Alles waarvoor mensen een podium betreden.
Do you remember? The band-aid Halbe Zijlstra offered the cultural sector in the form of the Giving Act? Tax breaks would definitely lead to more sponsorship, so the impact of the austerity measures would not be nearly as dramatic as the sector itself cried out.
Ivo van Hove heeft niet alleen een toneelstuk gemaakt op basis van Ayn Rands ideeënroman The Fountainhead. In 2006 wilde de artistiek leider van Toneelgroep Amsterdam er zelfs een heel nieuwe inrichting van het toneelbestel op baseren. 8 jaar later kunnen we constateren dat alleen de negatieve kanten van Van Hove’s visioen zijn gerealiseerd.
When someone speaks in sentences with words that repeatedly rhyme with 'art' or in which the syllable 'art' keeps popping up, you have to adjust to a different logic than that of everyday communication. If it is also a woman dressed in bright red who pronounces those words eloquently and with many mannerisms, suggesting that she is hyper-sensitive to anything to do with art, your thoughts balance between:
In Rome, they have known what good food is for 20 centuries or so. Bloodletting is everything. Seneca, a Roman of the better sort, wrote plays that elevated bloodshed to an art. Audiences feasted on them, just as they feasted on Seneca's recipes in Shakespeare's time, 1,500 years later, and as we feast on Game of Thrones on TV now. It can't be gory, can't be cruel enough. We like that.
Vanaf 2007 werkten videokunstenaar Matthew Barney (The Cremaster Cycle) en componist Jonathan Bepler aan een vrije bewerking van Norman Mailers meest verguisde boek Ancient Evenings. Aan Mailers mythologie uit het oude Egypte voegden zij de even mythische Amerikaanse auto-industrie toe in een ambitieus en operatesk filmproject met een veeleisende lengte van 5 uur 11 minuten.
Vanaf februari is River of Fundament op wereldtournee en het Holland Festival
After impressive retrospectives dedicated to John Cage (2012) and Edgard Varèse (2009), the Holland Festival this year put Venetian composer Luigi Nono in the spotlight. Under the title 'Trilogy of the sublime', the imposing Gashouder was the epicentre of three full-length concerts, short 'Nono interventions' sounded in the Rijksmuseum's subway, a two-day symposium was organised around Nono, and his widow Nuria set up an exhibition entitled 'Maestro di suoni i silenzi'.
That Serbian Gavrilo Princip assassinated the Austrian crown prince in 1914, thus triggering World War I, was until recently in the Netherlands no more than a dry historical fact. But now that it has been a century since this attack, this young freedom fighter is still getting a face in our country. But what De Warme Winkel is doing in the performance 'Gavrilo Princip' is much more than 'giving a face'.
Although both performances were created in very different ways, parallels can be drawn between 'Romeo and Juliet. To Romeo and Juliet‘ by Karina Kroft and 'Crastest Ibsen II - People's Enemy' by Sarah Moeremans / Noord Nederlands Toneel. Director Karina Kroft and actor Joep van der Geest in conversation about their relationship with a classic play and their audience.
Susanne Marx is at Oostblok, the former Muiderpoort theatre in Amsterdam, for two days with the performance 'Meisje Loos'. You could call 'Meisje Loos' a critical family performance: for young and old, about growing up and playing with compulsory roles, male-female, white-black, dancer-rapper, harp or beatbox. Genderbending as a theme for the whole family, with a fringe programme featuring Karin Spaink, Linda Duits, Machteld Zee, Rickie Edens and Alex Bakker perform and engage in conversation.
Ieder Holland Festival is er minstens 1 voorstelling waarvan heel veel mensen zich afvragen waarom die geprogrammeerd is. Dit jaar valt die eer te beurt aan ‘Bestiaire d’Amour’ van en met Isabella Rosselini. We zoeken even naar antwoorden.
Weer actueel, nu Toneelgroep Amsterdam de voorstelling herneemt, mijn recensie uit 2014. Deze week ging de toneelbewerking van The Fountainhead in première. Het boek is verschrikkelijk, de voorstelling rammelt, de acteurs winnen maar nipt. De inhoud schept echter nog meer verwarring en dat is de reden waarom ik u niet zal tegenhouden om te gaan kijken. En Hans Kesting natuurlijk. Ik zet het even op een rijtje.
Literature is starting to conquer its place at Oerol, which makes sense because poetry and prose are everywhere. The landscape inspires writers and poets to write beautiful texts and at the same time, through literature, visitors take in the environment in a poetic way. What forms of literature can you encounter on Terschelling?
To make it 450e birth anniversary of William Shakespeare (1564-1616), Krzysztof Pastor created a full-length choreography for the National Ballet, loosely based on The Tempest (1611). The performance is part of the Holland Festival. Dramaturge Willem Bruls adapted Shakespeare's last play about the island exiled prince Prospero and his daughter Miranda into a script in which the story is told four times, from as many perspectives. The result is enchanting.
Talent alone won't get you there. You also need a bit of luck. That luck happened to Alain Platel so often by now that you almost doubt your own wickedness. Still. Those who not only count a composer like Fabrizio Cassol among their friends, but who also gave singing prodigy Serge Kakudji a chance, deserve a bit of luck. What the trio has now achieved with 13 musicians from Kinshasa is downright revolutionary. And a death knell for those who believe that north and south can never really meet. I experienced it on Monday, 16 June. And it still echoes.
Lekker ‘ouderwets’ Holland Festival: een bijzondere opstelling die het publiek confronteert met de implicaties van heur eigen positie en kijkgedrag. En dat mag ook wel bij Fassbinder’s ‘Die bitteren Tränen der Petra von Kant’. Melodrama was de Duitse theater- en filmgeweldenaar niet vreemd. De bittere tranen zijn van een modekoningin en haar entourage, klinisch is de setting, flinterdun het verhaal, en toch ongemeen spannend hoe dit damestoneel zich ontwikkelt.
Taal is muziek. Soms vergeten we dat. Dan denken we dat taal een manier is om objectieve betekenissen over te brengen. Beetje dom. Taal is voedsel voor alle zintuigen. Daar hoeft geen getokkel onder. Dat is pure opera zonder opsmuk. De Engelstalige voorstelling ’tis Pity she’s a whore’ die ik gisteren in het Holland Festival zag, bewijst dat. Zelfs als je geen moer verstaat van de zeventiende-eeuwse zinnen is het een genot om naar te luisteren.
Saturday, June 14, went off in a flood of evening gowns, dinner jackets, Dutch celebrities and Gooische Tanks War Horse premiered. A play about a war in which the Netherlands was neutral, and of which there are memorial stones in every village in the rest of the world. You can go and see it. Or not. We have listed six arguments.
In an immaculate virginal white uniform, Don Juan gives a slick press conference for his marriage to Elvira. We hear the famous words with which Bill Clinton denied the Lewinsky affair. Actor Ischa den Blanken's grin speaks volumes when he says: 'These allegations are false.' We know: he is lying.
One of the rules of thumb of contemporary theatre art reads as follows: There is no middle ground in a production with an insanely long title. Such a production is either fantastic or dies of its own pretensions. At Judson church is ringing in Harlem (made to measure) / twenty looks of paris is burning at the judson church (m2m) is the latter.
"You know ma'am, that big red painting? Turn right before that". A young attendant shows us the way. At first glance, it's nothing. A man in semi-uniform, black trousers, white shirt, slowly turns on his axis. Sol Lewitt's mural, number 1084 from 2003, lends him the necessary decorum. Around the corner hang Barnett Newman and Andy Warhol. Would the man care? In this 'hall of fame' of conceptual art, the man's spinning stands out a little timidly. Some visitors remain standing, leaning against white walls or sinking down on the polished wooden floor. Those who take their time watch the spinning of the man and his fellow dervishes slowly take possession of the Stedelijk.
The dance course at The Hague Conservatory has exploded. Sort of. Nancy Euverink, director of dance education is in fact stepping down from the Royal Conservatoire (KC). And not only that. Deputy director Tom Bosma is not staying on either. Who will take over after the final performances and in the new season is still unclear. An international vacancy has been posted.
Jubilation and cheers echoed last night in the sold-out Great Hall of the Muziekgebouw aan 't IJ after the Dutch premiere of Delusion of the Fury of Harry Partch at the Holland Festival. No wonder, as the performance directed by Heiner Goebbels was titillating and the performance by the - conductorless - MusikFabrik perfect.
This year's trip will go to India and Nepal. Because that seemed nice to him. Visitors to the Dutch premiere of Jelinek's Die Schutzbefohlene were looking forward to the summer. Next year they would visit a friend in Vietnam. Little hassle to get a visa. As a white European, the whole world is yours. You can go anywhere. The man did not realise how privileged he was.
Even before the Holland Festival had begun properly, all tickets for the three performances of Handel's Orlando sold. What a crisis. However, it is not hard to guess why.
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