THEATER
With text, movement, actors, sets.
How it feels to single-handedly make a decision that turns the world upside down
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'.
Isabella Rosselini is endearing with her animal stuff. 4 missed opportunities in Bestiaire d'amour at @hollandfestival
Every Holland Festival there is at least 1 performance which a lot of people wonder why it is programmed. This year, that honour falls to 'Bestiaire d'Amour' by and starring Isabella Rosselini. We take a moment to look for answers.
7 confusing reasons why the stage version of The Fountainhead rattles, but you should still go.
Topical again, now that Toneelgroep Amsterdam is reviving the play, my review from 2014. This week, the stage adaptation of The Fountainhead premiered. The book is terrible, the performance rattles, the actors win only narrowly. The content, however, creates even more confusion, which is why I won't stop you from going to see it. And Hans Kesting, of course. I put it this way.
Wandering through the dunes with literature @Oerol Festival
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?
Bitter tears, screaming loneliness. Kušej does Fassbinder @HollandFestival 2014
Nice 'old-fashioned' Holland Festival: a special set-up that confronts the audience with the implications of their own position and viewing behaviour. And that's just as well with Fassbinder's 'Die bitteren Tränen der Petra von Kant'. Melodrama was no stranger to the German theatre and film wizard. The bitter tears are of a fashion queen and her entourage, clinical is the setting, wafer-thin the story, and yet unusually exciting how this lady drama develops.
Tis Pity! Holland Festival brings the best show to the smallest audience.
Language is music. Sometimes we forget that. Then we think language is a way of conveying objective meanings. Kind of silly. Language is food for all the senses. No strumming is needed under that. That's pure opera without embellishments. The English-language performance 'tis Pity she's a whore' I saw at the Holland Festival yesterday proves that. Even if you don't understand the seventeenth-century phrases, it is a joy to listen to.
Warhorse is almost perfect: 6 reasons to go. Or stay away.
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.
Legendary director Peter Brook (89): Theatre is the field given to me
The Valley of Astonishment. Titles don't come much prettier than that of 'The Valley of Astonishment'. Theatre legend Peter Brook's tentative last play is coming to Amsterdam. The Holland Festival gave me and two journalists from Parool and NRC, respectively, the opportunity to talk to the already legendary director when he was alive. Pretty special, because the man who enchanted an entire generation of theatre-makers and audiences with performances such as the nine-hour Mahabharata in Avignon, is considered a deity among theatre connoisseurs and enthusiasts.
Is Anne too big for reviews? 3 reasons why I find it hard to review Anne
Someone commented on Facebook that it looked a bit odd for a newspaper to hand out stars for a play based on The Diary of Anne Frank. Although I myself shudder to give out stars this early for a Godwin make, surely there is something to The Play and The Review. Indeed, reviews of The Play to The Diary seem superfluous. For how do you review such a play, with such a history? Isn't fuss about layering or no layering, adventurousness or no adventurousness in the direction even a little irreverent? So these are three issues, which led me to consider that maybe it shouldn't be possible at all. Anne review.
Juliette Binoche plays at Toneelgroep Amsterdam
Because Dutch culture the Dutch only notice when scoring abroad (also applies to football, by the way): Big news about the Netherlands' first company. National coach Ivo van Hove of Toneelgroep Amsterdam has appointed none other than Juliette Binoche snared for a lead role in a play.
Johan Simons receives 150,000 euros: 'I thought, that must be for Elsie'
This year's Prince Bernhard Culture Fund Prize goes to Johan Simons. At the announcement, in a meadow below Utrecht, the director was surprised: he suspected the prize was meant for his wife, Elsie de Brauw, widely regarded as one of the best actresses in the Netherlands and Belgium.
Tom Waits exists thanks to Partch. 7 reasons to go see Delusion of the Fury. And listen.
'Harry Partch knew exactly what he was doing. He chose very specific bourbon bottles to fill in those 43 steps in the octave. So he made music that is very accessible, but also very elusive. And that's what good art should do.'
Jeroen Willems (1962 - 2012)
The Netherlands' greatest artist is dead. Can happen. But can I then also curse heartily? Because Jeroen Willems is irreplaceable. As a journalist, you know the drill: of actors over 60, or of otherwise fragile stature, you have a necrootje ready. If you are well-known and meet the requirements, count on your friends and acquaintances to...
Order of the Day renews theatre
I did it just like that. Proclaimed a show as the most important theatre innovation for 20 years. That's daring. Even though I made the term a bit more vague in a subsequent tweet, because, yes, there has been quite a lot of innovation in recent years, left and right in theatres. So let's stick to 'the last few years'. And then...
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