never fully arrives. Euphoric movement gradually becomes oppressive, while withdrawal changes from a symptom into a choreography—a tactic of flight from a system buckling under its own excess.

Club culture is treated not simply as an aesthetic reference but as a social machine for producing desire, identity and temporary forms of belonging. Xx-63 looks back at spaces once described as underground after they have been absorbed by real-estate development, branding and corporate culture. The recent past returns as a hauntological remix: familiar gestures, fashions and pop-cultural clichés survive as distorted fragments of promises that can no longer be fulfilled.

Within this environment, the capitalist body is no longer a sacred space but an abandoned shopping mall, filled with the remains of consumer culture, synthetic chemicals and sexually charged images. Fear is not presented as an abstraction but as a physical condition. The performers scratch at the polished surface of urban hyperreality, revealing exhaustion, dependency and the constant pressure to desire more.

The work also draws upon the online logic of refusing optimisation—the decision not to improve, perform or “thrive,” but to allow exhaustion and decay to become visible. Trevoga transforms the stage into a dissection table on which contemporary identity is examined as a symptom of an era addicted to immediate stimulation. Anxiety is not suppressed or represented from a distance; it becomes material, rhythm and bodily force.

The title refers simultaneously to Psalm 63, a cry for transcendent satisfaction, and to “XX”: a synthetic kiss, a digital sign or the name of an unknown drug. Together, these references form an emblem of manufactured desire and digital dependency. Sensation is processed into spectacle, pleasure is continually repackaged, and grief is postponed through algorithmic delay.

Created with the scenographic duo Alagya and composer Sueuga, the performance constructs an unstable environment between reality, dream and sensory overload. The sculptural set confronts the performers as both architecture and obstacle, while industrial textures, distorted rhythms and traces of Y2K nostalgia produce a sonic space of attraction and unease. The costumes and styling extend this hybrid world, in which bodies appear simultaneously seductive, artificial and close to collapse.

Xx-63 does not resolve these tensions through catharsis. It spirals. Repetition, aborted gestures and temporary moments of tenderness form a world caught between speed and paralysis, pleasure and anaesthesia, escape and surrender. The result is an intimate but confrontational performance about bodies attempting to remain alive inside systems designed to excite, consume and exhaust them.

Watch the trailer.