Charlotte Goesaert is a Belgian choreographer, dancer and performer. After graduating in 2009 from the Fontys Dance Academy in Tilburg, she lived in the Netherlands and worked internationally. As a dancer and performer she was involved in creations such as Skagen (Almschi, 2011), Tuning people (Synchroon, 2019), Romeo Castellucci (Giudizio, Possibilit, Essere 2014) and Post from Hessdalen (Echo, 2019). She worked in Rotterdam with city company Ro Theater, in Lisbon with choreographer Olga Roriz, in Berlin with Alize Zandwijk and in Cologne with dance theatre company Bodytalk/Johann Kresnik.
From 2016 she made her first works EPIC FAIL (2016) and Loophole (2018) together with actor and voice artist Joost Maaskant. Together with choreographer Karolien Verlinden (of Tuning People), she made the performance ChitChat (2020). These works toured Belgian and Dutch theatres and festivals such as Operadagen Rotterdam, Grensverkeer, Tweetakt and Theater Aan Zee. What connects these performances is the love of a grandiose break or fail and the search for man in his imperfection. Without embellishment, raw portraits of people who playfully seek to connect with the audience and their vulnerability and discomfort.
In 2019-2020, Charlotte started developing her individual work with a large-scale research named CRIP. Aiming to immerse herself even more into human nature , she investigated dance as documentary and the limitation of the body. This research is the foundation for her future work. For example, in 2021 she created I-object in collaboration with Körperverstand Tanztheater Wien. This performance is a physical concert for young people, in which three players go on a quest to discover their sexuality and intimacy with a TV screen.
In 2022-2023, Charlotte creates the performance whatchamacallit, with a diverse cast of four performers. Charlotte: “whatchamacallit reveals the foundations for my artistic vision for the future: how I inject daily life into my work, how I experiment with form for each concept (such as an exhibition), how I connect dance and video, how I work socially interactive with professionals, non-professionals and a diverse cast, and how I immerse myself in subjects we socially prefer to look away from.”