7 - 9 SEPTEMBER 2014 AMSTERDAM

Transcription

5 - 7 SEPTEMBER 2014 ANTWERP
PROGRAM
SUNDAY SEPTEMBER 7
5.30 PM WELCOME & DINNER
AJAXBORDES, STADSSCHOUWBURG AMSTERDAM
PERFORMANCES DUTCH THEATRE FESTIVAL:
8.00 PM SCHWALBE Schwalbe zoekt massa (Schwalbe seeks crowd)
STADSSCHOUWBURG AMSTERDAM
8.30 PM TONEELHUIS & TONEELGROEP AMSTERDAM Hamlet vs Hamlet
10.00 PM ORKATER/DE NIEUWKOMERS/LARS DOBERMAN Een Bebop Verhaal (A Bebop Story) THEATER BELLEVUE
MONDAY SEPTEMBER 8
TUESDAY SEPTEMBER 9
9.30 AM DOORS OPEN
10.10 AM SHOWCASE BY LOTTE VAN DEN BERG Building Conversation
PITCHES BY SHOWMACHINE/JOACHIM ROBBRECHT ▪ TROUBLE MAN & SADISTS
10.55 AM SHOWCASE BY VEENFABRIEK, TOUKI DELPHINE & PARADISO MELKWEG
PRODUCTIEHUIS One Hot Minute
11.10 AM TEA & COFFEE BREAK
FRASCATI 1
11.50 AM PITCHES BY STRIJBOS & VAN RIJSWIJK ▪ TONEELGROEP OOSTPOOL
SHOWCASES BY NIEUWE HELDEN De Club 3.0 ▪ POINTLESS INTERNATIONAL
(DISCORDIA & ‘T BARRE LAND) Pointless International
12.55 PM SHOWCASE BY STAND UP TALL PRODUCTIONS/SANJA MITROVIC Speak!
FRASCATI 1
FRASCATI 1
DE BRAKKE GROND
FOYER, DE BRAKKE GROND
DE BRAKKE GROND
1.15 PM LUNCH
FOYER, DE BRAKKE GROND
7.00 PM EMKE IDEMA Stranger
FRASCATI 1
9.30 AM DOORS OPEN
10.00 AM SHOWCASE BY WUNDERBAUM The New Forest
PITCHES BY RO THEATER ▪ NOORD NEDERLANDS TONEEL
10.55 AM SHOWCASE BY PIPS:LAB Social Fiction 2
FRASCATI 1
8.00 PM TONEELGROEP AMSTERDAM Lange dagreis door de nacht (Long day’s journey into night)
FRASCATI 1
8.30 PM TONEELSCHUUR PRODUCTIES/PAUL KNIERIEM Met mijn vader in bed (wegens
omstandigheden)
10.00 PM MEXICAANSE HOND/ALEX V. WARMERDAM Welkom in het Bos (Welcome to the woods)
11.15 AM TEA & COFFEE BREAK
FRASCATI CAFÉ
11.50 AM SHOWCASE BY DE WARME WINKEL Gavrilo Princip
PITCHES BY HOGE FRONTEN/LIEKE BENDERS ▪ SCHWEIGMAN&
12.25 PM LUNCH
FRASCATI 1
DE BRAKKE GROND
Da
m
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St ent ak
at ra
io al
n
>
FRASCATI CAFÉ
1.50 PM SHOWCASE BY TILT/ANDREA BOŽIC Intergalactic (An Attempt To Overcome The Binary) DE BRAKKE GROND
FRASCATI 1
2.35 PM INTRODUCTION & PRESENTATIONS YOUNG TALENT: 4 ROUNDTABLE SESSIONS
(INCL. BREAK): TIJDELIJKE SAMENSCHOLING ▪ URLAND ▪ NAOMI VELISSARIOU
JULIAN HETZEL ▪ DAVY PIETERS ▪ FLORENTINA HOLZINGER & VINCENT RIEBEEK
MAREN BJØRSETH ▪ ANOUK NUYENS
4.45 PM SHOWCASE BY THEATER ARTEMIS/JETSE BATELAAN The Day The Parrot Had
Something To Say For Himself
5.05 PM DRINKS
FRASCATI 4
8.00 PM MEXICAANSE HOND/ALEX V. WARMERDAM Welkom in het Bos (Welcome to the woods) STADSSCHOUWBURG AMSTERDAM
FRASCATI 1
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FRASCATI
Ro
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FRASCATI 1
Herengracht
FRASCATI CAFÉ
Keizersgracht
DE BRAKKE GROND
10.00 PM EMKE IDEMA Stranger
VLAAMS CULTUURHUIS
DE BRAKKE GROND
Prinsengracht
6.00 PM DINNER AND DOOD PAARD Play With Food: Freetown & Othello
De Dam
t
2.10 PM SHOWCASE BY EDIT KALDOR Woe
Muntplein
THEATER BELLEVUE
INFO
CONTENT
2. PROGRAM SCHEDULE
3. INDEX & MAP
4. WELCOME
5.AN INTRODUCTION TO THE THEATRE
LANDSCAPE IN THE NETHERLANDS
11.SHOWCASES
22.PITCHES
26.VARIOUS
36.PARTNERS
LOCATIONS IN AMSTERDAM
Frascati Café - Nes 63
Frascati 4 - Nes 71
De Brakke Grond - Nes 45
Stadsschouwburg Amsterdam - Leidseplein 26
Theater Bellevue - Leidsekade 90
3
DEAR GUESTS,
It is with great pleasure that I welcome
how to interpret these developments.
you to Moving Meetings Theatre, a
The performing arts in the Netherlands
project of Dutch Performing Arts. You’re
were recently confronted with huge bud-
about to immerse yourself in the state of
get cuts. At the same time inevitable
the art of the Dutch and Flemish theatre.
changes take place in our society.
Changes that for instance also deeply
We are quite happy that we succesfully
effect the way we consume and produce
joined forces with VTi, the Institute for the
performing arts. Joining forces is in such
Performing Arts in Flanders. This second
a period not only a ‘winning strategy’ for
edition of Moving Meetings Theatre will
theatre groups or programmers, also
therefore
public funds and institutes like VTi need
not
only
take
place
in
Amsterdam but also in Antwerp. Moreover,
to explore their possibilities.
it will happen at the same time and in the
context of the already longer existing co-
The expanding of Moving Meetings
operation between the Theatre Festivals
Theatre is not meant to be a ‘one night
that both countries organize yearly.
stand’. The 20th anniversary of the
Cultural Treaty between Flanders and the
While the Theatre Festivals focus on the
Netherlands will be celebrated in 2015
most impressive productions of the past
and for VTi as well as the Performing Arts
year, Moving Meetings Theatre will pres-
Fund NL this is seen as a ready to hand
ent an overview of those who play an
chance to enlarge the impact of Dutch
important role in the flavoring of Dutch
and Flemish theatre internationally.
and Flemish theatre. The complete programme of both events will offer you a
I wish you all an exciting and fruitful couple
perfect opportunity to get acquainted
of days and of course I do hope you will be
with already known artists as well as with
seduced to programme Dutch and Flem-
upcoming groups, with unexpected new
ish theatre groups in the nearby future.
repertoire and with pieces we consider
to be our cultural heritage. Further on in
this booklet Lonneke Kok will inform you
Henriëtte Post
more extensively about the latest move-
general director
ments in the Dutch theatrical world and
Performing Arts Fund NL
Moving Meetings Theatre is a project of the international program Dutch Performing Arts and is produced by the Performing Arts Fund NL.
4
AN INTRODUCTION
TO THE THEATRE
LANDSCAPE IN THE
NETHERLANDS
FROM PARADISE TO TURKISH WEDDING: DUTCH THEATRE IS EVERYWHERE
W
here it concerns the
Surrounded by their homegrown fruits
Evenings in which the audience
Idema then has the actors answer
continued development
and vegetables they would present
can take their seats in the semi-dark
personal questions about each other.
of new forms of theatre,
their own sustainable world. But the
and
directed
This set-up confronts the audience with,
the
theatre
harvest was disappointing and their
performance based on a rigid script are
and forces it to ponder, its own stigmas
Dutch
undergo
a
world is flourishing. By
aim to become fully self-sufficient
becoming scarce. Virtually all the makers
and prejudices. In his manifestation De
means of physical theatre, experiential
ended in nothing less than a disaster.
currently defining and coloring the
Club 3.0, Lucas De Man challenges his
theatre and the incorporation of other
In the end, their performance was just
Dutch theatre landscape are responding
visitors to actually engage each other
disciplines, theatre makers are seeking
as much about human failings as about
to a perceived need for a much closer
in fighting, in order to come closer to
to truly connect to their audiences. Their
the sincere desire to make the world a
contact with their audience. This trend
one another. For Schwalbe zoekt Massa
performances are inventive and testify
better place.
is undoubtedly inspired to some degree
(Schwalbe seeks Mass), the seven-person
by the maturation of what is known as
strong
mime or physical theatre, which has now
takes to the stage along with scores of
to a strong sense of social concern.
CREATIVE URGE
theatre
collective
Schwalbe
In the Dutch theatre landscape of the
After the funding cuts to the Dutch
become a permanent fixture of the Dutch
amateurs and audience members to
past season, a new world utopia was
theatre sector from the start of the
theatre identity. And here, it has always
explore both what attracts us and what
proclaimed not once but twice. The actors’
2013-2014 season, the theatre makers
been about the relationship between the
repels us in being part of a large group.
group Wunderbaum launched its four-
have refound their footing with fresh
actor and the space and the audience.
Finally, in Building Conversations Lotte
year project The New Forest, in which
optimism. The nine city companies still
the group aims ‘to work towards a future
receiving subsidies from the Ministry
society’, as ‘a new reality whose presence
of Education, Culture and Science are
In so-called experiential theatre the
conversation techniques, as an exercise
you can already sense in the midst
devising all sorts of ways to fulfill their
traditional theatre layout, with its strict
in conversation, personal encounter and
of the global crisis’. Since the launch,
task of bringing theatre before as many
division between the stage and the
living together.
the group has been examining urgent
people as possible in their own region.
seats, no longer applies. Even everyday
Artists Jeroen Strijbos and Rob van
societal themes through performances,
At the same time, the smaller companies
public settings may suddenly serve as
Rijswijk withdraw entirely and send the
seminars, lectures and happenings, and
and makers that are supported by the
a decor for performances that center on
‘spectator’ off into town on his/her own,
establishing partnerships both within
Performing Arts Fund NL are showing a
the audience’s perceptions. For example,
listening to their audio performance on a
and beyond the theatre world.
great deal of originality and appeal, and
in the ‘exhibitory theatre tour’ Gluren
headset. By means of the mobile app Walk
are thus helping to preserve the varied
(Peeking), Lieke Benders takes small
With Me, the duo intervenes directly in the
character of the theatre landscape.
groups of visitors on a tour of private
person’s perception during his stroll by
Driven by the same urge to explore a
future society, and by the wish to live
more
sustainably,
van den Berg invites people to engage
in conversation according to various
company
Clearly, there is no lack of creative
homes where they can rummage at will
distorting the sounds that he encounters
urge. The sector is flourishing where
through the possessions of a stranger.
through music, texts and sound.
Warme Winkel teamed up in the project
the
of
Of course the participants, who all wear
Also for makers who do not set off into
is
a sign on their head that reads ‘gluurder’
town, the space where actors and visitors
vacated premises of the Theater Instituut
concerned, generally characterized by
(someone who peeks at others), mainly
encounter each other and how the space
Nederland (a victim of the recent funding
a multi-disciplinary approach, a non-
come up against their own inquisitiveness.
‘behaves’ is more important than ever
cuts in the art world!) they began their
hierarchical creation process, a high
Here the actor clearly steps back in order
before. Theatre makers wish to depart
own indoor urban garden, as an answer to
degree of personal commitment and
to transfer his role (partially) to the visitor.
from the standard theatre hall, instead
just about all critical issues: the economic
social concern, and a permanent quest
We see the same idea in newcomer Emke
working with designers and visual artists
and financial crisis, climate change, the
to establish new relationships between
Idema’s open air performance Stranger,
to create spaces specifically for that one
increasing oil prices, the lack of social
actors and the audience, and between
in which she divides the audience into
performance. An explicit proponent of
cohesion,
theatre and physical space.
actors, supporters and jury members.
this spatial approach to theatre is Boukje
(Paradise).
vacant
theatre
EXPERIENTIAL THEATRE
Dood Paard and the young collective De
Paradijs
6
passively
In
office
the
recently
buildings…
continued
post-dramatic
development
forms
of
theatre
7
Schweigman: in Blaas (which means
International (four actors from the theatre
Franz Ferdinand, the Austrian heir to the
companies Maatschappij Discordia and ’t
throne, but also forges a link with the
‘blow’), she invites the visitors into a large,
are not the only means of touching the
Barre Land). As a break away from their
young people recruited today for the war
moving white bubble. Being inside such
audience’s mind as well as heart. Other
literary performances they fuse together
in Syria. In Speak!, Sanja Mitrović and
a womb without walls, windows or doors
disciplines are increasingly incorporated
on stage ‘the strengths of theatre and the
her counterpart Geert Vaes demonstrate
does funny things with one’s perceptions
into theatre as well, and not only by the
strengths of circus’. And there are many
that what politicians say is less important
and feelings.
underground currents. Under direction
more such examples around.
than how they say it: charisma and
VISUAL STATEMENTS
Experiential
and
physical
of Ola Mafaalani, the Groningen-based
At present we are also seeing a reverse
appeal outweigh content and wisdom.
city company Noord Nederlands Toneel
movement: artists from outside the
In Vuurvrouwen (Fire Women; directed by
Boukje Schweigman is one example of
is producing spectacular performances
theatre discipline who discover that you
Alize Zandwijk) Ro Theater examines the
a maker with a background in physical
involving dancers, musicians, and even
don’t necessarily need actors to create
last hours in the life of the imprisoned
theatre. Many of these makers operate
tap dancers and circus acrobats, besides
theatre, and who are exploring the
rebel fighter Ulrike Meinhof. And in The
through an own foundation, but with
actors. The location performance CRASH,
genre from the angle of very different
Great
the increasing maturation of the genre,
made with dance company Club Guy &
disciplines.
PIPS:lab
Joachim Robbrecht emphasizes how
some are also finding their way to
Roni, draws on such diverse disciplines
does not have its roots in theatre, for
the moral disapproval of war has not
(more) established companies. While
as circus, games, martial arts and films to
example, but in the club scene. Their
erased the role of fighting in our lives,
it was unthinkable just ten years ago
add breathtaking visual tricks and special
self-developed ‘Potator’ tool, which they
as the readiness to do battle is part of
that a maker with a mime background
effects. Many other theatre makers are
use in Social Fiction II, makes it possible
human nature.
could become the artistic leader of
experimenting with other disciplines on a
to create three-dimensional paintings in
There is also a notable role for
a renowned youth theatre company,
more modest scale. Edit Kaldor carefully
space – unheard of in theatre until they
theatre makers that critically examine
Jetse Batelaan has been at the helm
combines her theatrical storytelling with
came along!
contemporary
of the state-funded Theater Artemis
documentary elements and digital media.
since 2013, and the whole world of
The demonstrations by Andrea Božić with
theatre cheers them on. Youth theatre
visual artist Julia Willms and audio artist
A striking feature shared by all
is now expanding its scope with visually
Robert Pravda combine sound, video, light
these new forms of theatre is the
addresses
oriented, fantasy-based repertoire.
and movement. Touki Delphine, a group
social concern that they express. The
such
Since last year, Suzan Boogaerdt and
of young multi-instrumentalists who
four-year project The New Forest by
and multiple identities. He worked
Bianca van der Schoot have been
operate under the flag of music theatre
Wunderbaum and the urban garden
with the musical trio The Sadists
bringing their performances to the
company De Veenfabriek, mix together
by Dood Paard and De Warme Winkel
and director Casper Vandeputte to
stage
contemporary music with object theatre
are clear examples. But questions
create
by
in an associative manner to create One
regarding the failings of today’s society
sincere yet humorous musical theatre
Susanne Kennedy) they present six
Hot Minute. Also deserving of mention
and how we can improve our sense of
performance about his sister, who found
empty-headed characters who hide
is the musical actors’ quartet Lars
community are examined in numerous
herself torn between the two cultures in
behind rubber masks, who playback
Doberman, whose Een Bebop Verhaal
ways and from micro to macro levels.
which she grew up and then decided to
their conversations, and who are only
(A Bebop Story; produced by the young
Also in its regular performances, for
get married in Turkey.
interested in appearances and their
talents’ program of Orkater theatre
example of Freetown and Shakespeare’s
sex drive. As part of their series about
company) improvises on the work and
Othello, Dood Paard questions today’s
the society of the spectacle, Visual
life of jazz legend Chet Baker. For a very
social norms and relationships. In
Statements,
different combination of disciplines, see
Gavrilo Princip, De Warme Winkel not
categorization exists as well, of course.
the makeshift clowns’ quartet Pointless
only reconstructs the assassination of
For example, there is the theatre of
In
with
Hideous
Toneelgroep
(Wo)men
the
Oostpool.
(directed
performance
already been termed revolutionary.
8
MULTIDISCIPLINARY THEATRE
theatre
‘bladder’ and ‘sac’ as well as the verb
has
The
collective
SOCIAL CONCERN
(première
Warmachine
society
2015),
from
the
perspective of their own immigrant
history. One of them is the TurkishDutch
Sadettin
as
Kirmiziyüz,
who
contemporary
themes
multiculturalism,
religion
Somedaymyprincewill.com,
a
LARGE COMPANIES
Theatre
that
transcends
every
9
8 SEPTEMBER
large
alternate
never were the boundaries of theatre
multidisciplinary productions with high-
companies
stretched quite so far, and never have
quality stage drama. The outstanding
theatre makers attempted to explicitly
quality
engage with a society of which they are
of
that
Toneelgroep
Amsterdam,
headed by Ivo van Hove, is fully
Even the youngest among them,
Netherlands. Hamlet vs Hamlet by
knocking at the door with ever more self-
Toneelgroep
Het
assurance (and who can rely on the
Toneelhuis from Antwerp (directed by
support of various new grant programs
Guy Cassiers) manages to again develop
from the Performing Arts Fund NL and
a fresh perspective on Shakespeare’s
several production houses), are clearly on
classic tragedy. Here, Hamlet is an
a mission. The first performances by
uncertain adolescent who becomes
director Davy Pieters, the Urland and
entangled in the drama played out
Tijdelijke Samenscholing collectives, the
between his parents, while struggling to
actress/theatre maker Naomi Velissariou,
cope with his own identity crisis at the
theatre maker and playwright Anoek
same time. Orkater theatre company
Nuyens, performance artist Julian Hetzel
tends more to the light-hearted, often
and the artists’ duo Florentina Holzinger
comical theatre, and often with new texts
and
and music. The farcical Welkom in het
Bos (Welcome to the forest) by Alex van
the
Warmerdam is a bizarre fairy tale for
adults about two women who get lost in
and
BRAKKE GROND
4.45 PM
just as much a part as their audience.
acknowledged inside and outside the
Amsterdam
SHOWCASES
THEATER ARTEMIS /
JETSE BATELAAN
The day the parrot
had something to say
for himself
already
Director Jetse Batelaan (1978) about
The day the parrot had something to say
grabbed their audience by the throat. All
working for young audiences: “The punk-
for himself is a performance about people
crises
ness of a seven-year-old, I feel at ease
who parrot each other. What is left of us
notwithstanding, the theatre world is as
with that. Children are perpetually con-
when we cease to speak for ourselves? A
taut as a drum. And it is this, more than
fronted with authorities who decide
cast, consisting of TV personalities and
the forest, and in which actor Pierre
the sums of money that are involved, that
what’s important for them. I like it when
almost famous mime players, is practicing
Bokma shows immense comical talent
defines a vibrant theatre landscape.
a play doesn’t honk its own horn, but
interchangeability. Wanting to be seen,
when they think it is important.”
yet wanting to remain invisible. In a world
Vincent
funding
Riebeek
cuts
have
and
as he plays one absurd male role after
the other. He turns the piece into one
Lonneke Kok (MoreTXT)
long celebration of acting ability – and
Translation: Beter Engels Vertaalbureau
there’s certainly nothing wrong with that!
FINALLY
in which the most important thing is to be
Batelaan is the recipient of numerous
unique, this play is a plea for disappearing
awards. His work has been performed at
into each other.
many festivals at home and abroad,
such as the New Island Festival (New
‘A captivating show about the road to
Quite clearly, Dutch theatre makers are
York), Parc de la Villette (Paris) and the
adulthood.’ Volkskrant****
seeking to connect with (and to find)
Wiener Festwochen. Since 2013 he has
‘The fumbling is as appealing as it is
their audience in all conceivable ways.
been the artistic director of Theater
volatile.’ NRC Handelsblad***
From Paradise to a Turkish wedding, from
Artemis.
‘I left the theatre with a deep-felt sense
theatre hall to the street pavement –
theatre makers have infiltrated every
of happiness. Another sure-fire hit from
BOOKING INFORMATION
Batelaan.’ Theaterkrant*****
domain of society. Never have the
presentation forms been so varied, and
10
THE DAY THE PARROT HAD SOMETHING TO SAY FOR HIMSELF 90
min / 5 performers / age 14+
Maurice Dujardin / maurice@artemis.nl / +31(0)736123223 / www.artemis.nl/english
Photo: Kurt Van der Elst
11
9 SEPTEMBER
SHOWCASES
FRASCATI 1
10.10 AM
8 SEPTEMBER
SHOWCASES
FRASCATI 1
2.10 PM
EDIT KALDOR
LOTTE VAN DEN BERG
Building
Conversation
Edit Kaldor is recognised internationrary theatre landscape. She combines
Three teenagers address the audience
conceptually strong forms with a per-
directly.They lead each spectator through
Not what we say but how we speak,
sonal approach to existential themes.
memories of his or her own youth, but
With her work, Lotte van den Berg puts
determines the value of our words.
She works mostly with nonprofessional
gradually the usual images of childhood
forward a radical proposition of what
You can practice yourself in conversa-
performers and integrates the use of
are replaced by images connected to
theatre could mean in our contemporary
tion. All over the world conversation
digital media in a sophisticated but
the experience of neglect and abuse.
society, namely the creation of interme-
techniques and meeting rituals have
straightforward way in her pieces. Her
The young people navigate us through
diary spaces, in which people can meet
been developed in order to make gather-
work is produced by for example Heb-
zoomed-in,
and exchange can take place, in which
ing possible. In Building Conversation we
bel am Ufer (Berlin), kunstenfestival-
fantasies and dreams, alternating with
life as activity is emphasized rather than
perform these techniques and rituals,
desarts (Brussels) and Teatro Maria
scientific details about what happens in
something you only look at from a dis-
and we design new forms together with
Matos (Lisbon), and has been invited
the body and the brain during physical
tance. This has radical consequences for
the participants. We work with conver-
to more than 30 countries around the
abuse. How close can you come to
the idea of the spectator. He or she will
sation techniques from, among others,
world. For her current theatre project,
the experience of another person?
not just be expected to take a seat and
the quantum physicist David Bohm, Inu-
Inventory of Powerlessness, she works
watch, but will be asked by Van den Berg
it chieftains and the philosopher So-
closely with local inhabitants in 4 cities:
‘Intelligent experiential theatre that
to join in the activity and also become a
crates, and investigate the act of speak-
Prague, Amsterdam, Berlin and Poznan.
drills to the deepest layers of memory.’
participant.
ing together in this way. In Building
Conversation, we turn the conversation
BOOKING INFORMATION
subjective
experiences,
Cobra.be
BOOKING INFORMATION
into a performance, a ritual.
‘Kaldor directs with great precision a
WOE 70
12
Woe
ally as a unique voice in the contempo-
BUILDING CONVERSATION 300
min (for information please contact Anneke Tonen) / 2 performers / age 18+
Anneke Tonen / +31(0)624723354 / www.lottevandenberg.nu
Rachel Feuchtwang / info@editkaldor.com
www.editkaldor.com
Photo: Soeuf Elbadawi
Photo: Christopher Hewitt
performance about what abuse does
with a human being.’ Volkskrant
13
9 SEPTEMBER
SHOWCASES
FRASCATI 1
11.50 AM
8 SEPTEMBER
SHOWCASES
BRAKKE GROND
10.55 AM
NIEUWE HELDEN
PIPS:LAB
Nieuwe Helden (New Heroes) creates
art projects and urban actions for public space. The projects and actions are
The Club 3.0
driven by the need to have public space
nology, combined with their homebrewed inventions and tailor-made
Social Fiction trilogy
be a place of encounters.
Nieuwe Helden wants to know: What
software. Using unstable media the
In a world where there is no longer one
are we fighting for? And what is a good
multi-talented group members have
Social Fiction is a trilogy wherein
truth, one shared ideology and every-
fight? The Club 3.0 is not a play, it’s a
truly become masters of the unexpect-
PIPS:lab gets recklessly stuck between
one must decide for themselves what
club in which people can fight, talk, blow
ed. The computer is their mixing tool,
theatre, cinema , painting, gaming and
he stands for and where he goes, there
up ideas and rebuild them again. This is
blending music, theatre, film and a
music. It is a glimpse of the future where
is more than ever before a need to meet
a club where you search for your role in
healthy dose of comedy into absurd me-
all boundaries between realities are
and encounter each other. That is why
society. Taking its cues from the 1996
dia theatre and ingenious installations.
completely diffused. PIPS:lab brings you
we create moments in which you can
novel and 1999 film, Fight Club, Lucas
PIPS:lab (Amsterdam, 1999) is one of
into an augmented state of confusion.
encounter yourself, the other and the
de Man and Michael Bloos use a mix of
the pioneers in light writing, has an in-
Social Fiction is a frantic search to
world. In all her projects and actions
performance, fighting and open dia-
teractive lumasol installation in the col-
translate the impermanent yet indelible
Nieuwe Helden strives to let public
logue to explore new visions on society
lection of the ZKM, Karlsruhe, and is
nature of online information, networks
space be more than just an anonymous
today and in the future.
touring all over the world with its perfor-
and friendships into contemporary the-
mances [a.o. Diespace and Social Fic-
atre. With Social Fiction PIPS:lab con-
consumption market place but rather
a place of connection, wonder, amaze-
‘I came into the piece… expecting to be
tion]. In their recent work they investi-
tributes in it’s own way to the digital rea-
ment, surprise, confusion and in the
solely entertained. Instead I left the play
gate the limbo of mixed realities.
li-Zeitgeist. As a theatre and arts
end: encounters.
believing it was a creative, innovative
collective, PIPS:lab sees it as its task to
piece that was brilliantly constructed
take the live audience to other dimen-
BOOKING INFORMATION
THE CLUB 3.0 90
from start to finish.’ Backyard Opera
Wouter Goedheer / info@companynewheroes.com / +31(0)643231514 / www.companynewheroes.com
14
PIPS:lab invades theatre with new tech-
BOOKING INFORMATION
sions. Who doesn’t follow, doesn’t count…
SOCIAL FICTION TRILOGY 60
min / 5-6 performers / age 8-80
Debbie Straver / debbie@pipslab.nl / +31(0)624594827/+31(0)648158270 / www.pipslab.org
Photo: Szilvi Toth
15
SHOWCASES
9 SEPTEMBER
9 SEPTEMBER
FRASCATI 1
11.50 AM
SHOWCASES
BRAKKE GROND
12.55 PM
POINTLESS
INTERNATIONAL
(Discordia & ‘t Barre Land)
Maatschappij Discordia and ‘t Barre
Land are two close kindred actors en-
Pointless
International
STAND UP TALL
PRODUCTIONS /
SANJA MITROVIC
Pointless International is a circus with-
Their work has been of great importance
out lions, tigers, or bears. It has no tra-
Sanja Mitrović is a Serbian-born theatre
for the development of Dutch theatre,
peze artists, jugglers or acrobats. There
maker and performer, working mainly in
Speak! (selected for kunstenfestival-
and influenced and inspirated lots of
are no horses, goats or piglets; Pointless
the Netherlands, Belgium and France.
desarts 2013) is a performance about
other companies in Holland and Bel-
International is a circus of clowns.
She is founder and artistic director of
the power and virtuosity of public
gium. A big repertoire is created with
Pointless International is an English
Stand Up Tall Productions. In recent
speaking and its potential to shape so-
plays from Wilde, Beckett, Strindberg,
speaking international clown perfor-
years Mitrović has gained wide recog-
ciety. Working with a wealth of historical
Bernhard,
mance presented by theater companies
nition for works which combine docu-
material, two performers try to win the
Canetti,
Maatschappij Discordia and ‘t Barre
mentary approach with fictionalized
audience approval.
Scribe, Kraus, Dumas, Strauss, Handke,
Land. Theatre members Matthias de
scenarios, often based on performers’
In the end, is there a winner? And if so,
Rijnders, Dostovjeski, Büchner, Brecht,
Koning, Jorn Heijdenrijk and Vincent
personal testimonies. With her work she
who will that be? Together with Belgian
Giradoux and also a lot of plays based on
van den Berg have joined forces to com-
often opens up a space of encounter be-
performer Matthieu Sys, Mitrović ex-
improvisation. This will be the first time
bine the best of the stage with the best
tween various cultures and languages.
plores the capacity of language, and its
a play is made especially to perform
of the circus.
She is currently working with La Comédie
public performance. Marked by subtle
abroad, and that’s why the two compa-
Following the clowns’ early 19 century
de Reims and Reims Scénes D’Europe
humor, driven by playfulness and shot
nies temporally united themselves un-
spread from Paris throughout Europe,
Festival on the production Do You Still
through with painful moments, Speak!
der the name ‘Pointless International’.
Pointless International honors the clas-
Love Me? that will premiere in 2015.
is a performance that takes us on an
Tsjechov,
Goethe,
Herzberg,
Shakespeare,
Shaw,
th
sic clowns scenes with the same force,
BOOKING INFORMATION
POINTLESS INTERNATIONAL duration
originality and intimacy as the original.
unknown / 4 performers / age 16+
Czeslaw de Wijs / cdewijs@gmail.com / +31(0)624116494 / www.pointlessinternational.com
16
Speak!
sembles founded in 1980 and 1991.
emotional journey through images from
BOOKING INFORMATION
our collective history and our possible
futures.
Olja Savic / info@standuptall.org / +32(0)485209712 / www.sanjamitrovic.com
SPEAK! 20
Photo: Jacob Gesink
17
8 SEPTEMBER
SHOWCASES
9 SEPTEMBER
BRAKKE GROND
1.50 PM
SHOWCASES
BRAKKE GROND
10.55 AM
Intergalactic
TILT / ANDREA BOŽIC
(An Attempt To Overcome
The Binary)
Tilt is an interdisciplinary platform
A radical rethink of the world and
founded
its categories.
One Hot Minute
Pravda and visual artist Julia Willms.
Intergalactic (An Attempt To Overcome
A statement about mass-production,
The three have worked together based
The Binary) is an interdisciplinary
in the Netherlands since 2003 and
performance that crosses borders of
in 2009 they founded Tilt to support
disciplines and re-organizes perception.
and inspire artistic practice beyond
Intergalactic plays with a set of simple
disciplines. Their work was produced
binaries - left / right, black / white,
by Frascati productions and has toured
before / after - to pose questions about
extensively internationally. From 2009-
the polarization and radicalization of
Under the name of Touki Delphine, multi-
seeing of gravity, the development of the
2012 Andrea was artist in residence at
the
society. Starting
instrumentalists and music theatre
t-shirt, the introduction of the pot plant
the International Choreographic Arts
from a set of black-and-white papers,
makers Rik Elstgeest, Bo Koek and John
and the eternal indian.
Centre Amsterdam (ICK). The three
the performers reorganize the black
van Oostrum (all members of former
Touki Delphine shows a completely
make interdisciplinary performances
box theatre space. It is duplicated as
band Kopna Kopna) create eclectic
unique collection of inventions and (not
that re-organize perception and are
a miniature on stage and movement,
music theatre performances. Arend
always so very) crucial moments on a
a captivating mix of live performance,
sound and video projections take the
Pinoy is guest performing in One Hot
10-meter long conveyer belt. During
installation, visual and sound art and
audience to a world within a world.
Minute.
one minute they shine in the spotlights
by
choreographer/director
Andrea Božić, sound artist Robert
contemporary
VEENFABRIEK /
TOUKI DELPHINE /
PARADISO MELKWEG
PRODUCTIEHUIS
collaborations with the weather.
18
History is an endless coming and going
of people and things. The Big Bang,
the evolution from the great ape to
the human being, the discovery of fire,
to
thinking.’ Trouw
subsequently
disappear
forever.
1 conveyer belt , 2 mirroring cubes, 4
‘A great example of out-of-the-box
BOOKING INFORMATION
about the rise and downfall of civilization.
BOOKING INFORMATION
multi-instrumentalists, and a never
ending stream of objects and characters.
Rick Spaan / rickspaan@veenfabriek.nl / +31(0)713318053 / www.veenfabriek.nl
INTERGALACTIC (AN ATTEMPT TO OVERCOME THE BINARY) 60
min / 2 performers, 1 sound artist / all ages
Andrea Boži / info@andreabozic.com / +31(0)641247527 / www.andreabozic.com
ONE HOT MINUTE 90
Photo: Karin van der Wiel
Photo: Bowie Verschuuren
19
8 SEPTEMBER
SHOWCASES
8 SEPTEMBER
FRASCATI 1
11.50 AM
SHOWCASES
FRASCATI 1
10.00 AM
The New Forest
During
the
period
2013-2016,
Wunderbaum has worked creating the
coordinating project The New Forest.
Within this framework, Wunderbaum
investigates
and
represents
social
changes and transitions in our current
society.
The
New
Forest
consists
of performances, seminars, and a
DE WARME WINKEL
transmedial film project.
Gavrilo Princip
The New Forest will be presented in
WUNDERBAUM
various formats and manifestations.
Theatregroup De Warme Winkel (The
For instance, you will see a fragment
Hot Shop) is in love with history and
On June 28, 1914, Gavrilo Princip and
Wunderbaum
Dutch-Flemish
of the performance The House; a joint
fascinated by the disordered, multiform
5 of his friends make an attempt on
actors collective making theatre about
production with the Veenfabriek. We
age in which we live. Their productions
the life of the Habsburgian heir to
topical subjects, both site specific
have invited musicians, performers
are happenings in which they play with
the throne Franz Ferdinand during
and in theatres. Recurring themes are
and visual artists to stay with us on a
styles, forms, expectations, clichés and
his visit to Sarajevo. Gavrilo Princip
investigations into subcultures and the
temporary basis in a moveable house.
the audience. They take the audience
is a play about a world that is on the
tension between ideology and everyday
The result is an extremely eclectic
along on a voyage through the subject
verge of disappearing, about a jackass
reality. Generally, the collective writes
musical performance, with a filmed
matter. Through a playful, witty and
who overthrows the elite, about the
its own texts, based on research;
report about this journey. Moreover, you
intense struggle, they attempt to put
subjectivity of historiography, about the
occasionally they commission other
will be offered a preview of The Making
across its essence and beauty.
mighty hand of fate and about taking
writers. Wunderbaum has provided
of The New Forest: a transmedial film
justice into one’s own hands. A delirious,
performances both at home and abroad.
project on the cutting edge between
orgasmic,
BOOKING INFORMATION
theatrical
is
a
reconstruction,
reminiscent of a battlefield.
cinema and theatre, documentary and
BOOKING INFORMATION
fiction, live and online perception, with
The New Forest as its subject.
GAVRILO PRINCIP 120
Marloes Marinussen / info@dewarmewinkel.nl / +31(0)307116882 / www.dewarmewinkel.nl
20
THE HOUSE 90
THE MAKING OF THE NEW FOREST (FILM + LIVE PERFORMANCE) 90
Josine Gilissen / josine wunderbaum.nl / +31(0)104045262 / www.wunderbaum.nl / www.thenewforest.nl
@
Photo: Sofie Knijff
21
8 SEPTEMBER
PITCHES 8 SEPTEMBER
8 SEPTEMBER
FRASCATI 1
11.50 AM
FRASCATI 1
10.00 AM
FRASCATI 1
10.00 AM
FRASCATI 1
11.50 AM
HOGE FRONTEN /
LIEKE BENDERS
NOORD
NEDERLANDS TONEEL
RO THEATER
SCHWEIGMAN&
The Ro Theater is one of the three
In Blaas (Blow), Schweigman& take
A young and mobile theatre arts organiza-
One of the four major theatre companies
largest Dutch theatre companies, firmly
a playful approach to the space that
tion directed by Lieke Benders that devel-
in The Netherlands that are funded by
rooted in its home city of Rotterdam.
surrounds us. Traversing the border-
ops and produces site-specific theatrical
the national Council for Culture. Under
The company presents only new and
lands of inside and outside, being ex-
productions for adult as well as family
the artistic directorship of Ola Mafaalani,
contemporary
Dutch
posed and being protected, light and
audiences, set against urban and rural
it combines a love for classic theatre
and international writers. The artistic
dark - in the end, perhaps it is more ap-
backdrops.
with its own unique and ready passion,
director is Alize Zandwijk.
propriate to ask ‘where am I’ than ‘who
anchored firmly and squarely in society.
Vuurvrouwen (Fire Woman) takes us
am I’. Schweigman& developed Blaas
back to the seventies of the 20 th century,
(Blow) with performer Ibelisse Guardia
Gluren (Peeking) is a theatrical museum
22
PITCHES 8 SEPTEMBER
repertoire
of
walk in which you, as part of a select
Inspired by the novel Crash by J.G. Ballard,
where a young woman, Ulrike Meinhof,
Ferragutti and visual artist Cocky Eek.
company of people, wander around a
the NNT, in conjunction with Club Guy &
opposed the culture of silence of post-
Boukje Schweigman: “I felt an affinity
neighborhood and stop by five different
Roni, created Crash, a multidisciplinary
war Germany. Ulrike fought, like the
the moment I saw Cocky’s inflatable
houses. The residents are not at home. In
show encompassing acts interspersed
militant Joan of Arc, for her ideals, but
objects. Like me, she investigates how
every house the various rooms reveal the
by movement sequences, mechanical
she was seen as a dangerous terrorist
the human body relates to the space
story behind the person associated with
slapstick, cartoon horror and visual and
and sentenced to life imprisonment. We
around it. Her works disorient, appeal to
those spaces. A theatrical walk where you
sound performances. The production
follow Ulrike Meinhof in the last hours
the imagination, evoke a physical response
will visit others - but may end up meeting
revolves
shocking
of her life. Vuurvrouwen (Fire Woman) is
and put questions about how and why I
yourself. Nominated for the BNG Bank
experiences that bring people closer to
a production about absolute ideals and
move around in this wonderful world.”
Nieuwe Theatermakersprijs, in 2014.
life, to corporeity and to the other.
how far you will go for them.
BOOKING INFORMATION
BOOKING INFORMATION
BOOKING INFORMATION
BOOKING INFORMATION
90 min / 5 attendants / age 14+
Lieke Benders / Janneke Schmeitz
info@hogefronten.nl / +31(0)641051403 /
+31(0)621145104 / www.hogefronten.nl
55 min / 8 performers / age 16+
Arie Wink
arie.wink@nnt.nl
+31(0)505885440 / www.nnt.nl
Angelique Finkers
angelique@wallisfinkers.nl / +31(0)756120007
www.rotheater.nl
Rachel Feuchtwang
directie@schweigman.org / +31(0)30 711 60 73
www.schweigman.org
Photo: Saris & den Engelsman
Photo: Reyer Boxem
Photo: 75B & Bob Goedewaagen
Photo: Geert Snoeijer
around
those
23
9 SEPTEMBER
PITCHES 9 SEPTEMBER
9 SEPTEMBER
PITCHES 9 SEPTEMBER
FRASCATI 1
10.35 AM
FRASCATI 1
11.50 AM
FRASCATI 1
11.50 AM
FRASCATI 1
10.10 AM
SHOWMACHINE /
JOACHIM ROBBRECHT
STRIJBOS & VAN RIJSWIJK
TONEELGROEP OOSTPOOL
TROUBLE MAN / SADISTS
Composers Rob van Rijswijk and Jeroen
“We do not want moral rule, we want to
Sadettin Kirmiziyüz (1982) graduated
Joachim Robbrecht (1979), is a Rotterdam
Strijbos both graduated with honors
agitate and unsettle the viewer on a more
with a bachelor’s degree in acting at the
based Belgian author-director. In his
from the Utrecht School of Arts in
intuitive level.”
Maastricht Theatre Academy in 2007. He
work, Robbrecht deals with themes
Electronic & Computer Composition. The
relevant to the construction of identity at
hallmark of their collective body of work
Suzan Boogaerdt and Bianca van der
panies, including the Dutch National
the beginning of the 21st century: migra-
is a combination of electroacoustic
Schoot joined the reputable artistic team
Theatre and Onafhankelijk Toneel. He
tion, the crisis of capitalism and sexual
composition
elements,
of Toneelgroep Oostpool in January 2013.
has also made plays on location at the
standards. Awarded the Ton Lutz prijs
design and innovative music technology.
They create expressively bold and lively
Flemish Theatre house De Queeste.
(2006) and Charlotte Köhlerprijs (2011).
Awarded a honorary mention for PRIX
theatre
and
spatial
starred in productions of several com-
productions
which
revolve
Ton Bruynèl 2010, and First Music prize
around the struggles and challenges
Kirmiziyüz uses his Turkish roots and
In The Great Warmachine, Robbrecht
by
Cultural
people face in today’s modern world.
environment as inspiration for his plays.
stimulates us to identify with ‘the way of
Foundation 2012. Strijbos & Van Rijswijk
Susanne Kennedy’s theatre experience
He was born and bred in Zutphen, but is
the warrior’. He contests the idea that
will explore their sound processing
includes working at the National Theatre,
fascinated by the fact that he is the son
Europe is built on peace and that combat
musical iPhone app Walk With Me which
NT GENT and Münchner Kammerspiele .
of migrants. Since 2010, he is artistic
is a thing of the past, thereby questioning
uses GPS data to create unique
Bianca van der Schoot, Suzan Boogaerdt
director of Trouble Man. In Somedaymy-
our strong-held ideas about peacefull-
soundscapes. It’s part of the art of
and Susanne Kennedy created the
princewill.com Sadettin and a wedding
ness and the uselessness of violence.
collaborative
performance
an
band tell the story of Sadettins younger
landscape of innovative, cooperation-
expressive and bold theatre production,
sister who got married to her knight in
enhancing technologies.
moulded as a soap.
shining armor in Istanbul in Juli 2011.
The
Prins
Bernhard
practice
within
BOOKING INFORMATION
the
Hideous
(Wo)men,
BOOKING INFORMATION
BOOKING INFORMATION
BOOKING INFORMATION
Denise Harleman
denise_harleman@hotmail.com
+31(0)681911606 / www.joachimrobbrecht.com
24
Photo: Bruno Listopad
inapplicable / all ages
Rob van Rijswijk / Jeroen Strijbos
info@strijbosvanrijswijk.com / +31(0)681690085
+31(0)681690086 / www.strijbosvanrijswijk.com
Ruud van Meijel
ruud@toneelgroepoostpool.nl +31(0)264437655
www.toneelgroepoostpool.nl
Wilma Kuite / wilma@allesvoordekunsten.nl
+31(0)204235826/+31(0)624229065
www.troubleman.nl
Photo: Sofie Knijff
25
8 SEPTEMBER
FRASCATI 4
2.35 PM
FRASCATI THEATER
AMSTERDAM AND
SPRING FESTIVAL
UTRECHT PRESENT:
TALENTS OF
THE FUTURE
MAREN E. BJØRSETH
JULIAN HETZEL
The Netherlands has long been a
Festival Utrecht, and Mark Timmer,
Maren E. Bjørseth (1984) graduated in
Julian Hetzel (1981) graduated from
meeting point for young artists from
director of Frascati Amsterdam, introduce
2012 from the Amsterdamse Theater-
Bauhaus University Weimar in visual arts
all over Europe and even from across
their personal choice of young artists.
school with a production of Ibsen’s Een
and is (among other things) co-founder
the world. The Dutch education insti-
Originating
Netherlands,
Poppenhuis (A Doll’s House), for which
of the You Are Watching Us collective,
tutions and production houses have
Belgium, Germany, Austria, Sweden and
she received the ITS Ton Lutz Award.
which creates audiovisual performances.
always been open to students from
Greece, all now live and work in the
Immediately after graduation, she created
One of their most successful pieces
abroad, enabling artistic idioms, cul-
Netherlands. Their work covers a wide
an intriguing production of Helling
has been PreENTER, which was shown
tural backgrounds and life experienc-
range of genres within the performing
(The Slope) (Carl Frode Tiller, 2013) at
at the ARS Electronica Festival 2008 in
es of Dutch and international artists to
arts: from text-based theatre to perfor-
Frascati Producties, the raw Ten Liefde
Linz, Austria. In 2009 Hetzel founded
mix and enrich each other.
mative installation, from radical dance
(At Love) (Ko van den Bosch, 2013), and
Le Schnigg, an agency for audiovisual
to documentary theatre, from concert-
the cheerfully-macabre Geloof Liefde
strategies and solutions through which
Today a new generation of artists is
performance to political theatre. These
Hoop, een kleine dodendans (Faith Love
he organizes lectures and workshops.
emerging, with a keen awareness of the
artists are the future.
Hope, a Small Dance of Death) (Von
Hetzel graduated from the Master’s
Horváth, 2014). In the autumn of 2014 she
course DasArts at the AHK in the sum-
from
the
many different artistic idioms. Often
forming networks of exchange and
We are happy and honored to introduce
will be taking another step towards an id-
mer of 2013. He is currently working
collaboration, they start to work interna-
to you: Maren Bjørseth, Julian Hetzel,
iosyncratic repertoire that forges a fresh,
at the Brakke Grond / SPRING Festival
tionally from very early on in their career.
Florentina Holzinger / Vincent Riebeek,
fragmented view: Hugo Claus’s Een bruid
where he recently produced Still (The
Frascati and SPRING are two of the
Anouk Nuyens, Davy Pieters, Tijdelijke
in de morgen (A Bride in the Morning)
Economy of Waiting) in five containers
platforms and (co)producers supporting
Samenscholing,
will be her first TA-2 performance (a co-
on the Neude Square in Utrecht.
young artists based in the Netherlands,
Velissariou.
Urland
and
and offering them international exposure.
Rainer Hofmann, director of SPRING
Naomi
production of Toneelgroep Amsterdam
and Frascati).
Mark Timmer & Rainer Hofmann
www.frascatiproducties.nl/content/maren-e-bjorseth
26
Photo: Nils Kristian Thompson Eikeland
www.julian-hetzel.de
27
TALENTS OF THE FUTURE
FLORENTINA HOLZINGER
AND VINCENT RIEBEEK
DAVY PIETERS
TIJDELIJKE
SAMENSCHOLING
Anoek Nuyens (1984) is a writer, producer
Davy Pieters (1988) graduated from the
archi-
and dramatist who works or has worked
Toneelacademie Maastricht in 2012,
Tijdelijke Samenscholing consists of
tecture in Vienna, before moving to
in Kinshasa, Saint-Louis, Brussels, Berlin
where she trained as a director. She
stage actors Michiel Bakker and Carole
Amsterdam to study at the School for New
and Amsterdam. Her essay ‘Westen, wake
produced a study entitled What Remains
van Ditzhuyzen and musician Stan
Dance Development. At Impulztanz she
up! (West, Wake Up!) was named the best
and An Elephant at Frascati Producties.
Vreeken.
was granted a Dansweb Europe scholar-
theatre essay of 2013 and was awarded
In 2013, The Truth About Kate appeared:
Gathering’) refers to the limitations of
ship in 2008 and 2010, and for her gradu-
the Marie-Kleine Gartman pen. As a
the reconstruction of a self-fabricated
the alliance that these players enter
ation solo Silk she received the Prix Jardin
dramatist and theatre producer, she
identity crossed with a staged docu-
into for each performance. Their work
d’Europe 2012. She subsequently worked
continues to work with, among others,
mentary, in which a young woman looks
combines social and literary sources
at Frascati, Workspace Brussels and Pact
Marjolijn van Heemstra, Lizzy Timmers,
back on her life. As a result she ends
with personal stories, themes and
Zollverein Essen. Her Kein Applaus fuer
Lotte van den Berg, Alioune Diagne and
up entangled in her own fabrications.
thoughts.
Scheisse (No applause for shit; a collabo-
theatre collective Schwalbe. She is
Kate was selected for the Theatre Festival
was established in 2009 and, with the
ration with Vincent Riebeek) brought her
currently working on a series of articles
2014 and wrote theatre history by being
support of Frascati Producties, ‘t Barre
work to international attention. Recently,
on released state secrets, published in De
the first Frascati production to fill the full
Land and Maatschappij Discordia, has
Holzinger and Riebeek created Wellness
Correspondent since April of 2014. She
front cover of the NRC Next newspaper.
created six performances. The most
(SPRING, 2014): about the perfect symbi-
is also the founder of Het Transitiebureau,
How did I die? Reconstructie van een
recent performances are Ouagadougou
osis of a healthy body and a healthy mind.
where artists and thinkers examine forms
moord (How Did I Die? Reconstruction of a
(2012) and Marcus Bakker (2014): a
Holzinger and Riebeek are known for their
of community and the role of art in the
Murder) will premiere in November 2014.
diptych on origins, father figures and
explicit performances full of radical body
21st century. She is due to present a
This theatrical thriller examines the ques-
ideals. Tijdelijke Samenscholing has
imagery, with which they strongly criticize
journalistic performance in 2015, which
tion whether the absolute truth, known
been operating from Productiehuis
western consumption society.
currently has the working title Oude missie/
as ‘ground truth’ in police investigative
Rotterdam (Rotterdamse Schouwburg)
Nieuwe missie (Old Mission/New Mission).
jargon, really exists.
since 2014.
www.floholzinger.wordpress.com
www.riebeekvincent.wordpress.com/zzz
www.anoeknuyens.com
www.davypieters.nl
www.tijdelijkesamenscholing.nl
Photo: Thomas Lende
Photo: Michiel Kotterink
Photo: Christina Chouchena
Photo: Anna van Kooij
Florentina
28
ANOEK NUYENS
Holzinger
studied
The
name
Tijdelijke
(‘Temporary
Samenscholing
29
8 SEPTEMBER
FRASCATI 1
6.00 PM
DOOD PAARD:
PLAY WITH FOOD
During Moving Meetings Theatre company
Dood Paard invites you to dinner. Dood
Paard will not only serve some delicious
food, during the courses they will present
URLAND
NAOMI VELISSARIOU
fragments of the performances Othello (bye
bye) and Freetown and Dood Paard will also
Freetown
give some background information about
Urland is a performance collective found-
Naomi Velissariou (1984) obtained a
ed in 2010 by Ludwig Bindervoet, Thomas
Master’s degree in theatre and literary
Dudkiewicz, Marijn Alexander de Jong
studies and completed her training
and Jimi Zoet during their second year
as an actress at the Toneelacademie
Lifted from a poem by the Dutch poet
land, Belgium, New York and Canada.
at the Toneelacademie Maastricht. They
Maastricht. Immediately after graduating
Gerrit Achterberg, the name Dood Paard
Freetown tells the story of three white
produce visual, musical and physical
in 2012, she performed her first solo with
(“Dead Horse,”) embodies the double
well-to-do women who meet each other
performances that confront the audience
Frascati Producties entitled Mr Jones,
vision of the company itself: the dark-
in a resort in West Africa, which offers the
with radical forms of theatre and oper-
which is a free adaption of Jean Cocteau’s
ness represented by death, in contrast
perfect opportunity for encounters with
atic, universal themes and dilemmas. At
Le Bel Indifferent (The Indifferent Beautiful).
with bright vitality and life represented
dark young men. The women are quite
the same time, Urland productions retain
Kwartet: een powerballad (Quartet: A
by a horse. The group was founded in
aware of what they have come here for.
a sense of humor, and they appeal to a
Powerballad) followed in 2013 with per-
1993. Integral to its philosophy is a
They are confident consumers for whom
new generation of audiences. Urland is
formance collective Urland, as well as
commitment to operate as a collective.
happiness and pleasure are rights. And
affiliated with Productiehuis Rotterdam.
A Tragedy (simplified): a postmodern
Company decisions are made through
why wouldn’t you be allowed to enjoy a
family epic for which she wrote the script. I
discussion among its members, which
few weeks of unrestrained pleasure after
See You followed in June 2014, as a form of
include actors, directors and techni-
a year of hard work in the barren North?
‘existentialism 2.0’. A grim deconstruction
cians. Questions which they constantly
Freetown was selected for the Dutch and
of Huis Clos (No Exit), it portrays hell in the
ask themselves are: What do we know;
Flemish Theater Festival.
midst of daily life, in which 3 people per-
what is our situation; and what do we
ish in a swirl of thoughts and poses and
think? The company regards the world
attempts at intimacy.
from a critical stance, but one infected
www.urland.nl
these performances and their company.
Graaf and has been performed at festivals and theatres in Germany, Switzer-
with good humor and an optimistic be-
www.frascatiproducties.nl/content/naomi-velissariou
lief that man’s intellect and creativity
can transcend tragedy.
30
Freetown was created in 2010 by Rob de
BOOKING INFORMATION
Raymond Querido
raymondquerido@doodpaard.nl
+31(0)204229833 / www.doodpaard.nl
Photo: Sanne Peper
31
>
DOOD PAARD:
PLAY WITH FOOD
7 SEPTEMBER
7 SEPTEMBER
9 SEPTEMBER
THEATER BELLEVUE
STADSSCHOUWBURG
AMSTERDAM
STADSSCHOUWBURG
AMSTERDAM
Othello (bye bye)
ORKATER / DE NIEUWKOMERS
TONEELGROEP AMSTERDAM
Othello (bye bye) was created in 2011
Een Bebop Verhaal
TONEELHUIS /
TONEELGROEP AMSTERDAM
and has been performed at festivals and
(A Bebop Story)
Hamlet vs Hamlet
Lange dagreis door de
nacht (Long day’s journey into night)
Sint Petersburg, Paris and Toulouse.
Lars Doberman presents Een Bebop Ver-
Hamlet’s father is murdered by his own
It was Eugene O’Neill’s wish that his
Dood Paard brings this classic dealing
haal (A Bebop Story), an arrogant view on
brother, uncle Claudius. The ghost of Ham-
masterpiece would not be published
with jealousy, love and racism with two
life in its absurdity. The story of a man
let’s father calls on his son to avenge him.
until after his death, and it’s no mys-
actors and one technician. A new trans-
who simply happened to be at ease. A
Hamlet is torn between his willingness
tery why: the piece is a frank portrayal
lation gives it a contemporary feel while
man whose life ended, true to form, by
to kill the murderer and his love for his
of his own youth, overshadowed by his
remaining close to the original. This
falling out of a window. A man who may
adulterous mother, who marries Claudius
mother’s addiction and his father’s and
results in an intelligent, bold perfor-
have been Chet Baker. In an endlessly
shortly after the murder. With Tom Lanoye,
brother’s alcoholism. Yet, it also attests
mance filled with double layers in which
shifting, shaky world we will go looking
Hamlet is on the brink of adulthood. As an
to the deep love and sympathy bind-
themes such as jealousy and xenopho-
for this man of extremes. A gem on the
adolescent he is old enough to see through
ing the family members together, pre-
bia become uncomfortably apparent.
one hand: poetic trumpet playing, melan-
the abuses of power in his vicinity, but he
senting a heartrending portrait of four
choly and boyish good looks. On the other
also feels crushed by the adult world. His
people unable to live with – or without
hand, rotting wood: addicted to the an-
monologues are cries from the heart and
– each other.
aesthetic. Blessed by the gods with a gift
personal exorcisms, a charge against all
of gold, but bone-idle in the end.
injustice, certainly - but also a cursing of
‘Masterful actors in a sketch of human
his own incompetence. His own actions/
incompetence.’ Trouw ****
10.00 PM
8.30 PM
8.00 PM
theatres in Belgium, Lisbon, New York,
BOOKING INFORMATION
‘This show is infectious.’
deeds are mainly words, rather than deeds.
Volkskrant
32
Raymond Querido
raymondquerido@doodpaard.nl
+31(0)204229833 / www.doodpaard.nl
Duration: 70 min
Duration: 190 min
Duration: 180 min
Photo: Sanne Peper
Photo: Ben van Duin
Photo: Jan Versweyveld
‘Hamlet hits you hard, it bites and stings.’
Volkskrant *****
33
9 SEPTEMBER
7 SEPTEMBER
8-9 SEPTEMBER
8-9 SEPTEMBER
THEATER BELLEVUE
8.30 PM
STADSSCHOUWBURG
AMSTERDAM
FRASCATI THEATER
8.00 PM
10.00 PM (8 SEP)
7.00 PM (9 SEP)
TONEELSCHUUR PRODUCTIES
SCHWALBE
EMKE IDEMA
ORKATER / MEXICAANSE HOND
Met mijn vader in bed
Schwalbe zoekt massa
– XL (Schwalbe seeks crowd -XL)
Stranger
Welkom in het Bos
(wegens omstandigheden)
8.00 PM (8 SEP)
10.00 PM (9 SEP)
(Welcome to the woods)
STRANGER is a life-sized board game
Magne van den Berg wrote the touch-
Schwalbe is performing the grand finale
developed by Emke Idema because of her
Two women are wandering in the woods;
ing and funny script for Met mijn vader
of Schwalbe zoekt massa. For their XL
fascination with the mechanisms that
Dora, who has run away from her hus-
in bed (wegens omstandigheden) at the
edition they are bringing no fewer than
come into play when people are watch-
band, and Fannie, who is supporting her.
request of actress Marieke de Kleine.
200 people to the stage. The audience
ing people. STRANGER is a playful, prob-
They are hungry, they are thirsty, and at
The text consists of twenty-eight falter-
will see a crowd of people pass them
ing platform for uncovering the tensions
night they can hear disturbing noises.
ing telephone conversations between
by like a horde: driven, brave, infec-
between our social values and our in-
Then they stumble upon a number of
a father and his daughter following the
tious, full of life. Like a stampede they
tuition. Which strategies do people use
mysterious characters: a timid faun, a
death of his wife, her mother. Conversa-
are going straight for their aim, but af-
to deal with the disparities? A forum
good-for-nothing rich man and a crude
tions about the weather, her old things,
ter a while you begin to wonder what
where the audience can make active
priest. All of them want to be relieved
a new girlfriend and how far you can go
their destination may be. The purpose-
choices, get involved, and speak out.
of their desires, but none of them are
in finding solace with another person...
ful crowd turns into an aimless, unpre-
STRANGER stood out for its completely
masters in the art of seduction. There’s
dictable mass, pulling in everything that
unique form, and was very well received
no choice for Fannie and Dora but to bite
comes in its path.
across the Dutch and international the-
back.
‘Heart-wrenching and wonderful. Every-
atre scenes.
thing falls into place, which makes this
show an intensely emotional experience
‘It is fascinating to see how long you can
‘The absurd mix of styles is clearly great
for the audience as well.’ Trouw *****
watch these bodies on the move. So sim-
fun to perform and is applied to very fun-
ple, so direct; a choreography of a crowd.’
ny effect.’ Theaterkrant ****
Parool ****
34
Please note: Dutch spoken, no surtitles
Duration: 60 min
Duration: 60 min
Duration: 75 min
Photo: Geert Snoeijer
Photo: Pepijn Lutgerink
Duration: 70 min
35
Organized by
Dutch Performing Arts
Partners
Thanks to all participating companies and theatre artists, ’n More (production), Stadsschouwburg Amsterdam and Vereniging voor Schouwburg- en Concertgebouwdirecties (VSCD).
QUESTIONS?
Anja Krans
Jutha Bakker
Susanne Moed
Selection committee The Netherlands
On the committee that selected the companies and theatre artist for Moving Meetings
Theatre were Mark Timmer (Theater Frascati), Rainer Hofmann (SPRING Festival Utrecht),
Simon van den Berg (theatre critic) and Ivette van Ooijen (Stadsschouwburg Utrecht).
Cover Photo: The House - Wunderbaum, photo: Sofie Knijff
Graphic Design: KochxBos Studio Amsterdam
THE FLAVORING OF
THEATRE
5 - 7 SEPTEMBER 2014 ANTWERP
DESINGEL
DESINGEL
DESINGEL
DESINGEL
DESINGEL
PERFORMANCES FLEMISH THEATRE FESTIVAL:
DESINGEL,
RED HALL
DESINGEL, THEATRE STUDIO
DE STUDIO
DE STUDIO
DE STUDIO
DE STUDIO
BOURLA/TONEELHUIS
van W
e
senbe
MATTERHORN
le
i
aat
str
leis
a
P
MONTY
ië
e
ld
at
STADSSCHOUWBURG
ANTWERPEN
BOURLA/TONEELHUIS
he
kestr
a
HET PALEIS
DE STUDIO
DE SINGEL
el
ing
ns
e
inn
CONTENT
2. PROGRAM SCHEDULE
3. INDEX & MAP
4. WELCOME
5.
AN OVERVIEW OF THE THEATRE
LANDSCAPE IN FLANDERS
12.PERFORMANCES
24.SPEEDDATES
30.VARIOUS
36.PARTNERS
B
STADSSCHOUWBURG ANTWERPEN
DESINGEL, RED HALL
DESINGEL
ht
eg
al
en
pa
Sc
INFO
THEATRE ZUIDPOOL
t
PERFORMANCES FLEMISH THEATRE FESTIVAL:
N49a
5.Open-air museum Middelheim - Middelheimlaan 61, Antwerp
6. Stadsschouwburg Antwerpen - Theaterplein 1, Antwerp
7. DE Studio - Maarschalk Gerardstraat 4, Antwerp
8. Theatre Zuidpool - Lange Noordstraat 11, Antwerp
traa
tors
rca
Me
MEETING POINT: HOTEL RAMADA PLAZA
8.45 AM ROUTE A
BRONKS Sorry voor alles (Sorry for Everything)
MATTERHORN
RANDOM SCREAM / DAVIS FREEMAN 7 Promises
MATTERHORN
LUNCH
OPEN-AIR MUSEUM MIDDELHEIM
COMP.MARIUS Marius + Short Audio Work
OPEN-AIR MUSEUM MIDDELHEIM
DE ROOVERS A View from the Bridge
PORT OF ANTWERP
ROUTE
B
MEETING
POINT:
HOTEL RAMADA PLAZA
8.45 AM
THEATER ZUIDPOOL Macbeth
THEATER ZUIDPOOL
TRISTERO Toestand (Present Condition)
THEATER ZUIDPOOL
LUNCH
HETPALEIS
BERLIN Bonanza
HETPALEIS
HET PALEIS & SIMON DE VOS Romeo and Juliet
HETPALEIS
MEETING POINT: DESINGEL
9.30 AM ROUTE C
FABULEUS Dub
DESINGEL
ENSEMBLE LEPORELLO The Final Party
DESINGEL
LUNCH
MONTY
PIETER DE BUYSSER Landscape with Skiproads
MONTY
ABATTOIR FERMÉ Tourniquet
MONTY
DESINGEL
5.30 PM > 8.00 PM INSTALLATION (OPTIONAL):
RUTH BECQUART & KYOKO SCHOLIERS Letter
DESINGEL
5.30 PM > 7.30 PM PERFORMANCE (OPTIONAL): ONTROEREND GOED A Game of You
DINNER
DESINGEL
6.00 PM
1. Bourla/Toneelhuis - Komedieplaats 18, Antwerp
2. deSingel - Desguinlei 25, Antwerp
3. HETPALEIS - Theaterplein, Antwerp
3. Matterhorn - Albrecht Rodenbachstraat 21, Borgerhout
4. Monty - Montignystraat 3, Antwerp
lg
ARTISTIC ROUTES: Participants can choose one route. Transport between the different locations is provided by the organization.
LOCATIONS IN ANTWERP
Be
DESINGEL
rk
DESINGEL
SATURDAY SEPTEMBER 6
8.00 PM LES BALLETS C DE LA B, NTGENT & MÜNCHNER KAMMERSPIELE Tauberbach
8.00 PM TONEELHUIS, MUZIEKTHEATER TRANSPARANT/FC BERGMAN & SOLISTENENSEMBLE
KALEIDOSKOP Van den Vos (A Fox Tale)
10.00 PM PERFORMANCE (OPTIONAL): ONTROEREND GOED A Game of You
MEETING POINT: HOTEL RAMADA PLAZA, 8.30 AM
9.15 AM LAMPEKAP & VILLANELLA Fresco
10.00 AM SPEEDDATING SESSIONS: The following companies participate:
UNM / KOEN DE PRETER ▪ NTGENT ▪ LIES PAUWELS ▪ VOETVOLK / LISBETH GRUWEZ ▪
COMPAGNIE CECILIA ▪ CREW ▪ MALPERTUIS THEATRE / PIET ARFEUILLE ▪ TROUBLEYN /
JAN FABRE ▪ SPIN ▪ VERA TUSSING ▪ LAZARUS ▪ TOM STRUYF
12.30 PM LUNCH
2.00 PM BUS TO AMSTERDAM
2.00 PM LAMPEKAP & VILLANELLA Fresco
ac
8.00 PM TONEELHUIS, MUZIEKTHEATER TRANSPARANT / FC BERGMAN
& SOLISTENENSEMBLE KALEIDOSKOP Van den Vos (A Fox Tale)
8.00 PM ICKAMSTERDAM & JAN MARTENS The Dog Days are Over
8.00 PM TONEELHUIS & TONEELGROEP AMSTERDAM Hamlet vs Hamlet
9.15 PM > 9.45 PM PERFORMANCE (OPTIONAL):
ONTROEREND GOED A Game of You
10.00 PM MEET & GREET WITH TONEELHUIS – GUY CASSIERS & THE ACTORS + DRINKS
SUNDAY SEPTEMBER 7
N
REGISTRATION DESK OPEN
WELCOME
DINNER
> 8.00 PM INSTALLATION (OPTIONAL): RUTH BECQUART & KYOKO SCHOLIERS Letter
> 7.30 PM PERFORMANCE (OPTIONAL):
ONTROEREND GOED A Game of You
lde
4.00 PM
5.00 PM
6.00 PM
6.00 PM
6.30 PM
PROGRAM
Sch
e
FRIDAY SEPTEMBER 5
MIDDELHEIM MUSEUM
3
DEAR GUESTS,
VTi (Institute for the Performing Arts in
There is also a complementary, custom
Flanders), Het Theaterfestival Flanders
day programme in the context of Moving
and all Antwerp venues and companies
Meetings, with a speed dating event
have the honour of inviting you to
and three city routes for which top
sample the best that theatre from the
productions will be presented in their
Low Countries has to offer during this
entirety at diverse Antwerp venues.
Moving Meetings Theatre in Antwerp
In response to an open call by VTi,
and Amsterdam.
dozens of proposals were received from
organisations that generously made their
The event is a premiere at several levels.
infrastructure available and companies
Such meetings have already taken
that offered to share the fruits of their
place in the Netherlands. Now, however,
labour with an international audience.
Moving Meetings is presenting work
The result is an impressive programme
from Flanders and the Netherlands as
that offers a sampling of the diversity
a co-production of Dutch Performing
and quality of Flemish theatre today:
Arts and VTi and both theatre festivals
in the black box and on location, from
from Flanders and the Netherlands.
the classical repertoire through new
For Flanders, this is the first time a
texts to reality drama, from straight text
showcase has been organised at this
theatre to innovative cross-fertilisation
scale. This was made possible thanks
with dance, video and performance,
to a new partnership between VTi, Het
monologues by individual makers, to
Theaterfestival and all Antwerp venues
collective work, more recent pieces and a
and Flemish companies collaborating via
few classics rom past years … However,
the support of Antwerps Kunstenoverleg,
all work that has proven its quality in
an informal consultation platform for
Belgium and is ready to be shared with
Antwerp art organisations.
an international audience.
The result is a richly filled, three-day
VTi, Het Theaterfestival and the Antwerp
event in Antwerp. In the evening, you can
Kunstenoverleg wish you a fruitful
sample Het Theaterfestival Flanders
Moving Meetings!
programme, for which a jury has selected
4
the most interesting theatre and dance
Joris Janssens
performances
director VTi
of
the
past
season.
AN OVERVIEW
OF THE THEATRE
LANDSCAPE IN
FLANDERS
A
N
O
V
T
E
R
V
I
E
W
O
T
H
E
T
H
E
A
T
R
he Flemish theatrical
of decaying structures, or they invented
landscape
their own structures to incorporate this
is
rich
and varied, with an
new, research-oriented
unrivalled
methodology.
E
L
A
N
D
S
C
A
P
E
I
performing arts landscape as a whole.
NTGent
Opbrouck,
(artistic
and
director
from
N
F
L
A
N
D
E
R
S
Benjamin Verdonck, Mokhallad Rasem
Wim
and Olympique Dramatique. Toneelhuis
2015, Johan
gives them the opportunity to present
dynamism.
A distinctive feature of the Flemish
Simons) is the only theatre in Flanders
one or more fully-fledged productions
The driving force behind
performing arts scene today is the fact
to boast a permanent ensemble of
each year.
this
is
that, as far as the professional sector
Flemish and Dutch actors. The company
There is no doubt that KVS in Brussels
rooted in developments
goes, solid dividing walls are no longer
is a ‘house of actors’ with international
has taken the most atypical (and most
that took place in the eighties, when
in place between the ‘established’
ambitions. In these times of increasing
controversial) approach. Guided by
theatre makers such as Jan Fabre, Jan
structures and ‘the independent’ sector.
hybridisation, Opbrouck has explicitly
artistic leader Jan Goossens, KVS has
Lauwers, Jan Decorte and many others
The most important distinction – the
chosen the company as working model
developed into a production network
set their sights on the very essence of
result of the legal subsidy framework –
and the big stage as field of action.
that is the furthest removed from the
theatre, namely the concept of theatrical
is whether a company is subsidised on
Repertoire plays from the theatre
traditional company, one that facilitates
representation. Add to this the absence of
a structural, multi-annual or a project
(Molière’s Tartuffe) and literature (e.g.
both local and international artists.
a clearly defined canon or tradition, and
basis. Despite this, many creative players
Voltaire’s
This approach results in great artistic
the structural influence of performance
– theatre directors, choreographers,
(adaptations of) modern literature.
art on theatrical practice, and you are
dancers and actors – move relatively
Toneelhuis, guided by its artistic
presented with a fundamentally different
easily from one type of structure to
leader and director Guy Cassiers, has
performances by Wim Vandekeybus, a
vision of the role of the actor. He is no
the other, thus creating a dynamic and
developed into a platform for theatre
young company such as Steigeisen
longer the conduit of an external artistic
prolific exchange of artistic practices.
makers. Cassiers’ own work, in which
(Thomas Bellinck and Jeroen Van der
the visible presence of technology and
Ven) or the fascinating performances of
digital images plays a crucial role, is a
Peeping Tom. At the same time, KVS has
dynamism
intention: his presence, in the here and
6
F
Candide)
alternate
with
variety,
which
audiences
are
means
able
that
KVS
to
view
now, is at the heart of a methodology
CITY THEATRES
whose most important goal is to create
The three city theatres in Antwerp,
central part of Toneelhuis’s artistic
succeeded in radically grafting its
a shared experience, where spectators
Ghent and Brussels play a crucial role
programme. Cassiers often chooses to
activity onto the urban fabric of
are invited to influence his interpretation
in the art world. They are no longer the
rework or edit non-theatrical writings
Brussels: KVS throws open its doors to
based on their own anxieties and
inaccessible and inflexible bourgeois
or to enter into enduring working
the hybrid reality of Brussels. An
longings.
bastions of old. The hybrid and widely
partnerships with authors such as Tom
interesting aspect of the activities of
Performing artists continue to this day
varying profiles of KVS, NTGent and
Lanoye. An eclectic group of in-house
KVS is the Congo project, for which
to harvest the fruits of this demolition
Toneelhuis have resulted in a new
artists orbit Cassiers like artistic
Goossens has built up a lasting and
work. Their
wrenched
dynamism in each of these institutions
satellites: in 2014-15, they are Abke
reciprocal exchange with Congolese
open – sometimes literally – all sorts
that reflects the liveliness of the
Haring, Bart Meuleman, FC Bergman,
artists.
predecessors
7
A
N
O
V
E
R
V
I
E
W
O
SMALL AND MEDIUM-SIZED
COMPANIES
8
F
T
H
E
T
H
E
A
T
R
E
L
A
N
D
S
C
A
P
E
I
N
F
L
A
N
D
E
R
S
Michael De Cock at ‘t Arsenaal and Piet
they also frequently participate in foreign
Transparant (Antwerp), both specialised
Arfeuille at Malpertuis.
co-productions.
in music-theatre productions. Equally
Somewhere between the stability of the
A second sub-category in the midfield
three city theatres and the highly unstable
field of companies working with project-
Relatively
small
companies
like
important are the ‘art laboratories’ that
consists of the so-called collectives.
Ontroerend Goed, Martha!Tentatief and
facilitate the flow of talent from training
Collectives work with a limited, fixed core
the promising newcomer Het KIP, the
into the professional field: detheatermaker,
based subsidies, lies a very heterogeneous
of actors/theatre makers who have chosen
successor to Toneelgroep Ceremonia, only
Workspacebrussels,
midfield that is home to a number of
to work together without an external
partially fit this description, but meanwhile
wpZimmer among others.
different types of companies and that
director. In other words, every decision is
they have firmly carved out a niche for
Artists increasingly are working in
enjoys relative stability.
taken collectively, at every level, from the
themselves in the landscape. The field also
groups and developing new initiatives to
Pianofabriek
and
One subcategory consists of companies
performances that are created to the
includes a number of companies that
promote this collaboration. Some artists
with strong local roots, such as Theater
theatres in which they are performed. They
produce extremely hybrid forms: Berlin, for
are assisted by an alternative management
Antigone in Kortrijk, Malpertuis in Tielt,
have a horizontal organisational structure
example, explores the boundary between
office that lends support to artists in
Het Gevolg in Turnhout, De Queeste in
that is extremely anti-hierarchical. This
theatre and film – or rather between
the
Hasselt and ‘t Arsenaal in Mechelen.
group includes tg STAN, de Roovers,
theatricality and image – in each of its
distribution and the promotion of their
These companies are often found in
SKaGeN, LAZARUS, Comp.Marius, Tristero,
‘performances’, and the company CREW,
work. Examples include HIROS (supporting
medium-sized provincial towns and have
de Koe and Theater Zuidpool. Finally,
led by Eric Joris, examines the very essence
Pieter De Buysser and others), Caravan
their own rehearsal and presentation
occupying this same centre ground are a
of the theatrical medium, namely the live
Production
spaces, and their own local – yet
number of organisations in which the work
physical experience.
Scholiers and others), and Klein Verzet (Vera
sociologically diverse – audiences. In
of one specific artist takes centre stage,
most cases, they opt for a mixed palette of
such as Needcompany (Jan Lauwers),
contemporary
dramaturgy.
Troubleyn (Jan Fabre), Compagnie Cecilia
An increasing number of individual
organisations to make their work possible
Companies like Theater Antigone have
(Arne Sierens), Bloet (Jan Decorte), Abattoir
artists are operating independently within
(such as Lies Pauwels with Sontag, Davis
evolved into flexible production centres
Fermé (Stef Lernous), Ensemble Leporello
the performing arts landscape, with or
Freeman with Random Scream, unm or
where the work of a range of directors can
(Dirk Opstaele) and Action Zoo Humain
without the back-up of an organisation.
Lisbeth Gruwez with Voetvolk). Others go
be facilitated, and various aspects of
(the company around Chokri Ben Chikha).
There are a good number of organisations
a step further and set up structures that
theatrical practice (creation, presentation,
These individual artists often consistently
that support such (emerging) artists: first
not only support their work, but also have
education, social-artistic operations) can
work with the same group of actors or
of all the ‘art centres’ (production and
as goal artistic exchange, reflection and
be integrated into one structure. Other
performers. And the companies are often
presentation centres for contemporary
discussion. SPIN is one such example.
companies place more emphasis on an
internationally active: not only do they
work), but also the ‘production houses’,
It is an artist-run support and research
artist’s
regularly present their work abroad, but
such as LOD (Ghent) and Muziektheater
platform initiated by Brussels-based
textual
work,
such
as
INDIVIDUAL ARTISTS
form
of
financial
(Ruth
management,
Becquart,
Kyoko
Tussing, Tom Struyf and others). Some
theatre makers establish their own
9
A
L
N
A
O
N
V
E
D
S
R
V
C
I
A
E
W
P
E
O
F
I
T
N
H
F
E
L
T
A
H
N
E
A
D
T
E
R
E
R
S
artists Hans Bryssinck, Diederik Peeters,
performing arts. Summer festivals Theater
Kate McIntosh and art worker Ingrid
op de Markt (Hasselt) and MiroMiro
Vranken.
(Ghent) offer a mix of outdoor theatre
YOUTH THEATRE
and contemporary circus. Zomer van
Antwerpen is a highly popular two-
Flanders has a well-developed youth
month long city festival that invades
and children’s theatre circuit that has
all corners of the city in the summer.
enjoyed steady growth in recent years.
Each year, the Theaterfestival marks
There are three ‘city theatres’ within
the start of the new season by offering
this circuit – HETPALEIS in Antwerp, the
a selection of the most remarkable
KOPERGIETERY in Ghent and BRONKS
productions of the previous season. The
in Brussels – each of which occupies its
Brussels kunstensfestivaldesarts in May
own specific niche. In addition, there are
is the place to be for groundbreaking
a number of small and medium-sized
international work. The annual festivals
companies that focus fully or partially
Theater aan Zee (Ostend) and Bâtard
on producing youth theatre, for example
(Brussels)
4Hoog, Laika, fABULEUS, Luxemburg and
presentation forums for the work of
Studio Orka. Antwerp-based Villanella
beginning theatre makers, and as meeting
operates as an ‘art house’ for children
places for different generations of artists.
and youth, and supports emerging artists
Festivals for younger audiences include
and companies such as LAMPEKAP. The
Export/Import (BRONKS), Krokusfestival
time when the regular circuit and youth
(Hasselt) and Stormopkomst (Turnhout).
play
a
crucial
role
as
theatre were two separate professional
fields is long gone. A range of artists from
one circuit regularly lay their artistic eggs
in the other.
FESTIVALS
Flanders is blessed with numerous
festivals, many of which focus on the
10
This text is based on a longer document
written by Karel Vanhaesebrouck in
October 2012. It has been published on
www.performingartsflanders.be.
11
6 SEPTEMBER
PERFORMANCES
PERFORMANCES
6 SEPTEMBER
MONTY
ROUTE C
HETPALEIS
ROUTE B
BERLIN
Tourniquet
ABATTOIR FERMÉ
The starting point of each performance
by Berlin is a city or a region somewhere
Hailed by the international theatre
on the planet. Characteristic of its
Abattoir Fermé’s theatre work is rooted
press as ‘one of the year’s best
approach are its documentary and
in a dark fascination for themes such as
performances’ and ‘theatre that far
interdisciplinary methods. Focusing on a
the metropolis, private backrooms,
transcends the power of film’, Tourniquet
specific research question, Berlin makes
Once upon a time there was a little town,
cinema, horror, the human body, the
is a visually enchanting work by
use of various media depending on the
the smallest in Colorado (USA), with five
grotesque
rituals,
acclaimed Belgian company Abattoir
content of the project. Bart Baele and
friendly houses and the Rocky Mountains
enigma, the underground, outsiders and
Fermé. Without the aid of spoken text,
Yves Degryse founded Berlin in 2003
at their feet. Snow covers the streets in
‘all things deviant’. Over the past fifteen
three ghostlike characters perform
together with Caroline Rochlitz. They
wintertime, the Kerber Creek runs
years, the company has tackled an
ancient rituals and evoke the dark
began with the Holocene series (the
through the village, and if you look long
impressive variety of genres and ‘styles’:
history of a mysterious house. Hypnotic,
Holocene is the current geological era)
enough, you can even see the elves.
visual theatre, repertory plays, theatre
eerily beautiful and visually stunning,
with
Jerusalem,
Bonanza is a unique cinematic portrait of
for children, a television series, two
Tourniquet is the theatrical, trance-
Iqaluit, Bonanza and Moscow. A few
a desolate mining town. Once there were
operas, etc. On the international scene,
inducing counterpart of The Exorcist or
years later, Berlin started a new cycle,
6,000 inhabitants catered to by 36
Abattoir Fermé is known for its visually
the cinematic work of David Lynch.
Horror Vacui (fear of emptiness), for which
saloons, 7 dance halls and an immense
and
burlesque,
overwhelming ‘silent pieces’ such as
the
performances
Tagfish and Land’s End are the first two
number of prostitutes. Now there are
Tourniquet (2007), Mythobarbital (2008),
‘The actors don’t utter a word, but it is
episodes. Berlin is currently working on
only 7 permanent residents, immersed in
Monkey (2011) and Ghost (2013).
the viewer who is left speechless at the
new performances for both cycles.
their own spirituality, living on a hotbed
end.’ De Standaard
of accusations, gossip, murder and fear.
BOOKING INFORMATION
BOOKING INFORMATION
TOURNIQUET 70
BONANZA 60
min / 3 performers / no spoken language
Nick Kaldunski / nick@abattoirferme.be / +32(0)476494813 / www.abattoirferme.be
12
Bonanza
Photo: Stef Lernous
min / no live performers / language: English
Kathleen Treier / kathleen@berlinberlin.be / +32(0)474571718 / www.berlinberlin.be
13
6 SEPTEMBER
PERFORMANCES
PERFORMANCES
6 SEPTEMBER
MATTERHORN
ROUTE A
BRONKS
BRONKS was founded at the end of
MONTY
ROUTE C
Sorry voor alles
(Sorry for everything)
1991 in Brussels at the initiative of Oda
PIETER DE BUYSSER
Pieter De Buysser lives and works in
Brussels. He writes fiction and non-
Landscape
with skiproads
Van Neygen. It produces and presents
Parents want to issue state fines,
fiction, theatrical poems in a provisional
innovative and contemporary theatre
because raising kids is deadly dull.
act and an already gone act, a critique
for a young audience. BRONKS has its
Seniors have skin corrections to get
of the touched reason, a workbench
On stage, a collection of authentic
own theatre in the heart of Brussels and
Justin Bieber tattoos. In a school play, a
for constructing an anti-tragedy, a
objects that have played a unique role
has built up a strong reputation with
mother insisted on playing Snow White,
dramatico-poetico-politicological
in history. Together with these, Pieter
its own productions. Although BRONKS
claiming: ‘No, I am the fairest in the land’.
nursery rhyme, a guideline on how to
De Buysser, the galloper Zoltan and
frequently collaborates with children and
Grown-ups are children for too long
shave an eye in nine chapters, essays,
Abbas, his horse, are on a search for a
youth, it primarily works with professional
and children grow up too quickly.
slapstick emergency maps, drama, post-
lost future.
actors. BRONKS aims to continually add
drama, sunny disasters and other genres.
impetus to youth theatre by working
Joost Vandecasteele and Joris Van den
His writings for performance, theatre
A joyful and desperate epic journey
with young and newly graduated actors
Brande set off on a quest laden with sin,
and film led him to initiate and direct
begins, with love and a glove, with
and directors, but also by encouraging
looking for a God who has fallen from his
projects for film and theatre. His first
Pavlov’s bell and Aquinos’ belly, with
established artists working in different
pedestal. A comedy in five acts, twelve
novel, De Keisnijders, was published in
Yeltsin’s last bottles and Walt Disney’s
disciplines to create productions suitable
monologues, an old-school conflict,
November 2012.
meat knife. Can they turn time into a
for audiences of all ages.
a beginning, middle and end, but not
landscape with skiproads?
necessarily in that order.
BOOKING INFORMATION
BOOKING INFORMATION
SORRY VOOR ALLES (SORRY FOR EVERYTHING) 70
LANDSCAPE WITH SKIPROADS 75
min / 2 performers / language: Dutch with French and
English surtitles / Veerle Kerckhoven / veerle@bronks.be / +32(0)26095897 / www.bronks.be
14
min / 1 performer / language: Dutch, English or French
Helga Baert (Hiros) / helga@hiros.be / +32(0)24106333 / www.hiros.be
15
6 SEPTEMBER
PERFORMANCES
PERFORMANCES
6 SEPTEMBER
OPEN-AIR MUSEUM
MIDDELHEIM
DESINGEL
ROUTE C
ROUTE A
COMP.MARIUS
Comp.Marius is led by the actors Waas
Gramser and Kris Van Trier, who have
been inseparable since 1991. Marius
Marius & A man left
his house one day
The final party
ENSEMBLE LEPORELLO
creates new, self-made interpretations
Comp.Marius will present the first act
and adaptations of (often less well
of Marius (30’), part of the trilogy Marius,
known) classic plays such as Pagnol’s
Fanny and César by French author Marcel
Ensemble Leporello brings together
Chekhov, on a cappella music for choir
Marius, Fanny and César or Thomas
Pagnol. The trilogy represents almost five
Flemish, Walloon and foreign performing
by Kurt Bikkembergs, and on a selection
Bernhard’s The Force of Habit. Another
hours of theatre performed in the open
artists in a traveling company, with
of Leporello’s veterans. The result takes
striking and unique feature of Marius’s
air, along the water. After the first play,
Brussels as its base. Leporello creates at
the audience on a musical and visual
work is the staging of productions on
the public is invited to share a meal in
least seven titles each year, in different
journey through the universe of the
location and in the open air. The open-
Southern European style, prepared with
languages, in genres ranging from
great Russian playwright. In the course
air performance reinforces their artistic
fresh products and served by the actors.
classical to contemporary. The theatre
of a meandering stream of ‘tableaux
creed which stands for a direct and
Each part of the trilogy is proof of the
productions with no set lie somewhere
chantants’, we see the key scenes of
transparent way of acting. Comp.Marius
artistic convictions of Marius: to achieve
between music, text and dance theatre.
Ivanov, The Seagull, Uncle Vanya, Three
often links its performances to other
maximum of imaginative power with a
Ensemble Leporello stands for total
Sisters and The Cherry Orchard, passing
social events: the sharing of a meal or
minimum of resources.
theatre of flesh and blood, in which
by as if in a dream.
having a drink together. Based in open-
Comp.Marius will also present A man
rejoinders,
are
This production will be performed with
air museum Middelheim in Antwerp.
left his house one day (15’), second in the
musically-rhythmically stylised, very
a large cast thanks to the participation
series of short audio works based on
much like a score. It hearkens back
of local choral groups: twenty-odd
writings of Russian author Daniil Charms.
to the ancient forms of theatre and
characters occupy the stage and sing
BOOKING INFORMATION
commedia dell‘arte.
their way through time.
MARIUS 300
BOOKING INFORMATION
min / 6 performers / language: Dutch, French or English
min / no performers / language: Dutch or English
Jeroen Deceuninck / jeroen@marius.be / +32(0)38279181/+32(0)475750382 / www.marius.be
For The final party, Ensemble Leporello
based itself on the works of Anton
scenes
and
acts
A MAN LEFT HIS HOUSE ONE DAY 15
16
Photo: Raymond Mallentjer
100 min / 11 actors and choir / language: Russian, surtitles: all languages
Karen Feys (bemove) / k.feys@bemove.org / +32(0)499602311/ +32(0)32968706 / www.leporello.be
THE FINAL PARTY
17
6 SEPTEMBER
PERFORMANCES
PERFORMANCES
DESINGEL
ROUTE C
6 SEPTEMBER
HETPALEIS
ROUTE B
Romeo and Juliet
HETPALEIS /
SIMON DE VOS
fABULEUS
structure which offers young people a
dUb
professional framework in which to
HETPALEIS is a theatre house for children,
death? Each generation is entitled to its
youth and performing artists in the heart of
‘own’ Romeo and Juliet. Director Simon
Antwerp. It is the largest theatre for young
De Vos presents this classic to people of
audiences in the Benelux. HETPALEIS
the 21st century. The young team
promises to rock the main stage.
create theatre and dance productions,
What happens when you dub everyday
produces, creates and presents high-
in close collaboration with and alongside
sound? In dUb, choreographer Karolien
quality theatre, dance and music theatre
more
Both
Verlinden and sound artist Wannes
for all ages. HETPALEIS aims to make
‘Simon De Vos directs one of the
youngsters and young professionals
artists.
Deneer play on the expectations of the
contemporary performing arts accessible
freshest, most infectious, most skilfully
receive artistic, logistic and commercial
spectator by matching, dissociating and
to a broad and diverse audience. Young
designed and most faithful versions I’ve
support. All performances aim at a
deforming sound and movement. The
director Simon De Vos created different
seen in years. De Vos uses Shakespeare’s
broad audience, with special attention
result is an energetic dance piece
performances with his own company
original text as a starting point. He
paid to youth and children.
inspired by the universe of filmmaker
Sermoen. He also works with young people
polishes Shakespeare’s words into a
Jacques Tati. No less than fourteen
in De Stal, part of the educational
comprehensible language that sparkles
young
programme of HETPALEIS. Romeo and
with poetry, vibrates with love and with
Juliet is his debut in the big venue.
the fear of losing that love.’
dancers
synchronise
their
movements to dubbed sound: a delicate,
extremely physical and astounding
BOOKING INFORMATION
DUB 60
performance.
min / 14 performers / no spoken language
Vincent Van den Bossche / vincent@fabuleus.be / 32(0)486383955 / www.fabuleus.be
18
and a girl fall in love. Can their desire for
love overcome the inexorable tug of
fABULEUS is a versatile production
experienced
In a world of violence and hatred, a boy
Knack Focus
BOOKING INFORMATION
ROMEO AND JULIET 120
min / 12 performers / language: Dutch and English, surtitles: English or French
Tom Rummens / tom.rummens@hetpaleis.be / +32(0)492918805 / www.hetpaleis.be
19
PERFORMANCES
6 SEPTEMBER
PERFORMANCES
MATTERHORN
ROUTE A
6 SEPTEMBER
PORT OF ANTWERP
ROUTE A
RANDOM SCREAM /
DAVIS FREEMAN
DE ROOVERS
Davis Freeman (1969) is a performance
artist who has worked with Forced
7 Promises
De Roovers (established in 1994) is a
Entertainment (Bloody Mess, The World
A view from the bridge
theatre company with a permanent
in Pictures), Meg Stuart (Built to Last,
7 Promises features two ecological
group at its core: Robby Cleiren, Sara De
Dockworker Eddie Carbone takes two
Highway 101, Alibi), Stephan Pucher
reachers (Davis Freeman & Jerry Killick)
Bosschere, Luc Nuyens and Sofie Sente,
illegal Italian compatriots into his house.
(Kirschgarten,
and
who call for the audience to turn their
who always work collectively, without a
Everything goes well, until one of them
Superamas (Big 2, Big 3, Empire). In
words into action. We know we are up
director. Each production starts with
gets involved with his niece.
addition to this work, he established his
against
profound research and diverse types of
own company Random Scream in 1999
disaster but the question is, why are we
collaboration
artists.
In 2001, de Roovers organised a public
to draw attention to what is already
not doing more about it? 7 Promises
Photographer and designer Stef Stessel
reading of A view from the bridge by New
present by focusing on our personal
looks at these issues with a sense of
has been with the team from the start
York playwright Arthur Miller. This rough,
interactions and how our choices
urgency and humour. It is an evening
and clearly is responsible for their typical
public reading revealed unsuspected
directly affect each other and the
where we will actually change the world
style. Starting with challenging textual
strengths concerning derailed desires in
community in which we live. His work is
together, and what greater inspiration
material the actors make and perform
an Italian immigrant environment: no
extremely
could there be than free alcohol?
theatre that, through dramatic literature,
teary sentiment, but real, tangible
considered to be devious political
7 Promises is an easily adaptable
scenic architecture and the urge to play,
conflicts. To stress the universality and
theatre or docu-performance.
performance that can be presented to a
penetrates socially relevant issues.
contemporary character of the play, the
Snapshots)
eclectic
and
is
often
an
impending
ecological
with
different
variety of audiences in different spaces.
actors introduce New York’s present
language by quoting Paul Auster and
BOOKING INFORMATION
BOOKING INFORMATION
20
min (depending on the size of the audience and how much they drink) / 2 performers /
language: English, surtitles: translation of key words and sentences into any language
Davis Freeman / randomscream@hotmail.com +32(0)473952467 / www.randomscream.be
A VIEW FROM THE BRIDGE 90
Photo: Silvano Magnone
Photo: Stef Stessel
Don DeLillo.
7 PROMISES 25-40
min / 6 performers / language and surtitles: Dutch, English or French
Sofie Vreys / sofie@deroovers.be / +32(0)485618131 / www.deroovers.be
21
6 SEPTEMBER
PERFORMANCES
PERFORMANCES
THEATRE ZUIDPOOL
ROUTE B
6 SEPTEMBER
THEATRE ZUIDPOOL
ROUTE B
THEATER ZUIDPOOL
TRISTERO
Since 2005, Jorgen Cassier, Sofie Decleir
A Brussels’ based theatre company whose
artistic core consists of Kristien De Proost,
Toestand
(Present Condition)
Youri Dirkx and Peter Vandenbempt. Each
and Koen van Kaam have been the artistic
the old city centre of Antwerp. Each of
A concertante version originally created
them is actor, director, musician, writer
for a standing audience, reflecting the
member of the artistic core is equally
An old-fashioned exhibition room with
and adaptor. The company is known
performances in The Globe. Attracted by
involved in the creative process: looking
fitted carpet, various things on panels
for its surprising and uncompromising
the musicality, power and beauty of the
for or creating new texts, dramaturgy,
and in display cases. At the back sits
work. They have made some twenty
original text, Zuidpool chose to perform
development and presentation. Their
an attendant, while in the middle, a
productions, most of them critically
in English, with live music.
productions are quite diverse, and often
living being called Kristien De Proost
acclaimed, ranging from the classical
new or unknown pieces: good comedies
is attracting all the attention. She runs
Greek repertoire to Hölderlin, Goethe,
‘Provocative and modulating with an ar-
or intriguing ‘well-made plays’, their own
and continues running, as if her life
Beckett, Hrabal, Norén and Fosse. In
senal of musical genres, and poetry used
adaptations of prose, but also movement
depended on it. In the meantime, she
addition to text-based theatre, they have
as a weapon. (…) an excellent selection
theatre or a mix. Humour is important:
describes her insides and her outside.
made a dance performance of Salomé,
of scenes …’ De Morgen
intelligent, but not intellectual, accessible
From her smallest toe to her biggest
and music (theatre) performances based
but
crude,
fantasies. From freshly washed armpits
on the works of Vladimir Vissotsky,
‘The musicality of the original texts is
sometimes subtle, gloomy, but never
to heavy sweat. In Toestand (Present
Metallica and Shakespeare.
omnipresent. (…) A stunning perfor-
cynical, sometimes absurd.
Condition), De Proost summarises her
not
vulgar,
sometimes
mance that combines hard rock, pop and
present state. It is forbidden to touch or
BOOKING INFORMATION
22
Macbeth
directors of Theater Zuidpool, based in
feed her, but laughter is permitted.
classical music to a grand gesamtkunstBOOKING INFORMATION
TOESTAND (PRESENT CONDITION)
70 min / 2 performers / language: Dutch, surtitles: French or English
(depending on future tour dates, performances can be staged in English or French)
Manu Devriendt / manu@tristero.be / +32(0)475730861 / www.tristero.be
MACBETH 105
Photo: Mirjam Devriendt
Photo: Raymond Mallentjer
werk.’ Theaterkrant
min / 6 performers / language: English, surtitles German, Italian, Dutch
or in the language of your choice / originally conceived for a standing audience (exceptions possible)
David Cornille / david@zuidpool.be / +32(0)477557115/+32(0)32328104 / www.zuidpool.be
23
7 SEPTEMBER
SPEED
7 SEPTEMBER
7 SEPTEMBER
SPEED
7 SEPTEMBER
DE STUDIO
10.00 AM
DATES
DE STUDIO
10.00 AM
DE STUDIO
10.00 AM
DATES
DE STUDIO
10.00 AM
COMPAGNIE CECILIA
CREW
LAZARUS
A Ghent-based theatre company with
CREW operates at the crossroads of art
A theatre collective in the fullest sense
Arne Sierens and Johan Heldenbergh as
and science, and is a pioneer in the
of the word. Its artistic output (the actu-
Piet Arfeuille, artistic director of
artistic directors. Arne and Johan are
creation of groundbreaking, participative
al play) is the result of an interaction and
Malpertuis Theatre, is an artist with
‘athletes of the heart’, constantly striving
performances using the latest immersive
cross-fertilisation between the various
a stunning visual language. Like an
for profound knowledge of the language
technologies.
members
anthropologist, he analyses and decon-
they speak, in order to obtain maximum
director Eric Joris is multifaceted but
structured collective.
structs human nature and behaviour.
recognisability. Constant attention is
always originates from a single utopia:
LAZARUS presents text theatre. These
In his theatrical and poetic work, he
paid to the métier, the purely formal and
the search for a medium that dissects
texts can be specially written, borrowed
confronts the audience with how our
the study of the technical.
and expands our experience.
from the classical theatre repertoire, or
human condition is influenced and im-
BOOKING INFORMATION
Lacrima Remake 85 min / 1 actor, 1 live musician
language: Dutch or French)
Ensor 150 min / 3 performers / language: Dutch or French
The Soldier-postman and Rachel duration unknown
2 actors, 3 musicians, 6 choir members /
language : Dutch, French or English
Valerie Rousseau, valerie @ compagnie-cecilia.be
+32(0)474659534
www.compagnie-cecilia.be
24
The
work
of
artistic
of
MALPERTUIS THEATRE /
PIET ARFEUILLE
the
non-hierarchically
rewritten from the literature. East Euro-
pacted by present-day neoliberal society.
C.a.p.e. a breath-taking, mind-expanding
pean literature is a striking constant in
Yesterday (or how we felt about the
immersive walk. Video-goggles, trackers
their choices, but even more typical is the
rumour): an amazing ‘tranche de vie’
and a headset carry the visitor to the
LAZARUS style. Their sense of humour
in the long, narrow, cheerless hall of an
virtual inside of a story. This participatory
and love of literature result in plays with a
apartment block.
format offers a radically new way to
satirical and philosophical tone. Some-
A dream play: the routine and rituals of
engage a narrative, to live a documentary,
times subtle, always significant, the per-
three cashiers in a supermarket canteen.
to discover a far-away city …
formances are laced with social criticism.
Confronting and disturbing. Reads like a
photo book.
BOOKING INFORMATION
BOOKING INFORMATION
BOOKING INFORMATION
25 min per person / no performers
Leen Laconte
leen.laconte @ crewonline.org
32(0)498194492
www.crewonline.org
Micha Pycke
micha@lazarusvzw.be
+32(0)485147141
www.lazarusvzw.be
Lieve Moeremans
lieve@malpertuis.be
+32(0)51406290 /+32(0)474639401
www.malpertuis.be/productions
Photo: Guy Kokken
Photo: Paul De Cloedt
25
7 SEPTEMBER
SPEED
7 SEPTEMBER
7 SEPTEMBER
SPEED
7 SEPTEMBER
DE STUDIO
10.00 AM
DATES
DE STUDIO
10.00 AM
DE STUDIO
10.00 AM
DATES
DE STUDIO
10.00 AM
NTGENT
LIES PAUWELS
SPIN
TOM STRUYF
NTGent is Ghent’s civic theatre. Until
Lies Pauwels is director and actor. Since
SPIN is an organisation supported and
Tom Struyf (1983) is a promising young
July 2015, NTGent’s artistic course will
2001, she has concentrated mainly on
run by artists Hans Bryssinck, Kate
artist who creates and performs his
be determined by actor and artistic jack-
directing, combining theatre and dance,
McIntosh, Diederik Peeters and art
own shows. His productions The Tatiana
of-all-trades Wim Opbrouck. After this,
and presents characters who confront
worker Ingrid Vranken. SPIN aims to find
Aarons Experience and Play to Forget
NTGent will be celebrating the return of
us with the big emotions of life in a very
sustainable ways to develop the artistic
could be categorized as ‘reality theatre
its former artistic director Johan Simons,
straightforward way. In 2013, she
practice of the individual artist, creating
video performance’, poised on the
the Dutch director who in 2010 swapped
founded Sontag, a structure in which
a context for content-deepening and
borders
NTGent for the Münchner Kammerspiele.
she aims to express her artistic vision
offering support in production.
performance and documentary. Both
and that combines both her disciplines.
Africa: In addition to his life as an actor in
between
theatre,
lecture
performances fascinatingly balance on
In Hulk and Red Herring madness and
the thin line between fact and fiction.
Belgium, Oscar Van Rompay leads a
White Lies shows an actor in a kind of
insanity are comically investigated while
second life in Kenya, where he runs a
job interview for Lars von Trier. With her
light and sound take over the stage.
In Play to Forget, Tom Struyf finds a
tree plantation.
heart on her sleeve, she perceives what
Worktable - an installation the audience
photograph of himself that he can’t
Front: One hundred years after the
the world is doing to her.
can decide how things fall apart All Ears,
comprehend and a battle with his failing
outbreak of the First World War in 1914,
Laisse Tomber is a layered physical
a performance about who we are alone
memory follows. Through conversations
Luk Perceval directs a play that takes
text-performance in which the actors
and how we are together.
with a neurosurgeon, a psychologist and
the audience to both sides of the front.
give the best of themselves as two
Wilson y Los Mas Elegantes première of
his grandmother, he tries to discover
‘so-called victims’. A frontal assault on
this short film.
what is happening in his head.
BOOKING INFORMATION
vicious forms of manipulation.
BOOKING INFORMATION
Africa: 100 min / 1 performer
Front : 120 min / 11 performers
Leen van Welden
leen.van.welden@ntgent.be
+32(0)92693527 / www.ntgent.be
26
BOOKING INFORMATION
BOOKING INFORMATION
Kelly De Cock
info@sontag.be
+32(0)92870656 / www.sontag.be
Photo: Fred Debrock
Ingrid Vranken
ingrid@spinspin.be
+32(0)485121987 / www.spinspin.be
80 min / 1 performer
Tom Struyf (MARS vzw)
tom@tomstruyf.be
+32(0)498546965 / www.tomstruyf.be
Photo: Jonah Samyn
27
7 SEPTEMBER
SPEED
7 SEPTEMBER
7 SEPTEMBER
SPEED
7 SEPTEMBER
DE STUDIO
10.00 AM
DATES
DE STUDIO
10.00 AM
DE STUDIO
10.00 AM
DATES
DE STUDIO
10.00 AM
TROUBLEYN / JAN FABRE
VERA TUSSING
UNM
VOETVOLK / LISBETH GRUWEZ
Troubleyn is the theatre company of artist
Vera Tussing has worked as a perform-
A collaborative project of Antwerp-based
Dance/performance
Jan Fabre. Over the past thirty years, he
er, dancer, choreographer, and director
theatre collective unm (Kyoko Scholiers,
around dancer/choreographer Lisbeth
has produced works as a performance
in the UK, Belgium and Europe. Much of
Maarten Westra Hoekzema and Louis van
Gruwez
artist, theatre maker, choreographer,
her work thus far has explored the emotive
der Waal) with choreographer Koen De
Maarten Van Cauwenberghe. Since
opera maker, playwright and visual artist.
possibilities of the senses, and how
Preter. They joined forces based on their
2007, it has developed its activities as
Jan Fabre is renowned for expanding the
they structure our experience. She is
mutual love for the tabula rasa, which
an international contemporary dance
horizons of every genre to which he
currently touring with her creations
prompts them to continuously look for new
and
applies his artistic vision. His texts form
T-Dance and Sound Bed.
(loving and humoristic) ways of contem-
founders are artists in residence at the
plating humankind. The House That Built Us
Troubleyn/Laboratorium of Jan Fabre. an exceptional collection of miniatures,
28
and
group
founded
composer/musician
performance
company.
Both
with an open writing style, that reflect
T-Dance explores touch and connec-
a site-specific performance in and around
his concept of theatre as an all-encom-
tion. How does tactility attain meaning?
a house that - via images and movement
AH/HA five bodies meet at a place
passing art form.
How are we connected even when phys-
(no spoken word), together with a
without a name, perhaps even in the
ically distant? How do we touch without
soundtrack of pop music from the thirties
middle of the night. They slowly grow
Now working on a monumental project,
touching? Without ever leaving their
until today - brings together twelve per-
towards one another when they coa-
Mount Olympus, a 24-hour theatre creation
seats, the audience is called to inhabit
formers of different ages in a rollercoaster
lesce into one of the most expressive
that will première in 2015. Attends,
the same imaginative space as the
of eighty years of unsettling history.
manifestations of humankind: laughter.
attends, attends... (pour mon père) a solo
performers, in an invitation to empa-
for Cédric Charron, premiered in deSingel.
thetic, imagined touch.
BOOKING INFORMATION
BOOKING INFORMATION
70 min / 1 performer
Sophie Vanden Broeck
sophie.vandenbroeck @ troubleyn.be
+32(0)485803843 / www.troubleyn.be
50 min / 4 performers
Helga Duchamps (Bold)
helga @ boldbxl.be
+32(0)497455810 / www.boldbxl.be
66 min / 12 performers (3 professional actors
+ 4 adult extras + 5 children
Kyoko Scholiers
kyokoscholiers @ hotmail.com
+32(0)486872352 / www.unm.be
www.koendepreter.com
Photo: Wonge Bergmann
Photo: Rozenn Quere
Photo: Dries Segers
Resulting in an encounter that becomes
BOOKING INFORMATION
a dangerous feast of shared ecstasy.
BOOKING INFORMATION
60 min / 5 performers
Maarten Van Cauwenberghe
info @ voetvolk.be
+32(0)495521288 / www.voetvolk.be
Photo: Victoriano Moreno
29
5-6 SEPTEMBER
EXTRA PERFORMANCES
DESINGEL
6.00 PM (5 SEP)
5.30 PM (6 SEP)
EXTRA PERFORMANCES
DE STUDIO
9.15 AM & 2.00 PM
Letter
RUTH BECQUART &
KYOKO SCHOLIERS
LAMPEKAP & VILLANELLA
For LETTER, Ruth Becquart and Kyoko
Fresco
In Fresco, you lay down on a huge round
Scholiers initiated hand-written corres-
lAmpekAp has collaborated with Villanel-
sofa with some thirty other spectators.
Ruth Becquart has performed with
pondence with people from all over the
la on several occasions in recent years.
Above you, the airspace comes to life.
Toneelhuis, Laika, HETPALEIS, Comp.
globe. They posted letters to artists,
Frederik van Remoortere calls the tunes,
Fresco takes you along on a psyche-
Marius,
Fermé,
psychiatrists, their own fathers, as well as
creating a mix of experience theatre and
delic op-art trip with music by Mauro
BRONKS and currently with Josse de
taxi drivers, politicians and prostitutes.
multimedia. This means that you never
Pawlowski. Lying down, you are treated
Pauw/LOD. She has also featured in
Their installation LETTER presents an
simply get to sit down for a performance.
to a unique film experience. You become
Flemish television series such as Clan
aural archive containing the most excep-
You are required to roam the city to col-
a peeping Tom, looking from different
and Deadline 25/05, and in films such
tional, intimate moments in the letters.
lect and puzzle together various scenes
perspectives at man battling nature,
as Linkeroever and Brasserie Romantiek.
The audience can discover the most
of a movie. Or you must find your way
man versus woman, in the nude. Slowly
She recently wrote twelve monologues
beautiful excerpts in one of the six tables
between moving walls with mysterious
you sink into the colour spectrum, like
for an exhibition on the First World War,
on a slowly spinning merry-go-round.
video images.
an astronaut overseeing the earth from
and created Zomeravond half elf with
A highly personal and intimate experience,
lAmpekAp explores the boundaries be-
space. With this installation, lAmpekAp
Bart Meuleman.
shared by six people at a time.
tween genres. Their performances, in-
forces you to explore new horizons.
Antigone,
Abbatoir
Kyoko Scholiers has performed with
de Roovers, Toneelhuis, Comp.Marius,
stallations and expositions such as De
BOOKING INFORMATION
Theater Antigone, HETPALEIS, BRONKS
and other companies. In 2007, she founded
the company ‘unm’ together with Louis
van der Waal and Maarten Westra Hoekzema. Together they created and performed Bye Bye Buchenwald, Tussen
house that built us.
Perser, Gewoon Evolutie, Paradise Lost,
I’ve got bubbles on my mind, Klotski and
The installation can be set up for full days, with
the audience stepping on and off as they wish.
6 audience members can listen to one of the
6 different letter montages of 25 minutes.
Installation available in Dutch, English and German.
Rek were performed at among others
M HKA, Kavka, S.A.L.T Warehouse and
BOOKING INFORMATION
the Villanova festival.
Ruth Dupré (Caravan Production) / ruth@caravanproduction.be / +32(0)22264582/+32(0)472414502
www.caravanproduction.be
45 min / no live performers / no spoken language
Frederik van Remoortere / Lena Daems (lAmpekAp)
info@lampekap.be
www.lampekap.be / Hadewych De Prins
(Villanella) / hadewych@villanella.be
+32(0)32609610 / www.villanella.be
Photo: Ed Scholiers
Photo: Sigrid Spinnox
Hond en Wolf and the location project The
30
7 SEPTEMBER
31
5-6 SEPTEMBER
EXTRA PERFORMANCES
DESINGEL
6.30 & 9.15 PM (5 SEP)
5.30 & 10.00 PM (6 SEP)
5 SEPTEMBER
DESINGEL
8.00 PM
A Game of You
ONTROEREND GOED
A Game of You could never be described
The Dog Days are Over
TONEELHUIS & TONEELGROEP AMSTERDAM,
GUY CASSIERS EN
TOM LANOYE
‘meet yourself figuratively and literally’.
What is the true face of dance in these
Hamlet vs Hamlet
mance, writing their texts from a strong
A Game of You surreptitiously draws you
uncertain times? What would we like to
basic concept and adapting familiar
into a game where, through several small
show, what would we like to see? The Dog
Hamlet’s father is murdered by his own
formats from various media. From sensorial
confrontations, you are confronted with
Days are Over shows eight dancers that give
brother, Hamlet’s uncle Claudius. The ghost
experiences – with blindfolded, individual
the fact that what you see in the mirror,
in to one physical act: the jump. A repetitive
of Hamlet’s father calls on his son to avenge
audience members – to anarchistic teen-
or think you know about yourself, is not
exhaustion, that will prove the dancers to be
him. Hamlet is torn between his willingness
age performances, through shows that
necessarily what others see.
nothing more than performers, at the service
to kill the murderer and his love for his
profoundly explore and challenge what
Coproduced with BAC and Richard
of.. yes, what exactly? After a few engaging
adulterous mother, who marries Claudius
it means to be a theatregoer. The name
Jordan Productions.
and intrusive solo acts about the beauty
shortly after the murder. With Tom Lanoye,
Ontroerend Goed is a play on words, best
of the imperfect body, Jan Martens now
Hamlet is on the brink of adulthood. As an
translated as ‘Feel Estate’.
creates something completely different. It
adolescent he is old enough to see through
is a critical performance about the thin line
the abuses of power in his vicinity, but he
2 x 180 min – continuously (for the spectator
± 30 min; one spectator per 5 min) / 6 performers /
language: Dutch, French or English
David Bauwens (Dutch and English version) /
david@ontroerendgoed.be / +32(0)476662614
www.ontroerendgoed.be
Sarah De Ganck (ART HAPPENS French version /
version français) / +32(0)496260832 /
www.arthappens.be
between art and entertainment.
also feels crushed by the adult world. The
Jan Martens (Belgium 1984) studied at
doubts and confusion that renders leave
the Fontys Dance Academy in Tilburg and
him feeling paralysed. Hamlet’s tormented
graduated at the Artesis Conservatory for
monologues are cries from the heart and
Dance in Antwerp in 2006. He performed
personal exorcisms, a charge against all
with Koen De Preter, United-C, Mor Shani
injustice, certainly – but also a cursing of
and Ann Van den Broek. In 2009 he started
his own incompetence. His own actions/
to develop his own choreographic work.
deeds are mainly words, rather than deeds.
Duration: 65 min
Duration: 180 min
Photo: Elies Van Renterghem
Photo: Piet Goethals
as a ‘normal’ theatre performance. This
is largely because there is no piece
32
Ontroerend Goed is a Belgian, Ghent-
performed, and there is no audience.
based theatre performance group with
For the ‘participants’, it is a game, a walk
international renown. The group explores
through a maze with six rooms where you
the space between theatre and perfor-
BOOKING INFORMATION
ICKAMSTERDAM
& JAN MARTENS
33
5-6 SEPTEMBER
6 SEPTEMBER
DESINGEL / RED HALL
8.00 PM (5 SEP)
8.00 PM (6 SEP)
STADSSCHOUWBURG
ANTWERPEN
8.00 PM
TONEELHUIS &
MUZIEKTHEATER
TRANSPARANT,
FC BERGMAN, LIESA VAN
DER AA, JOSSE DE PAUW
EN SOLISTENENSEMBLE
KALEIDOSKOP
Van den vos (A fox tale)
in front of his eyes in the fog which
envelops him like a thick blanket. After
radical adaptations of (among other
things) La Divina Commedia (The Divine
Comedy) and
(The Old Testament), FC Bergman now
Tauberbach
violates another literary classic, the
de Brauw know each other’s work
well. The starting point is Marco
Prado’s documentary Estamira, telling
the story of a woman who suffers
from schizophrenia and who lives and
works at a waste disposal site in Rio
de Janeiro. She has developed her own
very particular way of communicating
epic animal poem Van de vos Reynaerde
In Tauberbach , director Alain Platel
with the small community she lives
(About Reynard the Fox).
intends to continue previous research
in. Hence the theme: “how to live or
into the development of movement
even survive with dignity under nearly
impossible circumstances”. The mist hangs in thick banks over the
This
medieval
the
material that he describes as “bastard
vegetation. In the dim light we see time
inspiration for a show which - true to
dance”. He is actually looking for
slip by. Something shoots past the plants
form – depicts man as a fundamentally
movements that come about when
Other sources of inspiration for this
and disappears again. The mist thickens
anxious, indecisive creature, who in his
dancers “explore those areas of their
performance are Tauber Bach of Artur
and fills the forest with a dense blanket
search for fulfilment and satisfaction
mind yet untouched by civilisation”.
Zmijewski (Bach music sung by deaf
of cloud until all that is left is a solid,
constantly hovers on the edge of the
He started his research when creating
people), chorales by Bach and one
white mass.
ravine that leads to eternity.
vsprs (2006) and continued developing
Mozart aria which will be performed
Liesa Van der Aa and the Berlin genre-
it with Nine Finger (2007), pitié! (2008),
live by the artists. The musical
Lost, he steps through this smog, groping
crossing Solistenensemble Kaleidoskop
Out of Context – for Pina (2010) and C(H)
direction lies in the hands of Steven
his way through the wood. The wood
set this search to music. Josse De Pauw
ŒURS (2012). Prengels who already worked with
creaks and whispers. He wades through
provides the words. Dirk Roofthooft,
the ferns and cautiously calls a name. It
Viviane De Muynck and Gregory Frateur
The new creation was initiated by
sounds like: “Vos!” and “Vos?” (“Fox!” and
take part.
NTGent-actress Elsie de Brauw who
“Fox?”). And the ferns whisper with him.
And he can barely see a hand’s-breadth
34
Het Oude Testament
LES BALLETS C DE LA B,
NT GENT & MÜNCHNER
KAMMERSPIELE,
ALAIN PLATEL
Duration: 100 min
folk
tale
was
Alain Platel on Gardenia (2010) and
C(H)ŒURS (2012).
asked Platel to make a performance
Duration: 85 min
with dancers and actor(s). Platel and
Photo: Chris Van Der Burght
35
Organized by
Dutch Performing Arts
Partners
Thanks to all participating companies and theatre artists.
QUESTIONS?
Hilde Teuchies
Lisa Wiegel
Marijke De Moor
Selection committee Flanders
On the committee that selected the companies and theatre artist for Moving Meetings
Theatre were Hilde Teuchies (international relations - VTi), Kristof Jonckheere (artistic
coordinator - Buda) and Bert Heylen (programmer theatre and dance - De Warande).
Cover Photo: Africa – NTGent. Photo: Kurt Van Der Elst.
Graphic Design: KochxBos Studio Amsterdam

7 - 9 SEPTEMBER 2014 AMSTERDAM

Transcription

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